Georgia Performance Standards - Theatre Arts TA8.CR.1
Drama Teacher Academy Logo

Georgia Performance Standards - Theatre Arts
Grade 8 - Creating

View all Standards for Georgia Performance Standards - Theatre Arts

TA8.CR.1 Organize, design, and refine theatrical work.
a. Differentiate the physical, emotional, vocal, and social dimensions of a variety of characters.
b. Compare the relationships and interactions between characters by analyzing character motivation (objectives, obstacles, strategy, action, stakes, outcome).
c. Incorporate dramatic elements through improvisation.
d. Connect theatre vocabulary to the application of theatre performance.
e. Identify and demonstrate both ensemble and leadership skills in the rehearsal process.
f. Evaluate the effectiveness of artistic and technical elements used in a theatre production.
g. Design and create scenery, props, costumes, lighting, and sound.
h. Assume different roles and responsibilities in the rehearsal process.

Devising

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.

Join now for instant access

Stage Movement

by Karen Loftus

In this unit, students are introduced to stage directions and how actors move on stage. They will explore what’s important for onstage action, the basics of stage directions, and how to keep open. By giving students something concrete to focus on, it allows them to overcome any stage fright. Teachers can refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

This unit will culminate with students trying out what they’ve learned in a short scene. Each session comes with an journal prompt and an exit slip for assessment.

Join now for instant access

Pantomime

by Karen Loftus

Students will explore nonverbal communication through movement, body language, simple mime, and storytelling. They will learn the specific art of pantomime through hand position, tension, follow-through, and action/reaction/interaction with objects through warmup games and exercises.

The unit culminates in a two-person pantomime performance. A rubric is included for the performance as long as journal prompts and exit slips. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

Join now for instant access

Ancient Greek Theatre

by Karen Loftus

This unit on Ancient Greek Theatre focuses on the function of the chorus, the choral ode, and the details of the theatre space. It touches on plays and playwrights of the era, culminating in a final project of a modern version of Medea that includes a choral ode.

A rubric is included for the project as long as journal prompts and exit slips. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

Join now for instant access

Playwriting

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.

Join now for instant access

Japanese Theatre

by Karen Loftus

This unit will enable students to identify, compare, and contrast three different styles of Japanese Theatre: Noh, Bunraku, and Kabuki. There are three proposed projects in this unit: a research assignment where groups delve into further detail about one of the three styles; a performance project where students utilize what they’ve learned by enacting a scene from a Kyogen (comedic) play; and a Bunraku puppet play.

The unit comes with a Google Slide Deck to help students visualize the information. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

Join now for instant access

Drama One Final Project

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.

Join now for instant access

Musical Theatre

by Anna Porter

Musical Theatre has two components that separate it from straight plays: song and dance. This unit gives students the opportunity to try out both. In musical theatre, music signifies heightened emotion. We can’t express ourselves with just words, we need music (and through extension, song and dance) to take it further.

This unit includes three lesson plans:

1. Acting the Song - “Musical Tactics”
2. Acting the Song - “Textual Analysis”
3. Introduction to Dance

A solo performance assignment is also included, and the unit includes assessment tools - rubrics, reflections, and self-evaluations.

Join now for instant access

Mock Audition

by Lindsay Price

In this Mock Audition Unit, students will start by discussing the audition process. They will make connections between their personal views and the process. Students will then apply the steps of auditioning from putting together a resume, to choosing a piece based on provided information, to audition etiquette, to the actual audition itself. A final reflection and rubric are provided for use at the end of this unit.

A short play is included that can be used as the source material. You can also choose your own play for this process.

Join now for instant access

Monologue Writing Made Easy

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.

Join now for instant access

Voice

by Anna Porter

The voice is a key element in performance and can be used in many ways. In this introductory voice unit with instructor Anna Porter, students will explore how to thoughtfully communicate character, story and emotion vocally.

Lesson one focuses on the articulators and the importance and of speaking clearly on stage. Lesson two introduces students to the use of vocal variety with pitch, tone, rate and volume. In lesson three, students develop a character with background as well as design a puppet. Lesson four brings together the elements of voice studied in this unit to create vocal characterization.

Through this four lesson series, students will use journals, participate in class discussions and practice the elements taught by performing for their peers and as a class. Assessment tools include both informal assessment as well as a final puppet show performance.

Join now for instant access

Theatre of the Absurd

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).

Join now for instant access

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.

Join now for instant access

Shakespeare Performance

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.

Join now for instant access

Unlocking Shakespeare's Text

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.

Join now for instant access

Pantomime

by Anna Porter

In this unit, students explore how to communicate with their body by exploring elements of physicality and Pantomime. Lesson one helps students explore body awareness as well as the use of the senses and details in pantomime performance. In lesson two, students explore body language and how it is used to communicate by examining the art of flirting. Lesson three helps students create a distinct physical characterization. Lesson four introduces students to the quality of Pantomime – Consistency. In lesson five, students explore the quality of exaggeration in pantomime. In the final lesson, students prepare a pantomime story for performance.

Through this six lesson series, students will use journals, participate in class discussions and practice the elements taught by performing for their peers and as a class. Assessment tools include both informal assessment as well as a final Pantomime performance.

Join now for instant access

Costuming

by Holly Beardsley

A costume designer and a costumer are two different things. A costume designer creates pieces from the drawing board to the stage, while a costumer pulls from already existing pieces to create fully realized characters. This means that the approach is different.

In this six lesson unit students will learn the tools of a successful costumer. They will start by reflecting on their own personal style and the choices that go into that style. They’ll move on to look at versatility and adapting costume staples, creating a costuming vision, period clothing as the costumer, how to use the colour wheel as a costuming tool and everything culminates in a final project (two options).

