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After discussing their favorite actors, students will record themselves having a conversation. Then they will transcribe their conversation and perform it as a script. These “scenes” will be recorded. Students will then be assigned to describe the “quality” of a fellow student.

Students will engage in a guided relaxation. Through this exercise, students will gain insight into some relaxation techniques and what intentional relaxation may enable them to do more easily.

Students will go over some practical uses of the Alexander Technique. They will be asked to demonstrate an everyday activity to show their understanding of how to incorporate Alexander principles into their movements.

Close reading requires students to analyze a text more thoroughly then they might naturally be inclined to, and because of this, students will be required to read the text three times. The first reading focuses on what the text says, the second reading focuses on how the text works, and the third engages students in evaluating the text, comparing it with other texts, or thinking about its implications in their lives in relation to the text. This lesson applies the close reading technique to analyze a BIPOC-centred theatrical text.

Lesson 1 introduces the unit and the importance of warm-up exercises. Students will learn a new definition for what an idea is and apply that definition to the first topic area.

In Lesson 2, students learn and apply two topic areas to generate ideas

In Lesson 3, students continue practicing the process for generating ideas, formalize and apply the definition of theatricality.

In Lesson 4, students practice the process and apply it to a longer scene.

Students start with a name exercise and a non-human personification exercise as an introduction to character creation. The purpose is to show students some of the details that go into creating an interesting dynamic character—in action and in writing.

Students apply what they learned about physical and vocal qualities in a character. They complete a character profile for an original superhero, then experiment with creating physical and vocal attributes before writing a monologue.

Students continue work by completing a character profile for a superhero sidekick, then experiment with creating physical and vocal attributes before writing a monologue.

Students continue work by completing a character profile for a supervillain, then experiment with creating physical and vocal attributes before writing a monologue.

Students will spend this lesson writing for their three characters (superhero, sidekick, villain) before choosing one for their culminating assignment. This lesson provides a number of options in terms of scene writing, design, and improv for you to choose from

Using their chosen character, students write an original monologue for this character, design a costume and a prop/tool, and perform their monologue with specific physical and vocal quality choices.

Students will begin the lesson by applying research skills to produce a mini-project presentation on author Rabindranath Tagore, his work as a playwright, and themes explored in his play The Post Office. Students will read the play with an analytical eye and rehearse a scene to perform as a staged reading.

The first 3 lessons introduce origin stories. Students research an Indigenous origin story in small groups. They will create a plot graph and share in a class discussion.

Student will use the research they completed on days 1-3 to retell an origin story to the class.

Students listen to the Abenaki Creation Story and explore through plot graphing and recreating.

In this lesson, students will explore how to make their own Broadway musical through improvisation. Broadway musicals like The Book of Mormon, Urinetown, and Forbidden Broadway were developed from improvised work. Students will learn how to improvise an original musical in front of an audience. There are excellent opportunities for both the singer and non-singer who wants to explore improv like never before. This is also a great opportunity for singers to become far more confident with their performances. There are hands-on activities for students at all levels.

This lesson looks at the historical and cultural context of the late 19th and early 20th centuries.