Creativity

Even in the middle of struggle, the arts create space for laughter, beauty, imagination, and play. They remind us that humans are storytellers and creators, capable of imagining solutions, expressing emotion, and finding hope even in the darkest moments. They remind us that creativity still exists, that stories still matter, and that joy is still allowed. Sometimes, joy is not frivolous, it is a form of resistance. (We love this quote from Toi Derricotte: "Joy is an act of resistance.”) In challenging times, when stress, uncertainty, or adversity can feel overwhelming, the arts offer a way to pause, reflect, and reconnect with what makes life meaningful. And the way we experience the arts in these moments doesn’t have to be trauma-based: It’s okay to laugh. It’s okay to have fun. Joy is also a form of resistance. It gives us the capacity to withstand and recover. At Theatrefolk, we see this power of the arts in classrooms and on stages every day. Students discover confidence as they step into new roles, speak their ideas, or create characters and worlds from scratch. Teachers cultivate supported spaces where risk-taking is encouraged, collaboration is practiced, and every voice is valued. The arts are not simply extracurricular activities; they are essential spaces where learning, empathy, and human connection happen simultaneously. In difficult times, the arts do not disappear. They become even more necessary. We hear from teachers every day as they look forward to putting on their next play, sharing their competition successes, or asking questions. We are in awe of your resilience. Teachers, please keep doing what you do. You matter. Your work matters, the communities you build matter, the joy you create matters, now more than ever.

Directing first-time actors is both exciting and challenging. New performers often arrive with enthusiasm, curiosity, and a desire to belong. But they may also carry anxiety, uncertainty, or misconceptions about what theatre demands. For many, this is their first time stepping into a space that asks for vulnerability, discipline, teamwork, and imagination all at once. A successful experience depends on creating an environment where students feel supported, informed, and empowered to grow. One of the most important first steps is getting to know everyone quickly. Learning names as soon as possible helps build trust and creates a sense of safety in the rehearsal room. When actors feel seen and acknowledged, they are more willing to take risks, participate fully, and collaborate with others. Name games and group warm-ups help establish connection not only between director and actor but among the entire ensemble. First-time actors thrive when responsibility is shared. Instead of presenting yourself as the sole source of knowledge, let students become experts too. Assign groups to explore different theatrical styles, storytelling techniques, or production elements, and have them teach their discoveries to the rest of the cast. When actors help shape the learning process, they gain ownership of the work and deepen their understanding of the art form. This approach is especially useful in mixed-age or mixed-experience casts, where collaboration supports growth at every level. Another essential component is creating space for student voices. While directors may arrive with a vision, new actors benefit from being able to express what excites them, what confuses them, and what they hope to achieve. Invite them to suggest ideas, ask questions, and contribute to creative decisions when appropriate. For actors who are shy or apprehensive, build alternative pathways for communication: private check-ins, reflection journals, anonymous question boxes, or digital forms. These tools allow students to share concerns or seek guidance without fear of judgment. Finally, encourage consistent self-reflection throughout the process. Daily or weekly journals, exit slips, and rehearsal reflections help first-time actors articulate their progress, identify challenges, and recognize their own growth. Over time, this collection of reflections becomes a meaningful record of their journey. Directing new actors is not just about producing a show; it’s about helping students discover confidence, empathy, discipline, and joy. When you create a supportive and collaborative environment, first-time performers often surprise themselves with how much they can achieve.

You’ve picked your next play or musical - hooray! The script is chosen, the dates are set, and your students can’t wait to hear what it is. Now comes the next big step: How do you share the news in a way that gets your students, school, and community excited too? A show announcement isn’t just an update; it’s your first opportunity to build buzz, curiosity, and anticipation. Whether you want something simple or spectacular, here are some creative ways to make your next show announcement shine. 1. The Big RevealYou can’t go wrong with a classic. Create a dramatic “reveal moment” for your cast and crew. • Option A: Gather your students and drop a big hint - a single prop, a line from the script, or a quote - before revealing the title. • Option B: Hang a banner or projection that says “Our Next Production Is…” and let students pull the curtain (literally or figuratively). • Option C: Wrap your script in a box and let a student open it like a gift. Bonus: Film the reveal and post it on your program’s social media pages. 2. The Mystery GameTurn your announcement into a week-long guessing game. • Post a daily clue on your classroom door or bulletin board. • Share close-up photos of props, costumes, or words from the script. • Create a “Title Scramble”: Rearrange the letters of your show’s name, characters, and lines from the show and challenge your students to decode one per day, ending on the show title. • Have students guess the title each day. This keeps students engaged and builds excitement all week long. The more interactive, the better. 3. The “Escape Room” RevealFor a class that loves puzzles, create a short “escape room” or scavenger hunt activity. Each clue leads to a new piece of information - a theme, a character name, a prop - until the final answer reveals the show title. It’s a fun and collaborative way to make the announcement memorable and connect students to the show before rehearsals even begin. 4. The Social Media Teaser CampaignStart a countdown to your announcement day on your program’s social media pages. • Day 3: A photo of the stage with the caption: “Something’s coming…” • Day 2: A cryptic prop image • Day 1: A line from the script • Announcement Day: The poster, title, and performance dates Hashtag it up: #DramaReveal #NextShow #TheatreSeason Tip: Use Canva to easily create sleek, professional-looking social media posts. 5. The Themed Photo WallSet up a “photo reveal wall” in your classroom or hallway. Decorate it with colors, props, or symbols from the show, and have students take pictures with it once the title is revealed. Share those photos on social media or the school bulletin board; it’s a great way to visually introduce your show’s vibe. 6. The Trailer DropChannel your inner movie marketer and make a teaser trailer with your students. • Use dramatic music, short quotes, or even your students’ reactions without showing the title. • End with a fade to black, the show’s name and dates. • Post the results! Students love seeing themselves featured, and it’s one way to spread the word online. 7. The Costume Clue LineHang a line of costume pieces or props across your classroom or hallway. Each item connects to a character or moment from the show. Let students guess the production before you reveal it. (Hint: Keep one totally unrelated prop in there just to throw them off.) 8. The Community ConnectionAnnounce your show by involving your school community. • Collaborate with the art class to design teaser posters. • Have the morning announcements crew read dramatic hints. • Drop “sneak peek” flyers in the library or cafeteria with just the tagline or theme. The more people feel involved, the more invested they’ll be when opening night arrives. 9. The “Cast Reactions” VideoIf your returning students already know the show, film their reactions to the reveal (no spoilers!). Their excitement and energy are contagious, and it shows future students and your audience that this is a production to get excited about. 10. The Quiet RevealSometimes less is more. A simple, stylish poster on your classroom door with just the title and performance dates can make a big impact. Final TakeawayYour show announcement sets the tone for your entire production season. Whether you go for mystery, creativity, or heartfelt excitement, the key is to make your students feel like they’re part of something special - because they are. Your next show isn’t just a title; it’s the start of a new story, a new adventure, and a new chance for your students to shine. Additional Reading: Fun Ways to Announce Your Next Show

