CCSS.ELA-LITERACY.CCRA.L.5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.
by Karen Loftus
How does an actor analyze a script? Students start with character analysis (how do we learn about a character in a script? what are the facts/inferences about a character?) and then explore the ideas of “objective,” “obstacle,” “stakes,” and “tactics.”
The unit culminates with students applying learned script analysis techniques on an assigned scene. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.
by Karen Loftus
How do you introduce students to Shakespeare? This unit introduces the bard through life in Elizabethan England, the playwrights, players and playhouses. It also explores how to approach unfamiliar words and context clues in Shakespeare’s text.
As with any theatre history unit, you have to decide what’s most important to introduce to the students. For this unit, we’ll focus on three things in the three different categories. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.
by Karen Loftus
This unit looks at theatre jobs in the business category: Front of House, Marketing, Box Office. The aim of these jobs is to interact with the public. Students are able to identify what “front of house” refers to and understand the various roles of a theatre company’s front of house members.
Students will also explore how a show is marketed and demonstrate their knowledge of marketing by creating a simple marketing campaign for an original show. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.
by Karen Loftus
The final project will incorporate multiple areas that students have studied over the course of the year/semester: playwriting, acting, scenic design, and marketing. They’ll take what they’ve learned and create a 5-minute play with a monologue that they’ll perform. They’ll also describe the overall design of the show and create a ground plan and rendering for their design.
Finally, they’ll market their show by creating a poster and a press release. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.
by Lea Marshall
WARNING: This unit is ABSURD. However, instructor Lea Marshall decided to do something really ABSURD with the unit, which was make it a bit more predictable. First, the unit takes two lessons to go over the Historical and Philosophical background of Theatre of the Absurd. It starts with just a visual exercise to really bring students into the emotional bleakness of the landscape and then group work to look at some of the other foundational elements that will drive the Absurdist movement into the Theatres.
Next, students break down absurd scripts into some “recognizable” elements of language, plot structure, acting choices, and storyline. With each lesson that introduces an Absurdist Element, there is an opportunity for students to “play” with the element. Then, students explore the element through an Absurdist text. This will help familiarize the students with the 4 Absurdist scripts used in the unit. These bite sized forays into the scripts will help students to choose a script to fully immerse themselves in for the final project.
As a final project, students will choose one script to work with, and choose the format of their project (performance, costume or set design, or playwright).
by Angel Borths
Help…It’s all Greek to me! Join Angel Borths in this unit that uses a modern adaptation of the Ancient Greek play Antigone to introduce Middle School students to Ancient Greek Theatre.
Have your students read Percy Jackson and want to find out more about Ancient Greece? Then, this unit is for you. This unit is designed for middle and high school students and will take you through the basics of classical Greek theatre and pairs it with a modern adaptation of the story of Antigone called Agatha Rex by Lindsay Price. Students will learn vocabulary, design, and basic theory surrounding classical Greek theatre. Students will also enjoy the mask building component of this unit, as they learn to disappear into the character of a mask, like the first actors did on a Greek stage thousands of years ago.
The unit culminates in a scene performance with masks.
by Anna Porter
In this unit by Anna Porter, students are introduced to the works of Shakespeare and explore how to bring a character to life in a monologue performance. Students are also introduced to the tools to help them unlock meaning in Shakespeare’s text. Through this eleven lesson series, students will participate in class discussions, activities and performance. Assessment tools include informal assessment, submission of textual analysis work and a final performance.
by Anna Porter
Shakespeare’s text holds valuable tools that students can use to unlock and understand meaning. In this unit by Anna Porter, students explore how to use the tools of research, context, textual analysis, imagery and punctuation to help them unlock meaning in Shakespeare’s text. This unit is created for an Intermediate to Advanced drama class with a basic background in plot structure and acting technique.
Through this five lesson series, students will use journals, participate in class discussions, activities and performance to explore the tools used to unlock a text. Assessment tools include informal assessment as well as a final group presentation and performance.
by Matt Webster
The Drama Two Curriculum has been developed to expand and deepen the students’ skills as actors. In this unit, students will use open scenes to generate characters and scenarios. They will then explore the ideas of “objective,” “tactics,” and “status.” The unit culminates with students applying learned character analysis techniques to classroom generated open scenes.
by Lea Marshall
We included this unit in our Distance Learning Curriculum because if any group of students would understand how the world turned upside down and then apply it to theatre, it would be the students dealing with a global pandemic.
First, we take two lessons to go over the historical and philosophical background of Theatre of the Absurd. We start with a visual exercise to bring students into the emotional bleakness of the landscape and then group work to look at some of the other foundational elements that will drive the absurdist movement into the theatres. Next, we break down absurd scripts into some “recognizable” elements of language, plot structure, acting choices, and storyline. In each lesson that introduces an absurdist element, there is an opportunity for students to “play” with the element.
by Allison Williams
Allison Williams leads the course: 21st Century Skills Through Devising. This course covers what devising is, why to do it, how to do it, and how your students can master the 21st Century Skills of collaborations and cooperation, critical thinking, creative thinking through devising.
High school is a great place to try devising with your students. But it’s not something you want to throw at your students without any preparation. Framework is important and this course takes you through a number of exercises you can take into the classroom tomorrow to help build a place of physical safety, a place where students work at making a lot of choices instead of waiting for the perfect choice, and a place where students feel comfortable making creative choices. The material also reviews the process of putting together a show from the idea/research stage to editing, to giving feedback.
Your students have what it takes to create their own material, collaborate with each other, and have a unique theatrical experience!
by Colin Oliver
Colin Oliver leads this introduction to teaching Musical Theatre in the Drama Classroom.
In this course, you will learn how to build musical theatre into your dramatic courses of study. “Why might you want to do that? Singing is scary! You want me to teach my students how to do it? I don’t even know how to do it.” This course approaches musical theatre preparation performance much as we would approach preparing a monologue in drama. If you use script analysis in monologue preparation in your class, you can teach musical theatre.
By the end of this course, you’ll have a great, full-body physical warm-up, a student-driven research assignment, character development exercises, a little bit of musical theory, and a performance assignment complete with assessment.
So, join us for teaching Musical Theatre in the Drama Classroom. It’s as easy as Do-Re-Mi!
by Todd Espeland
Todd Espeland has the experience to know that having more tools in your toolbox makes you a better actor. This is especially important when teaching students how to approach Shakespeare. They need help breaking through the language barrier and into the character’s needs and into the character’s thoughts.
The tools that you’ll receive in this course will do just that. The course looks at scansion as a tool for breaking down Shakespeare’s verse, the importance of end of lines, and caesura. Caesura is an inner-line pause which is a lot of fun to play with and really, helps us provide insight to the character’s thoughts and into their needs.
The course provides numerous examples and handouts, and culminates in a performance assignment to use with your students.
by Wendy-Marie Martin
Who says theatre history has to be boring? Hands-On Theatre History: Creating a Modern Day Morality play is an interactive course by Wendy-Marie Martin, combining hands-on activities with research and analysis techniques leading to a full performance of the popular medieval morality play, Everyman.
This course gives students an overview of the medieval period and the various medieval play forms and teaches students the key points of storytelling and adaptation.
It includes dynamic individual and group exercises leading students from the first steps of the adaptation process through a final, full-class performance of Everyman—and proves, once and for all, that theatre history can be fun and exciting to learn.