T.T305

Re-creating Orphan Train Stories

Re-creating Orphan Train Stories

From 1854 to 1929, an estimated 250,000 orphaned, abandoned, and homeless children were placed with families throughout the United States and Canada during the Orphan Train Movement. This assessment includes a set of 15 stories about actual children’s experiences as orphans with the Orphan Train.

In small groups of three to five, students will use movement, rhythm and graphic arts to retell the story of one of the Orphan Train riders.

This item has not been field-tested by Michigan teachers.


These are analytic rubrics. The column on the left shows the dimension that is being measured in the student’s performance. The levels across the top row indicate the performance level in the dimensions. Occasionally all dimensions and performance levels are exemplified by multiple students in a single recording.

TEACHER SCORING RUBRIC–TABLEAUX PERFORMANCE

  • Dimension
  • Sequencing (Group Grade)

  • Participation

  • Depth/Levels (Group Grade)

  • 1
  • 2
  • 3
  • 4
  • Only one or two tableaux were created.

    N/A at this time.
  • All tableaux were created, but with some conflict among group members.

    N/A at this time.
  • All tableaux were created, with one seeming out of place with the other two.

    N/A at this time.
  • The progression between the beginning, middle, and end of the tableaux was immediately apparent.

    N/A at this time.
  • Student did not participate in any scene.

    N/A at this time.
  • Student participated in one scene.

    N/A at this time.
  • Student participated in two or three scenes but was not completely committed facially or physically to one of the scenes.

    N/A at this time.
  • Student participated fully in three scenes and was committed facially and physically.

    N/A at this time.
  • All tableaux were flat and only used one height level.

    N/A at this time.
  • One tableaux showed a use of the depth of the stage and used two height levels.

    N/A at this time.
  • Two tableaux showed a use of the depth of the stage and used two height levels.

    N/A at this time.
  • All tableaux showed a use of the depth of the stage and utilized two or three height levels.

    N/A at this time.

TEACHER SCORING RUBRIC–PROJECTED SCENERY

  • Dimension
  • Establishing Environment

  • Objects/People from the Story

  • 1
  • 2
  • 3
  • 4
  • Environment is not present or has nothing to do with the original story.

    N/A at this time.
  • Environment is present but has limited application to the original story.

    N/A at this time.
  • Environment is present and adequately sets the tone of the performance.

    N/A at this time.
  • Environment effectively sets the tone of the performance.

    N/A at this time.
  • No objects or people from the story are present.

    N/A at this time.
  • Only one object or person from the story is present.

    N/A at this time.
  • Two objects or people from the story are present.

    N/A at this time.
  • Three objects or people from the story are present and are incorporated into the scenery in a tasteful and thoughtful manner.

    N/A at this time.

TEACHER SCORING RUBRIC–FINAL PERFORMANCE

  • Dimension
  • Participation

  • Tableaux

  • Rhythm, Tone and Sound Effects

  • Interaction with Projected Scenery

  • 1
  • 2
  • 3
  • 4
  • Student is noticeably absent in one or more segments of the performance and often “breaks” the reality of the moment through distraction or lack of participation.

    N/A at this time.
  • Student has several moments of blending into the scenery, offering only the most basic level of participation needed for a scene to progress.

    N/A at this time.
  • Student mostly stays committed to the scenes but may have a few brief moments lacking focus.

    N/A at this time.
  • Whether serving as a main role, serving as a supporting character, or world building in the background, the student stays committed to performance at every moment.

    N/A at this time.
  • Student only creates flat pictures that are staged at one height. No meaningful or interesting postures are assumed.

    N/A at this time.
  • Student creates a few meaningful moments, though much of the time is spent awkwardly trying to find a space to interact with other actors.

    N/A at this time.
  • Student mostly creates interesting and meaningful postures. At brief moments, relationships between characters get confused.

    N/A at this time.
  • Student is always committed to intriguing pictures that help tell the story at the moment and show a relationship with the other characters on stage.

    N/A at this time.
  • Student contributes little or nothing in the performance soundscape.

    N/A at this time.
  • Student contributes but is often distracting to a scene or does not contribute to large chunks of performance time.

    N/A at this time.
  • Student mostly contributes to the soundscape but sometimes distracts from the storyline.

    N/A at this time.
  • When student is not performing a literal character, he or she is always contributing to a soundscape that contributes to the tone of the story but does not distract from the storyline.

    N/A at this time.
  • Student does not consider relationship between character and scenery.

    N/A at this time.
  • Student has sparse moments of interacting with scenery.

    N/A at this time.
  • Student has several moments where interaction with the scenery occurs.

    N/A at this time.
  • Student interacts regularly with the scenery as a contributing member to the overall look of the performance.

    N/A at this time.
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