Acting
203 Lesson Plans to help you effectively plan your workshops and classes
A Cross-Curricular Performance Challenge
by Kerry Hishon
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.
Abstract Scene Performances
by Annie Dragoo
Students will perform their abstract scenes for classes who have been invited to observe.
Accept the Offer
by Karen Loftus
Students apply this guidelines through the games “Yes and…” “Yes Let’s,” and Low Risk Experts.
Acting Techniques: A Method Exercise
by Lindsay Price
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.
Acting the Monologue: Sugar and Salt
by Lindsay Price
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.
Acting the Other and Intensifying the Tactics
by John Minigan
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.
Acting the Song - Musical Tactics
by Anna Porter
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.
Acting the Song - Textual Analysis
by Anna Porter
Students will understand how to analyze a song to find meaning, objective, and tactics through textual analysis.
Acting vs. Performing a Song
by Annie Dragoo
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.
After the Audition
by Lindsay Price
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.
An Organic Approach to Objective, Obstacle, Action/Tactic
by Rachel Atkins
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.
Analyzing Monologues
by Matthew Banaszynski
Students will plot out the steps of the story mountain by using existing monologues.
Analyzing the Play and Given Circumstances
by Drama Teacher Academy
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.
Analyzing the Play and Given Circumstances
by Drama Teacher Academy
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.
Appetite
by Todd Espeland
This lesson introduces the second tool: appetite. An appetite is a primal need that drives a character in a scene.
Applying Analysis to Performance
by Karen Loftus
Students continue their exploration of script analysis by applying objective, obstacles, tactics, and stakes within an open scene. They learn that they must apply their script analysis to their performance.
Articulation
by Karen Loftus
Students learn about the articulators and use them with tongue twisters and additional exercises.
Articulation
by Anna Porter
Students will learn the importance of articulation, how to identify the articulators in their mouth, and how to use good articulation when speaking.
Audition Etiquette
by Lindsay Price
Students will continue their journey toward the Mock Audition by exploring audition etiquette. How can an actor’s attitude and behaviour affect an audition?
Beats and Action Words
by Lindsay Price
This unit now moves into the second phase of the rehearsal process: staging. Students will start by taking their script analysis work with beats and action words and apply it to their scenes through exploratory movement.
Becoming a Professional Actor: Getting Started
by Lindsay Price
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.
Becoming a Professional Actor: Headshots
by Lindsay Price
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?
Becoming a Professional Actor: Headshots
by Lindsay Price
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?
Blocking Brainstorm
by Lindsay Price
In this lesson, students will get on their feet and apply what they have learned through analysis in a blocking brainstorm.
Body Language
by Anna Porter
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.
Brainstorming for an Autobiographical Monologue
by Gai Jones
This is a brainstorming-through-exercises lesson to give students the opportunity to explore possible personal inspirations for their autobiographical monologue.
British Panto Project
by Lea Marshall
Students will evaluate the unique elements included in British Holiday Pantomimes, write their own short plays in this specific and fun style, and then perform. This is a light lesson for the holiday season or the end of the semester after any major culminating project. It allows students to work on a form of theatre they may not be familiar with, it gives you a chance to observe student demonstration of ensemble skills, and it’s fun!
Can You Hear Me Now? A Peer-Led Volume Exercise
by Kerry Hishon
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!
Character History
by Annie Dragoo
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.
Character Personality
by Todd Espeland
In this lesson students will start to physicalize Commedia characters by introducing the Character Zero concept, the Character Hop, and the poses of Arlecchino.
Character Physicalization, Part 1
by Lindsay Price
In this lesson, students will explore their character’s physicality. These exercises don’t require any assigned blocking, and students only have to memorize one line.
Character Physicalization, Part 2
by Lindsay Price
Students will revisit character physicality choices and solidify that they are a part of their staging. Additionally, there is an exercise to further explore character physicality.
Character Walks
by Todd Espeland
In this lesson, students will see a demonstration of two character walks and practice those walks.
Character Walks: Part Two
by Todd Espeland
In this lesson, students will see a demonstration of three character walks and practice those walks.
Characters in a Scene
by Karen Loftus
Students continue their exploration with script analysis by learning about objective, obstacle, stakes, and tactics and applying it to an exercise.
Choosing a Monologue
by Lindsay Price
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.
Comic and Serious Perspectives
by Gai Jones
In this lesson, students will experiment with thinking from a comic and a serious perspective, which might offer possibilities for their original monologue.
Commedia Characters
by Todd Espeland
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.
Commercials
by Ruthie Tutterow
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.
Commercials
by Ruthie Tutterow
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.
Contentless Scene - Preview Day
by Anna Porter
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.
