drama teacher academy executive summary · 4 drama teacher academy drama teacher academy overview...

DRAMA TEACHER ACADEMY EXECUTIVE SUMMARY

Professional Development on Demand for drama and theatre educators.

“Joining this program has been one of the best professional development choices I have made! Oftentimes, theater teachers are basically alone on staff and [DTA] has provided a means of feeling connected to others with common interests and teaching challenges!”

- Linda Hahn

DRAMA TEACHER ACADEMY EXECUTIVE SUMMARY

Drama TeacherACADEMY


The Drama Teacher Academy

Do you provide relevant Professional Development for your drama teachers?

The DTA allows teachers to invigorate their teaching and take what they’ve learned immediately back to the classroom. From literacy connections through reading, writing, and script analysis to twenty-first century skills like critical thinking, and group work, teachers can use theatre as a power teaching tool.

Each video course provides teachers with connections to common core standards as well as state standards. In fact, the DTA will help you to hit ALL of your theatre state standards!

DTA courses help teachers diversify their teaching and reach out to struggling readers, students with learning challenges, and English Language Learners. The DTA provides the professional development theatre teachers need, want, and can easily use every day in their classroom.

Drama TeacherACADEMY Contents

IntRoDUCtIon to teACHInG MAsK ALLISON WILLIAMS ................................................................6

BIG PICtURe BloCKInG TODD ESPELAND ......................................................................................... 11

oRGAnIzeD CHAos: DIsCIPlIne In tHe tHeAtRe ClAssRooM MATT WEBSTER .............. 15

FRIenDly sHAKesPeARe TODD ESPELAND ....................................................................................... 18

tHe toP ten PlAywRItInG exeRCIses LINDSAY PRICE .............................................................. 22

stRonG enseMBle = stRonG PlAy CRAIG MASON ...................................................................... 26

FRoM AUDItIon to CURtAIn CAll: DIReCtInG yoUtH tHeAtRe STEVEN STACK ............ 30

MIssIon PossIBle: CReAtInG A VIsIon FoR yoUR PRoGRAM AMY PUGH PATEL ............ 35

woRKInG wItH MonoloGUes FoR ReHeARsAl AnD DeVeloPMent GAI JONES ........... 39

tHe Do-It-All DIReCtoR’s IntRoDUCtIon to CostUMInG HOLLY BEARDSLEY .............. 45

CoPyRIGHt FoR DRAMA teACHeRs CRAIG MASON ....................................................................... 49

lABAn: ADVAnCeD CHARACteRIzAtIon TODD ESPELAND ......................................................... 53

seRIoUs PlAy: tHeAtRe GAMes AnD wARMUPs TODD ESPELAND ........................................ 59

BReAtH ContRol AnD PRoJeCtIon ELISABETH OPPELT ........................................................... 63

Close ReADInG In tHe DRAMA ClAssRooM LINDSAY PRICE .................................................... 66

ConCePt-BAseD DesIGn MATT WEBSTER ......................................................................................... 72

IntRoDUCtIon to stAGe MAnAGeMent KAREN LOfTUS .......................................................... 78

yes, AnD . . . How to teACH IMPRoV JENNINE PROfETA ........................................................... 82

GooGle DRIVe In tHe DRAMA ClAssRooM JOSHUA HATT ....................................................... 86

tHe Do-It-All-DIReCtoR’s IntRoDUCtIon to set DesIGn HOLLY BEARDSLEY .............. 92

CoMMeDIA I: PlAyInG CoMeDy TODD ESPELAND ........................................................................... 97

CoMMeDIA II: style TODD ESPELAND .............................................................................................. 101

oRDeR FoRM ............................................................................................................................................ 106

testIMonIAls ......................................................................................................................................... 107

4 DRAMA TEACHER ACADEMY

Drama Teacher Academy Overview

• Video Courses comprised of 5-10 modules, each course comes with a transcript of each module, mp3 files, handouts, Powerpoint slides

• Objective-based lesson plans covering multiple areas such as acting, script analysis, playwriting, group exercises, theatre history and more.

