Using the RAP Strategy for Reading Nonfiction: A Closer Look

1. Using the RAP Strategy for Reading Nonfiction:A Closer Look

2. 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 the 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.

3. 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 the 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.

4. Theatre classes often approach Greek theatre as if the art of that particular time was only a variation of modern practice. Thisattitude 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 the 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. Be sure that you always know what the antecedent to any pronoun is (i.e., “this attitude”—WHAT attitude?)

5. “If/then” scenarios are ALWAYS important. BE SURE to identify the “then” that accompanies an “if” in this type of situations. 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 the 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.

6. 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 the 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. Notice that the next two sentences are simply elaborations on the “if/then” scenario.

7. This “however” is extremely important because it signals a massive turn in Smith’s focus. 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 the 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.

8. 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 the theatrical pinnacle. All else must be inferior. Such an approach is misleading, however, and downright arrogant. Current historians acknowledge that the Greeksused many elements of production and style first, and that today's practices are the descendants of originals that were, in some ways, superior.

9. 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 the 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.

10. “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? Circle the root of both of the italicized words: “duct.” “Duct” means “lead.”

11. 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.

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

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