Collaboration

One of the most powerful things a theatre program can offer students is not just performance skills, but real empowerment. Empowerment in theatre education isn’t about giving students free rein without structure; it’s about creating a space where they are trusted with responsibility, supported through clear expectations, and allowed to experiment, and sometimes fail, within a safe environment. Empowerment began with the belief that every student deserves a place to succeed. Think of drama class and productions as laboratories: places where students can try ideas, take risks, and learn from the outcome without fear of punishment or embarrassment. That sense of safety makes it possible for students to stretch themselves creatively and personally. Leadership as a Learning ToolA major part of empowerment comes from intentionally developing student leaders. Let students take ownership of areas like costumes, props, publicity, and stage management of your theatre productions. Hold weekly meetings with student leaders, just like a professional theatre company would. Set expectations, timelines, and give students the tools they need to succeed. For example, perhaps your costume team needs a checklist of tasks to follow, or your stage manager needs a separate one-on-one meeting with you before rehearsals. If someone struggles or falls behind, as inevitably happens, address it as a team. Sometimes things don’t go perfectly. A costume design doesn’t come together, or a student couldn’t follow through. Problem solve with your students. If costumes aren’t ready, what can actors wear instead? Experiences like this reinforce a critical lesson: Responsibility matters, but collaboration matters more. The ensemble steps in. The work continues. Theatre as a Collaborative EcosystemEmpowerment also means recognizing that leadership doesn’t only come from the teacher. Is there a former student who can come in to choreograph? Is there a current student who wants to direct? That kind of trust sends a powerful message: You are capable. Your voice matters. This approach is intentional. You are doing a full year of teaching, plus shows, plus whatever else is put on your plate. Teach students that they are not just participants, they are collaborators. *How Does Empowerment Happen? *Student empowerment doesn’t happen by accident. It requires: • Clear expectations • Real responsibility • Consistent support • Trust in students’ ability to rise to the challenge When students are treated as artists, leaders, and collaborators, they begin to see themselves that way. Theatre education, at its best, doesn’t just produce shows, it produces confident, capable, empathetic humans who know how to work with others toward a common goal. That is the true power of empowerment in theatre education.

Being a drama teacher is incredibly rewarding, but it’s also deeply misunderstood. From long rehearsal hours to teaching real academic content, theatre educators often find themselves having to justify the value of what they do. Sound familiar? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: What's the one thing you wish other teachers understood about teaching theatre? Theatre Is Real EducationIt’s a real class with real standards and objectives and benchmarks, just like math or English. We are doing real learning EVERY DAY, EVERY CLASS. (Chelsea P.) I wish they understood I really teach content: theatre history, theatre conventions, plays, etc. We don’t just rehearse or practice in class. We have class. All the rehearsing and performing happens after school… after a day of teaching. (Kim M.) It may look like I'm just "playing" with the kids but I promise, there's a lesson behind it for the kids to learn from. (Melanie PG.) That we support core classes in more ways than they can count: literary analysis, measuring, study of historical time frames and cultures, adding fractions, creative writing, algebra, geometry… the list goes on and on. (Colleen M.) Theatre Teaches Life SkillsThe students aren’t just “learning lines to do a play,” they’re learning life skills to equip them for adulthood: time management (dropping scripts by a certain date), self-discipline (memorizing lines outside of rehearsals), teamwork (helping others to succeed), cooperation (learning to work with people you may not necessarily like), brainstorming (discovering your creative self and seeing the creativity in others), vocabulary, “reading a room” (playing to your audience, using your intuition), communication (doing a Q&A/talk back), public speaking. So, these theatre students are doing much more than “a play.” (Elizabeth M.) I'm actually teaching them skills that make them employable. I'm teaching them how to work with a disparate group of people for a common goal. I'm teaching them how to communicate in real life, not on a computer. I'm teaching them how to speak and think on their feet. (Terri D.) We do more differentiation in one class period than some teachers do in a year or a semester. (Devan W.) The group might sound too loud, it may look like chaos, but it’s actually an ancient ritual taking place that has helped humans share ideas, bond, develop compassion, and realize the joys of publicly expressing “self” with each other for thousands of years. (Brenda C.) Theatre Is Hard WorkHow. Much. Work. Is. Involved. It’s a good thing that it’s fun! (Beth SG) The time commitment and the workload. (Ritchie J.) So many evening hours. (Elizabeth M.) It takes time to write, format, rewrite, and market. (Pam MS.) While it's the best "job" I've ever done, it's the most work and so time consuming. And yes, it can be tiring and hard work, long, long hours. (Kathleen O.) How much work goes on behind the scenes. Not just the set building and costuming but keeping the trains running on time and avoiding the various pitfalls of working with students in an environment that rivals athletics! (Gina B.) I taught high school drama classes, directed three major productions a year, took students to drama competitions on weekends, designed and taught students how to build scenery in my stagecraft classes, and did all the scheduling for our auditorium. And even though I was exhausted a lot of the time I loved every minute of my 33 years in education. (Mary B.) I have one person for each role, and if they're gone for whatever reason (understudy on hand or not) it throws things way off. (Sabrina B.) It doesn’t stop, the season. Once one show ends, I’m already knee deep into the other show or season. It’s year round! (Heather S.) That it's not all improv games and an "easy A." I teach content. (Tamara M.) Theatre Requires SacrificeI really WANT to be at your dinners, parties, and other events BUT rehearsals, set construction, and promoting the show have to happen while people are available. Unfortunately, that’s not always compatible with socializing with people outside of the production. (Julie R.) Theatre Builds Deep Connections Teaching theatre is more than a job. It’s an adventure. These are not just my students. They are my kids. We are a family. (Bil G.) That it may seem silly to them, but will forever hold our hearts. The connections made through intense rehearsal and show periods are lasting ones and go deeper than just "work friends." (Danielle SP.) Theatre Is for EveryoneTo be a part of the theatre you don't need to be good at anything before you get here. You don't need to be athletic or read music or have innate talent. Just show up. There are plenty of possibilities for you to find your niche. (Sara V.) Theatre is in everyone. (Suryadip M.) There are usually more people behind the scenes than on stage. (Shannon M.) Theatre Deserves Equal RespectIt's not a hobby. (Matt A.) That my students matter as much as athletes. All our students matter. (Caity T.) Additional Reading: 10 Reminders That What You’re Doing as a Drama Teacher Matters

Welcome to our video series, Calling All Theatre Teachers! In this series we’re going to answer questions that drama teachers have about stepping into a theatre program. QUESTION: How do I work with other theatre programs in the area? Watch the video of our discussion of this question — Laramie shares his number one suggestion for working with other theatre programs. Click the button below for a Community Analysis form to write down your thoughts on your drama teacher community and how you perceive yourself working within this community. How do YOU work with other theatre programs in your area?

