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TH:Re9.1.7.c Identify how the intended purpose of a drama/theatre work appeals to a specific audience.
Part of the Drama One Curriculum
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 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.
by Lindsay Price
In the 21st century, we are living in a time of great change for criticism and the role of the critic. Previously, one negative review from the New York Times could close a Broadway show. Now the audience as critic is a topic of much debate. Are professional critics and informed opinions necessary? What is the power of the audience critic? What is the role of the critic and the role of criticism in today’s theatre?
This unit will take students through a brief history of the theatre critic from the 500 reviews that came out of Ibsen’s one-night performance of Ghosts in 1891, to the tumultuous landscape of social media criticism. Students will then apply what they’ve learned by writing on or theatricalizing the role of the critic in a culminating assignment.
by Wendy-Marie Martin
This unit gives students an overview of the anti-realism movement of the late 19th century and early 20th century and introduces them to some key theorists, playwrights, and theatre makers involved in this movement. Students will be introduced to the “isms” of symbolism, Dadaism, surrealism, expressionism, and absurdism along with various manifestos and theories as we track the characteristics of each “ism.”
In a culminating project, students will design an “ISMS’’ Theme Park, which they will share with the class at the end of the unit. Their project will feature each of the five “isms” in the form of rides, themed concessions areas, entertainment options, and in-park characters.
by Ruthie Tutterow
In this unit, students will learn about Antonin Artaud and how his ideas influenced avant-garde theatre in the 20th and 21st centuries. They will also learn how Jerzy Grotowski took Artaud’s theories into new directions. This is done through direct instruction. A culminating presentation will ask students to take common stories and reimagine them using some of these ideas. They will present a “pitch” of an avant-garde version of their story. In the second lesson, students learn about some of the ideas of Augusto Boal and try a session of Forum Theatre.
by Steven Stack
Directing youth theatre can be one of the most thrilling, rewarding, and exhausting jobs there is – because it’s not just about staging a play. It’s about creating an environment that fosters hard work, dedication, trust, and the willingness to take chances, to “play without fear.”
As a writer/teacher/director of youth theatre for over 15 years, I have developed tools and strategies that enable my students and me to focus on the process of creating theatre while fostering an environment that leads to creative freedom and a cohesive groups that doesn't act as individual “stars,” but as a community of one.
In this course, I will share with you these tips and strategies, along with the ways to implement them in your theatre environment.
by Amy Patel
Whether you're in a new school or have an existing program, you can use a Mission Statement to define your program, unify your students and let everyone know from administration, to parents, to the community why you do theatre, what you do and how you do it. Learn how to create this powerful and vital statement with your students. Mission Possible takes you through step by step from asking the right questions, to looking at your school culture and traditions, to writing and revising, to shouting your statement from the rooftops.
by James Van Leishout
This course covers the four stages of creating and implementing a marketing plan. It starts with the question, what are you selling?, and goes all the way through to evaluation. The course covers both traditional and new media, with examples and opportunities to apply the learning to each teacher's own situation.
by Lindsay Price
Adaptation is a fabulous classroom project: it requires students to analyze, adapt, modify, plan synthesize, devise. All the higher order thinking skills.
But you can’t just throw a narrator into a script and call it a day. You have to have a preparation process leading up to the writing process.
In this course you will learn practical exercises and a path to prepare your students to take on their own adaptation project. We’ll look at the guidelines to adaptation, things to think about when choosing a text, how to analyze the source material and writing that first draft.
So join me, Lindsay Price, in the Play Adaptation Project.
by Wendy-Marie Martin
This course is a mix of individual and group activities requiring students to use both their analytical and creative mind. It gives students an overview on the Anti-Realism movement of the late-19th and early-20th century, and introduces them to some key theorists, playwrights, and theater makers involved in this movement.
Together we will guide students through the wild world of the “isms,” more specifically Symbolism, Dadaism, Surrealism, Expressionism and Absurdism. We will introduce students to various manifestos and theories as we track the characteristics of each of our five “isms.” As we combine analysis and creative exercises, students bring their entire self to process and prepare to design an ISM Theme Park project, which they will share with the class at the end of the course.
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