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ED TECH 506 JUSTIFICATION PAPER EdTech 506 Shanda Veatch Boise State University Spring 2010

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Abstract In the process of creating a unit of instruction on scene blocking, many steps were taken before the final product was reached. Choices about course direction and graphic design were made, feedback was solicited, and adjustments continuous. This article outlines the thinking, not only behind each of the instructional visual aids, but the entire scope and sequence of the unit. While the unit was built in pieces, this article unites the entire process into one artifact. It examines the visual context, describes the visualization process for each graphic, and includes links to each graphic, the lessons and the unit of instruction as well as the step-by-step process for the instructional visual design. It also identifies the program standards associated with this work.

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Visual Context This unit of instruction is designed for use in middle to upper grade beginning Theatre Arts classrooms. The primary target audience is for ages 11-14, although it can be used for beginning high school level Theatre courses as well. This unit requires that a working knowledge of the English language, but is not dependent upon fluency. This unit does not need to be adapted for rural or urban school settings, although the technology must be available for delivery. This unit was designed for learners with a wide range of reading levels. The paired groupings as well as the guided instruction allow for students with low reading comprehension to listen and interact with other students and the media for understanding. Advanced students, or students with prior knowledge of the theatre will be able to participate in the lesson by taking a leadership role in the process. These students will be able to take directorial roles in the lessons, while the beginner students will be able to work as actors. These pairings will not only give advanced students the opportunity to view the stage and staging as a whole, but will allow for the students who are encountering this information for the first time, struggling with reading comprehension or English language learners, to work with the material kinesthetically, using their bodies to assimilate the information being delivered, forming Far Transfer Mental Models. The environment for this process is two-fold. The first is to ensure that students have access and interactive time with the graphics. The interactivity could be conducted as group guided practice or individual interactive time. The minimum requirement, and the vision of the designer was to have the graphics projected onto a screen and a discussion with the class as the interactive features are manipulated by the teacher, and in turn, student volunteers. If there is an opportunity for the students to follow along with the graphics on their own screens while independently manipulating the graphics during a teacher-led discussion of the material, that

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would be acceptable. This unit was designed with the given assumption that there is lack of technical resources in the typical public school Theatre classroom. The second part of this unit requires an open space for students to stage their material and work out the blocking portions of the assignment. Some classrooms have stackable desk chairs, which can be moved, blocks for creating theatrical environments and/or clip boards to be used as writing surfaces. Classroom management will necessitate that students be able to move between environments with minimal loss of instructional time. The best use of time management would be to try and contain all instruction in one room, but if moving between rooms (ie: a computer lab/traditional classroom setting to the performance space) is necessary, the bulk of the graphics could be delivered in one or two sessions as seat work and the group work sessions could be delivered separately. Outlining the minimum requirements for delivery media is the focus of this paper. If the teacher has access to more technology, such as Smart Boards, laptops or computer labs, he or she could easily adjust the media to fit those delivery systems. The unit requirements are as follows: 1. Computer with broadband connection 2. Computer projector 3. Screen for projecting the graphics and interactive display 4. Printed copies of the worksheets in lessons 5. Printed copies of the scenes 6. Access to the following website (be sure it is not blocked by your district): http://edtech2.boisestate.edu/veatchs/506/506%20homepage.htm

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Students should be seated for whole group instruction. Teacher should be able to freely stand at the computer in order to be able to manipulate the graphics while allowing for clear sight lines for instruction. Students should be able to sit close enough to the screen in order to be able to read all written on screen instruction. Students should be able to approach the computer and manipulate the images as well, allowing for interactivity by teacher as well as student volunteers. The lighting can be dimmed or off for the whole group interactive instructional time. The instructor will be required to narrate the majority of the graphics, so audio is not a key component of this unit. There is one youtube video which will require audio capability, as well as access to this often blocked website. Checking with the network administrator before beginning this unit to see if access to this page is available will be essential. http://www.youtube.com/watch?v=G1pCGK6TuYE The e-learning platform requirements suggest that display values be set at 1024 X 768. The graphics were designed using the highest resolution as a base production value. The color resolution is also designed with 24 bit true color. Setting these levels will allow for the cleanest viewing of the graphics. There are several animated graphics in this unit, thus requiring that the computer have high speed internet connectivity, whether broadband or point to point. The graphics can be played on either Flash or Media player. It is important that the educator attempt all links prior to presenting the material to the classroom in order to ensure that all links are available, and that access is not denied through a given network. Upon conclusion of the lessons, written hand outs should be delivered. This requires proper lighting as well as adequate writing surfaces for completion of these portions of the lessons.