Having additional personnel working on a school production can be incredibly helpful. Co-director, associate director, assistant director, director’s assistant, artistic associate — they’re all different titles with different levels of involvement, leadership, and decision-making capabilities, and when used effectively, can really help to ease your workload. On a musical, they may double as the choreographer or musical director, or they may be in a separate position. The key to employing someone in this type of role is clear communication; otherwise, having an additional staff member can cause more issues rather than solve them. Here are some discussion points to consider when you’re working with an additional director. PURPOSE: To start, establish the purpose and responsibilities of the additional team member. Are you looking to have another adult around to supervise and lead rehearsals (especially when you’re working with large groups of students? Are you looking for someone to cover rehearsals while you’re away? Do you want to double up on rehearsal plans and have a small group of students working in one room with one director while you work with others in a different room? Are you looking to mentor a new director to take over the responsibility of running the school show? Conversely, do you expect them to take the lead on directing the production while you act in a supervisory role? Will you expect them to take on any administrative or producing tasks, such as budgeting, scheduling, or discipline, or are their contributions strictly artistic in nature? EXPECTATIONS: You also need to know what the additional team member’s desires and expectations are for their involvement in the show. Are they a new director wanting to gain experience, grow their skills, and build their resume? Are they an experienced teacher or director looking to move into a new role or job? Are they hoping to direct scenes for the show or learn by observing and shadowing you? Do they want to take over parts of being a “do it all director” to ease your load, such as create a lighting plan or design costumes or sets? Will they be responsible for a specific task during the show run, such as operating lights or sound, being backstage as an ASM, or calling the show? What do they hope to get out of the process? Do their expectations line up with yours? TITLE: What will their official title be? There are some perceived discrepancies between the various titles. Co-director implies that there are two directors of equal power, with equal decision-making privileges. The difference between associate and assistant director is less clear-cut — which is considered a higher-level role, especially if you have both an associate and an assistant. Will you also have a student assistant director, and if so, who does what during rehearsals and showtime? A director’s assistant is a non-artistic role. This person’s job is to help the director with tasks such as photocopying, running errands, liaising with others, and additional tasks as required. ARTISTIC INPUT: How much artistic input will they be allowed to give? Do they get to give ideas about the overall concept or aesthetic of the production? Will they direct full scenes or sequences, or help with aspects such as character development, line memorization, or technical acting elements such as vocal projection and diction? Are they allowed to give notes? Can they veto your artistic choices, or can you veto theirs? Who gets the ultimate say in artistic decisions? TIME COMMITMENT and COMPENSATION: What is their time commitment? Are they full-time or part-time? Are they going to come to all rehearsals or just the ones on Mondays and Wednesdays? Or are they not available on Thursdays after school? Will this affect their title designation? On top of that, do you have an available budget to pay for this person’s time, or is this role a volunteer position? Be sure to make this aspect of the role clear to the candidate, because it will affect whether or not they are willing to commit to the position and how much effort they may expend on the show. VIBE CHECK: Have you worked with this person before, and if so, in what capacity? Do you get along with them? What assets do they possess that will help the production? How do they react in stressful situations? Do they know and/or get along with any additional team members you have on the show? Do they know the students? If they aren’t a teacher at your school, have they worked with students before? Do you need to fill out any paperwork before they start working on your show? Do they need to submit any accreditation or complete a background check prior to working with your students? Will they benefit the production process or create more work?

We all know the magic that happens when students come together, share ideas, and create something bigger than themselves. But what about those moments when students are shy, or groups struggle to find their rhythm? How do we bridge those gaps and ignite the collaborative spark? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you encourage teamwork & collaboration among your students? At the very beginning and throughout, I do team-building exercises. I also establish that this is meant to be a collaborative environment and while I as the director will send in the last decision, I want to hear other ideas and perspectives as we work together to create something. I also remind them that every one, every role is important. I think the analogy of everyone being their own unique gear turning in sync with a system of gears and collaboration is key to keep the drama machine going. (Chastity W.) I start my year with empathy exercises and team-building games. Everyone works together in integrated, varied groups. We also begin every class in-circle on discussion points like common fears, goals, and values. (Melanie F.) I establish the importance of humility from the beginning and nurture it for as long as a student is in my sphere. Humility helps an actor embody a character other than their own, helps foster a "we" rather than "me" attitude, and makes a student directable, teachable, team-able, castable. Whether performers, tech, whatever, humility (which does NOT preclude confidence) helps students focus on the overall success of the production, the program, the design team, running crew… (David N.) Two months of ensemble games and identity exercises! (Jane M.) Improv is a marvelous way to instill teamwork and build confidence. (Sutter ST) Additional Reading: Why Productions Need Collaboration Collaboration vs. Teamwork: What's the Difference? 5 Collaboration Games for the Drama Classroom Improv Games for Collaboration Collaboration Games: One to Twenty