Culminating Project: Performing Monologues
by Matt Webster
Students will perform their revised monologues. The teacher will evaluate the monologues with the provided rubric.
Defining Pantomime
by Angel Borths
To define pantomime, build a working class definition then introduce the pantomime concept through class games.
Details of Pantomime
by Angel Borths
To recognize the importance of details in pantomime and practice pantomime details.
Differences Between Stage Acting and Film Acting & Vocabulary
by Ruthie Tutterow
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.
Differences Between Stage Acting and Film Acting & Vocabulary
by Ruthie Tutterow
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.
Drafting a Monologue
by Matthew Banaszynski
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.
Eight-Line Power Plays
by John Minigan
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).
Enriching Your Choices
by Annie Dragoo
In this lesson, students will use the act of entering and exiting a scene in character to demonstrate character choice.
Environmental and Personal Conflict
by Anna Porter
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.
Exaggeration
by Anna Porter
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.
Examining the Pause
by Lindsay Price
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?
Exercises in Acting for the Camera
by Ruthie Tutterow
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.
Exercises in Acting for the Camera
by Ruthie Tutterow
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.
Exploring Principles of The Method
by Drama Teacher Academy
Students will engage in activities to help them further their understanding of the principles of Stanislavski’s Method.
Exploring Principles of The Method
by Drama Teacher Academy
Students will explore and apply some of the principles of Stansislavski’s Method in a virtual environment.
Exploring Spoken Word Poetry
by Kerry Hishon
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.
Final Assignment
by Todd Espeland
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.
Final Performance
by Anna Porter
Students will perform and be evaluated on the contentless scene that they have prepared during the unit.
Final Project
by Anna Porter
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.
Final Rehearsal
by Lindsay Price
This is it! The final rehearsal before students perform. Students focus on getting those last few lines word perfect, reflect on where they are, and do final run-throughs.
Finding Your Quality
by Ruthie Tutterow
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.
Finding Your Quality
by Ruthie Tutterow
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.
Gesture
by Karen Loftus
Students discuss and apply the different ways one can communicate through gesture.
Getting to Know a Character
by Karen Loftus
Students learn the 5 ways we learn about a character in a script.
Ground Plans & Stage Directions
by Angel Borths
To learn how ground plans and stage directions can be used for pantomime.
History of Commedia
by Todd Espeland
This lesson presents the history of Commedia; where it came from and introduces the main characters. It comes with a viewing quiz and reflection.
How to Practice Cold Reading
by Kerry Hishon
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.
Improv for Character Study
by Annie Dragoo
Students will demonstrate ability to develop a character by participating in various improvisation exercises.
Improv Using Sensory Awareness
by Annie Dragoo
Students will demonstrate sensory awareness by improvising an everyday activity while paying attention to as many sensory details as possible.
Improv with Movement
by Annie Dragoo
Students will demonstrate ability to improvise movement by participating in a various activities.
Improv with Vocal Responses
by Annie Dragoo
Students will demonstrate ability to respond vocally by participating in various improvisation activities.
Improvisation Scenes
by Annie Dragoo
Students will demonstrate ability to use voice, body, and imagination/mind together by planning and performing an improvised scene.
Improvised Arguments
by Rachel Atkins
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.
Inflection in Naked Scenes
by Marisa Peck
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.
Initial Blocking
by Lindsay Price
Students will identify and notate existing blocking for their scenes. They will also walk through each section beat by beat and notate further blocking.
Intention/Invention
by Todd Espeland
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.
Intro to Improv for Musical Theatre
by Annie Dragoo
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.
Introduction
by Karen Loftus
Students begin their exploration of commedia dell’arte with some facts about the era and participate in some exercises that realize the concepts of the era.
Introduction
by Anna Porter
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.
Introduction and Warm-Up Exercises
by Gai Jones
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.
Introduction to Dance
by Anna Porter
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.
Introduction to Monologue Writing
by Matthew Banaszynski
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.
Introduction to Pantomime
by Anna Porter
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.
Introduction to the Audition Process
by Lindsay Price
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.
Ira Aldridge: Changing The Story
by Drama Teacher Academy
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.
Lazzi
by Todd Espeland
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.
Make Choices/Bring Information
by Karen Loftus
Students learn the word “endow” and apply the concept through the exercise Low Risk Endowment.
Make Your Partner Look Good
by Karen Loftus
Students apply this guideline through the games Cars, Vans, Buses, Blocking on Purpose, Questions Only and Here Comes Charley.
Memorization Techniques
by Lindsay Price
To apply memorization techniques as part of the goal of a staged scene with specific, dynamic blocking and three-dimensional characters. This lesson will focus on practicing a variety of memorization techniques.
Mid-Unit Assignment
by Todd Espeland
The mid-unit assignment requires students to prepare, rehearse, and memorize a scene using the tools learned in Part One of the unit.
