British Columbia, Canada
Drama 12
View all Standards for British Columbia, Canada
use appropriate terminology to describe theatre performance
UNIT
Tools of Scene Work
by Anna Porter
Students are introduced to scene work performance through a simple, contentless scene unit. In this unit, performers will use exercises like “Show and Tell” to learn how to fill in the gaps of a story by creating scenarios and detailed characters with backgrounds.
Students will further fill in the gaps by exploring environmental and physical conflict as well as stage business. The lesson “Thou Shalts of Staging” will guide students through basic staging and performance technique.
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UNIT
Part of the Production Classroom Units Curriculum
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 of the Production Classroom Units Curriculum
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 of the Production Classroom Units Curriculum
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 of the Production Classroom Units Curriculum
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 of the Production Classroom Units Curriculum
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
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
East Meets West: Theatre Traditions
by Marsha Walner
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.
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UNIT
Theatrical Arguments: Pursuing Objectives, Communication, and Conflict
by Rachel Atkins
In this middle school unit by Rachel Atkins, students will explore how to strengthen a theatrical argument through objectives, communication, and conflict: What characters do, what they say, and how they say it when they make an argument or try to achieve an objective. To do this, students will use tableaux, dialogue, and improv. There are presentations and post-lesson writing assignments that you can use for assessment.
How do characters, actors and writers use a variety of actions to achieve an objective or support an argument? How do they enhance their communication by word choice and emotion? How do they develop and strengthen their own arguments by understanding other points of view?
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UNIT
Musical Theatre History Museum Project
by Annie Dragoo
Musical Theatre is a uniquely American art form, explored through this unique unit by instructor Annie Dragoo.
It is divided into two parts: first, students view a documentary called Broadway the American Musical - available on YouTube. Students will reflect after each episode and there is an available viewing quiz.
After viewing, discussing and reflecting on each episode of the PBS Documentary, Broadway: The American Musical, students will research a specific topic in order to create and design a musical theatre museum exhibit. It’s a great three-dimensional demonstration of knowledge, and there is a rubric provided for the completed exhibit.
This is not your traditional textbook history learning!
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UNIT
The Role of the Theatre Critic
by Lindsay Price
In the 21st century, we are living in a time of great change for criticism and the role of the critic. Previously, one negative review from the New York Times could close a Broadway show. Now the audience as critic is a topic of much debate. Are professional critics and informed opinions necessary? What is the power of the audience critic? What is the role of the critic and the role of criticism in today’s theatre?
This unit will take students through a brief history of the theatre critic from the 500 reviews that came out of Ibsen’s one-night performance of Ghosts in 1891, to the tumultuous landscape of social media criticism. Students will then apply what they’ve learned by writing on or theatricalizing the role of the critic in a culminating assignment.
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UNIT
Part of the Middle School Curriculum
Unit Four: Intro to Scripted Scenes
by Lindsay Johnson
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.
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UNIT
Part of the Stagecraft Without a Theatre Curriculum
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
Creating Your Own Musical
by Laramie Dean
Instructor Laramie Dean uses this unit as the final project for his Drama 2 students. Drawing upon any of the skills students have developed throughout they create a product that could be used within a new piece of musical theatre.
Students start by analyzing three musicals, study guides included, and practice creating musical elements. They are then giving class time to prepare in groups as many elements as their can for a new musical using devised theatre techniques.
There are 24 lessons in this unit which culminates in a final assessed performance.
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UNIT
Creating a Musical: Project
by Annie Dragoo
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.
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UNIT
Part of the Middle School Curriculum
Unit Six: Directed Scenes Take 1: Same Scene, Different Visions
by Lindsay Johnson
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.
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UNIT
Part of the Middle School Curriculum
Unit Seven: Directed Scenes Take 2: A Variety of Scenes
by Lindsay Johnson
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.
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UNIT
Part of the Middle School Curriculum
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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UNIT
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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UNIT
Part of the Distance Learning Curriculum
Introduction to Technical Theatre: Distance Learning
by Lindsay Price
When an audience watches a piece of theatre, they never see what goes on behind the scenes or know the people who work to make the production look their best. But theatre is a collaboration between what happens onstage and off.
This distance learning unit will introduce students to the world of technical theatre. Through video, they will learn information on specific technical theatre roles and how they work together, types of stages, parts of a theatre and stage geography, and then apply this knowledge through synchronous exercises.
For example, students will take on the role of a producer and decide how a budget will be divided among different departments. They will practice the calls a stage manager uses. The culminating assignment has students solve a common technical theatre issue: a unique stage direction in a play.
NOTE - Please read the Troubleshooting Hyperdocs instructions in the Overview, if you are having issues. If your students have trouble accessing the videos, try VERSION 2 Hyperdoc links provided under each module.
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UNIT
Introduction to Technical Theatre: Flipped Learning
by Lindsay Price
When an audience watches a piece of theatre, they never see what goes on behind the scenes or know the people who work to make the production look its best. But theatre is a collaboration between what happens onstage and off.
This flipped learning unit will introduce students to the world of technical theatre. Through video, they will learn information on specific technical theatre roles and how they work together, types of stages, parts of a theatre and stage geography, and then apply this knowledge through in-class active-learning exercises.
For example, students will take on the role of a producer and decide how a budget will be divided among different departments. They will practice the calls a stage manager uses. The culminating assignment has students solve a common technical theatre issue: to design, create, and implement a solution for a unique stage direction in a play.
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UNIT
Part of the Distance Learning Curriculum
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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UNIT
Part of the Distance Learning Curriculum
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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UNIT
Part of the Distance Learning Curriculum
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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UNIT
Part of the Distance Learning Curriculum
Mock Audition
by Lindsay Price
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.