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Graphic Descriptions Visual Design The Design elements in this graphic include line, which is represented in the depictions of the segmented stage and the visual of the raked stage, in order to simplify the view of the stage from both the overhead perspective and the cut-away view. The Painting, which depicts the audience is an example of a two dimensional form which provides depth and perspective to the viewer. Choosing the violet background tone was a psychological choice of color. This implies a sense of playfulness and fantasy which, which appears to be a good choice for the theatre. Each of the pages of this tutorial is centered in order to provide a sense of stability as the viewer clicks through to the next page. Using the repetitive symbol of the next arrow provides a cue to the viewer that each arrow represents an interactive point in the tutorial, establishing rhythm throughout the graphic. Emphasis was added by using the plain background to draw to the points of focus. The eye is drawn to labels as well as the pictorial examples as a focal point. I tried to keep the words close enough to the visuals to allow the viewer to understand their relationship using proximity placement. Using a clear contrast with the background with both the words and pictures allowed for contrast. The choice to isolate each piece of information by setting anchors and having the viewer click through the lesson was made to avoid cognitive overload. Link: http://edtech2.boisestate.edu/veatchs/506/Blocking%20assignment.html Advance Organizer This is an expository advance organizer attempting to communicate the fundamental need for a common language for stage direction. Some of the principles used in this graphic include balance, perspective and movement. This gif is designed to provide a balance between the

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director in the foreground and the actor on the stage. The actor is the dominate image on the page, while the moving director is placed in the foreground. Besides the actual physical movement of the animation, the arm of the actor implies a sense of movement to the image. The image is unified by color as well as the unifying theme of the stage, which includes the interactivity between the two dominate images in the graphic. The hues of the image are reflective of each other, and the speech bubbles reflect the colors on the stage. There are also angles in this gif, which imply a sense of direction. The graphic creatively expresses the challenge students face when trying to communicate their ideas to the stage. The open space around the actor implies a sense of space in which the character can move, utilizing the rule of thirds. He is securely placed in the center of the picture. The speech bubbles move from left to right, reflecting western reading patterns. Link: http://edtech2.boisestate.edu/veatchs/506/which%20way%20gif.html Attention Visual Each section of the graphic is divided by lines in order to show the different locations on the stage. The feet provide focal points over which the student is instructed to scroll for information about the given place on the stage. Contrasting colors were used to highlight the rollovers. The design principles used for this graphic were balance, unity and movement. The vertical and horizontal lines clearly provide balance to this graphic. Informal balance was achieved through the vertical alignment of the content placed upon the arrows. The sections of the graphic, along with the background color provide unity to the page. The rollovers, as well as the flow from one box to the other provide movement to the graphic. Rollovers are labeled with the specific locations on the stage, while creativity was used in the location and movement of the footprints on the stage. The font size was determined by standard

