British Columbia, Canada
Drama 10

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.

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.

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 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.

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 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.

This playwriting unit offers lessons for students to complete a 10- to 15-minute play, instructed by professional playwright Lindsay Price. The unit includes class writing time as well as students writing on their own; in setting it up this way, the unit can be interspersed between other lessons. Students are challenged to apply themselves to write on their own - as all writers must do. Class time also focuses on giving and receiving feedback.

This unit provides an introduction to the process of playwriting in a practical step-by-step framework. Playwriting can be a practical task-driven process that any student can accomplish, given the right parameters. This playwriting unit will give students the tools they need to write their first short play and gain the confidence they need to write further. The culminating project for this unit is a three- to five-page play or extended scene.

In this unit, students will gain insight into the day to day responsibilities of a working artist. This unit aims to illuminate for students that creative expression is only one element in a sustainable arts career, and attempt to address the essential question: How does a playwright turn creative expression into a career? The culminating project for the unit is a playwright submissions packet for a theatre company. 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.

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.

Understanding basic improvisation skills will help musical theatre performers understand that musical theatre is more than just singing and dancing. It’s about using all the tools (voice, body, and mind) an actor has at their disposal to create a character. This unit focuses more on the improv aspect rather than the musical theatre aspects - in fact students need no prior musical theatre knowledge. Annie Dragoo, creator of the unit, uses this material as her first unit in her musical theatre class. It’s a great introduction and will get your students in the right frame of mind to approach musical theatre. The lessons explore a variety of improv skills such as vocal responses, movement, character study, sensory awareness and culminate in an improv scene and unit essay.

In this unit, students will learn, practice and apply three important rules of improv: accepting and building on offers, quick thinking, and strong offers. For each step, they will work with the Improvisation Rubric by both giving and receiving feedback. Students will also start to practice techniques to improve their vocal clarity. The unit culminates in a performance assessment in which students will play an improv game in front of an audience.

Students will understand the basic building blocks of a scene: The Who (characters/ relationship), the Where (setting), and the What (conflict – objectives/tactics). They will learn how to use both verbal and nonverbal (pantomime) clues to communicate these scene details to an audience. They will continue to work on voice clarity, while also learning to open their body to an audience. The unit culminates in a performance assessment in which students work in pairs to improvise a scene.

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.

Want a fun project that has your students collaborating and creating? In this unit by Annie Dragoo, students in groups will write and perform an original musical by adding modern songs to a traditional fairy tale story. The six lessons take students from writing their script, to choreography and planned movement, to rehearsing, performing and evaluation. The Rubric will focus on student performance. That means vocal delivery, emotional delivery, blocking/choreography, energy, focus, and characters.

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 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.

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.

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.

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.

In this Mock Audition Unit, students will discuss the audition process and make connections between their personal views and the process. Students will apply the steps of auditioning from putting together a resume to choosing a piece based on provided information to audition etiquette to the actual audition itself. A final reflection and rubrics are provided for use at the end of this unit. A short play is included that can be used as the source material for your audition. You can also choose your own play for this process.

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.

This unit focuses on the idea stage of playwriting. Before you start a playwriting project, take students through these lessons to provide students a step-by-step process for idea generation. When students are told they’re going to write a play, they often freeze. I can’t do it. I’m not creative; my ideas are stupid. The purpose of this unit is to give students a place to start and a way to move from finding a topic to creating an idea to writing theatrically on ideas. This unit is designed to reach as many classroom environments as possible and includes: standard in-class lessons, instruction videos, instruction handouts, and quizzes.

All students have something to say and a story to tell. They can relate to their personal stories better than anyone else. All students have a lot of material which can be used as part of an original monologue. In this unit, students will write an autobiographical monologue based on their personal expertise, memories, distinct point of view, sense of truth, and life experiences. Through the process, students will be encouraged to explore past stories, objects, and images and other personal material.

