Modeling Sequence


Students will connect the communication in the modeling sequence to the mirror sequence by participating in and reflecting on sculpture work.



Materials Needed:

White board and markers. Copied instructions of Boal’s Modeling Sequence from Games for Actors and Non-Actors (attached)

Lesson 3 Supplement.Textbook



Teacher Preparation:

Read and clearly understand the sequence and its purposes so that you are not dependant on his notes in leading. They can be used as a reference, but a thorough understanding should already be in the mind.




Have students sit around and share with one another their experiences of listening with their eyes to communication in the previous day(s). Go one by one, and facilitate the discussion. Tell students that we are going to begin exploring issues that are important to them. Ask them for some examples of oppression they see in their communities—school, church, classes, sports, family, Salt Lake, etc. You might have to establish what oppression is. They might also list issues that they see in their communities which they feel are unresolved/not dealt with. Ask them to focus especially on what could be applicable to most students at Judge. Ask them to write their ideas on the board. Make certain there are enough markers for several students to write at the same time. Prompt a flow of ideas. Once students are done have them step back and try and draw connections. What forms of oppression or issues seem to be most prevalent in their minds? Narrow them down, and try to get a feel for the students’ consensus. Decide on one to focus on today, and list several words that correlate. . Since TO is about problem solving, lead and let young people know it’s not a gripe sessions, they still have to follow rules, and the goal is to find solutions to issues.




Step One—DIRECTIONS: Ask students if they have ever done “sculpture” activities. What did they entail? What were the “rules”? What was the purpose? Read the following quote from Boal; “In the mirror the dialogue was mimetic, here it must be translated. The actor ‘sees’ what her colleague does, and translates the action or gesture she has seen, by changing her own position. She does not reproduce the gesture with her body, she extends it, and she shows what results from the gesture. This becomes clearer as the sequence unfolds.”


Step Two—CHECK FOR UNDERSTANDING: Discuss with the class this quote. How will this series be different from the mirror one? How will this activity still be a dialogue? What are the sculptor’s responsibilities? What about the clay? Remind students that until directed to discuss, it will be essential to remain silent and focus in on the communication—taking place in what they see. Remind them that they more present and focused they are, the more powerful the communication will be.
Step Three—GROUP PRACTICE: Lead students through steps 1-4 of the sculpture exercises transitioning from one to the next. If desired/time permits, switch sculptor and clay, and go through 1-4 again. Use any of the words decided on as a theme for the sculpting. Bring all of the pairs together and divide into two groups—A and B. Lead students through step 5 in the sculpture series.


Step Four—DISCUSSION: As groups A and B perform step 5 in the sculpture series they take turns watching one another. After A goes all the way through, have B discuss with A what they saw. Vice Versa.




How were the sculpture exercises an effective means of communication? How was the communication different in these than in the mirror exercises?




Be sure to leave time for each student one-by-one to share in-detail the most powerful thing they saw throughout the entire lesson and why. Tell students that they are to share what they saw with at least one person outside of class and to report tomorrow.