Join now for instant access

Character Analysis

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.

Join now for instant access

Monologues

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.

Join now for instant access

Performing Shakespeare

by Matt Webster

In this unit, students are introduced to a series of lesson plans that explore non-traditional approaches to performing the works of William Shakespeare. By the end of the unit students will be exposed to a unique set of tools they can utilize as the foundations for analyzing, staging and performing a scene from Shakespeare’s canon. Students will then rehearse and perform a two-person Shakespearean scene.

Join now for instant access

Design

by Matt Webster

In this unit, students will explore and experiment with the basic building blocks of design: Line, Shape, and Color. Once students have a solid foundation of those concepts, they will move on to stage properties and scenic flats as additional building blocks of design. They will then apply their knowledge and skills to a series of assignments, so they can demonstrate their design knowledge and creativity.

Join now for instant access

Devising

by Corinna Rezzelle

In this unit, students will work with their peers through a series of exercises and activities designed to lead them through the process of creating, writing, rehearsing, and performing a new, original script.

Join now for instant access

Lighting

by Josh Hatt

This is an introductory mini-unit to lighting that can be achieved whether or not you have a lighting system. Students will work toward being able to demonstrate their knowledge of lighting effectiveness.

The questions of the unit include: How can light affect a scene? How can lighting affect the audience? What is the mood of the scene? How does lighting play a part in creating mood? How can you use shadows onstage? How does color impact the scene?

Join now for instant access

Sound

by Josh Hatt

This is an introductory mini-unit to sound that you can use whether or not you have a sound system. Students will work toward being able to demonstrate their knowledge of sound effectiveness.

The questions of the unit include: What is effective sound? What sounds and music do we need in order to make our scene effective? How will we know our sound cues are effective?

Join now for instant access

Costuming

by Josh Hatt

If the costumes in a play are going to be effective, we need to be thoughtful about how we use them.

In this mini-unit, students will demonstrate their understanding costume effectiveness and address the following questions: What is the role of costume in the performance? How does color contribute? How does the style of costume affect a performance? How does costume indicate setting? Do you need costumes in a scene?

Join now for instant access

Staging

by Josh Hatt

This is a mini-unit on staging. Along with the driving question for the unit, students will explore about how staging affects the performance. Students will draw a plot design (ground plan) to emphasize the need to plan where scenic elements will be placed. They will also practice taking cues from the script, in order to create staging.

Join now for instant access

Free Play Makeup

by Josh Hatt

This is a student centred mini-unit on makeup design. Makeup is useful in transporting an audience to a different world.

The purpose is for students to understand that makeup is a tool that theatre technicians can use in order to contribute to effective performance aesthetics; to understand basic makeup rules and care instruction; to understand how to complete a makeup design plot; to look at a project and figure out for themselves what they need to succeed.

Join now for instant access

Culminating Project

by Josh Hatt

Once students have completed the five Tech Theatre Units (Lighting, Sound, Costume, Staging, Free Play Makeup), you can give them this culminating project.

Depending on how you structured your technical theatre unit, you can adapt this project to suit your needs and context.

Up to this point, all the work in the units have been exploratory. This is where students will apply their skills and knowledge.

Join now for instant access

Stage Management

by Karen Loftus

A unit on stage management is a great way to link technical theatre, acting, and even directing. We spend so much of our class time on performance-related projects and, when we do address technical theatre, we often do so by talking about design.

Why not introduce your students to a skill set that not only benefits your productions by ensuring a strong backstage crew and smooth production process, but also benefits the students individually? Through exploring stage management, students learn skills such as analytical thinking, organization, teamwork, and problem solving.

Join now for instant access

Tools of Scene Work

by Anna Porter

Students are introduced to scene work performance through a simple, contentless scene unit. In this unit, performers will use exercises like “Show and Tell” to learn how to fill in the gaps of a story by creating scenarios and detailed characters with backgrounds.

Students will further fill in the gaps by exploring environmental and physical conflict as well as stage business. The lesson “Thou Shalts of Staging” will guide students through basic staging and performance technique.

Join now for instant access

Production Classroom Units Overview

by Karen Loftus

The overview lays out the all of the parts of The Production Classroom Units - which is divided into three parts.

In Part One, you’ll take your students through a series of pre-production units designed to help students gain as much comprehension as possible about putting on a successful production.

Part Two offers articles on each step in the process, samples and forms, a suggested pacing, role definitions and task checklists, an outline for a typical class, as well as performance duties. This section also outlines the assessment piece for The Production Classroom – the production binder.

Part Three provides a Post-Performance Reflection. Unpack the experience with students, reflect back on what went right and what could be changed for next time. A written Reflection is included as well as a Rubric for student production binders.

Join now for instant access

Part One - Pre-Production

by Karen Loftus

In Part One of The Production Classroom, you’ll take your students through a series of pre-production units designed to help students gain as much comprehension as possible about putting on a successful production.

Join now for instant access

Part Two - Rehearsal and Performance

by Karen Loftus

Part Two offers articles on each step in the process, samples and forms, a suggested pacing, role definitions and task checklists, an outline for a typical class, as well as performance duties. This section also outlines the assessment piece for The Production Classroom – the production binder.

Join now for instant access

Part Two - Documents

by Karen Loftus

This section provides samples and worksheets for actor forms, costume department, general binder, lighting and sound, marketing samples, scenic and prop samples, and stage management and production manager samples and forms.

Join now for instant access

Part Three - Reflection and Assessment

by Karen Loftus

Part Three provides a Post-Performance Reflection. Unpack the experience with students, reflect back on what went right and what could be changed for next time. A written Reflection is included as well as a Rubric for student production binders.