The break is over. The decorations are packed away, your coffee mug has been upgraded to “extra large,” and it’s time to head back to the classroom. The post-holiday return can feel like a tough act to follow, both for teachers and students, but it’s also the perfect opportunity for a creative reset. Here’s how to start your new semester with renewed energy, enthusiasm, and inspiration. 1. Reflect before you reboot.Before diving into lesson plans, take a moment to look back. What went well last semester? What challenges popped up? Jot down some quick notes for yourself. If you can, remember to ask students to reflect at the end of each semester on what stood out, what confused them, what they would love to learn more about, and what unit they never want to repeat! All of this can help you refocus your goals and move forward. Try this: For a start-of-the-semester reflection, have students write one “Act I highlight” (something they loved or learned in a previous semester or drama class) and one “Act II goal” (something they want to achieve this semester). Additional Reading: The Reflection Collection: A Round-Up 2. Lead with a low-stress, high-fun activity.Ease everyone back in with an activity that sparks energy without overwhelming anyone’s post-break brain. Think short, creative, and collaborative. For example: * Big Tiny Twisted: A collaboration game. * Prompt Improvs: Put together a list of unique prompts and have students improv scenes. * Holiday Highlight Improv: Students act out exaggerated (and likely hilarious) versions of their holiday experiences. Additional Reading: 10 Low- or No-Prep Theatre Exercises 3. Reconnect the ensemble.After a few weeks apart, it’s natural for your ensemble dynamic to need a tune-up. Spend the first few classes rebuilding trust, laughter, and connection. Try this Ensemble exercise: The Ensemble Monologue. Additional Reading: 5 Tongue Twister Exercises for Ensemble-Building 4. Set new (attainable) goals.New Year, new semester, new opportunities! Invite your students to set personal and class-wide goals for the coming months. These could be performance-based (“I want to project better”) or teamwork-focused (“I want to help my classmates more”). Set your own teacher goals too. Maybe it’s integrating more student-led activities, exploring a new script, or simply remembering to breathe during tech week. Additional Reading: Student Goal Setting Exercise: The Wish Jar Drama Teachers: What’s Your Goal? 5. Try something new.Add a spark by introducing something fresh into your curriculum. It could be a new warm-up, a short play, a themed mini-unit, or a creative classroom project. Need inspiration? Search our Theatrefolk Learning Centre for ready-to-use ideas, activities, and classroom resources to make planning easy. Additional Reading: Drama Class Projects Using Plays for Classroom Study 6. Pace yourself (and your students).The temptation to jump right back into full gear is real, but remember: Students (and teachers!) are still adjusting after the break. Keep the first week light, reestablish routines, and let creativity grow naturally. A calm, confident approach sets the tone for the entire semester. Additional Reading: How do I Determine the Right Pacing for Units? Developing Classroom Routines and Systems Final BowThe start of a new year isn’t about reinventing everything; it’s about rekindling the spark that makes your classroom come alive. With a few intentional choices, you can turn that post-break slump into a standing ovation. Here’s to a semester full of laughter, learning, and theatre magic. You’ve got this! Looking for fresh classroom ideas? Explore our free resources, activities, and play recommendations at theatrefolk.com, and be sure to sign up for our drama teacher resource newsletter - everything you need to start your drama year strong!

Theatre teachers are often faced with staging productions in less-than-optimal spaces. Whether it’s on a platform in the corner of a classroom or the stage in the cafeteria, theatre teachers have to think ahead and outside the box when it comes to staging in these spaces. Here are some common challenges you find in three non-traditional performance spaces, and suggestions on how to solve them. Space: Your ClassroomFor many teachers, their classroom is also their performing space. Here are some of the biggest issues you may need to address when mounting a show in a typical classroom. • No stage Because there is no stage, the performers and the audience are on the same level. This makes sightlines challenging, especially if performers spend any time on the floor. SUGGESTION: If you have no elevated stage space in your classroom space, think about changing levels by adding blocks or other sturdy furniture actors can climb on. Think of ways you can creatively elevate performers or scenes. The more you can do to raise the performance above ground level, the more your audience will get out of the show. • No stage lights Regular classrooms were not designed with theatrical performances in mind, so not only are there no dedicated stage lights, there may be unshaded windows to contend with as well. Because of this, you will not be able to create actual “blackouts” during performances. SUGGESTION: If you don’t have stage lights, use this as a problem solving opportunity. How can students use found lighting (e.g., flashlights) to light their scene? And when it comes to alternatives to the traditional “blackout” at the end of scenes, work with students to create strong visual moments that definitively end scenes. It’s also a good idea to incorporate music or sound as a way to define the beginnings and ends of scenes. • No backstage With no backstage you have no dressing rooms, no wing space, and no crossover. Basically what you see is what you get! SUGGESTION: Without a backstage you will need to get creative with how you use your “stage” space. If you have the ability to put up simple flats, or hang material as a drape/curtain, it could buy you just enough space to function as a “backstage.” If you don’t have those options, try to set your performance space up in such a way that you can take advantage of existing doors and exits as your stage exits and crossovers. If none of that is possible, work with your students so they enter, exit, and cross over as invisibly as possible, and drill them on proper “backstage” etiquette so they are quiet and do not draw focus. SPACE: GymatoriumSome teachers are assigned to a performance space that is a combination gym and auditorium. These spaces have unique challenges when it comes to staging performances. • Stuff Unfortunately, it’s typical for these types of spaces to be catchalls for both gym equipment AND theatre storage. That means that any backstage space will be jam-packed with everything from kick balls to hula hoops and everything in between. Worse still, as the theatre teacher you will not have the authority to simply move these items to another location, as they are the property of another department. SUGGESTION: Negotiate and work together with those other departments. Plan on having meetings with admin and other faculty long before you start the rehearsal process. And be prepared to compromise — using half the space is better than not being allowed to use it at all! • Crossovers Like classroom spaces, these spaces were not designed with theatrical productions in mind. It’s very likely that either you will not have a designated crossover space, or that the crossover space is also your storage space for the production. SUGGESTION: As with the classroom information above, plan on being creative or clever with your crossovers. Have students cross through adjacent hallways or other nearby spaces, or address crossover issues with your blocking by having characters enter from where they previously exited. • Acoustics The acoustics in gymatoriums are poor at best. The walls and floors of these spaces are normally hard, and either are “dead” or have a lot of “bounce.” In other words, sounds will be echoed and absorbed in harsh and random ways and it will be difficult for performers to be heard clearly in the best of circumstances. SUGGESTION: Work with your performers from DAY ONE on volume, projection, and clarity. Don’t expect any help from a sound system — If there is any microphone equipment, it’s most likely either hanging choir mics or hand mics on stands, and in either case will most likely not provide adequate vocal amplification. Your best bet for your performers being heard and understood is a combination of speaking loud and clear, and whatever amplified assistance you have available to you. SPACE: CafetoriumCafetoriums are arguably even worse than gymatoriums when it comes to performances. This is because cafetoriums are located IN THE CAFETERIA and there is no acoustic separation between the working kitchen and the performance stage. These spaces are notoriously loud and chaotic and are considered the most challenging to work in. If you find yourself assigned to a cafetorium as your performance space, you can expect the same fundamental challenges you will find in a gymatorium (stuff, crossovers, acoustics), plus a few more to contend with…. • Really terrible acoustics The fact is that the acoustics in a cafetorium are by far the most challenging to contend with when it comes to staging a show: The kitchen is noisy, the floors and walls are hard and echoey, and worst of all, any sounds coming from the stage are usually swallowed up in the curtains before they ever pass the proscenium. Remember as well that even if you can hear your performers during rehearsal, once you add an audience it will deaden the sound even more, making it even harder to hear them. And when the audience cannot hear or understand what the actors are saying, they will eventually tune out and give up on the performance. SUGGESTION: If you are performing in a cafetorium, plan on using some kind of amplification system, even if your performers have to stand near a stationary mic. The audience will gladly give up basic blocking in favor of hearing what is being said. • Seating Cafetorium seating is likely going to be cafeteria seats, which are typically long tables with benches or seats attached. These seats are not designed for audiences. They are inflexible and uncomfortable, have limited sightlines, and can be noisy when in use. That’s why you need to have your seating situation in mind when you plan for your production. SUGGESTION: Keep your productions with this type of seating short and sweet. This will give your audience the best chance to enjoy the show, no matter what challenges you had to overcome to get it on the stage.

