National Core Arts Standards TH:Re8.1.HSI.b
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National Core Arts Standards
Interpret intent and meaning in artistic work - Grade HS Proficient

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TH:Re8.1.HSI.b Identify and compare cultural perspectives and contexts that may influence the evaluation of a drama/theatre work.

Ancient Greek Theatre

by Lindsay Price

In studying Ancient Greece, we’re looking at the foundations of theatre as we know it today. Without the Ancient Greek Era, we do not get actors, theatres, plays, and the definitions of tragedy and comedy.

The issue with studying theatre history, or anything historical is that it can become an exercise in memorizing dates and reciting facts. When the truth of the matter is no one in the 21st century benefits from learning by rote. This is especially true when studying history in the framework of a drama classroom. We need exercises that bring history to life, instead of having students plot dates on a timeline.

To that end, this unit does not focus on dates and data. The essential question for the unit is how can we connect the past to the present and this question is explored through the theatricalization of information. Students will access all four 21st century skills, critical thinking, creative thinking, collaboration and communication as they explore this amazing world.

Reflections, exit slips, and rubrics are included throughout the unit as well as a mid assignment evaluation for the culminating project.

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Agatha Rex and Ancient Greek Theatre

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.

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Ancient Greek Theatre - It's All Greek to Me! *Hyperdoc

by Lea Marshall

The purpose of this unit is to give students an introduction to independent learning as well as an overview of Ancient Greek theatre. Students will apply their knowledge throughout, and the unit culminates in a group activity.

This unit is delivered in hyperdoc format. What does that mean? A hyperdoc is an interactive tool that encourages digital learning. In this case, students are given a document on a subject, and there they can read articles, watch videos, do some independent research, and apply what they’ve learned. Because they’re working on their own, students are in charge of their own pacing.

Before you start the unit, ensure you read the Teacher Guide first. It will give you clear instructions on how to distribute the hyperdoc format and make it easy for you and your students.

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Perspective Taking

by Lindsay Price

Perspective taking is the ability to understand a situation from another person’s perspective or point of view: What are they thinking? What are they feeling? How does their background influence their perspective? Perspective taking allows students to develop self-awareness, to recognize differences, to understand an opposing point of view, to assess nonverbal language, and more.
In this unit, students will practice perspective taking as they:
• Assess their own perspective.
• Demonstrate understanding of the perspective of others in specific situations.
• Analyze characters in a text.

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The Do-it-All Director's Introduction to Costuming

by Holly Beardsley

Do you know the difference between a bustle and a buckram frame? Or what works best as an emergency hem? Some directors are blessed with a big budget and a full support staff—a choreographer, a set designer, and a costumer. But the drama teacher often becomes director, choreographer, set designer, and costumer all in one.

And a budget? What’s a budget? The Do-It-All Director’s Introduction to Costuming will give you, the director, who must do it all, the confidence and skills to costume and direct, no matter your experience or budget. This course will teach you costuming basics, budget tricks, organization, and most importantly, the art of costuming as a director.

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