View all Standards for Alberta, Canada

work with abstract concepts

UNIT

Commedia Dell'Arte

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.

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UNIT

Scenic Design

by Karen Loftus

This unit will focus on the basics: what is scenic design? How do the scenic designer and director collaborate? What is the process that the scenic designer goes through? The unit will also explore basic drafting techniques, and rendering techniques.

Based on what they learn, students will create a ground plan and a rendering. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials.

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UNIT

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.

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UNIT

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.

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UNIT

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.

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UNIT

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).

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UNIT

Shakespeare Performance

by Anna Porter

In this unit by Anna Porter, students are introduced to the works of Shakespeare and explore how to bring a character to life in a monologue performance. Students are also introduced to the tools to help them unlock meaning in Shakespeare’s text. Through this eleven lesson series, students will participate in class discussions, activities and performance. Assessment tools include informal assessment, submission of textual analysis work and a final performance.

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UNIT

Unlocking Shakespeare's Text

by Anna Porter

Shakespeare’s text holds valuable tools that students can use to unlock and understand meaning. In this unit by Anna Porter, students explore how to use the tools of research, context, textual analysis, imagery and punctuation to help them unlock meaning in Shakespeare’s text. This unit is created for an Intermediate to Advanced drama class with a basic background in plot structure and acting technique.

Through this five lesson series, students will use journals, participate in class discussions, activities and performance to explore the tools used to unlock a text. Assessment tools include informal assessment as well as a final group presentation and performance.

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UNIT

Costuming

by Holly Beardsley

A costume designer and a costumer are two different things. A costume designer creates pieces from the drawing board to the stage, while a costumer pulls from already existing pieces to create fully realized characters. This means that the approach is different.

In this six lesson unit students will learn the tools of a successful costumer. They will start by reflecting on their own personal style and the choices that go into that style. They’ll move on to look at versatility and adapting costume staples, creating a costuming vision, period clothing as the costumer, how to use the colour wheel as a costuming tool and everything culminates in a final project (two options).

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UNIT

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.

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UNIT

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.

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UNIT

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.

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UNIT

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.

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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

Commedia dell'Arte

by Todd Espeland

Commedia dell’arte is a 16th century masked acting form. It is the basis of all comedy, including all tv sitcoms. This form is characterized by masked types and archetypical characters and a specific way of playing comedy. To that end, this unit is divided into two parts.

Part One focuses on the foundations of commedia - playing comedy. These principles will be important to learn when it comes to developing commedia characters, specifically the physicality of the characters. Part Two will cover lazzi.

Note: there are links to video demos in many of the lessons of this unit.

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UNIT

Commedia dell'Arte

by Todd Espeland

Commedia dell’arte is a 16th century masked acting form. It is the basis of all comedy, including all tv sitcoms. This form is characterized by masked types and archetypical characters and a specific way of playing comedy. To that end, this unit is divided into two parts.

Part One focuses on the foundations of commedia - playing comedy. These principles will be important to learn when it comes to developing commedia characters, specifically the physicality of the characters. Part Two will cover lazzi.

Note: there are links to video demos in many of the lessons of this unit.

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UNIT

Elements of Costume Design *Hyperdoc

by Anna Porter

In this unit, students will explore and collaboratively take on the role of costume designers. Students will explore the elements of design, director’s concept, and the considerations for costume design. They will then apply this knowledge in a culminating project.

This unit has been designed to integrate technology into the curriculum. Students will utilize technology throughout via HyperDocs, internet research, and Google tools such as Google Drive, Google Forms, Google Slides, and Google Docs. A digital Learning Tools Introduction resource is provided for additional help in using the different tools and applications.

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UNIT

Introduction to Film Analysis: Mise en scène

by Lindsay Price

Lindsay Price has developed this Introduction to Film Analysis Unit: Mise en scène. In order to develop visual literacy, students have to be able to analyze what they see. In a film, the composition of everything you see on screen is called mise-en-scène. In this unit, students will explore the individual elements that make up mise-en-scène, be able to identify those elements in stills and film scenes, and apply their knowledge in a culminating analysis activity.

Heads up. You’re going to need some technology for this unit. Students need to be able to view, either as a class or 1:1 images, a google slide deck and selected film scenes.

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UNIT

Scenic Design

by Karen Loftus

Students will explore the creation of an environment through the art of scenic design. They will identify what scenic design is and how it helps to tell a story in theatre. Students will also identify and demonstrate some skills of a scenic designer as they analyze an excerpt of a script for scenic clues and demonstrate basic drafting and rendering.

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UNIT

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

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

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

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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PD COURSE

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.

