Alberta, Canada
Drama Teacher Academy Logo

Alberta, Canada
Senior Goal I Objectives

View all Standards for Alberta, Canada

develop a sense of inquiry and commitment to learning

Devising

by Corinna Rezzelle

What is devising? It’s a process of playwriting as a group. Plays are created through improvisation, process dramas, and a lot of teamwork. The Devising Unit includes an overview to get you started, and 12 lessons jam-packed with activities.

This unit includes doing some basic Forum Theatre, which is a technique coined by Augusto Boal. It covers Process Drama in a variety of ways such as Hot Seating, Role on the Wall, and a fun exercise called “Character Bag”. There are also some great bonding games for your students to enjoy.

This unit is designed to show students (and teachers) that playwriting doesn’t have to be a solitary, lonely exercise. It can be a fun, sometimes chaotic, and very energetic experience.

Join now for instant access

What is Theatre?

by Karen Loftus

Students will explore the question “what is theatre?” and analyze it by comparing film and television productions. Each session comes with an journal prompt, a warm up game, and an exit slip for assessment. This is a great unit to start off a school year.

Feel free to customize it as much as you want, and refer to the Pacing Guide for more details and ways to supplement with other DTA materials. While you’re analyzing “what is theatre?” with your students, you can introduce classroom procedures and do icebreaker/trust games. You can also remind the kids that Theatre is Ensemble - all of the games they play help to build ensemble.

Join now for instant access

Script Analysis: The Actor's Perspective

by Karen Loftus

How does an actor analyze a script? Students start with character analysis (how do we learn about a character in a script? what are the facts/inferences about a character?) and then explore the ideas of “objective,” “obstacle,” “stakes,” and “tactics.”

The unit culminates with students applying learned script analysis techniques on an assigned scene. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

Join now for instant access

Elizabethan Theatre

by Karen Loftus

How do you introduce students to Shakespeare? This unit introduces the bard through life in Elizabethan England, the playwrights, players and playhouses. It also explores how to approach unfamiliar words and context clues in Shakespeare’s text.

As with any theatre history unit, you have to decide what’s most important to introduce to the students. For this unit, we’ll focus on three things in the three different categories. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

Join now for instant access

Front of House

by Karen Loftus

This unit looks at theatre jobs in the business category: Front of House, Marketing, Box Office. The aim of these jobs is to interact with the public. Students are able to identify what “front of house” refers to and understand the various roles of a theatre company’s front of house members.

Students will also explore how a show is marketed and demonstrate their knowledge of marketing by creating a simple marketing campaign for an original show. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

Join now for instant access

Drama One Final Project

by Karen Loftus

The final project will incorporate multiple areas that students have studied over the course of the year/semester: playwriting, acting, scenic design, and marketing. They’ll take what they’ve learned and create a 5-minute play with a monologue that they’ll perform. They’ll also describe the overall design of the show and create a ground plan and rendering for their design.

Finally, they’ll market their show by creating a poster and a press release. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

Join now for instant access

Mock Audition

by Lindsay Price

In this Mock Audition Unit, students will start by discussing the audition process. They will make connections between their personal views and the process. Students will then 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 rubric are provided for use at the end of this unit.

A short play is included that can be used as the source material. You can also choose your own play for this process.

Join now for instant access

Voice

by Anna Porter

The voice is a key element in performance and can be used in many ways. In this introductory voice unit with instructor Anna Porter, students will explore how to thoughtfully communicate character, story and emotion vocally.

Lesson one focuses on the articulators and the importance and of speaking clearly on stage. Lesson two introduces students to the use of vocal variety with pitch, tone, rate and volume. In lesson three, students develop a character with background as well as design a puppet. Lesson four brings together the elements of voice studied in this unit to create vocal characterization.

Through this four 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 puppet show performance.

Join now for instant access

Puppetry

by Jenny Goodfellow

This unit on Puppetry is designed for middle school and up, to introduce students to the material and get them comfortable with performing in a safe and low exposure environment.