Monologue Prep: Audition Set-Up
by Lindsay Price
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.
Monologue Prep: Character Profile
by Lindsay Price
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.
Monologue Prep: Vocal Profile
by Lindsay Price
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.
Monologue Prep: Vocal Profile, Slate, and Thank You
by Lindsay Price
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.
Monologue Writing
by Matthew Banaszynski
Students will start writing their own monologue, using a pre-selected phrase as a starting point.
Monologue Writing Made Easy Unit
by Matthew Banaszynski
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.
More Minds Are Better Than One
by Matthew Banaszynski
Students will work in groups to turn their previous drafts into completed monologues.
Objectives and Tactics
by Annie Dragoo
During this lesson, the student will perform open scenes to practice using multiple tactics to achieve the character’s objectives in a scene.
Objects and Consistency
by Anna Porter
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.
Onstage Action
by Karen Loftus
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.
Pantomime Story and Performance
by Anna Porter
Students will create a simple pantomime story and prepare a pantomime for performance.
Peer Review Rehearsal
by Annie Dragoo
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.
Performance and Evaluation
by Drama Teacher Academy
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.
Performance and Evaluation
by Drama Teacher Academy
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.
Performing a Monologue
by Matthew Banaszynski
Students will perform their monologues in front of the class and reflect on the process.
Performing the Scene
by Lindsay Price
Students perform their scenes and complete a Post-Performance Reflection.
Persuasive Actions & Objectives
by Rachel Atkins
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.
Persuasive Actions With Vocal Expression
by Rachel Atkins
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.
Play in a Week
by Steven Stack
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.
Posture and Characterization
by Anna Porter
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.
Power Plays in Three Statues
by John Minigan
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.
Practical Uses of the Alexander Technique
by Ruthie Tutterow
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.
Preparing a Scene
by Lindsay Price
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.
Purposeful Action
by Lindsay Price
In their rehearsal today, students will review their blocking choices with a specific objective of making every action in the scene purposeful and theatrical through character wants, audience connection, and vocal clarity.
Rashomon
by Lindsay Price
Students apply the Rashomon format to understand the concept of seeing a familiar story through a different set of eyes.
Real World Applications: Swings, Standbys, and Understudies
by Lindsay Price
In this real world application lesson students view videos of a theatre profession, complete viewing quizzes, and hand in a Reflection.
Rehearsal
by Lindsay Price
This lesson is a straight up rehearsal period. Students will have 30 minutes to rehearse and decide on a section they’re going to show the class. They will perform their section without scripts.
Rehearsal and Movement Practice
by Annie Dragoo
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.
Rehearsals
by Drama Teacher Academy
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.
Rehearsals
by Drama Teacher Academy
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.
Relax, Have Fun and Don’t Force the Humour
by Karen Loftus
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.
Removing Actor-Driven Movement
by Lindsay Price
In this rehearsal, students will share their scenes with another group with the specific focus of examining it for actor-driven movement rather than character-driven movement: shuffling their weight back and forth between their feet, playing with their hair, vaguely gesturing with their hands, etc.
Rock Paper Scissors Status
by Karen Loftus
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.
Same Lines, Different Meanings
by Kerry Hishon
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.
Scores and Beats
by John Minigan
This lesson introduces the idea of “Objective/Goal, Obstacle, and Action/Tactic” to simple scenes by scoring those scenes and playing the scored text.
Scoring the Script and Actions
by Drama Teacher Academy
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.
Scoring the Script and Actions
by Drama Teacher Academy
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.
Script Analysis: Close Reading
by Lindsay Price
Students will do a close reading of the text, multiple times, to mine for as much information as possible. At the end of each read, students identify possible staging idea for their character and for the plot.
Script Analysis: Scoring
by Lindsay Price
The last script analysis step is scoring. To score a scene means to divide the dialogue into beats and then add action words for each beat. Scoring gives students another avenue for exploratory blocking.
Script Analysis: The Basics
by Lindsay Price
Students will begin their staging journey by compiling the basics of the scene. They will read the scene and identify some general knowledge that will help them in the rehearsal process.
Show and Tell Characterization
by Anna Porter
Students will use “Show and Tell” to create a detailed background for their contentless scene character and improvise a personal interview with that character.
Six-Second Scenes
by Kerry Hishon
Can you tell a great story in six minutes? How about in six seconds? You definitely can. Prior to TikTok, there was Vine—a short-form video hosting app where users created and shared six-second-long looping videos. Even within the limit of six seconds, creators were able to make fascinating and funny content to entertain and educate their viewers. The following lesson challenges students to make a scene and tell a story in only six seconds. They have to make quick, precise decisions and get to the point right away. And, of course, they have tobe clear and easily understood by the audience. Your students can choose to either create and perform a live six-second scene or create, film, and edit a six-second video.
