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In this ELP, students will analyze the skills they learn and have learned in drama class. What impact do the identified skills have in drama class? What impact do the identified skills have in life? For students who finish early, there is an optional Reflection.

In this ELP, students will take on the role of a working playwright in the process of having a play produced. The relationship between playwright and production is sometimes precarious – directors have been known to ban playwrights from rehearsals, actors have been known to change lines.

In this ELP students will take on the role of director. As the point person in a production for both the onstage and offstage departments, the director is the one who must problem-solve in a variety of situations. Students are asked to brainstorm solutions for a variety of problems and write out their answers. They will submit their work at the end of the class.

In this ELP, students will examine pictures with a person in them, infer what the person in the picture is going through based on their body language, create a character profile for the person, and then write two monologues. If you have a longer class, a Reflection is provided for students to then compare and contrast the two monologues.

In this ELP, students will review a scene written in a specific genre: Victorian ghost story. They will have to create lighting and sound without any equipment, and a costume design without any period pieces. How can students use atmosphere, found lighting, and live sound to visualize the genre using low-tech options?

In this ELP, students will read two ghost story texts: a prose version and a theatrical adaptation of the same story. Students will then compare and contrast the two texts: How does each handle the ghost story genre? How does each create mood and atmosphere for the genre? What are the similarities in the texts? What are the differences? In your opinion, which suits the genre better?

In this ELP, students will read a scene, identify the beats, apply action words to each beat, and reflect on how they would use this information to present the scene.

In this lesson, we will close read sections of an early modern text: The Importance of Being Earnest by Oscar Wilde. This play fits the criteria well for a close read text: Lots of details both in story and character, lots of structural “hows” to analyze, and Oscar Wilde makes a lot of statements with this play about Victorian England, about how people behave, about marriage, and about being truthful (earnest). Students will approach the text through a variety of exercises, from close reading the title, to single sentences, to a small section, to a culminating assignment.

Close reading is a text-dependent analysis tool that allows students to read a text for in-depth comprehension. Students focus on the text to understand what’s being said, how it’s being said, and why. In this lesson, students will use this analysis technique on a monologue. They will go through the process on a model and then apply what they have learned in a culminating activity.

Close reading is a text-dependent analysis tool that allows students to read a text for in-depth comprehension. Students focus on the text to understand what’s being said, how it’s being said, and why. This tool can be an excellent method for getting students to connect to Shakespeare. Where students take a left turn with understanding Shakespeare is that they can’t see past the language. They can’t see using the same tools analyzing a Shakespeare play as they would a modern play. So use close reading to break the language down, move past it, and treat Shakespeare like a modern text.

This lesson introduces the idea of “Objective/Goal, Obstacle, and Action/Tactic” as a powerful building block for actors and to introduce the concept of working with verbs as tactics.

This lesson introduces the idea of “Objective/Goal, Obstacle, and Action/Tactic” to simple scenes by scoring those scenes and playing the scored text.

This lesson incorporates physicality into stage relationships and learn to use stage position as an element of blocking that can show the dynamics of and changes in power in a scene.

This lesson combines the work done in Lesson 2 (scoring scenes by beats) with the physical work done in Lesson 3 (creating dynamically staged scenes by connecting choices in blocking/staging to the underlying structural elements in a scene).

This lesson includes a series of improv games to focus students on “the other” rather than “the self,” on listening, on sharing their energy with scene partners, and on collaboration in acting.

Students will work in pairs to create and perform two-minute scenes focused on clear objectives, clear obstacles, multiple tactics – and they will learn to give focused feedback.

In this first lesson at the start of a new year, students learn daily classroom routines, participate in a name game, and complete a successful journal entry reflecting on circle discussion. They will begin to interact with the Weekly Ensemble Rubric through the journal element.

In this second lesson, students continue to practice classroom norms and interact with a second element of the Weekly Ensemble Rubric: SAY YES. Students will role-play a column of the SAY YES category of the Weekly Ensemble Rubric in small groups via a performance task.

In this third lesson, students continue to practice classroom norms and interact with a third element of the Weekly Ensemble Rubric: BE SAFE. Students will role-play a column of the BE SAFE Rubric in small groups via a performance task.

In this fourth lesson, students continue to practice classroom norms and are introduced to the concept of feedback. In the performance task, students will give peers strong feedback by using language from the Weekly Ensemble Rubric.