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UNIT
Part of the Distance Learning Curriculum
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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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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UNIT
Part of the Distance Learning Curriculum
Scene Work: Part 2, Student Self Staging
by Lindsay Price
In Part 2 of Scene Work, students take everything they learned in Part 1 and apply it to the staging of a scene.
Students work independently to block, build character, experiment and rehearse a scene. You can continue the scene work process from Part 1, or if your students have a grounding with scene work basics, perhaps they just do Part 2 of this unit.
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UNIT
Part of the Distance Learning Curriculum
Scene Work: Part 1, Tools of Scene Work
by Lindsay Price
Students are introduced to scene work performance through a contentless scene unit. Students prepare and perform a contentless scene to demonstrate their understanding of characterization, staging technique, and working with conflict and stage business in a performance context.
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UNIT
The Dilemma Project
by Claire Broome
The Dilemma Project is based on a situation that requires a decision: push a button and get a great reward, but there’s also a great consequence. Don’t push the button and there’s no reward.
This unit will lead to a group performance including characters, costumes, set, acting theory, acting tools, and a student written script. The final script will be about ten pages in length which means roughly ten minutes of stage time.
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UNIT
Technical Theatre: Leadership in Theatre
by Michelle LoRicco
This Technical Theatre unit is designed to empower student leaders to analyze management roles in producing theatre while also using collaborative activities and reflection exercises to strengthen soft skills that every student should have. The unit covers the roles of producer, director, technical director, and stage manager, and ends in a culminating project.
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PD COURSE
Laban: Advanced Characterization
by Todd Espeland
Learn about the Laban system to teach your students to physically and vocally discover character. This is an advanced course, which means that the course goes deep into exploring character and exploring character work through the work of Rudolph Laban.
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PD COURSE
Close Reading in the Drama Classroom
by Lindsay Price
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.
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PD COURSE
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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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
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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PD COURSE
Teaching Musical Theatre in the Drama Classroom
by Colin Oliver
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!
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PD COURSE
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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PD COURSE
Google Tools in the Theatre Arts Classroom
by Anna Porter
Have you been wanting to find some new ways to enhance your classroom with technology? Have you been told you need to integrate technology in your classroom but don’t know where to start or what would even make sense to use in the drama classroom?
Whether you want to find some new ways to diversify your instruction and assessment, provide new resources and opportunities for your students, or simply needs some help with organization and communication, Google Tools has a treasure trove of resources ready for you to use today.
Instructor Anna Porter covers the tools of Google Forms, Photos, Calendar, Earth, Custom Search and Sites. Each lesson has video examples of how to use the tools as well as tips and resources for each module.
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PD COURSE
Marketing the Arts
by James Van Leishout
This course covers the four stages of creating and implementing a marketing plan. It starts with the question, what are you selling?, and goes all the way through to evaluation. The course covers both traditional and new media, with examples and opportunities to apply the learning to each teacher's own situation.
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PD COURSE
The Process of Creativity in the Theatre Classroom
by Gai Jones
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.
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PD COURSE
Director's Toolbox 1: Teaching Students to Direct
by James Van Leishout
In this course, James Van Leishout explores why students should direct, and covers the first two tools in the director’s toolbox: self and the script. What background should every director have? Why should they learn to love research? What should happen in the first four reads of a script?
With every step along the way, there will be exercises and activities your student directors can take on before they step into the rehearsal process.
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PD COURSE
Story Theatre
by Matt Webster
Instructor Matt Webster believes that Story Theatre is one of the most creative, most imaginative, most unique forms of theatre ever to make its way to the stage. His course introduces the style of theatre called story theatre, explores the steps needed to choose the best stories to perform, explains how to adapt a story into a script, and demonstrates a variety of story theatre styles from simple and contained to complex and crazy and everything in between.
When you are finished with this course, you’ll be able to bring nearly any story to any stage and present it to any audience. That is the power and promise of story theatre. Learn how to bring the page to the stage.
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PD COURSE
Maximizing Your Ensemble: Shoestring 101
by Michael Calderone
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.
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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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PD COURSE
Practical Approaches to Shakespeare in the Drama Classroom
by Julie Hartley
Shakespeare is one of the greatest resources a drama teacher can have: scenes packed with action; opportunities to explore comedy and physical theatre; rich themes and characters to act as springboards for devised theatre; the chance to work with our language at its finest and – most importantly – ideas that relate directly to the experiences and preoccupations of students.
Yet Shakespeare isn’t easy. The language can seem dense, and finding a way in can be tough – especially for drama teachers who have not themselves studied Shakespeare. That’s the goal of this course – to help teachers find a way in.
This course presents teachers with as many ways in to the exploration of Shakespeare as possible. Action scenes, themes, characters, different theatre styles, and devised theatre projects. Students will be armed with the tools they need to begin individually exploring monologues, or working together on scenes.
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PD COURSE
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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PD COURSE
The Dilemma Project
by Claire Broome
Moral dilemmas are not only faced by characters in gripping plays, but are also faced by our students. The project outlined in this course will help students develop their critical thinking skills through the use of one of the dilemma questions to shape a student written production.
If you had the choice to press a button and earn $25,000,000... but a species (not of your choosing) would become extinct, what would you do? More importantly, what would your character do?
Join drama teacher and playwright Claire Broome through this course which includes role-playing, Stanislavski’s Magic If, character creation, playwriting and staging.
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PD COURSE
Tech Knowledge: Integrating Tech Throughout Your Rehearsal Process
by Claire Broome
This course will help you integrate technical theatre earlier in the creative process to help reduce the stress of tech week, and make sure you have what you need before choosing a show. We will explore how to include your technical theatre team from day one and will help you have an easier experience throughout the rehearsal process and final performances.
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