It can be difficult to get students to engage their imagination when participating in drama class. Whether it’s making big choices or fully committing to a scene, students are often reluctant to go “all in” when it comes to their imagination. Here are three ways to encourage your students to kick start their imaginations in your classroom. Creative Prompt ListSometimes the biggest challenge for students using their imagination is knowing where to start. New drama students are often intimidated when it comes time to use their imagination, especially when asked to make a suggestion or start a scene. You can help students free up their imagination by having a ready and available supply of creative prompts. From clever journal prompts to unique improv starters, giving your students an imaginative head start will serve two purposes: It automatically engages their creativity, while at the same time it models the kind of original thinking that leads to more inventive input in games and activities. Click here to access dozens of creative prompts: Playing the “What If”Oftentimes, students will choose the “safest” route when it comes to playing games and scenes. If you’re trying to get your students to break out of ‘safe’ and into ‘creative,’ try playing the “What If.” The “What If” is a kind of guided “Yes, and…” where you accept the circumstances the student has presented and challenge them to explore and expand by asking “What If.” For example, if your students are playing a scene between a mother and daughter in the mall, you could challenge them by saying, “What if instead of mother and daughter, you played the same scene as a scientist and alien?” or “What if instead of being in the mall, you are a mother and daughter at army headquarters?” Asking your students to imagine “What If” in the middle of a scene will require them to think about the scene in a very different way. As a bonus, you can engage your entire class’ imagination if you allow students who are not on stage to offer “What If” suggestions as well. Masks and PuppetsBeing on stage can leave students feeling exposed and self-conscious, and that is a huge factor in limiting creativity and imagination. A clever way to overcome this issue is to have students perform with masks or puppets. By using masks or puppets, you provide distance between the students and the characters they are playing, while at the same time asking them to engage their imagination. That distance can provide students a sense of security that gives them permission to make bigger, more imaginative choices, because it isn’t “them” on stage. Both teachers AND students are often surprised by how creative performances can be when masks and puppets are involved!

Creativity often flourishes in the face of challenges. When we lack certain tools, resources, or ideal circumstances, we are forced to think differently, adapt, and innovate. Instead of viewing limitations as roadblocks, they can become catalysts for discovering new solutions. Elena Sullivan said: "Creativity can flourish in times of crisis, and the absence of specific instruments or circumstances can become a motivator to create. Shifting attention from 'I don’t have this, that’s why I can’t do that' to 'I want this, and how can I get that?' liberates intrinsic resources that help to be proactive and see opportunities rather than obstacles. Creativity is the result of giving birth to something new, and it’s challenging, but the result is gratifying." Shifting Your MindsetAsk your students: How many times have you thought, I can’t do this because I don’t have that? It’s a common response when faced with limitations. But what if, instead, you asked yourself, How can I make this happen anyway? That simple shift in thinking can unlock a world of creative possibilities. Throughout history, some of the most groundbreaking inventions, artistic works, and solutions have emerged precisely because people didn’t have everything they thought they needed. The absence of resources often pushes individuals to explore unconventional methods and find hidden potential in what is available. Turning Challenges into OpportunitiesAsk students to reflect on a time when they faced a limitation: How did you overcome it? What creative solution did you come up with? Divide students into groups and have them share their responses. How did they turn challenges into creativity? Remember, creativity isn’t about what you have; it’s about how you think. So, next time you encounter an obstacle, ask yourself: How can I make this work? You may be surprised by what you create.

“"The arts are a very human way of making life more bearable." — Kurt Vonnegut” Hey, drama teachers! Want to get students thinking about why they’re in your class? Let’s start with this powerful idea from Vonnegut. Think about it: why do people turn to the arts in times of joy, sadness, or struggle? Art isn’t just entertainment; it’s a way to process emotions, to connect, to heal. To make life bearable. Why Do We Create?Ask your students: When was the last time you turned to a song, a book, or a movie to help you navigate a tough moment? The arts offer comfort, expression, and understanding. Whether it’s the catharsis of acting out a dramatic scene, the emotional release of painting on a blank canvas, or the resonance of lyrics that perfectly capture what we feel - art helps us cope. The Arts as a Human NeedAsk your students: How has art helped you? Do you think it's a human need? Some may argue that art is essential, as it has been part of every culture throughout history. Others may see it as a luxury, something we enjoy but don’t need. Either way, it’s a great discussion starter! The Arts and ConnectionOne of the most beautiful aspects of the arts is their ability to create shared experiences. A play can bring an audience together in laughter or tears. A song can unite people across cultures. A painting can speak volumes without words. How have you seen or experienced this in your own life? Keep the Conversation GoingEncourage your students to reflect on these questions: • How do the arts help people cope with challenges or difficult emotions? Can you think of a time when a form of art - music, theater, visual art, or literature - helped you process something in your own life? • Vonnegut suggests that the arts make life "more bearable." Do you think art is essential to human life, or is it just entertainment? Why? • In what ways do the arts connect people and create shared experiences? How have you seen or experienced this in your own life? Let’s remind our students - and ourselves - why the arts matter. Let’s make drama (and all forms of art) purposeful, meaningful, and most importantly, human.