This is a unit that builds to a culminating experience for your students. Each lesson is designed to explore techniques, provide opportunities for creative collaboration among your students, and give them opportunities to perform. Some of the lessons require materials to build or create puppets. Puppetry can be as easy as drawing a face on your finger for finger puppets, to actually purchasing your own finger puppets for students to use.

While the focus of this unit is puppetry, your students will explore other skills as well. There’s the obvious ones of creative thinking, teamwork, and problem solving. They are also going to explore storytelling, performing skills, and playwriting.

Join now for instant access

Theatre of the Absurd

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).

Join now for instant access

Agatha Rex and Ancient Greek Theatre

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.

Join now for instant access

Monologues

by Matt Webster

In the Monologue Unit, students will learn the building blocks of monologues while writing a simple monologue. This unit is divided into two parts.

In part one, the Monologue Writing Made Easy unit by Matt Banaszynski is reviewed or executed in full, depending on class needs.

In part two, students will dissect monologues as a vehicle for character and performance and will write more refined monologues based on existing fictional characters from fairytales or myths. Students will then rehearse and perform their monologues, as a final project for the unit.

Join now for instant access

Performing Shakespeare

by Matt Webster

In this unit, students are introduced to a series of lesson plans that explore non-traditional approaches to performing the works of William Shakespeare. By the end of the unit students will be exposed to a unique set of tools they can utilize as the foundations for analyzing, staging and performing a scene from Shakespeare’s canon. Students will then rehearse and perform a two-person Shakespearean scene.

Join now for instant access

Design

by Matt Webster

In this unit, students will explore and experiment with the basic building blocks of design: Line, Shape, and Color. Once students have a solid foundation of those concepts, they will move on to stage properties and scenic flats as additional building blocks of design. They will then apply their knowledge and skills to a series of assignments, so they can demonstrate their design knowledge and creativity.

Join now for instant access

Devising

by Corinna Rezzelle

In this unit, students will work with their peers through a series of exercises and activities designed to lead them through the process of creating, writing, rehearsing, and performing a new, original script.

Join now for instant access

The Working Playwright *Hyperdoc

by Lindsay Price

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.

Join now for instant access

Playwriting Unit: Beginner

by Lindsay Price

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.

Join now for instant access

Playwriting Unit: 10 to 15 Minute Play

by Lindsay Price

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.

Join now for instant access

Copyright *Hyperdoc

by Lindsay Price

This unit takes students through the ins and outs of copyright, from Intellectual Property, to what is and what is not copyrightable, to Copyright and the theatre, case studies and finally the Public domain. Sections come with a variety of application methods: a research activity, a video to respond to, questions to answer, and articles to read.

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.

Join now for instant access

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.

Join now for instant access

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.

Join now for instant access

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.

Join now for instant access

Unit Five: Intro to Script Writing

by Lindsay Johnson

In this unit, students learn how to write their own scripts using correct formatting. These scripts will be more detailed than the contentless scenes. Students will learn how to write dialogue that provide information about relationships, conflicting objectives, and setting.

They’ll also learn how to correctly add expression and movement directions into the script itself. The unit will end with a partner script writing assignment which is performed in front of the class.

Join now for instant access

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.

Join now for instant access

Playwriting: Part 1

by Lindsay Price

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.

Join now for instant access

Playwriting: Part 2

by Lindsay Price

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.

Join now for instant access

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.

Join now for instant access

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.

Join now for instant access

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.

Join now for instant access

Playwriting Kickstart: Multi platform

by Lindsay Price

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.

Join now for instant access

Anti-Realism

by Wendy-Marie Martin

This unit gives students an overview of the anti-realism movement of the late 19th century and early 20th century and introduces them to some key theorists, playwrights, and theatre makers involved in this movement. Students will be introduced to the “isms” of symbolism, Dadaism, surrealism, expressionism, and absurdism along with various manifestos and theories as we track the characteristics of each “ism.”

