Acting

To use theatrical techniques to present a short lesson from another class in a creative and entertaining way. The lessons and methods of presentation are only limited by the students’ imaginations.

Students will perform their abstract scenes for classes who have been invited to observe.

Students apply this guidelines through the games “Yes and…” “Yes Let’s,” and Low Risk Experts.

There are a number of different acting techniques: Method, Stanislavski, Viewpoints, Meisner, Viola Spolin. Use this lesson plan as an introduction to a specific technique.

Instead of learning by lecture, have students learn by doing. The Relaxation Exercise encourages students to focus on relaxing the body part by part. The Animal Exercise encourages students to observe an animal, take on the characteristics of an animal and reflect on how animal exploration would be helpful in character development.

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.

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 understand how they can identify and create their own musical tactics and interpretation of a song by breaking down its music and lyrics. Students will build upon/review their understanding of basic music terminology and apply it to performance.

Students will understand how to analyze a song to find meaning, objective, and tactics through textual analysis.

In musicals, it is important to remember that acting does not stop when the music begins. In this lesson, students will learn to find meaning behind the lyrics of a song so that they can convey the character’s feelings while performing.

How did students feel about their audition? Did they get a part? What is their response if they didn’t? This wrap up lesson allows students to unpack their experience with this unit and participate in a final reflection. This is not a full class lesson.

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.

Students will plot out the steps of the story mountain by using existing monologues.

This lesson marks the shift from working on exercises to working directly on the scenes. Students will revisit their scenes and do some preliminary analysis about the plot, style, and main ideas of the plays these scenes come from. They will learn about given circumstances and their importance. Students will complete a character analysis in order to give them information about the given circumstances of their character to use in scene work.

This lesson marks the shift from working on exercises to working directly on the scenes. Students will revisit their scenes and do some preliminary analysis about the plot, style, and main ideas of the plays these scenes come from. They will learn about given circumstances and their importance. Students will complete a character analysis in order to give them information about the given circumstances of their character to use in scene work.

This lesson introduces the second tool: appetite. An appetite is a primal need that drives a character in a scene.

This session reviews what students have learned about script analysis, and applies it to an open scene exercise.

Students learn about the articulators and use them with tongue twisters and additional exercises.

Students will learn the importance of articulation, how to identify the articulators in their mouth, and how to use good articulation when speaking.

Students will continue their journey toward the Mock Audition by exploring audition etiquette. How can an actor’s attitude and behaviour affect an audition?

Many students dream about becoming a professional actor. But what are the steps? How do you start? It’s not as simple as saying “I want to be an actor.” Students will move beyond this vague statement to research and present specific aspects of starting an acting career.

Many students dream about becoming a professional actor. The headshot is one of the most important calling cards of the professional actor. A bad headshot can get an actor rejected before they step through the door. Students will complete exercises that respond to the question What makes a good Headshot?

While the Mock Audition does not require students to bring in a headshot, it is an essential document in the “real world” audition process. A good headshot will help a director remember an actor. A bad headshot can get an actor rejected before they step through the door.

Students will complete exercises that respond to the question What makes a good headshot?

Students will explore body language by examining the art of flirting. Body language is further examined and explored through a living museum, as well as frozen scenarios that students will create.

This is a brainstorming-through-exercises lesson to give students the opportunity to explore possible personal inspirations for their autobiographical monologue.

The objective of this lesson is twofold: first, for students have the opportunity to perform individually onstage to practice volume, diction, and enunciation while speaking, and receive feedback from their peers on those elements. Second, students will then observe others’ performances and give feedback to their peers. Two challenges in one lesson!

During this lesson, students are challenged to devise interesting characters by creating a character history and then using that information in a character improv. This exercise will allow students to practice a portion of the necessary work to build a multi-dimensional character.

In this lesson students will start to physicalize Commedia characters by introducing the Character Zero concept, the Character Hop, and the poses of Arlecchino.

In this lesson, students will see a demonstration of two character walks and practice those walks.

In this lesson, students will see a demonstration of three character walks and practice those walks.

This session uses a two-character scene to find facts and inferences about a character.

Students will continue their journey toward the Mock Audition by exploring what goes into choosing an appropriate audition monologue. This lesson takes 2 class periods.

In this lesson, students will experiment with thinking from a comic and a serious perspective, which might offer possibilities for their original monologue.

This lesson focuses on the characters of Commedia including who they are, what they’re like and places that we can see them in modern society.

Students will act in and direct a commercial. They will break down a script into shots to “cover” the script. They will also format a script into video and audio. Actors will need to hit marks, make a point concisely, and hit the time format of the commercial. They should use the acting techniques for film as much as possible. Students will also need to think creatively to work in socially distant circumstances.