• Printable PDf resources to assist in classroom exercises and to hang on your classroom walls. Items include: punctuation reminders, writing prompts, and idea generators such as location, action and character lists.

• A private online facebook group that gives teachers a “learning community.” Ask questions of veteran teachers, give advice, and share successes.

• Monthly online Professional Learning Commun-ity (PLC) events with guest hosts, on a range of topics specific and relevant to drama educators.

The DTA provides teachers with courses, lesson plans, and resources that work. Video courses in areas such as classroom management, playwriting, mask work, Shakespeare, ensemble work and more. Also provided are objective-based lesson plans that have been tested and proven successful by veteran teachers. These along with visual and online resources provide a learning environment for teachers like no other.

While conferences and books are terrific and helpful, they can present some challenges. What happens when you don’t have time to write down all of the information during a workshop? What happens when you are having a challenge envisioning how the exercise described in a book should look? The DTA’s video examples of each exercise models it for you and since the videos are available 24/7, you can always come back to review, re-watch, and reflect on the material in the course.

The DTA allows teachers to invigorate their teaching and take what they’ve learned immediately back to the classroom. from literacy connections through reading, writing, and script analysis to twenty-first century skills like critical thinking, and group work, teachers can use theatre as a power teaching tool. Each video course provides teachers with connections to common core standards as well as state standards. In fact, the DTA will help you to hit ALL of your theatre state standards! DTA courses help teachers to diversify their teaching and reach out to struggling readers, students with learning challenges, and English Language Learners. The DTA provides the professional development theatre teachers need, want, and can easily use every day in their classroom.

5DRAMA TEACHER ACADEMY

Drama TeacherACADEMYCommon Core Connections

CCss.elA-lIteRACy.Rl.9-10.1Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

CCss.elA-lIteRACy.Rl.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

CCss.elA-lIteRACy.Rl.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

CCss.elA-lIteRACy.Rl.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

CCss.elA-lIteRACy.Rl.9-10.5Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

CCss.elA-lIteRACy.Rl.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.

CCss.elA-lIteRACy.Rl.9-10.9Analyze how an author draws on and transforms source material in a specific work (e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare).

CCss.elA-lIteRACy.Rl.9-10.10By the end of grade 9, read and comprehend literature, including stories, dramas, and poems, in the grades 9-10 text complexity band proficiently, with scaffolding as needed at the high end of the range.

6 DRAMA TEACHER ACADEMYINTRODUCTION TO TEACHING MASK

IntRoDUCtIon to teACHInG MAsK

Instructor: ALLISON WILLIAMS

Materials: Video modules, Handouts, Transcripts, MP3 files, PDf of Powerpoint Slides, Completion Certificate

Video length: 13 modules, Total running time: 2hrs 13 min


7DRAMA TEACHER ACADEMY INTRODUCTION TO TEACHING MASK


0. Introduction (6:23)We use masks as a way to explore physical movement and expand an actor’s physical range, a way to create mask characters for plays like commedias or movement or mask-based plays, and as a way to develop their physical characterization that they can later use playing a regular role without a mask.

1. the Running Man (3:51)Explanation and video demonstration of two different stu-dents performing the exercise “The Running Man”

2. exploring Architecture of the Mask (5:49)Identifying specific shapes in a mask and really encour-aging our students to get really specific with what they see, and how to put those shapes into a character body, and that’s how we start exploring the architecture of the mask.

3. Character zero (24:59)Objectives of the is module: Definition of character zero; How to we use the body to create a character zero; how to physically commit to that body before moving; how to coach your students to make bigger choices both in their character zeroes and in their movement; and how to side-coach in a way that encourages the students to make big-ger choices while continuously performing the exercise.

4. the Qualities of Movement (28:58)Objectives of this module: the eight qualities of movement as described by Rudolph Laban; how to instruct your stu-dents in the physical exploration of those qualities; how to coach the specific effort factors of each quality; how to bring the students from an exaggerated expression of the quality to a more subtle realization that’s appropriate for a more realistic play.

4B. the Qualities of Movement in Mask (4:30)How to apply the qualities of movement to mask work.