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web page display. It was important to ensure the visual required no scrolling. This graphic was intended to fit the page in its entirety into one window. Link: http://edtech2.boisestate.edu/veatchs/506/Attention.html Memory Load and Far Transfer This graphic was created in order to minimize the cognitive load on the student. I kept it very simple. I wanted to make sure that students could clearly view an aerial stage perspective with the essential components listed. I believe this is far transfer because the information, while not utilized daily, play a large role in production, and the language needs to be clear to everyone involved with a project. My intention is to use this graphic toward the beginning of the unit, as it gives an overview of the parts of the stage, which were introduced earlier. Some of the elements I used were color. I chose a bright color which not only reflects the classic stage (the red representing curtains, chairs, etc) but I also chose to use simple lines and text to identify the essential features. There is balance in this graphic, as it is simply a mechanism for labeling. Orientation of the lines as well as the orientation of the text was very important in creating this graphic. Link: http://edtech2.boisestate.edu/veatchs/506/parts%20of%20the%20stage.html Mental Models and Near Transfer I chose to work further with stage directions when creating this graphic. Reducing the cognitive load was the goal for this work. The mental model I was trying to work with was the stage itself. Showing the stage and linking to the animations from the same image I used in an earlier lesson allowed for lesson continuity as well as providing students to opportunity to access a mental model that will help them not only to retain the information from the previous page, but to the stage itself.

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The elements I worked with for this project were line, both horizontal and vertical, using the grid. I also used shape. I chose to crown the picture and placed some fullness in the figure. Movement was used by employing the animations, as well as balance and text, which help to guide the user to the proper points on the graphic. Link: http://edtech2.boisestate.edu/veatchs/506/stage%20movements/stage%20directions.html Procedures Visual My intention with this visual was to outline the blocking process in a play rehearsal. The goal was to provide the student with a cycle by which they can view blocking scenes in individual steps. The graphic provides six points on the cycle. The arrows demonstrate the movement between each point in the graphic, and also point out areas where each step is repeated. Utilizing pop-up menus for this graphics allowed to me to give more detailed information on each step of the process, while guiding the viewer to the next stage in the cycle. Rich colors were used on this graphic. The goal was to ensure that all of the text stood out in clear contrast to the background. Link: http://edtech2.boisestate.edu/veatchs/506/blocking%20cycle/blocking%20cycles.htm Concept Visual This visual is intended to convey the idea of marking the script, the abbreviations used, and how it looks on the stage. I wanted to make the color contrast with the background. I employed the use of color to provide clear contrast. I used line in order to demonstrate the movements the performer will make on stage, and I used creativity to provide the animations of the blocking moves. I also included a video from which I deconstructed the blocking, so the students could view a final presentation of the blocking in action. I provided at least two graphics, the monologue and

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the graphic, both with hotspots. The goal was to decrease cognitive load by using both the animations and the video and provide more clarity to the user. Link: http://edtech2.boisestate.edu/veatchs/506/Romeo/Romeohome.html Facts Visual I created a visual to use as a review for students to test themselves on the location of the different parts of the stage. I utilized the concept of dimmer board, which is commonly used in the theatre, with interactive switches that can be manipulated to reveal specific locations on a set. On the last image, if they click on the master, they can reveal the set in its entirety. Clear contrast was the goal of this graphic. Masking the image and darkening the rest of the graphic was meant to give the viewer an isolated view of the stage, and explore the stage as a discovery process. As each part of the graphic is revealed, the student not only infers location of the light, but what the stage in its entirety might look at when fully lighted. This graphic is intended as a review of the lessons previously completed in this unit. Link: http://edtech2.boisestate.edu/veatchs/506/Review%20Lighting/beginning/Start%20Page.html Processes Visual I chose to build on another lesson, providing a visual that leads into my procedure visual. I wanted to give an overview of the process as a whole, so I utilized the graphics I previously employed in order to retain continuity as well as to introduce the graphics as they would be used in the next visual. I provided a link to that at the bottom of my graphic. I used shape in this visual, providing a circular approach to the graphic, giving it a cyclical feel which reinforces the necessity of viewing this process as ongoing. I also chose contrasting

