Georgia Performance Standards - Theatre Arts
Grades 9-12 - TECHNICAL THEATRE LEVELS I-IV - Producing
39 units • 22 professional development courses aligned to
TAHSTT.PR.1 - Produce technical elements in theatre.
a. Identify, explain, and demonstrate standard safety guidelines and operating procedures for tools and equipment used in formal and informal theatre productions.
b. Identify and interpret design and construction documentation, materials, techniques, and procedures for production.
c. Differentiate between stock and non-standard material, scenic, or technical elements related to a production.
d. Conduct initial research about design to inform further development of the production concept.
e. Explore and/or produce an appropriate series of design documentation for a theatrical production (e.g. thumbnail sketches, swatches, first renderings, mixed media presentation).
View all Standards for Georgia Performance Standards - Theatre Arts
TAHSTT.PR.1 Produce technical elements in theatre.
a. Identify, explain, and demonstrate standard safety guidelines and operating procedures for tools and equipment used in formal and informal theatre productions.
b. Identify and interpret design and construction documentation, materials, techniques, and procedures for production.
c. Differentiate between stock and non-standard material, scenic, or technical elements related to a production.
d. Conduct initial research about design to inform further development of the production concept.
e. Explore and/or produce an appropriate series of design documentation for a theatrical production (e.g. thumbnail sketches, swatches, first renderings, mixed media presentation).
This page lists 39 units and 22 professional development courses aligned to TAHSTT.PR.1 from the Georgia Performance Standards - Theatre Arts . Designed for drama teachers, these resources directly address TAHSTT.PR.1 - Produce technical elements in theatre.
a. Identify, explain, and demonstrate standard safety guidelines and operating procedures for tools and equipment used in formal and informal theatre productions.
b. Identify and interpret design and construction documentation, materials, techniques, and procedures for production.
c. Differentiate between stock and non-standard material, scenic, or technical elements related to a production.
d. Conduct initial research about design to inform further development of the production concept.
e. Explore and/or produce an appropriate series of design documentation for a theatrical production (e.g. thumbnail sketches, swatches, first renderings, mixed media presentation).
UNIT
Ancient Greek Theatre
by Lindsay Price
8 lessons
In studying Ancient Greece, we’re looking at the foundations of theatre as we know it today. Without the Ancient Greek Era, we do not get actors, theatres, plays, and the definitions of tragedy and comedy.
The issue with studying theatre history, or anything historical is that it can become an exercise in memorizing dates and reciting facts. When the truth of the matter is no one in the 21st century benefits from learning by rote. This is especially true when studying history in the framework of a drama classroom. We need exercises that bring history to life, instead of having students plot dates on a timeline.
To that end, this unit does not focus on dates and data. The essential question for the unit is how can we connect the past to the present and this question is explored through the theatricalization of information. Students will access all four 21st century skills, critical thinking, creative thinking, collaboration and communication as they explore this amazing world.
Reflections, exit slips, and rubrics are included throughout the unit as well as a mid assignment evaluation for the culminating project.
Unit
5
of
14
in
Drama One
Curriculum
UNIT
Ancient Greek Theatre
by Karen Loftus
4 lessons
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.
Unit
7
of
14
in
Drama One
Curriculum
UNIT
Commedia Dell'Arte
by Karen Loftus
5 lessons
Students will discover, analyze, and explore the history, characters, and style of commedia dell’arte.
Commedia dell’arte is a theatre history unit mixed with improvisation, physicalization, and exploring specific characters. In this unit, we’re going to focus on three main aspects:
1. Causes and Effects of Commedia (History)
2. Stock Characters
3. Commedia Performance Practices
Unit
12
of
14
in
Drama One
Curriculum
UNIT
Scenic Design
by Karen Loftus
7 lessons
This unit will focus on the basics: what is scenic design? How do the scenic designer and director collaborate? What is the process that the scenic designer goes through? The unit will also explore basic drafting techniques, and rendering techniques.
Based on what they learn, students will create a ground plan and a rendering. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.
UNIT
Costuming
by Holly Beardsley
6 lessons
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).
Unit
1
of
6
in
Technical Theatre Mini Units
Curriculum
UNIT
Lighting
by Josh Hatt
5 lessons
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?