Join now for instant access

The Working Playwright *Hyperdoc

by Lindsay Price

In this unit, students will gain insight into the day to day responsibilities of a working artist. This unit aims to illuminate for students that creative expression is only one element in a sustainable arts career, and attempt to address the essential question: How does a playwright turn creative expression into a career? The culminating project for the unit is a playwright submissions packet for a theatre company.

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.

Join now for instant access

Playwriting Unit: Beginner

by Lindsay Price

This unit provides an introduction to the process of playwriting in a practical step-by-step framework. Playwriting can be a practical task-driven process that any student can accomplish, given the right parameters. This playwriting unit will give students the tools they need to write their first short play and gain the confidence they need to write further. The culminating project for this unit is a three- to five-page play or extended scene.

Join now for instant access

Playwriting Unit: 10 to 15 Minute Play

by Lindsay Price

This playwriting unit offers lessons for students to complete a 10- to 15-minute play, instructed by professional playwright Lindsay Price.

The unit includes class writing time as well as students writing on their own; in setting it up this way, the unit can be interspersed between other lessons.

Students are challenged to apply themselves to write on their own - as all writers must do. Class time also focuses on giving and receiving feedback.

Join now for instant access

East Meets West: Theatre Traditions

by Marsha Walner

We spend a lot of time in the classroom exploring, applying, and creating in a western theatrical tradition. But there are many more styles that students can explore, particularly to the east: Kabuki, Noh, Chinese Opera, and Sanskrit Theatre, for example. In this unit, students will be introduced to an element from each of these eastern styles, they will apply that element and build towards a culminating project. Throughout, students will develop a stronger understanding of both the theatre from their own culture and that of Eastern cultures.

Join now for instant access

Introduction to Set Design *Hyperdoc

by Lea Marshall

The purpose of this unit is to give students an introduction to independent learning as well as an overview of Set Design. 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.

Join now for instant access

Elements of Costume Design *Hyperdoc

by Anna Porter

In this unit, students will explore and collaboratively take on the role of costume designers. Students will explore the elements of design, director’s concept, and the considerations for costume design. They will then apply this knowledge in a culminating project.

This unit has been designed to integrate technology into the curriculum. Students will utilize technology throughout via HyperDocs, internet research, and Google tools such as Google Drive, Google Forms, Google Slides, and Google Docs. A digital Learning Tools Introduction resource is provided for additional help in using the different tools and applications.

Join now for instant access

The Actor in Transition: From Presentational to Three-Dimensional

by John Minigan

The objective of this unit by John Minigan is to move students from a traditional presentational model of performance to a three-dimensional model. You’re going to achieve this by having students
- Develop tactics to achieve character goals, despite obstacles
- Connect physical choices to scene structure and relationships
- Clarify tactics and story rather than forcing emotion
- And focus on the scene partner rather than the self

This unit was created to use with grade nine students as a transition from middle school to high school acting approaches. It would also be appropriate for a beginning-of-the-year unit for a program that includes Drama 1. But any class that is at the beginning of their acting process will find value.

Each lesson comes with an engagement Rubric to assess how students participated in the activities and discussions.

Join now for instant access

Unit Two: Improvisation Basics

by Lindsay Johnson

In this unit, students will learn, practice and apply three important rules of improv: accepting and building on offers, quick thinking, and strong offers. For each step, they will work with the Improvisation Rubric by both giving and receiving feedback. Students will also start to practice techniques to improve their vocal clarity. The unit culminates in a performance assessment in which students will play an improv game in front of an audience.

Join now for instant access

Unit Three: Building Improvised Scenes

by Lindsay Johnson

Students will understand the basic building blocks of a scene: The Who (characters/ relationship), the Where (setting), and the What (conflict – objectives/tactics). They will learn how to use both verbal and nonverbal (pantomime) clues to communicate these scene details to an audience. They will continue to work on voice clarity, while also learning to open their body to an audience. The unit culminates in a performance assessment in which students work in pairs to improvise a scene.

Join now for instant access

Introduction to Theatre Production

by Karen Loftus

Students will explore the question of “what is theatre production?” They’ll be able to identify and describe each of the crafts of technical theatre as well as who does what in theatre production.

Join now for instant access

Scenic Design

by Karen Loftus

Students will explore the creation of an environment through the art of scenic design. They will identify what scenic design is and how it helps to tell a story in theatre. Students will also identify and demonstrate some skills of a scenic designer as they analyze an excerpt of a script for scenic clues and demonstrate basic drafting and rendering.

Join now for instant access

Scenic Construction

by Karen Loftus

Students will be able to identify the various tools used in a set shop, identify appropropriate shop safety procedures, including personal protective equipment, and demonstrate how to build a flat.

Join now for instant access

Scenic Painting

by Holly Beardsley and Karen Loftus

Students identify and practice some basic painting techniques.

Join now for instant access

Props

by Karen Loftus and Kerry Hishon

Students will identify categories of props and which people create or obtain props. They’ll analyze a script for needed props, use critical-thinking skills to problem solve prop issues, and create a prop.

Join now for instant access

Lighting

by Karen Loftus, Josh Hatt, and Kerry Hishon

Students will be able to demonstrate their knowledge of lighting effectiveness. They’ll also be able to identify, analyze, and evaluate how lighting is used in a theatre production.

Join now for instant access

Sound

by Karen Loftus and Josh Hatt

Students will be able to demonstrate their knowledge of sound effectiveness. How do we use sound to create a technically effective performance?

Join now for instant access

Costume Design

by Holly Beardsley, Karen Loftus, and Josh Hatt

Students are exposed to research, concepts, and skill sets while they explore costume design and the different roles of the costume designer and the costumer. They will be able to demonstrate their knowledge of costume effectiveness.