Between the actors, stage management, technical crew, design teams, publicity team, and front-of-house staff, you’re going to need a veritable army of people to make your upcoming school show actually happen. And, while every production needs to have an overall vision and leadership to guide it, the show won’t happen without help, commitment, and teamwork. Here are five reasons why theatrical productions need collaboration between students, staff, and everyone else involved. 1. You can’t do everything yourself.Teachers are busy people. And even if you are a do-it-all director, if you do try to do everything yourself, you will burn out. For your own sanity, surround yourself with colleagues you trust and students who are eager to assist. Delegate tasks to them and allow them to do their jobs without hovering or micromanaging. It’s not always easy to hand the reins over to others, but you’re only doing yourself a disservice by not allowing others the chance to contribute and lead. 2. Collaboration provides various opportunities for students to learn.I strongly encourage opening up production opportunities (both performing and technical/crew roles) to all students at your school, not just those students taking drama classes. Collaborating with lots of different students on productions gives you the chance to meet and work with students whom you might not have gotten the opportunity to get to know otherwise. Who knows, they may end up in your drama program next semester! As well, it’s a good idea to have more experienced students mentor younger or newer students during productions. This demonstrates your trust in your more experienced students and gives them the opportunity to share their learning and grow their leadership skills. At the same time, this allows your younger or newer students the opportunity to learn from their peers, which may be more welcoming and less intimidating to them than learning from a teacher. This collaboration often leads to new friendships as well! 3. Someone else’s ideas may be just as good, if not better, than yours.While it’s important to have a clear overall vision for the production and be able to lead your students towards making that vision a reality, it’s also good to be open to different ideas. Whether the ideas come from your students, other teachers, or volunteers, it’s important to consider and employ others’ new and different ideas in your production. It’s easy to say that you want to collaborate and share, but it’s entirely different to actually take others’ suggestions and use them. Check your ego at the door, and give others the opportunity to share in the creation of the production. 4. Collaboration allows students’ voices to be heard and gives them the opportunity to explore in a safe environment.Continuing on with the point above, allowing students to share their ideas and actually using their ideas in the production can be a real confidence booster for your students. When students are free to explore and try out new theatrical techniques, as well as give ideas about how something might be done (whether that be an acting choice, a lighting effect, a costume suggestion, or so on), they feel that their voices are being heard and that they are making a positive contribution to the production. While you may not agree with or employ every suggestion, you are still allowing students the chance to be heard. This opens up a conversation and potential for compromise – “We can’t do it that way because of x, but it’s a good idea. Let’s try and see how that works.” Students are given the opportunity to put their own personal handprint on the show, even if it’s in a small way. And they aren’t just blindly following instructions. Rather, they are thinking for themselves, proving their capability, and exercising their creative muscles. 5. Collaboration creates a true feeling of teamwork.As a director, you are ultimately responsible for the artistic outcome of the production. However, you won’t succeed without the full commitment and buy-in of your students. Allowing and encouraging your students to collaborate inspires ensemble thinking (include link to July 20th article, The Importance of Ensemble Thinking) and group accomplishment – if one person succeeds, we all succeed. Creating a collaborative atmosphere where students truly feel that they are part of the team (rather than part of a dictatorship ruled by the teacher) makes students want to spend time working on the production and give it their best effort. Students who are happy, engaged, and feel that they are being included and heard are going to get the most out of the experience – and keep coming back for future productions.

Dramatic events are absolutely fantastic for reaching out into the community, fundraising, raising awareness for various causes, and having a great time while you’re at it. If your school has a requirement of community service hours in order for your students to graduate, it’s a great way for students to obtain those hours – or to add some volunteering experience to their resumes. Here are some ideas for your students to get their creative and altruistic juices flowing. Many of these ideas will require some sort of performance aspect. This might be a great way to incorporate classroom work, devised performances, or scenes/songs from rehearsals of your current show. Adding a community service aspect prior to their final performances will give students some additional fire to get their projects completed and polished, while giving them valuable performance experience at the same time! Get excited to give back! • Visit a local retirement home or hospital and provide entertainment for the residents/patients. • Lead a drama class or activity for a primary school, Brownies/Scouts group, Boys & Girls club, or other local youth group. • Select a favourite charity to donate a portion of ticket sales to from an upcoming performance of your show. • Create and perform a piece of work (such as a group scene or a series of monologues) that addresses a current issue that is important to your students (such as bullying, students’ rights, self-confidence, body issues – the list is endless). • Host a coffeehouse evening at your school for students to sign up for and perform a piece of their choice – such as a song, monologue, or poem – with the admission fees being donated to a selected charity. If you wish, all pieces could relate to a particular theme. This also gives students the chance to volunteer in various capacities, including sound and lighting, publicity, box office, and hosting. • For environmentally-focused students, figure out a way to create a low-impact performance – perhaps performed outside in natural light, with costumes and props made from repurposed items and music performed on acoustic instruments. • Have students research plays and musicals that relate to current events or social issues. How could one of those plays be used as a jumping-off point for devising a new piece of theatre on the same topic, an outreach opportunity, or a fundraising venture? • Volunteer to help with various technical or backstage roles for an elementary school production, such as costumes, props, backstage supervision, or operating sound and lights. • Look into local opportunities where students’ performance or technical skills could be used to give back, such as children’s fun fairs, library reading programs, fringe festivals, or seasonal community events (such as a Halloween haunted house). • Research local historical events, create a theatrical piece from them, and present it as part of a heritage event or town celebration. This is only a handful of the interesting outreach ideas that students could employ for their community service projects. Use the included worksheet and Reflection to help students brainstorm and organize their ideas for a theatrical community service project.

