Slow motion picture evaluation in tennis

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SLOW MOTION PICTURE EVALUATION IN TSHNIS

A P r o je c t ^Presented t o th e F a c u lt y o f th e S c h o o l o f E d u c a tio n The U n iv e r s i t y o f S ou th ern C a lif o r n ia

In P a r t i a l F u l f il l m e n t o f th e R eq u irem en ts f o r th e D egree M aster o f S c ie n c e in E d u c a tio n

by E lis a b e t h L atim er Jan u ary 1950

UMI Number: EP45923

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

Dissetiaik n Pubi sh» tg

UMI EP45923 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code

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Th is p r o je c t report, w ritten under the direction o f the candidate’s a d viser an d a p p r o v e d by him , has been presen ted to a n d a ccepted by the F a cu lty of the S ch oo l of E du catio n in p a r tia l fu lfillm ent of the requirements f o r the degree of M a s te r of Science in Education.

Date

......................

A d v is e r

ii TABLE OF CONTENTS CHAPTER

PAGE PART I .

DIRECTIONS TO INSTRUCTORS

HOW TO ADAPT THE FOREHAND DRIVE RATING SCALE TO YOUR INSTRUCTIONAL TENNIS PROGRAM 1.

CRITERIA FOR THE ACTION OF THE FOREHAND DRIVE:

HOW

TO SELECT THE PERFORMANCE TO BE FIL M E D ........................................ Z A.

MOTIVATION:

ADVANTAGES OF MAKING AN INSTRUCTIONAL

DEVICE FOR USE WITH MOTION P I C T U R E S ................................... 2 B.

DIRECTIONS:

SOME POINTERS ON. HOW TO ARRANGE

FOR TEACHING THE FOREHAND DRIVE WITH THE AID OF MOTION PIC T U R E S ......................................................................... 2 1.

STANDARDS OF ACHIEVEMENT FOR THE "EXPERT" PERFORMANCE:

HOW TO ESTABLISH CRITERIA FOR

THE "EXPERT" PERFORMANCE OF THE FOREHAND D R I V E ..................................................................................... 2.

#

2

STANDARDS OF ACHIEVEMENT FOR THE "LEARNER" PERFORMANCES:

HOW TO PROVIDE FOR AN

ACCURATE "LEARNER" PERFORMANCE OF THE FOREHAND DRIVE 3.

...................................................................

SOURCES FOR THIS CHAPTER: FURTHER ASSISTANCE .

C.

ACTIVITY ASSIGNMENTS:

20

WHERE TO GET

............................................................21

ACTIVITIES TO HELP YOU

DEVELOP YOUR OWN STANDARDS OF ACHIEVEMENT FOR TENNIS SKILLS

...................................................................................

23

iil CHAPTER D.

PAGE EVALUATION:

A CHECK-UP ON IOUR ABILITY TO

SELECT THE PERFORMANCE TO BE EVALUATED................................. 23 2.

THE MECHANICS OF THE MOVIE MAKING OPERATION:

HOW

TO MAKE YOUR OWN INSTRUCTIONAL TENNIS F I L M S ............................ 26 A..

MOTIVATION:

GOALS WHICH YOU MAY ATTAIN I F YOU

MASTER THE TECHNIQUES OF PRODUCTION AND PROJECTION OF YOUR INSTRUCTIONAL TENNIS FILMS . . . B.

DIRECTIONS:

.2 6

SOME ESSENTIALS ON ARRANGING FOR

THE USE OF THE FOREHAND DRIVE RATING S C A L E ....................... 27 1.

MOVIE EQUIPMENT NEEDED:

HOW TO PROVIDE

DEVICES FOR USING THE FOREHAND DRIVE RATING S C A L E ........................................... 2.

PRODUCTION OF THE "EXPERT" FILM: MAKE THE "EXPERT" PICTURE

3.

27 HOW TO ......................................28

PRODUCTION OF THE "LEARNER" FILM:

HOW TO

MAKE THE "LEARNER" P I C T U R E S ............................................... 3 5 4.

HANDLING OF FIIM :

HOW TO ARRANGE FILM FOR

PROPER SCREENING ................................................. . . . . . 5.

HANDLING OF PROJECTOR:

36

HOW TO SCREEN THE

F I L M S ...................................................................................................... .. 6.

SOURCES FOR THIS CHAPTER:

WHERETO GET

FURTHER A S S IS T A N C E ..................................................................... 3 9 C.

ACTIVITY ASSIGNMENTS:

PROJECTS TO HELP YOU

DEVELOP SKILL IN MAKING YOUR OWN TENNIS FILMS . . . .4 0

CHAPTER

PAGE

D.

EVALUATION: CHECKUPS ON YOUR ABILITY TO TAKE TENNIS PIC T U R E S ..................................................... PART I I .

42

DIRECTIONS TO STUDENTS

HOW TO ADAPT THE RATING SCALE TO THE EVALUATION OF CORRECT PERFORMANCE OF THE FOREHAND DRIVE 3.

THE "FIRST LEARNER” PICTURE:

HOW TO QUALIFY FOR THE

FIRST FILMING OF YOUR PERFORMANCE OF THE FOREHAND D R I V E ........................ A.

44

MOTIVATION: REV/ARDS TO BE ACHIEVED FROM FOLLOWING THE EXAMPLE OF THE "E X P E R T ".....................

B.

44

DIRECTIONS: POINTERS ON HOW TO PREPARE FOR THE FILMING OF YOUR FIRST PICTURE OF THE FOREHAND DRIVE 1.

............................................................................................. 44

"EXPERT" DEMONSTRATION FILM:

HOW TO ANALYZE

CORRECT FORM OF THE FOREHAND D R I V E ......................... 4 4 2.

"FIRST LEARNER" PICTURE: PICTURE TAKEN

3.

....................................................................

SOURCES FOR THIS CHAPTER: FURTHER ASSISTANCE

C.

HOW TO HAVE YOUR

ACTIVITY ASSIGNMENTS:

46

WHERE TO GET

......................................................

4$

SOME LEARNING EXPERIENCES

TO HELP YOU DEVELOP SKILL IN PERFORMING THE FOREHAND D R I V E ................................................................................... 4 9 D.

EVALUATION: A TYPE OF CHECKUP ON YOUR PERFORMANCE

.................................

52

V

CHAPTER 4 ,.

PAGE

DIAGNOSIS OF THE “ FIRST LEARNER” PERFORMANCE:

HOW

TO COMPARE YOUR FIRST PERFORMANCE OF THE FOREHAND DRIVE WITH THAT OF THE "EXPERT” .................................................. A.

MOTIVATION:

54

ADVANTAGES TO BE GAINED FROM SEEING

HOW YOU PERFORM THE FOREHAND D R I V E ............................................54 B.

DIRECTIONS:

SUGGESTIONS ON HOW TO ANALYZE YOUR

FIRST PERFORMANCE OF THE FOREHANDD R I V E ...............................54 1.

OBSERVATION OF THE "FIRST LEARNER" PICTURE: HOW TO OBSERVE THE "EXPERT" AND THE "FIRST LEARNER" PERFORMANCE................................................................ 55>

2.

ANALYSIS OF THE "FIRST LEARNER" PICTURE: HOW TO CONTRAST PERFORMANCE OF THE "EXPERT" AND THE "FIRST LEARNER" PERFORMANCE . . . . . .

3.

SOURCES FOR THIS CHAPTER: FURTHER ASSISTANCE

C.

D. 5.

ACTIVITY ASSIGNMENTS:

55>

WHERE TO GET

. . . . . . . . . . . .

5?

LEARNING EXPERIENCES TO

HELP YOU ANALYZE CORRECT PERFORMANCE..............................

57

EVALUATION: A CHECKUP ON YOUR R A T I N G .........................

53

THE "SECOND LEARNER" PICTURE:

HOW TO QUALIFY FOR YOUR

"SECOND LEARNER" PERFORMANCE OF THE FOREHAND DRIVE . . A.

MOTIVATION:

GAINS THAT ACCRUE FROM IMPROVING

YOUR TENNIS SKILL B.

DIRECTIONS:

59

............................................................................... 5 9

HELPFUL HINTS THAT WILL ENABLE YOU

TO MAKE A BETTER FORM RATING ON YOUR SECOND PERFORMANCE OF THE FOREHAND DRIVE

.

59

PAGE

CHAPTER

1.

CORRECTION OF THE "FIRST LEARNER" PERFORMANCE:

HOW TO REMEDY THE UNSKILLED

ACTIONS OF THE "FIRST IEARNER" PERFORMANCE . . 59 2.

THE "SECOND LEARNER" FILMING: ’ HOW TO HAVE

61

YOUR "SECOND IEARNER" PICTURE TAKEN 3.

SOURCES FOR THIS CHAPTER:

WHERE TO GET

62

FURTHER ASSISTANCE C.

ACTIVITY ASSIGNMENTS:

SOJE DRILLS FOR INCREASING

YOUR SKILL ON PERFORMING THE FOREHAND DRIVE . . . D. 6.

.6 3

EVALUATION: A CHECKUP ON YOUR SECOND PERFORMANCE.

DIAGNOSIS OF THE "SECOND LEARNER" PERFORMANCE:

65

HOW TO

COMPARE YOUR SECOND PERFORMANCE OF THE FCREHAND DRIVE WITH THAT OF THE "EXPERT;" A.

MOTIVATION: OUTCOMES FROM STEADY PRACTICE IN CORRECT FORM OF THE FQHEHMD D R IV E .................................. 6 6

B.

DIRECTIONS: SOME SUGGESTIONS FDR EXAMINING.. YOUR SECOND PERFORMANCE OF THE FOREHAND DRIVE. . 1.

OBSERVATION OF THE "SECOND IEARNER" PICTURE:

HOW TO OBSERVE THE "EXPERT" AND

THE "SECOND LEARNER" PERPORMANCE 2.

. 66

66

ANALYSIS OF THE "SECOND LEARNER" PICTURE: HOW TO CONTRAST THE "SECOND IEARNER" FCREHAND DRIVE PERFORMANCE WITH THE PERFORMANCE OF THE "EXPERT."

67

v ii CHAPTER

PAGE 3.

SOURCES FOR THIS CHAPTER: GET FURTHER ASSISTANCE

C.

ACTIVITY ASSIGNMENTS:

WHERE TO ............................

67

SOME PROJECTS TO HELP

YOU ANALYZE PROGRESS IN THE PERFORMANCE OF THE FOREHAND DRIVE D.

EVALUATION:

..............................................................

63

A FINAL CfECKUP ON YOUR IMPROVEMINT

OF THE FOREHAND D R I V E ......................................

68

v iii LIST OF EXHIBITS

EXHIBIT A.

B6.eS

A SUIDESHEST FOR EVALUATING CORRECT FORM OF THE FOREHAND DRIVE AS INDICATED BY SLOW MOTION PICTURES . .

B.

COURT MARKING FOR THE PERFORMANCE OF THE FOREHAND DRIVE STROKE

C.

3

.....................................................

. 19

A SAMPLE PRODUCTION SHEET FOR MIMING THE "EXPERT" DEMONSTRATION PICTURES OF THE FOREHAND DRIVE USING A 16 MM. CAMERA WITH A ONE-INCH f / l . 5

L E N S ........................... 29

D.

"SEMI-LONG" TYPE SHOT OF THE FOREHAND DR IVE........................... 33

E.

INDIVIDUAL SCORECARD FOR FOREHAND DRIVE PERFORMANCE, . 53

ix PREFACE TO INSTRUCTORS Ph y s i c a l e d u c a t o r s h a v e l o n g a d v o c a t e d s lo w m o ti o n p i c t u r e s a s e f f e c t i v e a i d s t o l e a r n i n g a m o to r s k i l l .

A s lo w

m o ti o n p i c t u r e o f an a c t i o n a f f o r d s an o p p o r t u n i t y t o a n a l y z e s p e c i f i c a s p e c t s i n v o l v e d i n t h a t a c t i o n w h ic h a r e t o o r a p i d d u r i n g t h e n a t u r a l movement t o b e c l e a r l y u n d e r s t o o d o r r e a d i l y p e r c e i v e d by t h e human e y e .

H ow ever, a l o n g w i t h t h e a p p r o ­

b a t i o n o f m o ti o n p i c t u r e s , v e r y few t e c h n i q u e s , d e y i c e s , o r a i d s h a v e b e e n o f f e r e d t o f a c i l i t a t e and f u n c t i o n a l i z e t h e i r use.

T h is i s p a r t i c u l a r l y t r u e in re g a rd to th e e v a lu a tio n

o f s t u d e n t a c h iev em e n t i n a s p o r t s s k i l l . The p u r p o s e o f t h i s s t u d y i s d o u b l e - f o l d :

(1 )

To o f f e r

a t e c h n i q u e i n t h e fo rm o f a r a t i n g s c a l e f o r u s e i n e v a l u a t i n g s tu d e n t p r o g r e s s i n t h e p erfo rm an ce o f a t e n n i s s k i l l a s i n d i c a t e d by s lo w m o tio n p i c t u r e s .

(2)

To p r o p o s e a m ethod

fo r i ts use. The t e c h n i q u e i s r e p r e s e n t e d by TTA G u i d e s h e e t f o r t h e E v a l u a t i o n ! o f C o r r e c t Form i n t h e P e r f o r m a n c e o f t h e F o r e ­ h an d D r i v e a s I n d i c a t e d b y Slow M o tio n P i c t u r e s . ” sh e e t i s in te n d e d to se rv e th r e e p u rp o se s: c o r r e c t p erfo rm an ce o f th e fo re h a n d d r i v e .

(1 ) (2)

The g u i d e To d e s c r i b e To p ro v id e*

f o r a d ia g n o s is o f " l e a r n e r ” e r r o r s in th e e x e c u tio n o f th e forehand d r iv e .

(3 )

To p r o v i d e f o r a n i n d i c a t i o n o f

i n d i v i d u a l im p ro v e m e n t i n t h e e x e c u t i o n o f t h e f o r e h a n d d r i v e . The t h r e e s e c t i o n s p r o v i d e d on t h e g u i d e s h e e t f o r t h e

x:

d e s c r i p t i o n o f t h e t h r e e s lo w m o ti o n p i c t u r e p e r f o r m a n c e s in c lu d e S e c tio n I , A n a ly sis o f th e " e x p e r t" ; S e c tio n I I , A n a ly s is o f th e " f i r s t l e a r n e r " ; and S e c tio n I I I ,

A n a ly sis

o f th e "second l e a r n e r . " I m p o r t a n t f a c t o r s i n t h e s u g g e s t e d m eth o d o f u s e s h o u l d be n o te d .

The c o n s t r u c t i o n and u s e o f t h e g u i d e s h e e t r e q u i r e s

t h e p r e p a r a t i o n , p r o d u c t i o n , and e f f e c t i v e s c r e e n in g o f m o ti o n p i c t u r e p e r f o r m a n c e o f t h e tw o s t u d e n t s , t h e " e x p e r t " and t h e " l e a r n e r . "

A m o tio n p i c t u r e v ie w o f t h e f o r e h a n d

d r i v e s u i t a b l e f o r a n a l y s i s may be o b t a i n e d b y f i l m i n g t h e p e r f o r m i n g p l a y e r d i r e c t l y fro m t h e r i g h t s i d e a t a n i n e t y d eg ree sid e r i g h t a n g le .

The e i g h t y - o n e f a c t o r s d e s c r i b e d

on t h e g u i d e s h e e t may be a n a l y z e d fro m t h i s one a c t i o n s h o t . The " e x p e r t ” e s t a b l i s h e s t h e c r i t e r i a f o r t h e r a t i n g s c a l e and s e r v e s a s a m odel f o r t h e " l e a r n e r " and t h e " l e a r n e r " d i a g n o s e s h i s tw o p e r f o r m a n c e s i n t e r m s o f t h e " e x p e r t " p erfo rm an ce.

F o r a m ore e f f e c t i v e d i a g n o s i s o f t h e f i r s t

p erfo rm an ce o f t h e " l e a r n e r , " r e g u l a r i n s t r u c t i o n i n th e fo reh a n d d r i v e i s g iv en th e s tu d e n t b e fo re th e " f i r s t l e a r n e r ” m o ti o n p i c t u r e i s f i l m e d .

