ࡱ> a jbjbYQYQ (3333b&     2220rrr8r|Ls0TtTt"vtvtvtuuu,R*2uu"uuu*wvtvt+?wwwu8vt2vtwFZ 4uww42Ht Nrw>U0awa|w2007>300>The Vietnam Experience: A Project Based, Historical Drama  About the Authors Jen Peterson is in her second year as a Humanities teacher at High Tech High International. Prior to HTHI, she taught two years at High Tech High. She attended the University of Wisconsin-Madison, where she earned her B.S. in Secondary Education English with a certificate in Womens Studies. Brett W. Peterson is enjoying his fourth year as a Humanities teacher at High Tech High, where he recently earned his intern credential, the first of its kind in the state of California. He is also a graduate of the University of Notre Dame (BA in History) and the University of San Diego (MA in History). Brett is also active with several organizations including GLSEN San Diego, which he chairs. For a video example of this project, please see www.hthiprojects.hightechhigh.org Project Overview The Vietnam Experience is an eight week English and History integrated endeavor. The project is designed so that over the course of two months students will individually research a topic from the Vietnam War (or Vietnam era United States). This topic will then be transformed into a dramatic script complete with characters, setting and dialogue. These scripts will be critiqued, revised and for the best of both classes, actually performed with authentic settings and props in front of a live audience of peers, parents, professionals, and community members. Certain essential questions will be addressed including the following: Was the conflict in Vietnam a selfish, colonial move on the part of the United States or was it a general effort to make the world safe from Communism or something in between? What are the essential elements of effective drama? What are the fundamentals of successfully putting on a play? Also, students will create their own specific essential questions for investigation, according to their personal historical interests. Products Students will produce each of the following: Well-developed characters Professional one act scripts Historian poster Several journal entries Costumes and props Stage settings Learning Goals Students will understand: The social, political and economic nature of the conflict in Vietnam. The history and people of Vietnam Vietnams role in the Cold War. The complexities of U.S. diplomacy during the Vietnam era. Dramatic elements by reading and analyzing various classical and contemporary plays. Students will be able to: 1. Transfer this knowledge to their own plays by developing complex characters who use realistic dialogue and by establishing conflict that eventually comes to some resolution. 2. Take part in the production of a few selected plays by acting, managing, directing, or marketing the plays. 3. Take part in acting exercises so that even those with the smallest lines will say them with confidence and poise. Content: Topics Addressed Throughout the project students will learn about The History of Vietnam General history of their culture and relations with other nations, especially China, France, Japan, and the United States. The life and rise of Ho Chi Minh The imperial role of France American Intervention The Geneva Accords of 1954 Ngo Dinh Diem and Buddhist Barbeques American Advisors The Gulf of Tonkin Resolution The War Origins The Tet Offensive Carpet Bombing Soldiers experiences from both sides Withdrawal and Geneva Accords Writing Developing characters Writing scripts Analyzing Literature Primary documents CA Standards Addressed Reading Trace the etymology of significant terms used in political science and history. Truman Doctrine Domino Theory Assassination Coup detat Declaration of War Resolution (Golf of Tonkin) 2.1 - 2.3, 2.6 Analyze various grade level appropriate texts Reading novels, newspaper accounts, and government documents, students will analyze the authors meanings; compare and contrast their arguments; note tone and bias Students will identify the intended audience and appeal to pathos, logos, and ethos Various speeches by LBJ, Kennedy, Nixon, and Ho Chi Minh 3.1 Structural Features of Literature Students will read short stories, essays, plays, and novels Students will analyze them for sub-genres including satire and parody 3.3 Importance of Language Students will learn the importance of language dynamics, especially tone, irony, volume, and pace The students will then incorporate these dynamics into the writing of their own plays 3.5 Social Influences Students will read a variety of perspectives on the Vietnam War An African Americans Perspective on Service in Vietnam Writing 1.1, 1.2, 1.5 Organization and Focus Students will incorporate elements of characterization while writing descriptively and vividly in an effort to make their plays more realistic. Students will be instructed to write as they speak, embracing contractions, colloquialisms, and speech appropriate to the time period 1.6 Research and Technology Students will base their plays on primary documents, thus the necessity for research (oral histories from veterans will be given extra credit) Their essential questions should drive this research 1.9 Evaluation and Revision With eminent educator Ron Berger in mind, students will revise their plays several times. In addition they will receive feedback from both peers and teachers. Students will embrace such revision as a time to corroborate with peers of the culture represented in their plays (e.g., a transfer student from the south can assist a peer with a character from Mississippi). 