Unit
2
of
6
in
Technical Theatre Mini Units
Curriculum
UNIT
Sound
by Josh Hatt
5 lessons
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?
Unit
3
of
6
in
Technical Theatre Mini Units
Curriculum
UNIT
Costuming
by Josh Hatt
5 lessons
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?
Unit
4
of
6
in
Technical Theatre Mini Units
Curriculum
UNIT
Staging
by Josh Hatt
5 lessons
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.
Unit
5
of
6
in
Technical Theatre Mini Units
Curriculum
UNIT
Free Play Makeup
by Josh Hatt
8 lessons
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.
Unit
6
of
6
in
Technical Theatre Mini Units
Curriculum
UNIT
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.
UNIT
Commedia dell'Arte
by Todd Espeland
14 lessons
Commedia dell’arte is a 16th century masked acting form. It is the basis of all comedy, including all tv sitcoms. This form is characterized by masked types and archetypical characters and a specific way of playing comedy. To that end, this unit is divided into two parts.
Part One focuses on the foundations of commedia - playing comedy. These principles will be important to learn when it comes to developing commedia characters, specifically the physicality of the characters. Part Two will cover lazzi.
Note: there are links to video demos in many of the lessons of this unit.
UNIT
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.
Unit
1
of
4
in
Production Classroom Units
Curriculum
UNIT
Part One - Pre-Production
by Karen Loftus
5 lessons
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.
Unit
2
of
4
in
Production Classroom Units
Curriculum
UNIT
Part Two - Rehearsal and Performance
by Karen Loftus
7 lessons
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.
Unit
3
of
4
in
Production Classroom Units
Curriculum
UNIT
Part Two - Documents
by Karen Loftus
7 lessons
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.
Unit
4
of
4
in
Production Classroom Units
Curriculum
UNIT
Part Three - Reflection and Assessment
by Karen Loftus
3 lessons
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.
UNIT
East Meets West: Theatre Traditions
by Marsha Walner
9 lessons
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.
UNIT
Introduction to Set Design *Hyperdoc
by Lea Marshall
2 lessons
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.
UNIT
Elements of Costume Design *Hyperdoc
by Anna Porter
10 lessons
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.
Unit
3
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
Scenic Design
by Karen Loftus
6 lessons
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.
Unit
4
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
Scenic Construction
by Karen Loftus
4 lessons
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.
Unit
5
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
Scenic Painting
by Holly Beardsley and Karen Loftus
3 lessons
Students identify and practice some basic painting techniques.
Unit
6
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
Props
by Karen Loftus and Kerry Hishon
4 lessons
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.
Unit
7
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
Lighting
by Karen Loftus, Josh Hatt, and Kerry Hishon
3 lessons
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.
Unit
8
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
Sound
by Karen Loftus and Josh Hatt
2 lessons
Students will be able to demonstrate their knowledge of sound effectiveness. How do we use sound to create a technically effective performance?
Unit
9
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
Costume Design
by Holly Beardsley, Karen Loftus, and Josh Hatt
3 lessons
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.
Unit
10
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
Costume Construction
by Karen Loftus
3 lessons
Students identify vocabulary, techniques, and roles of costume construction. They demonstrate costume measurement and other construction techniques, including a basic stitch.
Unit
11
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
Make-Up Design
by Karen Loftus and Josh Hatt
1 lesson
Students will be able to explore the use of make-up as a theatrical tool and demonstrate their knowledge of make-up effectiveness.
Unit
13
of
13
in
Stagecraft Without a Theatre
Curriculum
UNIT
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.
UNIT
Designing with Light: No Tech Required
by Kerry Hishon
5 lessons
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.
UNIT
Indigenous Storytelling Unit
by Allison Green
6 lessons
This Indigenous Storytelling unit is brought to you in a different format than a traditional lesson plan. It uses a learning circle format. It was developed by Allison Green, a member of the Algonquin Band of Mattawa Ontario, who is also the author and instructor of the DTA course Approaching Drama Class with an Indigenous Perspective.
Students will discuss origin stories, research the background and land connection of a variety of Indigenous creation stories, create a plot graph of their story, share with the class what they have learned, and then retell the story in their own words. Once students have practiced this process, they will repeat the steps with an Abenaki creation story: Research | Recreate | Understand.