L i k e w i s e , f o r a m ore e f f e c t i v e

d ia g n o s is o f th e seco n d p erfo rm an ce o f t h e " l e a r n e r " , th e c o r r e c t i o n o f e r r o r s a n d f u l f i l l m e n t o f r e q u i r e m e n t s on f o r e h a n d d r i v e s k i l l t e s t s a r e t o be made by t h e s t u d e n t b e f o r e t h e f i l m i n g o f t h e " s e c o n d l e a r n e r " m o ti o n p i c t u r e p erfo rm an ce.

S t u d e n t p r o g r e s s i n a c h i e v i n g c o r r e c t fo rm i n t h e f o r e ­ h an d d r i v e may be n o t e d on t h e g u i d e s h e e t by c o m p a rin g t h e num ber o f e r r o r s made on t h e Tff i r s t l e a r n e r ” p e r f o r m a n c e w i t h t h o se made on t h e ” s e c o n d l e a r n e r ” p e r f o r m a n c e .

A com p a r i s o n

o f t h e t y p e s o f e r r o r s m ig h t a l s o i n d i c a t e t h e d e g r e e o f im p ro v e m e n t*

P l a y i n g a b i l i t y may be m e a s u r e d by c o m p a r in g

t h e s c o r e on t h e t h r e e s k i l l t e s t s . The f o r e h a n d d r i v e g u i d e s h e e t i s s u b m i t t e d a s a n e x a m p le o f a d e v i c e t o accom pany slo w m o tio n p i c t u r e s . S im i l a r g u i d e s h e e t s may be c o n s t r u c t e d on t h e o t h e r t e n n i s s t r o k e s a n d i n c o r p o r a t e d i n t o a r e g u l a r t e n n i s pro g ram * The s t r o k e : d e s c r i p t i o n on t h e g u i d e s h e e t may be a d j u s t e d t o c o n fo rm t o i n d i v i d u a l m e th o d s o f i n s t r u c t i o n and t h e p e r f o r m ­ a n c e o f t h e s e l e c t e d Tfe x p e r t . ” may be u s e d .

D iffe re n t s k i l l t e s t s a lso

The v a l u e o f t h e g u i d e s h e e t a s a t e c h n i q u e

f o r t h e e v a l u a t i o n o f s t u d e n t p r o g r e s s i n t e n n i s d e p e n d s on t h e m eth o d o f u t i l i z a t i o n and i n d i v i d u a l ju d g m e n t o f e a c h in stru c to r.

I t i s ho p ed t h a t t h i s g u i d e s h e e t w i l l p r o v e

t o be o f v a l u e t o t h o s e i n s t r u c t o r s i n c o r p o r a t i n g t h e m o tio n p ic tu re in th e te a c h in g s i t u a t i o n . D e ta ils o f in te r e s t to th e in s tr u c to r fo r th e c o n s tru c t­ io n o f t h e fo re h a n d d r i v e r a t i n g s c a l e and t h e p r o d u c tio n o f t h e " e x p e r t ” and t h e " l e a r n e r ” f i l m s a r e o u t l i n e d i n P a r t I o f th e stu d y .

P a r t I I , D ir e c tio n s t o th e S tu d e n ts , c o n ta in s

t h e d e s c r i p t i o n o f a m ethod f o r u s i n g t h e r a t i n g

sc ale *

The g u i d e s h e e t d e v e l o p e d from a n e e d f o r a f u n c t i o n a l d e v ic e f o r use w ith in s tru c to r-m a d e t e n n i s f ilm s .

The s lo w

m o ti o n p i c t u r e s h o t s f i l m e d f o r t h e c o n s t r u c t i o n and u s e o f t h e r a t i n g s c a l e w ere p r o d u c e d by t h e a u t h o r w i t h t h e a s s i s t a n c e o f t e n n i s s t u d e n t s a t M arymount C o l l e g e , Los A n g e les, C a l i f o r n i a . The a u t h o r i s i n d e b t e d t o t h e v a l u a b l e i n f o r m a t i o n r e c e i v e d fr o m t h e p u b l i c a t i o n s o f M iss H e le n D r i v e r on t h e te c h n iq u e o f th e fo rehand d r iv e .

G r a t e f u l ack n o w le d g m e n t

i s made t o D r. C .C . C ra w fo rd o f t h e D e p a r tm e n t o f E d u c a t i o n , U n iv e r s ity o f S o u th e rn C a l i f o r n i a f o r h i s h e l p f u l s u g g e s tio n s an d c o n s t r u c t i v e c r i t i c i s m s , i n t h e p r e p a r a t i o n o f t h i s s t u d y . The A u th o r

IREFACE TO STUDENTS One o f th e s e c r e t s o f f i n e t e n n i s a s d is p la y e d “by to p ­ flig h t

cham pions on th e c o u r t l i e s

i n a sound fo u n d a t io n o f

c o r r e c t l y perform ed te c h n iq u e s o f th e game*

” Good form ”

in c lu d e s a l l th o s e p o in t s in a p a r t i c u l a r te c h n iq u e w h ich c o n s t i t u t e a w e l l - t i m e d , rh y th m ic and a c c u r a te e x e c u t io n o f th a t s k i ll *

Why n o t adop t th e s e c r e t o f th e cham pions and

c o n c e n tr a t e from th e b e g in n in g o f you r t e n n is i n s t r u c t i o n on th e d ev elo p m en t o f c o r r e c t form o f each s tr o k e ? In le a r n in g th e m o st-u se d s t r o k e in th e game, th e f o r e ­ hand d r i v e , you w i l l he c o n c er n e d w ith such d e t a i l s a s how to h o ld th e r a c q u e t , w here t o sta n d and how t o move around on th e c o u r t , how to sw in g th e r a c q u e t , and how to s tr o k e th e b a l l s k illfu lly .

The com p lete a c t i o n i s v e r y rapicd and many

f a c t o r s in th e c o r r e c t e x e c u t i o n o f th e s k i l l a r e d i f f i c u l t t o o b s e r v e d u rin g th e r e g u la r m ovem ent.

A slow m o tio n p ic t u r e

o f th e c o r r e c t p erform an ce p r o v id e s a c o n d it io n f o r a m eaning­ f u l a n a l y s i s o f th e im p ortan t e le m e n ts i n th e a c t i o n and sh o u ld a i d you i n le a r n i n g the s t r o k e .

A slo w m o tio n p i c t u r e

o f y o u r own p erform ance sh o u ld l i k e w i s e a id you i n d is c o v e r s in g th e b a s i s o f any d i f f i c u l t i e s you m ight e n c o u n t e r , and a l s o e n a b le you t o n o te improvement i n your s k i l l d evelop m en t* "A G u id e sh e e t f o r E v a lu a t in g C o r re ct Form o f th e F ore­ hand © r iv e a s I n d ic a te d by Slow M o tio n P i c t u r e s , ” h as b een

d e v is e d to a id you i n su ch an: a n a l y s i s o f th e fo re h a n d d rive* (The slow m o tio n a c t i o n o f th e " e x p e r t” p la y e r p e r fo r m in g th e fo reh a n d d r iv e w i l l be s c r e e n e d and yoa c a n s e e e v e r y d e t a i l i n th e a c t i o n o v e r and over a g a in *

L ik e w is e , you r own

perform ance o f th e fo re h a n d d r iv e i n slo w m o tio n , th e " f i r s t l e a r n e r ” , w i l l be sc r e e n e d *

Yoa can th e n compare y o u r a c t i o n

w ith th e " e x p e r t” by c h e c k in g th e good and bad p o i n t s i n perform ance*

The r e s u l t s o f th e f i r s t com p arison o f th e two

p i c t u r e s w i l l s e r v e a s a g u id e t o th e c o r r e c t io n o f your str o k e *

A f te r you have c o r r e c t e d your e r r o r s and im proved

you r p la y in g a b i l i t y a n o th e r s lo w m o tio n p ic t u r e o f you r p e r fo r m a n c e, th e " sec o n d l e a r n e r ” , w i l l be taken*

R e s u lt s

on the two p e r fo r m a n c e s can be com pared t o h e lp in d ic a t e y o u r improvement i n th e p erform ance o f t h e fo reh a n d d r iv e * I t i s hoped t h a t you w i l l f in d th e u se o f t h i s gu id e — s h e e t and th e two slo w m o tio n p ic t u r e s h o t s o f you r p erform ­ an ce t o be o f v a lu e t o you i n d e v e lo p in g "good form ” o f a fo reh a n d d r iv e *

The Author

1

PART I .

DIRECTIONS TO INSTRUCTORS

HOW TO ADAPT THE FOREHAND DRIVE RATING SCALE TO YOUR INSTRUCTIONAL TENNIS PROGRAM The g u i d e s h e e t h a s b e e n d e s i g n e d f o r y o u r s t u d e n t s b u t t h e y a r e d e p e n d i n g on y o u f o r t h e "know-how11 o f i t s u s e . You a r e r e s p o n s i b l e f o r e s t a b l i s h i n g t h e c r i t e r i a fo reh an d d r iv e . p ic tu re .

You a r e t h e p r o d u c e r o f a n a c c u r a t e " e x p e r t *1

You s c r e e n t h e " e x p e r t 11 p i c t u r e e v e r y d a y d u r i n g

your in s tr u c tio n a l p e rio d s. ances.

of th e

You f i l m t h e " l e a r n e r " p e r f o r m ­

You p r o j e c t t h e p i c t u r e s p r o p e r l y f o r d i a g n o s i s a n d

c o m p a r i s o n , and y o u a s s i s t e a c h s t u d e n t t o c o r r e c t h i s e r r o r s and im p ro v e h i s p e r f o r m a n c e .

F i n a l l y , you e n d e a v o r t o

e v a l u a t e y o u r s tu d e n ts * a c h iev e m e n t i n t h e

sk ill.

You c a n

r e a d i l y see you p la y a v ery im p o rta n t p o s i t i o n i n t h i s e x p e rien c e fo r your s tu d e n ts .

I f t h i s i s your f i r s t a tte m p t

a t m aking and u s i n g y o u r own t e n n i s f i l m s , be n o t d i s m a y e d . F o c u s y o u r a t t e n t i o n on P a r t I f o r a c l e a r s h o t a n d l o t s of fu n .

2

CHAPTER 1 .

CRITERIA FOR THE ACTION OF THE FOREHAND DRIVE

HOW TO SELECT THE PERFORMANCE TO BE FILMED A.

MOTIVATION: A d v a n ta g e s o f m akin g a n i n s t r u c t i o n a l d e v i c e f o r u s e w i t h m o ti o n p i c t u r e s * 1.

OPPORTUNITY FOR STROKE ANALYSIS:

A w e ll c o n s tru c te d

g u id e s h e e t d i r e c t s a t t e n t i o n t o im p o rta n t f a c t o r s in t h e movement# 2.

DEFINITE OBJECTIVES IN THE FOREHAND DRIVE PERFORMANCE: Y our i n s t r u c t i o n w i l l b e m ore e f f e c t i v e i f you p r e s e n t e s s e n t i a l e l e m e n t s o f y o u r c o n c e p t o f c o r r e c t form#

* 3.

CORRECT CONCEPTION OF PERFORMANCE:

I f an a c c u ra te ;

e x am p le o f fo rm and t e c h n i q u e o f t h e f o r e h a n d d r i v e i s p r e s e n t e d t h e s t u d e n t s w i l l e s t a b l i s h i n t h e i r m in d s a c o r r e c t i m p r e s s i o n o f t h e s t r o k e a s a w hole# 4#

ENCOURAGEMENT IN SKILL PROFICIENCY:

S tu d e n ts w i l l

a s p i r e t o f o l l o w t h e e x am p le o f t h e " e x p e r t " perform * ance o f th e forehand d riv e because i t

serv es as a

m odel f o r i m i t a t i o n an d a g o a l t o w a r d w h ic h t o work# B,

DIRECTIONS:

Some p o i n t e r s on how t o a r r a n g e f o r t e a c h i n g

t h e f o r e h a n d d r i v e w i t h t h e a i d o f m o ti o n p i c t u r e s # 1.

STANDARDS OF ACHIEVEMENT FOR THE "EXPERT" PERFORMANCE: How t o e s t a b l i s h c r i t e r i a f o r t h e " e x p e r t " p e r f o r m a n c e o f th e fo reh an d d r iv e . a.

F o llo w p o i n t s i n p e r f o r m a n c e a s i n d i c a t e d i n S e c tio n I o f th e g u id e s h e e t#

(S e e E x h i b i t A .)

NAME __________________ A GUIDESHEET FOR EVALUATING CORRECT FORM OF THE FOREHAND DRIVE AS INDICATED BY SLOW MOTION PICTURES

Summary o f r a t i n g s D ire c tio n s: E n t e r " l e a r n e r ” p e rf o r m a n c e s c o r e s f o r e a c h P a r t o f t h e p e rf o r m a n c e i n t h e a p p r o p r i a t e c o lu m n . P a r t s o f perfo rm an ce

Tne f o o tw o r k

"S eco n d l e a r n e r ” p erfo rm an ce D ate

EXHIBIT A GUIDESHEET

I . The E a s t e r n "sh ak e-h an d s” g rip 3. The s t a n c e

"F irst le a rn e r” p e rf o r m a n c e D ate

D. The b a c k s w in g 5. The fo r w a r d sw in g F. B a l l c o n t a c t 1. The f o l l o w - t h r o u g h FI. T im ing T o ta l sc o re 03

2 . F i n g e r s and thum b w rapp ed a r o u n d h a n d l e , fin g e rs se p a ra te d . 3 , Palm i s on back o f h a n d le .

4 . K n u c k le s i n a s l a n t i n * p o sitio n acro ss f l a t sid e o f ra c q u e t.

A ( c o n t in u e d )

1 . P la y e r ” sh ak es-h an d s” w ith ra c q u e t w ith r i g h t hand n e a r end o f h a n d le .

EXHIBIT

A GUIDESHEET FOR EVALUATING CORRECT FORM OF ThE FOREHAND DRIVE AS INDICATED BY SLOW MOTION PICTURES SECTION I I |1 SECTION I I I SECTION I A n a ly sis o f th e ”f i r s t 11 A n a l y s i s o f t h e " s e c o n d A n a l y s i s o f t h e TTe x p e r t ” p erfo rm an c e l e a r n e r ” p e rf o r m a n c e | | l e a r n e r ” p e rf o r m a n c e (iolumn 3 Column 4 (iolumn !d Column j? Column 1 Mark Mark ( s ) D ire c tio n s: Check ( i/') i f co rp o i n t s i n l e f t column a f t e r ir ef c tc o: r ­ second s c r e e n in g . T V V if I* ) if in co rre c j in c o rre c t A. THE EASTERN ” SHAKE-HANDS1 GRIP R a c q u e t i s b e i n g h an d ed to a p la y e r. Edge o f ra c q u e t p o in ts t o grou n d , S trin g s face o u t.

SECTION I A n a ly sis o f th e " e x p e rt" n e rf o r m a n c e Column 1

SECTION I I A n a ly sis o f th e " f i r s t l e a r n e r " p erfo rm an ce column 3 Column 2

SECTION I I I A n aly sis o f th e "second l e a r n e r " p erform ance column > Joiumn %

___5 . K n uckle o f f i r s t f i n g e r n e a r to p o f back p l a t e o f h a n d le .

B.

STANCE

___ 2 . M id d le o f c o u r t .

___ 3 . F a c in g n e t and o p p o n e n t.

A (c o n t in u e d )

___ 1 . S t a n d i n g 1 -3 f e e t i n back o f b a s e lin e .

EXHIBIT

GRIP SCORE T o ta l in c o r r e c t ( X ) checks i n PART A.

___ 4 . Knees b e n t .

___ 5# F e e t a b o u t 18" a p a r t .

Ol

SECTION I A n a ly sis o f th e " e x p e r t” p e rf o r m a n c e uoiumn 1

SECTION 11 A n a ly sis o f th e " f i r s t l e a r n e r " p erfo rm an ce column ^oiumn

SECTION i l l A n a ly sis o f th e "second l e a r n e r " p erfo rm an ce column > column %

7 * R a c q u e t s u p p o r t e d by l e f t hand a t t h r o a t o f rac q u e t* ___ $ . R i g h t hand h o l d s r a c q u e in a d ia g o n a l p o s itio n away from body* ___ 9 . R a c q u e t h e l d i n p o s i t i c i midway b e tw e e n s h o u l d e r s and k n e e s . STANCE SCORE T o ta l i n c o r r e c t ( X ) checks i n PART B. C.