Theatre and drama class are hugely collaborative. Students are always engaged in group work and scene work with others, which helps students gain skills in teamwork, problem-solving, and collaboration. However, it’s impossible for every student to get along with every other student. What can we do when these students are then expected to work together collaboratively in a group setting? Preventative PreparationUse the following suggestions to help students get to know each other, build trust, and understand the responsibilities that come with group work. • Employ warm-ups, games, and exercises that encourage teamwork and ensemble-building, such as: • 5 Tongue-Twister Exercises for Ensemble-Building • Round Table Warm-Ups for Different Types of Plays • Community Building Warm-Ups for the Drama Classroom • 5 Collaboration Games for the Drama Classroom • Establish clear guidelines and expectations for group member selection, whether it is teacher-selected, student-selected, or a random method. • Depending on the amount of group work you do in class, you could make it a rule that students may only work with the same partner once per week/month. This essentially forces students to mix it up and work with different people. • Encourage students to think and make smart choices when selecting partners or group members. Will these members help or hinder your success? • Discuss and brainstorm different methods of conflict resolution. • Try using the “Act It Out” game • Or the “Problem-Solving With Student Directors” exercise with your students, with a focus on conflict resolution. • Give group-work instructions clearly and concisely (employing multiple methods of instruction if necessary – for example, both verbal and written instructions) so students are less likely to disagree on what your expectations are. Identify the WhyWhile students are working on groups, observe your students and see if you can figure out what is going on within the group. For example: • Is there a personality conflict between students? • Is there an underlying personal problem going on (such as a fight outside the classroom, a recent breakup, etc.)? • Is one of the students “not there” (either engaging in negative behaviour, not contributing to the project, or physically absent)? • Is one of the students taking over the group or bossing others around? • Are the students distracted or unfocused? Even students who are best friends don’t always work well together because they are too busy socializing to focus on their work. Bring the Students InIf a conflict does arise, meet quietly with your students in their group. • Mention specific behaviours you’ve observed. For example: • I noticed that I haven’t received your group’s rough draft script yet. • It seems like you are spending a lot of time talking instead of up on your feet rehearsing. • Allow students time to share their thoughts and feelings, both with you and with their group members. • Work with students to avoid blaming or fighting in a group setting. • Listen more than you talk. Help guide your students to come to solutions themselves, rather than telling them what to do or taking over. • Students may have concerns that they don’t feel comfortable expressing in front of the rest of the group, for fear of being thought of as a snitch or teacher’s pet. If necessary, meet with students individually if you feel that they would benefit from it. Work Together to Come to a Solution• Come to a compromise and/or enlist conflict resolution techniques – this is not a focus on punishing the students, but rather figuring out the next steps. • Establish group ground rules. • Come up with specific tasks for each group member. For example, perhaps one student is responsible for creating the first draft of a script while another student is in charge of editing and proofreading. • Help students break down the project and create a timeline of tasks that need to be completed and when they need to be completed. • Switching groups or working individually should only be used as an absolute last resort. Students need to learn coping skills and how to deal with different people – they won’t be able to avoid this outside of the drama classroom. Reflection• As always, reflecting on the process is important for students. Have them examine their own behaviour as well as the behaviour of the rest of the group. What worked well? What didn’t work? What could they have done differently? What might they do next time to help them succeed?

Creating a theatrical production is a group effort. For every student who appears onstage, there are even more students, staff members, and volunteers who help breathe life into the production. Those people are the unsung heroes – they may only appear to the audience as a name in the program, but their contributions are absolutely invaluable. Without the help of a team, the show doesn’t go on. Other than your own drama students and their parents and friends, what other people can you get involved in your production? Why not leverage the talents of the other teachers and departments within your school? Obviously the course offerings at each school are different. But, no matter what classes your school offers, look for any resources you can. You have an entire building full of people – both staff and students – whose talents could be a massive help to your show. Here are some examples: • English/Language Arts/Journalism: playwriting, dramaturgy, script analysis • Languages (French, Spanish, and so on): accent coaching, translations • Music: musical direction and coaching, participating as the show’s pit band/orchestra, adding a choral ensemble • History: studying the time period of the show’s setting, creating background information packages for the participants, advising on historical accuracy for sets, props, costumes, and character development • Visual Art: design and creation of sets and props, scenic painting, poster and program design • Business: show selection, creating a budget, marketing and publicity, running box office/concessions/front of house • Communication Technology: show photography, headshots, creating video projections or publicity trailers, graphic design, advertising, poster and program design, operating sound and lights • Fashion/Textiles: designing/creating/sewing costumes • Esthetics: hair and makeup • Technology: designing sets • Shop: building sets • Co-operative Education: students could receive hands-on learning about many different aspects of putting on a show, depending on the aim of their co-op placement • Volunteer Hours Requirements: some schools require their students to complete a certain amount of volunteer hours to obtain their high school diplomas. The drama teacher could sign off on volunteer hours amassed doing work on a theatrical production. I’m sure there are lots of other ideas that your students could come up with! As a class, brainstorm how different school departments could get involved with the show. Then, create an “ask” letter on how to approach them. Consider the following: • What department are you approaching? • What area do you want them to assist with? • What specific tasks do you want them to complete? • When do you need the tasks completed by? • What are the benefits to the department and/or students for participating? • How can you make this project useful/helpful for them? (Meaning – what’s in it for them?) Here’s a sample letter:Dear Ms. Jenson, We wanted to reach out to you to ask if some members of your Grade 10 Communications class would be interested in assisting our Grade 10 drama class in creating the playbill for our upcoming showcase performance. We are looking for a four-page colour program that includes our poster on the cover, a director’s note, the full cast and crew listing, as well as some performance photos. We would provide you with all the necessary information by March 30, and would need the final draft by April 22. We think this would be a great opportunity for your students to practice their skills using Photoshop and Microsoft Publisher. Perhaps you would consider this project for extra credit towards your class. We have seen examples of the work that your students produce and know they would be able to create a program that looks polished and professional. As well, we would be happy to give the students complimentary tickets to any of our performances (April 30-May 2). If you have any questions or concerns, please don’t hesitate to ask. Sincerely, John McMannis & Chelsea Swinton (Mr. Connor’s Grade 10 Drama class)