Join now for instant access

Costume Construction

by Karen Loftus

Students identify vocabulary, techniques, and roles of costume construction. They demonstrate costume measurement and other construction techniques, including a basic stitch.

Join now for instant access

Make-Up Design

by Karen Loftus and Josh Hatt

Students will be able to explore the use of make-up as a theatrical tool and demonstrate their knowledge of make-up effectiveness.

Join now for instant access

What is a Stage Manager? (Extra Lesson)

by Karen Loftus

We have included a stage management “extra” lesson in this curriculum as an introduction to the stage manager role. Stage management is certainly an important role when it comes to the technical elements of a theatre production.

If you want to include a more realized stage management unit, we have you covered. DTA has an extensive Stage Management Unit in the curriculum section of the DTA website (see link below).

Join now for instant access

Culminating Project

by Karen Loftus

Now it’s time for your students to take everything they’ve learned and creatively apply those skills. The goal is for students to take what they’ve been exposed to, explored, and researched about each of the arts and crafts of technical theatre and apply it to a project.

Join now for instant access

Creating a Musical: Project

by Annie Dragoo

Want a fun project that has your students collaborating and creating? In this unit by Annie Dragoo, students in groups will write and perform an original musical by adding modern songs to a traditional fairy tale story.

The six lessons take students from writing their script, to choreography and planned movement, to rehearsing, performing and evaluation.

The Rubric will focus on student performance. That means vocal delivery, emotional delivery, blocking/choreography, energy, focus, and characters.

Join now for instant access

Creating Your Own Musical

by Laramie Dean

Instructor Laramie Dean uses this unit as the final project for his Drama 2 students. Drawing upon any of the skills students have developed throughout they create a product that could be used within a new piece of musical theatre.

Students start by analyzing three musicals, study guides included, and practice creating musical elements. They are then giving class time to prepare in groups as many elements as their can for a new musical using devised theatre techniques.

There are 24 lessons in this unit which culminates in a final assessed performance.

Join now for instant access

Unit Seven: Directed Scenes Take 2: A Variety of Scenes

by Lindsay Johnson

Students will have another opportunity to participate in student-directed scenes, only this time each director will be assigned a different script, and actors for each group will be chosen by the teacher based on individual strengths and challenges, rather than holding auditions.

Actors will take a deeper dive into character physicality and use of levels in staging this unit. Directors will continue to create a set design and block the scenes, adding props as well in this unit.

The unit culminates in actors presenting their directed scenes to the class.

Join now for instant access

Unit Eight: Theatre of the Oppressed

by Lindsay Johnson

Students will have a chance to merge their understanding of scene elements with their improvisation skills in this final unit based on Augusto Boal’s Theatre of the Oppressed. Theatre of the Oppressed is a style of theatre specifically created to highlight the injustices of power and oppression in society and to problem-solve ways to bring about change.

Starting with image theatre techniques to identify issues of power and oppression, students will then use forum theatre to create scenarios of oppression taken from their own lives and improvise realistic solutions.

The unit culminates in a performance in which students participate as both actors in a scene they create themselves and spect-actors in scenes created by their peers.

Join now for instant access

Our Town Unit

by Lindsay Price

This is a read, discuss, and apply literature unit. Students will study the play Our Town by Thornton Wilder.

Our Town is often referred to as “nostalgic.” It’s seen as an antiquated look at a moment in time. But this play is called Our Town, not My Town. What’s happening in Grover’s Corners happened in the past, the distant past, in our present, and even in the future. The themes of the play—the ordinary versus universality, the concept of time, the cycle of life, the ignorance of humanity to the eternal—these are just as relevant in the twenty-first century as they were when the play was written.

The purpose of the unit is not to have students recall knowledge about the play. Students will be able to identify, articulate, and dramatize text themes and concepts and compare/contrast these concepts to their own experiences.

Join now for instant access

Introduction to Technical Theatre: Flipped Learning

by Lindsay Price

When an audience watches a piece of theatre, they never see what goes on behind the scenes or know the people who work to make the production look its best. But theatre is a collaboration between what happens onstage and off.

This flipped learning unit will introduce students to the world of technical theatre. Through video, they will learn information on specific technical theatre roles and how they work together, types of stages, parts of a theatre and stage geography, and then apply this knowledge through in-class active-learning exercises.

For example, students will take on the role of a producer and decide how a budget will be divided among different departments. They will practice the calls a stage manager uses. The culminating assignment has students solve a common technical theatre issue: to design, create, and implement a solution for a unique stage direction in a play.

Join now for instant access

Introduction to Technical Theatre: Distance Learning

by Lindsay Price

When an audience watches a piece of theatre, they never see what goes on behind the scenes or know the people who work to make the production look their best. But theatre is a collaboration between what happens onstage and off.

This distance learning unit will introduce students to the world of technical theatre. Through video, they will learn information on specific technical theatre roles and how they work together, types of stages, parts of a theatre and stage geography, and then apply this knowledge through synchronous exercises.

For example, students will take on the role of a producer and decide how a budget will be divided among different departments. They will practice the calls a stage manager uses. The culminating assignment has students solve a common technical theatre issue: a unique stage direction in a play.

NOTE - Please read the Troubleshooting Hyperdocs instructions in the Overview, if you are having issues. If your students have trouble accessing the videos, try VERSION 2 Hyperdoc links provided under each module.

Join now for instant access

Pantomime

by Lindsay Price and Karen Loftus

In this unit, students will explore nonverbal communication. First through body language and gesture, and then through the specific art of pantomime. Students will learn hand position, tension, follow-through, and action/reaction/interaction with objects through warm-up games and exercises. The unit culminates in a one-person pantomime performance.