Students will act in and direct a commercial. They will break a script down into shots to “cover” the script. They will also format a script into video and audio. Actors will need to hit marks, make a point concisely, and hit the time format of the commercial. They should also use the acting techniques for film as much as possible.

Students review what they have studied in this unit as well as how to give and use constructive feedback. Students will pair up with another scene group, then perform for each other. Students will use the Preview Worksheet to help guide and assess their previews and critiques.

Students will perform their revised monologues. The teacher will evaluate the monologues with the provided rubric.

To define pantomime, build a working class definition then introduce the pantomime concept through class games.

To recognize the importance of details in pantomime and practice pantomime details.

Students will be able to identify some of the major differences between acting for the stage and the camera. They will also be able to understand and use vocabulary that is specific to working on film sets and acting for the camera.

Students will be able to identify some of the major differences between acting for the stage and the camera. They will also be introduced to terms used on film sets and for acting for the camera and be ready to use those terms in upcoming projects.

Using their rough drafts from the starter prompts, students will work in pairs to edit their drafts to make cleaner stories. Students will also map out their drafts on a Story Mountain diagram to make sure that they follow the proper format.

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).

In this lesson, students will use the act of entering and exiting a scene in character to demonstrate character choice.

Students will play a drama game and participate in an exercise to explore how conflict affects their active tactics. Students apply conflict to a scene for performance.

Students will play with exaggerated resistance through a pantomime Tug of War and Object Toss. Students will further explore exaggerated emotion through a mirror exercise with a partner where they will progressively exaggerate an emotion physically. They will demonstrate their understanding of both exaggerated resistance and emotion by performing a short skit based on over the top soccer injuries.

Students write a scene with five pauses. Students will rehearse the scene where the length of the pause varies. How does the scene change when longer and longer pauses are implemented?

Students will watch some of a workshop in acting for the camera and do some exercises that help them practice some of the differences between stage acting and film acting.

Students will watch some of a workshop in acting for the camera and do some exercises that help them practice some of the differences between stage acting and film acting.

Students will engage in activities to help them further their understanding of the principles of Stanislavski’s Method.

Students will explore and apply some of the principles of Stansislavski’s Method in a virtual environment.

The objective of the lesson is for students to create and perform a spoken word poetry piece. Spoken word is poetry that is meant to be performed for an audience, rather than just read on a page. It allows students the opportunity to share their thoughts, and provides a platform for them to do so. It also builds on important performance skills taught in the drama classroom, including memorization and rehearsal, vocal projection, enunciation, tone, gestures and facial expressions, and confidence.

There are two possible assignments for this unit. One that will take a week of class time, including performances and one that can be completed in a class period.

Students will perform and be evaluated on the contentless scene that they have prepared during the unit.

This unit includes the opportunity for students to choose and perform a musical theatre piece using the oral techniques and textual analysis that they learned in the lesson.

After discussing the essence and quality of 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.

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 discuss and apply the different ways one can communicate through gesture.

Students learn the 5 ways we learn about a character in a script.

To learn how ground plans and stage directions can be used for pantomime.

This lesson presents the history of Commedia; where it came from and introduces the main characters. It comes with a viewing quiz and reflection.

The objective of this lesson is to introduce the concept of cold reading to your students, and provide them with an opportunity to
practice and perform cold readings within the classroom.

Students will demonstrate ability to develop a character by participating in various improvisation exercises.

Students will demonstrate sensory awareness by improvising an everyday activity while paying attention to as many sensory details as possible.

Students will demonstrate ability to improvise movement by participating in a various activities.

Students will demonstrate ability to respond vocally by participating in various improvisation activities.

Students will demonstrate ability to use voice, body, and imagination/mind together by planning and performing an improvised scene.

In this final lesson, students explore two different characters whose opposing points of view or arguments create a conflict. They will identify the objectives or arguments for each character. They will act out a scene between those two characters multiple times, playing both characters. Finally, they will write an argument from one character’s point of view – and support it with evidence.

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.

This lesson introduces the fourth tool: intention/invention. Intention is what a character wants (it can also be called their need). Invention is the thing they need to invent to get their need.

Students will demonstrate an understanding of improv guidelines by using them in an exercise. This is an introductory improv lesson that is designed to build upon the actors’ tools in future lessons.

Students learn some key facts about Commedia and apply them to the exercise “Opposite Day.”

Have students create a situation from a picture and examine the given clues to help fill in the gaps. Next, have students examine the clues in a contentless scene, then fill in the gaps to create their own scenario to perform.