Producing a musical is a big job – the cast sizes are generally bigger, the costs to produce the show are usually higher, and of course the artistic staff team is bigger. In addition to the director, a musical director and choreographer are necessary to get the job done. When directing a play, the teacher in charge has full responsibility for the overall outcome of the show; when doing a musical, the responsibilities are shared, but cooperation and collaboration are absolutely essential. A shared vision, clear communication, and unshakeable teamwork are the ingredients for creating a successful and memorable production. Here are five tips to help you on your way. 1. Be clear about your expectations.Before you even begin the process of auditions, casting, and rehearsing, sit down with your team and discuss your expectations for the show you are creating together. There are lots of questions that should be discussed in advance. Do you expect the full team to attend every rehearsal, or will some rehearsals be run by only one team member? (For example, does the musical director need to attend a blocking rehearsal? I personally prefer to have at least two team members present at every rehearsal.) Will you have the musical director teach vocals in one room while the director blocks a scene in another room? Who has final say in any casting disputes? Do the musical director and choreographer have the authority to make changes in their rehearsals, or do all changes have to be approved by the director? What is the overall concept/vision for the show? Are rehearsals casual or strict? What is the daily routine? What is the best way to communicate with each other outside of rehearsals – email, text, phone? Laying out your expectations in advance will help to maintain a smooth rehearsal process, and will give you the opportunity to discover any common ground or disagreements in advance. This will help you present a unified front to your students as well! 2. Set your schedules in advance.Create a calendar with your team in advance, and record any known conflicts right away. This will help you to figure out your daily rehearsal plans and use your time most effectively. There never seems to be enough time to get everything done, but with smart planning, you and your team can get a lot done in the time you have available. Plan ahead for certain rehearsals where you can separate to “divide and conquer.” But also make note of scenes/songs/moments where you should “tag team” and work together in rehearsal. You will need to allot more time to rehearsing singing and dancing than you probably want to, but that time will be necessary. (Remember that the students will need to learn their vocals, then their choreography, and then when you put the two together for the first few times, either the singing or the dancing proficiency will mysteriously vanish.) Be prepared to sacrifice some of your blocking time, but know that everything will come together in the end. 3. Let your team members do their jobs.Theatre is a collaborative medium – while you as director have your overall vision, you hired your musical director and choreographer for their skills and talents. Back off and let your team members do their jobs. Don’t micromanage your team. Otherwise, what is the point of them being there? While you should definitely know and communicate your wishes for a certain look to a dance or a particular mood you want in a song, let your musical director and choreographer know that before the rehearsal, and then let them lead. Lend your support, but don’t smother them. 4. Be aware of their strengths and weaknesses.Your musical director might be really great at teaching the students harmonies in a clear and concise way, but has a tendency to go over their allotted rehearsal time. Or perhaps your choreographer creates gorgeous dances, but the taller girls complain that they are always in the back row of the choreography. In your initial meeting, bring up this topic and share your own strengths and weaknesses as a director. For example, you might be great at pulling strong performances out of your students, but you are also impatient if a student forgets their lines. Or perhaps you get your blocking done really quickly but then forget to go back and revisit the scene again before your first stumble-through. Share your own strengths and weaknesses, and ask for your team’s help with improving your skills. In turn, help them with theirs. Create an atmosphere of trust and open communication. This will help your students feel that they can trust and communicate with the team. 5. Support each other.While creating a theatrical production is fun and fulfilling, it can also be very stressful. Be there for your teammates and support them as best you can. Listen to each other, communicate with each other, and back each other up. Be prepared to compromise. Remember your common goal: You are all working together to create the best show and best rehearsal experience for your students.

We were lucky enough to speak with two teachers at Northwest Middle School in Flowood, MS – Emily Wright and Genifer Freeman – about how the entire school (even the Principal) got involved in a theatre production. You can hear the entire podcast here. We’ll share with you how they did it, and how successful it was in building a sense of community in their school. The Summer Reading BookAt Northwest Middle School in 2014, the entire school was assigned the same book for a summer reading assignment: Linda Sue Park’s A Long Walk to Water. The book is about the Sudanese civil war and the need for clean water in that region. Each student (in the 7th and 8th grades) was responsible for reading the book over the summer break. Every discipline in the school had to incorporate the book some way into their curriculum. While it met with some resistance at first, the school community could hardly have imagined what a huge impact this project would have on both their community and a village in Sudan. The Play’s the ThingTeacher Emily Wright was thrilled when she found a play called The Walking Boys by Robert McDonough, which was based on the story of Salva Dut from A Long Walk to Water. This play became the theatre program’s focal point to share with the school community at large. It was a special experience when the show went onstage and Salva’s story really came alive. Teachers often try to get their students to think more globally, but this play gave the opportunity to bring it to life. It tells the story of children journeying through their homeland just trying to find refuge from the civil war. When the student performers realized they were the same age as Salva and these other boys, it really connected with them. The Choral ConnectionThere was also a special group that helped to bring music to the play. While Emily was working with her theatre students to produce the play, Genifer Freeman, the school’s choral director, found a unique connection with music that would complement the project. She searched for African-style music, as it was difficult to find text and songs that were written in the Sudanese language. Genifer worked with her newly-formed boys choir to choose a song called Kawouno Wan Gi Pi. It is a song with an African rhythm and a text that helped the students correlate (the song talks about water being thankful). It wasn’t your typical choir at all! The Non-Theatre StudentsThe choir became the “Lost Boys” within the play. Having this group involved resulted in strong camaraderie among a group of students who came from different walks. There were football player students, really strong academic students, and students who had IEPs. Many students who were just not going to participate in a theatre activity in a traditional way. They became a band of brothers. Many of them had not even read the text, due to learning difficulties. The Art, Science, PE, and Math ConnectionsThe school’s art teachers designed beautiful African art to be hung on the wings of the stage, and in the school’s entryways. The science teachers focused on the clean water project. The math teachers used the text to form equations – for example, the actual footsteps of the walk from their homeland to the refugee camps. The PE classes incorporated the walking part into their curriculum as well. All of these activities allowed students to connect with an event that happened on the other side of the world. It became personable. The LeaderThe school principal, Mr. Jacob McEwen, was give the role of Salva’s father. He had never been onstage. In fact, he was quite nervous! But he committed to it for the students. And because of that, he was no longer the principal. He was part of the cast and he got to feel the camaraderie and family connection that comes from being onstage with an ensemble. Everyone was involved in making him feel comfortable. The Fundraising Tie-InBefore the summer even started, the school established a big fundraising tie-in goal for the end of the following year. The initial goal was to raise $8,000 to build a clean water well. All the different clubs and organizations at the school did their own fundraising to make their mark and to donate in some way. The school sold tickets to the production. Students filled up water bottles with pennies, held bake sales, sold popcorn, asked for donations from businesses and parents. Little by little, it all added up. The school ended up raising $17,000 – enough to build two wells and help with other mechanical repairs! It was a huge success. When students saw this photograph and realized they had actually made their mark, they came to tears. In the photograph, the villagers are standing in front of the well that has the imprint “H2O for Life – Northwest Rankin Middle School” with the year that it was built – it is forever imprinted in that village. Inspired? Hear the whole story on the Theatrefolk podcast. You might just be the next teacher to spearhead a project like this one at your school!

