Handout


 * Text:** The Invention of Hugo Cabret (Brian Selznick)

In Stage 3, students are required to read, view and interpret an extensive range of complex texts and visual images (NSW BOS English K-6 Syllabus, p.13). Due to the nature of this book, we believe that it qualifies as a "complex text". There are a large number of visual images that are combined with the written text to add more information to the plot of the novel, rather than simply illustrating what has been written. In this sense, students are required to carefully view and interpret the visual images in order to merge it with the written text and gain a deep understanding of what is happening in the story.


 * Theme:** The key theme to be explored is the notion of the __unknown__, encapsulating ideas of adventure, mystery and the secrets involved.

//Come on a journey with us and share the magic, mystery and adventure that is.... The invention of Hugo Cabret…// The unknown is defined as “that which is not within the range of ones knowledge, experience or understanding”. Throughout school, students are constantly confronted with concepts and ideas that are foreign and unknown to them as they are exposed to new learning opportunities, and challenged to critically engage with texts. Vygotsky's Social Constructivist theory informs that it is the role of the teacher to help students gain this understanding by working within their Zone of Proximal Development, what they do know, and providing scaffolding to help them achieve things beyond what they were originally capable of. This is made possible through the use of drama strategies in response to a literary text, as students are supported in their engagement with the text, and their learning is extended to a level of deep understanding. Novices are able to learn from contributions of more knowledgeable peers in collaborative tasks, leading to the development of student autonomy, substantive communication, and problematic knowledge.
 * Rationale for exploring this theme:**

The theme of the unknown is particularly relevant to Stage 3 students, as it is in this part of their life that they begin forming their own identities as individual parts of a much bigger picture, and undergo numerous changes which lead them into a more mysterious, unfamiliar, and unknown chapter of their life (particularly in the transition to high school). This theme is also appropriate for Stage 3 students as it requires a well developed level of maturity to help students see beyond the literal meanings of the text, and use higher order thinking skills to respond to the text in creative and imaginative ways. With such maturity, students will be more likely to readily adopt roles and perspectives that take them deeper into the text, and willingly explore the elements of the unknown and mystery in the text, encouraging them to take ownership over their learning. This is supported by O'Neil & Lambert (1982) who state that "Drama in education is a mode of learning and through students' active identification with imagined roles and situations in drama, they can learn to explore issues, events and relationships" (p. 18).

Stage 3 students are also at an age where children's literature can be used as a springboard into a range of cross-KLA links to promote meaningful learning. Linking drama into other KLAs provides "unique possibilities for helping students to change concepts, attitudes or beliefs that are part of their 'saturated consciousness' and which remain unquestioned" (Ewing et al., 2006, p.39), which also links to exploring the theme of the unknown. Other subject areas provide drama with serious and worthwhile content and, in many cases, a powerful context for the make-beleive, while drama strategies will enliven and illuminate these areas of the curriculum (O'Neil and Lambert, 1982, p.16). This text could be linked with PDHPE in the Growth and Development and Interpersonal Relationships strands, as it deals with the challenges of finding one's place and identity in society, and developing and maintaining positive relationships. This is particularly relevant as students as soon going to face entry to high school - a new and unknown environment whereby many students will go without their friends, forcing themselves to find their own way to 'belong'.

“The need for social belonging – for seeing oneself as socially connected is a basic human motivation” (Walton, 2007, p.82), and in addition to the above justifications for book and theme choice, it can similarly be related to the subtle promotion of ‘belonging’ and equality in a culturally diverse classroom. Hugo is seemingly presented in Part 1 of the text as a lonely, outcast character who has no support network, family or friends. However, the designed drama sequence (as can be seen below) has a strong focus on the sense of ‘belonging’, encouraging students to adopt the view that everyone has a place in the world, thereby fostering strong beliefs of equality within both the classroom and wider societal context. The drama activities require students to adopt and sustain roles which give Hugo the opportunity to interact with other characters, and play with the idea of power – altering storylines to give Hugo a more prominent position within the context of the text. In this way, racially diverse classrooms will be able to maximize upon the creation of a ‘safe space’ within the drama context to allow full and equal participation amongst students and challenge societal ideals.