(penuiinoo) y JieiHxa

___ 6 . Body w e i g h t f o r w a r d on to es*

FOOTWORK

___ 1 . Body p o s i t i o n i s t o sid e o f b a l l .

___ 2 . R i g h t f o o t s t e p s o u t r i g h t to w a r d s i d e l i n e s ,, o>

SECTION I A n a ly sis o f th e " e x p e rt" p erfo rm an ce Column 1

■"SECTION I T ..............A n aly sis o f th e " f i r s t L earner" p erfo rm an ce

JOiumn

O O JLU IU Ii

}

3ECTI0N I I I A n a ly sis o f th e "second l e a r n e r ” p e rf o r m a n c e Column 5 Jolumn k

___ 3 . R ig h t f o o t p a r a l l e l w ith n e t.

___ 5* R i g h t knee i s b e n t .

___ 7 . L e f t k n ee i s b e n t d u rin g e x e c u tio n o f f o r w a r d s w in g . ___ 3 . L e f t knee i s b e n t d u rin g e x e c u tio n o f th e fo llb w th ro u g h . ___ 9 . R i g h t t o e b a l a n c e d on c o u rt d u rin g fo llo w th ro u g h .

A (c o n tin u e d )

___ 6 . W eight t r a n s f e r r e d t o l e f t fo o t as l e f t foo t s t e p s t o w a rd n e t .

EXHIBIT

___ 4 . Body p i v o t s t o r i g h t in to a le f t- s h o u ld e r to -n e t p o s itio n .

SECTION i A n aly sis o f th e " e x p e r t” p erfo rm an c e Uwlumn 1

SEOtiuw i i A n a ly s is o f t h e " f i r s t .e a rn e r" p erfo rm an ce uuiumu } >UJLUII1H c) c h e c k s

THE BACKSWING

___ 1 . From " w a i t i n g p o s i t i o n " r a c q u e t i s sw ung s t r a i g h t back to r i g h t . ___2 . R a c q u e t i s i n l i n e w i t h s id e w a y s p o s i t i o n o f body.

A (c o n t in u e d )

FOOTWORK SCORE F o ta l in c o r r e c t i n PART C

EXHIBIT

___ 1 1 , L e f t f o o t r e t u r n e d back t o " w a itin g p o s itio n ."

___3 . R a c q u e t i s a b o u t w a i s t h ig h . ___ 4 . R a c q u e t . b a c k sw in g i s e x e c u te d a s r i g h t f o o t s t e p s o u t r i g h t to w a rd sid e lin e s #

GO

SECTION I 1 " A n a ly sis o f th e " e x p e rt" perfo rm an ce uoiumn 1

..

SECTION 11 A n a ly sis o f th e " f i r s t l e a r n e r " p e rf o r m a n c e uoiumn j ;oiumn d

sniUTiuN i l l A n a ly sis o f th e "second l e a r n e r " p erfo rm an ce uoiumn 7 uoiumn

___ 5 . R a c q u e t arm i s f u l l y e x t e n d e d away fro m body ___ 6 . Elbow i s

s l i g h t l y b e n t. EXHIBIT

___ 7 . R a c q u e t h e a d i s s tr a ig h t faced.

9 . W rist in a h y p e re x te n d ­ ed p o s i t i o n a t end o f b a c k s w in g . 1 0 . S l i g h t p a u s e a t end o f b a c k s w in g t o l i n e up r a c q u e t b e h in d b a l l . ___ 1 1 . L e f t arm away f r o m body f o r b a l a n c e . /

A ( c o n tin u e d )

S. R a c q u e t h e ad i s r a i s e d s l i g h t l y h ig h e r th an w r i s t a t end o f b a c k ­ s w in g .

SECTION A n aly sis o f th e p erfo rm an ce uo-Lumft BACKSWING SCORE T o ta l in c o r r e c t i n PART D E.

I " e x p e r t* 1

...... .....SECTION 1 1 A n a l y s i s o f t h e rTf i r s t t l e a r n e r tT p e rf o r m a n c e fUXUUUl Column 3

............SECTION I I I A n a ly sis o f th e "second l e a r n e r " p erfo rm an ce tubulin! l) >o±umn

( X ) checks

THE FORWARD SWING

2 . L e f t kn e e i s b e n t .

4 . R a c q u e t i s swung c o n ­ t i n u o u s ly forw ard in a s t r a i g h t l i n e t o m eet th e b a ll. ___ 5. R a c q u e t h e a d i s s tr a ig h t faced . ___ 6 . R a c q u e t arm i s f u l l y e x te n d e d away fro m bod; .

A ( c o n t in u e d )

3. C e n te r o f r a c a u e t i s lin e d up sq u a re ly b e h in d b a l l a c c o r d i n g to h e ig h t a t w h ich b a l l w i l l be h i t .

EXHIBIT

___ 1 . Body w e i g h t t r a n s f e r r e c to fo tw ard ( l e f t ) fo o t,

SECTION I A n a ly s is o f t h e ”e x p e r t ” D erform ance Column 1 ___ 7 . S l i g h t bend i n e lb o w .

___ 9 . L e f t arm away f r o m body f o r b a l a n c e . ___ 1 0 . U pper t r u n k i s e r e c t .

FORWARD SWING SCORE T o t a l i n c o r r e c t ( >

SECTION I I I A n a ly sis o f th e "second l e a r n e r " p e rf o r m a n c e column A Column 5

5. C e n t e r o f r a c q u e t i s l i n e d u p b e h in d b a l l d u r i n g f o r w a r d swing,

___7 . B a l l i s r i s i n g from i t s bounce.

___ 9* R a c q u e t c o n t a c t s b a l l a t p o in t about w a ist h ig h . ___1 0 . R a c q u e t c o n t a c t s b a l l d i r e c t l y o p p o site th e le f t fo o t. ___ 1 1 . R a c q u e t c l o s e s o v e r b a l l i m m e d ia te l y a f te r stro k in g .

A (co n tin u e d )

___£ . B a l l i s s t r o k e d a t th e to p o f i t s bounce.

EXHIBIT

6 . Body w e ig h t t r a n s f e r ­ red to l e f t fo o t b e f o r e r a c q u e t c o n ta c t s b a ll.

SECTION I A n aly sis o f th e " e x p e rt" p erfo rm an ce Column 1

SE C T IW T lJl ..... ■ " A n a ly sis o f t h e " f i r s t l e a r n e r " p erfo rm an ce Column 3 iolumn 2

SECTION I I I A n a ly sis o f th e "second l e a r n e r " p erfo rm an ce olumn 4 Column 3

___1 2 , Body w e i g h t r e m a in s on l e f t f o o t d u r i n g c o m p le te f o l l o w th ro u g h EXHIBIT

TIMING SCORE T o t a l i n c o r r e c t (>0 c h e c k i i n PART H

A (co n tin u e d )

18

(1)

E s ta b lis h th e d e t a i l s o f th e E a s te rn g r ip as o u tlin e d in S e c tio n I , P a rt A o f th e g u id e sh e e t. a*

The g r i p i s p r o d u c e d i n a s e p a r a t e , sc en e and t h e p o i n t s f o r a n a l y s i s a r e t h o s e b a s e d on t h e p i c t u r e .

(S e e

E x h i b i t C, S c e n e # 1 . ) (2 )

D e te r m in e t h e a c t i o n o f t h e s t r o k e f r o m a t o s s by a n o t h e r p l a y e r t o t h e " e x p e r t ” who assum es t h e c o r r e c t " w a itin g p o s i t i o n , ” stro k e s th e b a ll as i t

is to sse d in to a

s p e c i f i e d a r e a t o h e r f o r e h a n d and r e t u r n s t o t h e same " w a i t i n g p o s i t i o n . ”

(S e e

C h a p t e r 3> C 3 .) (3)

E s t a b l i s h t h e a c t i o n p erfo rm an ce f a c t o r s pn P a r t s B ,C , D, E , F, G, and H a s o u tlin e d .

(4 )

Check t h e p e r f o r m a n c e p o i n t s on g u i d e s h e e t t o d e te rm in e w h e th e r t h e f a c t o r s in c lu d e d a r e t h o s e you w i s h t o t e a c h .

(S e e C h a p t e r

2 , B 2 b .) b.

Mark t h e t e n n i s c o u r t f o r t h e t o s s . (1)

(S e e E x h i b i t B ) .

C h a lk a r e c t a n g l e 4* x 4 r a t a p o i n t 8 * fro m t h e b a s e l i n e and 4 f fro m t h e c e n t e r o f t h e c o u rt f o r p lacem en t o f th e t o s s .

19

EXHIBIT B COURT • MARKING FOB THE PERFORMANCE OF THE FOREHAND DRIVE

H Q ; If

41

"A" 4»

4!



«Xn Position for performing player II A I !

Area into which ball must bounce

IITH

Position for the tosser

20

(2)

C h a lk a n "X" a b o u t 3 * b e h in d b a s e l i n e i n c e n te r of c o u rt f o r th e p erfo rm in g p l a y e r .

(3)

C h a lk a “ T” 4* fro m t h e c e n t e r o f t h e c o u r t on t h e o t h e r s i d e o f t h e n e t f o r t h e " t o s s e r . "

c.

S e l e c t a n " e x p e r t 11 a s y o u r s u b j e c t t o demon­ s t r a te th e fo reh an d d riv e .

d.

(1 )

Choose a n a d v a n c e d p l a y e r i n y o u r c l a s s .

(2 )

Choose a c h a m p io n .

(3 )

Do i t y o u r s e l f .

D e m o n s t r a t e t h e s t r o k e fro m b e g i n n i n g t o e n d f o r t h e " e x p e r t ."

e.

(S e e C h a p t e r 3 5 CS)

Have " e x p e r t 11 p r a c t i c e -w hile y o u o b s e r v e t h e f i n e r p o i n t s i n t h e p erfo rm an ce o f t h e fo re h a n d d riv e . (1)

C a u tio n :

T h i s p h a s e i s m ost i m p o r t a n t .

s p e c i f i c a s t o t h e c o r r e c t fo rm f ro m t h e b e g i n n i n g o f t h e s t r o k e t o t h e end o f t h e stro k e .

T h is p erfo rm an ce i s th e e x a m p le .

(S e e C h a p t e r 2 , B 2 b .) 2.

STANDARDS OF ACHIEVEMENT FOR THE "LEARNER" PERFORMANCES:

How t o p r o v i d e f o r a n a c c u r a t e

" l e a r n e r ” p erfo rm an ce of t h e f o r e h a n d d r i v e . a.

P erform th e fo re h a n d d r iv e a s in d ic a te d i n S e c tio n I of th e g u id e s h e e t.

b.

(S ee E x h i b i t A .)

P re p a re th e " l e a r n e r " f o r th e f ilm in g of th e

Be

21

“f i r s t l e a r n e r ” p e r f o r m a n c e o f t h e f o r e h a n d d riv e . c.

(S e e C h a p t e r 3 . )

U se t h e same b a s i s f o r t h e p e r f o r m a n c e o f t h e “ l e a r n e r ” fo re h a n d d r iv e a s t h a t d e m o n stra te d by t h e “ e x p e r t . 1*

d.

(S ee C h a p t e r I , B la ( 2 ) . )

Use t h e “e x p e r t ” f i l m e v e r y d a y d u r i n g in s tr u c tio n a l p e rio d s.

3.

SOURCES FOR THIS CHAPTER:

Where t o g e t f u r t h e r

a ssista n c e . a.

Adams, T h u r s t o n s E d u c a tio n .

M o tio n P i c t u r e s i n P h y s i c a l

B ureau of P u b l i c a t i o n s , T ea ch e rs

C o l l e g e , C o lu m b ia U n i v e r s i t y , New Y o r k , 1 9 3 9 . 57 p p .

(A s u g g e s t e d m ethod o f t e a c h i n g t h e

t e n n i s s e r v e w i t h s c h o o l- m a d e f i l m s . ) b.

A d k i n s , D o r o th y C . : o f A c h ie v e m e n t T e s t s .

C o n s t r u c t i o n and A n a l y s i s G overnm ent P r i n t i n g O f f i c e ,

W a s h i n g t o n , D, C . , 1 9 4 7 .

(A U .S . C i v i l S e r v i c e

M a n u a l.) c.

B ro w n e , Mary K . :

“How I I n s t r u c t My T e n n i s

C l a s s e s , an d B a t t l e - B o a r d T e n n i s . ”

Jo u rn a l of

H e a lth . P h y s i c a l E d u c a tio n and R e c r e a t i o n , 6: 27-28 (J u n e , 1 9 3 5 ). d.

D r i v e r , H e len :

T e n n is f o r T e a c h e rs .

T en n is

f o r T e a c h e r s , H e le n D r i v e r , c / o M a r g a r e t M e y e r, F r o s t W oods, M a d iso n 4 , W i s c o n s i n .

1949.

2 19 P P .

22

(A v e r y v a l u a b l e b ook f o r t h e i n s t r u c t o r on b e g i n n i n g and a d v a n c e d s t r o k e s , t a c t i c s a n d o r g a n i z a t i o n o f t e n n i s p ro g ram s*

D e sc rip tio n

o f form e x c e l l e n t * ) e*

E d g r e n , H. D .:

" T e n n i s T e c h n iq u e * 11

Jo u rn al of

H e a l t h * P h y s i c a l E d u c a t i o n and R e c r e a t i o n . 5 * 3 0 -3 1 C^ay, 1 9 3 4 ) .

( S u g g e s t i o n s on t e c h n i q u e

t o b e g i n n e r s , a v e r a g e and s u p e r i o r p l a y e r s . ) f*

H u e l s t e r , L aura J . : P r o j e c t s . 11

"A m ateu r M o tio n P i c t u r e

J o u rn a l of H e a lth . P h y s ic a l E d u c a tio n

a n d R e c r e a t i o n . 9*494 ( O c t o b e r , 1 9 3 $ ) .

(S u g g e st­

i o n s bn t h e p r e p a r a t i o n f o r f i l m i n g " l e a r n e r " p ic tu re s .) g.

H u p p e ric h , F lo r e n c e : T each in g T e n n is ."

"Use o f V i s u a l A i d s i n

J o u rn a l of H e a lth . P h y s ic a l

E d u c a t i o n and R e c r e a t i o n . 1941).

1 2 :9 0 -9 7 ( F e b ru a ry ,

( E x c e l l e n t s u g g e s t i o n s on m e th o d s o f

u s i n g m o tio n p i c t u r e s i n t e a c h i n g t e n n i s . ) h.

L o c k h a rt, A ile e n e :

"The V a lu e o f t h e M o tio n

P i c t u r e a s a n I n s t r u c t i o n a l D e v ic e i n L e a r n i n g a M o to r S k i l l . "

The R e s e a r c h Q u a r t e r l y o f t h e

A m e ric a n A s s o c i a t i o n o f H e a l t h . P h y s i c a l E d u ­ c a t i o n and R e c r e a t i o n . 1 5 :1 8 1 - 1 8 8 (May, 1 9 4 4 ) . (A s t u d y t o d e t e r m i n e t h e v a l u e o f t h e m o tio n p i c t u r e a s a n a i d t o l e a r n i n g a b o w lin g s k i l l . )

i.

P r i e b e , Ray E . , a n d W i l l i a m H. B u r t o n :

"The

Slow M o tio n P i c t u r e a s a C o a c h in g D e v i c e . 11 S c h o o l R e v ie w . 4 7 : 1 9 2 -1 9 8 (M a rch , 1939 )* (An a n a l y t i c a l s t u d y t o d e t e r m i n e v a l u e o f slow* m o ti o n p i c t u r e w i t h r e f e r e n c e t o t h e h i g h ju m p .) j.

T i e g s , E r n e s t W.s

T e s t s and M e asu rem en t i n t h e

Im p ro v em en t o f L e a r n i n g . B o sto n , 1939.

H o u g h to n M i f f l i n C o . ,

(Good s u g g e s t i o n s on c o n s t r u c t i o n

and u s e o f r a t i n g s c a l e s . )

C.

ACTIVITY ASSIGNMENTS:

A c t i v i t i e s t o h e lp you d e v e lo p

y o u r own s t a n d a r d s o f a c h ie v e m e n t f o r t e n n i s s k i l l s . 1.