2.1 Narratives Students will incorporate at least one monologue in their plays in an effort to express the feelings (usually political) of their characters. As with other portions, drama will drive the mood of the monologue, lending it greater impact on the audience. 2.3 Reflection Students will reflect on their experience as an actor, stagehand, and author of their own plays. Moreover they will persuade the instructor that their experience was successful and that their contributions and attitudes assisted in making the overall production a triumph. 2.4 Historical Investigation Students will examine various records and differing accounts of a single event. The Gulf of Tonkin Resolution: LBJ vs. the men of the C. Turner Joy A formal bibliography is required Listening and Speaking 1.2, 1.3 Comprehension of Medias Impact Students will examine the Tet Offensives impact on the American public with special attention given to medias role during the battle. Students will appreciate the power and influence of non-edited images (e.g., dead American soldiers; American soldiers committing atrocities against civilians; wounded children, etc.) 1.8, 2.5 Delivery of Oral Communication Students will identify interesting and effective language, especially during the revision process when they hear their words read aloud. Performance details will be given special attention Grade Eleven United States History and Geography Content Standards 11.9 U.S Foreign Policy Since WWII Communism at home and abroad: Americas Response Students will examine the Truman Doctrine, especially as it relates to South East Asia. Foreign Policy vs. Domestic Issues: the War at Home Students will listen to a personal account from a Vietnam War protestor as well as reading, listening, and watching several accounts of the protests. The Geneva Convention as it relates both to the United States, Vietnam, and France Grade Nine Through Twelve Visual and Performing Arts Standards 1.1-1.3 Artistic Perception Students will learn new vocabulary and roles so as to enhance their overall theatrical experience. E.g., genre, theme, design, director, stage manager, down stage, up stage, stage left, stage right, blocking out, etc. 2.1-2.3 Creative Expression Students will learn skills specific to theater Creating characters from their own imagination as well as from real people in history. Write dialogue and action sequences including staging while honoring drama, climax, and resolution of the play. Group work is an essential component of performing a successful play. Set designers, actors, directors, and stage hands must all communicate and work together. 3.1 Historical and Cultural Context Students will add elements of Vietnamese culture to their plays. Both physical and linguistic accuracy will be a priority. Avoid donning accents that will take away from the meaning of the dialogue. 5.1 Connections, Relationships, and Applications Students will connect their knowledge of theater with history, English, math, biology, engineering and even internship (see below). Career skills will also be enhanced by setting deadlines; creating rehearsal schedules; organize priorities, etc. Materials/Texts/Resources Clearly this project demands copious materials, but many of them can be donated or easily created. Of greatest import is the stage or other performance area (building ones own stage is a fun and useful way to engage kinesthetic learners), props, rudimentary costumes, poster board for historian posters, computers for research (trip to the library?), list of suggested online resources. We list helpful print texts below. History in Print Howard Zinns A Peoples History of the United States In his eighteenth chapter, The Impossible Victory: Vietnam Zinn provided copious primary accounts of the Vietnam War. While arduous to read for many students, it lends your play ample rigor. George C Herrings Americas Longest War While the entire book is useful, chapters five and six deal with especially poignant content. This work moves away from the military issue and deals more with diplomacy, an oft overlooked aspect of this terrible conflict. Fredrick Logevalls Choosing War Perhaps the most challenging text, Logevalls masterpiece contends that the government of the United states had many opportunities to end their role in Vietnam, but chose not to do so. In an effort to