In this unit, students will decide on a topic they care about and write a short play within a designated time frame. They will mostly write on their own, using class to discuss and share how they are managing their time, monitoring their progress, and adapting their writing plan of action. The goal of this unit is not the final product but rather the self-management skills they apply throughout. In this unit, students will demonstrate their self-management skills by setting a goal, identifying a strategy to achieve the goal, creating a plan of action, monitoring their process, reflecting on what is working and what’s not working, taking personality responsibility throughout as they write on their own, and demonstrating an ownership mindset through self-assessment.

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.

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.

Friendly Shakespeare teaches a simple and effective method of script analysis for Shakespeare. It uses punctuation and keywords in the text to help students understand the characters' needs, make specific acting choices, and get them on their feet immediately. This is not dry, sitting in a classroom discussion. It’s physicalizing the text, focusing on the character’s needs and tactics (something every drama student should know full well) and bringing Shakespeare to life. At the end of the class you will be able to demystify Shakespeare's text and understand how to help your actors make clear, active and emotionally connected choices in Shakespeare's plays.

The Top Ten Playwriting Exercises Course not only gives you ten great exercises to ease your students into the playwriting waters, it's also going to give you the confidence to teach playwriting to your students. Each exercise comes with instruction, why the exercise is important, how to assess the exercise and something specific for you to try. Many of the modules include assignments and rubrics so you will be fully prepared to comprehend, apply and teach every these exercises.

This mini-course will give you a toolkit to bring your shows to the next level by having an engaged, active, ensemble. The ensemble is a critical part of a large cast show. But you can't leave them to fend for themselves. They need structure. They need exercises and activities. In Strong Ensemble = Strong Play, you'll be given ensemble-building exercises. You'll also discover specific activities that will help your ensemble become three-dimensional characters who have something to do and something to play in every moment they are on stage. We'll look at case studies that take the exercises learned in the course and apply them to specific shows.

In "Working With Monologues For Rehearsal And Development" you will develop ten sessions of study on monologues. The study contains the definition and history of the monologue; monologue vocabulary; analysis of a practice monologue, staging a short monologue; working with musical theatre lyrics as a monologue; writing short autobiographical monologues. At the end of this course, you will have a curriculum which can be used as introduction to monologue work.

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.

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!

Colin Oliver leads this introduction to teaching Musical Theatre in the Drama Classroom. In this course, you will learn how to build musical theatre into your dramatic courses of study. “Why might you want to do that? Singing is scary! You want me to teach my students how to do it? I don’t even know how to do it.” This course approaches musical theatre preparation performance much as we would approach preparing a monologue in drama. If you use script analysis in monologue preparation in your class, you can teach musical theatre. By the end of this course, you’ll have a great, full-body physical warm-up, a student-driven research assignment, character development exercises, a little bit of musical theory, and a performance assignment complete with assessment. So, join us for teaching Musical Theatre in the Drama Classroom. It’s as easy as Do-Re-Mi!

Gai Jones leads this course in establishing an environment of creative experimentation in the theatre classroom, in order to have a group of student actors who value the creative process. Each lesson shares experiences to foster creativity without the stress of performance by student actors. For the creative process which honors out-of-the-box thinking, there is no assessment section included. There is no product or performance. The important thing is the student actor’s engagement. Their reflections and your observations are valued for positive learning. This set of lessons includes Tips for the Theatre Educator, based on Gai's own Theatre practice. Scripts are also provided and contain text of what you can say to your students to facilitate their creative processes.

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.

Viewpoints is used to create dynamic moments of theatre by simply existing on the stage. However, Viewpoints is more than just an acting technique to understand your own physicality and more than a directing technique to create “ah-ha!” moments on stage. It is first and foremost the philosophy that to create an organic performance, you must see obstacle as opportunity, and that by simply standing in space, your creativity can spark. This course by Erin Carr will help your students discover fresh impulses that motivate their performance in the moment. We will go through the Viewpoints technique, as created by Mary Overlie, and learn how to tap into kinesthetic awareness as individuals and as an ensemble. Through this style of play, students learn to release their thoughts on what they “should” do, and instead just respond organically to their surroundings and ensemble! We’re going to break down each of the Viewpoints, there’s lots of visual demonstration, so you can see each Viewpoint in action, and I’m going to provide tips and side coaching examples.