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colors in order to provide the viewer with easy to see graphics contrasting from the background and I used simple black text. Link: http://edtech2.boisestate.edu/veatchs/506/blocking%20process/blocking%20cycle.htm Principles Visual This visual is meant as a self assessment of this unit prior to moving on to the final project of staging a short piece with a partner. I created this visual in order to provide an experiential opportunity for the users of this lesson. This graphic allows the user to make good as well as bad choices for blocking a simple scene. It pertains to sight lines. If the audience, as represented by the smiley faces, can see all the action, the audience's response is positive. If they can't see all the action, then they get "grumpy". The user clicks through, making choices as to the route the actor should take from the doors to the couch. I made this graphic in two parts. The first is in the form of an animated slide show. I tried to time it so that everything can be read in a timely fashion. This can be read aloud by the instructor, or read silently by the students. I then created the interactive section, which is linked from the animation. The goal of using primary colors in this graphic was allow students to view this graphic from a distance, and to voice their choices to the teacher, while the teacher selects their choices. I wanted to make the buttons clear, so that routes to the different pages were easy to identify, and their purposes apparent. Link: http://edtech2.boisestate.edu/veatchs/principles/principles.htm Step-by-Step Instructions for the Stage Directions Unit 1. Unit introduction using the Visual Design graphic. Lesson 1 2. Scroll through the graphics and discuss each image with the class as follows:

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3. Decide on the structural elements that separate each type of stage: Proscenium, Thrust, Black Box, and Theatre in the Round. 4. Discuss the architectural elements that make up a typical Proscenium stage 5. Discuss audience orientation 6. Define Raked in both house and on the stage 7. Go over the parts of the stage 8. Review the slides for students and reteach if necessary 9. Display the Memory Load and Far Transfer Graphic 10. Discuss the different elements in the graphic. Talk about how each one relates to the actor. 11. In paired learning groups, have students draw their own version of a Proscenium stage labeling all the parts they can remember Lesson 2 1. Introduce the Advance Organizer Graphic. 2. Ask the students to describe a simple way to communicate with the actor in the graphic to make a simple cross to Stage Right 3. Display the graphic at the bottom of the page. Explain the orientation and how each box represents a place on the stage. 4. Display the graphic Attention Visual. Quiz the students using this visual. Point at a box, and ask them to identify the location. Roll over the box to check for the correct answer. 5. Display the Mental Models and Near Transfer Graphic. Ask students, in groups of three or four to move from center stage to a given point on the stage. When the students

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have made a choice, play the graphic in order to check their answers. This can be done with multiple groups of volunteers until students have demonstrated understanding of this concept. 6. Display the Facts Graphic. Students can interact with this graphic independently or as a whole group with a student volunteer. They can use this to further their understanding of stage directions. 7. Display the Principles Graphic. After viewing the slide show (you may read the instructions aloud, or students can read the instructions to themselves), ask students to make choices for the actors on the stage. See if the class can get all three performers on stage without making any sight line errors. Lesson 3 1. Display the Processes graphic. Discuss how Blocking Cycle is repeated throughout the rehearsal process. Explore each of the steps and introduce their function. 2. Explain that steps are repeated in the Blocking Cycle 3. Display the Procedures graphic, then introduce the concept of the Blocking Cycle as a multi-step process by discussing each visual element of the graphic. 4. Roll over each visual on the graphic, read and discuss each of the pop ups, and how they link to each step in the process. Lesson 4 1. Introduce the Concepts visual. Explain to them that this graphic includes the monologue by Romeo from Act 2 Scene 2 in Romeo and Juliet. 2. Tell them that Shakespeares scripts included very little in the way of stage directions. This requires that the director and the actors work out all blocking for every scene.

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3. Distribute copies of Romeos Monologue to students and ask for a volunteer to read through the monologue with the class as everyone follows along. 4. Display the Concepts visual. Read the stage directions provided in the graphic. Discuss where each of these places would be on the stage. Click each link in the script in order to demonstrate each position the actor must take for each blocking choice. 5. When completed, play the youtube video of the actor performing this scene for an audition at Oregon Shakespeare Festival. 6. On the blanks provided in the monologue worksheet, have students work in pairs to fill in what they think would be a good blocking choice for Romeo to make. Display the graphic Mental Models and Near Transfer for reference purposes as they complete the worksheet. 7. Each pair of students performs their version of Romeos blocking for the class. The partner pairs may choose one person to perform the monologue with the blocking choices, one person can read the monologue while the other pantomimes the movements for the audience, or both may read the monologue and perform the monologue together or tag team. Lesson 5 1. Display the Principles Graphic. After viewing the slide show (you may read the instructions aloud, or students can read the instructions to themselves), ask students to make choices for the actors on the stage. See if the class can get all three performers on stage without making any sight line errors. 2. Distribute the AB Scenes for students to read as a class. 3. Divide students into paired partnerships