In this lesson, students will be introduced to the objective of the unit (to write an autobiographical monologue), reflect on their thoughts and fears when it comes to the writing process, and engage with exercises that introduce the concept of using personal connection and narrative to create characters.

Students will understand the importance of endurance, emotion, and commitment in movement when performing. They will also gain an understanding of how to pick up choreography by learning the concepts of routine and anticipation.

Students will start the process of writing a monologue by storytelling. They will tell a story based only on what they observe in a picture.

Students will warm up using a pantomime interview and a relaxation exercise. Students will go on a pantomime hike and participate in a “pretend you are walking” game at the end of the lesson.

In order to partake in the audition process, students need to identify and comprehend the necessary steps in that process. What is the auditioning process? Why is it used? Is the process fair? Why or why not? The class ends with students playing director in the “Who Would You Cast?” Exercise.

American actor Ira Aldridge was a pioneer and an activist. He was a celebrated 19th-century Shakespearan actor in England and Europe and one of the first black men to play the role of Othello.
In this lesson, students will learn more about his story and about how he changed his story several times throughout his career. Students will reflect on the concept of changing one’s story in the face of adversity. Rubrics are provided.

Students learn about different commedia lazzi and create their own.

In this lesson, students will be introduced to lazzi. Lazzi are solo comic beats to show off a character and their needs. Students will then create and perform a solo lazzi.

Students learn the word “endow” and apply the concept through the exercise Low Risk Endowment.

Students apply this guideline through the games Cars, Vans, Buses, Blocking on Purpose, Questions Only and Here Comes Charley.

The mid-unit assignment requires students to prepare, rehearse, and memorize a scene using the tools learned in Part One of the unit.

Students will continue their journey toward the Mock Audition by exploring what they can do to prepare their monologue. They will practice their monologue and talk about dealing with nerves. This is the final lesson before the Mock Audition - you will review the audition procedure with the class and students will sign up for their audition slot.

After students choose their monologues, the next step is to prepare. More often than not, students think that preparing means learning the lines and throwing in a few moves. When students do this in an audition, it shows. The character is one-dimensional and the movement looks out of place. You want to see three-dimensional characters. You want to see characters brought to life both physically and vocally. In this lesson, students are given time to practice their monologue and start working on the who, what, when, where, and why.

Students will continue their journey toward the Mock Audition by exploring what they can do to prepare their monologue. Once students have completed the Character Profile, have them complete the Physical Profile. This will solidify how the character stands, gestures, and moves.

Students will continue their journey toward the Mock Audition by exploring what they can do to prepare their monologue. The last profile students complete will be the Vocal Profile. This will solidify how the character communicates orally.

Students will start writing their own monologue, using a pre-selected phrase as a starting point.

Part one of this unit includes either the execution of the Monologue Writing Made Easy unit, or a review of concepts, depending on your class needs.
- If materials have not been previously introduced, execute the entire unit before starting part two.
- If some materials have been previously covered, review major concepts and terminology, introduce any new concepts, then move on to part two.

Students will work in groups to turn their previous drafts into completed monologues.

During this lesson, the student will perform open scenes to practice using multiple tactics to achieve the character’s objectives in a scene.

Students will explore the details associated with objects through a “Magic Box” activity. Students will then explore the importance of consistency in pantomime by preparing a simple action for performance. They will practice ensemble work and consistency by preparing a group task pantomime, then performing it in synchronized form.

After a warm up, student learn about onstage action. They will reflect on the question of how having something “to do” onstage can help overcome stage fright.

To apply knowledge through performance.

To apply knowledge toward a pantomime performance.

To apply feedback and make revisions.

To apply feedback and make revisions.

Students will create a simple pantomime story and prepare a pantomime for performance.

In this lesson, students will spend time rehearsing their abstract scenes. They will have an opportunity to both perform for their peers and to evaluate another group’s abstract scene using the performance rubric.

Students will demonstrate their knowledge of everything they have learned through scene performance. They will watch the scenes afterward to self-evaluate. An optional quiz is provided.

Students will demonstrate their knowledge of everything they have learned through scene performance. They will watch the scenes afterward to self-evaluate. An optional quiz is provided.

Students will perform their monologues in front of the class and reflect on the process.

In this lesson, students explore character objectives: They will use facial expression and physical gestures to make statues of different actions that characters might take to get what they want. Students will work with a partner to create tableaux (frozen stage pictures) to show a specific action and response. They will write an argument in which they identify a specific action – and then support that claim with evidence from the statues and tableaux.

