Common Core CCSS.ELA-LITERACY.RL.9-10.3
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Common Core
Reading: Literature

View all Standards for Common Core

CCSS.ELA-LITERACY.RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

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.

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Script Analysis: The Actor's Perspective

by Karen Loftus

How does an actor analyze a script? Students start with character analysis (how do we learn about a character in a script? what are the facts/inferences about a character?) and then explore the ideas of “objective,” “obstacle,” “stakes,” and “tactics.”

The unit culminates with students applying learned script analysis techniques on an assigned scene. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

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Elizabethan Theatre

by Karen Loftus

How do you introduce students to Shakespeare? This unit introduces the bard through life in Elizabethan England, the playwrights, players and playhouses. It also explores how to approach unfamiliar words and context clues in Shakespeare’s text.

As with any theatre history unit, you have to decide what’s most important to introduce to the students. For this unit, we’ll focus on three things in the three different categories. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

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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.

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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.

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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).

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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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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Unit Six: Directed Scenes Take 1: Same Scene, Different Visions

by Lindsay Johnson

Students will now start applying the skills they’ve learned thus far in the context of existing, fleshed-out scripts.

They will also have opportunities to shift from actor to director and hone such skills as collaboration, self-confidence, and problem-solving which can be used in many other areas of their lives.

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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.

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Aristotle's Elements

by Lea Marshall

Aristotle was a huge fan of the theatre. He philosophically believed in it and argued with other great thinkers at the time about the necessity and good results of theatrical pursuits. This makes him a great topic for a drama classroom unit.

Aristotle identified six elements that needed to be in a play for it to be worthy: plot, thought, character, diction, spectacle, and sound. This unit by Lea Marshall focuses on and offers exercises for each of Aristotle’s elements - from using fairy tales to examine plot, to re-imagining movie trailers to explore music.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Introduction to the Audition Process

by Lindsay Price

In order to partake in the audition process, students need to identify and comprehend the necessary steps in that process. What is the auditioning process? Why is it used? Is the process fair? Why or why not? The class ends with students playing director in the “Who Would You Cast?” Exercise.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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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Laban: Advanced Characterization

by Todd Espeland

Learn about the Laban system to teach your students to physically and vocally discover character. This is an advanced course, which means that the course goes deep into exploring character and exploring character work through the work of Rudolph Laban.

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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.

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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!

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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.

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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!

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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!

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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!

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Director's Toolbox 1: Teaching Students to Direct

by James Van Leishout

In this course, James Van Leishout explores why students should direct, and covers the first two tools in the director’s toolbox: self and the script. What background should every director have? Why should they learn to love research? What should happen in the first four reads of a script?
With every step along the way, there will be exercises and activities your student directors can take on before they step into the rehearsal process.

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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.

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Play Adaptation Project

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.

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