never set the ceiling, this work is most appropriate for those students requiring added challenges. Jack Woodis Ho Chi Minh: Selected Articles and Speeches Overflowing with primary resources, this book will gives students the rarely told story of the Vietnamese perspective on Vietnam. By reading Uncle Hos words, they will gain a valuable perspective as objective historians. In particular, the speeches are very moving. Ask them to compare his language to that of the Founders. Literature on Vietnam Philip Caputos A Rumor of War Caputo offers an exceptionally well written account of his time in Vietnam from an officers perspective. Resplendent with detail, this is a must read for students hoping to get a personal experience of Vietnam. Tim OBrians The Things They Carried Arguably the most famous author to come out of Vietnam, this is OBrian at his best. His symbolism and attention to detail, especially with regard to his thought process, are helpful ways to engage students while providing them with a human element of the war. Plays about Vietnam David Rabes Sticks and Bones Reading this short play will help students acclimate to the otherwise foreign manner in which one writes a play. Plus, it deals with Vietnam. David Rabes The Basic Training of Pavlo Hummel Neither anti war nor pro Vietnam, this play examines the psyche of a soldier during the war. It first staged during the war and is therefore all the more valuable as a resource for teaching. Tom Coles Medal of Honor Rag This brilliant work examines life after war and the arduous transitions soldiers are forced to make. Students learn about post traumatic stress disorder and other ailments that afflict veterans. Staging/Acting Texts Louis E. Catrons The Elements of the Play Writing Jeffrey Sweets Solving Your Script: Tools and Techniques for the Playwright An excellent resource, as it has plenty of excerpts from notable plays and great visuals. Jeffrey Hatchers The Art and Craft of Playwrighting This essential text has brilliant exercises that are sure to keep your kids engaged, challenged, and entertained! Jeffrey Sweets The Dramatists Toolkit: The Credit of the Working Playwright Lenka Petersons and Dan OConnors Kids Take the Stage: Helping Young People Discover the Creative Outlet of Theater An excellent resource for teachers with little background in theater. It provides many entertaining activities and improvisations that the kids are sure to love. Project Activities Timeline WeekEnglishHistoryDeliverables1Journal entries and research strategiesOverview of Vietnam/ Historian Poster Work Time(Project intro)2Reading of The Things They CarriedThe war at home versus over thereSocratic Seminar performance3The Elements of Drama and resumes Geography: creating maps of VietnamShowcase maps4Character BiographiesHo Chi MinhDramatic reading of Uncle Hos speech5Writing workshop for playsVietnamese culture6Writing plus staging and projectionThe Wars tragic detailsConferencing with the teacher7Writing and revision U.S. exit strategy and Geneva Accords Rehearsal 8Play preparationPlay preparation ensuring historical accuracy with stage and costumesThe performance  Project Narrative: Weekly Activities and Daily Goals The following lessons are based on ninety-minute class periods. The lessons could be adapted to fit any historical period or topic. Long-term goal: Learn an overview of the Vietnam War and answer an essential question through individual research. Historian poster is due Monday, September 15. See standards listed for each lesson for more specific learning objectives. Wednesday, September 3rd Journal prompt: What do you know about the Vietnam War? Introductory lecture on Vietnam War Review main points Introductory reading on Vietnam War (Zinn, first third of Chapter 18 with coding & notes) In-class reading time Homework: finish Zinn reading & use coding (see Appendix IV.1.1) & notes in margins to prepare for tomorrow Thursday, September 4th Journal prompt: What is the most striking/interesting/important thing you learned yesterday? What questions do you have about what you read or from yesterdays lecture? Show footage from Tet Offensive (15 minutes) Lecture on Tet Journal prompt: What questions do you have about what youve learned so far? Homework: read second third of Zinn, Chapter 18 with coding & notes in margin Friday, September 5th Take out journals & address questions Reading on Vietnam war from perspective of soldier (select chapter from Caputos A Rumor of War) Discuss reading Create questions for Vietnam veteran with partner Select best of the best questions Homework: read final third of Zinn, Chapter 18 with coding & notes, and complete Zinn Reading Guide (Appendix IV.1.2) Monday, September 8th Guest speaker: Vietnam veteran visits Students ask questions Students write reflection in journals Read On the Rainy River from The Things They Carried by Tim OBrien aloud in class Write response to reading in journal. Having read Zinn, does OBrien strike you as