Character Development

Students continue work by completing a character profile for a superhero sidekick, then experiment with creating physical and vocal attributes before writing a monologue.

The objective of this lesson is for students to delve deeper into their roles by experimenting with performing a variety of everyday tasks while in character. As well, it offers students the chance to explore different ways of moving and thinking while in character.

A conversation with Claire Broome, on how to execute the Dilemma Project in your classroom.

Use this lesson plan as a response activity connected to viewing a video of a musical in class. For example: At the end of semester or if you need a lesson plan during tech week - watch the musical and then do the exercise.

After viewing a musical, students will exhibit their ability to analyze a specific character from a musical by creating a visual character profile.

Use this lesson plan as a response activity connected to a play that you are studying in class.
After reading the play, students will exhibit their ability to analyze a specific character from a play by creating a visual character profile.

Students will choose a character and become that character (physically and vocally). They will then collaborate with other characters in the classroom to create and perform an improvised scene.

Students explore known characters, characters based on traits, and non-human characters both physically and vocally before choosing their own. Lesson also explores the principle of "Yes...And."

In this lesson, students will explore character relationships before they start writing their scripts by answering 20 questions. They will also think about character specific vocabulary.

These lessons move from the story into activity. Students will try interpreting, actively modelling, and practicing stepping into the character traits of Love, Wisdom, Respect, Bravery, Honesty, Humility, and Truth.

Students will be able to brainstorm fitting characters, setting, and conflict for a contentless scene. Students will use a variety of methods they’ve learned in the previous unit to communicate meaning: setting, pantomime, relationship clues, objectives, stakes, and tactics.

In this lesson, students will perform for peers and give and receive feedback on the Scene Details Rubric. Students will be using a variety of methods they’ve learned in the previous unit to communicate meaning in a contentless scene: setting, pantomime, relationship clues, objectives, stakes, and tactics.

In this lesson, students learn to identify characters with an archetype. They participate in various exercises to help them understand that archetypes all move and speak differently. Students will explore the statement “movement brings meaning to our life.” Use this lesson to explore character movement, types of character movement, and applying character movement to their own work.

Students continue work by completing a character profile for a supervillain, then experiment with creating physical and vocal attributes before writing a monologue.

Using their chosen character, students write an original monologue for this character, design a costume and a prop/tool, and perform their monologue with specific physical and vocal quality choices.

Students will link together two blank scenes to create a single, unified scene that justifies the characters’ actions and dialogue through character analysis.

In this ELP, students will read a scene with two characters. Students will read the scene and then analyze the characters. Who are they? What specific character traits do they have? What evidence is there in the text to support your opinion? Students will then reflect on the characters: Who do they connect with most? Who do they connect with least? Who would you want to play/not want to play and why?

In this ELP, students will read and discuss a scene from the Shakespeare Play Much Ado About Nothing and a modern adaptation of that text - Much Ado High School by Lindsay Price.

In this lesson, groups will perform and reflect on their performance.

Students will research a group with a different perspective and turn that research into a scene. This scene can be nonverbal, movement-based, dialogue-based, or monologue-based. Let students create in a way that speaks to them. Students will research, prepare, rehearse, and present their scene.

Students will review the various techniques we’ve explored this unit (voice, movement, set design, projection, etc.) to convey meaning in a contentless scene. They will continue to work on their scenes and complete a Rehearsal Checklist.

In this lesson, students will focus on others. They will try to draw something based on someone else’s perspective and create a scene through a variety of perspectives.

In this lesson students will have the opportunity to explore and discuss ideas and concepts related to gender in plays, to try making casting decisions themselves, and to consider how gender can affect how an actor portrays a character and is perceived by an audience member. Can they look beyond
the male/female binary and be thoughtful and inclusive in their casting choices?

Students will read an article about how costume items affect their character and their physical movements onstage. Then will then apply their knowledge by preparing a brief monologue (20-30 seconds in length) and practicing it three times, each time using a different costume item. Students will then perform their monologue using one of the items they worked with. Students will become aware of the challenges that costumes can cause while performing onstage. Afterwards, students will complete a Reflection.

Students create physical and vocal attributes based on a visual - images of buildings. Students will also take turns coaching the exercise to the class to demonstrate their comprehension.

Includes images and two assessment rubrics.

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

In this lesson, using the character they created in the previous lesson, students will show up to class “in character” and repeat the Magic If exercise, and choose their dilemma.

