The Future PAGES Project - CPALMS Standards
Currently, the following Common Core standards are addressed by The Future PAGES Project through participation in the program, as well as the implementation of the curriculum guide provided. Any of the standards listed below can be used by educators to create and support their own theatre and language arts lesson plans in the classroom, and others not listed can be easily added through adaptation in the classroom to tailor the experience to meet the needs and goals of that particular group and educator.
Grade 4
Theatre Standards
Critical Thinking and Reflection: TH.4.C.1.1, TH.4.3.1
Innovation, Technology, and the Future: TH.4.F.2.1, TH.4.F.3.1
Historical and Global Connections: TH.4.H.3.1, TH.4.H.3.3
Organizational Structure: TH.4.O.3.1
Skills, Techniques, and Processes: TH.4.S.1.1, TH.4.S.1.3
Language Arts Standards
Language Standards: LAFS.4.L.2.3
Standards for Speaking and Listening: LAFS.4.SL.1.1
Writing Standards: LAFS.4.W.1.3, LAFS.4.W.2.4
Grade 5
Theatre Standards
Critical Thinking and Reflection: TH.5.C.2.4, TH.5.C.3.1
Innovation, Technology, and the Future: TH.5.F.2.1, TH.5.F.3.1
Historical and Global Connections: TH.5.H.2.1, TH.5.H.3.2
Organizational Structure: TH.5.O.1.3, TH.5.O.3.1, TH.5.O.3.2
Skills, Techniques, and Processes: TH.5.S.1.1, TH.5.S.1.3
Language Arts Standards
Language Standards: LAFS.4.L.2.3
Standards for Speaking and Listening: LAFS.4.SL.1.1
Writing Standards: LAFS.4.W.1.3, LAFS.4.W.2.4
Grade 6-8
Theatre Standards
Critical Thinking and Reflection: TH.68.C.1.3, TH.68.C.1.5, TH.68.C.2.14
Historical and Global Connections: TH.68.H.1.2, TH.68.H.1.5, TH.68.H.3.1,TH.68.H.3.5
Organizational Structure: TH.68.O.1.3, TH.68.O.1.4, TH.68.O.2.1, TH.68.O.2.2, TH.68.O.3.3 Skills, Techniques, and Processes: TH.68.S.1.1, TH.68.S.2.3
Language Arts Standards - Grade 6
Language Standards: LAFS.6.L.2.3
Standards for Speaking and Listening: LAFS.6.SL.1.1
Writing Standards: LAFS.6.W.1.3, LAFS.6.W.2.4
Language Arts Standards - Grade 7
Language Standards: LAFS.7.L.2.3
Standards for Speaking and Listening: LAFS.7.SL.1.1
Writing Standards: LAFS.7.W.1.3, LAFS.7.W.2.4
Language Arts Standards - Grade 8
Language Standards: LAFS.8.L.2.3
Standards for Speaking and Listening: LAFS.8.SL.1.1
Writing Standards: LAFS.8.W.1.3, LAFS.8.W.2.4
Grade 9-12
Theatre Standards
Critical Thinking and Reflection: TH.912.C.1.3, TH.912.C.1.6, TH.912.C.1.7, TH.912.C.1.8, TH.912.C.3.3
Innovation, Technology, and the Future: TH.912.F.3.4, TH.912.F.3.6 Historical and Global Connections: TH.912.H.1.1, TH.912.H.1.5, TH.912.H.2.3, TH.912.H.2.6, TH.912.H.2.8, TH.912.H.3.5
Organizational Structure: TH.912.O.2.5
Skills, Techniques, and Processes: TH.912.S.1.4, TH.912.S.1.5
Language Arts Standards – Grade 9-10
Standards for Speaking and Listening: LAFS.910.SL.1.1
Writing Standards: LAFS.910.W.1.3, LAFS.910.W.2.4
Language Arts Standards – Grades 11-12
Standards for Speaking and Listening: LAFS.1112.SL.1.1
Writing Standards: LAFS.1112.W.1.3, LAFS.1112.W.2.4
Jaqueline Goldfinger - Playwright
Jacqueline Goldfinger (she/they) is a playwright-librettist who grew up in rural North Florida with a love of music and storytelling. Today, they write theatre, music, and opera for companies around the world.
Their plays have been produced by The Kennedy Center, Contemporary American Theatre Festival, Court Theatre (New Zealand), École nationale de théâtre (Canada), Capital Stage, Urbanite Theatre, Theatre Exile, Vortex Rep, Perseverance Theatre, among others.
Her opera, choral and art song libretti have been performed at Sydney Opera House (Australia), Opera Columbus, Resonance Works, BBC Radio 3 (UK), Voces8 (UK), Oberlin Opera, Chor Leoni (Canada), Chiesa di Ognissanti (Italy), San Diego Opera/Without Walls Festival, and others. The filmed version of their short opera, Letter to Our Children, with Composer Justine F. Chen has screened at film festivals around the world.