historically accurate/realistic? Tuesday, September 9th Discuss reading Primary document analysis activity (See Appendix IV.1.3) Essential question examples & brainstorm activity Historian poster assignment & show example (See Appendix IV.1.4) Brainstorm questions for guest speaker Homework: essential question due Thursday, September 11th. Historian poster due Monday, September 15th. Wednesday, September 10th Guest speaker: Vietnam protester Ask questions Write response in journal Discuss in groups of three & record important points Homework: code & take notes on reading on U.S. intervention in Vietnam in preparation for tomorrows seminar (select chapter from Logevalls Choosing War as reading). Thursday, September 11th Share highlights of discussions yesterday Socratic seminar on U.S. intervention in Vietnam (60 minutes see Appendix IV.1.5) Work period: time to work on historian poster & note helpful resources Homework: work on historian poster, due Monday, September 15th. Friday, September 12th Compile list of useful resources on board Questions on historian poster? Work period Homework: historian poster due Monday, September 15th. Bring binder to class next Thursday. Monday, September 15th Critique historian posters in groups of 4 Revise urge students to be kind, helpful and specific Homework: revise for tomorrow in preparation for presentation. Bring binder to class on Thursday. Tuesday, September 16th Present historian posters Introduce Vietnam map project (See Appendix IV.1.6) Begin research on map Homework: Vietnam map due Monday, September 22nd. Bring binder to class on Thursday. Wednesday, September 17th Share research tools & useful sites (teacher first & instruct students to write down useful sites & topic). See militaryhistoryonline.com and teachingamericanhistory.com Research time Share resources with one another (list on board) Homework: Vietnam map due Friday, September 19th. Also, remember to bring binder to class on Thursday! Long Term Goal: Character Biographies due Wednesday, September 24th  Thursday, September 18th (See Appendix IV.1.7 for detail of lesson) Journal write Discuss journal responses In-class activity Key concepts of drama lesson Activity (page 19, Hatcher text) Organization activity Introduce character biography (see Appendix IV.1.8) Homework: make list of best scenes from plays (preferably) or film for Monday (again, see Appendix IV.1.7). Character Biographies due Wednesday, September 24th. Vietnam maps due tomorrow. Friday, September 19th Share Vietnam maps with class Introduce project (see Appendix IV.1.9) Work on Character Biographies, resumes, and cover letters Work Period Homework: make list of best scenes from plays (preferably) or film for Monday (see Appendix IV.1.7). Character Biographies due Wednesday, September 24th Monday, September 22nd Share best scenes (select only random students) Introduce Aristotles Elements of Drama (See Appendix IV.1.10) Read one act plays in groups (provide several for students to choose from) and identify Aristotles Elements of Drama (See Appendix IV.1.10) Homework: Begin reading David Rabes Sticks and Bones Tuesday, September 23rd Journal write with thoughts on the main character, David Discuss the examples of Aristotles Elements of Drama Work period Homework: Character Biographies due tomorrow! Long Term Goal: Plot map due Friday, September 26th The plot map is a description of how your story unfolds. Wednesday, September 24th I. Critique character biographies self then peer, in groups of 3 (see Appendix IV.1.11) II. Developing characters exercise (see Appendix IV.1.12) III. Watch portions of Sticks and Bones and answer dramatic elements questions (Appendix IV.1.13) IV. Create plot line of the act you just watched Homework: plot line of own play due Friday; hand out examples of different plot line formats & instruct students to use whichever one suits them best Thursday, September 25th I. Journal: Think of your favorite plays, books or films. Create a plot line for this story. II. As class, create plot line for Romeo & Juliet, Little Red Riding Hood, The Titanic or any other well-known, popular story that the students know III. Work time: create plot line for your play, using what you have learned about creating interesting drama with conflict, climax, dnouement, etc. Homework: Create plot line for own play, due tomorrow Friday, September 26th I. With a partner, look at plot lines and give feedback, using Plot Structure Self Edit (Appendix IV.1.14) II. Create a French Scene Outline (Appendix IV.1.15) III. Divide class into four and give each group one speech by Ho Chi Minh (See Bibliography Jack Woodis). One student from each group reads the speech with dramatic presence. Class selects a winner, who receives a prize Homework: French Scene outline due Monday, with revisions from feedback (also turn in original plot line with feedback written on it) Monday, September 29th I. Critique French outlines & collect II. Journal entry your thoughts