British Columbia (2018)
GRADE 12 - DRAMA - Explore and Create
View all Standards for British Columbia (2018)
Create, rehearse, and refine dramatic works through collaborative and individual presentation or performance
Part of the Drama Two Curriculum
Devising
by Corinna Rezzelle
In this Devising Unit, students will create characters, practice storytelling through stage movement and tableaux, collaborate on a one-minute scene, and write a play. Improvisational games will help unleash students’ creativity and build their in-class ensemble skills. Games, activities, and talking points are provided to help students gain a basic knowledge of stagecraft, stage movement, and the creative writing aspect of devising a play. Students will vote for a play topic and experiment with activities such as HotSeating, Mantle of the Expert, and Role on the Wall. Discussion, Reflection, and feedback are parts of the process.
Improv
by Anna Porter
Improv is a fantastic method to engage your students; this 3 lesson mini unit is a great way to introduce improvisation. This unit focuses on learning the rules of Improv, trying games to build improvisation skills, and developing conflict and story line.Through the three lesson series, students will use journals, participate in class discussions, learn six different improv games, and perform for their peers. Assessment tools include both informal assessment as well as a formal quiz that’s included in the unit.
Pantomime
by Angel Borths
Teacher Angel Borths developed this unit when she was looking for lessons to teach the basics of pantomime in the classroom. This unit culminates in a finished product for performance, either for peers, or for theatre festivals. The rubrics and written work for this unit take planning and preparation for performance into account. The exercises can be pulled out and used independently, but work best when used to build toward a finished product. You can also pull the ground plan and stage directions lesson plans to use with playwriting or directing lessons.
Part of the Drama One Curriculum
Stage Movement
by Karen Loftus
Students will get “onstage.” They will explore what is important for onstage action, the basics of stage directions, and how to keep open. This unit will culminate with students trying out what they’ve learned in a short scene. This unit is more about the technicalities of moving on stage. By giving students something concrete to focus on, it allows them to overcome any stage fright. Ensemble-building exercises are also included in this unit. If you have time at the end of a lesson after you’ve completed your instruction and are wondering what to do, you can never go wrong with an ensemble-building exercise!
Part of the Drama One Curriculum
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.
Part of the Drama One Curriculum
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.
Part of the Drama One Curriculum
Elizabethan Theatre
by Karen Loftus
How do you introduce students to Shakespeare? This unit introduces the Bard through life in Elizabethan England and the playwrights, players, and playhouses. It also explores how to approach unfamiliar words and context clues in Shakespeare’s texts.
Part of the Drama One Curriculum
Playwriting
by Karen Loftus
Students will explore the structural elements of a play: character, objective, obstacles, tactics, resolution, and raising the stakes. They will also learn how to write character-driven dialogue and stage directions. Students will work in groups to create and present a short play.
Part of the Drama One Curriculum
Japanese Theatre
by Karen Loftus
This unit will enable students to identify, compare, and contrast three different styles of Japanese theatre: Noh, Bunraku, and Kabuki. There are three proposed projects in this unit: a research assignment where groups delve into further detail about one of the three styles; a performance project where students utilize what they’ve learned by enacting a scene from a Kyogen (comedic) play; and a Bunraku puppet play.
Part of the Drama One Curriculum
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 are putting everything they’ve learned into a final package, including writing, rehearsing, and performing.
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.
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. This unit introduces students to writing their own stand-alone monologues. Students will learn the steps involved in going from a simple idea to a written piece to performing that piece. They will also provide feedback to others and give themselves a self-assessment. This unit has been prepared for a middle school drama class but could be adapted for high school. It was designed as a way to get non-theatre students more involved in theatre.
Puppetry
by Jenny Goodfellow
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.
Agatha Rex and Ancient Greek Theatre
by Angel Borths
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.
Shakespeare Performance
by Anna Porter
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.
Unlocking Shakespeare's Text
by Anna Porter
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.
Part of the Drama Two Curriculum
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.