Further to the promotion of equality in racially diverse classrooms, "Drama can productively disrupt the sense of classroom normality to create spaces where children can be viewed primarily as people using their strengths in literacy learning practices, rather than as children with or without disabilities" (Edmiston, 2007, p.338). In the drama sequence that has been designed below, the classroom climate will encourage inclusivity by drawing on the linguistic, technical, social and cultural strengths and resources of all children, as well as allowing children the opportunity to form identities as competent language learners when they are "consistently positioned as capable participants in shared literacy practices" (Edmiston, 2007, p.338). In this sense, the drama sequence is not formed around 'right' and 'wrong' responses, but instead encourages creativity and focuses more upon the ability to justify ideas. However, we have included opportunities for strategies for students with different needs.

The text could also be linked to HSIE by exploring a comparaitve study of cultures, and the history of cinema in both France and Australia. The focus on the way in which the automaton, clocks, and other mechanical toys work could also provide links to a Science and Technology unit on Simple Machines, which could be explored with a Design and Make task. Finally, in terms of Creative Arts, this book in particular allows opportunities for exploration into a variety of modes of drama e.g. Silent film, black and white film, history of cinema and theatre in other cultures.

Through exploring the theme of the unknown with the character of Hugo, Selznick reveals his ideology that everyone has a valuable contribution to make to society, as the reader sees Hugo struggling to find his own unique talent. This is made clear as Hugo states “I like to imagine that the world is one big machine. You know, machines never have any extra parts. They have the exact number and type of parts they need. So I figure if the entire world is a big machine, I have to be here for some reason. And that means you have to be here for some reason too”. Furthermore this ideology is extended to the concept of belonging which is resonant throughout the book, in particular through the characters of Hugo and Isabelle, who are constantly searching for the secrets of their past as a way to understand themselves. This search brings in the elements of adventure, mystery and secrets, as the characters take the reader into their personal journey, and invite us to share in the unknown.

RS3.8 – Identifies the text structure of a wider range of more complex text types and discusses how the characteristic grammatical features work to influence readers’ and viewers’ understanding of texts. WS3.13 – Critically analyses own texts in terms of how well they have been written, how effectively they present the subject matter and how they influence the reader. TS3.1 – Communicates effectively for a range of purposes and with a variety of audiences to express well-developed, well-organised ideas dealing with more challenging curriculum topics. TS3.2 – Interacts productively and with autonomy in pairs and groups of various sizes and composition, uses effective oral presentation skills and strategies and listens attentively. || DRA S3.2 – Interprets and conveys dramatic meaning by using the elements of drama and a range of movement and voice skills in a variety of drama forms. DRA S3.3 – Devises, acts and rehearses drama for performance to an audience. ||
 * Direct links to the syllabus:**
 * English || RS3.7 – Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experience.
 * Creative Arts (Drama) || DRA S3.1 – Develops a range of in-depth and sustained roles.

CUS3.3 – Identifies examples of Australian culture, e.g. music, literature, art (a specific focus on cinema and how it has stemmed from France, including similarities and differences between its importance between the two nations). || GDS3.9 - Explains and demonstrates strategies for dealing with life changes. || Introduce the unit to the students with the quote (either read to students as part of a 'teacher in role' experience, or display the quote on the IWB): “//I like to imagine that the world is one big machine. You know, machines never have any extra parts. They have the exact number and type of parts they need. So I figure if the entire world is a big machine, I have to be here for some reason. And that means you have to be here for some reason, too//.” Due to the extensive length of the text, the drama activities are focussed around Part 1. In this context, students will not have read any further.
 * Cross-KLA links:**
 * HSIE || CUS3.4 – Examines cultures within another nation, e.g. France.
 * Science and Technology || PP S3.4 – Identifies and applies processes involved in manipulating, using and changing the form of energy (an emphasis on simple machines to align with the theme of ‘Clocks’ and ‘Simple Machines’, i.e. the automaton, from the story). ||
 * PDHPE || IRS3.11 – Describes roles and responsibilities in developing and maintaining positive relationships.
 * DRAMA STRUCTURE:**

