British Columbia (2018)
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British Columbia (2018)
GRADE 10 - DRAMA - Explore and Create

View all Standards for British Columbia (2018)

Explore and create dramatic works to express ideas and emotions

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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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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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.

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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.

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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.

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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.

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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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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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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.

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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.

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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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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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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.

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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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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.

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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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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.

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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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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.

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View all Standards for British Columbia (2018)    Standards Master List

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