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4. Have students write out all the blocking necessary to make the scene playable on the stage. 5. Combine the pairs into groups of 4. Have them exchange papers and work on the scenes, with one group serving as the directors (the original authors of the blocking) and the other group executing the blocking. When they have completed the first scene, they switch roles and the players become the directors, while the directors become the actors, and they rehearse the second scene. 6. Each paired group presents the scene they have rehearsed for the class as a final assessment. AECT Standards (Association for Educational Communications and Technology) Standard 1: DESIGN Candidates demonstrate the knowledge, skills, and dispositions to design conditions for learning by applying principles of instructional systems design, message design, instructional strategies, and learner characteristics. Supporting Explanations: "Design is the process of specifying conditions for learning" (Seels & Richey, 1994, p. 30). The domain of design includes four sub domains of theory and practice: Instructional Systems Design (ISD), Message Design, Instructional Strategies, and Learner Characteristics. 1.1 Instructional Systems Design (ISD) "Instructional Systems Design (ISD) is an organized procedure that includes the steps of analyzing, designing, developing, implementing, and evaluating instruction"(Seels & Richey, 1994, p. 31).

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Within the application of this definition, 'design' is interpreted at both a macro- and micro-level in that it describes the systems approach and is a step within the systems approach. The importance of process, as opposed to product, is emphasized in ISD. Assignment: Unit of Instruction 1.2 Message Design "Message design involves planning for the manipulation of the physical form of the message" (Seels& Richey, 1994, p. 31). Message design is embedded within learning theories (cognitive, psychomotor, behavioral, perceptual, affective, constructivist) in the application of known principles of attention, perception, and retention which are intended to communicate with the learner. This sub domain is specific to both the medium selected and the learning task. Assignments: 1. Directing attention 2. Awakening prior knowledge 3. Minimizing memory load 4. Supporting transfer of learning 5. Helping learners build mental models 6. Motivating learning 7. Accommodating learner differences 8. Visualizing a procedure 9. Visualizing a concept 10. Visualizing facts 11. Visualizing processes 12. Visualizing principles

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1.3 Instructional Strategies "Instructional strategies are specifications for selecting and sequencing events and activities withina lesson" (Seels & Richey, 1994, p. 31). In practice, instructional strategies interact with learning situations. The results of these interactions are often described by instructional models. The appropriate selection of instructional strategies and instructional models depends upon the learning situation (including learner characteristics), the nature of the content, and the type of learner objective. Assignment: 5 lesson plans 1.4 Learner Characteristics "Learner characteristics are those facets of the learner's experiential background that impact the effectiveness of a learning process" (Seels & Richey, 1994, p. 32). Learner characteristics impact specific components of instruction during the selection and implementation of instructional strategies. For example, motivation research influences the selection and implementation of instructional strategies based upon identified learner characteristics. Learner characteristics interact with instructional strategies, the learning situation, and the nature of the content. Assignments: 1. Accommodating learner differences 2. Unit of Instruction Standard 2: DEVELOPMENT Candidates demonstrate the knowledge, skills, and dispositions to develop instructional materials and experiences using print, audiovisual, computer-based, and integrated technologies. Supporting Explanation: "Development is the process of translating the design specifications into physical form" (Seels &