Read excerpt from the introduction (see appendix 1). Students are sitting with their eyes shut, the lights off and the curtains drawn (for dramatic effect and to foster creative thinking). Teacher shows the students the picture of the train station from the beginning of the book and prompts students to consider who might be in the scene.
 * **Structure** || **Action** ||
 * 1.Role Walk

Role Walk: Students walk around the room, putting themselves in role as a character from the train station. Teacher prompts students to walk in different ways and embody their character, i.e. does your character walk tall and proud, or hunched over? Are they walking quickly or slowly? Are they observant, or are they looking at the ground? Are they young, walking with a spring in their step, or are they older and more frail? Instruct students to stop (when a whistle is blown, to imitate the sound of a train whistle) and talk to the person next to them. They are to introduce themselves as the character that they have taken on, and tell the other student something about their character (whilst sustaining role). Instruct students to sit down where they are, and again close their eyes, and read the second part of the introductory paragraph (appendix 2). Show students the illustrations of Hugo running through the crowded train station. Once again, students get up and role walk using the same character as before, however this time, they are to discuss Hugo with the people that they stop to talk to – speculating, who is he? What is his secret? Where is he going? (Prompt students to talk with these ideas). When the whistle is blown, they move along and find a different student to talk to. Instruct students to stop where they are standing and sit down. One at a time, tap on a student’s shoulder and ask them to share with the rest of the class the gossip that they just heard from someone else about Hugo (students stand up when they are “tapped in”). Students sustain role as they speak to the rest of the class. //**Assessment:** Through observation, use value judgments to pinpoint areas that require further development, i.e. are students comfortable performing in role, and are they able to sustain role? If students are struggling, further introductory tasks which foster the idea of a 'safe' environment should take place before the following learning experiences (formative assessment).// || CBA || Continuing with the idea of secrets, this time allowing students to engage them with the characters from the novel, students are asked to take on the role of Hugo. As this is still a context building activity students will not necessarily know Hugos character, instead they are encouraged to use their imagination. Students are shown the illustrations of Hugo climbing into the train station wall( pp. 26-31) as a stimulus to help focus students ideas. Students must then picture themselves in Hugos shoes and sustaining role must write down their ‘secret’ as to what they are doing inside the train station walls on piece of paper. Once completed each students paper is put into a secret box which will not be opened.
 * This activity introduces students to the theme of the unknown, mystery and secrets.**
 * 2. Secrets

