ࡱ>  ?bjbj nhhy7)DD8T>Tl`"elglglglglglgl$FoqHlw"llRelela gk*vc:Qll0lc@ra@rtggJ@rg\llsl@rD d:  Office of General Education A-218C 160 Convent Avenue New York, NY 10031 GENERAL EDUCATION ASSESSMENT REPORT Course:Introduction to Theatre Arts 13100Materials used, n: 30Rubric/Scoring standard used: Gen Ed rubrics for writing, critical thinking and info. literacyDate of assessment:June, 2016Report submitted by:Joanne Schultz, Theatre and Chloe Edmondson, Theatre WRITING SKILLS Average scores* CCNY rubric AACU rubric ThesisStructure and OrganizationEvidence and DevelopmentMechanics and StyleContext of and Purpose for WritingContent DevelopmentSources and EvidenceControl of Syntax and Mechanics2.262.302.442.372.652.531.812.42 Strengths: Students engagement with the complex, multidisciplinary art form of theater was strongly evident in most papers, as seen in the variety of their impressions, unique responses and pointed opinions about the theater productions they attended. They could identify different facets of a theatrical collaboration (acting/directing/writing/design) and begin to analyze them, gathering and presenting appropriate evidence and specific examples from performances to support their opinions. They wrote about their experiences of attending theater with a strong sense of connection to it and often with a sense of wonder, such as one student who felt he was entering into a new world of art and culture. Students in all of the 5 classes that were represented in this assessment seemed appropriately challenged by the written assignments and presented their theatre experiences well.Weaknesses/Concerns: Students ability to craft a thesis statement and organize their ideas in an essay was primarily in the developing (2) stage. Frequently, students confused terms of theater, e.g., they used character and actor interchangeably, or didnt make distinctions between stage and set. The biggest overall problem is a lack of critical connection making between a shows form, content and themes. Right now all of these are staying pretty discrete, and only the occasional student is able to bridge the gap. A good majority of the essays were riddled with hyperbolic praise for the productions, as if critiquing them would anger the professor? We need to teach our students NOT to say this was a perfect piece of theatre and other exaggerated statements.Other comments: A set of papers with an assignment that had been scaffolded in four stages produced the most polished writing. The papers of students who appear to be non-native English speakers with challenges in grammar or syntax scored in the lower level of the scale. Their writing often impeded communication of their interesting ideas and opinions. Focusing on helping students extract THEMES from plays is essential. Right now they are just describing elements of theatre and does not help students understand the universalizing aspects of theatre.CRITICAL THINKING SKILLS Average scores* Explanation of issuesEvidenceContext & AssumptionsStudent's PositionConclusions2.402.282.222.222.16 Strengths: Students were generally able to identify multiple relevant contexts in theater related to themes as various as misuses of technology, autism, gang life, and post-collegiate life. They were able to think somewhat critically about the artistic issues involved in the production of theater, such as audience members attitudes about their interactivity in a performance vs. what role the theater makers would like an audience to play, or why a show about entering adulthood is staged in the style of a childrens theater show. A good number of students commented on their own race-, family heritage- and class-based biases upon embarking on their theatre experiences. These kinds of ethnographic observations were interesting to read and also indicative of the challenges facing our students in getting to the theatre and comprehending an art form that isnt always accessible to everyone.Weaknesses/Concerns: Its difficult for students to question experts in this field because theyre just beginning to learn about the elements of theater, (acting/directing/design/writing). Theyre still developing a sense of values related to the art form and are in the process of acquiring the vocabulary to speak with confidence about it. Again, the reviews were largely sprinkled with excessive praise. It needs to be emphasized that critique is not the same as criticism. Theres always something that can be improved upon. And, perhaps even more importantly, there are more nuanced ways to praise a show than saying it was cool, awesome, or perfect.Other comments: It is important to stress themes and contexts when teaching students to be theatre critics. Emphasize that to describe should always also be to contextualize; any empty descriptions should be discarded and any existing descriptions should be rigorously connected to the shows theme and/or content. Theatre can be so, so relevant for our students lives, but if were not teaching them to look for relevance, then we are doing a disservice to our discipline and art form.  INFORMATION LITERACY SKILLS Average scores* Understand info needs/ search efficientlyEvaluate info sourcesCredibility of sourcesUse info ethicallyN/AN/AN/AN/A Strengths: This rubric wasnt relevant to this class/assignments. The information is the play or performance, and if they can be critical and observant of that performance then they are becoming literate theatregoers. Weaknesses/Concerns: Italicizing plat titles seems to always trip students up. One student used an interview but did not cite. At times it seemed like students were lifting show summaries. Other Comments: One thing we often seem to forget at this level of academia is that to summarize IS to think critically on some level, because summarizing requires curating whats important and whats not. This ability to distill a work to its foundational arguments is a form of Information Literacy, but this rubric does not portray it at all like that; instead, it conforms to the outdated research paper format which is not helping our students literacy. CONTENT LEARNING OUTCOMES Average scores* Content learning outcomes2.46 Course learning outcomes assessed Identify and apply the fundamental concepts and methods of theater. Articulate how meaning is created in the arts or communications and how experience is interpreted and conveyed. Demonstrate knowledge of the skills involved in the creative process.  