This lesson defines symbolism and explores Indigenous art and its characteristics.

Students expand on the previous lesson, working in small groups to begin to create theatre from art.

Students will share their findings from the previous lessons, and present their interpretation of art in small groups. Options for assessment are included.

In this lesson, students will decide how best to include movement in their scene to help an audience understand what is happening in the scene. Students will complete a set design for their partner scene and add 3+ blocking notes to their scripts. Students will also take a Stage Directions Mini-Quiz
to demonstrate their understanding of stage directions/basic blocking notes.

The first day introduces the learning circle format to the class, and the story of The Two Wolves.

In this introductory lesson, students will be able to define “script” and “dialogue.” They will begin to brainstorm characters/relationships, setting, and conflicts to add content to a contentless scene that they will work on for the rest of the unit. Students will use a variety of methods they’ve learned in the previous unit to communicate meaning: setting, pantomime, relationship clues, objectives, stakes, and tactics.

In this lesson, students will learn the terminology needed to identify different parts of the stage and to create a set design that uses levels in an effective and appealing way. Students create a basic kitchen set design for a kitchen set design that applies their new knowledge of stage parts, levels and scenery.

In this lesson, students will focus on how voice can be used to communicate character as well as to make the dialogue in the scene easily accessible to an audience. Students will give and receive feedback on their vocal clarity and expression in performance.

Students start with a name exercise and a non-human personification exercise as an introduction to character creation. The purpose is to show students some of the details that go into creating an interesting dynamic character—in action and in writing.

The best way to introduce a concept is through activities. Students will participate in activities that ask them to make choices and observe the choices of others. They will be introduced to the
definition of perspective taking and apply that definition through discussion and a theatrical moment group work activity.

In this multi-class lesson plan students will construct a character from scratch. They will start with a name, decide on a physicality, come up with personality details based on that physicality and then answer interview questions in character.

Students will reflect on common societal norms and expectations. Who decided these norms? Why do we follow them? What happens when we don’t? They will then write a monologue for a character who doesn’t fit within the common societal norms and expectations construct.

Students will spend this lesson writing for their three characters (superhero, sidekick, villain) before choosing one for their culminating assignment. This lesson provides a number of options in terms of scene writing, design, and improv for you to choose from

Students will receive an introduction to neutral mask and explore the importance of the body as a communication medium.

Students participate in three exercises that explore neutral mask: Reflecting emotion through the body, Reacting to music, and a short mime that combines an emotion and a household chore.
Students will write a short reflection after the activities are completed.

In this lesson, students will explore nonverbal communication. How do students determine what others are thinking and feeling? Can they read body language and other forms of nonverbal communication? When they look at a photo can they identify what someone is thinking?

Students will practice speaking in front of their peers as they explore personification and emotion in a monologue.

After seeing a model exercise, Students choose an object and an emotion as the base for their monologue. Students play the part of the object and decide on a story that explains why they feel their current emotion. Students demonstrate stage presence, vocal presence and creating a relevant story.

A character’s objective is what a character wants. It is based in what they want from another person, using the formula “I want [person] to do [thing I want them to do.]” The objective is what drives all of their action while on stage. In this lesson students will learn what objectives are and how to write one for a character.

Students will create a character objective using correct objective phrasing.

In this lesson, students will review the “open body” element of projection. Using this technique, students will make it easier for audiences to see and understand their actions in the scene.

A final step can be used as an evaluation of student understanding of the character traits presented in the Seven Grandfather Teachings by approaching an Open, Neutral Scene. Students are paired and given one of the open, neutral scenes included in this unit. Neutral scenes can have dictated conflict or character traits added to them by the teacher for students, but in the most “open” sense, allow students to develop the story and create strong focused characters.

In this lesson, students will analyze characters, identify their perspectives, and demonstrate perspective taking by understanding their points of view.

Before students start writing their script, they will develop a plot outline using the points of plot development. They will review the conventions of script writing and the criteria for the project.

8 posters for the drama classroom, to support the objectives of the Introduction to Scripted Scenes unit.

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.

To consider the difference between thinking critically about a character and judging a character.

Playwrights leave hints and tips in the text as signposts for character building. But how do you find those hints? How do you use them to develop a character?

