TAHSMT.PR.1 Act and direct by communicating and sustaining roles within a variety of situations and environments.
a. Examine and implement the skills and tasks associated with acting, singing, and dancing, incorporating vocal and movement technique, observation, and imagination to create characters for formal and informal performances.
b. Identify and examine the responsibilities and tasks of an actor in relation to directors, designers, choreographers, technical crew, and production staff.
c. Use the skills and tools of a director to develop a presentation of formal and informal musical theatre performances.
d. Conduct rehearsals to present a musical theatre performance for a live audience.
by Annie Dragoo
Understanding basic improvisation skills will help musical theatre performers understand that musical theatre is more than just singing and dancing. It’s about using all the tools (voice, body, and mind) an actor has at their disposal to create a character.
This unit focuses more on the improv aspect rather than the musical theatre aspects - in fact students need no prior musical theatre knowledge. Annie Dragoo, creator of the unit, uses this material as her first unit in her musical theatre class. It’s a great introduction and will get your students in the right frame of mind to approach musical theatre.
The lessons explore a variety of improv skills such as vocal responses, movement, character study, sensory awareness and culminate in an improv scene and unit essay.
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.
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.
by Annie Dragoo
Musical theatre performers use their bodies to sing, to dance, and to act. We must think of our bodies as instruments and learn to use our instruments properly in order to be better musical theatre performers.
The overall objective with this unit, by Annie Dragoo, is for students to demonstrate an understanding of the use of good movement as it connects to musical theatre. Some of the activities include using action verbs, moving as animals and inanimate characters, nonverbal communication and situational movement. Students will then perform a scene that will allow them to put to practice all the movement techniques they have learned.
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.
by Steven Stack
Directing youth theatre can be one of the most thrilling, rewarding, and exhausting jobs there is – because it’s not just about staging a play. It’s about creating an environment that fosters hard work, dedication, trust, and the willingness to take chances, to “play without fear.”
As a writer/teacher/director of youth theatre for over 15 years, I have developed tools and strategies that enable my students and me to focus on the process of creating theatre while fostering an environment that leads to creative freedom and a cohesive groups that doesn't act as individual “stars,” but as a community of one.
In this course, I will share with you these tips and strategies, along with the ways to implement them in your theatre environment.
by 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.
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.
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.
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.
by Elisabeth Oppelt
In this course, you will learn what breath control and projection are, how to breathe from your diaphragm and speak loudly without yelling, and how to teach these skills to your students. Led by teacher and singer Elisabeth Oppelt, this course will be helpful both in your teaching practices and in creating material to teach your students. This course also includes both formal and informal assessments for you to use in your 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!
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.
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.