Strengths: Students engagement with the complex, multidisciplinary art form of theater was strongly evident in most papers, as seen in the variety of their unique responses and pointed opinions about the theater productions they attended. Taking advantage of the arts resources of New York City, they went to Broadway, Off-Broadway, and Off-off Broadway theaters to see serious plays, musicals and a contemporary clown performance, and contemplated the work of artists as varied as Quiara Alegria Hudes, Michael Greif, Ivo van Hove, and Rabindranath Tagore (in a theatrical adaptation). Students posed interesting questions, such as how can a show be comic without any words? They were able to identify different facets of a theatrical collaboration (acting/directing/writing/design) and began to analyze them, with specific examples from performances to support their opinions. They wrote about their experiences with a strong sense of connection to theater and often with a sense of wonder, such as one student who felt he was entering into a new world of art and culture. Students in all of the 5 classes that were represented in this assessment seemed appropriately challenged by the written assignments.Weaknesses/Concerns: Frequently, students confused terms of theater, e.g., they used character and actor interchangeably, or misunderstood the difference between stage and set. However, we really have a lot of work to do to teach our students how to make connections between theatre and the outside world. All theatre is political, and we need to strive harder to help our students identify how theatre works as a mouthpiece for activism, social commentary, container of history. By focusing on picking out each theatre element, we are almost reading too closely into the practical elements of theatre and forgetting its social relevance.Other comments: The goals of demonstrating skills and identifying and applying ideas of theater seem to compete with the goal of producing polished writing about theater, in a course that is designed to foster creative expression. CONCLUSIONS AND RECOMMENDATIONS Do you notice any patterns (e.g., common strengths or common weaknesses) in the samples of student writing that you have evaluated? Common strength: A strong sense of enjoyment in learning about theater through attending performances and responding to them. Common weaknesses: Weak thesis statements and introductions, papers with good ideas that werent edited or proofread, hyperbolic language (celebrating performances as perfect etc.), confusing terms of theater, (e.g. using character and actor interchangeably or not understanding the difference between stage and set), lack of connection making between form and content/theme, inability to identify theme. Did you find the Writing Rubrics to be useful instruments for evaluating these samples of student writing? Which rubric was more appropriate for these essays? Although each rubric had some useful aspects (thesis statement, organization), they were far from ideal for assessment of theatre papers. A combination of these rubrics along with additions/modification to fit the needs of the discipline should be used for effective evaluation of theatre essays.Did you find the Critical Thinking rubric to be a useful instrument for evaluating these samples of student writing? Yes, but the language doesnt fit well with theatre reviews. There should be a critical thinking rubric for reviewing theatre.  Suggestions on what can be done on instructional, departmental and/or institutional level to improve student writing and critical thinking and information literacy skills in Gen Ed courses.Institutional level: Provide writing support for Non-native English speakers. Develop guidelines for crafting effective assignment prompts. Provide faculty development on how to stage/scaffold writing process.Departmental level:Encourage instructors to use scaffolded writing assignments. A set of papers with an assignment that had been scaffolded in four stages produced the most polished writing. Develop appropriate assessment rubric for reviews; the rubrics assigned for this evaluation were largely inappropriate and prohibitive Develop a handout that defines theatre termsIn class/instructional level:Give more guidance and/or feedback to students re: crafting a thesis and organizing ideas in an essay. Strongly encourage non-native English speakers who have issues with grammar or syntax to seek support from the Writing Center Teach students not to be hyperbolic. Teach them how to craft a thoughtful critique that highlights areas for improvement or aesthetic disagreements. Help them eliminate passive voice and first person: these syntactical traits make the papers seem too anecdotal. Rather, we should teach them how to write like a critic! Ben Brantley from the NY Times hardly uses the first person, so why should they? This is about voice and assertion and argumentation. * Scale 1-4 reflects the ability range from the beginning level to the accomplished level it is meant as a college span scale; it is expected that the majority of freshmen would not be at the accomplished end of the scale. 1 beginning 2- developing 3 competent 4 accomplished General Education Program Learning Outcomes Pathways - Flexible Core General Outcomes A Flexible Core course in any category must meet the following three learning outcomes. Produce well-reasoned written or oral arguments using evidence to support conclusions Writing and Communication Skills - The student will be able to: formulate a clear thesis provide coherent, unified and effective organization of a paper develop abundant details and examples that provide evidence in support of sound logic use standard diction, grammar and mechanics of English Evaluate evidence and arguments critically or analytically. Critical Thinking skills (AACU VALUE rubric) - The student will be able to: clearly frame an issue or problem and consider it critically select, use, and evaluate information to investigate a claim or point of view analyze his or her and others assumptions and evaluate relevance of contexts when presenting a position present a position taking into account its complexities and limits as well as others points of view develop logical conclusions based on evaluation of evidence Gather, interpret, and assess information from a variety of sources and points of view. Information literacy skills - The student will be able to: demonstrate a clear understanding of information needs and ability to search efficiently effectively evaluate information sources articulate credibility of sources use information ethically Pathways - Flexible Core Area Specific outcomes In addition courses in each category will have to satisfy at least three of the specified learning outcomes. C. Creative Expression Identify and apply the fundamental concepts and methods of a discipline or interdisciplinary field exploring creative expression, including, but not limited to, arts, communications, creative writing, media arts, music, and theater. Analyze how arts from diverse cultures of the past serve as a foundation for those of the present, and describe the significance of works of art in the societies that created them. Articulate how meaning is created in the arts or communications and how experience is interpreted and conveyed. Demonstrate knowledge of the skills involved in the creative process. Use appropriate technologies to conduct research and to communicate.     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