It’s always exciting to have action-packed sequences in your show, and chase scenes are both great fun and challenging to stage. Whether a character is being chased by a villain, chasing after a lost love, or participating in any kind of chase in between, you’ll want to ensure your choreography is exciting and engaging while also being repeatable and safe. First, consider what tempo your student actors will be moving at. Are they running full out, are they doing a slow-motion sequence, somewhere in between, or a combination of both? They can all be used in comedic or dramatic shows, depending on how you block the actors’ body movements and facial expressions. As well, consider where in the performance/audience space your actors are. Are they actually moving throughout the staging area (which could potentially involve the stage itself, as well as the surrounding area such as through the audience) or are they moving in place? What concerns, risks, or safety issues might arise? Be sure to check out our safety considerations document in the giveaway below. Here are several ideas for staging chase scenes creatively. If you’ve got more ideas, please share them with us! • For chase scenes that are staged by having actors run or jog in place, create the illusion of movement through imaginative lighting, projections, sound effects, and/or special effects, such as a fan or wind machine. Slow-motion chase scenes can be extra funny with the addition of exaggerated movements, facial expressions, and slowed-down vocalizations. • Create a side-scrolling video game effect by having actors face directly to one side of the stage and run in place. Have ensemble members or stagehands “scroll” by in the background — crossing the stage with set pieces or puppet-style props, running backstage or behind a curtain, and coming through the stage again as many times as you wish. Great for comedies. Explore different tempos with both the chasing characters and background performers to find a speed that works well. • You can create car or motorcycle chase scenes by having actors sit on rehearsal blocks with prop steering wheels (plates also work well for this!), with the target placed further downstage and the chasers placed further upstage. You could also try having students sit or kneel on small, wheeled platforms or hand carts, and have stagehands dressed in black move them around the space. • For chase scenes where the actors actually move throughout the space, you must ensure that every moment of the chase sequence is choreographed and well rehearsed. Draw a bird’s eye or top down map of your space and make a diagram of the movement path(s). You may want to use transparency sheets if you have multiple actors travelling in different directions to ensure there are no collisions. If the chase scene is part of a musical, you may wish to indicate on the sheet music exactly where students should be at a particular moment in the scene, circling or highlighting the lyrics or notes where students move. • Consider how you could use every inch of your space. How can you use your performing area(s) to its best advantage? Can you have actors go through or around the audience? Are there different entrance/exit points in your space, and how can you access them? Can you create additional entrance and exit points with flats, curtains, or other set pieces? Are there areas that students can climb around, go over, or sneak under? • Use puppets, dolls, stuffed animals, or shadow puppets to create a funny chase sequence. This can be useful if your chase sequence has magical moments, stunts, or any other risky movements involved, such as big leaps, tackles, or flying — it’s better to toss a doll across the stage than to risk a student’s safety. • Create the illusion of a super-fast movement by having multiple actors appear as the same character. Dress three or more actors in the same costume and have them pop in and out from different places on the stage at specific times, while the other actor(s) in the scene moves their head and body to indicate that the fast character is moving in a particular direction. For example, you could have Actor A pop out from stage right, and Actor B look at them. Actor A quickly moves backstage while Actor B makes a big movement to look out behind the audience, where Actor C has popped up from behind a door or an audience seat at the back of the auditorium. Continue for as long as you wish and for as many actors as you want to have involved in the sequence. As mentioned above, be sure to do a thorough safety assessment of your blocking, set, costumes, footwear, and props to ensure that your students can maneuver through their chase sequences as safely as possible. Check out the free simple safety considerations resource in the giveaway below.

Peter Pan, Mary Poppins, and The Wizard of Oz are just some of the wonderful stories featuring characters that can fly. Many great plays feature flying sequences, but how do we stage those fantastical moments? Most schools do not have the budget or resources to use wire rigs, nor would the administration likely permit a high-risk venture like that. (Parents also likely wouldn’t be keen on having their children suspended from wires at school.) First, have a discussion with your students about “suspension of disbelief,” which is the idea that audiences are willing to set aside critical thinking and logic to enjoy a story. We know that students cannot actually fly. Even in hyper-realistic movies, students understand that flying effects are created with green screens, computer animation, and all sorts of practical effects. In the theatre, we are generally even more limited, because even with the most sophisticated flying rigs and hydraulic systems, audiences can usually see them, and know they’re there regardless. However, that doesn’t detract from the audience’s enjoyment of the show as a whole. It’s no different in educational theatre. The audience knows going in that they’re going to be seeing something interesting and creative, and they’re looking forward to seeing what these moments will be onstage. With that in mind, try the following ideas for creatively staging a flying sequence. They’re safe, effective, and a lot of fun. Some of the ideas could be combined to make an even more exciting sequence. You can use them in your next school production, or challenge your students to come up with a creative solution to stage a flying sequence of their own. See the giveaway below for instructions for this creative challenge lesson. 1. Build a platform with casters and push/pull your actor on or offstage to make it look like they’re floating. Be sure to include a handhold or harness system so the actor doesn’t fall while starting or stopping the movement. 2. Have your actor enter on a balcony, scaffold, or raised platform (with safety railings in place) while the rest of the cast looks up at them from below. 3. Have your actor stand on a rehearsal cube painted the same colour as the floor or the set, while other actors with cutouts of clouds or birds move around them. Have another student nearby in case the actor standing on the block needs a hand to get up or down, or if they’re feeling unsteady. 4. Choreograph a dance sequence with lots of leaps and jumps. You can use large strips of fabric, gymnastics ribbons, or play silks to add some whimsy and colour to the sequence. 5. Hire a fight or dance choreographer (or even a cheerleading coach) to teach your actors to do safe lifts, and lift your actor high in the air. 6. Use miniatures or puppets (highlighted by a super-focused spotlight or “pin spot”) of the actors who are flying. 7. Use a fog machine to mask actors’ feet while they move around the stage. 8. Use a mirror ball to create the effect of moving through the stars in the sky. You might also use a fan to make it look like the wind is blowing through the actors’ hair. 9. Use a video or photo projection of the flying moment, either by itself, or have the actual student actor stand in front of the projection to make it look like they’re the one flying. 10. If the scene features an actor flying in a plane or helicopter, have the actor hold a miniature or toy plane or helicopter above their head while they move across the stage. Or, build a large propeller on a stick and have another actor puppet the propeller near the flying actor. For a comedic scene, have the actor wear a propeller cap.

Many wonderful scripts feature lovely intimate moments between characters: a wedding, a special moment with a crush, a declaration of love, a first kiss. However, many actors (of all ages, not just student actors) are uncomfortable with the idea of kissing another actor on stage. This can be for a myriad of reasons: relationship status, prior experience (or lack thereof), religious or cultural reasons, concerns about hygiene, worries about germs, and more. Student actors may worry about being teased or gossiped about, having their first kiss be onstage, or having to kiss someone they know/don’t know/like/don’t like. But when it comes down to it, it doesn’t matter what the reason is. The bottom line is that students are minors and cannot truly consent to performing a kiss onstage, whether or not they say they’re comfortable with it. As teachers and directors, we are in positions of power, and students may feel that they have to perform a kiss to be eligible for a role, regardless of whether or not they are comfortable with it. Some directors may feel that actors should just do what the script says, forgetting that working with youth in educational theatre is entirely different from working with adults in theatre. A director — an adult — should not ask a child to do something that crosses a boundary, whether the student is aware of it or not. We need to make decisions that are safe for our students. However, you don’t have to avoid intimacy onstage entirely. This is a wonderful opportunity to make some beautiful and creative staging decisions. Here are more than 20 ideas about how you can stage a moment of intimacy without lip-to-lip contact. Some of the ideas still ask students to have physical contact with each other, so be sure that students are comfortable having another student touch their hand, face, hair, etc., before proceeding. • Have actors look into each other’s eyes (which is more challenging than you think). • Have one actor touch the cheek of the other actor. The other actor might place their hand over the first actor’s hand as well, or close their eyes. • Have one actor gently brush a tendril of hair away from the other actor’s face. • Have actors face each other and hold hands, or exit holding hands. • Have actors embrace or hug each other. • Have actors place their heads on each other’s shoulders. • Have actors place their foreheads against each other. • Have one actor dramatically dip the other actor. • Have actors slow dance with each other. • Have one actor put their hands on the other actor’s neck or shoulders, and the other actor place their hands on the first actor’s waist. Then have one of the actors do a “foot pop” behind them for a classic tableau moment. • Have one actor lift the other actor up and lower them into an embrace. Optional: have the lifting actor safely spin the other actor around. • Have one actor kiss the other actor’s hand. For extra comfort, the actor giving the kiss might kiss the air above the other actor’s hand. The actor receiving the hand kiss might wish to wear a glove appropriate to their character. • Place the actors further upstage (closer to the back of the stage) so audiences can’t see the air between their faces during a “kiss” moment. • Angle the actors so that their heads and hands mask the “kiss.” For example, have one actor stand directly upstage of the other actor, and move their faces fairly close together, so audiences can’t see the air between their faces. • Mask the “kiss” with a hat, fan, book, umbrella, or other creative prop. • Have actors sneak or hide behind a couch, curtain, door, or screen, implying that they are kissing behind it. • Have one actor move towards the other as if they were going to kiss, but at the last minute either shyly or flirtatiously move away (duck away, gently push away, whatever works with the character). • Have the couple move towards each other as if they are going to kiss, then have the best friend characters pull them away from each other at the last minute. • For a comedic scene, have actors hold dolls or stuffed animals (“stunt doubles”) or Hershey Kisses chocolates and have them puppet the items together to kiss. • For a comedic scene, have actors freeze just before kissing, and have another actor hold up a sign that says “THEY KISS.” • For a lip-to-cheek kiss, have one actor place their downstage cheek next to the other actor’s upstage cheek and kiss the air. • For a lip-to-arm-or-hand kiss, have one actor get very close to the other actor’s arm and kiss the air upstage of that actor’s arm or hand. • Some actors might be comfortable performing a “thumb kiss.” Actor A places their hands on Actor B’s face, with Actor A’s thumbs over Actor B’s lips. Actor A kisses their own thumbs. Combine this with creative angling of the two actors. • Fade the lights or go to blackout before lip-to-lip contact is made. • Use a projection of a kiss while actors hold a non-contact tableau. • Have actors hold a non-contact tableau and use a sound effect of a kiss.