Part of the Drama Two Curriculum
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.
Comedy of Manners
by Lindsay Price
The Comedy of Manners is a style of comedy that satirizes the behaviour, actions, fashions, and “manners” of a segment of society. Because it has such specific characteristics – from plot to dialogue, to characterization, to costumes – it’s an excellent era for students to learn and apply. In this unit students are introduced to the style, learn some background, and apply the traits of the comedy of manners. The unit culminates in the creation of a modern scene.
Part of the Production Classroom Units Curriculum
Part One - Pre-Production
by Karen Loftus
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.
Part of the Production Classroom Units Curriculum
Part Two - Rehearsal and Performance
by Karen Loftus
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 of the Production Classroom Units Curriculum
Part Two - Documents
by Karen Loftus
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.
Part of the Production Classroom Units Curriculum
Part Two - Documents
by Karen Loftus
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.
Part of the Production Classroom Units Curriculum
Part Three - Reflection and Assessment
by Karen Loftus
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.
East Meets West: Theatre Traditions
by Marsha Walner
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.
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.
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.
Part of the Distance Learning Curriculum
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.
Part of the Distance Learning Curriculum
Playwriting: Part 2
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 2. You can continue the playwriting process from Part 1 by having students apply what they’ve learned through writing a five- to 10-page play. Or, if your students are familiar with the playwriting elements, perhaps they just do Part 2 of this unit. Students will write a first draft, revise, give and receive feedback, and read their work aloud. The unit assumes that either students have completed Part 1 or they already have a grounding in the playwriting form.
Foundations of Acting
by Annie Dragoo
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.
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.
Part of the Theatre History Curriculum
Unit 1: Before and Beyond Ancient Greek Theatre
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Unit 2: Greek & Roman Origins
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Unit 3: Medieval Theatre
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Unit 3: Medieval Theatre
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Unit 4: Commedia Dell'Arte
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Unit 5: Asian Theatre
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Unit 6: Theatre of the Renaissance
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Unit 7: The Elizabethan Golden Age
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Unit 8: Restoration Comedy & 18th Century Theatre
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Unit 9: Romanticism
by Drama Teacher Academy
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.
Part of the Theatre History Curriculum
Culminating Project
by Drama Teacher Academy
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.
Theatre Radically Reimagined: Exploring Artaud, Grotowski, and Boal
by Ruthie Tutterow
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.
The Dilemma Project
by Claire Broome
The Dilemma Project is based on a situation that requires a decision: push a button and get a great reward, but there’s also a great consequence. Don’t push the button and there’s no reward. This unit will lead to a group performance including characters, costumes, set, acting theory, acting tools, and a student written script. The final script will be about ten pages in length which means roughly ten minutes of stage time.
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Realism and Naturalism
by Drama Teacher Academy
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.
30 Second Monologues
by Lindsay Price
A monologue unit is an excellent way for students to demonstrate learned skills: vocal skills, movement skills, memorization skills, and character development. It also touches on soft skills such as communication, confidence, and attitude. That being said, monologues are not easy. A typical monologue is two minutes long. That is a lot of text to memorize, block, and develop into an engaging presentation. How often have you sat through a bad monologue performance with little to no characterization, wandering blocking, and a tenuous grasp of the lines? Performing a monologue is a learned skill. And the best way to learn a skill is in steps. Instead of starting with the end goal—that two-minute piece—start at the beginning. This four-lesson unit will take students up the ladder toward the goal of a longer monologue.
Scene Staging
by Lindsay Price
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.
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.
From Audition to Curtain Call: Directing Youth Theatre
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.
Big Picture Blocking: Staging Your Play Outside-In
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.
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.
Basic Lighting for Drama Teachers
by Claire Broome
Join drama teacher Claire Broome and explore the basics of lighting, including lighting systems and instruments, lighting plots, how to record a lighting cue, and alternative sources of lighting. You’ll learn some practical, hands-on ways of using lighting in your classroom or theatre, whether you have a lighting system or not. This course is packed with hands-on examples, activities for your students, and videos to develop your students’ understanding. Find out why lighting is such an important character in a production.
