1. W ELCOME TO 10 TH G RADE E NGLISH T HURSDAY 9 JAN. 2014 Agenda: ► Practice Reciting Poem ► Mini-lesson on Marking Emotional Beats ► Mini-lesson on Blocking Homework: 1. Finish marking beats or blocking if did not finish in class. 2. Bring Lord of the Flies books tomorrow! We’re turning them in to the library. 3. Memorized Poem with Gestures due Tuesday, 1/21.

2. L EARNING T ARGETS 1. I can recite my poem aloud. 2. I can find and mark the different emotional “beats” in my poem. 3. I can “block” the movements and gestures I plan to make while reciting my poem.

3. R ECITING WITH A P ARTNER First, read the poem a few times to yourself to get a general feel for how the poem might sound. (3 minutes) Then, read your poem aloud to your partner. Title of poem Author Recite Poem Person with the largest shoe size should go first.

4. F INDING E MOTIONAL B EATS 1. What are beats? Changes in emotion or purpose 2. How do I find beats in my poem? Read the poem and analyze every time there is a pause, change in emotion, or change in purpose 3. What are some example emotions my speaker might feel during the poem? Contemplative Sorrow Yearning Inspired Thoughtful Depressed Grim Angry Bitter Enthusiastic

5. “I NTRODUCTION TO P OETRY ” B ILLY C OLLINS I ask them / to take a poem/ and hold it up to the light/ like a color slide/ Or/ press an ear/ against its hive./ I say/ drop a mouse into a poem and watch him probe his way out,/ Or /walk inside the poem's room/ and feel the walls / for a light switch. I want them to waterski across the surface of a poem waving at the author's name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.

6. H OW TO F IND AND M ARK E MOTIONAL B EATS 1. Break the poem down by sentences or stanzas. 2. Focus on 1 sentence or stanza and analyze it until you understand what it means. 3. Repeat until you’ve decoded and understand each stanza or sentence throughout the poem. 4. Identify the emotions the speaker feels in each stanza or sentence. 5. Break up whole lines into separate emotional beats when appropriate. 6. Repeat through whole poem until every emotion is labeled.

7. B LOCKING - the process of developing the movement during a performance. Should reinforce the motivation, dynamic, emotion and/or purpose of the speaker in order to assist the audience in understanding the poem. Let the emotions you just marked in your poem be a guide or inspiration for your movement choices. STANDING TALL = powerful, happy, excited or aggressive. LOWERED HEAD/CHEST CAVED IN = appearing weak, sad or passive. Try several ways of moving/gesturing until you find one that works for you. When you find what works for you, WRITE IT DOWN in between the lines or beside the lines of the script where you are going to make the planned movement.