about Ho Chi Minhs words III. Lesson on Socialism Tuesday, September 30th I. Lesson on beginnings (see Appendix IV.1.16) II. Time to write beginning in class III. Complete Sticks and Bones Homework: write one page: the main character is blinded by the horrors of war. How is his family symbolically blinded? Due tomorrow. Also, beginning of play due Thursday Wednesday, October 1st I. Lesson on Were off! beginnings (see Appendix IV.1.17) II. Journal (choose prompt from bottom of Appendix IV.1.17) III. Discuss answers to journal prompts with writing partner IV. Time to write beginning Homework: beginning of play due tomorrow Thursday, October 2nd I. Read two students beginnings aloud to class & critique as class (be kind, helpful & specific) II. With writing partner, read beginning aloud & critique III. 45 minutes to revise beginning Homework: final draft of beginning due tomorrow to turn in Friday, October 3rd I. Dialogue lesson, including things to avoid (Appendix IV.1.18) II. Students choose one exercise as homework for Monday (Appendix IV.1.19) III. With writing partner, read beginning aloud, specifically critiquing dialogue. Is it realistic? Natural? Does each character speak differently and appropriately for his/her character? IV. Time to write dialogues Homework: Choose one of the possible exercises to complete over the weekend & turn in Monday, along with revisions in dialogue to beginning. Note to teachers: this week includes ample time to write in class. I suggest using a writing workshop model, such as Nancie Atwells. It is important to give students time to write individually in class, but also time to meet with peers to get feedback. When meeting with peers, I suggest students choose a writing partner (with your discretion) to bounce their ideas off one another. Also, it is crucial that they read their plays aloud to one another so they can hear the way it sounds when spoken. In addition, I suggest beginning the writing time with a mini-lesson on a topic that is relevant for the group. This is to be decided by the teacher depending on the strengths and weaknesses of the particular class. Long Term Goal: First draft due Monday, October 20thThis first draft must include all dialogue. It will probably take you a number of scribbled out pages and revisions to even arrive at this first draft. It should be typed and be believable both to the era and the character dialogues. Because you are aiming for a fifteen-minute play, the draft should be no fewer than about 15 single spaced pages. This amount may vary greatly depending on the number of stage directions and descriptions of setting etc., but spoken aloud the entirety of the play should be as close as possible to fifteen minutes. This does not mean I want you to include filler to get there but for example, if your play lasts three and a half minutes, you will not pass. On the other hand, please do not make a full length play that lasts an hour and a half. Please include a title page, a list of characters, a bibliography, all dialogue, setting and stage directions of your play. In other words, it should be in final (typed) script format.  Monday, October 6th I. Read aloud examples of beginnings & critique dialogue as a class (Is it realistic? Natural? Does each character speak differently & appropriately for his/her character? II. Thirty minutes to write middle III. Improvisation activity (see Bibliography) Homework: first draft of play due next Monday, October 13th Prepare questions for tomorrows guests Tuesday, October 7th I. First thirty minutes to write plays II. Elements of Culture Lesson Invite students (either from your own class or outside visitors) of Vietnamese ancestry or nationality to share their culture with your class through food, language, non-verbal expressions, and questions. Wednesday, October 8th I. Journal entry on previous days cultural experience. II. Thirty minutes to write plays III. Lesson on staging. Invited actors will instruct students in staging (blocking out; exiting stage left instead of stage right, etc. see pages 129-137 of Peterson & OConnors Kids Take the Stage) Thursday, October 9th I. First hour write staging into plays II. Activity on projection (see Bibliography) Friday, October 10th I. Meet with writing partner for first 30 minutes to read plays aloud & get feedback II. Write for rest of class! Homework: Read first twenty pages of Chapter Seven in Americas Longest War with notes and coding Monday, October 13th I. Journal entry: discuss peace with honor and peace through coercion. Whats the difference? II. Lesson on endings (Appendix IV.1.20) III. Time to write Homework: first draft of complete play due Monday, October 20th Tuesday, October 14th I. Informal class discussion on U.S. exit strategy in Vietnam II. Read second twenty pages of Chapter Seven in Americas Longest War with notes and coding Homework: If not finished in class, read the balance of the chapter Wednesday, October 15th I. Journal entry: Explain