Stage Business
by Anna Porter
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.
Stage Directions
by Karen Loftus
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.
Stage Pictures
by Lindsay Price
In this lesson, students explore a variety of ways to create dynamic staging pictures when blocking a scene. They will discuss the results and reflect on whether or not what they’ve learned should be added to their blocking.
Stanislavski and "The Method"
by Drama Teacher Academy
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.
Stanislavski and "The Method"
by Drama Teacher Academy
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.
Status
by Todd Espeland
This lesson introduces the first tool: status. Students will physically perform high and low status through status walks.
Status and Swing in Character
by Todd Espeland
In this lesson, students apply previously learned comedy elements of status and swing to Commedia characters.
Status Games
by Todd Espeland
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.
Stock Character Walks
by Karen Loftus
Students continue their exploration of commedia dell’arte by practicing the specific character walks of Arlecchino, Pantalone, and Capitano.
Subtext: What’s hiding underneath?
by Lindsay Price
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.
Swing
by Todd Espeland
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.
Take the Active Choice
by Karen Loftus
Students discuss what it means to take the active choice and apply the concept in Quiet Scenes.
The Acting Resume
by Todd Espeland
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.
The Acting Resume
by Todd Espeland
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.
The Actor and the Stage
by Annie Dragoo
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.
The Actor's Voice
by Annie Dragoo
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.
The Audition Slate
by Annie Dragoo
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.
The Beats in Every Scene
by John Minigan
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.
The Criteria of a Good Monologue
by Lindsay Price
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.
The Environment of Sound
by Lindsay Price
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
by Elisabeth Oppelt
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.
The Mock Audition
by Lindsay Price
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.
The Musical Theatre Audition Slate
by Annie Dragoo
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.
The Need to Speak
by Lindsay Price
Expanding on the criteria of a good monologue, students will write a short ”need to speak” monologue.
The Power of Relaxation
by Ruthie Tutterow
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.
The Scene
by Annie Dragoo
In this culminating exercise, students will prepare a scene using what they have learned throughout the unit.
The Specifics of Holding an Object
by Karen Loftus
Students are introduced to the techniques of hand position, tension, follow through, action/reaction/interaction.
The Stanislavski Method
by Karen Loftus
Students continue their exploration with script analysis by learning about objective, obstacle, stakes, and tactics and applying it to an exercise.
The Story Mountain Framework
by Matthew Banaszynski
Students will understand the parts of a story and how it relates to a monologue through the story mountain framework.
The Technicalities of Stage Movement
by Karen Loftus
Students discuss and apply technical aspects of moving on stage: sightlines and staying open. They then apply these aspects in a short scene.
Thou Shalts of Staging and Performance
by Anna Porter
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.
Transitions
by Kerry Hishon
To practice planning and performing transitions between scenes in a smooth and well-prepared manner, with increasingly shorter time frames and other challenges.
Unit Project
by Karen Loftus
The final project for this unit is a simple two-person pantomime of up to one minute in length. The objective is for students to utilize mime, body language, and facial expression to tell a basic story: an activity that has an obstacle that they overcome or get past.
Unit Project
by Karen Loftus
The final project will allow students to demonstrate their improv skills in a two-person scene.
Unit Project
by Karen Loftus
Students will be able to take everything they’ve explored about commedia and create a simple scene.
Unit Project
by Karen Loftus
For the final project, give students an assigned scene to analyze as if they were going to perform it. One option is to have students continue working on the “Still as Stone” scene. Alternatively, you could provide a selection for them to choose from, or have students choose their own scenes.
Unit Project
by Karen Loftus
This is a simple project. Your students are going to tell a joke or riddle to the class. The reason to use a joke or a riddle (rather than a poem, prose piece, monologue, or scene) is 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. See the add-on if you wish to have students apply projection and articulation to a scene.
Unit Reflection (Essay)
by Annie Dragoo
Students will evaluate the value of improvisation in musical theatre by writing a five-paragraph essay.
Using Emotional Recall
by Annie Dragoo
During this lesson, students will explore how the five senses can be used by actors as a technique to create a character.
Using Movement to Convey an Idea
by Annie Dragoo
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.
Using Theatre to Share and Celebrate History
by Kerry Hishon
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.
Vocal Variety
by Anna Porter
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.
What Do We “Do” on Stage?
by Karen Loftus
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?
What is Abstract Theatre?
by Annie Dragoo
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.
What is the Alexander Technique?
by Ruthie Tutterow
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.
What makes a “good voice?”
by Karen Loftus
Students discuss and apply aspects of what makes a voice a “good voice:” projection, articulation, posture, proper breathing.
