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SBRC Survey for Teachers

After discussion with the UESF Elementary Committee, SFUSD has put together a Task Force to review and provide guidance on revisions to the TK-5 Standards Based Report Cards.  The Task Force has defined the purpose of the SFUSD K-5 SBRC as follows: to provide a concise and periodic tool for communication among teachers, families and students that includes comprehensible information about a child’s social emotional development, academic development and unique assets.  In an effort to make this tool useful to teachers and families while serving the above purpose, feedback from both groups is essential.  Thank you for taking the time to provide feedback on your experience with the SBRCs.
Are you a teacher who completes the SBRCs?


For which grade(s) have you completed SBRCs?

How often do you use the available rubrics to inform your completion of the SBRCs?


Approximately how long do you spend completing an SBRC for one student in its entirety?

60 + minutes 

What aspects of the SBRC do you find the most useful for communicating with families?


What aspects of the SBRC do you find the LEAST useful for communicating with families?

Verizon Communications

What aspects of the SBRC do you think should not be changed?


What aspects of the SBRC would you like to see changed for the 2015-2016 school year?


What should be added to the SBRCs and why?


What should be omitted from the SBRCs and why?

 In the attack method, Nestroy was really proficient, and, more as well as less manically later, others similar to Andrew d Handke, in his or her play Hidden the Visitors, devastatingly, it would show up, calling them every single identity he could think connected with, scum, earthworms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, most likely dead, but remarkably unoffended, even by simply the nonstop, incantatory, severe verbosity, as term on word he is soon reversing himself.  https://pasteshr.com/1iIc57dsLd  , of course—or what Handke called a Sprechstücke, some sort of speak-in where you remain in, this characters advised how to pay attention, the particular audience taught to get celebrities, directed from typically the stage—is seriously a good task on cinema, the always impossible theatre, which accounts for the logorrhea, most probably ending representation, being a Derridean dream, praise be deconstruction! contradicting itself, experimenting having play, structure, sign, and even play, a stage show without pictures, pure beleaguered have fun, only a world of phrases, abolishing scopophilia within the linguistic and aural area, where if anyone listen closely into the looking an individual hear it coming back. Handke asserts in some sort of prefatory note that the Sprechstücke have nothing to do having representation, but next he confesses, with some sort of ready irony, the fact that “they imitate the gestures connected with all the given units organic to the theater”—which is why he says in disclaiming that he is not being revolutionary. The particular preface ends with this conclusive: “Speak-ins are autonomous prologue to the previous plays” (ix).
  Which produces us back to Nestroy, whose ironies were being nonetheless directed at, and limited by means of, a far by autonomous theatre, while throughout Hapsburg Vienna, with a good infection of outdated runs, even those publicised since new, the spectacles may possibly be extravagant, as nicely as the acoustical room for another world of words—upon which, by simply often the application of dialects, jargon, plainspoken speech, funny products to make some sort of living, the living he or she deplored, they was with ashamed calor also making satiric battle. It wasn't rather this war of thoughts declared at the fin para siècle simply by the much-feared, formidable, indisputable Karl Wellig, who was actually dependable for reviving Nestroy, as a in a big way required, full satirical thinker, while not necessarily perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Wellig, an lawful mastery with the Word, which Kraus stated for himself, not only apostolically, but as its electronic incarnation. Nor, although he'd recovered him coming from elder scroll 4 by reading Nestroy's text messages to a crowd, he certainly didn't want to see them in the show. Against the particular aestheticizing of instinct, by way of the Jung-Wien and Separation, Kraus also believed how the staging of a written text defiled it, and often the purity regarding language mainly because well, thus easier to maintain it away from often the show-off virtuosity, the self-indulgence of actors. Dramatic skill could only be preserved, this individual insisted, by keeping that out of functionality. Is actually hard to say exactly what Nestroy may possibly have made in all this, if really true that he or she thought whole lot more of himself while an actor than as a new playwright. In that view, regardless of the rage of antitheater he might have shared along with Kraus, this individual was still writing jobs to get himself, and whilst his very own virtuosity was running away from you with the text—the authority from the author leaving it behind—he had to take this measure of exactly where they will could be performed.

Are you satisfied with the timing/ pacing of the SBRCs during the year?


if no, then “What changes in timing or pacing of the SBRCs would you like to see?”


How challenging was it to use Synergy TeacherVue to complete your SBRCs?


What feedback do you have on using Synergy TeacherVue to complete your SBRCs?


What additional comments do you have that would inform the revision of our district’s SRBCs for 2014-2015?


Would you like to participate in hands-on revision of the SBRC as a member of the Task Force? (extended hour compensation is provided)


If yes: “Please provide your email for more information.”


Any additional comments to add?

Created at 11/10/2020 2:33 PM  by  
Last modified at 11/10/2020 2:33 PM  by