In a culminating project, students will design an “ISMS’’ Theme Park, which they will share with the class at the end of the unit. Their project will feature each of the five “isms” in the form of rides, themed concessions areas, entertainment options, and in-park characters.

Join now for instant access

The Top Ten Playwriting Exercises

by Lindsay Price

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.

Join now for instant access

Strong Ensemble = Strong Play

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.

Join now for instant access

Copyright for Drama Teachers

by Craig Mason

An in-depth and interactive look at copyright as it applies to school theatre programs. Learn about how works become copyrighted, how long it lasts, how to get permission to use copyrighted work, and more.

Join now for instant access

Breath Control and Projection

by Elisabeth Oppelt

In this course, you will learn what breath control and projection are, how to breathe from your diaphragm and speak loudly without yelling, and how to teach these skills to your students. Led by teacher and singer Elisabeth Oppelt, this course will be helpful both in your teaching practices and in creating material to teach your students. This course also includes both formal and informal assessments for you to use in your classroom.

Join now for instant access

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!

Join now for instant access

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!

Join now for instant access

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.

Join now for instant access

Tech for Non-Techies: Teaching Technical Theatre in Your Drama Classroom

by Josh Hatt

In this course, instructor Joshua Hatt shows you how to unpack your drama standards, articulate what you want your students to know and be able to do. The material explores how to incorporate lights, sound, makeup, staging, and costuming into your drama class at any grade level regardless of your school resources or unit structure. Bells and whistles? Awesome! Barely a classroom? We’ve still got you covered.

This 9 lesson series works from the basics and standards, though lighting, sound, costuming, staging, and makeup design, and culminates with a final project including rubrics, resources, and handouts.

A wise theatre technician once said: “the theatre mirrors life but technical theatre teachers us how to live.” Try to keep that statement in mind as you work through this course and see if we can make you a believer in all things technical theatre.

Join now for instant access

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.

Join now for instant access

Hands-On Theatre History: Creating a Modern Day Morality Play

by Wendy-Marie Martin

Who says theatre history has to be boring? Hands-On Theatre History: Creating a Modern Day Morality play is an interactive course by Wendy-Marie Martin, combining hands-on activities with research and analysis techniques leading to a full performance of the popular medieval morality play, Everyman.

This course gives students an overview of the medieval period and the various medieval play forms and teaches students the key points of storytelling and adaptation.

It includes dynamic individual and group exercises leading students from the first steps of the adaptation process through a final, full-class performance of Everyman—and proves, once and for all, that theatre history can be fun and exciting to learn.

Join now for instant access

Hands-On Theatre History: Anti-Realism

by Wendy-Marie Martin

This course is a mix of individual and group activities requiring students to use both their analytical and creative mind. It gives students an overview on the Anti-Realism movement of the late-19th and early-20th century, and introduces them to some key theorists, playwrights, and theater makers involved in this movement.

Together we will guide students through the wild world of the “isms,” more specifically Symbolism, Dadaism, Surrealism, Expressionism and Absurdism. We will introduce students to various manifestos and theories as we track the characteristics of each of our five “isms.” As we combine analysis and creative exercises, students bring their entire self to process and prepare to design an ISM Theme Park project, which they will share with the class at the end of the course.

Join now for instant access

View all Standards for Alberta, Canada    Standards Master List

We are an approved continuing education provider in the following states, and provide PD certificates to be used in districts around the world. Click here for more details.

Approved PD Provider, State of Arkansas
Approved Provider of PDPs for Massachusetts
Approved Provider of Montana OPI Units, Montana Office of Public Instruction
Approved PD Provider, State of Pennsylvania
Approved CPE Provider, Texas Education Agency
Provider of Professional Development Credits, State of Wyoming
© Copyright 2015-2021 DramaTeacherAcademy.com