5 units • 5 professional development courses aligned to CCSS.ELA-LITERACY.RI.9-10.2 - Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.
CCSS.ELA-LITERACY.RI.9-10.2 Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.
This page lists 5 units and 5 professional development courses aligned to CCSS.ELA-LITERACY.RI.9-10.2 from the Common Core. Designed for drama teachers, these resources directly address CCSS.ELA-LITERACY.RI.9-10.2 - Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.
In this unit by Anna Porter, students are introduced to the works of Shakespeare and explore how to bring a character to life in a monologue performance. Students are also introduced to the tools to help them unlock meaning in Shakespeare’s text. Through this eleven lesson series, students will participate in class discussions, activities and performance. Assessment tools include informal assessment, submission of textual analysis work and a final performance.
Shakespeare’s text holds valuable tools that students can use to unlock and understand meaning. In this unit by Anna Porter, students explore how to use the tools of research, context, textual analysis, imagery and punctuation to help them unlock meaning in Shakespeare’s text. This unit is created for an Intermediate to Advanced drama class with a basic background in plot structure and acting technique.
Through this five lesson series, students will use journals, participate in class discussions, activities and performance to explore the tools used to unlock a text. Assessment tools include informal assessment as well as a final group presentation and performance.
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.
In this unit, students will create a performance of a spoken word poem designed to engage, entertain, and affect an audience. They will also write a poet’s statement in which they describe the purpose(s) or inspiration(s) of their poetry.
This is not a technical writing unit and is geared more toward students self-expression and engaging an audience. If your students are not skilled poets, this unit is still accessible.
Shakespeare is sometimes avoided in the drama classroom because not only do the students not want to take on the language difficulties but neither do the teachers. Monologue and scenework becomes more challenging and a lot of times, students falter in their blocking action and character development because they are so challenged. How do we give students the opportunity to rehearse and present Shakespearean text as they would modern text?
In this play study unit, students will read a Shakespeare play while learning specific tools and techniques in order to stage text from that play. And more often than not, these techniques are ones that they have already used with other plays. It’s all about reframing Shakespeare so that students enjoy the experience of bringing the characters and stories to life.
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!
Close reading is an activity that puts curriculum standards into practice and it can be easily applied to the drama classroom.
Close reading asks a lot of your students. They have to read and think at the same time.
This course teaches drama teachers how the close reading process works, and gives them exercises and tools to apply it in the classroom.
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.
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.
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)!
Our parent company Theatrefolk offers a fantastic selection of plays written specifically for high school and middle school students.
Whether for performances or class study, there's something for everyone: relevant & relatable themes, simple sets & costumes, flexible casting options and much more - a perfect addition to any drama program!
Please note:
Plays are offered separately from your membership and can be purchased through Theatrefolk.