5. Mask and Countermask (13:15)How to combine the qualities of movement with a mask character.

5B. the Qualities of Movement with Countermask (3:11)

What is counter mask and how to combine the qualities of movement with counter mask.

6. Mask scenes (6:20)How your students can create short solo and duo impro-vised mask scenes; and how your students can start acting as mask characters.

7. Using Mask technique to explore an Unmasked Role (8:58)

How to take everything learned so far and apply these exercises to a “normal” play; and how to lead students in mask exercises in a way that supports character develop-ment.

8. taking Mask into text (16:06)How to lead students in mask exercises that physicalize the text; how to associate specific gestures with text; and how to scale down mask-work into realistic acting.

8B. Using Qualities of Movement to explore text (5:13)

Exercise exploring the qualities of movement and how to coach students to go from those exaggerated expression to a more subtle version that can be used with a script.

9. wrap Up (5:28)Review of overall objectives, course materials, and how to take these newly-learned techniques directly into the classroom.

Grade levels: 6-12

MODULES



Instructor: ALLISON WILLIAMS

“What I love most about mask is how, by covering their faces, the students are able to find freedom to express themselves physically. They often make bigger choices than we’re normally used to seeing

them make in class.By working through the exercises in this course, you, the teacher, will also gain an understanding of basic physical acting and learn some easy specific tools to coach your stu-dents – not just in mask, but in all their performance work.”

Throughout this course, teachers will learn how to guide students through mask exercises that allow the stu-dent to physically present both characters and abstract ideas. Non-verbal communication is emphasized as a way to help a student determine how body language com-municates thoughts, ideas, and characters.

In addition to teaching communication through body language, Introduction to Teaching Mask, provides an effective way to assess student knowledge of literature as they analyze complex characters, themes, and cultur-al points of view. Students are given a way to synthesize what they’ve discovered through their readings by ex-pressing it kinesthetically. Mask work allows for a safe en-vironment for students to develop their ability to express ideas visually, and it serves as a wonderful way for Eng-lish Language Learners to demonstrate key concepts and understandings. Students are then able to journal their responses to the work in class as well as use the work as a springboard to playwriting and written analysis.

About the InstructorAllison Williams trained in mask and movement theatre and playwriting, and holds a BA in Theatre from Eckerd College and an MfA in Playwriting from Western Michigan University.

She has been a member of the theatre faculty at West-ern Michigan University and Kalamazoo College, and served as a guest artist in residence at Rollins College, Uni-versity of Missouri-Kansas City, University of Nevada-Las Vegas, Otterbein College, the University of South florida, Writer’s Wing in Mumbai, India, and the International Community Theatre Conference in Monaco. Allison has guest directed for the Kentucky Shakespeare festival, the Kalamazoo Symphony Orchestra, American Stage and The Rosebud Company (Off-Broadway).

Her plays include the Heidemann Award finalist MISS KENTUCKY, the Mark Twain Humor Writing Award finalist POSTCARDS fROM SHAKESPEARE and the London fringe Best Of fringe winner, TRUE STORY as well as several scripts widely produced in high schools. Her radio trilogy, DEAD MEN DON’T CARRY HANDBAGS, DEAD MEN DON’T JAYWALK, and DEAD MEN DON’T CATCH BOUQUETS aired on National Public Radio.

She has also written for Canadian Broadcasting Cor-poration, The New York Times and The Christian Science Monitor. As a storyteller, Allison has performed at Lon-don’s Theatre Royal and Rich Mix, filocafe in Mumbai and The Kautilya Society in Varanasi, India. She is a two-time winner of The Moth StorySLAM.

Currently, Allison is the Artistic Director of Aerial Angels, and has led the creation of fallen (Bible women + circus), Sleepwalkers (Grand Guignol + circus) and Stand Up 8 (re-ality circus). Their company outreach program, Starfish Circus, trains 2000 K-12 students every year in circus arts, problem-solving and courageous action.

Allison splits her time between the USA and the United Arab Emirates, where she also freelances as an event pro-ducer for Dolphin Creative.

