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C.1.2 use correct terminology for the various components and processes of their own and others’ drama works

UNIT

Commedia dell'Arte

by Todd Espeland

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.

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UNIT

Introduction to Musical Theatre: Movement

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.

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UNIT

Acting for the Camera

by Ruthie Tutterow

The purpose of this unit is for students to know the differences and practice skills for film versus stage acting. They should also know the basic vocabulary of acting for the camera. It will also be helpful for them to get practice in editing. By seeing both sides of the camera, they will gain valuable experience in seeing what works from both the producing and acting side. Students will be able to see and reflect on their work.

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UNIT

Virtual Acting for the Camera

by Ruthie Tutterow

The unit is adapted for a virtual environment.

The purpose of this unit is for students to know the differences and practice skills for film versus stage acting. They should also know the basic vocabulary of acting for the camera. It will also be helpful for them to get practice in editing. By seeing both sides of the camera, they will gain valuable experience in seeing what works from both the producing and acting side. Students will be able to see and reflect on their work.

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UNIT

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.

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UNIT

Introduction to Meisner

by Ruthie Tutterow

This unit is meant to be an introductory crash course in Meisner techniques that are targeted to younger students. It serves as an overview and a “dip in the pool” of what Meisner is about. Many times, students don’t get past the initial repetition exercises; this unit goes a couple steps beyond so that students can begin to get a true taste of the nature of Meisner training.

We are skipping many steps of Meisner training to get to some actual scene and monologue work using the basics of what preliminary Meisner work can open up for your actors. Going through this unit will give your students a good grounding in acting in the moment and playing off one’s partner as well as more confidence in trusting their impulses.

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UNIT

Virtual Introduction to Meisner

by Ruthie Tutterow

This unit is meant to be an introductory crash course in Meisner techniques that are targeted to younger students. It serves as an overview and a “dip in the pool” of what Meisner is about. Many times, students don’t get past the initial repetition exercises; this unit goes a couple steps beyond so that students can begin to get a true taste of the nature of Meisner training.

We are skipping many steps of Meisner training to get to some actual scene and monologue work using the basics of what preliminary Meisner work can open up for your actors. Going through this unit will give your students a good grounding in acting in the moment and playing off one’s partner as well as more confidence in trusting their impulses.

This unit has been adapted for teaching in a virtual environment.

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PD COURSE

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.

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PD COURSE

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.

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