In this lesson plan, students will examine scenes from my plays, identify character development clues, and apply those clues. The included teaching script will show you those character clues so you know what students are looking for. The Scenes are included in the plan as well as a reflection rubric.

The analysis areas are: facts and concrete assumptions, sentence structure, and strong forms need strong characters.

In this lesson, students will complete a line test, rehearse with specific goals, and present a preview performance.

Learning to deal with rejection and turn rejection into a positive motivator is a lifelong skill. In this multi-class lesson, students will reflect on and discuss their views on rejection, theatricalize that view through movement, research someone who has found success only after rejection and failure, and theatricalize that information.

Students will research the character of Jo from the musical Jagged Little Pill. The character, allegedly, started out as nonbinary and was changed to cisgender for the Broadway run. When
confronted with this change, those involved with the production stated that Jo was always intended to be cisgender and was written as cisgender. This confused many in the LGBTQ+ community. What is the background to this situation? What is the origin story to the character and the actor playing the character? Why did the creative team react the way they did and what was the response to their reaction? Who is right? Students will research, analyze, and come to their own conclusions and then express their conclusions in a response.

Students will research how the character of Anybodys was changed from a tomboy in the original West Side Story movie (and musical) to a transgender character (played by nonbinary actor iris
menas) in the 2021 Steven Spielberg version. Students will research the change through articles and video and come to their own conclusions about the change. Students will then apply what they have learned by creating their own scenes with a character change.

In this lesson, we will discuss revision rehearsals, which are such an important part of the creative process. This is an opportunity for students to develop their critical thinking and apply this to their performance.

Students will review the various techniques we’ve explored this unit (voice, movement, set design, projection, etc.) to convey meaning in a contentless scene. Students will perform their final partner scene for assessment in front of the class. They will also completed an audience feedback sheet where they give their peers feedback on Rubric skills.

In this lesson, we will explore ways to have the class rehearse while making changes to their scripts.

In this lesson, students will share their scripts and provide feedback to each other. Groups will write down their feedback and make a next steps list for revision.

Using a specific method of timed sessions and movement breaks, groups will write the first draft of their plays. They will then revise, change, and edit the draft using the same method.

In this lesson, students will consider what would happen if a character made a different choice within the context of their story. Students will work in groups to identify and analyze a decision made within the text by a character and then think creatively about what the characters might have done differently. They will then create and perform a scene demonstrating the character’s different choice.

If you’re looking to incorporate Social and Emotional Learning in your drama classroom, this lesson would fit well into a discussion about responsible decision-making. This exercise can be done individually, in pairs, or in small groups.

In this lesson, students will start by working individually to either create and analyze a new character or to analyze an existing character. Then, with a partner (who has their own character), they’ll figure out a scenario where the two characters would meet and form some sort of relationship.

If you’re looking for a way to apply Social and Emotional Learning in the drama classroom, in this case building relationship skills, this is an active and theatrical way to do so.

If you want to incorporate Social and Emotional Learning into a play study unit, use this lesson. Students discuss self-awareness and apply it by analyzing characters in a play they are currently studying. Seeing fictional character examples will help students gain a deeper understanding of the concept of self-awareness. This can be done as a class, individually, in partners, or in smal groups. It can be done in person, virtually via distance learning, or as a written homework assignment.

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

Students will begin their staging journey by compiling the basics. They will read the scene and identify some general knowledge that will help them play the scene.

The rehearsal period is coming to a close, and it’s almost time to present. In this rehearsal, students will share their scene with another group with the specific focus of examining it for actor-driven movement rather than character-driven movement: shuffling your weight back and forth between your feet, playing with your hair, vaguely gesturing with your hands, etc.

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.

Students perform their scene and complete a post-performance reflection.

When analyzing a script, you want students to do a close reading, multiple times, and mine the text for as much information as possible. It’s important to know who your character is, why they act the way they do, and, most importantly, how you can physicalize all your newfound knowledge. At the end of each read, students identify possible staging ideas for their character and for the plot.

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

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 a roadmap for staging.

Students will participate in a demonstration to explore the rules of virtual 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.

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 take their script analysis work with beats and action words and apply it to their scene. Students will also start to think about how they will have to adapt staging to a virtual environment.

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

Students will continue working on staging techniques by exploring character physicality.

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 solidify blocking notation that can be used in a virtual environment.