CURRICULUM AND STANDARDS

9DRAMA TEACHER ACADEMY INTRODUCTION TO TEACHING MASK


Common Core Connections10.3 Analyze how complex characters (e.g.those with mul-tiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

10.6 Analyze a particular point of view or cultural experi-ence reflected in a work of literature from out the United States, drawing on a wide reading of world literature.

Florida sunshine state standards - theatre 9-12TH.912.C.2.1 Explore and describe possible solutions to production or acting challenges and select the solution most likely to produce desired results.

TH.912.O.2.2 Perform a scene or monologue in a non-traditional way that stays true to its dramatic struc-ture and can be justified within the script.

TH.912.F.1.1 Synthesize research, analysis, and imagina-tion to create believable characters and settings.

TH.912.C.1.5 Make and defend conscious choices in the creation of a character that will fulfill anticipated audience response.

texas theatre teacher standardsTeachers are able to . . .

3.5s Apply methods for guiding actors in creating roles and developing character relationships;

5.1s Analyze and evaluate influences on theatre in differ-ent times, places, and cultures;

5.2s Analyze ways in which specific dramatic texts and contemporary theatre conventions reflect theatre herit-age;

5.3s Analyze the development of dramatic forms, produc-tion practices, and theatrical traditions across cultures and historical periods;

2.9s Apply knowledge of techniques for engaging in en-semble work and collaborative creative processes;

texas essential Knowledge and skills for theatre Arts8.1.C Create expressive movement and pantomime to de-fine space and characters.

8.1.D Create setting, character, and plot in improvised and scripted scenes

8.2.A Demonstrate safe use of body (and voice)

8.2.C Portray characters through familiar movements and (dialogue)

north Carolina essential standards theatre ArtsB.C.1.1 Use non-verbal expression to illustrate how hu-man emotion affects the body and is conveyed through the body.

B.C.2.1 Use improvisation and acting skills, such as obser-vation, concentration, and characterization in a variety of theatre exercises.

B.C.U.2.2 Use acting conventions, such as stage presence, subtext, style, and ensemble work, to perform formal or informal works.

I.C.1.1 Use non-verbal expression to illustrate how human motivations are prompted by physical and emotional needs.

I.C.2.2. Interpret scenes through formal and informal presentations.

P.C.1.1 Use non-verbal expression and physical self-aware-ness to communicate movement elements and character-ization, including size, weight, and rate of movement.

P.C.1.3 Create original works, such as monologues, scenes, or performance pieces.

A.C.1.1. Use non-verbal expression and physical self-awareness to communicate movement elements and characterization, including differentiation between mul-tiple characters.

A.CU.1.1. Interpret theatre arts from personal, cultural, and historical contexts.

A.CU.2.2 Integrate conventions and structures of theatre when creating formal or informal theatre productions.




British Columbia• demonstrate trust in self and others through class ac-

tivities and individual and ensemble performances

• use subtlety and nuance in expressive communication

• compare their own thoughts, feelings, and beliefs with those of others

• make reasoned choices within the boundaries of the dramatic situation

• make movement choices to create a specific effect

• choose appropriate physical and vocal expressions to enhance drama

• concentrate on role while sustaining and developing situations

• apply vocal and physical techniques to create role and character

• use objects as symbols of abstract concepts in a drama

• select appropriate dramatic forms for representing particular ideas and experiences

• analyse the motivations, objectives, obstacles, and ac-tions of a character

• represent concepts from original and scripted work through presentation

• use knowledge of diverse cultures and historical peri-ods in developing work

ontarioA1.2 select and use appropriate forms to suit specific purposes in drama works

A1.3 use role play to explore, develop, and represent themes, ideas, characters, feelings, and beliefs in producing drama works

A2.1 use the elements of drama to suit an identified purpose and form in drama presentations

A2.2 use a variety of conventions to develop character and shape the action in ensemble drama presentations

A3.1 identify and use a variety of techniques or methods for establishing a rapport between performer and audience

A3.2 use a variety of expressive voice and movement techniques to support the depiction of character

B2.4 identify ways in which dramatic exploration promotes an appreciation of diverse cultures and traditions

C2.1 describe the origins and development of various drama forms, elements, conventions, and techniques