Join now for instant access

Voice

by Lindsay Price and Karen Loftus

This unit focuses specifically on the technical aspects of vocal production. By understanding how voice is created, students will be more aware of how to improve their vocal production. Students will explore posture and breathing exercises, as well as how to use the diaphragm, projection, and articulation. The final project will test students’ abilities to properly project and articulate a joke at a distance from a microphone

Join now for instant access

Playwriting: Part 1

by Lindsay Price

Every drama program should have a playwriting unit. Playwriting applies creative thinking skills and, through feedback and revision, critical thinking skills. Playwriting also allows students to engage in self-expression. It is a powerful act to take one’s thoughts, give them to a character, and have them said aloud.

Playwriting can be a practical task-driven process that any student can accomplish, given the right parameters. This playwriting unit is broken into two parts. This unit is Part 1.

Part 1 is a standalone playwriting unit for beginning writers. Students go step by step through the elements of the playwriting process, which culminates in a short scene, monologue, and character profile. All the exercises can be done synchronously in your class sessions or small groups through breakout rooms.

Join now for instant access

Playwriting: Part 2

by Lindsay Price

Every drama program should have a playwriting unit. Playwriting applies creative thinking skills and, through feedback and revision, critical thinking skills. Playwriting also allows students to engage in self-expression. It is a powerful act to take one’s thoughts, give them to a character, and have them said aloud.

Playwriting can be a practical task-driven process that any student can accomplish, given the right parameters. This playwriting unit is broken into two parts - this unit is Part 2.

You can continue the playwriting process from Part 1 by having students apply what they’ve learned through writing a five- to 10-page play. Or, if your students are familiar with the playwriting elements, perhaps they just do Part 2 of this unit. Students will write a first draft, revise, give and receive feedback, and read their work aloud. The unit assumes that either students have completed Part 1 or they already have a grounding in the playwriting form.

Join now for instant access

Theatre of the Absurd

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.

Join now for instant access

Mock Audition

by Lindsay Price

In this Mock Audition Unit, students will discuss the audition process and make connections between their personal views and the process. Students will apply the steps of auditioning from putting together a resume to choosing a piece based on provided information to audition etiquette to the actual audition itself.

A final reflection and rubrics are provided for use at the end of this unit.

A short play is included that can be used as the source material for your audition. You can also choose your own play for this process.

Join now for instant access

Pre-Lighting Design

by Kerry Hishon

The exercises within this unit are meant for students to explore the concept of lighting for theatre without the need for extensive tech or even a theatrical lighting grid.
This unit is useful for students with no prior experience with lighting or students who may be intimidated by the idea of theatre technology.
Each exercise is meant to build upon the previous one, as students grow in their confidence with thinking about lighting in different ways.

Join now for instant access

Scene Work: Part 1, Tools of Scene Work

by Lindsay Price

Students are introduced to scene work performance through a contentless scene unit. Students prepare and perform a contentless scene to demonstrate their understanding of characterization, staging technique, and working with conflict and stage business in a performance context.

Join now for instant access

Scene Work: Part 2, Student Self Staging

by Lindsay Price

In Part 2 of Scene Work, students take everything they learned in Part 1 and apply it to the staging of a scene.
Students work independently to block, build character, experiment and rehearse a scene. You can continue the scene work process from Part 1, or if your students have a grounding with scene work basics, perhaps they just do Part 2 of this unit.

Join now for instant access

Playwriting Kickstart: Multi platform

by Lindsay Price

This unit focuses on the idea stage of playwriting. Before you start a playwriting project, take students through these lessons to provide students a step-by-step process for idea generation. When students are told they’re going to write a play, they often freeze. I can’t do it. I’m not creative; my ideas are stupid. The purpose of this unit is to give students a place to start and a way to move from finding a topic to creating an idea to writing theatrically on ideas.

This unit is designed to reach as many classroom environments as possible and includes: standard in-class lessons, instruction videos, instruction handouts, and quizzes.

Join now for instant access

Character Creation: Superhero Series: Multi platform

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.

Join now for instant access

Impowerment Improv

by Jennine Profeta

Taking risks, learning to see failure as a gift, finding courage when we don't feel it, and having the awareness that what we say has an impact are social and emotional skills students will take beyond the classroom. These are skills that can be built through improv exercises.

The exercises in this unit are designed to create a safe environment in which students can go beyond their old patterns to take risks, embrace failure, and be more confident and aware of the effects of their word choices. Improv gives you the opportunity to draw attention to these important concepts and to talk about them.

Join now for instant access

Foundations of Acting

by Annie Dragoo

Students will demonstrate an understanding of the foundations of acting. At the end of the unit, students will be able to understand the value of making rich acting choices on stage.

This unit gives students an opportunity to explore and develop acting skills on a more advanced level, regardless of experience. They will explore skills, including voice, movement, emotional recall, memory, playing objectives, and character development culminating in a final scene.

Join now for instant access

Abstract Scene Performance

by Annie Dragoo

In this unit, students will create and perform an abstract theatre scene. Abstract is a genre that does not rely on realism and deliberately breaks the rules of a given form. In the case of theatre, this refers to the commonly presented rules of performance, acting, and the relationship with the audience. Movement is often stylized and symbolic. Ideas and themes are expressed visually and aurally with little dialogue using music, lights, costumes, and props.

Join now for instant access

Introduction to Teaching Mask

by Allison Williams

In Introduction to Teaching Mask, Allison Williams gives you a toolkit of mask and movement exercises to teach students to make big, confident physical choices, to work in their bodies, and play different characters - masked and unmasked.

Access to masks is required, but previous experience with masks is not.

Join now for instant access

From Audition to Curtain Call: Directing Youth 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.