This improvisation game is great for students who are brand-new to improvisation. It focuses on students going with the flow and joining in the scene, rather than trying to one-up another and “force the funny.” One of the most important aspects of improv is the concept of “yes, and…”, which keeps the scene going. Students must accept then build onto their peers’ suggestions. For example: If one student says, “It sure is hot here in Florida!” their scene partner cannot reply with, “What are you talking about? It’s -30 degrees here in Winnipeg.” The scene would be officially dead! Improv CommunityWith the game “Improv Community,” the focus is on listening and going with the flow. Divide students into groups of 5 to 6. The larger group size encourages more listening and being fully aware of what’s happening. Assign each group a scene where people would interact a great deal, like a kindergarten classroom, a busy shopping mall, or a fitness centre. One student will start the scene, and then each member of the group will join in. Students don’t have to join the scene alone; they can grab another group member and have them join in at the same time. The trick is that the other students must go along with it! Example Let’s use the example of the kindergarten classroom. The scene could start with one student acting as the kindergarten teacher and setting up the room, and the second person to come on might be one of the kindergarten students, dragging their parent (a third student) in to see their classroom. The fourth, fifth, and sixth students might be additional kindergarten pupils, another teacher in the school, a principal, a special guest for show-and-tell… The possibilities are endless! Students don’t get any time to prepare – since this is improv, all thinking has to be done in the moment. Encourage students not to come up with wild ideas or crazy scenarios. They need to create and commit to a real, honest character, and react appropriately to what’s going on around them. Most Important Rules The most important rule of “Improv Community” is that only one actor can speak at a time. That way the scene doesn’t devolve into everyone yelling at or over each other. This teaches students patience and listening skills. They need to work together to make the scene happen, while also listening to each other, so they can figure out when to say what their character wants to say. The second rule of “Improv Community” is that each participant must speak at least three times during the scene. This will prevent one student from dominating the scene. Here’s how the kindergarten class scenario might go: Student #1 (teacher): Good morning Susan! How are you today? Student #2 (Susan): I’m OK, Mr. Smith. I brought my mom to school today. Student #1 (Mr. Smith): Hi, Mrs. Jones. What brings you in today? Student #3 (Mrs. Jones): I wanted to speak with you regarding a problem Susan is having with another child in the classroom. Student #4 (another parent): Excuse me, Mr. Smith! I need to speak with you. It’s an urgent matter regarding my son Joseph! Student #1 (Mr. Smith): I’ll be happy to speak with you about your concerns about Joseph, Mr. Gray, once I finish speaking with Mrs. Jones. Student #2 (Susan): Hi Joseph. Student #5 (Joseph): Hi Susan. Want to play trucks? Student #2 (Susan): Sure, as long as I get to be the blue truck. …and so on, until each student has spoken three times each. Notice that once a character has been established, the student stays as that character. Of course, improv scenes don’t use a script, but this gives you an idea of how the scene might go. It’s simple, straightforward, and that’s all it needs to be.

Collaboration games are a great go-to exercise throughout the entire school year. At the start of the school year, they work for ‘get to know you’, and warm up activities. Later on in the school year, they can help get the class out of rehearsal ruts, energizing both the students and the teacher. These are 5 of our favourite collaboration games. Each post comes with a PDF download so you can walk into class the next day, ready to play the game with your students! 1. Three Things in Common The point of this game is for students to not just talk to each other, but to go beyond surface connections. Great for the first week of the term! 2. The Marshmallow Challenge It works because it’s so simple. Groups of four are given 18 minutes to build the tallest freestanding building they can with 20 sticks of uncooked spaghetti, one yard of masking tape, one yard of string, and one marshmallow. 3. The Negotiation This game will give your students practice negotiating, not just following one or two leaders. 4. The Human Knot Students must not only achieve the knot, but they must also work together to undo it. This game will challenge students to communicate with each other without resorting to commands. It will also boost their negotiation skills. 5. Big, Tiny, Twisted This exercise is a great last warm-up before transitioning into classwork or rehearsal.

We’re counting down the 12 Days of Christmas with 12 of our most popular Classroom Exercises! No matter which holidays you celebrate, these exercises are a useful tool to keep in your back pocket – and every exercise comes with a free download for immediate use in the classroom! 1. Devising Exercises 2. “Worst Case Scenario” Exercise 3. “Improv Games for Collaboration” Exercise 4. “Monologue Evaluation” Exercise 5. “I Would Never…” A Pre-study Romeo & Juliet Exercise 6. “What’s in Your Bag?” Character Development Exercise 7. “Instagram Journaling” Expression Exercise 8. “Collaboration Games: One to Twenty” Warm-up Exercise 9. “Relationships in Romeo & Juliet” Exercise 10.“Indoor Clouds” Playwriting Exercise 11. “Playing with Change” Devising Exercise 12. “Reality vs. Illusion” Exercise

Drama is one of the few classes that teachers real world skills. This is something that every drama teacher knows well. You know this. Despite resistance you may receive from parents, administrators, or even other teachers – the drama class is a vital and necessary component to a well rounded education. It’s not computers or television that ruins the lives of students. It’s the square peg in the round hole. It’s testing. It’s the methodology that every single student must conform to one way. Students do not need to learn how to parrot back facts. That is the sole purpose of a test. Teenagers know everything is at the swipe of a finger, so why bother? How soon will it be before today’s visual learners rebel? Students do need to know how to think on their feet in the 21st century. We have given them information at their fingertips, how do we take them to the next level? They need to know how to use their brain to create, to communicate, to innovate, to collaborate. These are the real world skills of the modern world, the 21st century skills. And they are happening in every drama classroom right now. Are you shouting that from the rooftops?The drama class is a microcosm for 21st century skills.Throw that on a poster and slap it on your classroom door. Make it your mantra. If you want parents, administrators, other teachers to take you seriously and to take your program use this sentence on a constant basis. My class promotes 21st century skills.The skills of the 21st century are not about technology, even though every teenager is fully wired. It’s about teaching students to think in a new way. Click on each link for classroom exercises and articles on these important skills. • Critical Thinking • Creative Thinking • Communication • Collaboration ** ** The act of being in a play promotes all of these skills. Critical Thinking:• We apply close reading to the script • We analyze our characters and make inferences • Weask and answer questions based on the script Creativity:• We interpret the script • We develop choices for our characters • We design the costumes, sets, and props based on the script Communication:• We construct a vision both visual and thematic • We offer feedback and suggestions during therehearsal process • We receive and process feedback from the audience Collaboration:• We work together onstage and off • We develop a community • We problem solve You may be thinking – Hold on. This is not why I teach drama. I teach drama not for the administrators. I am there for the students. I am there to create the only safe space they have in a day. I am here to bring theatre to life. I am not a spouter of buzzwords. You don’t have to be. In the classroom it’s just you and your kids. But how are you advocating for your program outside the classroom? Is your administrator in your corner? Are the parents? What are you doing to keep your program alive? What language do you use to make administrators sit up and take notice? Click here to download a brainstorming activity that asks: How does my class promote 21st Century Skills?