C3.2 identify and apply the skills and attitudes needed to perform various tasks and responsibilities in producing drama works

C3.3 demonstrate an understanding of theatre and audience etiquette, in both classroom and formal performance contexts


11DRAMA TEACHER ACADEMY BIG PICTURE BLOCKING

BIG PICtURe BloCKInG

Instructor: TODD ESPELAND


Video length: 10 modules, Total running time: 2 hr 3min


12 DRAMA TEACHER ACADEMYBIG PICTURE BLOCKING


1. Introduction (4:49)

2. warm up (11:46)Warm-ups subtly lay the foundation for the lessons that you’re going to teach in your workshop and they should let the participants know what to expect and what you ex-pect from them in the workshop.

3. PAsto (17:40)Learn this method of text analysis that will help you iden-tify the major pillars of storytelling in the play and to come up with ideas to help conceive the play and actually put the play into production.

4. Keywords (15:22)Keywords create specific ideas that you can then imple-ment on-stage to tell the story of the play.

5. PAsto and Hamlet (18:40)This module takes what you’ve learned about PASTO and Keywords and gives you concrete examples using Shake-speare’s Hamlet.

6. starburst (10:56)Starburst is going to consist of learning a series of design ele-ments that are used in dance and that are used in visual arts. These design elements are intended to create harmony, dir-ection, tension, and storytelling within your pictures.

7. starburst: Part two (14:52)This module continues on with the tools of the “Starburst” model.

8. Building Pictures (13:05)This module reviews the elements of Starburst and then walks the viewer through actually building pictures using the elements such as repetition and filling space.

9. starburst, PAsto, and Hamlet (10:04)This module continues to build on the work done with PASTO, Hamlet and Starburst. You’re offered concrete ex-amples of the exercises as well as side coaching informa-tion.

10. wrap Up (5:57)A review of the tools presented in this class that will help you to become a visionary director and craft plays that are vibrant and are exciting worlds for your actors to play in and for your audience to experience

Grade levels: 6-12


“This class was developed to help the director who may be pulled in different directions focus on the story of the play, the storytelling, make discoveries about the storytelling and, most importantly, find

different ways to physically tell the story through vibrant stage pictures.”

Through analysis, questioning, and physical explora-tion, “Big Picture Blocking” helps you and your students to tell a story in an innovative way. Both actors and direc-tor, through specific exercises, are able to work in groups to create stage pictures to support the story. Through this group work and a combination of physical exercises, writ-ten analyses, and keyword brainstorming, students reach the highest level of learning by becoming self directors. In addition to dramatic performance, students and directors will explore theme, mood, and figurative language which will help them to delve into the design aspects of theatre production as well.

MODULES

13DRAMA TEACHER ACADEMY BIG PICTURE BLOCKING


About the InstructorTodd Espeland is the Artistic Director of Commedia Zuppa (www.czuppa.com) and a graduate of the internationally renowned Dell’ Arte School of Physical Theatre in Blue Lake, California. While at Dell Arte, Todd did extensive post-graduate work in mask, clown Commedia Dell’ Arte and physical theatre.

He recently completed his MfA in Directing at the Uni-versity of Nevada, Las Vegas, where he directed such plays as On the Verge, Equus and toured work to the Adelaide fringe festival in Adelaide Australia. While in Las Vegas, Todd was a clown consultant on Cirque du Soleil’s show Zumanity, working alongside lead Cirque clown Shannan Calcutt.

With Commedia Zuppa Todd has toured nationally and internationally, directed, served as a specialist and artist-in-residence off-Broadway working on the one man show Orson, and at many regional theatres such as the Kentucky Shakespeare festival, and the Nevada Conserv-atory Theatre.

Todd has been a guest artist in residence, director and visiting instructor at many colleges and universities such as Western Michigan University, Rollins College, The uni-versity of Missouri/Kansas City, Aquinas College. He served as a Guest Artist in Residence at Kalamazoo College from 2002-2010 and was recently a Visiting Asst. Professor of Theatre for their 2013/14 school year. He is a specialist in mask and movement actor training.