Join now for instant access

Organized Chaos: Discipline in the Theatre Classroom

by Matt Webster

To the outside observer, theatre classes often appear to be chaotic and lawless. However, successful theatre teachers know how to maintain control of their classrooms.

Organized Chaos: Discipline in the Theatre Classroom will give you tools and strategies to prepare you for challenges you may face as you step up in front of a class of students and introduce them to the art of theatre.

Whether you are a student teacher finishing college, a first-year teacher just starting out in the classroom, or an established teacher with a few years of experience under your belt, these lessons will provide insight and support as you establish discipline in your classroom.

Join now for instant access

Friendly Shakespeare

by Todd Espeland

Friendly Shakespeare teaches a simple and effective method of script analysis for Shakespeare. It uses punctuation and keywords in the text to help students understand the characters' needs, make specific acting choices, and get them on their feet immediately.

This is not dry, sitting in a classroom discussion. It’s physicalizing the text, focusing on the character’s needs and tactics (something every drama student should know full well) and bringing Shakespeare to life.

At the end of the class you will be able to demystify Shakespeare's text and understand how to help your actors make clear, active and emotionally connected choices in Shakespeare's plays.

Join now for instant access

The Top Ten Playwriting Exercises

by Lindsay Price

The Top Ten Playwriting Exercises Course not only gives you ten great exercises to ease your students into the playwriting waters, it's also going to give you the confidence to teach playwriting to your students.

Each exercise comes with instruction, why the exercise is important, how to assess the exercise and something specific for you to try.

Many of the modules include assignments and rubrics so you will be fully prepared to comprehend, apply and teach every these exercises.

Join now for instant access

Strong Ensemble = Strong Play

by Craig Mason

This mini-course will give you a toolkit to bring your shows to the next level by having an engaged, active, ensemble.

The ensemble is a critical part of a large cast show. But you can't leave them to fend for themselves. They need structure. They need exercises and activities.

In Strong Ensemble = Strong Play, you'll be given ensemble-building exercises. You'll also discover specific activities that will help your ensemble become three-dimensional characters who have something to do and something to play in every moment they are on stage.

We'll look at case studies that take the exercises learned in the course and apply them to specific shows.

Join now for instant access

Big Picture Blocking: Staging Your Play Outside-In

by Todd Espeland

Working in educational theatre I know how easy it is to get bogged down in actor coaching and away from the bigger picture storytelling when directing a show. I saw a need for a method of text analysis and physical staging tools that help the director stay focused on the bigger picture of telling the story of the play.

This class is in two parts: The first consists of the text analysis tools P.A.S.T.O and Major Dramatic Question. From these tools you will brainstorm keywords to define your vision of the story.

In the second part of the class you will focus on taking the information generated in the text analysis and crafting the ideas into vibrant physical pictures through an exercise called Starburst.

Join now for instant access

Mission Possible: Creating A Mission And Unified Vision For Your Theatre Program

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.

Join now for instant access

Working With Monologues For Rehearsal And Development

by Gai Jones

In "Working With Monologues For Rehearsal And Development" you will develop ten sessions of study on monologues. The study contains the definition and history of the monologue; monologue vocabulary; analysis of a practice monologue, staging a short monologue; working with musical theatre lyrics as a monologue; writing short autobiographical monologues.

At the end of this course, you will have a curriculum which can be used as introduction to monologue work. You'll outline a curriculum for your classroom and tie the learning benchmarks to the new National Theatre V&PA standards, as well as to Ontario and BC curriculum expectations.

Join now for instant access

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.

Join now for instant access

Close Reading in the Drama Classroom

by Lindsay Price

Close reading is an activity that puts curriculum standards into practice and it can be easily applied to the drama classroom.

Close reading asks a lot of your students. They have to read and think at the same time.

This course teaches drama teachers how the close reading process works, and gives them exercises and tools to apply it in the classroom.

Join now for instant access

Concept-Based Design for the Theatre Teacher

by Matt Webster

Concept-Based Design is a method of design that allows the director and production team to create a unified world based on the ideas, perceptions and images extracted from an in-depth analysis of the play. Matt Webster designed this course for theatre teachers in a typical school setting with limited budgets, space and materials to use towards the design of their shows. Many theatre teachers feel most unsure about their design and tech skills and Matt wanted to help those teachers look at design differently, and make designing a show a little less scary and a little more fun!

Join now for instant access

Introduction to Stage Management Part One

by Karen Loftus

In this course, instructor Karen Loftus explores the responsibilities of a stage manager. You'll learn exercises that will help you demonstrate those responsibilities and the necessary skills of a stage manager to your students. You'll learn how to train your students to serve as stage managers for your school’s productions.

The course takes you through what a stage manager does prior to rehearsal and throughout the rehearsal and performance process to have a smooth-running backstage. It includes learning about the paperwork required, including prompt scripts, rehearsal preparations, notating blocking, and a stage manager’s kit and checklist to wrap it all together.

Join now for instant access

Yes, And... How to Teach Improv

by Jennine Profeta

“Yes, and…” is the guiding principle behind all improv. This course will teach you how to teach improv, and more importantly how to give feedback to your students. The course looks at making strong offers and also using gibberish to ironically improv communication skills. You will also see how feelings can safely be used to add flavour and get laughs in our scenes.

Jennine Profeta, Second City performer and theatre educator, leads this course with a clear methodology for teaching and giving positive nurturing feedback. This course will give you all the tools and the insight you need to teach improv with confidence.

Join now for instant access

The Do-it-All Director's Introduction to Set Design

by Holly Beardsley

Holly Beardsley is a do-it-all director. She started directing middle and high school students in her early college years and since then has written over ten shows and directed twice as many.

