TH.912.S.1.5 Write monologues, scenes, and/or short plays using principles and elements of writing found in dramatic literature.
by Karen Loftus
Students will explore the structural elements of a play: character, objective, obstacles, tactics, resolution, and raising the stakes. They will also learn how to write character-driven dialogue and stage directions.
The unit culminates in a group written original play which is performed in front of the class. 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 Matthew Banaszynski
Join Matt Banaszynski in this dynamic unit designed to introduce students to the process of starting, drafting, polishing, and performing a self-created, stand-alone monologue.
Students will learn the steps involved in going from a simple idea to a full monologue, using the Story Mountain framework. They will also provide feedback, self-critiques, and teacher feedback during the process.
This is a great way for students to get creative and engaged in a genre that is meaningful to them, and can be customized to the needs of your classroom.
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 Matt Webster
In the Monologue Unit, students will learn the building blocks of monologues while writing a simple monologue. This unit is divided into two parts.
In part one, the Monologue Writing Made Easy unit by Matt Banaszynski is reviewed or executed in full, depending on class needs.
In part two, students will dissect monologues as a vehicle for character and performance and will write more refined monologues based on existing fictional characters from fairytales or myths. Students will then rehearse and perform their monologues, as a final project for the unit.
by Corinna Rezzelle
What is devising? It’s a process of playwriting as a group. Plays are created through improvisation, process dramas, and a lot of teamwork. The Devising Unit includes an overview to get you started, and 12 lessons jam-packed with activities.
This unit includes doing some basic Forum Theatre, which is a technique coined by Augusto Boal. It covers Process Drama in a variety of ways such as Hot Seating, Role on the Wall, and a fun exercise called “Character Bag”. There are also some great bonding games for your students to enjoy.
This unit is designed to show students (and teachers) that playwriting doesn’t have to be a solitary, lonely exercise. It can be a fun, sometimes chaotic, and very energetic experience.
by Lindsay Johnson
In this unit, students learn how to write their own scripts using correct formatting. These scripts will be more detailed than the contentless scenes. Students will learn how to write dialogue that provide information about relationships, conflicting objectives, and setting.
They’ll also learn how to correctly add expression and movement directions into the script itself. The unit will end with a partner script writing assignment which is performed in front of the class.
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 Lindsay Price and Kerry Hishon
This unit focuses on character creation: How do you create a character from the ground up? Use this unit as a precursor to a playwriting unit, to a devising unit, or to a class production.
Using the archetypes of the superhero, the sidekick, and the supervillain, students work on exercises to help them create unique characters through physical and vocal qualities, character profiles, and theatrical writing.
Because many of the exercises have an individual focus, this unit works in a distance learning environment or for your no-technology students.
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.
by Nicholas Pappas
In this unit, students will write a monologue authentic to their unique voice rather than to a Eurocentric canon model. We are going to decolonize the monologue. The goal in decolonizing monologues is to be inclusive of all voices in the classroom and to allow those voices to grow out of the unique style and cultural background of every student.
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 Steven Stack
Have you ever wondered how in the world you can have a successful theatre classroom with so many variables that you have absolutely no control over? The two biggest ones being the size of your class and the students that you’re in charge of turning into some truly talented theatre geeks. This course by Steven Stack explores that wonderful and often ridiculous world of theatre classrooms while giving you the tools for you and your students to not only succeed but to flourish as well.
Lessons will include how to make any size class the Goldilocks class as in "just right", defining and working with all types of students you may encounter in your classroom, the seven must-haves of any theatre class, and the importance of structure in the theatre classroom by providing a guideline for setting up your day-to-day class time.
The course also provides tons of ideas, games and activities that you can use instantly in your classroom. So, if you’re a first-time theatre teacher or one just looking for new ideas, this is the course for you.
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 Lindsay Price
This course by Lindsay Price explores strategies you can use to encourage students to embrace failure rather than see it as a point of shame or something to hide from.
Our goal for students is to embrace a try/fail/try again/fail/try again/succeed formula. Each module in this course comes with exercises and activities that you’ll be able to take into the classroom right away.
It’s one thing to talk about embracing failure, it’s another to give students practical tools to help them achieve that goal. Join Lindsay in getting students to embrace failure in the drama classroom as we look at Failure from a Yes! perspective.
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