Search the Drama Teacher Academy

To demonstrate how modern character development exercises apply to Shakespearean characters. Students apply exercises to a character from Shakespeare by examining at the character’s foreground and background, answering character questions, and creating the character’s physicality. This will demystify the process of preparing a Shakespearean monologue and give students the tools they need to prepare a monologue on their own.

Students will understand how tactics are active and how to use them to achieve their character’s objective. Students consider the tactics they use to get what they want in their everyday lives and then demonstrate how to use various tactics for an assigned objective by playing “Tactic Fairies.” Two students act out a scene, while their "fairies" make them change their tactic 4 or 5 times to get what they want. This instills that a character can't just repeat the same tactic over and over again, or try one tactic and stop. The consequence of certain tactics is also introduced.

Students will learn the details a stage manager must be aware of as well as how to communicate those details in a clear and productive way. Students analyze a work of art to find the visual details required for that “production” and create an organized list to communicate those details. Students then apply those skills to a written script as the stage manager.

For students to learn, demonstrate, and appreciate the use of positive and negative space onstage as they work towards constructing their own Tableaux. Students learn the concept of Positive Space (the space occupied by a performer) and Negative Space (the unoccupied space). They explore the use of positive and negative space when creating a collaborative image on stage.

Use this lesson plan as an introduction to a playwriting unit. This is a two lesson plan unit. Students complete exercises that demystify and reframe the four foundational elements of the playwriting process: Warm Ups, The Idea, Character, and Conflict. These plans are grounded in the statement: “You can’t build a house without a good foundation.” In order to write plays students need to know the basics first.

To create and experience an experimental piece of drama that demonstrates the power of juxtaposition through music and interpretation. Students choose a piece of music that has a definite emotional “feel” to it. Students create a scene entirely in mime that interprets an opposing feeling.

Students will demonstrate their ability to use their whole body to create a character by participating in a “character walk.” Students explore how movement can be used to create a character. They will see what different body parts are used to convey character, how circumstances change how we move and how characters move differently from one another.

Students will identify the elements of a good monologue through analysis and evaluation, focusing on a need to speak (Why does the character speak?), a specific character voice (Who is the character?) and a journey (Is there a beginning, middle, end?).

Being able to control how much air comes out as you speak allows you to speak loudly without damaging your voice. It also lets you choose where to pause. This lesson teaches students the basics of breath support and exercises to practice controlling the breath. Students will demonstrate their ability to control their breath support by participating in a series of exercises, culminating with an attempt to say all fifty states of the union in one breath.

Students will discuss and participate in exercises that apply subtext in a conversation. The assignment for the lesson is a one minute scene - two people at a restaurant, preparing to order. Each pair chooses one of the provided subtexts to play in the scene. Their job is to present the scene so that the subtext is clear. Includes two assessment rubrics.

Students create physical and vocal attributes based on a visual - images of buildings. Students will also take turns coaching the exercise to the class to demonstrate their comprehension. Includes images and two assessment rubrics.

Newcomers to improvisation often struggle with quick verbal responses. They get caught up with self-editing, self-judgement, and self-censorship and feel they’re failing at the exercise if they’re not fast enough. The gibberish tool allows students to practice the act of response with intention without the pressure of real words. It gives them confidence to participate in an improvised scene. Students will create a gibberish language as a group. Focus on making gibberish a language. “Yes, it sounds silly, but treat gibberish as a language.” The words don’t matter. How you say them does. Students will move to small group conversations, and finally improv scenes. Includes a list of scenarios, reflection, and assessment rubric.

This is a great exercise when students are in the middle of preparing a monologue. Students will apply variety to a monologue in the following ways: - Variety of pace (choosing a line to slow down or a place to pause) - Variety of tone (choosing a line to deliver with an opposite tone) Includes two sample monologues.

Students will learn the Rashomon plot device and put it into practice through improvised character monologues. Includes scenario sheet, assignment sheet, and assessment rubric.

Certain sounds are always connected to certain objects - the slam of a door, cowbell, a ringing phone. How does the environment change if the sounds are changed? Does the change of sound change the scene? Includes a list of websites to use for free sound effects.

Students will explore the origins of drama through ritual and chant. After discussing modern versions, students will create a ritualistic chant using choral speaking, and synchronized movements. Lesson Plan comes with an evaluation sheet and a rubric.

Students will be introduced to the basic theory of Expressionism including expression of emotion, rapid disjointed dialogue, and stylistic movement. Students will practice moving and expressing emotion in an Expressionistic style. They will create a scene based on a nightmare using the principals of Expressionism. An oral presentation assignment is provided as follow up to this practical work. Lesson Plan comes with a practical task evaluation, assignment checklist, and rubric.

Students will learn the basics of stage positioning through this fun, interactive game. Comes with guide to positioning and all "Pirate Ship" terms!

To identify and interpret inflection in a dialogue and be able to translate that into a script. Students work with a partner to interpret inflection in a "naked scene" and translate that inflection adding stage directions to the script. Students have to clarify their stage directions so that another pair can pick up the scene and deliver the intended intention.

To identify and physically locate the nine areas of the stage. Students play a life-sized game of tic-tac-toe on the stage using stage directions to navigate the different squares. Lesson Plan comes with a stage positioning template for assessment.