28 coordinate movement and movement patterns with other students
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.
by Karen Loftus
Students are introduced to, analyze, and explore the history, characters, and style of Commedia dell’arte. Commedia Dell’Arte is a theatre history unit mixed with improvisation, physicalization, and exploring specific characters.
In this unit, we’re going to focus on three main aspects:
(1) Causes and Effects of Commedia (History), (2) Stock Characters, (3) Commedia Performance Practices.
The unit culminates in a commedia performance. 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.
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).
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.
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.
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.
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.
by Todd Espeland
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.
by Craig Mason
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.
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.
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.
by Todd Espeland
In this class, Serious Play, the instructor will lead you through a series of games in risk, movement, focus, and voice. You will get access to a series of all inclusive games that you can string together to make one giant game that is great to use in rehearsal. You will learn how and when to use these games.
You'll get ideas on how to craft your own warm-up lesson plan; and, most importantly, you'll learn about about a pre-class warm-up that you can do on your own so that you can get yourself into that third stage of the creative brain, so that you can begin trying out interesting, creative, and risky choices for yourself in your classes and in rehearsals.
by Erin Carr
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.