Econet Launches Ruzivo, An Elearning Platform By Marshall Saonga 3 years ago Econet Wireless Zimbabwe has introduced an e-learning platform targeted at primary and secondary schools, the zero-rated e-learning product is called Ruzivo. Learn what organisms could live in extreme environments in the deep ocean. (Optional) Download some images from sources provided in the sidebar at. About this: Since the start of the Industrial Revolution, atmospheric carbon. Suggests yew, golden meadow parsnips, parsley, pussy willow leaves and/or bark.
Students will understand the following: 1. Some of the people involved in the Russian Revolution had strong personalities and lend themselves to a dramatization of the events.
Historical drama, like other historical fiction, is rooted in history but contains imaginary elements as well. For this lesson, you will need: • History textbooks • Biographies • Reference sources such as encyclopedias 1. Tell students that they are going to participate in small-group drama workshops. Each group will write a one-act play based on what they have learned about a figure associated with the Russian Revolution. Discuss with students the people intimately involved with the Russian Revolution. Explain that each group will select one or more of those people on whom to base its drama. The list will probably include the following: • Rasputin • Nicholas • Alexandra • One or more of the Romanov children: Alexis, Tatiana, Olga, Marie, and Anatasia • Lenin • Kerensky 3.
Direct each group to review multiple reference sources (primary and secondary) to learn more about the individual or individuals it will focus on. In particular, explain that students can lend authenticity to their dramas by finding passages from their subjects' writings or reported conversations that they may want to include in the dialogue. If necessary, help groups to determine which group member should scour which reference source. All members should then report back to the group, which will, by consensus, pick one event from the person's life (or persons' lives) to dramatize. Go over with the class the following important elements of a one-act play: • The script must contain both dialogue and stage directions. • A one-act play usually deals with a single conflict and occurs in a single setting. • As one or more characters try to solve the conflict, the act builds to a climax.
Then the play shows the characters' reactions to the climax and moves on to a final outcome. • A play based on a historical event must stick to some historical facts but can also include fictional details—especially dialogue but also actions. In a series of minilessons, as detailed here, review with students how to proceed from prewriting the act, through writing, to revising and editing. Give the groups time to apply each minilesson. PREWRITING • In addition to a main character (one of the individuals previously listed), the act needs at least one other character—a friend or foe of the main character. In this case, the other character may also be from the preceding list or may be another character, even an imaginary character.
• The characters need to have a conflict between themselves or with someone else or something else. Ask the characters to recall or imagine conflicts involving their characters—either real-life problems they faced or problems that the group decides the characters might have faced. • Selecting one of those problems, each group should think about and prepare notes on how the characters will respond to the problem and how the problem will be solved. • Each group should imagine how its characters look (including how they dress), sound, and act—and jot down notes for later use. • Each group must also be clear on where and when the act takes place, so the students should jot down their thoughts on background scenery, furniture, and props.
WRITING • When students in each group are ready to move on to the actual drafting stage, let them figure out how multiple authors can work together. Review with them, if necessary, the mechanics of listing characters and of writing stage directions and dialogue. • Advise students to follow their prewriting notes to unfold the scene: introducing characters and the problem, building suspense, and winding up with a historically accurate or believable ending. Students should, however, be free to abandon prewriting notes that may take them to dead ends—and rethink their act. • Rather than let an act simply peter out, remind students that the audience needs to know what each character is doing and feeling—or, at least, what each character's situation is—at the end of the act.
• If they have not done so earlier, students should now title their act. REVISING AND EDITING • Share with students a checklist such as the following, giving them time to revise as necessary so that they can answer yes to all the questions: • Content Does the dialogue or stage directions clearly show the character(s) facing a conflict, lead up to a conclusion, and always include characters' reactions? • Style Is the dialogue realistic and easy for an actor to say? Uzor i ornament cveti klipart. • Grammar, Usage, and Mechanics Have you checked to make sure capitalization, spelling, and matters such as agreement, comparison, and pronoun references are correct? Ask each group to perform, or at least read, its act for the rest of the class. During the prewriting phase, help students warm up by asking them to do freewriting from the point of view of one of the characters.