Lesson Overview:

The story told by Rodgers and Hammerstein in the musical The Sound of Music was forceful, meaningful, and enchanting; however, it was not entirely true to the characters or the situation. In this lesson, students create a realistic monologue for a character of their choosing.

Length of Lesson:

Three 45-minute periods

Instructional Objectives:

Students will:

• create a monologue for a character from The Sound of Music.
• create and perform one monologue based on their original ending for the story of The Sound of Music.
• follow the writing process - pre-write, rough draft, final copy.
• gain constructive meaning from a film production.
• reflect the emotions and actions of the main character in the monologue.

Supplies:

• Paper
• Pencils
• Television
• VCR or DVD Player
• VHS or DVD: The Sound of Music

Instructional Plan:

Preparation:

(This timetable is practical if the lessons Composing with Solfege and The Life of Maria von Trapp: Creating a Conclusion are taught first. In the prior lessons, students have seen the entire film, The Sound of Music. If this lesson is taught without the prior lessons, and additional two and a half hours of class time will be necessary to allow students time to watch the entire film and read the "real" ending to the story of Maria von Trapp.)

Warm Up:

Distribute the Vocabulary Handout. As a class, students will discuss the meaning and use of a monologue.

An example of a musical monologue in The Sound of Music would be when Maria sings, "I Have Confidence." (Maria is leaving the Abbey on the way to the von Trapp family home and is nervous about her assignment to serve as Governess to the von Trapp children. Monologues are typically spoken, but can be sung, as in this case.)

Maria saying her prayers the first night in the von Trapp family home is an example of a spoken monologue.

Introductory Activity:

Students will review their original story ending for The Sound of Music, created in the previous lesson.

While reading through their story, students will select three places a monologue might be appropriate if the story were written as a play or musical.

The Monologue Guidelines worksheet will be reviewed.

Guided Practice:

As a class, students will review the story map created by the class in the previous lesson, that outlines the story of Maria von Trapp from the time she and her family fled Austria.

As a class, students will complete the "Monologue Guidelines" Worksheet based on that story map.

Step 1: Decide where in the story map, the monologue would best fit. The most logical place would be before or after the climax/conflict, or during the resolution phase of the story. The ultimate choice about where to insert the monologue lies with the writer.

Step 2: Complete the Monologue Guidelines Worksheet Handout, based on the story map.

As a class, students will discuss the difference between the written language and the spoken language. When speaking, we rarely use complete sentences. We use slang, and may hop from idea to idea without indenting! When writing a monologue, students must remember to write as they would speak. Spelling and capitalization is important. Proper grammar and proper punctuation may not always be possible.

As a class, students should begin to create a monologue for Maria von Trapp, based on the story map created in the last lesson.

When creating this monologue, students should be reminded to think about the manner in which Maria von Trapp spoke during the musical. This should influence the phrasing of the monologue.

Give an example of how she would not speak.

An example might be:

"Hey, kids, you wanna not give me grief? I been just tryin' to get you guys over this here mountain."

Independent Practice:

Students will independently complete the Monologue Guidelines worksheet based on the story map and story ending they created in the previous class.

Students will create the rough draft of the monologue, based on the pre-write, "Monologue Guidelines."

Remind students to think like the character. Additional brainstorming might be necessary before beginning the chart. If students are struggling, ask them to list the many ways they might personally feel about the event or a situation in the story. Students should then choose those feelings they believe best represent their chosen character.

Guided Practice:

Students will share the rough draft of their monologue, performing it for a partner, in a pair-and-share activity. The rough draft can be used at this time.

Students will critique their partner's rough draft, looking for details necessary to make the monologue more meaningful for the audience. They will also critique the writer's use of oral speech patterns, not written speech patterns.

During this pair and share activity, remind students critiquing their partners work to ask questions, not provide suggestions.

Sample questions might be:

• I am having a little trouble understanding why you are crying as you perform your monologue. Do you think the audience needs an introduction to clarify your emotions?
• In your monologue, you seem to be upset about the choice you have to make. Is it possible to make it clear that you are upset because you like or dislike both choices, or that you like both and making the choice is what upsets you?

You will have to supervise and possibly intervene in the pair and share process to ensure that each student receives the best feedback possible.

Independent Practice

Students will refine the rough drafts and complete the final copies of their monologues.

Students will once more share their monologues with a partner in a pair-and-share activity.

Students will discuss the use of pacing, voice inflection, pronunciation, and professionalism.

The partner in the critiquing role, should once again ask questions regarding points in question.

Sample questions:

• If you are excited at the beginning of the monologue, do you think it might be helpful to speak like you are out of breath, or in a higher voice, or talk really fast?
• I am having trouble hearing the consonants at the end of some of your words. Is that the way you intend for Maria to speak or are you speaking as if you were talking to a friend?
• When you reach the saddest part of the monologue, and you are listing the hardships you have faced, would it be more dramatic to pause between each hardship or maybe add a little sigh?

Closure:

Students will share their monologues with the class.

Remind students that their written monologues can be memorized or used as a guide for improvisation. All points on the "Monologue Guidelines" must be included in the presentation.

During presentations, remind students that they are being assessed on performance and participation as an audience member.

Assessment:

Use the Assessment Rubric Handout.

Extensions:

Creating an original ending or adding a monologue to an existing story could be used with almost any piece of literature, play, film, or television show.

Sources:

Media:

• The Sound of Music (The Five Star Collection) Directed by Robert Wise. 175 min. Twentieth Century Home Video, 2000. DVD

Authors:

• Leslie A. Thomas, Suzuki String Teacher
  Thomas Pullen Arts Magnet
  Landover, MD United States