Do-it-all directors are responsible for everything it seems – the direction, the costuming, the choreography and of course, the set too. And though directors are ready to direct, to costume and even dance, there is something intimidating about designing and building a set.

The Do-it-All Director’s Introduction to Set Design will give you the director, who must do-it-all, the confidence and skills to not only direct but build your own set as well - no matter your experience or budget. This course will teach you set design basics, construction tips, budget tricks, and how to tackle your precious performance space armed with a hammer, and most importantly, without fear.

Join now for instant access

Commedia I: Playing Comedy

by Todd Espeland

Commedia dell’arte is a 16th Century masked acting form. It’s the basis of all comedy and it’s a form that many teachers want to include in their curriculum.

Instructor Todd Espeland has designed two courses that work hand-in-hand with teaching this fantastic physical form.

In Commedia I: Playing Comedy - Todd teaches the principles of comedy through four key elements: status, appetite, swing, and intention/invention. This course provides an excellent foundation upon which to explore Commedia to its fullest. Includes bonus videos, handouts, reflections, and exit slip question ideas for each lesson.

Join now for instant access

Commedia II: Style

by Todd Espeland

Commedia dell’arte is a 16th Century masked acting form. It’s the basis of all comedy and it’s a form that many teachers want to include in their curriculum.

Instructor Todd Espeland has designed two courses that work hand-in-hand with teaching this fantastic physical form.

In Commedia II: Style - Todd moves on to the specific style of Commedia dell’arte. This includes a history of commedia, the stock characters and how to physicalize them, sample lazzi and a capstone assignment. The course includes video demonstrations so you can see the exercises and activities in action.

Join now for instant access

Creating the Ensemble-Based Classroom

by Gai Jones

Gai Jones will help you establish an ensemble-based environment from the first day of class or rehearsal.

Learn how to set up your ensemble-based classroom from day one, get students to set classroom norms, and find the balance between creative activity and structure. You’ll learn how to give your students creative freedom through structure and classroom management. The cornerstone of this course are the detailed ensemble experiences from large group to small group and even individual experiences.

This course culminates in a devising model that you can use with your students, and takes you through process, product, performance and an evaluation.

You too can create the ensemble-based classroom.

Join now for instant access

Coaching Improv

by Jennine Profeta

Second City performer and theatre educator Jennine Profeta is back and ready to help you take your Improv classes to the next level. It’s all getting students to perform - and how to be a great improv coach who can keep them supported and grounded (and having fun!)

In this course, you’ll learn the golden rules of improv. You’ll learn a bunch of improv games (great for warm-ups, teaching tools, and even for competitions). You’ll learn Jennine’s tips and tricks for what to look for when coaching and how to troubleshoot common issues.

The course is designed to help you improv as an ensemble and give you the know-how to coach with confidence whether it’s in the classroom or on the stage!

Join now for instant access

Basic Lighting for Drama Teachers

by Claire Broome

Join drama teacher Claire Broome and explore the basics of lighting, including lighting systems and instruments, lighting plots, how to record a lighting cue, and alternative sources of lighting. You’ll learn some practical, hands-on ways of using lighting in your classroom or theatre, whether you have a lighting system or not.

This course is packed with hands-on examples, activities for your students, and videos to develop your students’ understanding. Find out why lighting is such an important character in a production.

Join now for instant access

The Production Classroom

by Karen Loftus

In The Production Classroom, instructor Karen Loftus will show you how to explore ways that you can produce shows during your regular class time. The course gives you a series of exercises and reflections that help you determine everything, from the type of show you may want to do, to the way you can divide up your class and responsibilities, to specific assignments that will keep your students engaged and focused.

The Production Classroom is the ultimate in project-based learning. Students learn to work collaboratively while setting goals and working towards a successful finished project. The course includes exercises and strategies to use with students to help assure their success in the production. Multiple examples and anecdotes help you to envision what the production classroom could look like in your room, performance space or theatre.

Join now for instant access

21st Century Skills Through Devising

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!

Join now for instant access

Teaching Musical Theatre in the Drama Classroom

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!

Join now for instant access

Shakespeare's Toolkit

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.

Join now for instant access

Google Tools in the Theatre Arts Classroom

by Anna Porter

Have you been wanting to find some new ways to enhance your classroom with technology? Have you been told you need to integrate technology in your classroom but don’t know where to start or what would even make sense to use in the drama classroom?

Whether you want to find some new ways to diversify your instruction and assessment, provide new resources and opportunities for your students, or simply needs some help with organization and communication, Google Tools has a treasure trove of resources ready for you to use today.

Instructor Anna Porter covers the tools of Google Forms, Photos, Calendar, Earth, Custom Search and Sites. Each lesson has video examples of how to use the tools as well as tips and resources for each module.

Join now for instant access

Tech for Non-Techies: Teaching Technical Theatre in Your Drama Classroom

by Josh Hatt

In this course, instructor Joshua Hatt shows you how to unpack your drama standards, articulate what you want your students to know and be able to do. The material explores how to incorporate lights, sound, makeup, staging, and costuming into your drama class at any grade level regardless of your school resources or unit structure. Bells and whistles? Awesome! Barely a classroom? We’ve still got you covered.

This 9 lesson series works from the basics and standards, though lighting, sound, costuming, staging, and makeup design, and culminates with a final project including rubrics, resources, and handouts.

A wise theatre technician once said: “the theatre mirrors life but technical theatre teachers us how to live.” Try to keep that statement in mind as you work through this course and see if we can make you a believer in all things technical theatre.

Join now for instant access

The Process of Creativity in the Theatre Classroom

by Gai Jones

Gai Jones leads this course in establishing an environment of creative experimentation in the theatre classroom, in order to have a group of student actors who value the creative process.