D e v is e a g u i d e s h e e t a c c o r d i n g t o y o u r m ethod o f te a c h in g th e fo rehand d r iv e .

2.

D e v is e a g u i d e s h e e t a c c o r d i n g t o t h e f o r e h a n d d r i v e d e m o n s t r a t i o n o f y o u r s e l e c t e d " e x p e r t . 11

3.

D ev ise a g u id e s h e e t f o r t h e backhand d r i v e ; f o r th e se rv ic e .

4.

S e l e c t a good r e n t a l t e n n i s m ovie a n d d e v i s e a g u i d e s h e e t f o r t h e p e r f o r m a n c e o f t h e c h a m p io n .

D.

EVALUATION:

A c h e c k -u p on your a b i l i t y t o s e l e c t th e

perform ance t o be e v a l u a t e d . 1.

TRUE-FALSE: or f a ls e .

P la c e X in th e c o r r e c t space f o r tr u e

24

T a.

F

( ) ( )

The s t a n d a r d s o f a c h i e v e m e n t f o r t h e “ e x p e r t ” p e r f o r m a n c e a s i n d i c a t e d on t h e g u i d e s h e e t s h o u l d c o n fo rm t o t h e t e a c h e r * s m ethod o f i n s t r u c t i o n ,

h.

( ) ( )

The f i n a l c r i t e r i a o f t h e “ e x p e r t ” p erfo rm an ce of th e fo re h a n d d r iv e s h o u l d be e s t a b l i s h e d b e f o r e t h e “e x p e r t ” p i c t u r e i s f ilm e d .

c.

( ) ( ) The a c t i o n o f t h e f o r e h a n d d r i v e s h o u l d be d e t e r m i n e d f r o m a s e l f t o s s o f t h e b a l l by t h e p e r f o r m i n g p l a y e r .

d.

( ) ( ) The s e l e c t i o n o f a s p e c i f i e d a r e a f o r t h e t o s s s h o u ld h e l p t o s e c u r e a b o u n c e th a t i s a s id e a l a s p o s s ib le f o r th e p erfo rm in g p l a y e r .

e.

( ) ( ) A c o r r e c t c o n c e p tio n of th e a c tio n o f th e f o r e h a n d d r iv e sh o u ld f a c i l i t a t e th e l e a r n in g of th e s k i l l .

f.

( ) ( ) The “f i r s t l e a r n e r * 1 p i c t u r e s h o u l d be f i l m e d b e f o r e t h e s t u d e n t h a s become f a m ilia r w ith th e a c tio n of th e s tro k e .

g.

( ) ( )

The s t a n d a r d s o f a c h i e v e m e n t f o r t h e two " l e a r n e r ” p e r f o r m a n c e s o f the f o r e ­ hand d r i v e daould be t h e same a s t h e

25

T

F c r i t e r i a f o r t h e we x p e r t l* p e r f o r m a n c e .

h.

( )

( ) S c r e e n i n g t h e “ e x p e r t 11 p i c t u r e d u r i n g e v e ry o t h e r i n s t r u c t i o n a l p e rio d sh o u ld sa v e t im e f o r t h e i n s t r u c t o r .

i.

( )

( ) A t e a c h e r d e m o n s tr a tio n and e x p la n a t i o n o f t h e f o r e h a n d d r i v e s h o u l d be g i v e n t o t h e s e l e c t e d “e x p e r t . 11

j.

( )

( ) The a n a l y s i s o f t h e “e x p e r t 11 p e r f o r m a n c e o f t h e fo reh a n d d r i v e on t h e g u i d e s h e e t s h o u l d be d i v i d e d i n t o e i g h t d i f f e r e n t p a rts.

26

CHAPTER 2 .

THE MECHANICS OP THE MOVIE MAKING OPERATION

HOW TO MAKE YOUR OWE INSTRUCT IONAL TENUIS FIIMS A.

MOTIVATION:

G oals w hich you may a t t a i n i f you m a ste r

t h e t e c h n i q u e s o f -p rod u ction and - p r o j e c t io n o f your i n s t r u c t io n a l te n n is film s# 1*

INDIVIDUALIZED INSTRUCTION:

The more p e r s o n a l your

i n s t r u c t i o n t h e g r e a t e r w i l l be th e r e t u r n i n in d iv id u a l stu dent le a r n in g . 2.

FACILITATION IN THE TEACHING OP SKILLS:

E ffe c tiv e

m ethods o f i n s t r u c t i o n can be d e v e lo p e d i f you a r e i n g e n i o u s i n t h e u se o f slo w m o tio n p i c t u r e s f o r tea c h in g s p o r ts s k i l l s . 3.

DEVSLOIMENT OP TEACHING MATERIALS;

I f you m a s te r th e

t e c h n i q u e s o f u s i n g m o tio n p i c t u r e s f o r t e a c h i n g the fo re h a n d d r i v e you ca n expand your p h o to g r a p h ic e f f o r t s t o o t h e r s p o r t s and o t h e r f i e l d s . 4.

EFFECTIVE TENNIS PICTURES:

The s lo w m o tio n s h o t s you

produce y o u r s e l f can be more u s e f u l th a n th e f i l m s you r e n t or buy i f you a r e c a p a b le i n h a n d lin g th e eq u ip m en t. 5.

SAVING OP INSTRUCTIONAL TIME:

The tim e consumed i n

h a n d lin g th e d e v i c e s can be e x p e d i t e d i f you m a ste r s k i l l f u l l y the t e c h n i q u e s o f m a n i p u l a t io n . 6.

LESS EXPENSE:

The c o s t may be l e s s th a n e x p e n d i t u r e s

f o r th e r e n t a l o f " p r e s e n t a t i o n " f i l m s .

27

B♦

DIRECTIONS:

Some e s s e n t i a l s on a r r a n g i n g f o r t h e u s e

o f th e forehand d riv e r a t i n g s c a l e . 1.

MOVIE EQUIPMENT NEEDED:

How t o p r o v i d e d e v i c e s f o r

u sin g th e fo reh an d d riv e r a t i n g a.

sc a le .

S e l e c t a 16 mm. m o v ie c a m e ra w i t h t h e f o u r d i f f e r e n t s p e e d r a t e s , 1 6 , 2 4 , 3 2 , and 6 4 . (1 ) A V i c t o r M odel Number 4 was u s e d by t h e a u th o r f o r t h i s s c a le .

b.

S e le c t a sta n d a rd o n e -in c h le n s f o r u sin g t h i s s c a l e f o r b o th t h e " E x p e r t" and t h e " l e a r n e r " p ic tu re s.

c.

S e l e c t 16 mm. C in e Kodak S u p e r XX P a n c h r o m a ti c b la c k and w h ite f i l m .

(T h is ty p e e s p e c i a l l y

recom m ended f o r b l a c k an d w h i t e s p o r t s p i c t u r e s . ) d.

I n v e s t i n a l i g h t w e i g h t t r i p o d w i t h a m o v e a b le h e a d w h ic h c an be e x t e n d e d t o a h e i g h t o f f i v e feet •

e.

Use t h e r e g u l a t i o n s c r e e n fro m s c h o o l e q u ip m e n t . (A l i g h t

c o l o r e d w a l l i n a s e m i - d a r k room i s

a lso s u i t a b l e .) f.

S e l e c t a r e g u l a r c la ss ro o m o r any c o n v e n ie n t room a s c l o s e a s p o s s i b l e t o t h e t e n n i s c o u r t s .

g.

C hoose a s m a l l p o r t a b l e 16 mm. s i l e n t p r o j e c t o r w i t h a r e v e r s e s w i t c h and a " s t o p - f r a m e " d e v i c e . (1 ) A K e y s to n e M odel K-160 was u s e d by t h e a u t n o r * ;

28

2.

PRODUCTION OF THE "EXPERT" FILM:

How t o make t h e

"e x p e rt" p ic tu re * a.

Have command o f t h e u s e o f y o u r m o ti o n p i c t u r e cam era a n d a n a c q u a i n t a n c e w i t h e l e m e n t a r y p n o to g rap h y .

( I f you a r e i n e x p e r i e n c e d d o n ’t

h e s i t a t e on t h i s a c c o u n t .

Many go od b o oks a r e

a v a i l a b l e on t h e s u b j e c t . ) b.

F o llo w t h e f a c t o r s on t h e g u i d e s h e e t f o r t h e a c t i o n t o be f i l m e d . (1)

(S e e E x h i b i t A .)

F ilm t h e " e x p e r t " p e r f o r m a n c e b e f o r e e s t a b l i s h i n g y o u r f i n a l c r i t e r i a on t h e s t r o k e a s m in o r c h a n g e s may b e made a c c o r d ­ in g to th e d e t a i l s o f th e " e x p e rt" p erfo rm ­ a n c e and t h o s e you w is h t o t e a c h .

c.-

P la n a s c r i p t d e s c r i b i n g t h e c o n te n t and seq u ence o f s c e n e s , t h e a c t i o n t o be film e d and y o u r cam era a d j u s t m e n t s .

di

F o llo w t h e d i r e c t i o n s f o r f i l m i n g a c c o r d i n g t o t h e d e s c r i p t i o n on t h e p r o d u c t i o n s h e e t .

(S ee

E x h i b i t G. ) (1 )

I n s t r u c t i o n s on t h e p o s i t i o n o f s u b j e c t and cam era, t h e a n g le s , sp e e d , and ty p e o f s h o t sh o u ld n o t be changed f o r u s e o f t h e r a t i n g sc a le .

O th e r d e t a i l s w i l l v a ry a c c o rd in g t o

y o u r e n v ir o n m e n t and t y p e o f c am era u s e d .

A SAMPLE PRODUCTION SHEe T FOR FILMING THE "EXPERT" DEMONSTRATION PICTURES OF THE FOREHAND DRIVE USING A 16 MM. CAMERA WITH A ONE-]:NCH f / 1 . 5 LENS CAMERA DESCRIPTION: OF SCENE DESCRIPTION OF SHOTS ADJUSTMENTS D a t e

T e c: h a n n i d n q 0. u e

S c e n e

S u b j e c t s

A W T s e i s a a m 1 t n e s h d e t a i ■r n t

A n g 1 e.

T D y i p a s e n t d a s n h c o e t

H e l g h t

S P e e d

D l a P h. s t 0 P

F 0 0 t a g e

S u b j e c t and cam era p o sitio n s

T* P3 O a a o h

1 9/ 24/ 49

G r ip Ja n e Mary

Sunny Face C lo s e r a c - up 10 am ► quet g rip 5*

5* 16 f / u

2 f S u b je c t f a c e s c a m e ra .S u b je c t i s b e i n g h an d ed a r a c q u e t from h e r r i g h t s i d e . T h i s v iew shows f i n g e r s i d e . S u b je ct moves r a c q u e t a c r o s s body t o l e f t sho w in g k n u c k le s i d e . S u b ­ j e c t d r o p s r a c q u e t h e a d down i n f r o n t o f h e r t o show t o p v ie w o f w r i s t a n d h a n d . Sub j e c t — TfXTr £ 1f - Camera

"A" ^— A s s i s t a n t i s h a n d in g r a c q u e t to s u b je c t.

g w

ffi

t?d

H ffi M td M H3 O

S

ro

vO

------------------------------------1 SAMPLE PRODUCTION S H O T ....

FOR FILMING THE "EXPERT,T DEMONSTRATION PICTURES OF THE FOREHAND DR1TE _______________ USING A 16 MM CAMERA WITH A ONE-INCH f / 1 . 5 LENS_________ GAMERA DESCRIPTION OF SHOTS 'DESCRIPTION OF SCENE ADJUSTMENTS D a t e

e c h a n n e i d c t n q s o. u e

244

. Mary

W e a a t n h d e r

T i m e

Same

40

Anna

A n g 1 e

T

y p s h o t

H e i g h t

S P e e d

90 S e m iie g r e i lo n g sid e at rig h 25r

D i a. P h. s t o P

F o o t a g e

f/3 1 4 0 tr

S u b j e c t an d cam era p o sitio n s

C (co n tin u ed )

F.H. d riv e

9/

A s s i s t a n t

EXHIBIT

S c e n e

S u b je ct

.0 A rea

T osser

C a m e r a 01 (S e e C h a p te r 3> C3)

4

samei 131

Same

Same

Same

Same Same 3ame L6

Same

Same

Same

Same Same ^ame 64 same

Same Same o

31

e.

R e c o rd d a t a on t h e d e s c r i p t i o n o f s c e n e . ” {1)

D a te:

(2)

S c e n e nu m b er: scene.

R e c o rd d a t e o f t h e f i l m i n g . R e c o rd t h e num ber o f e a c h

P la n th e sequence f o r th e p u rp o se o f

th e use o f th e p i c t u r e s .

(The i n d i c a t e d

sequence w i l l f a c i l i t a t e th e h a n d lin g o f th e ” film l o o p .n (3)

See C h a p t e r 2 , B 4 b .)

T e c h n iq u e a n d s u b j e c t s :

In d ic a te th e

p a r t i c u l a r t e c h n i q u e and names o f s u b j e c t s p erfo rm in g t h a t te c h n iq u e . (4)

A ssista n t:

R e c o rd name o f a s s i s t a n t who i s

h e lp in g in th e a c tu a l p ro d u c tio n o f th e f ilm . ( I f p o s s i b l e , t r a i n o ne a s s i s t a n t t o h e l p you make a l l o f t h e p i c t u r e s . ) (5 )

W e a th e r a n d t i m e :

R ecord t h i s in f o r m a tio n

f o r y o u r c o n v e n i e n c e i n c h e c k in g y o u r f i n i s h e d p i< c tu re f o r p r o p e r e x p o s u r e . f.

R e c o rd d a t a u n d e r ” cam era a d j u s t m e n t s . ” (1)

A n g le :

The i n d i c a t e d a n g l e s h a v e b e e n

s e l e c t e d t o show s p e c i f i c d e t a i l s .

For th e

g r i p , f a c e t h e c a m e ra l e n s d i r e c t l y on t h e han d and r a c q u e t r e g a r d l e s s o f how l i t t l e body o f s u b j e c t i s show n.

For a l l th e d r iv e

s h o t s , t h e 90 d e g r e e , s i d e r i g h t a n g l e , a s i d e v ie w s h o t , i s recommended t o show a l l

32

o f th e f a c t o r s on th e g u i d e s h e e t •

(S e e

E x h ib it D .) ( 2)

(5)

Type

sh o t and d i s t a n c e :

typ e

sh o t f o r th e g r i p , about f i v e t o s i x

feet

from th e s u b j e c t *

typ e

s h o t f o r the d r i v e , about t w e n t y - f i v e

feet

from t h e s u b j e c t *

H e ig h t :

Use a " c l o s e - u p ”

Mfce a ”s e m i-lo n g "

( S e e E x h ib it D . )

For the g r i p , v a r y the h e ig h t o f

tjje t r i p o d a c c o r d in g t o th e h e i g h t o f ° t h e d e s ir e d a c tio n #

For th e d r i v e , e x t e n d t h e

t r i p o d to a f i v e f o o t h e i g h t t o o b t a i n an " e y e -le v e l” p ic tu r e.

(E xperim ent w ith the

a c t i o n b e f o r e s h o t i n g th e s c e n e s o t h a t you a r e s u r e to o b t a i n th e f u l l a c t i o n w i t h i n th e one p i c t u r e * ) (4)

Speed:

F ilm the g r i p s h o t s a t 24 sp e e d t o

in su r e s u f f i c i e n t le n g th f o r s p l i c i n g v iew s on f i l m l o o p .

( I f you do not want a g r i p

v ie w on t h e f i l m l o o p , f i l m the g r i p s h o t a t 16 s p e e d * )

F ilm th e fo r e h a n d d r iv e s h o t s

a s in d ic a te d .

Use th e 32 sp ee d s h o t f o r t h e

f ilm lo o p .

Use th e 16 and 64 sp e e d s h o t s

f o r th e f i r s t d e m o n s t r a t io n p i c t u r e s and f o r c o m p a riso n . (5)

Diaphragm s t o p ;

(Bee Chapter 3 , B l a , b . ) R ecord the l e n s o p e n in g

33

EXHIBIT D "SEMI-LONG" TYPE SHOT OF THE FOREHAND DRIVE

34

you u s e on y o u r c a m era f o r e a c h s c e n e t o f a c i l i t a t e re c h e c k in g y o u r f in is h e d p ic tu r e f o r p ro p er exposure.

