Unit 4: Choreography

Musical Theatre 15/25/35

Rationale
Choreography is the final step in staging and completing the performance of Fiddler

on the Roof. The unit is designed to promote critical thinking about how to further express

individual characters and create mood. Large ensemble numbers requiring more time and

detail take priority through the unit. Solo and smaller duets are given basic steps with more

opportunities to be worked in the unit following choreography.

Each day begins with physical warm-up with work of basic dance combinations that

students will utilize in chorus numbers. More difficult pieces will be scaffolded to gradually

introduce new moves to students.

Characterization is worked on throughout the unit to help all roles and chorus

members to develop further, with a concentration on mood and ways to express it. They will

then reflect on their character and growth based on gesture and mood expressed through

choreography.
 Unit Plan Grid Organizer

Unit Topic: Choreography/Dance Grade Level: 10/11/12 Strand: Musical Theatre

GLEs in full:

GLEs in full:
Preparation/Rehearsal
 Make effective use of rehearsal time
 Develop self-discipline to use undirected time to advantage
Performance
 Use and respond to stage directions
 Pick up cues effectively
 Distinguish between oneself as a performer and character
 Memorize required text, music, and choreography
Reflection/Evaluation
 Critique performance of self and others
 Identify dominant mood of a scene/score
 Examine the historical context of Musical Theatre selections

SLEs in full:

Dance
Technique
1. Recognize the need for appropriate dance attire
2. Use proper posture, balance, and alignment
3. Understand the need for basic progression of a warmup consistent with dance style
4. Develop the ability to listen to, watch, reproduce, and internalize a movement or pattern
5. Develop spatial awareness in classwork and choreography
 6. Use physical competency in a variety of dance steps and techniques
7. Memorize and execute choreography for musical production numbers

Interpretation
1. Recognize that the dance piece must be understood within context of the Musical
2. Recognize and demonstrate the role of dance in maintaining and continuing the Musical’s storyline
3. Use gesture, movement, and body language to develop characterization
Music/Materials to be learned in the lesson:

Choreography to Selections from Fiddler on the Roof

 No.1: Tradition
 No. 4: If I Were a Rich Man
 No. 6: To Life
 No. 11: The Dream
 No. 15: Wedding Dance
 No.22: Now I Have Everything
 No.25: The Rumor
 No. 31: Anatevka

Lesson Plan Summaries

Lesson SLEs: Learning Instructional Strategies/ Assessments and

Title and (Abbrev.) Objectives Methods/Activities/Resources Evaluation
Day FA=Formative
Assessment
SA=Summative
Assessment
Nov. 14 Technique  Create Gestures to  Lead class in a physical warm-up and FA- Observation,
1-7 further develop stretch Questioning
Interpretation character.
 1-3  Reproduce Dance  Discuss prologue scene, set, and
combinations in characters.
choreography for the  No. 1: Prologue-Tradition: Outline basic
opening prologue in framework of scene
Fiddler on the Roof  Go over again, adding minor details for
stage movement, basic chorus dance steps

Nov. 15 Technique  Develop movement  Lead class in a warm up and stretch. FA- Observation,
1-7 patterns to tell the musical  Discuss the scene with chorus. What is Questioning
Interpretation number’s story/song happening.
1-3  Fill musical space when  No. 11 The Dream: Go through basic
not singing framework of scene. Repeat from
beginning adding major moves and
crosses.
 Run again if time permits.

Nov. 16 Technique  Use body language to  Run vocal warm up with class, go through FA- Observation,
1-7 express mood the two songs with chorus that will be Questioning
Interpretation  Develop awareness of blocked.
1-3 singing breath during  Stage framework of scene No. 31:
movement. Anatevka
 Stage framework of scene No. 35: The
Rumor
 Run both scenes if time permits

Nov. 19 Technique  Use body language to  Block Sunrise, Sunset. FA- Observation,
1-7 develop characterization  Allow those not in the next number to Questioning
Interpretation continue working on backstage projects.
1-3  Choreograph Matchmaker, beginning with
the framework. Move on to combos, run
with music.
Nov. 20 Technique  Progressively warm up to  No. 6: To Life- Go over basic dance FA- Observation,
1-7 work more difficult combos used in musical number. Run Questioning
Interpretation movement combinations with students and break down if
1-3  Continue developing necessary.
 Run through basic framework of scene,
movements.
 Go back adding details and dance combos
Nov. 21 Technique  Develop spatial awareness  Lead class in dance warm-up and stretch FA- Observation,
1-7 of dance combinations  Discuss major moves and outline the Questioning
Interpretation  Demonstrate how dance framework of the dance and what will
1-3 progresses the storyline happen.
 Run major combos with ensemble.
 Choreograph dance. Run through if time
permits
 No. 15: Wedding Dance
Nov. 22 Technique  Develop spatial  Meet with ensemble. Discuss what FA- Observation,
1-7 awareness of dance backstage work can be done the remainder Questioning
Interpretation combinations of the week for those not involved in
1-3  Demonstrate how dance smaller ensemble numbers.
progresses the storyline  Have students record work to google
forms
 No. 4: If I Were a Rich Man
Nov. 26 Technique  Develop spatial awareness  Have chorus not needed for smaller FA- Observation,
1-7 of dance combinations numbers continue backstage projects Questioning
Interpretation  Sing through No.22: Now I Have
1-3 Everything
 Run through framework of song
Nov. 27 Technique  Continue to develop  Work No. 1, 11, polishing and tightening FA- Observation,
1-7 spatial awareness for up moves Questioning
Interpretation major chorus numbers.
 1-3  Inform students about personal reflection
on choreography due on the 30th.
Nov. 28 Technique  Continue to develop  Work No. 15, continuing to polish FA- Observation,
1-7 physical competency of Questioning
Interpretation dance combinations
1-3
Nov. 29 Technique  Continue to develop  Have company meet to discuss projects FA- Observation,
1-7 physical competency of finished/started, assign help for projects as Questioning
Interpretation dance combinations needed.
1-3  Work No. 6, discuss inner motivations of
chorus members during scene.
Nov. 30 Technique  Continue to develop  Lead chorus in physical and vocal warm FA- Observation,
1-7 physical characterization, up. Questioning
Interpretation background story  Run big chorus numbers-1, 11, 15, 6 SA-Reflection
1-3