If you’ve spent approximately 3.1 seconds on the internet, you’ll have encountered a meme. If you’ve seen or heard of Grumpy Cat, Condescending Wonka, Surprised Pikachu, Woman Yelling at a Cat, or the Ermahgerd Girl, those are all long-standing, well-known memes. New memes pop up every day — at the time of writing, a Google search for “theatre memes” brought up 17.9 million results. Memes have become so prevalent that there’s even a card game series called “What Do You Meme.” (And just in case you’ve been living under a rock, it’s pronounced “meem,” not “me-me.”) Here’s an interesting fact: the word “meme” is a derivative of the word memetics and the Greek word mimema, meaning “imitated.” British biologist Richard Dawkins introduced the word meme in his 1976 book The Selfish Gene, as an attempt to explain how ideas replicate, change, and grow. The official dictionary definition of “meme” is “an amusing or interesting item (such as a captioned picture or video) or genre of items that is spread widely online especially through social media.” It’s interesting to see how the word’s meaning has evolved! Most long-standing memes originated on forums such as Reddit, but have since moved to places such as Instagram and TikTok. Your students can undoubtedly introduce you to the current meme trends, as they are always changing. Memes aren’t going anywhere though, so why not harness the power and hilarity of memes and use them for inspiration for drama class activities? Here are 10 ideas for using memes in your drama classroom. 1. Make a collection of favourite drama class / theatre memes and display them on the wall in your classroom. You could also use them to decorate your drama classroom door. 2. When studying a play, have students find memes relating to it. (For example, a Google search for “Romeo and Juliet memes” turns up nearly 2.3 million results.) Analyze where they come from in the play. Do they make sense? How could one alter them to make them funnier or more accurate? 3. Create a meme (or series of memes) using a current meme trend, either related to your classroom or to a play you’re studying. If you have a school social media account, share them! 4. Choose a character from a play or musical. Find five memes that describe or relate to that character. Use these memes to make a character description presentation, either as a video compilation or mood board. Why did your students select the ones they did? 5. Make a tableau scene where students recreate a popular meme onstage. 6. Do the Drama Class ABCs project using drama- and theatre-related memes to illustrate the ABCs. 7. Write a scene in which the characters refer to a meme at some point during the interaction. How can students incorporate the meme without making it obvious or awkward? 8. Write a scene in which characters from different memes meet each other. For example, Ridiculously Photogenic Guy meets Kermit Sipping Tea. How would they meet? What would they talk about? What do they have in common? 9. Write an origin story for a meme character. Where did they come from? What are their likes and dislikes? How did they become the person they are in the meme? 10. Write a monologue from the perspective of the person/object in the meme. Bonus Activity: Share memes that were popular from when you were your students’ age. (For example, the first viral meme is considered to be the Dancing Baby, which came out in 1996!) How have memes evolved and changed since then?

Character Prompts“You cannot dream yourself into a character; you must hammer and forge yourself one. ~ James Froude” Students often miss connecting character development as part of the writing process. And yet, characters play such a huge part in theatre. Audiences experience the world of the play through the characters on stage – what they do, what they’re going through. Characters are the backbone of all great plays. If they’re thinly portrayed or one-dimensional, the play’s ability to communicate is hindered. Use portrait photos to practice writing character profiles. What details can be created simply by looking at a photo? Exercise: The PortraitAnswer the following questions based on the photograph below: • Who is in this photograph? Give them an name and an age. • What do they do? • Who is in their family? • Where do they live? • What is their favourite food? Least favourite food? • What is the emotional state of the person in the photograph? Why? • What will they do next? • What is their most important relationship? Describe it. • What secret are they keeping and why? Exercise: The PhotographerAnswer the following questions based on the photograph below: • Who took this picture? Give them a name and an age. • Are they a professional photographer or an amateur? • Where is this photograph being taken? • Why did they take the picture? • What are they thinking about as they take the picture? Write out their thoughts. • Where will the photographer go after he/she takes the picture? Location Prompts“Nature does nothing uselessly. ~ Aristotle” Use photos to prompt students to think specifically about different locations. Beginning writers often stick to what they know when it comes to locations, and unique photos can show them theatrical possibilities. Also, beginning writers equate theatre locations to movie locations. It is of course, impossible to stage a scene as realistically as a movie. When students try and inevitably fail, they think it’s because they’re poor writers. If you can prompt students to take something real that they see in a photo and change it to suit the stage, they will start to create a habit of theatrical thinking. Exercise:Respond to the questions and activities below using the photo below: • Where is this location? • What time of year is it? • Is something usual or unusual happening? • Automatic write for two minutes in response to this photo. What are your thoughts on the location? • What character would be comfortable in this location? Describe them. • What character would be uncomfortable? Describe them. • Write a conversation between those two characters. • If you had to stage this location using limited props (two cubes, a bench, a music stand and a garbage pail) how would you do it? • Theatre often uses dialogue to create the world of a location, rather than realistic sets. Write a line of dialogue that would show the audience where this picture takes place. Personification Prompts“Imagination is the one weapon in the war against reality. ~ Jules de Gaultier” Beginning writers are often influenced by movies. They’re also influenced by realism, attempting to make a stage location ‘real’ as is done in the movies, focusing on the ‘real’ aspect of conversation (e.g. the process of ordering food in a restaurant) rather than the theatrical aspects. It’s great practice to take something real (like a photograph) and write something surreal about it. One technique that works is personification – giving human qualities and emotions to inanimate objects and animals. Exercise:

Beginning actors make mistakes. Mostly it’s because, well, they’re beginners! I prefer thinking of them is missteps rather than mistakes – they are things the beginning actor hasn’t considered. And it’s always a great time to change that! If you’re a beginning actor, if you teach beginning actors, review this list and take a step in the right direction. Every misstep provides at least one way to solve the problem. 1) Forgetting the audienceBeginning actors often think their acting space ends at the lip of the stage and that no one in the audience can see them when they stop talking. Beginners talk directly to other actors forgetting that the audience needs to hear them too. Beginners often turn upstage leaving their backs to the audience. They break character whenever they’re not talking. How do we solve this? Think of the audience as your acting partner and part of the scene. You want them to see, hear, and engage with you. It doesn’t hurt to remember the three-quarters rule either. If you’re standing still, three-quarters of your body should be turned toward the audience. This way you can connect with the audience even if your head is facing upstage. Focus on connecting to the audience and you’ll always face the right direction. 2) Acting with the voice and not with the bodyBeginning actors spend so much time thinking about their lines and their blocking, they neglect to incorporate the physical world into their acting prep. It’s important to remember that the first connection the audience makes with an actor is visual – what they see. And if what they see is boring, you’re off to a rocky start. How do we solve this? Use exercises that take the voice out of the equation so beginners can practice using their body to communicate character. For example: Entrances and exits. Create an entrance and exit that is singular to your character’s personality. Those watching should know what character you’re playing simply by how you move. Put as much effort into the physical nature of your character as you do learning your lines. Actors should create a pose, a walk, and a significant gesture for every role. 3) Acting too close to their own personalityWhile it’s OK to play a part that is familiar and comfortable (professional actors are often cast in roles that fit them like a glove) beginning actors sometimes can’t get out of their own groove. There’s no difference between how the actor and their character moves, walks, and sounds. The character is stuck in a box, which is hardly fun to play. How do we solve this? Character analysis. Define the similarities and differences between you and your character. Highlight the differences and choose specific moments where you play them up. It may feel odd because it’s different than how you usually act, but that’s the idea. Playing outside your comfort zone will give you a challenge and make you a better actor. 4) Neglecting diction, articulation and volumeThe technical aspects of acting are essential to connecting with an audience. How can the audience appreciate the performance if they can’t hear or understand you? Beginning actors hear themselves talking normally (as they do on a daily basis) and think that’s good enough. If it works in real life, it works on stage, right? The fact is, actors need to project to the back of the room and articulate more than they would in real life. They have to make sure they’re being heard and understood in a theatrical context. How do we solve this? There are two ways to solve this issue. The first is technical drills. Learn what it feels like to speak at the correct volume and then practice hitting that volume over and over again. Practice tongue twisters. Practice speaking with your mouth closed to force crisp articulation. Secondly, record your performance placing the camera at the back of the audience so you can hear exactly how you sound. Video does not lie. 5) Overwhelming stage frightThe first time an actor steps on stage can be terrifying. The audience is right there waiting for you to do something. Anything. So hurry up! This can easily derail the beginning actor into doing nothing at all, frozen with stage fright. How do we solve this? The more you get out in front of an audience, the less of an issue stage fright becomes. Start out performing in front of small numbers until you build your confidence. But stage fright never goes away for some actors. Even professionals get a case of the butterflies. So you may have to learn techniques to control your nerves. Breathing exercises always help – stand in the wings well before you’re supposed to go on. Breathe in slowly on a four count and out on a four count. Focus just on counting your breath in and out. Don’t think about what could happen on stage, just breathe…. and then go! Remember that you’re not alone, you’re surrounded by actors who are probably having the exact same fears. Get those fears out in the open, talk about them, don’t leave them to fester in your head. And lastly, remember that you had the courage to audition, you got the part and you’re there ready to go on. So get out there and do it! 6) Breaking character when something goes wrongActing requires focus and concentration. Lose your focus and you can lose your place in the play, lose your lines, and cause a silence hole big enough to drive a truck through. When experienced actors have these moments, they know it’s their job to get back on track. When beginning actors have these moments, the first thing that usually happens is they break out of character and say “sorry” to the audience. This is a huge acting no-no. How do we solve this? Practice line exercises that purposefully try to throw you off your lines. Rehearse your lines out of sequence. Get in the habit of finding your way back on track, while staying in character. An audience will have no idea you’ve forgotten your lines until you break character and tell them. The way to get out of a sticky line situation is to stay in character and start talking. Never stand there in silence thinking someone else will solve your problem. Take it upon yourself. The more you practice this the easier it will become if something goes awry on stage. 7) Thinking they are the invisible actorMany beginning actors feel that once they stop talking, they become invisible to the audience. They can squirm, they can talk to their neighbour, they can break character or stand looking totally bored. And the worst thing is when actors goof off backstage because they think no one is paying attention. How do we solve this? It’s a very simple rule. If you can see the audience, they can see you. If you’re backstage, if you can hear the actors, then the audience can hear you. If you’re not the focus of the scene and you break character you will stand out. You could stand out so much that you will pull the focus away from the action. That is not being a good team player. 8) Falling on excuses – “I didn’t know.”Beginning actors shouldn’t be expected to know every single aspect to the acting process. There’s a lot to learn along the way: come to rehearsal with a pencil and write down all your blocking. Wear comfortable clothes in rehearsal for ease of movement. A 4:00 rehearsal doesn’t mean you show up at 4:00, it means you’ve arrived, you’re warmed up, you have your script out and you’re ready to work at 4:00. But at some point you have to stop saying “I didn’t know” and take action. How do we solve this? Pay attention. Watch what experienced actors do and copy them. And if you don’t know, ask. Don’t have an excuse at the ready, have an action at the ready. And it’s ok to make a mistake, once. If you’re making that same mistake twice, three times, falling on excuses and you’ll get the reputation of an unreliable actor. 9) Leaning on character stereotypesSometimes the easiest way into a character is to focus on common and broad personality traits, or stereotypes. This leads to teenagers playing grandmothers as if they can barely walk, with a shaky voice and grey hair. Beginning actors also lean on stereotypes when they’re trying to get a laugh. Beginners go for the easy laugh because they don’t know any other way. Even in a wacky comedy it’s best to take the time to build a three-dimensional character. Find the laughter through action and the pursuit of a want rather than trying to trick the audience into an easy laugh. How do we solve this? Write up character profiles. If the playwright doesn’t provide enough detail, fill in the blanks. Who is your character? Where do they come from? What is the makeup of their family? What do they like/dislike? What memories do they hold dear? What are the significant moments from their life? Define and write down exactly what your character wants and how they pursue that want in every scene. Will they go to extremes? Do something out of character? Figure out what stands in the way of your character getting what they want and how they’re going to deal with this obstacle – that’s where you’ll find the funny. 10) Not taking director’s notes seriouslyIt’s a frustrating moment for a director when they’ve gone to the trouble of taking notes, sharing them with their actors, getting the actor’s assurance that they’ll take the note into consideration…. and the same problem arises the very next rehearsal. Rehearsal notes are not for the benefit of the director, they’re not going to be on stage. Rehearsal notes are to help actors make the performance the best it can be. The worst thing a beginning actor can do is disregard any note that is sent their way. How do we solve this? Get into the habit of writing down any and all notes and then review those notes right before the next rehearsal. Make the note fresh in your mind, so you never fall on the excuse “I forgot…. I didn’t know it was for me…..” You can help make the play better by improving your own on stage action. And if you disagree with a note, never ignore it just because you don’t like it. Make time with the director to discuss the note. And you better have a clear, concise reason for disregarding the note. Being able to clearly state why your character does something, or standing up for why a character wouldn’t do something will improve your skills and take your acting to the next level. Bonus Giveaway!Here are some of the highlights from this post into a downloadable and printable poster. Hang it in your classroom. Hang it up backstage. Hand it out to your student actors.