Vietnamization and the Easter Offensives impact upon it. II. Brief lecture on the wars end and the complete withdrawal of U.S. forces III. Complete lecture ameliorization in class (see Appendix IV.1.22) Homework: first draft of complete play due Monday, October 20th Thursday, October 16th I. Final revision of all acts, scenes, and staging Homework: first draft of complete play due Monday, October 20th Friday, October 17th I. Time to write Homework: first draft of complete play due Monday, October 20th Long Term Goal: Final draft due Wednesday, October 22nd The Final Draft is exactly what its name entails. It is a polished piece of drama that is free from errors, including both dramatic and grammatical mistakes. The final version is the compilation of peer and teacher recommendations put through numerous cuts and additions. A final play is visually sound and well composed. Teachers note: this week will be for finishing plays so there will be lots of time to write in class. During this time, work your way around to each student and conduct writing conferences. In order to limit the time in each conference and ensure that you get around to each student, give students a copy of the final play grading rubric (Appendix IV.2.1) and have them grade their own play first and write down on the rubric a question that they have and what they are most proud of and what they are most concerned about. Use this to guide the conferences. Monday, October 20th I. Self edit plays in class & make revisions II. Conference with students Homework: final plays due Wednesday Tuesday, October 21st I. Peer edit plays in groups of 4 (see instructions on Appendix IV.1.23) II. Revise play Homework: final plays due tomorrow! Wednesday, October 22nd I. Collect plays Teachers note: While exceptionally arduous, it is very useful to get the plays back to the kids as quickly as possible. By this point you are sure to be terribly familiar with the plays already, so final grading should not take too long. That said, I always clear my schedule so I can grade all of the plays in a single evening, though taking two or three is fine. For each period I select three finalists, partially based on realistic staging potential. The authors of these plays will then pitch their work to the class for voting. By weeks end, the plays you perform should be decided and cast. Thursday, October 23rd I. Return plays; announce finalists II. The three finalists will spend one hour selecting a portion of their play to perform in class so as to give their peers a better idea of what their play is all about. III. Perform eight to ten minutes per play and then have the kids select which one they would like to perform through the timeless voting system of heads down, hands raised Friday, October 24th I. The plays authors now take on the role of director by organizing casting. Spend the period defining each role and then casting. Whoever does not have an acting role will then take on a role that assists the production in some manner. While I have avoided actual auditions in the past, that might be an equitable way to approach casting. A more efficient version is simply to turn it over to the director who already has an idea of who should play which role. Have the class openly dialogue so that everyone is in agreement. Amazingly, students who have never acted a day will land lead roles while students experienced with theater might back away and take on stage building. Either way, encourage the kids to shine outside of their comfort zones. At periods end, hand out character biographies for respective roles. Homework: Begin familiarizing/memorizing lines Monday, October 25th through Friday, October 29th I. Rehearsal! Directors will take on the leadership of guiding and directing their caste of actors and stagehands. While seemingly chaotic, the kids will embrace this time to act, build, draw, create, and everything else that is required to bring about a successful production. Interrupt the schedule at time to practice projection or staging with the entire cast including non-actors. Also, invite back professional actors and playwrights from before to lend assistance. Production of plays: We recommend using bare bones sets and instead focusing on revising the script so that it is the best it can be, training actors well and gathering effective costumes and props. It is important that everyone has a role, whether it is actor, director, stage manager (a crucial role since this is the person in charge of logistics such as getting actors to rehearsals on time, taking charge of props & costumes, playing the role of bad cop, etc. so the director can do his/her job without being burdened by logistics), set & costume director, grip, etc. We have seen students memorize lines and prepare a performance in as little as a week and a half, although we would recommend 2-3 weeks. What is most important is to have an evening where students perform at a high-stakes event where outsiders are