The teacher, in role, places a pair of glasses on and walks into the room. They address the class as the ‘writing committee from the board of scholastic press’ and explain that they are sorry to hear of the writers block that they have been experiencing, however today they have a very exciting prospect for the novel that will hopefully inspire them to continue writing the novel. Explain that what will follow will be a casting call where a few young children named Hugo have been kind enough to share some of their own pretty outrageous secrets. The teacher asks for a volunteer to approach the writing committee. The teacher (in role) as well as the rest of the class (as the committee) prompts the students in the hot seat to reveal their secret and additional information by asking probing questions. Show students the illustration from the book of Hugo looking through the clock face through a tiny hole. Students have not read past this part of the story, and so are unaware of what is happening behind him, thus encouraging and fostering creative and individual responses. Students split into groups of four or five and create a still image of what is happening behind the wall (creating a 'frozen moment' that represents how a selected scene might look). Describer to students that "just as photos are taken to record particular instants and occasions, or the pause button on a [DVD] is pressed to examine a significant frame for a bit longer, so still images allow attitudes and feelings to be captured at one point in time" (Ewing, Simons & Hertzberg 2006, p.27). Thus, encourage students to explore the demonstration of emotion and feeling, if applicable to their scene. Each group presents their still image to the rest of the class, and the other groups try to guess what is happening, observing these images should lead to discussion and reflection. Tap in (lightly touch a student on the shoulder) to reveal what is actually happening, and gain an understanding of what emotions may be evident in the image, particularly as the drama concept of 'stillness' can be used as a method of "embodying and communicating meaning" (Ewing et al. 2006, p.27). There is freedom in this aspect of the activity to allow students to respond in different ways, e.g. you may decide that students are limited to only one or two words when they are 'tapped in', thus, students will have to focus on communicating through movement. N.B. - There could be a range of responses by students in this activity to demonstrate a range of understanding and creativity. For example, some students may simply represent the technical clockwork that takes place behind the clock face, while other students may represent a scene with other, unknown characters. //**Assessment**: At the completion of the activity, students write in their drama journals. With direction from the teacher, students reflect upon the activitiy from their __own perspective__ (not in role), reflecting upon how they felt the experience went, how their still images differed from other groups and why this might be, how their group worked together, etc. This can then be used as a formative assessment to evaluate group structures and deeper understanding that is difficult to see through observation, and "student comments on the best and worst aspects of drama sessions can be illuminating" (Ewing et al. 2006, p.112).// || NA || Revisit the confrontation between Hugo and the Old Man in the toy booth. Read page pg 60-61 read the section from the book To stimulate discussion and get students thinking, ask students: how did Hugo feel when confronted by the Old Man? Why might he have felt like this? How would the Old Man have felt? Students get into pairs (either through personal choice or teacher allocation). One student in each pair will take on the role of the Old Man, the other takes on the role of Hugo. Students form two circles, an outer circle facing into the middle, and an inner circle facing the outer circle, i.e. students will be facing their partner (with the students playing the part of the Old Man in the inner circle facing outwards). In this activity, students will become 'sculptors'. They will play with power relations to create a frozen moment, depicting the moment when the Old Man confronted Hugo and was yelling at him (i.e. the part of the story which was revisited at the beginning of this lesson). Students use the body of their partner as 'thinking clay' to shape their interpretation of the significant moment, playing with elements such as posture, facial express, height, etc. Students being sculpted allow themselves to be directed by the sculptor, although they may need to check that they are accurately representing the sculptor's intentions. The process of creating this frozen moment "involves a challenging use of directed language and active listening" (Ewing et al. 2006, p.28), an integral part of the English K-6 syllabus. Once each pair has sculpted each other, all pairs create their frozen moment at the same time. After a few moments, allowing students to be silent and experience their character, ask all of the students who have played the role of Hugo (the students in the outer circle) to step out of role and walk around the room, observing all of the students who are playing the role of the Old Man. Ask them to act as if they are in an art gallery, and the students that they are observing are like sculptures. Ask them to look carefully at how each pair has created him in a different way. After they have had ample time to view the sculptures, ask each of the students to choose their favourite depiction of the Old Man and why (discourage students from just choosing their partner that they sculpted). //**Assessment:** In pairs, students act as 'critical friends' for one another. Using set criteria, they assess their peer's ability to work in a pair, adoption and encouragement of effective drama techniques, and overall experience.// || NA || The teacher enters the classroom 'in role' as an unknown character from the book, bringing in an old box of items that were found at the train station (including items such as a handkerchief, a small packet of tools, a candle, and an empty paper bag) with the name 'Hugo' written on the side. Slowly, each item is taking out of the box, with the teacher looking puzzled as to why they might be in there and significance of them to Hugo, allowing the students to become experts and giving them control over the content and direction of the drama and learning process. The teacher prompts the students to explain why they think each item has significance to Hugo (N.B. - the items in the box will be items that are not specifically mentioned in the text, requiring students to think critically about the text and how they could somehow weave these items into the storyline). The teacher also prompts students to take on roles of characters in the text, encouraging them to become the 'experts', with students taking control of the decision as to who they will play, roles could range from unknown characters such as passers by in the train station, to Hugo himself. This activity will allow the teacher to act less as a direct teller and more as an indirect informer, and assists in both the encouragement of child-centred learning as well as developing metacognition (Ewing et al. 2006, p.32). //**Assessment:** Observation.