North Carolina Essential Standards
Proficient High School Standards - Communication

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.

Students are introduced to, 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.

The unit culminates in a commedia performance. 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.

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.

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.

The voice is a key element in performance and can be used in many ways. In this introductory voice unit with instructor Anna Porter, students will explore how to thoughtfully communicate character, story and emotion vocally.

Lesson one focuses on the articulators and the importance and of speaking clearly on stage. Lesson two introduces students to the use of vocal variety with pitch, tone, rate and volume. In lesson three, students develop a character with background as well as design a puppet. Lesson four brings together the elements of voice studied in this unit to create vocal characterization.

Through this four 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 puppet show performance.

This unit on Puppetry is designed for middle school and up, to introduce students to the material and get them comfortable with performing in a safe and low exposure environment.

This is a unit that builds to a culminating experience for your students. Each lesson is designed to explore techniques, provide opportunities for creative collaboration among your students, and give them opportunities to perform. Some of the lessons require materials to build or create puppets. Puppetry can be as easy as drawing a face on your finger for finger puppets, to actually purchasing your own finger puppets for students to use.

While the focus of this unit is puppetry, your students will explore other skills as well. There’s the obvious ones of creative thinking, teamwork, and problem solving. They are also going to explore storytelling, performing skills, and playwriting.

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).

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.

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.

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.

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.

In this middle school unit by Rachel Atkins, students will explore how to strengthen a theatrical argument through objectives, communication, and conflict: What characters do, what they say, and how they say it when they make an argument or try to achieve an objective. To do this, students will use tableaux, dialogue, and improv. There are presentations and post-lesson writing assignments that you can use for assessment.

How do characters, actors and writers use a variety of actions to achieve an objective or support an argument? How do they enhance their communication by word choice and emotion? How do they develop and strengthen their own arguments by understanding other points of view?

The objective of this unit by John Minigan is to move students from a traditional presentational model of performance to a three-dimensional model. You’re going to achieve this by having students
- Develop tactics to achieve character goals, despite obstacles
- Connect physical choices to scene structure and relationships
- Clarify tactics and story rather than forcing emotion
- And focus on the scene partner rather than the self

This unit was created to use with grade nine students as a transition from middle school to high school acting approaches. It would also be appropriate for a beginning-of-the-year unit for a program that includes Drama 1. But any class that is at the beginning of their acting process will find value.

Each lesson comes with an engagement Rubric to assess how students participated in the activities and discussions.

In this unit, students will learn, practice and apply three important rules of improv: accepting and building on offers, quick thinking, and strong offers. For each step, they will work with the Improvisation Rubric by both giving and receiving feedback. Students will also start to practice techniques to improve their vocal clarity. The unit culminates in a performance assessment in which students will play an improv game in front of an audience.

Students will understand the basic building blocks of a scene: The Who (characters/ relationship), the Where (setting), and the What (conflict – objectives/tactics). They will learn how to use both verbal and nonverbal (pantomime) clues to communicate these scene details to an audience. They will continue to work on voice clarity, while also learning to open their body to an audience. The unit culminates in a performance assessment in which students work in pairs to improvise a scene.

Students will be introduced to the most basic of scripts: the contentless/open scene script. They will use their knowledge of character/relationships, setting, objective, and tactics to add content to a contentless scene. Students will also learn the basics of set design and blocking, and will begin using voice expression to communicate clearer characters. The unit culminates in a performance assessment in which students will work in pairs to add content to and perform a contentless scene.

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.

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.

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.

Students will have a chance to merge their understanding of scene elements with their improvisation skills in this final unit based on Augusto Boal’s Theatre of the Oppressed. Theatre of the Oppressed is a style of theatre specifically created to highlight the injustices of power and oppression in society and to problem-solve ways to bring about change.

Starting with image theatre techniques to identify issues of power and oppression, students will then use forum theatre to create scenarios of oppression taken from their own lives and improvise realistic solutions.

The unit culminates in a performance in which students participate as both actors in a scene they create themselves and spect-actors in scenes created by their peers.

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.

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.

Students will demonstrate an understanding of the foundations of acting. At the end of the unit, students will be able to understand the value of making rich acting choices on stage.

This unit gives students an opportunity to explore and develop acting skills on a more advanced level, regardless of experience. They will explore skills, including voice, movement, emotional recall, memory, playing objectives, and character development culminating in a final scene.

In the study of theatre history, when we discuss the origins of theatre, most start with the Ancient Greeks. Unit 1 of this curriculum will look at the theatre of Ancient Egypt, Sanskrit drama, and Indigenous storytelling.

For Ancient Greece, we will examine the ritual origins of tragedy and the Festival of Dionysus. We will explore the theatre conventions of the day including the amphitheatre, the use of masks, costumes, and other theatrical devices. Finally, we will introduce the main playwrights and their key plays. Then we will take a short look at Roman theatre with their wholesale appropriation of Greek culture.

We journey from the Dark Ages to the emergence of Medieval drama. The liturgical or religious drama appeared in the churches as a means of religious instruction. Along the way, production moved from being written in Latin to the local vernacular and then outgrew the churches. The guilds then took over the production responsibilities. The plays came in four types: mystery, miracle, morality, and mummers plays. These can be remembered as the four Ms of Medieval drama.

We journey from the Dark Ages to the emergence of Medieval drama. The liturgical or religious drama appeared in the churches as a means of religious instruction. Along the way, production moved from being written in Latin to the local vernacular and then outgrew the churches. The guilds then took over the production responsibilities. The plays came in four types: mystery, miracle, morality, and mummers plays. These can be remembered as the four Ms of Medieval drama.

