Texas Essential Knowledge and Skills for Theatre Arts
HS 117.316 LII - Critical evaluation and response

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.

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.

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 humour. There are so many different ways to approach a unit on improvisation. Keep in mind that you will have students who are really excited about this unit and some students who dread it. It’s best to start with low-risk games and exercises and then build up to higher-risk ones. Low-risk games in this situation mean partnered interactions that aren’t shared with the whole class.

Students will discover, 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

Students will explore the structural elements of a play: character, objective, obstacles, tactics, resolution, and raising the stakes. They will also learn how to write character-driven dialogue and stage directions. Students will work in groups to create and present a short play.

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).

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Taking risks, learning to see failure as a gift, finding courage when we don't feel it, and having the awareness that what we say has an impact are social and emotional skills students will take beyond the classroom. These are skills that can be built through improv exercises. The exercises in this unit are designed to create a safe environment in which students can go beyond their old patterns to take risks, embrace failure, and be more confident and aware of the effects of their word choices. Improv gives you the opportunity to draw attention to these important concepts and to talk about them.

In this unit, students will write a monologue authentic to their unique voice rather than to a Eurocentric canon model. We are going to decolonize the monologue. The goal in decolonizing monologues is to be inclusive of all voices in the classroom and to allow those voices to grow out of the unique style and cultural background of every student.

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.

In most units that cover the Theatre of the Absurd, the number of playwrights addressed are few and the time period is limited. While it is certainly true that the era identified as “The Theatre of the Absurd” was a reaction to the distorted reality of life after World War II, there are many environments that create distorted realities and many playwrights who use those realities as catalysts for absurdist plays. In this unit, we will start with a traditional look at the Theatre of the Absurd and then expand our exploration beyond its origins.

In this unit, students will create a performance of a spoken word poem designed to engage, entertain, and affect an audience. They will also write a poet’s statement in which they describe the purpose(s) or inspiration(s) of their poetry. This is not a technical writing unit and is geared more toward students self-expression and engaging an audience. If your students are not skilled poets, this unit is still accessible.

Adaptation is a fabulous classroom project: it requires students to analyze, adapt, modify, plan, synthesize, and devise. However, it takes skill to write a successful adaptation; you can’t just throw a narrator into a script and consider the work done. In this unit, students will go through a step by step pre-writing process in order to prepare them to write their own adaptations. They will learn and practice the elements of adaptation before writing the first draft of their own theatrical adaptations.

Shakespeare is sometimes avoided in the drama classroom because not only do the students not want to take on the language difficulties but neither do the teachers. Monologue and scenework becomes more challenging and a lot of times, students falter in their blocking action and character development because they are so challenged. How do we give students the opportunity to rehearse and present Shakespearean text as they would modern text? In this play study unit, students will read a Shakespeare play while learning specific tools and techniques in order to stage text from that play. And more often than not, these techniques are ones that they have already used with other plays. It’s all about reframing Shakespeare so that students enjoy the experience of bringing the characters and stories to life.

In this unit, students will learn and apply knowledge about musical theatre history. Two different approaches are provided to give you a variety of ways to apply this unit. Note that a class period is defined as 75 minutes. If your classes are longer or shorter, adjust accordingly.

In this unit, students will look at the real world of musical theatre. They will learn about roles that keep professional musical theatre shows running (such as swings and understudies). They will reflect on advice from musical theatre professionals on how to make it to Broadway, and for a culminating project, they will research and present on the career of a musical theatre performer.

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.

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.

Screenplays 101 is divided into two separate units: Basic Structure and Basic Formatting. It is highly recommended that you complete the Basic Structure unit before moving on to the Basic Formatting unit. In this unit, we will focus on a basic history of screenplays, screenplay terminology, and the most common screenplay structure in film—the three-act structure. Theatre is important because it allows our young artists to be trained and learn about work ethic and discipline, and it creates community. But, we should also give our students opportunity and access to the cinematic arts. This is primarily a lecture-based unit with a lot of new information, with opportunities for students to apply knowledge including a final culminating project.

This is a research, read, discuss, and apply theatrical literature unit. Students will study the play The Crucible by Arthur Miller. The Crucible is Miller’s most produced play. There are hundreds of high school productions each year, and the play is in many high school curricula. As with every Miller work, there is much to discuss and many rich themes to explore. The unit is divided into three sections. Each section is a complete set of lessons. You can choose to do all three sections, or if you have your own way to teach the play, you can pick and choose exercises.