Be s u r e t o a d j u s t t h e

d ia p h r a g m o p e n i n g f o r t h e d i f f e r e n c e i n speed r a t e s . (6)

F o o tag e:

R e c o rd t h e f o o t a g e u s e d f o r e a c h

s c e n e a c c o r d i n g t o t h e f o o t a g e i n d i c a t o r on y o u r cam era.

(The g r i p p i c t u r e s p h o t o g r a p h e d

f o r t h i s s t u d y a v e r a g e d a b o u t 2 7 ” f o r t h e 24 s p e e d , a b o u t 1 8 ” f o r t h e 16 s p e e d .

The

fo re h a n d d r i v e p i c t u r e s p h o to g rap h e d f o r t h i s s t u d y a t t h e 16 s p e e d r a t e u s e d a b o u t 1 8 ” o f f i l m ; a t a 32 s p e e d r a t e ,

36” t o 4 0 ”

o f f i l m ; and a t t h e 64 s p e e d r a t e , 8 f t o 10* o f f i l m , ) g.

R e c o r d d a t a on " d e s c r i p t i o n o f s h o t s , ” (1 )

W rite o r d iag ram a d e s c r i p t i o n o f t h e p a r t i c u l a r s c e n e t o show t h e a c t i o n i n t h e p i c t u r e and y o u r c a m e ra p o s i t i o n s .

(2 )

For t h e g r i p th e a c t io n d e s c r ib e d i s o n ly o n e way o f p o r t r a y i n g a s c e n e sh o w in g t h e g rip .

( I f you a r e i n g e n i o u s , o t h e r m e th o d s

may b e m ore s a t i s f a c t o r y . ) (3)

For t h e d r iv e sh o ts th e d iag ra m i s s e l f e x p la n a to ry .

R e f e r t o C h a p t e r 3> C3

35 fo r a d e s c r ip tio n o f th e a c tio n in th e stro k e . (4 )

S ig h t th e s u b je c t p ro p e rly f o r th e a c tio n and k e e p t h e cam era s t a t i o n a r y on a t r i p o d u n l e s s y ou a r e e x p e r i e n c e d i n " p a n n i n g . ” O t h e r w i s e , do n o t " p a n " t h e s e s h o t s . (S e e E x h i b i t D .)

($ )

For th e d r iv e s h o ts , g iv e a s ig n a l t o th e t o s s e r t o b e g i n t h e a c t i o n by t o s s i n g t h e b a l l t o t h e p l a y e r , a n d a t t h e same t i m e p u s h t h e c a m e ra b u t t o n down f o r f i l m i n g . Keep b u t t o n down u n t i l p e r f o r m i n g p l a y e r h a s s t r o k e d t h e b a l l and r e t u r n e d t o t h e "w a itin g p o s i t i o n ."

3.

PRODUCTION OF THE "LEARNER" FILM:

How t o make t h e

"le a rn e r" p ic tu re s . a.

Compare a n d e v a l u a t e t h e g r i p p e r f o r m a n c e s j u s t b e fo re th e a c tu a l film in g o f th e d r iv e .

(T h is

p r o c e d u r e i s recom mended t o s a v e f i l m f o o t a g e . See C h a p t e r 4* B 2 c .) b.

F ilm b o t h f i r s t and s e c o n d " l e a r n e r " p i c t u r e s a t a 32 s p e e d r a t e .

c.

F o llo w t h e d i r e c t i o n s f o r f i l m i n g t h e f o r e h a n d d r iv e a c t i o n s h o ts f o r b o th " l e a r n e r " p i c t u r e s a c c o r d i n g t o t h e d e s c r i p t i o n f o r S c e n e Number 2

as o u tlin e d fo r th e "e x p e rt" p ic tu r e .

(S e e

E x h i b i t C, S c e n e num ber 2 . ) HANDLING OF FILM:

How t o a r r a n g e f i l m

fo r p ro p er

sc re e n in g . a.

For t h e f i r s t d e m o n s tra tio n u se o f t h e f i lm , w in d t h e g r i p s h o t and t h e 3 2 , 16 and 64 s p e e d " e x p e r t ” s h o t s on a s m a l l 5 0 f o r 1 0 0 f r o l l . ( D i r e c t io n s a r e f l e x i b l e t o y o u r co n v en ien c e an d u s e .

b.

See C h a p t e r 3* )

A f t e r t h e f i r s t m o tio n p i c t u r e d e m o n s t r a t i o n u s i n g t h e d i f f e r e n t " e x p e r t ” s p e e d s h o t s , make a " f i l m l o o p " o f t h e 32 s p e e d p h o t f o r u s e a t t h e b e g in n in g o f each c la s s p e r io d .

(The " f i l m l o o p "

re d u c e s p r o j e c ti o n tim e a s th e a c tio n r e p e a ts c o n t i n u a l l y fro m t h e b e g i n n i n g t o t h e end o f th e s tr o k e . (1)

See C h a p t e r 3* B 2 a .)

S p l i c e t h r e e t o f o u r i n c h e s o f e a c h v ie w o f th e g r ip t o t h e b e g in n in g o f th e " e x p e rt" 32 s p e e d s h o t .

(The l e n g t h o f t h e s e v ie w s

d e p e n d s on t h e maximum l e n g t h o f y o u r f i l m lo o p .

I f v ie w s a r e t o o s h o r t , t h e " s t o p -

f r a m e " d e v i c e m u st be u s e d when s c r e e n i n g . ) (2)

S p l i c e t h e tw o e n d s t o g e t h e r t o fo rm a l o o p . 4 0 " t o 4&rf i n l e n g t h m akes a s u i t a b l e " f i l m lo o p ."

(To d e t e r m i n e l e n g t h e x p e r i m e n t v

w i t h an o l d p i e c e o f f i l m b e f o r e u s i n g good f i lm * (3 )

P la c e a r e e l a t t h e to p and b o tto m o f y o u r p ro je c to r.

( H a l f - f i l l e d r e e l s make i t

p o s s i b l e t o have a lo n g e r l o o p . ) (4)

B e g in t h r e a d i n g " f i l m l o o p " fro m t o p o f t o p r e e l down t o t h e b o t to m o f t h e b o t t o m r e e l . B r i n g t o p p a r t o f f i l m down t o t h e s p r o c k e t and t h r e a d .

B r i n g b o tto m p a r t o f f i l m up

fro m b o t to m r e e l t o t h e s p r o c k e t an d t h r e a d . D i v i d e r e m a i n i n g f i l m i n u a l f , f o r m i n g two

c.

lo o p s.

P l a c e m id d l e o f " f i l m l o o p " t h r o u g h

g a te to

c o m p le te t h e t h r e a d i n g .

P h o t o g r a p h t o g e t h e r t h r e e , f o u r o r more o f t h e "le a rn e r" sh o ts.

( T h is p r o c e d u r e w i l l f a c i l i t a t e

s c r e e n in g and re d u c e s p l i c i n g . ) d.

F o r c o m p a r a t i v e p u r p o s e s u s e t h e 32 s p e e d " f i l m l o o p " o r t h e 64 s p e e d s h o t .

HANDLING OF PROJECTORS a.

How t o s c r e e n t h e f i l m s .

S c r e e n t h e 64 s p e e d " e x p e r t " p i c t u r e f o r t h e f i r s t a n a l y s i s o f t h e s t r o k e when u s i n g S e c t i o n I o f th e g u id e sh e e t.

b.

(S e e C h a p t e r 3* B i b . )

A f t e r t h e s t u d e n t s hav e a n a l y z e d t h e 64 s p e e d " e x p e rt" sh o t w ith th e a id o f t h e g u id e s h e e t s c r e e n t h e 32 s p e e d " e x p e r t " f i l m l o o p e v e r y

day b e fo re p r a c t i c e .

(S e e C h a p t e r 3> B 2 a .)

For u s in g tu e " e x p e r t” f ilm f o r d e m o n s tra tio n p u rp o ses, a d ju s t th e s iz e of th e p ro je c tio n room t o t h e s i z e o f y o u r c l a s s . (1)

The s i z e o f t h e p r o j e c t e d p i c t u r e i s d e t e r m i n e d by t h e d i s t a n c e o f t h e p r o j e c t o r fro m t h e s c r e e n .

A p i c t u r e 12" x 9 rr

o b t a i n e d when p r o j e c t o r i s 6 r fro m s c r e e n i s s u i t a b l e f o r sm a ll groups o f f o u r t o te n stu d e n ts . F o r c o m p a rin g t h e " l e a r n e r " p i c t u r e s a r r a n g e f o r a p r o j e c t i o n room w h e re t h e p r o j e c t o r , i n s t r u c t o r and s t u d e n t c a n be c l o s e t o g e t h e r d u r i n g t h e p ro je c tio n o f th e " le a rn e r" p ic tu re s . For c o m p a riso n , s c r e e n e a c h " l e a r n e r " p i c t u r e s e p a r a t e l y and ch eck t h e p erfo rm an ce f a c t o r s a g a i n s t t h e p o i n t s on t h e g u i d e s h e e t .

(See

C h a p t e r 4# B 2 a . ) A f t e r t h e c o m p a r is o n o f t h e " l e a r n e r " p i c t u r e s w i t h t h e g u i d e s h e e t , s c r e e n t h e 32 s p e e d " e x p e r t " t o show t h e c o r r e c t p e r f o r m a n c e o f t h e " l e a r n e r " erro rs.

( E r r o r s n o t e l e a r i n t h e 32 s p e e d s h o t

s h o u l d b e com pared w i t h t h e 64 s p e e d s h o t . C n a p te r 5, B l c .)

S ee

39

g.

Use t h e " s t o p - f r a m e " d e v i c e a t a p p r o p r i a t e p o i n t s t o s c r e e n one f r a m e a t a t i m e . (1 )

C a u tio n :

E x p e r im e n t w i t h a n o l d p i e c e o f

f i l m t o d e t e r m i n e how l o n g one fra m e c a n b e h e l d on t h e s c r e e n b e f o r e i t s t a r t s t o b u rn .

(Time l i m i t i s a p p r o x i m a t e l y 30

w e c o n d s .) h.

Use t h e r e v e r s e s w i t ch r e g u l a r l y t o r e c h e c k p o i n t s f o r c l a r i f i c a t i o n and e x p l a n a t i o n . (1 )

E x p la in th e a c tio n o f th e r e v e r s e sw itc h t o sa fe g u a rd m isc o n c e p tio n o f th e a c t i o n .

6.

SOURCES E0R THIS CHAPTER:

,Where t o g e t f u r t h e r

a ssista n c e . a.

Adams, T h u r s t o n : E d u c a tio n .

M o tio n P i c t u r e s i n P h y s i c a l

B u re a u o f P u b l i c a t i o n s , T e a c h e r s

C o l l e g e , C olum bia U n i v e r s i t y , New Y o rk , 1 9 3 9 . 57 p p .

(Good a d v i c e on u s e o f m o v ie e q u i p m e n t ,

a n g le s, speed e tc .) b.

B row ne, Mary K . : New Y o rk , 1949* in fo rm a tio n .

D e s ig n f o r T e n n i s . A .S . B a r n e s , 216 p p .

( S tr o k e and s t r a t e g y

E x c e l l e n t m ovie a c t i o n s h o t s o f

g r i p and d r i v e . ) 6.

E a stm a n Kodak C o .:

How t o Make Good M o v ie s .

E astm a n Kodak C o ., R o c h e s t e r , New Y o rk .

231 pp .

(An e x c e l l e n t r e f e r e n c e t o g e n e r a l i n f o r m a t i o n on p h o t o g r a p h y . )

40

d.

H a i n f e l d , H a r o ld :

nHome Movie T e c h n iq u e s f o r

t h e P h y s i c a l E d u c a t i o n P r o g r a m ."

Jo u rn al of

H e a l t h . P h y s i c a l E d u c a t i o n and R e c r e a t i o n , 1 9 : 3 4 0 -3 4 4 (May, 1 9 4 9 ) .

( S u g g e s t i o n s on t h e

s e l e c t i o n o f m ovie e q u i p m e n t . ) e.

H u e l s t e r , L aura J . : P ro je c ts ."

"A m ate u r M o tio n P i c t u r e

J o u r n a l o f H e a lth , P h y s ic a l E d u c a tio n

a n d R e c r e a t i o n , 9 :4 9 4 ' ( O c t o b e r , 193& ). f.

H u p p e r ic h , F l o r e n c e L . : i n T each in g T e n n i s ."

"Use o f V i s u a l A id s

Jo u rn a l o f H e alth .

P h y s i c a l E d u c a t i o n an d R e c r e a t i o n . 1 2 : 9 3 - 9 7 (F e b ru ary , 19 4 1 ). g.

K ra m e r, J a c k :

(Use o f t h e " f i l m l o o p " . )

How t o Win a t T e n n i s .

D a v is P u b l i s h i n g C o . , New Y o rk , 1 9 4 9 .

Z iff(E x c e lle n t

p ic tu re s o f a c tio n s h o ts .) h.

P a r e t , J . P a r m ly : T e n n is. 1926. d riv e .

M e c h a n ic s o f t h e Game o f Lawn

A m e ric an Lawn T e n n i s , I n c . , New Y o r k , (D e ta ile d d e s c r ip tio n o f th e forehand E x c e l l e n t a c t i o n s e q u e n c e s on p p . 6 9 -

1 1 3 .) C.

ACTIVITY ASSIGNMENTS:

P r o j e c t s t o h e l p you d e v e l o p

s k i l l i n m ak in g y o u r own t e n n i s f i l m s . 1.

EQUIPMENT SELECTION a.

E x p e r im e n t w i t h m o v ie e q u ip m e n t b e f o r e b u y i n g y o u r own.

41

(1 )

B o r r o w s c h o o l e q u ip m e n t i f a v a i l a b l e .

(2 )

R e n t a c am era a n d p r o j e c t o r fro m a r e l i a b l e p h o to g rap h y d e a l e r .

(3)

B o rro w s e q u ip m e n t fro m a f r i e n d .

(4 )

Ask a f r i e n d t o t a k e t h e d e s i r e d a c t i o n

sh o ts

and e x p la in t h e d e t a i l s o f t h e f ilm in g t o y o u . b.

Ask s e v e r a l r e l i a b l e p h o t o g r a p h y d e a l e r s f o r s u g g e s t i o n s on f i l m i n g s p o r t s p i c t u r e s a s t o d i f f e r e n t ty p e s o f cam era, ty p e s o f l e n s e s , ty p e s o f p r o je c to r s , film s.

Compare t h e i r s u g g e s t i o n s

a s t o t h e e:spense i n v o l v e d a n d t h e r e s u l t s w i t h t n e e q u ip m e n t. c.

D i s c u s s y o u r p r o b l e m s ' i n t h e s e l e c t i o n o f e q u ip m e n t w ith a m a te u r p h o to g r a p h e r s .

Compare t h e i r

s u g g e s t i o n s w i t h d i r e c t i o n s g i v e n i n C h a p t e r 3* B l. 2.

PRODUCTION EXPERIMENTS a.

F o llo w d i r e c t i o n s f o r f i l m i n g t h e f o r e h a n d d r i v e a s g i v e n on t h e g u i d e s h e e t a n d t h e p r o d u c t i o n sh e e t.

b.

T ake p i c t u r e s u s i n g y o u r own g u i d e s h e e t f o r t h e fo re h a n d d r i v e ; t h e backhand d r iv e ; t n e s e r v i c e .

c.

T ake s h o t s o f t h e p e r f o r m a n c e o f s e v e r a l d i f f e r e n t "e x p e rts” .

Compare t h e p o i n t s you w i s h t o t e a c h .

42

d.

Copy s h o t s o f t h e f o r e h a n d d r i v e a s i l l u s t r a t e d in t e n n i s books.

e.

(Take a ” c l o s e - u p ” s h o t o f t h e g r i p i n t h e f o r e ­ hand d r i v e ;

f.

t h e f o o tw o r k *

Take a "medium” and a ” s e m i - l o n g ” s h o t o f t h e c o m p le te sw in g o f t h e f o r e h a n d d r i v e .

Compare

fe a tu re s of each. g.