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Richey, 1994, p. 35). The domain of development includes four sub domains : Print Technologies, Audiovisual Technologies, Computer-Based Technologies, and Integrated Technologies. Development is tied to other areas of theory, research, design, evaluation, utilization, and management. 2.1 Print Technologies "Print technologies are ways to produce or deliver materials, such as books and static visual materials, primarily through mechanical or photographic printing processes" (Seels & Richey, 1994, p. 37). Print technologies include verbal text materials and visual materials; namely, text, graphic and photographic representation and reproduction. Print and visual materials provide a foundation for the development and utilization of the majority of other instructional materials. 2.2 Audiovisual Technologies "Audiovisual technologies are ways to produce or deliver materials by using mechanical devices or electronic machines to present auditory and visual messages." (Seels & Richey, 1994, p. 38). Audiovisual technologies are generally linear in nature, represent real and abstract ideas, and allow for learner interactivity dependent on teacher application. 2.3 Computer-Based Technologies "Computer-based technologies are ways to produce or deliver materials using microprocessor based resources" (Seels & Richey, 1994, p. 39). Computer-based technologies represent electronically stored information in the form of digital data. Examples include computer-based instruction(CBI),computer-assisted instruction (CAI), computer managed instruction (CMI), telecommunications, electronic communications, and global resource/reference access. 2.4 Integrated Technologies

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"Integrated technologies are ways to produce and deliver materials which encompass several forms of media under the control of a computer" (Seels & Richey, 1994, p. 40). Integrated technologies are typically hypermedia environments which allow for: (a) various levels of learner control, (b) high levels of interactivity, and (c) the creation of integrated audio, video, and graphic environments. Examples include hypermedia authoring and telecommunications tools such as electronic mail and the World Wide Web. Standards 2.1, 2.2, 2.3, and 2.4 are fulfilled in at least 2 of the followingassignments: 1. Directing attention 2. Awakening prior knowledge 3. Minimizing memory load 4. Supporting transfer of learning 5. Helping learners build mental models 6. Motivating learning 7. Accommodating learner differences 8. Visualizing a procedure 9. Visualizing a concept 10. Visualizing facts 11. Visualizing processes 12. Visualizing principles Standard 3: UTILIZATION Candidates demonstrate the knowledge, skills, and dispositions to use processes and resources for learning by applying principles and theories of media utilization, diffusion, implementation, and policy-making.

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Supporting Explanations "Utilization is the act of using processes and resources for learning" (Seels & Richey, 1994, p. 46). This domain involves matching learners with specific materials and activities, preparing learners for interacting with those materials, providing guidance during engagement, providing assessment of the results, and incorporating this usage into the continuing procedures of the organization. 3.1 Media Utilization "Media utilization is the systematic use of resources for learning" (Seels & Richey, 1994, p. 46). Utilization is the decision-making process of implementation based on instructional design specifications. Assignments: 1. Directing attention 2. Awakening prior knowledge 3. Minimizing memory load 4. Supporting transfer of learning 5. Helping learners build mental models 6. Motivating learning 7. Accommodating learner differences 8. Visualizing a procedure 9. Visualizing a concept 10. Visualizing facts 11. Visualizing processes 12. Visualizing principles

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BSU Mission The Department of Educational Technology is a diverse network of education scholars, professionals, and candidates who:

Lead research and innovations in online teaching and learning Model, promote, manage, and evaluate digital-age teaching and learning resources in K-higher education environments

Inspire creativity and expertise in digital media literacies Design and develop imaginative learning environments Empower learners to be evolving digital citizens who advocate cultural understanding and global responsibility

Promote and pattern participatory culture, professional practice, and lifelong learning

Forge connections between research, policy, and practice in educational technology BSU Vision Statement

Boise State Universitys conceptual framework, "The Professional Educator, establishes our shared vision in preparing educators to work effectively in P-12 schools. It provides direction for programs, courses, teaching, candidate performance, scholarship, service, and accountability.

The Professional Educator Boise State University strives to develop knowledgeable educators who integrate complex roles and dispositions in the service of diverse communities of learners. Believing that all children, adolescents, and adults can learn, educators dedicate

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themselves to supporting that learning. Using effective approaches that promote high levels of student achievement, educators create environments that prepare learners to be citizens who contribute to a complex world. Educators serve learners as reflective practitioners, scholars and artists, problem solvers, and partners.