Common Core ConnectionsRL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text

RL.9-10.1 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text

RL.9-10.3 College and Career Readiness Anchor Standard:

Analyze how and why individuals, events, and ideas de-velop and interact over the course of a text

RI.9-10.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative,

and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone.

RI.9-10.6 Determine an author’s point of view or purpose in text.

L.9-10.5 Demonstrate understanding of figurative lan-guage, word relationships, and nuances in word meanings.


TH.912.S.2.4 Sustain a character or follow technical cues in a production piece to show focus.



TH.912.C.2.7 Accept feedback from others, analyze it for validity, and apply suggestions appropriately to future performances or designs.

TH.912.C.2.8 Improve a performance or project using various self-assessment tools, coaching, feedback, and/or constructive criticism.

TH.912.S.1.6 Respond appropriately to directorial choices for improvised and scripted scenes.

TH.912.S.3.2 Exercise artistic discipline and collaboration to achieve ensemble in rehearsal and performance.

texas essential Knowledge and skills for theatre Arts8.1.D Create setting, character, and plot in improvised and scripted scenes


II.2.C Create and sustain believable characters

III.2.B Analyze characters from various genres and media, describing physical, intellectual, emotional, and social di-mensions


14 DRAMA TEACHER ACADEMYBIG PICTURE BLOCKING


IV.1.F Analyze the interdependence of all theatrical ele-ments

IV.2.C Portray believable characters in improvised and scripted scenes of various styles

north Carolina essential standards theatre ArtsB.CU.2.2 Use acting conventions, such as stage presence, subtext, style, and ensemble work, to perform formal or informal works.

I.CU.2.2 Use production conventions, such as blocking or style, as given by directors or as indicated by playwrights.

P.A.1.1 Analyze full-length plays in terms of plot structure, pacing, given circumstances, and character development.

P.A.1.2 Distinguish the evolution of written texts to theat-rical performances.

A.C.2.2 Interpret scripts through formal and informal presentations.


A.AE.1.1. Use technical knowledge and design skills to formulate designs for a specific audience.



• demonstrate the unique ability of drama to unify a di-verse group


• defend choices made in problem solving


• negotiate and compromise to solve group problems



• demonstrate how a central image contributes to a uni-fied work

• demonstrate a commitment to the team approach in rehearsal and performance







B3.1 identify specific collaborative skills and attitudes that are required in preparing and staging drama works and explain how they can be applied in other fields or activities

C1.1 identify the drama forms, elements, conventions, and techniques used in their own and others’ drama works, and explain how the various components are used or can be used to achieve specific purposes or effects

C1.2 use correct terminology to refer to the forms, elements, conventions, and techniques of drama

C1.3 demonstrate an understanding of production roles, practices, and terminology when planning and presenting drama works



15DRAMA TEACHER ACADEMY ORGANIZED CHAOS: DISCIPLINE IN THE THEATRE CLASSROOM

oRGAnIzeD CHAos: DIsCIPlIne In tHe tHeAtRe ClAssRooM

Instructor: MATT WEBSTER


Video length: 10 modules, Total running time: 2 hr 49 min


16 DRAMA TEACHER ACADEMYORGANIZED CHAOS: DISCIPLINE IN THE THEATRE CLASSROOM



1. Defining the Place where you teach (27:09)How you set up your teaching space will have a direct im-pact on your ability to control your classes. In this lesson, you will learn how to set up your classroom to avoid con-flict and chaos while teaching.

2. Curriculum: a Double-edged sword (10:56)There is no standard curriculum for theatre. Therefore, every theatre teacher is responsible for generating the cur-riculum they teach. In this lesson, you will be given some of the standard options for generating a theatre curricu-lum as well as the pros and cons of each option so you can generate the curriculum that’s right for you.

3. Pacing in the theatre Classroom (23:07)One of the underlying reasons for discipline issues in the theatre classroom is pacing. In this lesson, we will explore various strategies for setting an appropriate pace that will help maintain order and interest in the theatre classroom.

4. Rules and Boundaries in the theatre Classroom (16:11)

To the outside observer, theatre classes often appear to be chaotic and lawless. However, successful theatre teachers know how to maintain control of their classrooms. In this lesson, you’ll be shown how to lay down the law while not turning your classroom into a police state.