F ilm s h o t s o f t h e f o r e h a n d d r i v e u s i n g a tw o i n c h and a t h r e e - i n c h l e n s .

Compare t h e r e s u l t s

t o d e c i d e on t y p e o f l e n s d e s i r e d . h.

E x p e r im e n t w i t h t e n n i s t e c h n i q u e s h o t s t a k e n a t fo u r d if f e r e n t r a t e s o f speed.

3.

HKWECTIOE TECHNIQUES A.

S c r e e n r e n t e d m o v ie s a c c o r d i n g t o d i r e c t i o n s g i v e n f o r s c r e e n i n g t e n n i s f i l m s b e f o r e you make y o u r own p i c t u r e s .

D.

EVALUATION:

C heckups on y o u r a b i l i t y t o t a k e t e n n i s

p ic tu re s. 1.

T ake s lo w m o tio n p i c t u r e s o f t h e f o r e h a n d d r i v e perfo rm an ce o f yo ur s e l e c t e d " e x p e r t . ”

C heck p e r f o r m ­

ance p o in ts w ith th o s e on g u id e s h e e t. 2.

Take s lo w m o t i o n p i c t u r e s o f t h e f o r e h a n d d r i v e p e r ­ form ance o f your " l e a r n e r ” s t u d e n t s .

Check t h e i r

p e r f o r m a n c e p o i n t s w i t h t h o s e on g u i d e s h e e t .

43 M R 1!! I I .

DIRECTIONS TO STUDENTS

HOW TO ADAPT THE RATING SCADS TO THE EVALUATION OF CORRECT PERFORMANCE OF THE FOREHAND 3RIVE "T he G u i d e s h e e t f o r e v a l u a t i n g c o r r e c t f o r m o f t h e F o r e ­ hand D r i v e a s I n d i c a t e d b y Slow M o tio n P i c t u r e s ” i n c l u d e s a l l o f th e p o in ts in th e p ro p e r a c t i o n o f th e fo reh a n d d r iv e w h ic h c a n be s e e n a n d a n a l y z e d i n one m o ti o n p i c t u r e a c t i o n sh o t. The p o i n t s a r e c l a s s i f i e d a c c o r d i n g t o B a r t s : th e g r i p .

B a r t Bf t h e s t a n c e .

t h e b a c k s w in g . c o n ta c t.

B a r t Cf f o o t w o r k .

B a r t E , t h e f o r w a r d s w in g .

B a rt* A, B a r t D,

B art F f b a l l

P a r t G, t i m i n g .

The t h r e e s e c t i o n s r e p r e s e n t t h e t h r e e d i f f e r e n t perform** a n c e s o f th e fo reh a n d d r iv e :

( 1 ) The " e x p e r t ” p e r f o r m a n c e .

( 2 ) Your " f i r s t l e a r n e r ” p e r f o r m a n c e .

( 3 ) Y our " s e c o n d

l e a r n e r ” p erfo rm an ce. I f you w i l l u s e t h e g u i d e s h e e t a s a h e l p f u l d e v i c e f o r d i r e c t i n g y ou r a t t e n t i o n to im p o rta n t p o i n t s i n th e s t r o k e , a n d i f you f u l f i l l t h e s p e c i f i e d r e q u i r e m e n t s f o r t h e f i l m i n g o f y o u r slo w m o t i o n p i c t u r e s , t h a t w e l l - t i m e d , r h y th m ic ,, and a c c u r a t e f o r e h a n d d r i v e o f t h e " e x p e r t " w i l l be y o u r s . up on i t y o u r s e l f . g u id e sh e e t. p ic tu re

Check

E v a l u a t e y o u r own p e r f o r m a n c e on t h e

You n e e d n o t w a i t u n t i l to m o rro w f o r t h a t m o ti o n

d e b u t.

T h is i s

itl

th e d i r e c ti o n s in B a rt I I .

L ig h ts,

c a m e ra , a c t i o n l

F o llo w

44

CHAPTER 3 .

THE ” FIRST LEARNER” PICTURE

HOW TO QUALIFY FOR THE FIRST FILMING OF YOUR PERFORMANCE OF THE FOREHAND DRIVE A.

MOTIVATION:

R ew ards t o be a c h i e v e d fro m f o l l o w i n g t h e

e x am p le o f t h e " e x p e r t , ” 1.

CONFORMITY IN PERFORMANCES:

I f a l l th e f i n e r p o in ts

o f t h e " e x p e r t ” p erfo rm an ce o f t h e fo re h a n d d r iv e a r e s t u d i e d and p r a c t i c e d y o u r p e r f o r m a n c e w i l l d o rresp on d t o h is* 2.

"FIRST LEARNER” PICTURE FILMED:

The f i r s t p i c t u r e o f

y o u r p e r f o r m a n c e w i l l b e t a k e n i f you a n a l y z e t h e " e x p e r t ” p e r f o r m a n c e an d f u l f i l l t h e p r a c t i c e re q u ire m e n ts . SELF SATISFACTION:

The s e l f c o n f i d e n c e d e r i v e d from

c o r r e c t p e r f o r m a n c e w i l l i n s p i r e you t o become an ^ e x p e rt” y o u r s e lf. B.

DIRECTIONS:

P o i n t e r s on how t o p r e p a r e f o r t h e f i l m i n g

o f your f i r s t p ic tu r e o f th e fo reh an d d r iv e * 1.

"EXPERT” DEMONSTRATION FILM:

How t o a n a l y z e c o r r e c t

fo rm o f t h e f o r e h a n d d r i v e . a.

O b s e rv e t h e s c r e e n i n g o f t h e " e x p e r t ” p e r f o r m a n c e i n r e g u l a r m o tio n (16 s p e e d ) fro m t h e b e g i n n i n g t o t h e end o f t h e s t r o k e . (1 )

The " e x p e r t ” i s s t r o k i n g a b a l l t o s s e d i n t o

a s p e c i f i e d a r e a o f t h e c o u r t by a n o t h e r p la y e r. O b s e rv e t h e s c r e e n i n g o f t h e " e x p e r t " p e r f o r m a n c e i n s lo w m o tio n (64 s p e e d ) fro m t h e b e g i n n i n g t o t h e end o f t h e s t r o k e . Use S e c t i o n I o f t h e g u i d e s h e e t f o r a n a l y z i n g im p o rta n t p o i n ts in t h e c o r r e c t p erfo rm an ce o f th e s tro k e .

(S e e E x h i b i t A . )

Read P a r t A, S e c t i o n I o f t h e g u i d e s h e e t . (1 )

O b s e rv e t h e " e x p e r t " d e m o n s t r a t i o n o f t h e ' g2fcip.

(2)

Check p o i n t s i n l e f t colum n a s e a c h i s observed d u rin g th e s e v e r a l s c re e n in g s . ( I n s tr u c to r w ill screen as o fte n as nec­ e s s a r y t o e n a b l e you t o

(3 )

check each p o i n t * J ;

A fte r c h e c k in g a l l o f t h e p o i n t s , ta k e tn e c o r r e c t g r i p on y o u r own r a c q u e t .

$ e a d P a r t B, S e c t i o n I o f t h e g u i d e s h e e t . (1 )

O b s e rv e t h e tfe x p e r t ,T d e m o n s t r a t i o n o f t h e sta n c e .

(2 )

Check p o i n t s i n l e f t colum n a s e a c h p o i n t i s o b serv ed d u rin g t h e second s c re e n in g o f th e sta n c e .

f.

Read P a r t C, S e c t i o n I o f (1 )

O b s e rv e t h e " e x p e r t "

th e g u id e s h e e t. d e m o n stra tio n o f th e

fo o tw o rk . (2 )

Check p o i n t s i n l e f t

colum n a s e a c h i s

o b serv ed d u rin g th e second s c re e n in g o f th e fo o tw o rk . g.

Read P a r t D, S e c t i o n I o f (1 )

th e g u id e s h e e t.

R e p e a t t h e same d i r e c t i o n s a s g i v e n i n C h a p t e r 3 > B le .

h.

R e p e a t t h e sa m e d i r e c t i o n s f o r P a r t E , F, G, a n d H, S e c t i o n I o f t h e g u i d e s h e e t a s g iv e n ii n t h e p r e c e d i n g i n s t r u c t i o n s u n d e r B, s u b s e c t i o n le .

i.

A n a ly z e t h e !te x p e r t ” p e r f o r m a n c e a t t h e b e g i n ­ n in g o f ev ery c la s s p e rio d d u rin g i n s t r u c t i o n on t h e f o r e h a n d d r i v e .

(E m p h a siz e p o i n t s w n ic h

n e e d e x p l a n a t i o n and c l a r i f i c a t i o n . ) j.

O b s e rv e t h e " e x p e r t " p e r f o r m a n c e a s o f t e n a s d e s i r e d t o a s s i s t you i n t h e c o r r e c t p e r f o r m a n c e .

THE "FIRST LEARNER" PICTURE:

How t o h a v e y o u r

p ic tu r e ta k e n . a.

O b s e rv e t h e " e x p e r t " p e r f o r m a n c e ( f i l m l o o p ) a t t he b e g i n n i n g o f t h e f i r s t t h r e e i n s t r u c t i o n a l p e r i o d s on t h e f o r e h a n d d r i v e .

b.

F o llo w i n s t r u c t i o n s on t h e p e r f o r m a n c e o f t h e

s t r o k e a s g i v e n by y o u r i n s t r u c t o r d u r i n g c l a s s a c t i v i t y on t h e c o u r t s . E x e c u t e t h e s t r o k e a s d e m o n s t r a t e d by t h e " e x ­ p e rt." (1)

(S e e S e c t i o n I o f t h e g u i d e s h e e t . )

T ake t h e c o r r e c t g r i p .

(S e e S e c t i o n I ,

P a rt A o f th e g u id e s h e e t.) (2 )

Assume t h e " w a i t i n g p o s i t i o n " a t g o i n t "X" i n m id d l e o f c o u r t i n b a c k o f b a s e ­ lin e .

(S e e S e c t i o n I , P a r t B o f t h e g u i d e -

sh e e t. ) (3)

E x e c u t e t h e c o m p le te b a c k s w in g by s t e p p i n g o u t t o t h e r i g h t on t h e r i g h t f o o t p l a c i n g l e f t s h o u ld e r to w a rd n e t .

(S e e S e c t i o n D,

P a rt D o f th e g u id e s h e e t.) (4)

S te p fo rw a rd o n to t h e r i g h t f o o t a t t h e same t i m e s w in g i n g r a c q u e t f o r w a r d t o m eet th e b a l l .

(S e e S e c t i o n I , P a r t E o f t h e

g u id e s h e e t.) (5)

S tro k e t h e b a l l and f o llo w th ro u g h t h e s t r o k e by c a r r y i n g r a c q u e t h e a d f o r w a r d a s f a r a s p o s s ib l e t o th e l e f t above th e l e f t sh o u ld e r.

(S e e S e c t i o n I , P a r t F

and G o f t h e g u i d e s h e e t . ) (6)

R e tu rn t o t h e o r i g i n a l " w a itin g p o s i t i o n . " (S e e S e c t i o n I , P a r t B o f t h e g u i d e s h e e t . )

d.

P e r f o r m p r a c t i c e d r i l l num ber one t w e l v e t i m e s a t t h e b e g i n n i n g o f c l a s s a c t i v i t y on t h e c o u rts*

e.

(S e e C h a p t e r 3> C l* )

E x e c u t e p r a c t i c e d r i l l num ber tw o t w e l v e t i m e s a t b e g i n n i n g o f c l a s s a c t i v i t y on c o u r t *

(S ee

C h a p t e r 3> C 2 .) f*

S c o r e y o u r p e r f o r m a n c e d a i l y on p r a c t i c e d r i l l num ber t h r e e f o r t h e f i r s t t h r e e i n s t r u c t i o n a l p e rio d s.

g.

(S e e C h a p t e r 3> C 3 .)

S c o r e y o u r p e r f o r m a n c e on p r a c t i c e d r i l l num ber fo u r d a ily f o r th e f i r s t th re e in s tr u c tio n a l p e rio d s.

h.

(S e e C h a p t e r 3 , C 4 . )

Have y o u r i n s t r u c t o r t a k e y o u r " f i r s t l e a r n e r n p i c t u r e upon c o m p l e t i o n o f r e q u i r e m e n t s a s s t a t e d i n t h i s c h a p t e r , s e c t i o n B 2, s u b s e c t i o n s : a th ro u g h h. (1 )

N o te :

Compare y o u r g r i p s u b j e c t i v e l y

b e fo re th e film in g o f th e " f i r s t le a r n e r ” p ic tu re . SOURCES FOR THIS CHAPTER:

Where t o g e t f u r t h e r

a ssista n c e . a.

E d g r e n , H .D .:

"T en n is T e c h n iq u e .”

Jo u rn al o f

H e a l t h . P h y s i c a l E d u c a t i o n and Rc c r e a t i o n . 5 : 3 0 - 3 1 (May, 1 9 3 4 ) •

( S u g g e s t i o n s on t e c h n i q u e

f o r b e g i n n e r s , a v e r a g e and s u p e r i o r p l a y e r s . )

49

b.

L o c k h a rt, A ile e n e :

"A S u r v e y o f T e s t i n g i n T e n n i s * "

J o u r n a l o f H e a l t h . P h y s i c a l E d u c a t i o n an d R e c r e a t i o n . 9 * 4 3 3 -3 6 ( S e p t e m b e r , 1 9 3 8 )* d.

S c o t t , G la d y s M.s

"Use o f S k i l l T e s t s . "

Jou rn al

of H e a lth . P h y s ic a l E d u c a tio n and R e c r e a t i o n T 9 : 3 6 4 - 6 5 ( J u n e , 1938)* d.

W ag n e r, M iria m M .s

"An O b j e c t i v e M ethod o f

G r a d in g B e g i n n e r s i n T e n n i s . "

Jo u rn a l of H e a lth ,

P h y s i c a l E d u c a t i o n a n d R e c r e a t i o n f 6 : g 4 - 2 5 (M a rc h , 1935). C,

ACTIVITY ASSIGNMENTS:

Some l e a r n i n g e c n e r i e n c e s t o h e l p

you d e v elo p s k i l l i n p e rfo rm in g th e fo re h a n d d r i v e . 1.

P r a c t i c e d r i l l num ber Is, a.

T ake

b.

P ra c tic e

c o r r e c t " w a itin g p o sitio n .!*

th e b a l l (1)

M im e tic d r i l l i n s lo w m o t i o n .

t h e c o m p l e t e s t r o k e i n sLow m o tio n w i t h o u t and r e t u r n t o

" w a itin g p o s itio n ,"

C o n c e n t r a t e on p o i n t s o f p e r f o r m a n c e f o r each p a rt of th e £ ro k e .

2.

P r a c t i c e d r i l l number 2 s

M im etic d r i l l i n r e g u la r

m o tio n . a.

Take c o r r e c t

b.

P ra c tic e

" w a itin g p o s i t i o n . "

t h e c o m p le te £ r o k e i n r e g u l a r m o tio n

w i t h o u t t h e b a l l a n d r e t u r n to " w a i t i n g p o s i t i o n . " (1 )

C o n c e n t r a t e on " g e t t i n g t h e f e e l " o f t h e c o m p le te p e r f o r m a n c e o f the s t r o k e .

P r a c t i c e d r i l l num ber 3s

F orehand d r i v e p erfo rm an ce

fro m a t o s s e d t a l l i n t o t h e s i n g l e s c o u rt a r e a *

"A“' |

a*

TOss< >r

Take p o s i t i o n a t "X11 i n t h e c o r r e c t “w a i t i n g p o s i t i o n * 11

b*

E x e c u t e t h e s t r o k e a s d e m o n s t r a t e d by t h e “e x p e r t . ” (li

The t o s s e r w i l l t o s s t a i l i n t o t h e a r e a m ark ed “A . ”

c*

S t e p r i g h t a n d s t r o k e b a l l a s i t b o u n c e s ifrom t h e m arked a r e a llA,.,1, (1)

R efu se t o s t r o k e a b a l l w h ic h d o e s n o t b o u n c e i n t h e m arked a r e a *

(2 )

R e f u s e t> s t r o k e a b a l l w h ic h d o e s n o t b o u n c e a b o u t r a i s t h ig h*

d.

