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Welcome to LGBTQ+ Inclusion 101 & Affirming Practices. This course is led by c.j Bell, pronouns they/them. By the end of this course, you'll be able to successfully implement LGBTQIA+ and LGBTQ2S+ practices in the classroom. And you will learn more information on how you, yourself, can relate to these specific margins, as an educator.

This course is led by Allison Green, a member of the Algonquin Band of Mattawa, and a drama and social sciences teacher in Northern Ontario, Canada. She believes that drama teachers should look at their teaching through an Indigenous lens for a few reasons: - It is time in North America to take a conscientious look at Indigenous people’s approach to learning and teaching. - For our Indigenous students, it’s important to see themselves in materials, activities, and classroom routines. - It is also valuable for our non-Indigenous students to see and better understand the diverse nature of the creative process and ways of seeing our world through this lens. This course aims to help teachers see their drama class through an Indigenous lens - by exploring the learning circle, culturally responsive approaches, and Indigenous pedagogy.

Brought to you by instructor Steven Stack, creator of The Empathetic Classroom, this course looks at ways to move on from the worldwide pandemic, while honoring the past and learning from it. In the past year, students had many things taken from them: school, hanging out with friends, freedom, hope, and innocence. With this course, each session will highlight one specific topic relating to moving on. There will also be activities for each session that will help your students own the past, embrace their own and others’ narratives and scars, create a stronger classroom community, find ways to be where their feet are planted, and learn to play again.

In this course, instructor Claire Broome shares what mindfulness is, and why it is so important in the Drama Classroom. The course covers how mindfulness and wellness can help both students and teachers. Claire discusses how to prepare students for this kind of learning, and provides various activities to bring into your classroom, as well as a variety of extensions for these activities that can be applied to character creation and possible projects.

This course is a Part 2. In a Screenplays 101 course, screenwriter Nick Pappas covers both Structure and Formatting. Here in Part 2 we'll cover Basic Formatting. If you have not already watched Screenplays 101 – Part 1: Basic Structure, I highly recommend you go back and do so now. Having that knowledge under your belt will help you navigate Part 2 of this course. The goal is that, by the end of this course, your students have a basic understanding of how a screenplay is formatted and why it is formatted that way, all with an eye toward developing their own screenplay.

Moral dilemmas are not only faced by characters in gripping plays, but are also faced by our students. The project outlined in this course will help students develop their critical thinking skills through the use of one of the dilemma questions to shape a student written production. If you had the choice to press a button and earn $25,000,000... but a species (not of your choosing) would become extinct, what would you do? More importantly, what would your character do? Join drama teacher and playwright Claire Broome through this course which includes role-playing, Stanislavski’s Magic If, character creation, playwriting and staging.

An in-depth and interactive look at copyright as it applies to school theatre programs. Learn about how works become copyrighted, how long it lasts, how to get permission to use copyrighted work, and more.

Adaptation is a fabulous classroom project: it requires students to analyze, adapt, modify, plan synthesize, devise. All the higher order thinking skills. But you can’t just throw a narrator into a script and call it a day. You have to have a preparation process leading up to the writing process. In this course you will learn practical exercises and a path to prepare your students to take on their own adaptation project. We’ll look at the guidelines to adaptation, things to think about when choosing a text, how to analyze the source material and writing that first draft. So join me, Lindsay Price, in the Play Adaptation Project.

Instructor Matt Webster believes that Story Theatre is one of the most creative, most imaginative, most unique forms of theatre ever to make its way to the stage. His course introduces the style of theatre called story theatre, explores the steps needed to choose the best stories to perform, explains how to adapt a story into a script, and demonstrates a variety of story theatre styles from simple and contained to complex and crazy and everything in between. When you are finished with this course, you’ll be able to bring nearly any story to any stage and present it to any audience. That is the power and promise of story theatre. Learn how to bring the page to the stage.

Have you been wanting to find some new ways to enhance your classroom with technology? Have you been told you need to integrate technology in your classroom but don’t know where to start or what would even make sense to use in the drama classroom? Whether you want to find some new ways to diversify your instruction and assessment, provide new resources and opportunities for your students, or simply needs some help with organization and communication, Google Tools has a treasure trove of resources ready for you to use today. Instructor Anna Porter covers the tools of Google Forms, Photos, Calendar, Earth, Custom Search and Sites. Each lesson has video examples of how to use the tools as well as tips and resources for each module.

Gai Jones leads this course in social and emotional self-compassion and care for the theatre educator. Join her on this 5-module journey to practice self-care and self-compassion while teaching educational theatre.

Concept-Based Design is a method of design that allows the director and production team to create a unified world based on the ideas, perceptions and images extracted from an in-depth analysis of the play. Matt Webster designed this course for theatre teachers in a typical school setting with limited budgets, space and materials to use towards the design of their shows. Many theatre teachers feel most unsure about their design and tech skills and Matt wanted to help those teachers look at design differently, and make designing a show a little less scary and a little more fun!

In "Working With Monologues For Rehearsal And Development" you will develop ten sessions of study on monologues. The study contains the definition and history of the monologue; monologue vocabulary; analysis of a practice monologue, staging a short monologue; working with musical theatre lyrics as a monologue; writing short autobiographical monologues. At the end of this course, you will have a curriculum which can be used as introduction to monologue work.

Why should you take a class on empathy? And why is theatre the perfect vehicle for empathy? Empathy, the more sought-after and inclusive cousin of sympathy, is the experiencing of someone else’s experience in the world. What it would be like if you were wearing their clothes, their life? Teaching students to understand the clothes that they’re putting on, the characters and their lives teaches students not how to act but how to be. It allows the students to feel what someone else feels and experiences, which can and should translate to their fellow actors and peers away from the stage. It will lead to a stronger class connection, stronger performances and stronger students who will seek out understanding instead of isolation and fear.

How do we build or rebuild relationships in the classroom? Well, first, you must understand the difference between your relationship with your students and your relationship to your students. Once you understand the difference between those two relationships, you can construct a professional working relationship in your classroom. At the end of this course, you'll have a better understanding of the different relationships between you and your students and why establishing a healthy professional relationship is best for everyone concerned.

In Preventing Pandemonium Part 1, Maria Smith will share with you a classroom management tool critical to success. It’s called procedures. Procedures are daily classroom management routines that are the key to classroom management success. They are the essential element of classroom management. This course will give you straightforward, practical “this is how you do it” information, as well as procedures catered specifically to the drama classroom, to help you maintain order from start to finish, even during that chaotic group practice time. Imagine yourself in a classroom where you can spend most of your time teaching and keep students on track without the constant lecturing. If that sounds appealing, then start the first module.

In Preventing Pandemonium Part 02, instructor Maria Smith shares a classroom management strategy that transformed her class from a discipline zone to a thriving environment. It’s called positive incentives (or rewards) that make your students want to behave and participate positively in the drama classroom. This course includes straightforward “this is how you do it” information, as well as posters, passes and rewards for teachers to print out and use in your classroom. Learn how positive incentives cut down the need for discipline,and find the joy in teaching.

Pacing is one of the invisible hands of good teaching. Pacing is a fundamental component of a well run classroom. Many challenging issues that teachers face in the classroom stem from undiagnosed pacing issues: From comprehension to classroom management, pacing can be identified as both the source, and the solution of these problems. This course covers the Definition of Pacing, Non-Standardized curriculum, Pacing and Authentic learning, Expanding and Contracting The Pace, Transitions, Rehearsals and Hidden Pacing.