// || NA || "Writing in role can be a powerful indicator of a student's understanding of a character's perspective" (Ewing et al. 2006, p.111), thus is an extremely effective tool for assessing student learning in English (WS3.13 and WS3.9). Explain that the students are going to improvise scenes which take place seconds, minutes, days or years after a dramatic moment from the book. Flash backs or flash forwards will help create context for the students and show what led up to, or came after, a particular moment, how it might be resolved, or how it might lead on to additional challenges, building into the conscience alley activity where students then have to consider what they would say or do as the character, putting themselves into role. Hand each group a card with an 'event' from Part 1 of the novel. 1. The old man first opening the notebook 2.The old man saying to Hugo- Pg. 95 "Don't you know that the sound of clicking boot heels can summon ghosts? Do you want to be followed by ghosts?" 3.pg. 121 "One night, the old guard in the museum forgot that Hugo's father was up in the attic, and he locked the door, trapping him inside. Hugo had no way of knowing what happened next." 4. When Hugo first meets Isabelle. P. 147. "A clerk sat at the desk, between two tall piles of encycolpedias. Hugo looked around. At first he didn't see anyone else in the hop, but then, like a mermaid rising from an ocean of paper, the girl emerged across the room." Where was she before this? What does she do after? 5."My father always took me to the movies for my birthday." p. 173. There are no pictures of Hugo and his father together, can you create this episode which is from a few years ago? How will your interpretation help us empathize with the characters? Each group then has to then plan to create a still image of this moment, what happens before it, and then what happens after. When the teacher claps their hands, the students will move silently in slow motion to where their character was a few minutes before, and then a few minutes after. Each group performs to the class and when teacher taps someone on the shoulder, a member of the audience has to put their hand up and 'thought- track' that character, and speak on behalf of the person in the 'episode'. This technique is useful preparation for improvisation, leading into the next activity and will helps students think about beginning, middle and end. This can lead into narrative activities in English lessons where students have to build on these ideas an write short story with a focus on structure. This is also a great tool to help explain beginning, middle and end because the students have created their own mini 'episode.' NA || Students are numbered off to create 2 groups. Tell students that one group will represent Hugo and the other group will represent Papa Georges and choose one student to be Isabelle. Tell students that they are to think of some reasons as to why the notebook is so important or significant to both characters. Give students time in their groups to discuss these reasons briefly and brainstorm ideas. Ask students to line up, creating an alley for which Isabelle will walk through. As Isabelle walks slowly down the alley, each student from either side of the alley will offer the reason as to why Isabelle should or shouldn't return the notebook to that character. Once Isabelle has completed the Alley she will offer her final decision and explain the reasons behind her choice. At the conclusion of the activity, each student is asked to take on the character of Isabelle. Have students reflect on the conscience alley experience and write a journal entry from the perspective of Isabelle, explaining her final choice supported by specific reasons and justifications.
 * This activity furthers the theme of the unknown, mystery and secrets.**
 * //Formative Assessment://** //Observation (videotape drama activity for later reference).// || CBA ||
 * 3. What's Could It Be?
 * This activity focuses on the theme of the "unknown" and "mystery".**
 * 4. Power Play
 * Considering that there has not been much exposure to the personality and characteristics of the Old Man at this stage in the story, students will be exploring the idea of the unknown by creating a depiction of him from their own opinions and thoughts.**
 * 5. What's the Significance?
 * This activity links to the ideology explored in the text that everyone and everything has a place in the world, everything 'belongs'. In this sense, students are taking objects that could be completely unrelated to the text, but are finding them a place within the story line.**
 * 6. Take another lookStudents are placed into groups of 4 and are given a sheet of butchers’ paper. As a group they must construct a map of the train station and surrounding areas making sure to locate all of the important places that they have encountered so far in the book, as well as adding additional places which they feel fit in and add to the map and help to embellish the story. Once groups have completed the mapping process they can start to populate the map not only with characters (again both from the book and made up) but also objects that might be found in this setting such as a train station clock or a milk bottle. After which each group is given a few minutes to show their map to the rest of the class and explain their rationale behind the layout and features. Using ideas from their own group map or from those gained during the sharing process students must individually adopt a role of either a person or object that would be found in the train station. In this role the student must create a short piece of writing that is written from the perspective of that person or object, describing either an event t hat they witness which was significant to them, or what they witness on a day-to-day basis.
 * This activity focuses on secrets and the theme of the unknown as students adopt an identity that isn’t explored in depth in the novel and must write from that perspective, uncovering some insightful secrets.**
 * //Assessment://** //Collection of group maps and individual writing as hard evidence. The teacher may wish to have students record the writing in their drama journal which can be handed in. The teacher should be looking for the students to be able to demonstrate an in depth understanding of the novel through the adoption of an alternative perspective and sustaining writing in role.// || PA ||
 * 7. Flash back or Fast Forward
 * This activity links to the ideology explored in the text where every moment has a place in the text and the situation or the element of the "unknown" that could happen before, or after, can affect the audience and their interpretation of a specific event. By asking the audience to narrate the scene with a few words invites collaboration but also lends itself to minds-on, on-task participation. The audience are witnessing the adventure, but the element of 'unknown' is where they have to narrate based on what they see. This opens up the lesson to discussion on tension and focus within the scene when the 'thought-tracker' will justify why they chose those particular words. This is responding to each other's work and student's observations can be used as a tool for assessment.**
 * KLA LINK ASSESSMENT:** //English story board/ narrative. Could take pictures of the freeze frames and use them to support their storyboard/ plan.// || RA
 * 8. Conscience Alley

