Lesson Report:
Title: Constraint-Based Performance Workshop, Poetry Share-out, and Portfolio Planning
Synopsis: This session combined a short poetry reading with a collaborative, constraint-based performance project designed to strengthen narrative planning, adaptation of prior texts, and ensemble coordination. The class also finalized logistics for today’s faculty–student presentation and previewed the digital portfolio deliverable for FYS faculty.
Attendance
– Number mentioned absent: unspecified (“a lot of absent peopleâ€�); no exact count provided
– Reminder restated: more than three absences risks failing the course
Topics Covered (chronological)
1) Opening, attendance policy, and agenda framing
– Instructor emphasized attendance requirements and warned that >3 absences risk failing.
– Day plan: finish yesterday’s poetry activity with a brief reading; launch main performance activity; preview two key items happening today and tomorrow (faculty–student presentation; portfolio work).
2) Logistics: Faculty–student presentation session (today at 2:20, Room 410)
– Duration and structure: 8–10 minutes per group; several groups will share in sequence.
– Content scope: Anything created in this program is eligible—analytical writing, freewrites, essay excerpts, poetry, presentations, or performances produced during the session.
– Decision process: Groups will use the third session today to decide what to share and rehearse to “put on a good show.â€�
3) Digital portfolio preview (for next/third session today)
– Bring laptops for in-class portfolio work.
– Portfolio contents: a curated selection of texts students have produced so far (notebook pieces, drafts, freewrites, plus the essay) compiled into one digital document.
– Submission chain: instructor → Camelia → FYS professor for diagnostic review of students’ academic writing entering the first semester.
– Purpose: provide faculty with a snapshot of students’ current writing strengths and needs.
4) Poetry share-out: AUCA vs. student perspectives (finishing yesterday’s activity)
– Each student previously wrote two short poems:
– Poem 1: AUCA’s perspective (what the university “saysâ€� about itself).
– Poem 2: Student’s perspective based on their collage and early impressions.
– Class conducted a brief reading (4–5 volunteers). Illustrative themes included:
– AUCA as a unifying place where students ask questions, store belongings, train, and pursue goals; an orientation that helps students learn, work hard, and build friendships; staff as supportive.
– Student impressions of excitement and belonging prompted by images of AUCA—“bright minds,â€� community, and inspiration; some playful rhyme appeared in presentations.
– Purpose: compare institutional self-image with lived student experience and practice concise, voiced perspective-taking.
5) Main activity: Ensemble performance under constraints (spanning first two sessions)
– Grouping: Four groups formed from current seating (mostly groups of four; one group of five was acceptable). Everyone must have an active role; a person may portray a non-human element (e.g., an object).
– Two story prompts (two groups per prompt):
– Prompt 1: Someone lets go of a meaningful object from their past to embrace a new opportunity. Object and opportunity are student-defined.
– Prompt 2: A surprising truth is revealed; a secret has come undone; a group must persuade one skeptical friend. The nature of the secret and persuasion tactics are student-defined.
– Performance constraints (to cultivate clarity, creativity, and multimodal storytelling):
– Groups A and C: May use only seven distinct words across the entire performance; may repeat them as needed. Choose the seven words deliberately to serve the narrative and incorporate reference to a course text where appropriate.
– Groups B and D: Completely silent—no speech or sound. Must communicate through movement, staging, imagery, and visual references. Incorporate details from a prior course text through visual/gestural means (imagery, tableau, spatial motifs).
– Required integration of prior course material: Each group must draw on at least one text previously studied or created (words, imagery, structure, character, or theme).
– Duration and rehearsal expectations: Minimum 3 minutes. Instructor warned that 3 minutes is longer than expected; groups should script/outline, then practice at least once with timing to avoid sub-1-minute performances.
– Site-specific staging guidance:
– Perform anywhere on campus that won’t disturb others (e.g., forum, basement, outdoors). Avoid interrupting classes (e.g., Aziz’s room). Don’t go too far off-campus.
– Use environment and earlier “statuesâ€� project experience to support narrative clarity (props, levels, entrances/exits), but avoid disruptive or unsafe elements (an example prop request was declined).
– Timeline and flow:
– Plan: 2–3 minutes to draft the concept → select location → write/storyboard → rehearse → be back by 10:00 for check-in.
– Performances will be recorded live in the second session after the break; the class will move from location to location to watch each group.
– Later clarification noted a start time near 10:50 after break.
– Q&A clarifications captured:
– “Seven wordsâ€� rule = only seven unique words; unlimited repetition allowed.
– All members must participate; non-human roles encouraged if useful.
– Silent groups must remain fully nonverbal and noiseless.
– One student query about using a specific kind of object/prop received a “noâ€� to avoid stress/disruption.
– Health note: Instructor acknowledged many are feeling unwell at this point in orientation; encouraged self-care to stay healthy.
Actionable Items
Immediate (today)
– Faculty–student presentation (2:20, Room 410)
– Each group: finalize piece(s), confirm run time (8–10 minutes), assign readers/performers, and rehearse.
– Instructor: confirm room booking and running order with event coordinators; ensure recording/tech needs if applicable.
– Performance activity
– Each group: finalize seven-word set (A/C) or silent blocking (B/D), integrate at least one prior text, lock staging location, rehearse to ≥3 minutes, and ensure every member has a role.
– Instructor: prepare a simple order-of-visit map for performance locations; bring device(s) for recording; remind students of silence/word-limit rules before showtime.
This week / next session
– Digital portfolio build
– Students: bring laptops; select final pieces (notebook texts + essay); compile into one document; proofread for coherence and basic formatting.
– Instructor: provide a checklist/template (required components, file naming, acceptable formats); clarify submission mechanism and deadline; coordinate with Camelia on transfer to FYS faculty.
Reminders and follow-ups
– Attendance/communication
– Post attendance policy reminder on Telegram; continue to encourage consistent participation.
– Share health resources/reminders (water, masks if needed, campus health info).
– Documentation
– Distribute a written summary of performance rules and portfolio components to prevent confusion in future sessions.
– Note unresolved prop/permission questions; specify prohibited items and spaces to avoid disruptions.
Homework Instructions:
NO HOMEWORK
All tasks mentioned were in-class activities (e.g., the performance will be “recorded live in our second session,� the group presentation will be decided “during the third session,� and “we will be working on the Portfolios� during the third session), with no out-of-class assignments or due dates given.