Each lesson shares experiences to foster creativity without the stress of performance by student actors. For the creative process which honors out-of-the-box thinking, there is no assessment section included. There is no product or performance. The important thing is the student actor’s engagement. Their reflections and your observations are valued for positive learning.

This set of lessons includes Tips for the Theatre Educator, based on Gai's own Theatre practice. Scripts are also provided and contain text of what you can say to your students to facilitate their creative processes.

Join now for instant access

Beyond the Basics: Rehearsal Strategies to Grow Your Actors

by Julie Hartley

The focus of the teacher-director should be not only on the quality of the show, but on the value of the experience offered to student actors. This course takes you on this journey through practical rehearsal strategies that apply an ensemble approach.

This course starts with those all important first rehearsals, explores warm ups, and looks at character development. We examine specific types of plays, like classical texts and comedy, and conclude with strategies to solve common rehearsal problems.

Go beyond the basics!

Join now for instant access

The Empathetic Classroom

by Steven Stack

Why should you take a class on empathy? And why is theatre the perfect vehicle for empathy?

Empathy, the more sought-after and inclusive cousin of sympathy, is the experiencing of someone else’s experience in the world. What it would be like if you were wearing their clothes, their life?

Teaching students to understand the clothes that they’re putting on, the characters and their lives teaches students not how to act but how to be. It allows the students to feel what someone else feels and experiences, which can and should translate to their fellow actors and peers away from the stage. It will lead to a stronger class connection, stronger performances and stronger students who will seek out understanding instead of isolation and fear.

Join now for instant access

Story Theatre

by Matt Webster

Instructor Matt Webster believes that Story Theatre is one of the most creative, most imaginative, most unique forms of theatre ever to make its way to the stage. His course introduces the style of theatre called story theatre, explores the steps needed to choose the best stories to perform, explains how to adapt a story into a script, and demonstrates a variety of story theatre styles from simple and contained to complex and crazy and everything in between.

When you are finished with this course, you’ll be able to bring nearly any story to any stage and present it to any audience. That is the power and promise of story theatre. Learn how to bring the page to the stage.

Join now for instant access

Maximizing Your Ensemble: Shoestring 101

by Michael Calderone

This seven-part series is designed to transform that gaggle of actors cluttering your backstage from cumbersome extras into nothing less than the very center of your production.

Instructor Michael Calderone leads this course, through games and exercises geared to maximize your ensemble for your next production. These lessons are based on the ensemble technique that he's been using for the last 30 years, called the shoestring method.

The ensemble has a responsibility to work as one, and no role is more important than another. Without each actor playing their part, the other actors cannot tell the story to the best of their abilities. So join Michael in learning more about this exciting, practical and dramatic method.

Join now for instant access

Director's Toolbox 2: Teaching Students to Direct

by James Van Leishout

Director’s Toolbox 2: Teaching Students to Direct, explores the tools of the actor, rehearsal, space, and design.
The tool of the actor will focus on creating a safe place to play, auditions, and how to communicate with actors.
Rehearsals will look at the whole process from the first meeting to opening night.
The tool of space will explore how to direct in different spaces and how to create focus through stage composition.
Discover how an understanding of the elements of design help student-directors communicate with designers. The final step is a return to self and the mastery of self evaluation.

Join now for instant access

Practical Approaches to Shakespeare in the Drama Classroom

by Julie Hartley

Shakespeare is one of the greatest resources a drama teacher can have: scenes packed with action; opportunities to explore comedy and physical theatre; rich themes and characters to act as springboards for devised theatre; the chance to work with our language at its finest and – most importantly – ideas that relate directly to the experiences and preoccupations of students.

Yet Shakespeare isn’t easy. The language can seem dense, and finding a way in can be tough – especially for drama teachers who have not themselves studied Shakespeare. That’s the goal of this course – to help teachers find a way in.

This course presents teachers with as many ways in to the exploration of Shakespeare as possible. Action scenes, themes, characters, different theatre styles, and devised theatre projects. Students will be armed with the tools they need to begin individually exploring monologues, or working together on scenes.

Join now for instant access

Hands-On Theatre History: Creating a Modern Day Morality Play

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.

Join now for instant access

Impowerment Improv

by Jennine Profeta

Jennine Profeta, Second City performer and theatre educator, leads this course. This course was designed to give a teacher tools to create a safe environment in which students can go beyond their old patterns to take risks, embrace failure, be more confident and aware of the effects of their word choice. The course includes modules on risk-taking, creating a safe environment, failure, confidence, and positive/negative speak.

Join now for instant access

Empathy 2.0

by Steven Stack

Brought to you by instructor Steven Stack, creator of The Empathetic Classroom, this course looks at ways to move on from the worldwide pandemic, while honoring the past and learning from it. In the past year, students had many things taken from them: school, hanging out with friends, freedom, hope, and innocence.

With this course, each session will highlight one specific topic relating to moving on. There will also be activities for each session that will help your students own the past, embrace their own and others’ narratives and scars, create a stronger classroom community, find ways to be where their feet are planted, and learn to play again.

Join now for instant access

View all Standards for Georgia Performance Standards - Theatre Arts    Standards Master List

We are an approved continuing education provider in the following states, and provide PD certificates to be used in districts around the world. Click here for more details.

Approved PD Provider, State of Arkansas
Approved Provider of PDPs for Massachusetts
Approved Provider of Montana OPI Units, Montana Office of Public Instruction
Approved PD Provider, State of Pennsylvania
Approved CPE Provider, Texas Education Agency
Provider of Professional Development Credits, State of Wyoming
© Copyright 2015-2021 DramaTeacherAcademy.com