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Displaying items 61-80 of 756 in total
Lesson 3 of 12 in Unit Three: Building Improvised Scenes Unit

Conflict and Objectives

by Lindsay Johnson

1 resource
In this lesson, we’ll look at multiple perspectives that can lead to a conflict. In pairs, students will improvise a short scene in which each character has an objective that conflicts with the other character’s objective.

Remote Control Improv

Video
Distance Learning ideas vs Zoom or other video conference platform.
Lesson 1 of 12 in Unit Three: Building Improvised Scenes Unit

Relationships

by Lindsay Johnson

1 resource
In this lesson we’ll look at how verbal and nonverbal clues communicate relationship to an audience. Students will improvise a short scene in pairs that shows a clear relationship between two characters using clue words and body language/expressions.
Lesson 2 of 12 in Unit Three: Building Improvised Scenes Unit

Setting

by Lindsay Johnson

1 resource
In this lesson, we’ll look at how we use physical clues to help the audience infer a specific setting for a scene. Students will improvise a short, silent, pantomimed scene in small groups that shows a clear setting – using gestures and movements only.
Lesson 7 of 7 in Improvisation in Musical Theatre Unit

Unit Reflection (Essay)

by Annie Dragoo

Students will evaluate the value of improvisation in musical theatre by writing a five-paragraph essay.
Lesson 5 of 12 in Unit Three: Building Improvised Scenes Unit

Tactics

by Lindsay Johnson

1 resource
In this lesson, we’ll look at multiple perspectives that can lead to a conflict and strategies employed to resolve it. Students will improvise a scene using 2+ tactics in partner groups. Some groups will perform for the class and receiving coaching and feedback on the Tactics Rubric.

Improv Commercial and Stomp

Video
Distance Learning ideas vs Zoom or other video conference platform.
Lesson 9 of 10 in Unit Eight: Theatre of the Oppressed Unit

Scene Rehearsal and Improv Review

by Lindsay Johnson

1 resource
Students will begin by discussing the importance of realistic acting in these scenes, noting how they will be graded on the Realistic Acting Rubric. They will commit their scenes to memory and review projection skills. When the scenes are solid, students will then begin practicing becoming and reacting to spect-actors, and reviewing the Improvisation, Spect-acting, and Realistic Acting Rubrics after each spect-acting attempt.

Character Improv

by Marisa Peck

Students will choose a character and become that character (physically and vocally). They will then collaborate with other characters in the classroom to create and perform an improvised scene. Students explore known characters, characters based on traits, and non-human characters both physically and vocally before choosing their own. Lesson also explores the principle of "Yes...And."

Impowerment Improv

by Jennine Profeta

6 modules 56 minutes 2 Credit Hours
Jennine Profeta, Second City performer and theatre educator, leads this course. This course was designed to give a teacher tools to create a safe environment in which students can go beyond their old patterns to take risks, embrace failure, be more confident and aware of the effects of their word choice. The course includes modules on risk-taking, creating a safe environment, failure, confidence, and positive/negative speak.
Lesson 3 of 12 in The Dilemma Project Unit

Improv to Location

by Claire Broome

1 resource
In this lesson, students will explore location options for their play and choose one.

Exercise: The Celebrity Gift Bag

PDF
Use this exercise to inspire creativity and quick thinking in your classroom.
Unit 8 of 8 in Middle School Curriculum

Unit Eight: Theatre of the Oppressed

by Lindsay Johnson

10 lessons
Students will have a chance to merge their understanding of scene elements with their improvisation skills in this final unit based on Augusto Boal’s Theatre of the Oppressed. Theatre of the Oppressed is a style of theatre specifically created to highlight the injustices of power and oppression in society and to problem-solve ways to bring about change. Starting with image theatre techniques to identify issues of power and oppression, students will then use forum theatre to create scenarios of oppression taken from their own lives and improvise realistic solutions. The unit culminates in a performance in which students participate as both actors in a scene they create themselves and spect-actors in scenes created by their peers.
Lesson 2 of 4 in Impowerment Improv Unit

Failure

by Jennine Profeta

This lesson encourages students to embrace failure as a positive aspect rather than negative.
Lesson 1 of 4 in Impowerment Improv Unit

Risk-Taking

by Jennine Profeta

This lesson aims to encourage students to take risks and allay fear.
Lesson 4 of 4 in Impowerment Improv Unit

Positive and Negative Speak

by Jennine Profeta

This lesson has students identify and have self-awareness of positive and negative speak.

Commedia Dell'Arte Group Improv Assessment Rubric

Contributed by Lindsay Johnson

This is a rubric I created to match the Commedia improvised scene capstone for Todd Espeland's Commedia 2 Course. Feel free to adapt!
Lesson 3 of 4 in Impowerment Improv Unit

Confidence

by Jennine Profeta

This lesson allows students to practice and apply attributes of confidence.
Lesson 2 of 3 in Improv Unit

Characterization and One Focus

by Anna Porter

1 resource
Students explore Characterization and One Focus by participating in activities and playing Ding, Emotional Waiter and Party Quirks.

Theatrical Arguments: Pursuing Objectives, Communication, and Conflict

by Rachel Atkins

3 lessons
In this middle school unit by Rachel Atkins, students will explore how to strengthen a theatrical argument through objectives, communication, and conflict: What characters do, what they say, and how they say it when they make an argument or try to achieve an objective. To do this, students will use tableaux, dialogue, and improv. There are presentations and post-lesson writing assignments that you can use for assessment. How do characters, actors and writers use a variety of actions to achieve an objective or support an argument? How do they enhance their communication by word choice and emotion? How do they develop and strengthen their own arguments by understanding other points of view?