invited. Because of this, be sure to assign students to market the event by creating posters, flyer (see Appendix IV.1.24), sending out e-mails, letters home, etc. to advertise the event. The higher the stakes of the event, the more inclined students will be to work hard and create their best work. Be sure to assign someone to create a professional playbill (program) to hand out on the night of the performance (see Appendix IV.1.25, for example of directors note for play bill). In addition, it is important to expose students to experts in the field as they are preparing their performance. For example, we have invited professional actors to visit the classroom, a professional playwright to tutor the kids as they write, a community theater director to advise the students on staging and to work with actors, a set designer to consult students, and we have taken a field trips to the Old Globe Theater each year we have done the project. This step is crucial, in my opinion, so the students can see that they are doing real work. All said: Have students fill out a post project reflection of their performances and what they would suggest for improvement (see Appendix IV.1.26). Supporting Diverse Learners At the very foundation of project based learning is the philosophy of reaching as many students as possible. See directors note for student engagement for students that are not traditionally active, successful learners. Indeed, the project is so rich and varied that it appeals to a broad range of learners. Assessment Above all, peer editing stands out as the primary method of assessment in this project. While there are many rubrics, many of them exist for the students sake when editing their peers work. In addition, several forms of presentation and public performance are involved, all of which are assessed by rubrics. That said, this project involves a final performance that is so much more meaningful than grades. When this project was piloted in the spring of last year, once grade-obsessed students turned into active, caring learners with but one concern: how well they did on stage and as a team. We truly believe that while this project has many useful benchmarks and worthy assignments that must be assessed, it also satisfies those would rather move away from a grade focused curriculum, for as Alfie Kohn once said of grades: [They are] a subjective rating masquerading as an objective assessment. Teacher Reflections What Went Well: The Vietnam Play Project was a tremendous success for many, multifaceted reasons. First, the level of integration was beyond anything we had ever attempted. Second, student engagement was tremendously high throughout the play process, but especially high as the final production neared. Finally, the project worked because of the connection to the real world (we invited a playwright and award winning director to coach our kids and hone their thespian abilities) and the high stakes culmination of acting in front of a real audience of family, friends, peers, and strangers. What We Would Do Differently: All that said, the largest complaint about the project came in the form of timing in that we did not allow them enough rehearsal time, set up time, writing time, critique time, etc. Overall, we spent some eight weeks on the play, though perhaps nine would have been more appropriate. While this project stands out as one of the best we have attempted, it also was clearly the most stressful and time consuming. Indeed, if we want a project to be good, really good, time and sacrifice, both on the students part and on the teachers, are obligatory and even inherent.  Please see the Weekly Goals and Daily Lessons section for a more in depth and useful timeline.     PAGE  PAGE 14 At a Glance: The Vietnam Experience: A Project Based, Historical Drama Authors: Jen Peterson and Brett Peterson Grade Level and Subjects: 11th Grade Humanities Essential Questions: Was the conflict in Vietnam a selfish, colonial move on the part of the United States or was it a general effort to make the world safe from Communism or something in between? What are the essential elements of effective drama? What are the fundamentals of successfully putting on a play? Duration: Eight Weeks Description: Students will each research a historical topic, in this case the Vietnam. They will begin by asking an essential question once they have been introduced to the historical time period through lectures, readings, and various forms of media and activities. Once they have researched and compiled the answer to the essential question in the form of a historian poster or primary resource guide to their play, they will begin writing. Their topic will be transformed into a dramatic script complete with well-developed characters, historically accurate settings and realistic dialogue. Scripts will be critiqued and revised by peers, and the best few scripts will be performed to an outside audience. 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