Their work has been developed at Maryland Opera Studio, The National Theater (UK), New Georges, La Mama, Disquiet (Portugal), Drama League, Lark Playwrights Week,
National New Play Network, among others Her work has been supported by organizations including Yaddo, National Endowment for the Arts, Millay Colony, Sloan Foundation, and the Orchard Project.
Her plays have won the Yale Prize, Generations Award, Smith Prize, among others Her opera Alice Tierney won the Opera America Discovery Award with Composer Melissa Dunphy. Her short opera film Letter to Our Children with Composer Justine F. Chen won Best Music Video at the Paris Short Film Awards. Her plays and libretti have been published by Yale Press, Theatrical Rights Worldwide, Concord Theatricals, Dramatists Play Service, Edition Peters, and others. Her poetry has been published by literary magazines including La Piccioletta Barca, Poetry Wales, and Beyond Queer Words Poetry Anthology
As a dramaturg, they have worked with La Jolla Playhouse, Philadelphia Theatre Company, Arden Theatre, and others. She is the Creative Director for the Sledgehammer Series which publishes new play anthologies with visual art She was the Guest Editor for the Special Issue of the Journal of American Drama and Theatre themed “Revolutions in New Work Development ”
As an educator, they have taught playwriting and dramaturgy at University of Pennsylvania, University of the Arts, and others Her academic writing includes two books, Playwriting with Purpose and Writing Adaptations and Translations for the Stage published by Routledge Her work has been documented for Innovations in Socially Distant Performance at Princeton University and she was a Granada Artist-In-Residence at UC Davis.
Education: BA English Literature-Theatre at Agnes Scott College MFA Screenwriting at University of Southern California.
Jaqueline Goldfinger’s website: https://www.jacquelinegoldfinger.com/about
Assignments & Activities
The next few pages include assignments and activities that you can incorporate into your lesson plans if you choose to create a unit from this experience. Rubrics for grading follow
known for another very famous version of this story. If you had to come up with an alternate title for this play, what would it be?
16. When the Little Mermaid realizes the potion is empty, what does she do? Have you ever had to find a fast solution to make up for missing something you thought would solve your problem? What solution did you find? Did it work out the way you hoped?
17. How is the idea of family presented in this play? Do you have a personal connection to any of the issues presented in the play?
Let’s go even deeper…
18. How do you define symbolism in a theatrical production? Where do you see symbolism throughout this play? What do you think is the underlying meaning of the symbols?
19. What do you see is the theme of this play? Is there a recurring idea or moral to the story that stood out to you? Can you take that into your own life in any way?
20. From what you experienced, would you consider this play a Comedy or a Drama? Are there elements of both? Do you think a story works better if it sticks to one primary element or is it better to mix genres? Why?
After The Play - Student Response Sheet
(Based on Bloom’s Taxonomy)
(Do this quickly- as soon as possible after seeing the performance! Option: Take any one or two questions and expound on them- use as many pages as necessary!)
1. List some of the lines or images in the play that stick in your head. (These don’t have to be complete sentences; just a brainstorm of what “grabbed” you.)
2. What questions do you have? (For the characters, for the playwright, about the story, anything at all…)
3. What would you change? What didn’t you like? (Be specific.)
4. What do you think some of the themes were?
5. From what you have read so far, what do you think the playwright’s message is? Do you agree or disagree with it? Why?
walls didn’t match the feeling of chaos in the language, etc. )
• How did the costumes add to or detract from the overall concept of the play? Did they contribute to the director’s vision (as you interpreted it) or “take you out” of the life of the play? Give specific examples of why the costumes did, or didn’t, work.
• Were you aware of the lighting design, or did it feel natural? Did you notice any special lighting that affected the mood of the performance (i.e. color, images, or patterns)? Give specific examples.
Text
• What kind of text was it? Modern? Classical? Easy or difficult to follow?
• How did the word choice affect the story or the characters? Did the words seem to “fit” the type of people on stage? Why or why not?
• Was it easy to identify the different elements of the text: conflict, rising action, climax, resolution, etc.? Or, did you find it difficult to follow the flow of the words/story?
• Did the message of the play come across in the words and actions of the characters, or did you have to fill in lots of blanks to follow the story? Give specific examples.
Characters
• Was it easy to identify the goals/objectives of the characters? Why or why not? Give at least two examples for one of the leading characters.
• Did the minor characters contribute to the story? How?
• Did some characters have more impact than others? Why? Give examples.
• Did you feel that the characters were realistic – people you might actually know in real life, or did they seem to be people that you would never meet? Give an example using one of the leading and one of the minor characters.
• Was there a character you seemed to connect with more than the others? Why? Can you remember what they did/said that makes them memorable to you?
Now, take your answers to the above questions and string them together into a few good, active paragraphs. Cite specific events/moments from the play that support your like or dislike of the performance.
You might start the review with your overall impression of the performance, and then close by reaffirming your opinion.