UNIT
Anti-Realism
by Wendy-Marie Martin
7 lessons
This unit gives students an overview of the anti-realism movement of the late 19th century and early 20th century and introduces them to some key theorists, playwrights, and theatre makers involved in this movement. Students will be introduced to the “isms” of symbolism, Dadaism, surrealism, expressionism, and absurdism along with various manifestos and theories as we track the characteristics of each “ism.”
In a culminating project, students will design an “ISMS’’ Theme Park, which they will share with the class at the end of the unit. Their project will feature each of the five “isms” in the form of rides, themed concessions areas, entertainment options, and in-park characters.
UNIT
Theatre Radically Reimagined: Exploring Artaud, Grotowski, and Boal
by Ruthie Tutterow
2 lessons
In this unit, students will learn about Antonin Artaud and how his ideas influenced avant-garde theatre in the 20th and 21st centuries. They will also learn how Jerzy Grotowski took Artaud’s theories into new directions. This is done through direct instruction. A culminating presentation will ask students to take common stories and reimagine them using some of these ideas. They will present a “pitch” of an avant-garde version of their story. In the second lesson, students learn about some of the ideas of Augusto Boal and try a session of Forum Theatre.
UNIT
Character Development with an Indigenous Perspective
by Allison Green
5 lessons
Students will develop characters based on the character traits of the Seven Grandfather Teachings. The unit begins with a focus on the traits (Love, Wisdom, Respect, Bravery, Honesty, Humility, and Truth) and the story of elders passing on teachings to the youth. Students will use tableau, viewpoints, and movement and explore how to develop a character with a clear backstory and identity. The unit uses open, neutral scenes as a partnered task that students can use to apply their learning followed by reflection and class discussion.
UNIT
Indigenous Symbolism in the Drama Classroom
by Allison Green
4 lessons
The objective of this unit is for students to be able to engage with Indigenous symbolism in art, and then interpret it in a theatrical context. It begins with an introduction of symbolism through a retelling of an Indigenous story with wolves representing human traits. Students develop a scene that focuses on how to “show and tell” an Indigenous story, clearly showing the symbolic meaning from the oral story. Students will then explore symbols by looking at the characteristics of Canadian Indigenous Art, delving into the symbols and story. Students then share their interpretation of the art by creating and presenting a piece of theatre, followed by reflection and class discussion.
UNIT
Tech Theatre Unit: Costuming When You Don't Sew
by Drama Teacher Academy
8 lessons
In this unit, students will take on the role of the costumer, which is different from a costume designer. It introduces costuming concepts in order to execute a costume. No complicated sewing is required, which is great if you don’t have the background, the access, or the resources to have a class of students create costumes.
Instead of making costumes from scratch, as a designer would, students will create costumes from stock, borrowed items, or low-cost finds. They will take finished products and adapt them into what they need to create the right atmosphere.
In order to help with their adaptations, students will try different distressing techniques and learn three SIMPLE stitches that they’ll be able to use over and over again. It’s a valuable tech theatre skill to teach students how to execute on costumes when you (and they) don’t sew!
UNIT
Scene Staging
by Lindsay Price
15 lessons
The goal for this unit is to give students a process to work primarily on their own to create a staged scene with specific, dynamic blocking and three-dimensional characters. This unit would work well as a culminating project for a semester. In this unit, students will work independently to analyze, block, build character, experiment, and rehearse a scene. Their performance can count as a summative assessment for the class.
Material: This unit requires that students have access to scenes from plays. Ideally, students should work in pairs and prepare duet scenes.
UNIT
Blood, Blisters & Bruises Makeup
by Matt Webster
5 lessons
The most common special-effects makeup technique used with student performers is wounds such as cuts, bruises, and blisters. In order to create these wounds, students must understand what physically happens to the human body when a wound is suffered and then successfully recreate that wound with specialized makeup.
This unit will provide students with information they will need to successfully design and execute specific wound makeup techniques for the stage.
This unit is designed to lead students through a hands-on exploration of the techniques used to create a wound effect with makeup. By focusing on a variety of materials and techniques, students will learn the process of creating simple special-effects wound makeup designs.
View all Standards for Georgia Performance Standards - Theatre Arts Standards Master List