In this lesson, students explore word choice, emotion, and vocal expression in communication. They will select an objective or argument and actions to support it. They will write lines of dialogue to match different actions. They will choose an emotion that correspond with the line and action, and practice speaking their lines with emotion and vocal expression. Finally, they will write an argument explaining how a line expresses a specific action – and support it with evidence.

In this student driven activity, students will work together to put up a short one act play from audition to production within a one week time limit. The purpose of the activity is to show students, quickly, how important it is to work together, to collaborate, and to negotiate as a group. This is also a good activity to apply responsibility. The students themselves are responsible for all aspects of this activity - you should only take on an advisory role. Give feedback when asked but don’t act as a director or make decisions for your students. The point is not a “perfect” production but to give students an activity where they must work together in order to succeed. The process is more important than the product.

Students will explore characterization by examining posture and playing a version of Musical Chairs with “proper” posture. Students will also explore specific character physicality by playing a relay game where they must take on and then pass along the physical characterization of specific characters.

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.

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.

What tools do students need to properly prepare a scene? What exercises? This multi-class lesson plan models and practices those tools and exercises with the full class before they have to take on a scene for assessment.

Students will create a character and design a puppet for performance.

Students apply the Rashomon format to understand the concept of seeing a familiar story through a different set of eyes.

In this real world application lesson students view videos of a theatre profession, complete viewing quizzes, and hand in a Reflection.

In this lesson, students will spend time rehearsing their abstract scenes. They will also practice and demonstrate movement skills such as facial expression, posture, gesture control, and balance.

To apply knowledge toward a pantomime performance.

To apply knowledge toward a pantomime performance.

Students will put into action the Stanislavski principles, superobjective, and scene scores as they rehearse their scenes for performance. In these classes students will work through planning, blocking, specific details, a line check, and a final runthrough before the performance.

Students will put into action the Stanislavski principles, superobjective, and scene scores as they rehearse their scenes for performance. In these classes students will work through planning, blocking, specific details, a line check, and a final runthrough before the performance.

Students discuss what it means to not “force” the humour. They play all the games from the unit in a high risk setting, as volunteers in front of the class.

Students learn about the resonators and use them in an exercise.

In this exercise, students will learn about the concept of status and how it affects character interactions. Using the good old
system of “Rock, papers, scissors”, they’ll determine who moves up and down the status ladder.

The objective of this lesson is for students to explore different ways of analyzing text, to make their character’s lines rich and full of emotion and meaning. This lesson provides three exploratory exercises (which can be used individually as desired) as well as a culminating assignment.

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

Students will get more instruction in scoring their scene. They will first define a super objective for their character, then break down the scene into beats. They will learn about defining those beats with compelling active verbs which should translate into strong actions and interesting acting choices in rehearsal.

Students will get more instruction in scoring their scene. They will first define a super objective for their character, then break down the scene into beats. They will learn about defining those beats with compelling active verbs which should translate into strong actions and interesting acting choices in rehearsal.

Students will use “Show and Tell” to create a detailed background for their contentless scene character and improvise a personal interview with that character.

Students will participate in an observation activity and play “What Are You Doing?” to explore how stage business affects performance. In this lesson, you will coach students through a scene with stage business, then they will apply stage business to their own performances.

Students identify the stage directions and actor needs to know onstage and the necessary shorthand notation for each. They then apply their knowledge in an exercise and exit slip.

Students will be introduced to the history and background of Stanislavski, the Method of Physical Action and why he developed the method as a way of playing a character. Moving on, students will be introduced to the principles and techniques of the method. Students will also receive the scene they will work on for the entire unit.

Students will be introduced to the history and background of Stanislavski, the Method of Physical Action and why he developed the method as a way of playing a character. Moving on, students will be introduced to the principles and techniques of the method. Students will also receive the scene they will work on for the entire unit.

This lesson introduces the first tool: status. Students will physically perform high and low status through status walks.

In this lesson, students apply previously learned comedy elements of status and swing to Commedia characters.

In this lesson students further explore status and using status to communicate physically through a variety of games. Students are also introduced to the game “Do It Get It Done” which will be re-visited throughout the unit.

Students apply their knowledge of stock characters into character walks.

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.

be important later on when it comes to applying the Commedia Dell’arte style to characters and lazzi. This lesson introduces the third tool: swing. Swing is the idea that a comedic character can move between two emotions, or two needs,immediately.

Students continue exploring nonverbal communication through tableaux.

Students discuss what it means to take the active choice and apply the concept in Quiet Scenes.

What should go on and what should stay off of an acting resume? What is an auditioner looking for? Students will discuss the purpose of an acting resume, review a model, create their own and reflect on the process.

