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Acting

209 Lesson Plans to help you effectively plan your workshops and classes

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.
# Acting # acting
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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?
# Acting # acting
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Part of Mock Audition Unit

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?
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# Acting # audition # acting
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Part of Scene Staging Unit

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.
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Part of Pantomime Unit

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.
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# Acting # pantomime # acting
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Part of The Autobiographical Monologue Unit

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.
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# Acting
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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!
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# Acting # pantomime
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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!
# Acting # acting
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Part of Foundations of Acting Unit

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.
# Acting # acting
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Part of Commedia dell'Arte Unit

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.
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# Acting # commedia
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Part of Scene Staging Unit

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.
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# Acting
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Part of Scene Staging Unit

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.
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# Acting
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Part of Commedia dell'Arte Unit

Character Walks

by Todd Espeland

In this lesson, students will see a demonstration of two character walks and practice those walks.
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# Acting # commedia
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Part of Commedia dell'Arte Unit

Character Walks: Part Two

by Todd Espeland

In this lesson, students will see a demonstration of three character walks and practice those walks.
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# Acting # commedia
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Part of Introduction to Mask Unit

Character Zero

by Allison Williams

In this lesson, students will learn what a character zero is, how to use the body to create a character zero, how to physically commit to that body before moving, and how to make bigger choices in their character zero and in their movement.
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# Acting
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Part of Script Analysis: The Actor's Perspective Unit

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.
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# Acting # Analysis # analysis # acting
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Part of Mock Audition Unit

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.
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# Acting # audition # acting
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Part of The Autobiographical Monologue Unit

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.
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Part of Commedia dell'Arte Unit

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.
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# Acting # commedia
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Part of Acting for the Camera Unit

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.
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# Acting # acting
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