Teamwork

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

One of the (many!) wonderful things about theatre is that magic becomes real on the stage. Fantastical stories are brought to life in the most inventive and interesting ways to keep audiences enchanted. Many theatrical shows involve magical creatures such as giants, and they’re all created differently. So today’s challenge for your students is… how would they create a giant onstage? This exercise combines teamwork, critical thinking, problem solving, technical challenges, writing, and acting. It’s a true artistic challenge! InstructionIntroduction: Share examples of stories with giants, such as Jack and the Beanstalk, David’s Father (Robert Munsch), The Selfish Giant (Oscar Wilde), Clifford the Big Red Dog (Norman Bridwell), The Iron Giant (Ted Hughes), and The BFG (Roald Dahl). Show clips of theatrical shows that include giants and gigantic creatures, such as Giants in the Sky, Into the Woods, King Kong, Beetlejuice, and Peter and the Starcatcher. What other books, comics, television shows or films have your students seen that involve giants? 1. Divide students into groups of four to six. 2. Have each group select a short scene from a story where a character encounters a giant, and write an adaptation of that scene for the stage. (Adaptation is the process of translating a literary source, such as a short story or poem, into another genre or medium — in this case, a theatrical scene to be performed on the stage.) Aim for two to three pages. 3. Once they have written their scene, students must cast the show from within their group and figure out the staging. Each student must be involved in the performance in some capacity (whether onstage or in a technical area). 4. Students must determine how they will stage the giant in the scene. Some ideas might include: • Puppets • Lighting (shadows, shadow puppets, etc.) • Props and/or scenery (oversized or miniature) • Sound effects • Projections • Staging choices (for example, pretending the giant is offstage and having actors look up at where the giant is) • A combination of many of these ideas! You might need to remind students that television shows and movies often employ CGI (computer-generated imagery) to create giants in those mediums, and that isn’t available for a live performance. 5. Students must rehearse and memorize their lines and staging. They should include some basic costumes and props. Groups will then present their scenes for the rest of the class. 6. After all the groups have performed, each student will complete and submit an individual reflection.

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.

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.

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.

Collaboration has been highlighted as a 21st century skill and an important skill for students to learn. Certainly, students need to know how to work and create with others. The drama class is an ideal breeding ground to foster and develop collaboration skills. Students have to work together to create tableaux, to develop scenes and plays, to improv. The problem occurs when collaboration and teamwork are mistaken for the same thing. The criteria for an effective collaboration are not the same as the criteria for effective teamwork. This is the definition of collaboration: “Collaboration: to work with a person or a group to produce or create something.” Doesn’t that sound like teamwork? If you struggle with getting your students to collaborate in the drama classroom, it may because you’re using a teamwork model. What’s the difference? Which is the most important for a drama classroom? Collaboration vs. TeamworkThe end result of collaboration or teamwork is often the same. When a group collaborates, they are working together toward a shared goal. Everyone in the group has the same vision in mind (for example: to create a performance piece about bullying). The same applies to a group of students that works as a team, they too work together toward a shared goal. Everyone is committed to a single outcome: a performance piece about bullying. So what’s the difference?When a group functions as a team, they are working as individuals. Everyone has their identified task which contributes to the outcome. A great example is a baseball team. Everyone has their own job – catcher, pitcher, third baseman – but they all have the same goal. A successful team depends on having a strong leader to guide the team toward the goal. If you’ve got a strong leader and a clear outcome, it’s not essential that team members like each other. This is unnecessary to complete the project, because the leader controls the work of the group. Control is key with teamwork. In a dramatic context, putting on a play is team work. The director guides the group toward its goal. Within a collaboration the group not only has to work together, they have to think together. The end product comes from the efforts of the group. This means collaborators are equal partners – there is no leader. An example of a collaboration would be a devised theatre piece where there is no script and the group has to work together to create an end product. Where collaboration breaks down is when students are inflexible with their contribution. Collaborators have to trust each other, respect the opinions of others, and engage in negotiations toward the final product. The best collaborators are not just creative, they are flexible. They know when to let other ideas take the lead. Flexibility is key with collaboration. Both models are useful for students to learn. It’s important to know how to be a team player, especially within the context of staging a play. Everyone has to do their specific job well – from lighting board operator, to ensemble actor, to stage manager. It’s the job of the director to bring the team together and keep everyone on task. Even if you have students who don’t like each other, if they’re on the same page for the intended outcome, they can be effective team players. With collaboration, it’s important for students to learn how to give and take within a project. It’s difficult to share power and to accept your idea is not always the best idea. A clear goal is essential in a collaboration, so that the project doesn’t descend into argument. Ask yourself these questions: Do I want students to work as a team or as collaborators? Do I run my classroom as a collaboration or as a team? Which model will work best for this specific project? How do I prepare my students to excel as collaborators? How do I encourage team leaders? Collaboration Suggestions• Use improv as a collaboration tool. Divide students into groups and have them create scenes on the spot with location and relationship prompts. The nature of improv doesn’t give time for a leader to emerge – they have to work together and think together instantly. • Use time limits in group work. Push students to work and think quickly. • Encourage a “we all answer” policy when brainstorming. If a group is coming up with ideas for a scene or scenario, make it a policy that everyone has to provide a suggestion. Group work can sometimes end up with one or two leaders and then some followers. Strive to avoid this scenario. • Encourage a “no bad ideas” policy. Yes some ideas will work better than others. But get students in the habit of accepting every idea at first. All ideas go down on the page without judgement. If a student feels their idea will be instantly judged or rejected, they will soon refuse to participate. Teamwork Suggestions• For some group activities, give each group member a job: Leader/Director, Note taker, Time keeper, Materials, On-Task Manager. The aim is for each member to do their job within the activity. This is something you can have students discuss or reflect on afterward – what happened within the group? What happened when students did not do their job or tried to do the job of others? What happened to the end product? As you change activities, make sure students rotate in their job assignments. • Give every student an opportunity to be a leader. Some students struggle when put in a leadership position – there are those who are born leaders and there are those who are not. Use small, contained exercises at first. Have students lead the class in a warm up or improv game. The leader outlines the goal of the exercise, make sure everyone understands the goal and then implements the goal. • Model the behaviour you want to see in your students. If you have students leading a game, you have to become a team member. Show students what it means to be a team player. If you want strong student leaders, show students how to lead. • When you put on a play, make sure every student has a specific job and highlight the significance of every job. It’s easy to forget the ensemble, or to ignore the offstage crew when you’re trying to get a scene right. Teamwork relies on everyone doing their job for the good of the end goal. If students feel their job isn’t important, why would they do their best?