“How can you get your students to brainstorm effectively?” Brainstorm: a group discussion to come up with ideas and solve problems. Brainstorming is a great idea generation and problem solving technique if it’s used in a focused way. That may seem beside the point – come up with any idea! But only in this way! But the fact of the matter is that to tell students to “brainstorm” is too vague. If you want to hone your students’ group-think skills, then brainstorming needs a structure. Each session is contained and follows the same procedure. (Such as: put as many ideas on the page as you can, reject nothing, and then discuss and decide on ideas to move forward with.) Brainstorming sessions without structure can turn into fights, students can shut down if they feel judged, and the overall result is unsuitable for further exploration. How do you get your students to effectively brainstorm?Example: Brainstorming for a group playwriting projectConsider the example of writing a play as a group. Brainstorming is often the first step in a playwriting project and it would make sense that the first task is brainstorming subject ideas. But to tell students “brainstorm ideas for a play” is a vague suggestion. There are so many possible subjects, this could end up as an exercise in frustration. You want the brainstorming sessions to lead students to come to a consensus, to work together, and to feel comfortable contributing to the process. Implement a step-by-step structure for brainstorming ideas. In this case, work backwards. Have students brainstorm on form first, then topic, and finally theme. Why do we end with theme instead of begin with theme? It certainly feels like the most specific point to start brainstorming. Playwriting often feels like an overwhelming venture. To say “write a play” is daunting for most students. It leads to blank stares and blank pages. By using a brainstorming exercise to identify specific attributes of the play, it gives students tangible steps toward writing instead of starting from scratch. And the brainstorming itself gives students practice working together, negotiating, and participating in the decision making process before the first word. Hopefully this will make the actual group writing a smooth endeavor. FormFirst, have your students think about the type of play they want the finished product to look like. Don’t worry about the content, what skeleton or framework will the content live in? Ask students: what form do you want this play to take? What’s the most important quality? Comedy? Drama? Absurd? What kind of characters do you want the play to have? It’s a great place to start brainstorming because every drama student has an opinion on that – if I could be in any kind of play, what would I want to do? Get students to think about the audience response – if they want to shock the audience, that’s going to determine the form. Comedies don’t often shock an audience. If they want to make an audience laugh, then they’re probably not going to go for an absurd form. Brainstorm Divide students into small groups and have them brainstorm and come to a conclusion as to how they would finish the following sentence starters: • We want to perform the kind of show that…. • The characters in the play should be… • The most important quality in this play is…. • We want the audience to respond with… Instill a procedure that happens with every brainstorming session: All ideas on the page, no judgement, discuss and then a final decision. Instruct groups to take one sentence starter at a time and come up with as many different endings to the sentence as possible. A minimum of ten for each sentence starter. Then groups have to decide on the most important three, and then finally come to a conclusion on the way to end the sentence. TopicThe next phase is to brainstorm on a topic. Before that though, there is one very important question to answer: Who is the audience for our play? That is going to determine a baseline for the topic selection. For example, if you’re going to write a play for the middle school students in your area, that means everyone in the audience is 10-12 years old. What kinds of topics resonate with this age group? What topics are off bounds? Brainstorm Once you determine the audience, have students brainstorm possible topics for that audience. The best exercise for this is to automatic write ideas. Automatic writing is a great exercise for getting words on the page without censorship or self-criticism. That is the key component of brainstorming – words on the page. The more topics that groups can put on the page, the better. Instruct students that no idea should be thrown out, rejected, or scorned. Everything goes on the page. It works well to give a time limit (no more than 5 minutes) with this exercise to push students to come up with one idea after another and to not overthink the process. Once groups have a page of ideas, it’s time for students to discuss them and decide on five. What are the five topics that make the most impact? Each group presents their list to the class and then from that list the entire class discusses and decides on five. Those five are then discussed and a final topic is chosen. If students have difficulty choosing a topic, remind them of their audience and their answers to the form sentence starters. If students decided that they wanted to write a comedy, then the topic of depression isn’t going to match their chosen form. This is not to say that the form can’t change, but this is a great way to keep students focused on moving forward with their brainstorming and decision making process. ThemeYou’ve chosen a topic. For example, a comedic play for a middle school audience on the topic “The first year of High School.” The last step in the brainstorming process is to discuss theme. What are the most important themes within their topic? Essentially, this determines the plot for the play. What the characters will worry about, what the scenes are going to focus on. Brainstorm Give students a time limit to gather as many themes on the topic as possible. How do you narrow down the topic? Again, no idea should be scorned, rejected, or criticized. This is when brainstorming can go awry. When a student feels judged for their ideas, they’re going to stop participating. This is the last thing you want in a collaborative endeavor. During each session, your job is to make sure groups stay on each step along the way: All ideas on the page, no judgement, discuss and then a final decision. At the end of these brainstorming sessions, students will have the form, the audience, the audience response, the topic, and possible themes for scenes. That is a lot of “effective” work!