Theatre Etiquette 101
by Kerry Hishon
Instructor Kerry Hishon is an actor, director, writer, and stage combatant with years of experience in youth theatre. Her course, Theatre Etiquette 101, is designed to help students be successful in their theatrical journeys. When teaching students who are brand new to theatre, it’s important to discuss and apply the expectations of the drama classroom and the theatrical world. This course starts by explaining "what is theatre etiquette", and then moves through every step in the production process from audition to post-show recovery. Every module has tips for both you and your students, classroom exercises, rehearsal exercises, and reflections. There are also printable posters included to use in your classroom or backstage.
The Production Classroom
by Karen Loftus
In The Production Classroom, instructor Karen Loftus will show you how to explore ways that you can produce shows during your regular class time. The course gives you a series of exercises and reflections that help you determine everything, from the type of show you may want to do, to the way you can divide up your class and responsibilities, to specific assignments that will keep your students engaged and focused. The Production Classroom is the ultimate in project-based learning. Students learn to work collaboratively while setting goals and working towards a successful finished project. The course includes exercises and strategies to use with students to help assure their success in the production. Multiple examples and anecdotes help you to envision what the production classroom could look like in your room, performance space or theatre.
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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Shakespeare's Toolkit
by Todd Espeland
Todd Espeland has the experience to know that having more tools in your toolbox makes you a better actor. This is especially important when teaching students how to approach Shakespeare. They need help breaking through the language barrier and into the character’s needs and into the character’s thoughts. The tools that you’ll receive in this course will do just that. The course looks at scansion as a tool for breaking down Shakespeare’s verse, the importance of end of lines, and caesura. Caesura is an inner-line pause which is a lot of fun to play with and really, helps us provide insight to the character’s thoughts and into their needs. The course provides numerous examples and handouts, and culminates in a performance assignment to use with your students.
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!
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.
Maximizing Your Ensemble: Shoestring 101
by Michael Calderone
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.
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.
Hands-On Theatre History: Creating a Modern Day Morality Play
by Wendy-Marie Martin
Who says theatre history has to be boring? Hands-On Theatre History: Creating a Modern Day Morality play is an interactive course by Wendy-Marie Martin, combining hands-on activities with research and analysis techniques leading to a full performance of the popular medieval morality play, Everyman. This course gives students an overview of the medieval period and the various medieval play forms and teaches students the key points of storytelling and adaptation. It includes dynamic individual and group exercises leading students from the first steps of the adaptation process through a final, full-class performance of Everyman—and proves, once and for all, that theatre history can be fun and exciting to learn.
The Dilemma Project
by Claire Broome
Moral dilemmas are not only faced by characters in gripping plays, but are also faced by our students. The project outlined in this course will help students develop their critical thinking skills through the use of one of the dilemma questions to shape a student written production. If you had the choice to press a button and earn $25,000,000... but a species (not of your choosing) would become extinct, what would you do? More importantly, what would your character do? Join drama teacher and playwright Claire Broome through this course which includes role-playing, Stanislavski’s Magic If, character creation, playwriting and staging.
How to Give Feedback to Student Playwrights
by Nicholas Pappas
The two big questions we’re going to answer in this course are: What is feedback? And, What is useful feedback? Now, if you asked a hundred people to answer these two questions, you’ll likely get a hundred different answers, but at its core, all the answers will focus on giving notes that will improve the work, which, in this case, is our student’s plays. And, as a teacher, that’s what your hope is, right? To help your students improve as writers, one work at a time. We want our students to write, and to grow through their writing. If we want our students to get better, we need to get better. Understanding the definition of feedback, and understanding how to provide useful feedback is the key to all of us getting better. Join Nick Pappas in this course designed to give you the tools to help your student writers find their voice.
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