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?

“The number one problem in the classroom is not discipline: it is the lack or procedures and routines. – Harry Wong, The Well Managed Classroom” The Drama Classroom is a unique place. Often there are no defined rows of tables and chairs. A loud boisterous class could be a sign of productivity not unruliness. And what other class includes warm-ups? There must be a balance between creative activity and structure in the drama classroom. It’s not unusual for students to act out or misbehave (especially students new to drama) because the expectations in drama class are so different from expectations in other classes. A drama teacher must have a plan in place to maintain control. This is to create an environment so that you and your students are able to spend as much time as possible learning and not managing disruptions. Each teacher will have their own definition of what that means, but elements to consider include routine, behaviour, co-operation via group work, and peer leadership. How do you set your drama classroom up for success?RoutineStudents like structure. They like knowing what they’re doing. Routine can be established even in the drama class, where you may move from loud group activities, to journal work, to scene study. How do you start and end each class? The easiest way to establish routine in the drama class is to set a routine for the beginning and end of class. This way, regardless of what activities make up the bulk of the class, there is start and a finish that rarely varies.  There are a variety of activities you can use: • Shed the outside world: have students take their shoes off, put their electronics on a shelf, and drop their bags. Follow these steps in exactly the same way, in exactly the same place every class. Make it a transition ritual to help establish that drama class is different. • Circle up and the beginning and end. Students know that when they walk in the room, they sit in a circle. Just before the bell rings, they know to return to the circle. • Bell work. Students know when they walk in the room they pull out their journals and respond to something written on the board. It could be a reflection, a response to a question, or an opinion. You can also end each class with a reflection. What happened in the class that day? • Warm-ups. Every drama teacher knows to make warm-ups a part of the class routine. It’s another great way to establish the difference between drama class and other classes. Also, drama warm-ups introduce students to the techniques and tools needed to perform. Routines take time to establish. You can’t chastise students for not knowing your specific routines on the first day of class. The way to set a routine is practice. Instead of telling students the routine, take them through it physically. Practice getting into a circle on an aural cue (e.g. the word “circle,” a specific piece of music, or a clapping pattern). Model the routine for them - show them how you want their shoes, phones and bags placed. Model how you want warm-ups taught and have students practice. It may seem like a lot of work but a semester is a long time. A few weeks at the beginning of the year will save tons of time and energy later. Peer LeadershipOne of the best ways to manage the potential chaos of the drama classroom is to establish peer leadership. Teach students to lead themselves and to lead one another. This way it’s not just your voice asking for quiet, getting students into groups, and repeating instructions. Students respond more quickly and consistently to their peers than they do to adults. A leadership role empowers students to further their communication skills, to make decisions, and to learn in practice what it means to take responsibility. How do you get students to take on a leadership role? • Create a sign-up roster for student-led warm-ups. Each student is responsible for teaching a warm-up to the class. • After you give instructions for an activity, choose students to re-teach the instructions. • Identify the leaders in the class and speak with them. Ask them to help you keep others on track during exercises. • Get students in the habit of asking one another for clarification of activity instructions. This way students learn that you will not repeat things just because they weren’t listening and they must turn to their peers for help. • Give students tasks: taking attendance, handing out / returning homework, and giving instructions.  Group WorkIf you find yourself with an overly large class, focus on project-based small group activities. These activities give students the opportunity to practice cooperation skills. While some groups work well together, others do not. Sometimes there are students who let others take control and do nothing. It’s not a given, even by the time they reach high school, that students know how to work together effectively and efficiently. How do you get your students to work together? • The teacher assigns the groups. And this goes beyond random groupings - spend time getting to know your students before you introduce group work. Then you can put the groups together like a recipe. Which students will fit together best? • One reason students won’t work together is because they simply don’t know each other well. It’s always easier to work with your friends. Use exercises that allow students to learn about each other. • Play an icebreaker game: Have students walk around the room until a designated signal. The first person a student makes eye contact with is their partner. The teacher calls out a category such as favourite movie, food you hate, best song, and the students share their info. Circle up after a few rounds. Students have to recall what others said. Give points for correct answers. • Set the parameters for what it means to work in a group before you give them a specific project. What is the expected outcome of group work? What’s expected from each individual within the group? What sound volume is appropriate for group work? Model your expectations; show students what an ineffective group member looks like. • Establish a designated non-verbal “quiet time” signal so you’re not yelling over the noise (e.g. a clap pattern that everyone repeats or a piece of music). Manage BehaviourHow do you manage behaviour when students are watching scene work? • Students will not instinctually know how to behave as an audience member. If performance is a constant part of class, students will need to learn the appropriate skills. • Create a ritual that announces the start of every performance. This could be lights actually going to black, a clap pattern, or a verbal cue such as “blackout” or “actors ready.” This routine gives students a clear indication as to when they need to go into “audience mode.” • Expect total focus on the performance space. This covers all the bases. If a student is focused on the stage they are not talking, texting, or staring into space. • Expect students to respond (e.g. it in a peer feedback form, a reflection or in a small group discussion) to each performance Proper audience behaviour is not just “looking” at the stage; it also requires you to engage with the performance. • Practice being an audience. Model good and bad audience behaviour for students. Prompt a discussion about why proper audience behaviour is important. A final word on structure.Establishing a rigid classroom structure (i.e. creating routines, modeling behaviour, and practicing how to work in groups) may seem like a creativity killer. In fact, the opposite is achieved. Classroom management in the drama classroom establishes a place for students to explore their creativity, learn unique skills, and get out of their comfort zone. The Drama Teacher Academy offers a full professional development course on classroom management. Click here to find out more about Matt Webster’s Organized Chaos: Discipline in the Theatre Classroom, and watch the course promo video below!