We take a side trip to Italy to discover a secular comedic form: Commedia Dell’arte.
Students will be introduced to the form, explore the characters and themes, and put their knowledge to practical application by creating a commedia character.

It’s important to step outside of Western Eurocentric Theatre. In this unit, we are going to focus on the Asian theatre forms that developed in China and Japan. Note: We acknowledge that a unit on Asian theatre that only covers the theatre origins of two countries does not represent Asia. To go beyond what is offered here please see the Diversity
Document.

In this unit, we return to Western theatre and to Italy, where we will witness the birth of the Renaissance and the discovery of linear perspective. Then we travel on to the Golden Age of Spanish theatre. We will pass by the Elizabethan Golden age (we’ll cover it in the next unit) and end the Renaissance journey by discovering French neoclassicism and the Rules of Drama.

We continue our look at the Renaissance era with the Elizabethan Golden Age. This golden age of theatre started when James Burbage built the first permanent playhouse in England, called The Theatre. Of the more than 80 playwrights in Elizabethan and Jacobean theatre, the three most significant were Christopher Marlowe, Ben Jonson, and William Shakespeare. This age came to an abrupt end when the Puritans executed King Charles I, abolished the crown, and closed all the theatres.

We will travel through two time periods in this unit. First, we will explore Restoration Comedy in late 17th century England. When the Puritan-led Commonwealth failed and King Charles II was restored to the throne, theatre was also restored. The Comedy of Manners mocked the behaviour and loose morals of the upper class. The lack of theatrical works in the 18th century comes down to three things: playwrights tended to write for opera rather than theatre, censorship and control of theatrical content, and, more than anything, society of the day valued conformity over originality. In France and England, fearing attacks and mockery, the crown and the government passed laws that strictly censored theatre.

Romanticism broke away from the strictures of the neoclassical era preferring instead the Medieval/Gothic periods. The Romantic notion of finding beauty and humanity in the ugly is epitomized by Quasimodo in Victor Hugo’s The Hunchback of Notre Dame. The movement rejected Enlightenment, scientific rationalism, and the Industrial Revolution; rather, it embraced intuition and emotion over reason. On one hand, the tail end of neoclassicism led to the well-made play. On the other hand, the emphasis on emotion led to melodrama and an artificial declamatory acting style.

The goal of this culminating assignment is to give students the opportunity to demonstrate knowledge of a variety of theatre history eras; connect, compare, and contrast between the eras; and, lastly, to connect, compare, and contrast what has happened in the past to what is happening in the present.

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.

This is an in-depth unit with instruction and activities about the Stanislavski acting method. It is followed by scene work in which students learn how to score a scene, do a comprehensive character analysis, and use what they have learned in rehearsals in a performance. Students will also watch their own work and evaluate their process after the performance.

The purpose of this unit is to give students an introduction and understanding of Stanislavski’s method and to put it into use as they prepare scenes for performance. After seeing their work, and spending time reflecting on how they used the principles of the method, students should take away a concrete understanding of how to prepare a role for performance.

The unit has been adapted for a virtual environment.

This is an in-depth unit with instruction and activities about the Stanislavski acting method. It is followed by scene work in which students learn how to score a scene, do a comprehensive character analysis, and use what they have learned in rehearsals in a performance. Students will also watch their own work and evaluate their process after the performance.

The purpose of this unit is to give students an introduction and understanding of Stanislavski’s method and to put it into use as they prepare scenes for performance. After seeing their work, and spending time reflecting on how they used the principles of the method, students should take away a concrete understanding of how to prepare a role for performance.

This unit looks at the origins of realism and naturalism. The Realism/Naturalism movements in Europe came about as a response to the artificiality of the Romantic Movement. Realism/Naturalism strove for real-life characters and situations. This unit looks at early realist playwrights and their plays as well as the Independent Theatre Movement, which provided venues for the new forms when established theatres refused to produce these plays. In America, this became the Little Theatre Movement, where groups experimented with theatre away from the strictures of the syndicated houses. In the meantime, professional theatre was developing on Broadway, including early Black performers. Realism finally came to the American stage with the plays of Eugene O’Neill.

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!

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!

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.

This seven-part series is designed to transform that gaggle of actors cluttering your backstage from cumbersome extras into nothing less than the very center of your production.

Instructor Michael Calderone leads this course, through games and exercises geared to maximize your ensemble for your next production. These lessons are based on the ensemble technique that he's been using for the last 30 years, called the shoestring method.

The ensemble has a responsibility to work as one, and no role is more important than another. Without each actor playing their part, the other actors cannot tell the story to the best of their abilities. So join Michael in learning more about this exciting, practical and dramatic method.

Viewpoints is used to create dynamic moments of theatre by simply existing on the stage. However, Viewpoints is more than just an acting technique to understand your own physicality and more than a directing technique to create “ah-ha!” moments on stage. It is first and foremost the philosophy that to create an organic performance, you must see obstacle as opportunity, and that by simply standing in space, your creativity can spark.

This course by Erin Carr will help your students discover fresh impulses that motivate their performance in the moment. We will go through the Viewpoints technique, as created by Mary Overlie, and learn how to tap into kinesthetic awareness as individuals and as an ensemble. Through this style of play, students learn to release their thoughts on what they “should” do, and instead just respond organically to their surroundings and ensemble!

We’re going to break down each of the Viewpoints, there’s lots of visual demonstration, so you can see each Viewpoint in action, and I’m going to provide tips and side coaching examples.