An actor needs two documents when they audition for a role: a resume and a headshot. What should go on an acting resume and what should stay off of it? What is an auditioner looking for? Students will discuss the purpose of an acting resume, review a model, and reflect on the process. Students will use this template when they create a resume for their mock audition.

In this lesson, students have an opportunity to explore all the different areas of the stage and the positions which an actor uses to command attention.

In this lesson, students have an opportunity to practice vocal expression by reciting nursery rhymes with three different vocal varieties. They will receive instant feedback from their peers and teacher.

Making a first impression is the most important part of an audition. By learning to slate with confidence, students will learn how to introduce themselves in an musical theatre audition.

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.

Students review a monologue to analyse components that make a good monologue (A need to speak. A specific character voice. A journey). Students will use this criteria as the basis of their original monologue.

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.

The fourth wall is an imaginary wall that stands between the actors and the audience. As actors we tend not to speak to, look at or acknowledge the audience when we are performing. We want the audience to be observers but not necessarily involved in the scene. There are times however when we want to speak directly to the audience. When we do, that is called breaking the fourth wall. It is a technique that can be useful in specific instances but should not be abused by actors.

Today is the Mock Audition. In this lesson, you will play director and audition students for one of four roles in the play ‘Jealousy Jane.’ Use the Monologue Performance Rubric to assess their performance.

Making a first impression is the most important part of an audition. By learning to slate with confidence, students will learn how to introduce themselves in an musical theatre audition.

Expanding on the criteria of a good monologue, students​ ​will​ ​write a short​ ​”need to speak” monologue.

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.

In this culminating exercise, students will prepare a scene using what they have learned throughout the unit.

Students are introduced to the techniques of hand position, tension, follow through, action/reaction/interaction.

This session introduces the Stanislavski method of acting and four elements: objective, obstacle, stakes, and tactics.

Students will understand the parts of a story and how it relates to a monologue through the story mountain framework.

Students discuss and apply technical aspects of moving on stage: sightlines and staying open. They then apply these aspects in a short scene.

Students will participate in a demonstration to explore the rules of staging and performance and why they are important. They will perform a Bad Idea/Good Idea skit for the class, to demonstrate their understanding of the concept.

To practice planning and performing transitions between scenes in a smooth and well-prepared manner, with increasingly shorter time frames and other challenges.

Students create a 2 person pantomime. The objective is for them to utilize mime, body language, and facial expression to tell a basic story. A rubric is included.

The final project will allow the students to demonstrate their improv skills in a 2-person scene. A rubric and final reflection is included.

Students take what they have learned in this unit and create a short scene. A performance rubric and unit reflection are included.

Students are given an assigned scene to analyze, focus on one character, and complete the script analysis assignment.

This is a simple project. Your students are going to tell a joke to the class. The reason to use a joke or a riddle (rather than a poem, prose piece, monologue, or scene) is that the students in the audience will want to hear the answer. They will be more engaged in the simple joke or riddle than passively listening to something else.

Students will evaluate the value of improvisation in musical theatre by writing a five-paragraph essay.

During this lesson, students will explore how the five senses can be used by actors as a technique to create a character.

In this lesson, students will participate in several activities that will help them devise, create, and rehearse movement that can be used in abstract scenes. They will practice and demonstrate their understanding of blocking and physicality by being able to add and execute movement in their abstract scene.

The objective of the lesson is for students to explore historical events that are significant to them through various theatrical mediums that may seem unusual or “out of the box.” The inspiration for this lesson plan comes from Lin-Manuel Miranda’s theatrical hit Hamilton, which utilizes rap and hip-hop music and colourblind casting to tell the story of the American founding fathers.

Students will learn how to use vocal variety to communicate. Students will learn how to identify and apply Pitch, Tone, Rate, and Volume in performance.

This Lesson Plan introduces one of the important tools of an actor: the body. Student actors often have difficulty getting out of their own body, especially if they suffer from any kind of stage fright. How do we move on stage? What happens when we’re afraid to move? How can we get beyond nerves to become comfortable with our bodies? What do we “do” on stage?

In this unit, students will create and perform an abstract theatre scene. Abstract is a genre that does not rely on realism and deliberately breaks the rules of a given form. In the case of theatre, this refers to the commonly presented rules of performance, acting, and the relationship with the audience. Movement is often stylized and symbolic. Ideas and themes are expressed visually and aurally with little dialogue using music, lights, costumes, and props.

Students will learn about the Alexander Technique and its six principles. Students will begin to explore how to make personal adjustments in their movements using the Alexander Technique.

Students discuss and apply aspects of what makes a voice a “good voice:” projection, articulation, posture, proper breathing.