Alberta, Canada
Improvisation Drama 10

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 two-person pantomime performance.

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 are putting everything they’ve learned into a final package, including writing, rehearsing, and performing.

Musical Theatre has two components that separate it from straight plays: song and dance. This unit gives students the opportunity to try out both. In musical theatre, music signifies heightened emotion. We can’t express ourselves with just words, we need music (and through extension, song and dance) to take it further.

This unit includes three lesson plans:

1. Acting the Song - “Musical Tactics”
2. Acting the Song - “Textual Analysis”
3. Introduction to Dance

A solo performance assignment is also included, and the unit includes assessment tools - rubrics, reflections, and self-evaluations.

In this unit, students will be introduced to a key element of performance: the voice. Students will explore how to thoughtfully communicate character, story, and emotion vocally. Students will begin by exploring articulation so that they understand the importance of clearly communicating their words onstage. They will further build on this with the following lesson on the different vocal varieties of pitch, tone, rate, and volume.

The final lesson helps students explore vocal characterization as well as the details and layers that can bring that character to life vocally. This unit study of the voice culminates in a final puppet show where students are asked to bring a story and character to life by using vocal variety, articulation, and characterization.

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.

Musical theatre performers use their bodies to sing, to dance, and to act. We must think of our bodies as instruments and learn to use our instruments properly in order to be better musical theatre performers.

The overall objective with this unit, by Annie Dragoo, is for students to demonstrate an understanding of the use of good movement as it connects to musical theatre. Some of the activities include using action verbs, moving as animals and inanimate characters, nonverbal communication and situational movement. Students will then perform a scene that will allow them to put to practice all the movement techniques they have learned.

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.

This is an in-depth unit with instruction and activities about the Stanislavski acting method. It is followed by scene work in which students learn how to score a scene, do a comprehensive character analysis, and use what they have learned in rehearsals in a performance. Students will also watch their own work and evaluate their process after the performance.

The purpose of this unit is to give students an introduction and understanding of Stanislavski’s method and to put it into use as they prepare scenes for performance. After seeing their work, and spending time reflecting on how they used the principles of the method, students should take away a concrete understanding of how to prepare a role for performance.

The unit has been adapted for a virtual environment.

This is an in-depth unit with instruction and activities about the Stanislavski acting method. It is followed by scene work in which students learn how to score a scene, do a comprehensive character analysis, and use what they have learned in rehearsals in a performance. Students will also watch their own work and evaluate their process after the performance.

The purpose of this unit is to give students an introduction and understanding of Stanislavski’s method and to put it into use as they prepare scenes for performance. After seeing their work, and spending time reflecting on how they used the principles of the method, students should take away a concrete understanding of how to prepare a role for performance.

“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.

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!

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!

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.

Jennine Profeta, Second City performer and theatre educator, leads this course. This course was designed to give a teacher tools to create a safe environment in which students can go beyond their old patterns to take risks, embrace failure, be more confident and aware of the effects of their word choice. The course includes modules on risk-taking, creating a safe environment, failure, confidence, and positive/negative speak.