View all Standards for North Carolina Essential Standards

P.AE.1.1 Analyze design concepts for aesthetic impact of technical elements.

UNIT

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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UNIT

Voice

by Anna Porter

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.

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UNIT

Costuming

by Holly Beardsley

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).

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UNIT

Design

by Matt Webster

In this unit, students will explore and experiment with the basic building blocks of design: Line, Shape, and Color. Once students have a solid foundation of those concepts, they will move on to stage properties and scenic flats as additional building blocks of design. They will then apply their knowledge and skills to a series of assignments, so they can demonstrate their design knowledge and creativity.

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UNIT

Sound

by Josh Hatt

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?

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UNIT

Costuming

by Josh Hatt

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?

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UNIT

Staging

by Josh Hatt

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.

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UNIT

Free Play Makeup

by Josh Hatt

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.

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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.

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UNIT

Stage Management

by Karen Loftus

A unit on stage management is a great way to link technical theatre, acting, and even directing. We spend so much of our class time on performance-related projects and, when we do address technical theatre, we often do so by talking about design.

Why not introduce your students to a skill set that not only benefits your productions by ensuring a strong backstage crew and smooth production process, but also benefits the students individually? Through exploring stage management, students learn skills such as analytical thinking, organization, teamwork, and problem solving.

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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.

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UNIT

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.

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UNIT

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.

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UNIT

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.

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UNIT

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.

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UNIT

Introduction to Set Design *Hyperdoc

by Lea Marshall

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.

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UNIT

Elements of Costume Design *Hyperdoc

by Anna Porter

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.

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UNIT

Introduction to Film Analysis: Mise en scène

by Lindsay Price

Lindsay Price has developed this Introduction to Film Analysis Unit: Mise en scène. In order to develop visual literacy, students have to be able to analyze what they see. In a film, the composition of everything you see on screen is called mise-en-scène. In this unit, students will explore the individual elements that make up mise-en-scène, be able to identify those elements in stills and film scenes, and apply their knowledge in a culminating analysis activity.

Heads up. You’re going to need some technology for this unit. Students need to be able to view, either as a class or 1:1 images, a google slide deck and selected film scenes.

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UNIT

Scenic Design

by Karen Loftus

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.

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UNIT

Lighting

by Karen Loftus, Josh Hatt, and Kerry Hishon

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.

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UNIT

Sound

by Karen Loftus and Josh Hatt

Students will be able to demonstrate their knowledge of sound effectiveness. How do we use sound to create a technically effective performance?

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UNIT

Costume Design

by Holly Beardsley, Karen Loftus, and Josh Hatt

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.

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UNIT

Make-Up Design

by Karen Loftus and Josh Hatt

Students will be able to explore the use of make-up as a theatrical tool and demonstrate their knowledge of make-up effectiveness.

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UNIT

Pre-Lighting Design

by Kerry Hishon

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.

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PD COURSE

Concept-Based Design for the Theatre Teacher

by Matt Webster

Concept-Based Design is a method of design that allows the director and production team to create a unified world based on the ideas, perceptions and images extracted from an in-depth analysis of the play. Matt Webster designed this course for theatre teachers in a typical school setting with limited budgets, space and materials to use towards the design of their shows. Many theatre teachers feel most unsure about their design and tech skills and Matt wanted to help those teachers look at design differently, and make designing a show a little less scary and a little more fun!

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PD COURSE

Introduction to Stage Management Part One

by Karen Loftus

In this course, instructor Karen Loftus explores the responsibilities of a stage manager. You'll learn exercises that will help you demonstrate those responsibilities and the necessary skills of a stage manager to your students. You'll learn how to train your students to serve as stage managers for your school’s productions.

The course takes you through what a stage manager does prior to rehearsal and throughout the rehearsal and performance process to have a smooth-running backstage. It includes learning about the paperwork required, including prompt scripts, rehearsal preparations, notating blocking, and a stage manager’s kit and checklist to wrap it all together.

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PD COURSE

Google Drive in the Drama Classroom

by Josh Hatt

Instructor Joshua Hatt has taught drama students all over the world. He is passionate about the power of drama to connect people and the importance of reflection and journaling to build creative, critical thinkers.

He started using Google Drive as a response to the frustration of having his students lose curriculum booklets time and time again. His work developed into a powerful online home whereby students and teachers can communicate, contribute, collaborate, edit, and house all their documents online.

In this course, Josh will show you how to use Google Drive and Slides in your drama classroom. He's included step-by-step guided instruction, as well as activities to help you solidify your knowledge. Your drama classroom will be forever transformed!

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PD COURSE

The Do-it-All Director's Introduction to Set Design

by Holly Beardsley

Holly Beardsley is a do-it-all director. She started directing middle and high school students in her early college years and since then has written over ten shows and directed twice as many.

Do-it-all directors are responsible for everything it seems – the direction, the costuming, the choreography and of course, the set too. And though directors are ready to direct, to costume and even dance, there is something intimidating about designing and building a set.

The Do-it-All Director’s Introduction to Set Design will give you the director, who must do-it-all, the confidence and skills to not only direct but build your own set as well - no matter your experience or budget. This course will teach you set design basics, construction tips, budget tricks, and how to tackle your precious performance space armed with a hammer, and most importantly, without fear.

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PD COURSE

Introduction to Stage Management Part Two

by Karen Loftus

Karen Loftus instructs this second course in stage management - a companion to Introduction to Stage Management Part One.

This course will review the major concepts covered in Introduction to Stage Management, and discuss the different types of technical rehearsals and how student stage managers prepare for and run them. You’ll learn how to teach your students to notate and call cues for a show. The course will also introduce strategies for student stage managers who work with student crews. It will discuss how you can provide the support your student stage managers need to be effective, and how that support helps to strengthen your overall program and theatre community.

Student stage managers start in the classroom, train during school productions, and can take these newly discovered and acquired skills on with them to colleges and careers and theatre (and beyond)!

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PD COURSE

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.

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PD COURSE

Using SketchUp in the Classroom

by Ray Palasz

Instructor Ray Palasz leads this introductory course in using SketchUp in the classroom.

This course is broken down into five easy modules. One, downloading the program. Two, getting started with using the program. Three, drawing two and three-dimensional objects. Four, using the 3D warehouse, which will save you and your students tons of time. And five, a sample assignment and assessment for your students.

Each module also comes with a handout with visuals from SketchUp to guide you through the process. You will learn how SketchUp can add so much to your program.

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PD COURSE

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.

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PD COURSE

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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