“Every child is an artist, the problem is staying an artist when you grow up” – Pablo Picasso Creativity is a misused, maligned, misunderstood word. Especially in the drama classroom. Many students come to drama class (or avoid drama class altogether) because of their preconceived notion of creativity. “I can’t do drama, I’m not creative. I can’t act. I can’t write.” They believe creativity is something you’re born with. They believe creativity is a talent possessed by the lucky few. Students or not, many people believe creativity is something you either have or you don’t. “She is so creative. I could never do what she does.” In this mindset, creativity becomes a wall – there are the haves on one side and the have-nots on the other. When creativity is the focus of the drama classroom, it becomes a place of exclusion rather than inclusion. Having said this, it’s common to equate what goes on in the drama classroom with creativity. Everyone sees the arts as a “creative” field. In order to put on a play, or sing or dance, creativity has to be involved, right? This is the stereotype every drama teacher has to deal with. Ask your students to define the word and they’ll equate creativity with the arts, creativity with talent, and creativity as being something they have or don’t have. And yet, we want students to create and be creative. To be a creative thinker will give students a leg up out in the real world. But not through preconceived notions and stereotypes. We want students to be creative in the truest sense of the word. The Real DefinitionTo be creative is to see a situation in a new light. Creativity is doing something new. This definition can be applied to the arts, but you can also be creative in science, in city planning, in how you manage an office. Problem solving is creative. By this definition, everyone is creative! But it’s one thing to say that everyone can be creative and another to put this concept into action. The stigma surrounding the word is too strong. It’s better to not even use the word with your students. How do we leave “creativity” out of the drama classroom?Don’t think. Thinking is the enemy of creativity. It’s self-conscious, and anything self-conscious is lousy. You can’t try to do things. You simply must do things. – Ray Bradbury Just Do: Become a Child AgainHave you ever had your students pretend to be five years old? What happens? More often than not, they loosen their bodies and their voices. They easily fall into play. They make forts out of blankets, and mountains out of thin air. They instantly become creative. Kids don’t see what they do and how they think as creative. That word doesn’t exist. Kids problem solve all day long. How can this couch cushion become an airplane? They don’t use their imagination because it’s a talent. They don’t play by the rules of the “real world.” They don’t try to be creative. They simply are creative. Encourage your students to act like kids. This doesn’t mean nap time or afternoon temper tantrums. Get your students in the habit of seeing their world in a new light. Encourage your students not to over-think a situation, but to simply do. This means of course, that they’ll fail more often. The more you do something without thinking, the bigger the risk. But that’s what truly creative people do. They risk, they fail, they do it again. This mindset will serve your students out in the world more than any other. Do this! • If students have trouble with Shakespeare, approach it as a kid would. How would a five-year-old see Romeo and Juliet? • Get in the habit of one impossible scene a week. How will your students create a scene that involves Japanese? How will your students create a scene underwater? How will your students create a scene where no one is allowed to use their left arm? The point is not the success of the scene, but to accept the impossible and use it! • Give objects to your students to use in a scene. The goal? They have to use them in a scene but not in the manner the object is usually used. For example, a chair cannot be sat on. But it can be used as the controls for a space ship. • Use improv games to practice problem solving: • The Chair Scene. Someone sits on a Chair. A second person enters. Their job is to get the person on the chair to leave. • One word Story. Students sit in a group, they have to tell a story, one word at a time so that it makes sense. • Gibberish Translation. A pair creates a gibberish scene. They each have a translator who, based on what they see and hear, has to translate the Gibberish into English for the audience. • Object. Students are divided into teams. They are given a time limit and have to come up with as many different uses as possible for that object. Think of creativity as a muscle, not a talentThe most creative people are actually the most regimented, practical and habitual. That doesn’t sound right, but it’s true. Creative people use their brain like a muscle. They don’t leave creativity to chance or even inspiration. Creativity is not magic, and it’s not talent. Creative people know that they’ll be the most successful when they’re consistent and habitual. To that end, they use their brains on a daily basis. It’s not magical unicorns sliding down a rainbow. Creativity is work. Think about how you have to use your physical muscles on a daily basis to get them to work properly. If you do too much, your muscles get sore. If you try to push a cold muscle, it’s not going to be cooperative. If you try to push a cold brain, the same thing will occur. This is often misinterpreted as I’m not creative. To get your students to work on their “creative” muscle, always equate it to working on a physical muscle. If you do too much, too soon, that muscle will resist. If you do a lot one day and then don’t do anything for a week or two, that muscle will forget. Consistent, habitual, small steps are always better than big leaps. Do this! • A month before you start a playwriting unit, introduce a writing warm up every class as bell work. Give students a first line prompt and give them five minutes to write a monologue. Five minutes, that’s it. It’s better to work for five minutes every day for a month than it is to write for five hours once a month. • When you’re working on character development, introduce a habit of observation. Have your students record one physical or vocal observation in their journals at the beginning of each class. How did someone move as they walked down the hall? How did someone sound when they were being sarcastic? In order to play different characters, students have to be aware of different types of people. • Introduce five warm up games and play them consistently in class for at least a month. Pick them carefully, what do you want students to learn through warm ups? At a certain point (once everyone can play them without thinking), turn the control of leading the warm ups over to the students. And then, once students can both lead and play the games, ask students to change parts of the warm up. Have them come up with an add on. Have them change one of the rules. • Before you get students on stage, make physical and vocal exercises a habit. Get them in the habit of projection and articulation before they even do their first scene. “To live a creative life we must first lose the fear of being wrong.” - Joseph Chilton Pearce Think of wrong as a choice, not a failureFor so many students, being wrong is traumatic. School sets up students to fear being wrong – if you’re wrong on a test, you could get a low grade and not pass the course. Wrong equals failure and failure is bad. But for the truly creative, if you’re seeing a situation in a new light, or problem solving, wrong is a way of life. No one solves the problem on the first go. Everyone fails. The only way to get to the best possible solution is to fail and get things wrong. Being wrong is a choice. The drama class is one of the few places where students can learn to accept failure and learn to use failure as a creative tool. They can be wrong! Encourage students to make wrong choices in their scene work, in their character work, in their analysis work. The point being that they can’t just make a wrong choice and stop altogether. They have to move on to the next choice, and the next choice and the next. That is being creative.

The Best Writing Exercise ever? How can there be just ONE? Surely there’s a different “best” exercise for playwrights or novelists or poets? It’s impossible to make that claim! I am making that claim. Now let’s be clear. I’m talking about an exercise. It’s not the best way to write a play or a novel or a poem. It’s not a magic idea generator, or a remarkable rewrite tool. It is an exercise that will: • Get words on the page for any writer. • Get any writer through writer’s block. • Solve character and story problems. • Provide the perfect transition from real world to writing mode. This better be one life-changing exercise… Don’t get your hopes up. It’s nothing new. It’s nothing fancy. The Best Writing Exercise Ever is Automatic Writing. Some call it Free-writing. Wait a second, you’re trying to trick me. That’s one of the oldest exercises in the book! I automatic write all the time. Good. You should. Sometimes the best exercises are the ones we use all the time. Writers don’t need bells and whistles, they need exercises that will get words on the page. Automatic writing is the best exercise around to do just that: If you’re staring at the blank page…The worst thing a writer can do is stare at the blank page. There are many reasons why we do it – we’re tired, we don’t want to write, we’re busy with real world problems, we can’t think of anything in the moment. Get words on the page instead of thinking about getting words on the page. Give yourself a topic and a time limit and write, write, write. Get the good, bad and the ugly on the page. Don’t worry about formatting, pretty words or proper sentences. Start every writing session with an Automatic Writing Prompt. If you’ve got writer’s block…It happens all the time. You’re stuck and don’t know where to turn. It’s easier to turn away rather than face the mess on the page. Write through your problems. If you don’t know what to do with a character, automatic write in their voice. If you have a story block, automatic write 10 possible solutions. Don’t worry about whether they’re the right answers, just get as many answers as possible. You’ll find it sometimes takes two or three pages of wrong to come up with something right.