S t r o k e b a l l a c r o s s n e t i n t o t h e o p p o n e n t 's s i n g l e s aDurt a r e a .

B a l l m ust l a n d w i t h i n t h e

s i n g l e s c o u rt a r e a to s c o r e a s a p o i n t *

(S ee

C h a p te r 3 , D l) . e.

R e t u r n t o “w a i t i n g p o s i t i o n 11 a f t e r t h e f o l l o w th ro u g h .

51

4.

P r a c t i c e d r i l l num ber 4 :

F orehand d r iv e p erfo rm an ce

from a to s s e d b a l l i n t o a c e r t a i n a r ea of th e s i n g l e s c o u rt*

Toss< jr

a.

1 1 i 5' area I 1 I

Take p o s i t i o n a t "X" i n t h e c o r r e c t " w a i t i n g p o s itio n ,"

b.

E x e c u t e t h e s t r o k e a s d e m o n s t r a t e d by t h e " e x p e r t . " (1 )

The t o s s e r w i l l t o s s l a l l i n t o t h e a r e a m arked " A ."

c.

S te p r i g h t and s t r o k e th e b a l l a s i t

bounces

fro m t h e m arked a r e a , (1 )

R e f u s e t o i r o k e a b a l l w h ic h d o e s n o t b o u n c e i n t h e m arked a r e a .

(2)

R e f u s e t o s t r o k e a b a l l w h ic h d o e s n o t bo u n ce a b o u t w a i s t h i g h .

d.

S t r o k e t h e b a l l j n t o t h e 5* a r e a a l o n g t h e b a s e ­ l i n e o f th e s i n g l e s c o u r t of y o u r o p p o n e n t. B a l l m ust l a n d w i t h i n t h i s 5* a r e a t o ss o re a p o in t,

e.

(S e e C h a p t e r 3> £>£•)

R e tu rn to " w a itin g p o s i t io n " a f t e r th e fo llo w th ro u g h .

52

D.

EVALUATION: 1*

A ty p e o f checkup on y o u r p e r fo r m a n c e .

S c o r e p r a c t i c e d r i l l num ber 3* a.

(S ee C h a p t e r 3 , C 3 .)

S c o r e y o u r f o r e h a n d d r i v e p e r f o r m a n c e on f i f t e e n c o r r e c t l y to s s e d t a i l s .

b.

S core t f o r

e a c h b a l l w h ich i s

stro k e d a c r o s s

th e n e t and la n d s w ith in th e s in g le s c o u rt a r e a . c.

R ecord y o u r

s c o r e e v e r y &y b e f o r e t h e ’’f i r s t

l e a r n e r 11 p i c t u r e * is f i l m e d . d.

R ecord y o u r

s c o r e on th e sc o r e c a r d .

(S ee E x h ib it

E .) 2.

S c o r e p r a c t i c e d r i l l number 4 . a.

(S e e C h apter 3> C 4 .)

S c o r e y o u r f o r e h a n d d r i v e p e r f o r m a n c e on f i f t e e n c o rre c tly to sse d b a ^ s .

b.

S core 1 f o r

e a c h b a l l w h ic h i s s t r o k e d a c r o s s t h e

n e t a n d l a n d s w i t h i n t h e 5* a r e a a t t h e b a s e l i n e . c.

R e c o r d y o u r s c o r e e v e r y d a y b e f o r e t h e ’’f i r s t le a r n e r ” p ic tu r e i s film e d .

d.

R ecord y o u r

s c o r e on t h e s c o r e c a r d .

(S ee E x h i b i t

B.) 3.

Have y o u r ’’f i r s t l e a r n e r ” m o ti o n p i c t u r e t a k e n a n d a n a ly z e y o u r p erfo rm an ce o f t h e f o r e h a n d d riv e a c c o r d i n g t o t h e p o i n t s on t h e g u i d e s h e e t . C h ap ter 4 . )

(S ee

53

EXHIBIT B SCORECARD NAME INDIVIDUAL SCORE CARD FOR FOREHAND DRIVE PERFORMANCES

Form r a t i n g s " F irs t le a rn e r":

D a te

S c o re

"Second l e a r n e r ” :

D ate

Score

P e r fo rm a n c e r a t i n g s P r a c t i c e d r i l l #3 D a te

S core

P r a c t i c e d r i l l #4 D a te

S core

P r a c t i c e d r i l l #5 D ate

S c o re

54

CHAPTER. 4 .

DIAGNOSIS OF THE "FIRST LEARNER" PERFORMANCE

HOW TO COMPARE YOUR FIRST PERFORMANCE OF THE FOREHAND DRIVE WITH THAT OF THE "EXPERT" A.

MOTIVATION:

A d v a n ta g e s t o be g a i n e d fro m s e e i n g now

you p e r f o r m t h e f o r e h a n d d r i v e # 1.

COMPARISON OF MOTION PICTURE PERFORMANCES: m o ti o n p i c t u r e p e r f o r m a n c e o f t h e

Y our

f o r e h a n d d r i v e c an

be s c r e e n e d many t i m e s so t h a t y ou may c h e c k y o u r good p o i n t s an d y o u r e r r o r s a g a i n s t $ihe " e x p e r t " p erfo rm an c e . 2.

ERRORS DEPICTED:

I f you h a v e f a i l e d t o p r a c t i c e some

o f t h e e s s e n t i a l e le m e n t s i n t h e p e r f o r m a n c e o f t h e f o r e h a n d d r i v e you c a n s e e y o u r e r r o r s c l e a r l y . 3.

GOOD POINTS VISUALIZED:

I f you h a v e i m i t a t e d t h e

" e x p e rt" perfo rm an ce c o r r e c t l y th e c o rre sp o n d in g p a t t e r n s i n y o u r p e r f o r m a n c e o f t h e s t r o k e w i l l be s im ila r. 4.

UNBIASED PICTURE FOR ANALYSIS:

A s lo w m o tio n p i c t u r e

o f y o u r s tr o k e w i l l r e v e a l th o s e p erfo rm an ce p o in ts w h ic h a r e so d i f f i c u l t t o b b s e r v e and a n a l y z e y o u r ­ se lf.

55

B.

DIRECTIONS:

S u g g e s t i o n s on how t o a n a l y z e y o u r f i r s t

p e rfo rm an c e o f t h e fo re h a n d d riv e# 1.

OBSERVATION OF THE "FIRST LEARNER" PICTURE:

How t o

o b s e r v e t h e " f i r s t l e a r n e r " and t h e " e x p e r t " p i c t u r e . a.

View " l e a r n e r " p i c t u r e fro m t h e b e g i n n i n g o f t h e s t r o k e t o t h e end o f t h e s t r o k e . shocked.

b.

(D onTt be

I t w i l l be b e t t e r t h a n y o u e x p e c t e d . )

View t h e " e x p e r t " s lo w m o tio n p e r f o r m a n c e from t h e b e g in n in g t o t h e end o f t h e s t r o k e .

c.

View " l e a r n e r " t h e s e c o n d t i m e fro m b e g i n n i n g t o end.

( T ry t o o b t a i n a n i m p r e s s i o n o f t h e c o m p le te

p e rfo rm a n c e .) (l)

I f two p r o j e c t o r s a r e a v a i l a b l e o b s e r v e b o t h 32 s p e e d p e r f o r m a n c e s a t t h e s ame t i m e .

2.

ANALYSIS OF THE "FIRST LEARNER" PICTURE:

How t o

c o n t r a s t perfo rm an ce o f t h e " l e a r n e r " w ith t h a t o f th e " e x p e rt." a.

Use t h e g u i d e s h e e t f o r c o m p a rin g p e r f o r m a n c e s .

b.

Compare e a c h P a r t o f y o u r " f i r s t l e a r n e r " p e r f o r m ­ a n c e a s i n d i c a t e d by t h e m o tio n p i c t u r e w i t h each P a r t o f t h e " e x p e r t" perfo rm an ce a s i n d i c a t e d in S e c tio n I o f th e g u id e s h e e t. (1 )

Have i n s t r u c t o r s c r e e n t h e " f i r s t l e a r n e r " p i c t u r e a s o f t e n a s n e c e s s a r y t o e n a b le you t o com pare s e p a r a t e l y e a c h p o i n t i n e a c h P a rt.

56

c.

Compare t h e g r i p p e r f o r m a n c e s s u b j e c t i v e l y j u s t b e f o r e t h e f i l m i n g o f t h e Ttf i r s t l e a r n e r ’1 p i c t u r e . (A " l e a r n e r " g r i p p i c t u r e i s n o t f i l m e d . ) (1)

G rip y o u r r a c q u e t .

(2 )

Check p o i n t s i n y o u r p e r f o r m a n c e w i t h t h e p o i n ts i n t h e " e x p e r t" p erfo rm an ce as i n d i c a t e d i n P a r t A, S e c t i o n I o f t h e g u i d e sh e e t.

(3 )

I n Colum n 2 , S e c t i o n I I , m ark w i t h a c h e c k ( /)

a l l p o i n t s i n w h ic h you q u a l i f y w i t h

th e " e x p e r t” p erfo rm an ce.

Mark w i t h a n ”X”

a l l p o i n t s i n w h ic h y o u do n o t q u a l i f y w i t h th e " e x p e r t” p erfo rm an ce. (4)

I n Column 3> S e c t i o n I I , d e s c r i b e c a r e f u l l y t h e m i s t a k e s w h ic h you m ade.

d.

Compare t h e s t a n c e p e r f o r m a n c e s . ‘ (1)

O b s e rv e t h e s t a n c e i n t h e " f i r s t l e a r n e r " p ic tu re .

(2 )

Check p o i n t s i n y o u r p e r f o r m a n c e a g a i n s t p o i n t s i n t h e " e x p e r t " p e r f o r m a n c e as in d ic a te d in S e c tio n I ,

P a rt B o f th e g u id e -

sh e e t. (3 )

I n Column 2 , S e c t i o n I I , m ark w i t h a c h e c k ( /)

a l l p o i n t s i n w h ic h y o u q u a l i f y w i t h

th e " e x p e rt" p erfo rm an ce.

Mark w i t h an "X"

57

a l l p o i n t s i n w h ic h yo u do n o t q u a l i f y w ith th e " e x p e r t” p erfo rm an ce. (4)

In Column 3> S e c t i o n II, d e s c r i b e t h e

m i s t a k e s w h ic h you m ade. e.

Compare t h e f o o t w o r k . (1 )

Fmllow d i r e c t i o n s a s g i v e n f o r t h e s t a n c e i n C h a p t e r 4* B2d.

f.

Compare t h e b a c k s w i n g , t h e f o r w a r d s w in g , b a l l c o n t a c t , f o l l o w t h r o u g h and t i m i n g i n t h e same m an n e r a s d e s c r i b e d f o r t h e s t a n c e i n C h a p t e r 4 , B2d.

3.

SOURCES FOR THIS CHAPTER:

Where t o g e t f u r t h e r

a ssista n c e . a.

Driver, Helen:

"A Study of the Common Tennis

Faults Made by Beginners.”

Journal of Health,

Physical Education and Recreation, 5: 3*6-37 (April,

1934*)

(A comparison of results of tennis teacher

opinion and an observation survey of tennis faults.)

C.

ACTIVITY ASSIGNMENTS:

L e a r n i n g e x p e r i e n c e s t o h e l p you

a n a ly z e c o r r e c t p e rfo rm an c e . 1.

"EXPERT” PERFORMANCE:

Check an a d v a n c e d p l a y e r 1s

p e r f o r m a n c e d u r i n g a p r a c t i c e p e r i o d on t h e c o u r t . F o llo w t h e p o i n t s on t h e g u i d e s h e e t .

58

2.

"LEARNER" PERFORMANCE:

Check t h e p e r f o r m a n c e o f a

b e g i n n i n g s t u d e n t d u r i n g c l a s s p r a c t i c e on t h e c o u rt. 3.

F o llo w t h e p o i n t s on t h e g u i d e s h e e t .

"LEARNER" PICTURE PERFORMANCE:

D ia g n o s e a c l a s s ­

m a t e ’ s m o ti o n p i c t u r e p e r f o r m a n c e d u r i n g t h e s c r e e n ­ in g o f h e r " f i r s t l e a r n e r " p i c t u r e .

Employ t h e

p o i n t s on t h e g u i d e s h e e t . D.

EVALUATION: 1.

SCORING:

A c h e c k u p on y o u r r a t i n g . How t o g r a d e y o u r " f i r s t l e a r n e r "

p erfo rm an ce o f t h e fo re h a n d d r i v e . a.

S c o r e s e p a r a t e l y e a c h PART,

on t h e g u i d e s h e e t .

b.

T o t a l t h e n um ber o f p o i n t s

m ark e d w i t h an "X"

w h ic h a r e y o u r e r r o r s .

(P erfo rm an ce r a t i n g

is

b a s e d on a minimum o f e r r o r s . ) c.

R e c o rd t h e t o t a l num ber o f "X" m ark s a t t h e

end

o f e a c h PART i n t h e colum n t i t l e d " T o t a l s c o r e . " d.

R e c o rd t h e s c o r e f o r e a c h PART on p a g e 1 o f t h e g u i d e s h e e t , "Summary o f r a t i n g s . "

59

CHAPTER 5 .

THE “ SECOND LEARNER" PICTURE

HOW TO QUALIFY FOR YOUR "SECOND LEARNER11 PERFORMANCE OF THE FOREHAND DRIVE A,

MOTIVATION:

G a in s t h a t a c c r u e fro m i m p r o v in g y o u r t e n n i s

sk ill. 1.

SKILLED PERFORMANCE*

I f you p r a c t i c e t o c o r r e c t

y o u r e r r o r s i n p e r f o r m a n c e you w i l l become more p r o f i c i e n t in th e e x e c u tio n of th e fo re h a n d d r i v e . 2.

“ SECOND LEARNER11 PICTURE FILMED:

I f you f u l f i l l th e

r e q u i r e m e n t s on t h e p r a c t i c e d r i l l s and e l i m i n a t e y o u r “ f i r s t l e a r n e r ” e r r o r s t h e “ s e c o n d l e a r n e r 11 p i c t u r e w i l l be t a k e n . 3.

MORE FUN:

When y o u r f o r e h a n d d r i v e im p r o v e s so t h a t

you can r e t u r n a s tro k e d b a l l c o r r e c t l y t e n n i s a s a game w i l l be more e n j o y a b l e . B.

DIRECTIONS:

H e l p f u l h i n t s t h a t w i l l e n a b l e y o u t o make

a b e t t e r fbrm r a t i n g on v o u r se c o n d m o tio n p i c t u r e o f th e fo reh an d d r i v e . 1.

CORRECTION OF THE “FIRST LEARNER" PERFORMANCE:

How

t o rem edy t h e u n s k i l l e d a c t i o n s o f t h e " f i r s t l e a r n e r " p erfo rm an ce. a.

R e fe r t o y o u r e r r o r s i n p erfo rm an ce a s i n d i c a t e d i n Column 3 on y o u r g u i d e s h e e t .

60

b.

O b s e rv e t h e “ e x p e r t p e r f o r m a n c e fro m b e g i n n i n g t o t h e end o f t h e s t r o k e .

(T ry t o o b t a i n a n

i m p r e s s i o n o f t h e c o m p le te p e r f o r m a n c e . ) c.

Compare y o u r e r r o r s w i t h t h e c o r r e c t p e r f o r m a n c e o f t h e “ e x p e r t 11 d u r i n g t h e s e c o n d s c r e e n i n g o f t h e “ e x p e r t 1* f i l m . (1 )

Have i n s t r u c t o r s c r e e n a s o f t e n a s n e c e s s a r y t o e n a b le you to see th e c o r r e c t perfo rm an ce an d com pare i t w i t h y o u r e r r o r s .

(2 )

I f p o i n t s i n c o r r e c t p erfo rm an ce a r e n o t c l e a r l y shown i n t h e f i l m l o o p , o b s e r v e t h e 64 s p e e d “ e x p e r t 11 s h o t .

d.

R e f e r to y o u r c o r r e c t p o i n t s o f p e r f o r m a n c e a s i n d i c a t e d on y o u r g u i d e s h e e t i n Column 3* (1 )

N o te t h e s i m i l i a r i t i e s i n p o i n t s o f t h e two p erfo rm an ces.

e.