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PD COURSE

Working With Monologues For Rehearsal And Development

by Gai Jones

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. You'll outline a curriculum for your classroom and tie the learning benchmarks to the new National Theatre V&PA standards, as well as to Ontario and BC curriculum expectations.

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PD COURSE

The Do-it-All Director's Introduction to Costuming

by Holly Beardsley

Do you know the difference between a bustle and a buckram frame? Or what works best as an emergency hem? Some directors are blessed with a big budget and a full support staff—a choreographer, a set designer, and a costumer. But the drama teacher often becomes director, choreographer, set designer, and costumer all in one.

And a budget? What’s a budget? The Do-It-All Director’s Introduction to Costuming will give you, the director, who must do it all, the confidence and skills to costume and direct, no matter your experience or budget. This course will teach you costuming basics, budget tricks, organization, and most importantly, the art of costuming as a director.

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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

Serious Play: Theatre Games and Warmups for Rehearsal and Ensemble Building

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.

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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

Concept-Based Design for the Theatre Teacher

by Matt Webster

Concept-Based Design is a method of design that allows the director and production team to create a unified world based on the ideas, perceptions and images extracted from an in-depth analysis of the play. Matt Webster designed this course for theatre teachers in a typical school setting with limited budgets, space and materials to use towards the design of their shows. Many theatre teachers feel most unsure about their design and tech skills and Matt wanted to help those teachers look at design differently, and make designing a show a little less scary and a little more fun!

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PD COURSE

Yes, And... How to Teach Improv

by Jennine Profeta

“Yes, and…” is the guiding principle behind all improv. This course will teach you how to teach improv, and more importantly how to give feedback to your students. The course looks at making strong offers and also using gibberish to ironically improv communication skills. You will also see how feelings can safely be used to add flavour and get laughs in our scenes.

Jennine Profeta, Second City performer and theatre educator, leads this course with a clear methodology for teaching and giving positive nurturing feedback. This course will give you all the tools and the insight you need to teach improv with confidence.

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PD COURSE

Commedia I: Playing Comedy

by Todd Espeland

Commedia dell’arte is a 16th Century masked acting form. It’s the basis of all comedy and it’s a form that many teachers want to include in their curriculum.

Instructor Todd Espeland has designed two courses that work hand-in-hand with teaching this fantastic physical form.

In Commedia I: Playing Comedy - Todd teaches the principles of comedy through four key elements: status, appetite, swing, and intention/invention. This course provides an excellent foundation upon which to explore Commedia to its fullest. Includes bonus videos, handouts, reflections, and exit slip question ideas for each lesson.

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PD COURSE

Commedia II: Style

by Todd Espeland

Commedia dell’arte is a 16th Century masked acting form. It’s the basis of all comedy and it’s a form that many teachers want to include in their curriculum.

Instructor Todd Espeland has designed two courses that work hand-in-hand with teaching this fantastic physical form.

In Commedia II: Style - Todd moves on to the specific style of Commedia dell’arte. This includes a history of commedia, the stock characters and how to physicalize them, sample lazzi and a capstone assignment. The course includes video demonstrations so you can see the exercises and activities in action.

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PD COURSE

Coaching Improv

by Jennine Profeta

Second City performer and theatre educator Jennine Profeta is back and ready to help you take your Improv classes to the next level. It’s all getting students to perform - and how to be a great improv coach who can keep them supported and grounded (and having fun!)

In this course, you’ll learn the golden rules of improv. You’ll learn a bunch of improv games (great for warm-ups, teaching tools, and even for competitions). You’ll learn Jennine’s tips and tricks for what to look for when coaching and how to troubleshoot common issues.

The course is designed to help you improv as an ensemble and give you the know-how to coach with confidence whether it’s in the classroom or on the stage!

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PD COURSE

Using SketchUp in the Classroom

by Ray Palasz

Instructor Ray Palasz leads this introductory course in using SketchUp in the classroom.

This course is broken down into five easy modules. One, downloading the program. Two, getting started with using the program. Three, drawing two and three-dimensional objects. Four, using the 3D warehouse, which will save you and your students tons of time. And five, a sample assignment and assessment for your students.

Each module also comes with a handout with visuals from SketchUp to guide you through the process. You will learn how SketchUp can add so much to your program.

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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

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

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

Exploring Viewpoints

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.

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PD COURSE

Mindfulness & Wellness in the Drama Classroom

by Claire Broome

In this course, instructor Claire Broome shares what mindfulness is, and why it is so important in the Drama Classroom. The course covers how mindfulness and wellness can help both students and teachers.

Claire discusses how to prepare students for this kind of learning, and provides various activities to bring into your classroom, as well as a variety of extensions for these activities that can be applied to character creation and possible projects.

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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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