North Carolina Essential Standards 2024
Seventh Grade Respond

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.

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.

In this unit, students will be introduced to the musical theatre form by asking and answering the question “What is a musical?” They will learn and demonstrate knowledge of musical theatre vocabulary terms. They will be introduced to two foundational songs in the musical form: the “I want” song and the “I am” song and analyze an example of each song. They will also start to think about their own voices and reflect on their skill set and confidence level with regard to singing in front of others. Students will learn the musical theatre warm-up that will be used throughout the curriculum. This set of exercises will help students prepare to perform through a physical and voice warm-up. Finally, students will watch, discuss and analyze one or two musicals (depending on your time and access to materials).

In this unit, students will incorporate character development into their musical theatre preparation. Students will explore internal and external tools that they can use to express emotion in their singing. Students will then take everything they have learned and apply it to a song which they will then perform (solo or in groups).

In this unit, students will combine knowledge of the previous two units: singing and movement. Students will review singing technique and terminology and work on a song together. They will build on their vocabulary of simple dance moves. Then, students will work in groups to learn and rehearse a section of a musical theatre song by choreographing movement that expresses the song’s meaning and characters, presenting their work to the class, and working on curriculum goals of risk taking, endurance, confidence, commitment, character, and emotion.

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.

The purpose of this unit is to give students an introduction to independent learning as well as an overview of Ancient Greek theatre. 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.

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.

This Indigenous Storytelling unit is brought to you in a different format than a traditional lesson plan. It uses a learning circle format. It was developed by Allison Green, a member of the Algonquin Band of Mattawa Ontario, who is also the author and instructor of the DTA course Approaching Drama Class with an Indigenous Perspective. Students will discuss origin stories, research the background and land connection of a variety of Indigenous creation stories, create a plot graph of their story, share with the class what they have learned, and then retell the story in their own words. Once students have practiced this process, they will repeat the steps with an Abenaki creation story: Research | Recreate | Understand.

Perspective taking is the ability to understand a situation from another person’s perspective or point of view: What are they thinking? What are they feeling? How does their background influence their perspective? Perspective taking allows students to develop self-awareness, to recognize differences, to understand an opposing point of view, to assess nonverbal language, and more. In this unit, students will practice perspective taking as they: • Assess their own perspective. • Demonstrate understanding of the perspective of others in specific situations. • Analyze characters in a text.

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 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.

Students will develop characters based on the character traits of the Seven Grandfather Teachings. The unit begins with a focus on the traits (Love, Wisdom, Respect, Bravery, Honesty, Humility, and Truth) and the story of elders passing on teachings to the youth. Students will use tableau, viewpoints, and movement and explore how to develop a character with a clear backstory and identity. The unit uses open, neutral scenes as a partnered task that students can use to apply their learning followed by reflection and class discussion.

The objective of this unit is for students to be able to engage with Indigenous symbolism in art, and then interpret it in a theatrical context. It begins with an introduction of symbolism through a retelling of an Indigenous story with wolves representing human traits. Students develop a scene that focuses on how to “show and tell” an Indigenous story, clearly showing the symbolic meaning from the oral story. Students will then explore symbols by looking at the characteristics of Canadian Indigenous Art, delving into the symbols and story. Students then share their interpretation of the art by creating and presenting a piece of theatre, followed by reflection and class discussion.

In this unit, students will take on the role of the costumer, which is different from a costume designer. It introduces costuming concepts in order to execute a costume. No complicated sewing is required, which is great if you don’t have the background, the access, or the resources to have a class of students create costumes. Instead of making costumes from scratch, as a designer would, students will create costumes from stock, borrowed items, or low-cost finds. They will take finished products and adapt them into what they need to create the right atmosphere. In order to help with their adaptations, students will try different distressing techniques and learn three SIMPLE stitches that they’ll be able to use over and over again. It’s a valuable tech theatre skill to teach students how to execute on costumes when you (and they) don’t sew!

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.