North Carolina Essential Standards A.CU.2.2
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North Carolina Essential Standards
Advanced High School Standards - Culture

View all Standards for North Carolina Essential Standards

A.CU.2.2 Integrate conventions and structures of theatre when creating formal or informal theatre productions.

What is Theatre?

by Karen Loftus

Students will explore the question “what is theatre?” and analyze it by comparing film and television productions. Each session comes with an journal prompt, a warm up game, and an exit slip for assessment. This is a great unit to start off a school year.

Feel free to customize it as much as you want, and refer to the Pacing Guide for more details and ways to supplement with other DTA materials. While you’re analyzing “what is theatre?” with your students, you can introduce classroom procedures and do icebreaker/trust games. You can also remind the kids that Theatre is Ensemble - all of the games they play help to build ensemble.

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Pantomime

by Karen Loftus

Students will explore nonverbal communication through movement, body language, simple mime, and storytelling. They will learn the specific art of pantomime through hand position, tension, follow-through, and action/reaction/interaction with objects through warmup games and exercises.

The unit culminates in a two-person pantomime performance. A rubric is included for the performance 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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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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Improvisation

by Karen Loftus

Students sharpen their listening and reaction skills through improv games, exercises, and scenes. They will learn 5 specific guidelines to apply to their improvisation: accept the offer, bring information to the scene, make active choices, make your partner look good, and don’t force the humour.

There are so many different ways to approach a unit on improvisation. Keep in mind that you will have students who are really excited about this unit and some students who dread it. It’s best to start with low risk games and exercises and then build up to higher risk ones. Low risk games in this situation mean partnered interactions that aren’t shared with the whole class. Teachers can also refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

The unit culminates in a short improv performance. A rubric is included for the performance as long as journal prompts and exit slips.

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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.

The unit culminates in a group written original play which is performed in front of the class. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

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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.

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Theatre of the Absurd

by Lea Marshall

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).

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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.

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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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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.

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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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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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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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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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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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Theatre Etiquette

by Kerry Hishon

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. How do you implement and instill theatre etiquette in your classroom and your rehearsals – before a show and backstage? A cohesive theatrical community starts with the rules and codes of behaviour both onstage and off.

Topics covered within the unit include: What is Etiquette, Real World vs Theatre World Etiquette, Audience Etiquette, Audition Etiquette, Pre-Show and Performance Etiquette. The unit ends with a culminating activity which included a rubric and reflection.

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Unit Eight: Theatre of the Oppressed

by Lindsay Johnson

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.

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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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What is Theatre?

by Lindsay Price and Karen Loftus

Students will establish a definition of theatre, know the difference between theatre and film, and start to explore who’s who in the theatre.

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Improvisation

by Lindsay Price and Karen Loftus

Students sharpen their listening and reaction skills through improv games, exercises, and scenes. They will learn five specific guidelines to apply to their improvisation: accept the offer, bring information to the scene, make active choices, make your partner look good, and don’t force the humor.

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Pantomime

by Lindsay Price and Karen Loftus

In this unit, students will explore nonverbal communication. First through body language and gesture, and then through the specific art of pantomime. Students will learn hand position, tension, follow-through, and action/reaction/interaction with objects through warm-up games and exercises. The unit culminates in a one-person pantomime performance.

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Theatre of the Absurd

by Lea Marshall

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.

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Impowerment Improv

by Jennine Profeta

Taking risks, learning to see failure as a gift, finding courage when we don't feel it, and having the awareness that what we say has an impact are social and emotional skills students will take beyond the classroom. These are skills that can be built through improv exercises.

The exercises in this unit are designed to create a safe environment in which students can go beyond their old patterns to take risks, embrace failure, and be more confident and aware of the effects of their word choices. Improv gives you the opportunity to draw attention to these important concepts and to talk about them.

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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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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.

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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.

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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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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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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.

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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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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.

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Teaching Theatre with Divergent Students and Class Sizes in Mind

by Steven Stack

Have you ever wondered how in the world you can have a successful theatre classroom with so many variables that you have absolutely no control over? The two biggest ones being the size of your class and the students that you’re in charge of turning into some truly talented theatre geeks. This course by Steven Stack explores that wonderful and often ridiculous world of theatre classrooms while giving you the tools for you and your students to not only succeed but to flourish as well.

Lessons will include how to make any size class the Goldilocks class as in "just right", defining and working with all types of students you may encounter in your classroom, the seven must-haves of any theatre class, and the importance of structure in the theatre classroom by providing a guideline for setting up your day-to-day class time.

The course also provides tons of ideas, games and activities that you can use instantly in your classroom. So, if you’re a first-time theatre teacher or one just looking for new ideas, this is the course for you.

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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 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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Play Adaptation Project

by Lindsay Price

Adaptation is a fabulous classroom project: it requires students to analyze, adapt, modify, plan synthesize, devise. All the higher order thinking skills.

But you can’t just throw a narrator into a script and call it a day. You have to have a preparation process leading up to the writing process.

In this course you will learn practical exercises and a path to prepare your students to take on their own adaptation project. We’ll look at the guidelines to adaptation, things to think about when choosing a text, how to analyze the source material and writing that first draft.

So join me, Lindsay Price, in the Play Adaptation Project.

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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.

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View all Standards for North Carolina Essential Standards    Standards Master List

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