//**Assessment:** Observation of the reasons given by students, collection of journal entries as hard data - were students able to take on the role of Isabelle and use information gained in the drama activity to create a reflective and persuasive piece of writing, effectively using reasons to justify their choice?// || RA || The teacher will show students the image that the automaton draws at the end of Part 1, and provide students with the quote "You can make up your own story when you look at a photo" (p.193). Discuss with students that there is a Part 2 of the novel, where "another story begins, because stories lead to other stories, and this one leads all the way to the moon", and have them predict what might happen in the next part of the story in a 'Think, Pair, Share' activity. Based on their predictions, and using the stimulus of the image, have students write a caption of what the automaton would be saying to accompany the image if it were able to speak. || PA ||
 * 9. What would the automataton say?
 * Unit Evaluation:**
 * Were students engaged in the drama activities? (Use student responses in journals to complement teacher observations)
 * Were students able to adopt and sustain roles? (DRAS3.1)
 * Did walking in a character's shoes encourage critical observations by students?
 * Did student group structures work effectively?
 * Were students able to justify their reasons for certain drama responses (particularly in the CBA activities when activities fostered prediction and creativity) and listen to those of others? (TS3.1)
 * Engages in discussions involving more than one point of view about characters and events (particularly in the 'Conscience Alley' activity)? (TS3.1)
 * Did students understand the importance of using gesture, posture, facial expression, tone of voice,and pace of speaking to engage the interest of their audience? (TS3.2)
 * Were students able to effectively interpret the meanings and messages in the complex text? (RS3.5)
 * Identifies how angle, viewer position, colour, size and shading in a visual texts construct meaning (particularly in activities 3 and 4)? (RS3.7)
 * Were students able to interpret and convey dramatic meaning through their drama performances by using the elements of drama and a range of movement and voice skills in a variety of drama forms? (DRAS3.2)
 * Does the sample of written work show student understanding of character perspective and a deep understanding of the text?
 * Were the resources effective?
 * Were all students given the opportunity to demonstrate achievement?
 * Were students able to express their opinions on the ideology of the text?


 * Assessment Strategy and Proforma**

It is important that the criteria for assessment in drama is developed and discussed with students, so that they understand the purpose(s) of assessment activities (Ewing et al. 2006, p.111).


 * References**

Edmiston, B. (2007). Mission to Mars: Using Drama to Make a More Inclusive Classroom for Literacy Learning. //Language Arts//, 84 (4). Walton, G.M. (2007). A Question of Belonging: Race, Social Fit, and Achievement. //Journal of Personality and Social Psychology//, 92 (1), 82-96.