A sk y o u r i n s t r u c t o r t o a s s i s t y o u i n o v e rc o m in g y o u r d i f f i c u l t i e s in p e rfo rm an ce.

f.

F o llo w i n s t r u c t i o n s f o r th e c o r r e c t i o n o f e r r o r s a s s u g g e s t e d by y o u r i n s t r u c t o r d u r i n g c l a s s p e rio d s.

g.

C o n c e n t r a t e on t h e c o r r e c t i o n o f t h e p r i m a r y cause of your d i f f i c u l t i e s d u rin g p r a c t ic e p e r io d s .

h.

C o n c e n t r a t e on t h e c o r r e c t i o n o f e a c h s e p a r a t e e r r o r d u rin g p r a c t i c e .

i.

P ra c tic e c o n s ta n tly to c o rre c t your e rro rs*

j.

C o n c e n t r a t e on t h e o v e r - a l l c o r r e c t i o n o f y o u r e r r o r s w h ile p ra c tic in g *

THE “SECOND LEARNER11 FILMING:

How t o h a v e y o u r

“ se c o n d l e a r n e r ” p i c t u r e ta k e n * a.

F o llo w t h e i n s t r u c t i o n s a s d i r e c t e d i n B 1*

b.

O b se rv e and a n a l y z e t h e “ e x p e r t 18 p e r f o r m a n c e o f th e fo re h a n d d r iv e a t th e b e g in n in g of e ac h c l a s s p e rio d f o r a b o u t f i v e m in u te s.

c.

P e r f o r m p r a c t i c e d r i l l num ber 1 and p r a c t i c e d r i l l num ber 2 a t t h e b e g i n n i n g o f e a c h c l a s s p erio d *

d.

Perfarm. p r a c t i c e d r i l l num ber 3 a t l e a s t once d u rin g e v e ry c l a s s p e rio d *

e*

R e c o rd y o u r p e r f o r m a n c e d a i l y on p r a c t i c e d r i l l num ber 3 u n t i l y o u s c o r e f o u r t e e n o u t o f f i f t e e n c o rre c tly .

f.

B e g in p r a c t i c e d r i l l num ber 5 a s s o o n a s y o u hav e a c h i e v e d t h e r e q u i r e d s c o r e on d r i l l num ber 3* P e r f o r m p r a c t i c e d r i l l num ber 5 once d a i l y .

(See

C h a p t e r 5* C5*)/ g.

P e r f o r m p r a c t i c e d r i l l num ber 4 on ce d u r i n g every c la s s p e rio d .

h.

R e c o r d y o u r s c o r e on t h e p e r f o r m a n c e o f p r a c t i c e

62

d r i l l num ber 4 o n c e a week u n t i l you s c o r e e ig h t out of f i f t e e n c o rr e c tly , i.

When y o u f e e l y o u ha v e c o r r e c t e d y o u r e r r o r s , a s k y o u r i n s t r u c t o r t o a p p r o v e t h e im p ro v e m e n t i n your p erfo rm an c e ,

j.

Have y o u r i n s t r u c t o r t a k e y o u r

p i c t u r e upon

co m p letio n of th e re q u ire m e n ts a s s t a te d in th e p rec ed in g p o i n ts , B 2 , s u b d iv is io n s a to i . 3.

SOURCES FOR THIS CHAPTER;

Where t o g e t f u r t h e r

a ssista n c e . a.

A g u t t e r , G e o rg e : L e s s o n s i n T e n n i s .

A m e ric a n

S p o r t s P u b l i s h i n g C o . , New Y o r k , 1935*

PP* 1 5 0 .

(V e ry v a l u a b l e f o r e x p l a n a t i o n and d i s c u s s i o n of form .

Good p i c t u r e s o f c o r r e c t a n d i n c o r r e c t

fo rm .) b.

B e a s l e y , M e rc e rs

How t o P l a y T e n n i s .

D o ra n and C o . , I n c . , New Y o r k , 1 9 3 3 .

D o u b le d a y , (Good

d e s c r ip tio n of s tr o k e s , w ith p i c tu r e s .) c.

B row ne, Mary K . : New Y o r k , 1949* in fo rm a tio n .

d.

D esig n f o r T e n n is . 216 p p .

A. S . B a r n e s ,

( S t r o k e and s t r a t e g y

E x c e l l e n t m ovie a c t i o n s h o t s . )

B ru ce, E th e l S u tto n , and B ru ce, B e rt 0 . :

T e n n is.

F u n d a m e n t a l s and

T im in g .

New Y o r k , 1 9 4 0 .

(Good i n s t r u c t i o n a n d a d v i c e

on s t r o k e s and t a c t i c s .

P re n tic e -H a ll, I n c .,

Movie a c t i o n s h o t s . )

63

e.

B u d g e, Don:

Budge on T e n n i s .

New Y o r k , 1939*

P re n tic e -H a ll, In c .,

( S t r o k e and s t r a t e g y d i s c u s s i o n .

E m p h a sis on f o r m . ) f.

D r i v e r , H e len :

T en n is f o r T e a c h e r s .

T e n n is f o r

t e a c h e r s , H e le n D r i v e r , c / o M a r g a r e t M e y e r, F r o s t W oods, M a d is o n 4 , W i s c o n s i n .

1949*

2 19 p p .

(A v e r y v a l u a b l e b o o k f o r t h e t e a c h e r on b e g i n n i n g and a d v a n c e d s t r o k e s , t a c t i c s and o r g a n i z a t i o n o f t e n n i s p ro g ra m s.) g.

J a c o b s , H elen H .: New Y ork, 1 9 4 1 .

T e n n is .

A. S . B arn es and C o . ,

(A d vice on t e n n i s .

Good a c t i o n

p ic t u r e s .) h.

The N a t i o n a l S e c t i o n on Womenf s A t h l e t i c s o f t h e A m e ric a n A s s o c i a t i o n f o r H e a l t h , P h y s i c a l E d u ­ c a t i o n and R e c r e a tio n : G u id e .

O f f i c i a l T en n is-B ad m in to n

A . S . B a r n e s a n d C o . , New Y o r k , 1 9 4 8 - 5 0 .

( R u l e s , t e c h n i q u e s u g g e s t i o n s , good p i c t u r e s . ) C.

ACTIVITY ASSIGNMENTS:

Some d r i l l s f o r in c r e a s in g your

s k i l l i n p e r fo r m in g t h e fo r e h a n d d r i v e . 1.

P r a c t ic e d r i l l number 1 .

(S ee C hapter

2 , C1 .)

2.

P r a c t i c e d r i l l num ber 2 .

(S ee C h a p t e r

2 , C 2 .)

3.

P r a c t ic e d r i l l number 3 .

(S ee C hapter

2 , C3 .)

4.

P r a c t ic e d r i l l number 4 .

(S ee C h apter

2 , C4 .)

64

5*

P r a c t i c e d r i l l num ber 5*

F orehand d r iv e perfo rm an ce

f ro m a b a s e l i n e s t r o k e d b a l l i n t o t h e s i n g l e s c o u r t area* TtA"

vxh

"Fj "

a*

Take p o s i t i o n a t "X" i n t h e c o r r e c t " w a i t i n g 5p o s i t i o n . * 1

b.

B a se lin e s tr o k e r or i n s t r u c t o r ta k e s p o s i t i o n a t "S** i n b a c k o f b a s e l i n e .

c.

B a s e l i n e s t r o k e r "S" b o u n c e s b a l l t o s e l f and s t r o k e s i t a c r o s s n e t i n t o t h e r i g h t b a c k c o u r t a r e a "A" o f p e r f o r m i n g p l a y e r a t "X ".

d.

P e rfo rm in g p la y e r r e t u r n s b a l l a c r o s s n e t i n to th e s in g le s c o u r t.

(See C h a p t e r 5>

D 3 .) e.

R e tu rn to " w a itin g p o s itio n " a f t e r fo llo w th ro u g h .

6.

T o ss b a l l s f o r a c l a s s m a t e t o s t r o k e an d a s s i s t h e r in th e c o r r e c tio n of her perfo rm an ce.

7.

C heck t h e s k i l l im p ro v e m e n t o f a c l a s s m a t e a f t e r sh e f e e l s sh e h a s c o r r e c t e d h e r e r r o r s . p o i n t s on g u i d e s h e e t .

Use

65

D.

EVALUATION: 1.

A c h e c k u p on y o u r s e c o n d p e r f o r m a n c e .

C o n t in u e s c o r i n g and d a i l y r e c o r d i n g o f y o u r p e f o r m a n c e on p r a c t i c e d r i l l num ber 3 u n t i l y o u s c o r e fo u rte e n out o f f i f te e n c o rre c tly .

(S ee C h a p t e r 3 ,

D l.) 2.

C o n t i n u e s c o r i n g and r e c o r d i n g d a i l y p e r f o r m a n c e on p r a c t i c e d r i l l num ber 4 u n t i l y ou s c o r e e i g h t o u t o f fifte e n c o rre c tly .

3.

(S ee C h a p t e r 3> D 2 .)

S c o r e p r a c t i c e d r i l l num ber 5* a.

(S ee C h a p t e r 5 j C 5 .)

S c o r e y o u r f o r e h a n d d r i v e p e r f o r m a n c e on f i f t e e n c o r r e c tly stro k e d b a l l s .

b.

c.

S core 1

f o r e a c h b a l l w h ic h i s s t r o k e d a c r o s s

t h e n e t and l a n d s

w ith in th e s in g le s c o u rt a r e a .

R e c o rd y o u r s c o r e

d a i l y u n t i l t h e Hse c o n d l e a r n e r ”

p ic tu re i s ta k e n .

(You s h o u l d be a b l e t o o b t a i n

a score of te n out o f f i f t e e n . ) d. 4.

R e c o rd y o u r s c o r e on t h e s c o r e c a r d .

(S e e E x h i b i t E . )

Have y o u r Ms e c o n d l e a r n e r 11 p i c t u r e t a k e n and a n a l y z e i t a cc o rd in g to th e g u id e s h e e t.

66

CHAPTER 6 .

DIAGNOSIS OF THE TTSECOND LEARNER" PERFORMANCE

HOW TO COMPARE YOUR SECOND'PERFORMANCE OF THE FOREHAND DRIVE WITH THAT OF THE "EXPERT" A.

MOTIVATION:

Outcom es from s t e a d y p r a c t i c e i n c o r r e c t

fo rm o f t h e f o r e h a n d d r i v e * 1.

ERRORS RECHECKED:

R e s u l t s on t h e " s e c o n d l e a r n e r "

p e r f o r m a n c e may p r o v e t o you t h a t t h r o u g h c o n c e n t r a t e d p r a c t i c e y ou h a v e c o r r e c t e d y o u r " f i r s t l e a r n e r " e rro rs. 2.

GOOD POINTS RECHECKED:

I f you h a v e n * t c o m m i t t .e d a n y

new e r r o r s i n p e r f o r m a n c e a n d y o u h a v e c o r r e c t e d y o u r " f i r s t l e a r n e r " e r r o r s th e "second le a r n e r " p erfo rm ­ a n c e s h o u l d be p e r f e c t . 3.

EVIDENCE OF IMPROVEMENT;

The " s e c o n d l e a r n e r "

p i c t u r e w i l l b e p r o o f o f y o u r p r o g r e s s i f you h a v e p ra c tic e d d ilig e n tly . 4.

OPPORTUNITY FOR DEVELOPMENT OF MORE ADVANCED SKILLS: M a s t e r y o f one t e c h n i q u e o p e n s new h o r i z o n s f o r t h e m a s t e r y o f m ore a d v a n c e d t e n n i s s t r o k e s i f you c a n p r o p e r l y e x e c u t e t h e m ost i m p o r t a n t g ro u n d s t r o k e .

B.

DIRECTIONS:

Some s u g g e s t i o n s f o r e x a m in in g y o u r s e c o n d

f f l o t i o n - p i c t u r e - ‘p e r f o r m a n c e o f t h e f o r e h a n d d r i v e . i.

m m m m xm

o f th e "second l e a r n e r " p i c t u r e :

o b s e r v e t h e " e x p e r t " an d t h e " s e c o n d l e a r n e r " p erfo rm an ce.

how

to

67

a.

View t h e " s e c o n d l e a r n e r " p i c t u r e fro m b e g i n n i n g t o t h e end o f t h e s t r o k e .

( T h i s on e s h o u l d be

p e r f e c t !) b.

View t h e " e x p e r t " s lo w m o tio n p e r f o r m a n c e f r o m t h e b e g i n n i n g t o t h e end o f t h e s t r o k e .

c.

View t h e " s e c o n d l e a r n e r " t h e s e c o n d t i m e from t h e b e g i n n i n g t o t h e end o f t h e s t r o k e .

(Look

c l o s e r on t h i s one 1) 2.

ANALYSIS OF THE "SECOND LEARNER.1! PICTURE:

How t o

c o n tr a s t th e "second l e a r n e r " fo reh an d d r iv e p erfo rm ­ ance w ith th e p erfo rm an ce o f th e " e x p e r t . " a.

Compare e a c h P a r t o f y o u r " s e c o n d l e a r n e r " p e r f o r m a n c e a s i n d i c a t e d by t h e m o tio n p i c t u r e w ith each P a r t o f t h e " e x p e r t" p erfo rm an ce as in d ic a te d in S e c tio n I o f th e g u id e s h e e t. (1 )

I n s t r u c t o r w i l l sc ree n th e "second le a r n e r " p ic tu re as o fte n as n ecessary to you t o

b.

e n ab le

com pare e a c h P a r t s e p a r a t e l y .

F o llo w t h e d i r e c t i o n s a s g i v e n i n C h a p t e r 4* B2 fo r th e a n a ly s is o f th e " f i r s t le a r n e r " p i c tu r e .

3*

SOURCES FOR THIS CHAPTER:

Where t o g e t f u r t h e r

a ssista n c e . a.

D r iv e r , H elen :

"A S tu d y o f t h e Common T e n n i s

F a u l t s Made by B e g i n n e r s . "

Jo u rn a l o f H e a lth ,

P n y s i c a l E d u c a t i o n and R e c r e a t i o n , 5 : 3 6 - 3 7

68

( A p r i l , 1 9 3 4 )*

(A c o m p a r is o n o f r e s u l t s o f

t e n n i s t e a c h e r o p i n i o n a n d an o b s e r v a t i o n s u r v e y o f te n n is f a u lts .) C.

ACTIVITY ASSIGNMENTS:

Some p r o j e c t s t o h e l p you a n a l y z e

p r o g r e s s in t h e p erfo rm an ce o f th e fo re h a n d d r i v e . 1.

"LEARNER" PICTURE PERFORMANCE:

D ia g n o s e a c l a s s ­

m ate f s m o tio n p i c t u r e p e r f o r m a n c e o f t h e f o r e h a n d d r iv e d u rin g th e s c r e e n in g o f h e r "second l e a r n e r " p erfo rm an ce. 2.

"LEARNER" PERFORMANCE ON COURT:

Check t h e p l a y i n g

p e r f o r m a n c e o f a c l a s s m a t e who i s t r y i n g t o f u l f i l l h e r re q u ire m e n ts f o r th e "second le a r n e r " p i c t u r e . Use

p o i n t s on t h e g u i d e s h e e t . (

D.

EVALUATION:

A f i n a l c h e c k u p on y o u r im p ro v e m e n t o f t h e

fbrehan d d r i v e . 1.

SCORING:

How t o g r a d e y o u r " s e c o n d l e a r n e r "

p erfo rm an ce. a.

S co re th e "seco n d ^ e a r n e r " p erfo rm an ce in t h e same m a n n e r a s you s c o r e d t h e " f i r s t l e a r n e r . " (S e e C h a p t e r 4 , D l . )

b.

Compare y o u r s c o r e on t h e " f i r s t l e a r n e r " m o tio n p i c t u r e p e r f o r m a n c e w i t h t h e s c o r e on y o u r " s e c o n d l e a r n e r " perfo rm an ce.

69

c.

Compare t h e t h r e e s c o r e s o b t a i n e d on p r a c t i c e d r i l l s num ber 3 a n d 4 b e f o r e t h e fff i r s t l e a r n e r ” p e r f o r m a n c e , a n d t h e l a s t t h r e e s c o r e s made b e fo re th e "second l e a r n e r ” p i c t u r e . U n iv e rs ity o f S o u t h e r n C a lif o r n ia L ib ra ry