Sometimes it’s the simple games and the ones we’ve played over and over again that can offer the most learning. Take The Human Knot. It’s a game that’s been played in playgrounds, camps, and drama classes everywhere. But at its heart, it’s a collaboration game. Once the knot is achieved, how do your students work together to undo the knot? Are they able to communicate with each other without resorting to commands? Are they able to negotiate? InstructionsGoal: Undo the knot without letting go of hands 1. Get students into a circle. Everyone stands shoulder to shoulder. You can also do this in smaller groups and add a competition aspect. 2. Everyone lifts their right hand. 3. Everyone grabs the hand of someone else in the circle. They cannot hold hands with the person next to them. 4. Everyone lifts their left hand. 5. Everyone grabs the hand of someone else in the circle. (Not the same person as with the right hand.) They cannot hold hands with the person next to them. 6. The group has to untangle the knot without letting go of anyone’s hand. 7. Repeat the exercise and this time instruct students that they can’t talk. All communication has to be non-verbal.

Many productions are based on a pyramid structure : Stars at the top, supporting cast in the middle, chorus at the bottom. Even though there are more actors involved at the bottom of the pyramid, it’s those at the top who usually get to shine. This structure has been in place for years and is inherent in every genre of play from Shakespeare to Broadway musicals. Stars shine, the chorus gets stuck at the bottom. And because high schools often produce Shakespeare to Broadway musicals, the pyramid structure finds it’s way into student productions. There’s nothing worse than being at the bottom of the pyramid and feeling like you’re not a worthy part of a show. If you’re intent on the performance aspect of shows, you probably accept the pyramid structure because that’s the way theatre works. You can’t produce The Wizard of Oz without Dorothy. But if you’re intent on the drama in education aspect of theatre in your program, and if you ever want students to work together on something of their own, the pyramid structure has to be dismantled. Everyone in a show has to participate in and actively buy into the notion of ensemble. To be a part of ensemble is not to be part of a chorus – the acting ensemble is the entire cast. To be part of an ensemble is to create a feeling where everyone belongs. The ensemble is a space where everyone is on the same page. It’s an atmosphere where everyone on stage works toward the same goal. How do you create ensemble?There are three qualities you want to instill in your cast when creating an ensemble. • To Look and Listen: The ensemble actor always has their eyes and ears open while on stage. They are engaged at all times. • To Support: Since they are looking and listening, the ensemble actor is ready when the unexpected happens to their fellow actor. They don’t just stare into space waiting for their next cue. • To be a Community: Ensemble actors work together, they build a community out of their production. There is no star system. To create an ensemble, you want your students engaged, supporting each other, and thinking that everyone is equal in the process. These qualities are within every student but they don’t happen naturally. You have to lead by example and incorporate ensemble building exercises into your class or rehearsal process as soon as possible. Manhole CoverUse this exercise at the beginning of every rehearsal. How well do they work together by the time your show is ready to open? • Students stand in a circle. Their first job is to make a perfect circle. • At their feet is a manhole cover, which is the area and dimension of the entire circle. A very big manhole cover. • The task is to pick up the manhole cover as a group and lift it to shoulder height and then bring it back down to the floor. • All the principles of mime apply – the weight, shape and size of the cover must be taken into consideration. Everyone must work together to keep the shape consistent. • Next do the exercise with something that has the same shape but an entirely different weight and consistency. Cotton candy circle? Jello circle? • As students continue to perfect the exercise, have them do it without any verbal cues. Can they work together to lift the manhole cover without talking?

How do you get students to work together in a creation? Try this pre-exercise to have students practice collaborating to make a finished product. It’s an exercise that has been around for years but the instructions have always been the same. The Challenge:• Divide students into groups of four • Give each group 18 minutes to build the tallest freestanding structure • Supplies include: • 20 sticks of uncooked spaghetti • masking tape • string • a single marshmallow. • See who finishes with the tallest structure. Why This Exercise WorksThe time limit is important because it forces students to collaborate quickly. The competition aspect is also important as it pushes groups to work at their best. This exercise will let you know really quickly how adept your students are at working together quickly. Some may get too frustrated to complete the challenge. Some may turn into leaders. Some may refuse to collaborate at all. How does all of this impact the group dynamic? This type of exercise will also tell you about students' self-management skills: • How do they manage their time? • How well do they stay on task? • Do they distract easily? • Do they distract others? These are all good things to know before you take on a collaborative theatrical project. ReflectionDiscuss the exercise afterward. How did your group work together? How did students feel about the time limit? How well did they work under pressure? Were they able to work together? Why or why not? Want to Take It Further? Want to take it further and perhaps down a more theatrical path? Get students to build a marshmallow set. Give them the same parameters, work with unlikely materials within an 18-minute time frame, and see what they create.

If you want your students to devise a theatre piece in class, it’s important to practice the act of collaboration as much as possible. Ideally, you should use the month beforehand getting students used to the idea of working together, crafting ideas together, and learning how to negotiate. Get your students used to negotiating and not just following one or two leaders. Instructions:1. Divide class into groups. 2. Give each group a time limit and a topic – “You have one minute to plan a new world.” 3. Once the time is up, they have to immediately present. Don’t give them more time, don’t let them complain that they couldn’t come up with anything. Each group has to do something. 4. Watch the groups present. Right away, give them another topic and another time limit. At the end of the time limit, have them present again. 5. Students will be frustrated. That’s fine. As you repeat the exercise three or four times, they’ll get the idea of what they have to do and adjust. The point of the exercise is to encourage students to negotiate with each other. There can’t be one leader who always gets their say in a collaboration. Everyone has to work together in some fashion. 6. As you repeat the exercise, change up the groups – put all the leaders into one group – what happens then? If you notice one student taking charge time and time again, limit their power. They’re only allowed to say one sentence during the time limit. Or what if you tell students that a person can only say one sentence at a time? After they say their sentence, they have to wait until everyone else has had their turn. 7. Afterward, discuss the process. What was it like to be under such a short time limit? Were they able to work together? Why or why not? And if they weren’t able to work together, discuss the issues. Finally, discuss how they can change their work methods next time to eliminate the issues. Since this is drama class, be creative with the topics. Some suggestions are: • Create a new law • Decide on a law to remove from existence, and explain why • Create a school uniform • Write a new school song • Write a poem about feet • Create a new superhero • Create a new weather pattern • Invent a machine • Invent a new food • Invent a new product that solves a problem • Invent a new disease • Write a scene for an action movie • Create a commercial for a product that doesn’t exist • Decide what school will be like 100 years from now • Invent a language. What’s it used for?