Using the RAP Strategy for Reading Nonfiction A

Using the RAP Strategy for Reading Nonfiction: A Closer Look

Theatre classes often approach Greek theatre as if the art of that particular time was only a variation of modern practice. This attitude is understandable, given that many production elements common today, such as masks, costumes, music, and script, were used by the ancients, and a number of the texts are part of our cultural heritage. If we insist on seeing theatre history as an evolutionary progression, each period building on the last, gradually discarding outmoded methods and discovering the "new and improved, " then contemporary theatre must be the best. Modern theatre, with its profusion of technological applications, its costuming drawn in materials and concepts from around the world, with its constant novelty, must be theatrical pinnacle. All else must be inferior. Such an approach is misleading, however, and downright arrogant. Current historians acknowledge that the Greeks used many elements of production and style first, and that today's practices are the descendants of originals that were, in some ways, superior.

Theatre classes often approach Greek theatre as if the art of that particular time was only a variation of modern practice. This attitude is understandable, given that many production elements common today, such as masks, costumes, music, and script, were used by the ancients, and a number of the texts are part of our cultural heritage. If we insist on seeing theatre history as an evolutionary progression, each period building on the last, gradually discarding outmoded methods and discovering the "new and improved, " then contemporary theatre must be the best. Modern theatre, with its profusion of technological applications, its costuming drawn in materials and concepts from around the world, with its constant novelty, must be theatrical pinnacle. All else must be inferior. Such an approach is misleading, however, and downright arrogant. Current historians acknowledge that the Greeks used many elements of production and style first, and that today's practices are the descendants of originals that were, in some ways, superior.

Theatre classes often approach Greek theatre as if the art of that particular time was only a variation of modern practice. This attitude is understandable, given that many production elements common today, such as masks, costumes, music, and script, were used by the ancients, and a number of the texts are part of our cultural heritage. If we insist on seeing theatre history as an evolutionary progression, each period building onhthe t last, a w ow n k gradually discarding outmoded methods and discovering the "new s y a w l is a n u u o o y n t and improved, " then contemporary theatre tha pro must be the best. y e r n u a s to of technological t Bewith its cprofusion n e T Modern theatre, applications, its d A e H e W t n ”— e d theinamaterials u t costuming drawn and concepts from around the i t t a s i h t (i. e. , “ novelty, world, with its constant must be theatrical pinnacle. All ) ? e else must be inferior. Such an approach is misleading, however, attitud and downright arrogant. Current historians acknowledge that the Greeks used many elements of production and style first, and that today's practices are the descendants of originals that were, in some ways, superior.

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Theatre classes often approach Greek theatre as if the art of that particular time was only a variation of modern practice. This attitude is understandable, given that many production elements common today, such as masks, costumes, music, and script, were used by the ancients, and a number of the texts are part of our cultural heritage. If we insist on seeing theatre history as an evolutionary progression, each period building on the last, gradually discarding outmoded methods and discovering the "new and improved, " then contemporary theatre must be the best. Modern theatre, with its profusion of technological applications, its costuming drawn in materials and concepts from around the world, with its constant novelty, must be theatrical pinnacle. All else must be inferior. Such an approach is misleading, however, downright arrogant. Noand tice that Current historians acknowledge that the Greeks used many sentence the next two elements of production and style first, andsthat practices are today's s i m p e aborat ly ionsinosome are the descendants of originals lthat were, ways, superior. n scenario . the “if/th en”

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Theatre classes often approach Greek theatre as if the art of that particular time was only a variation of modern practice. This attitude is understandable, given that many production elements common today, such as masks, costumes, music, and script, were used by the ancients, and a number of the texts are part of our cultural heritage. If we insist on seeing theatre history as an evolutionary progression, each period building on the last, gradually discarding outmoded methods and discovering the "new and improved, " then contemporary theatre must be the best. Modern theatre, with its profusion of technological applications, its costuming drawn in materials and concepts from around the world, with its constant novelty, must be theatrical pinnacle. All else must be inferior. Such an approach is misleading, however, and downright arrogant. Current historians acknowledge that the Greeks used many elements of production and style first, and that today's practices are the descendants of originals that were, in some ways, superior.

Theatre classes often approach Greek theatre as if the art of that particular time was only a variation of modern practice. This attitude is understandable, given that many production elements common today, such as masks, costumes, music, and script, were used by the ancients, and a number of the texts are part of our cultural heritage. If we insist on seeing theatre history as an evolutionary progression, each period building on the last, gradually discarding outmoded methods and discovering the "new and improved, " then contemporary theatre must be the best. Modern theatre, with its profusion of technological applications, its costuming drawn in materials and concepts from around the world, with its constant novelty, must be theatrical pinnacle. All else must be inferior. Such an approach is misleading, however, and downright arrogant. Current historians acknowledge that the Greeks used many elements of production and style first, and that today's practices are the descendants of originals that were, in some ways, superior.

“De” means “down, ” so “deduct” means to “lead down”—or to lead from the main idea DOWN to the details “In” means “in”—so “induct” means to “lead in”—or to lead INTO the main idea Analysis Point #1: Is the structure of ¶#1 deductive or inductive? . ” t c u d “ : s word d e z i c i l e ita of th h t o b f o ot o r e h t e l Circ “Duct” means “lead. ”

Analysis Point #1: Is the structure of ¶#1 deductive or inductive? Because Nola Smith’s last sentence of ¶#1 best illustrates her most important point, and because she begins with details that lead to that main point, her structure in this paragraph is inductive.

Analysis Point #2: The last sentence of ¶#1 does represent the main idea of the important details.

Analysis Point #3: Paraphrase that last sentence (the main idea sentence). Remember that a paraphrase puts an author’s idea into your own words.