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

The sooner students memorize their lines, the more fun they are going to be able to have with the scene. It’s hard to become a character, fully realize blocking, and make the scene one’s own with a script in hand. Acting begins when lines are memorized. This session will focus on practicing a variety of memorization techniques. They will be applied to Section 1 of the scene.

Students will revisit character physicality choices and solidify that they are a part of their staging. Additionally, there are some exercises to further explore character physicality. Encourage students to continue to visualize and practice bringing characters to life as they work on their scene.

Students have been through their scene multiple times with specific blocking choices. They have been working on memorization and character physicality. In their rehearsal today, students will review their blocking choices with a specific objective of making every action in the scene purposeful and theatrical.

This day introduces the Seven Grandfather Teachings. Students engage with the story, create a storyboard, and discuss as a class.

Students apply the questions used in a Character Analysis Worksheet to create a character background for themselves.
Students use this to help them understand the importance of details and commitment to character choices by creating a believable Show and Tell presentation with an unknown object.

Students will understand how status influences characterization and character actions by participating in “Status Monkeys” and other interactions based on status.

Students will understand how status affects characterization and character actions by participating in the “Status Monkeys” game as well as other status-based interactions.

The lesson begins with a status demonstration using students. It then moves onto an "unknown status" activity where students react to the status of others without knowing their own status. How do you treat a low status character compared to a high status character?

The final activity is an animal imagery exercise where the students are all monkeys in a jungle with an assigned status. They must explore survival tactics available to someone of their particular status.

Students will understand how background and subtext can help create a scene with honest emotion and depth by exploring secrets.

Students create a secret to explore their character and apply it to a scene.

Subtext is the underlying meaning in a text. What is a character thinking? Learning to apply subtext to a scene is an excellent character development tool. It encourages students to think about “the why” behind a line. “Why does a character say this line? Why do they use a particular inflection? What are they really trying to say?

In this lesson plan, students explore the meaning of subtext, practice applying subtext in dialogue and to create their own scene.

Students apply what they learned about physical and vocal qualities in a character. They complete a character profile for an original superhero, then experiment with creating physical and vocal attributes before writing a monologue.

Students will create a character based on a superhero. They are to establish their walk, how they use their super power, how they talk, and know some background details. Once this “public” side is established, students will add in the “private.” What is this superhero like, at home, when they are alone and not in the public eye? There has to be something surprising and unexpected in their presentation.

Now that students have spent time understanding the literal meaning of the character traits discussed as the seven Grandfather teachings, this lesson moves into a more metaphorical representation of animals and how they relate to the teachings. The technique of Viewpoints is introduced to play and interpret this knowledge.

Students will understand how tactics are active and how to use them to achieve their character’s objective.

Students consider the tactics they use to get what they want in their everyday lives and then demonstrate how to use various tactics for an assigned objective by playing “Tactic Fairies.” Two students act out a scene, while their "fairies" make them change their tactic 4 or 5 times to get what they want. This instills that a character can't just repeat the same tactic over and over again, or try one tactic and stop. The consequence of certain tactics is also introduced.

Students will be able to create a list of fifteen tactics based on what they have learned about tactics.

Tactics are how characters get what they want from other people on stage. They are verbs used to describe how a character behaves to get others to do what they want. In this lesson students will learn what tactics are and be able to create a list of possible tactics.

One approach to character development is to identify the difference between what characters want vs. what they need. Sometimes students get the two mixed up. Which is more important? Do plays always identify characters as having both? In this lesson plan, students identify the difference between want and need, then apply that knowledge with scenes/monologues.

This lesson introduces the project and begins character development exercises, including Stanislavski's Magic If.

Students create a character and maintain that character throughout an activity.

Students create an original character by filling out a form. These characters participate in a speed date round. Female characters sit in an outer circle of chairs. Male characters rotate clockwise through an inner circle of chairs.The characters introduce themselves and talk for one minute before moving on to the next meeting. Teacher pairs students up and in their pairs student plans and present a short improv: The First Date.

This lesson provides two different exercises for students to try: Silly Statistics (Improv Game) and Serious Statistics (Theatre Exploration Project). The objective of this lesson is to give students the chance to think differently about how scenes can be developed and to show that ideas can come from just about anywhere—even supposedly “non-theatre-related” classes and topics.

Students​ ​will​ ​write​ ​open​ ​scenes​ ​to​ ​generate​ ​materials​ ​for​ ​the​ ​Character​ ​Analysis​ ​Unit.