The Department of Educational Technology contributes to this vision by emphasizing the following:

The Department of Educational Technology supports the study and practice of facilitating and improving learning of a diverse population by creating, using, and managing appropriate technological processes and resources. Believing technology is a tool that enhances and expands the educational environment, we promote the use of current and emergent technologies for teaching and learning in a dynamic global society. Educational technologists are leaders and innovators, serving in institutions of higher education, public or private school settings, federal, state or local educational agencies, community organizations, and the private sector. Media Citations

1. [Untitled photograph of Elizabethan Theatre, Ashland, Oregon]. Retrieved May 1, 2010, from:http://www.english-online.at/history/elizabethan-theatre/shakespeares-theatre.htm 2. [Untitled photograph of Proscenium Stage]. Retrieved May 1, 2010, from: http://saniyaartblog.files.wordpress.com/2009/05/proscenium4.jpg 3. [Untitled photograph of Thrust Stage]. Retrieved May 1, 2010, from: http://saniyaartblog.files.wordpress.com/2009/05/thrust3.jpg 4. [Untitled photograph of Theatre in the Round, Minneapolis, MN]. Retrieved May 1, 2010, from:

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http://www.sotanlife.com/media/photos/establishment/lg/1143481377.jpg 5. [Untitled photograph of Proscenium Arch, Southern Theater, Minneapolis, MN]. Retrieved May 1, 2010, from: http://www.southerntheater.org/theater_photos.php_files/stageleft.jpg 6. [Untitled photograph of Theatre Wings, Leeds Civic Theatre, Leeds, UK]. Retrieved May 1, 2010, from:http://www.lcag.org.uk/civic/pov%20wings2.jpg 7. [Untitled photograph of Elvis Waiting to go Onstage]. Retrieved May 1, 2010, from: http://www.elvispresleymusic.com.au/pictures/img/elvis/50s/56/1956_june_30_waiting_t o_go_on_stage_the_mosque.jpg 8. [Untitled photograph of Theatre Lighting Grid, Denver Convention Center]. Retrieved May 1, 2010, from : http://www.techno-fandom.org/~hobbit/pix/hf08/d3/052stg-grid.jpg 9. [Untitled photograph of Techs Working on Lighting Grid, Hallie B. Flanagan Studio Theatre, Grinnell College, Grinnell, Iowa]. Retrieved may 1, 2010, from: http://web.grinnell.edu/theatre/facilities/Flanagan/flanagan_grid.jpg 10. Riley-Phillips, Tina, Harrisburg Community Theatre Mural (painter), Retrieved May 1, 2010, from: http://www.noblemd.org/TRPArtWorks/HCT%20Pic1.jpg 11. [Untitled photograph of the Yan-Yean Theatre, Melbourne, Australia]. Retrieved May 1, 2010, from: http://www.pracc.com.au/i/theatre/yan-yean-theatre.jpg 12. [Untitled photograph of Big Raked Stage, Museum of London Archeology, UK]. Retrieved May 1, 2010 from: http://www.museumoflondonarchaeology.org.uk/NR/rdonlyres/F394CD17-6884-45A29C39-699FE204C44A/0/BIG_rake0043.jpg

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13. Bowart, Wolfe (photograph), The Man the Sea Saw, Retrieved May 1, 2010 from: http://themantheseasaw.com/content/?page_id=3 14. Kabling, Amart Manessis (Video), Romeo Act 2, Scene 2, Audition, Retrieved May 1, 2010 from: http://www.youtube.com/watch?v=G1pCGK6TuYE 15. Veatch, Shanda (all graphics), Spring, 2010 from: http://edtech2.boisestate.edu/veatchs/506/506%20homepage.htm

Biography Shanda Veatch is a native Washingtonian, having spent the majority of her 40+ years living and working in all the major cities along the I-5 corridor from Portland to Seattle. She graduated in 1989 with a degree in Acting from Cornish College of the Arts. She is currently working on her Masters Degree in Education Technology. She has been teaching English and Theatre for almost 20 years. Her current assignment is at Gaiser Middle School in the Vancouver School District. She is the proud, single mother of two middle school aged children.