5. Peer-driven Discipline (25:55)It can be frustrating and exhausting being the only sheriff in a one-horse town. The solution? Deputies. This lesson will lay the groundwork for including your students in the creation of rules and consequences in your classroom.

6. Consistency in Discipline (12:33)Classroom discipline is built on a foundation of con-sistency. In this lesson, you will see the importance of ap-plying discipline equally and consistently across the class-room and throughout the year.

7. the Importance of Consequences (16:40)This concept is the heart of discipline in the classroom. Once you have set the rules in your classroom, you must enforce them. This lesson will illustrate the value and im-portance of defining and applying consequences in your classroom.

8. Having a Bad Day (19:56)There will be days when everything goes wrong. This les-son can serve as a lifeline and support group to get you through those days when you seriously reconsider your career choices.

9. expect the Unexpected (12:19)As a theatre teacher, you must always be ready for sur-prises. This lesson will give you a heads up on some of the challenges that may arise in your classroom and some suggestions on how you can deal with them without los-ing control of yourself or your students.

Grade levels: 6-12

MODULES

17DRAMA TEACHER ACADEMY ORGANIZED CHAOS: DISCIPLINE IN THE THEATRE CLASSROOM



“These lessons will lay the foundations of discipline in your classroom and will provide you with informa-tion and insight regarding many of the challenges theatre teachers face in their classroom every day.”

An organized classroom with a safe, comfortable en-vironment for your students is starting point for success for any teacher. Most professional development classes that address classroom management are geared toward traditional classrooms. This course is specifically for the non-traditional, creative classroom as the title implies: Organized Chaos. In addition to helping the new or experi-enced Drama teacher to develop or strengthen his or her classroom management skills, this course also helps in the development of curriculum.

About the InstructorMatt Webster is a Theatre Educator currently living in Charlotte, North Carolina. He holds a BA in Theatre, an MA in Theatre Education and an MfA in Theatre for Youth. from 1996 to 2010 he was on the faculty at the University of North Carolina at Charlotte where he was a tenured As-sociate Professor of Theatre Education/Theatre for Youth. During this time Matt was the director of the Theatre Edu-cation and Licensing program and was responsible for teaching, training and certifying Theatre teachers in the state of North Carolina. In 2010 Matt left the university to become the chair of a fine Arts Department for a new high school in Mint Hill, North Carolina.

In addition to teaching, Matt is an actor and director who has worked with both children and adults for profes-sional theatre companies from coast to coast, including the Silver Bear Theatre in Albuquerque, Honolulu Theatre for Youth, Seattle Children’s Theatre, Theatre Charlotte, Matthews Playhouse and Children’s Theatre of Charlotte.

Matt is also an award-winning, published playwright. His play House of Mirrors won the American Alliance for Theatre and Education Unpublished Play Reading Project award, and was a semi-finalist in the prestigious Bonder-man Playwriting for Youth National Competition. His play The Myths at the Edge of the World was Published in 2013 by Theatrefolk.

18 DRAMA TEACHER ACADEMYfRIENDLY SHAKESPEARE

FRIenDly sHAKesPeARe



Video length: 9 modules, Total running time: 2 hrs 6 min


19DRAMA TEACHER ACADEMY fRIENDLY SHAKESPEARE



Review of objectives of the course and how to approach each module.

2. warm Ups (26:12)

Why we do warm ups and explanation and demonstra-tion of two great warm ups for Shakespeare.

3. Barbs from the Bard (13:17)

Learn about using specific words that lie outside our natural normal vocabulary and how to turn them into understandable action.

4. the Givens (23:32)

It’s the Who, What, Where, When, Need and Tactic – all the basics that you need to begin working on a role.

5. Keywords (13:35)

Looking at keywords; picking keywords specific in the text that carry the meaning and weight of the text.6. Punctuation (19:34)

Picking specific punctuation in the text and showing how Shakespeare used these to carry meaning and give clues to the actors on how to act this text. This is one of the key lessons in the entire workshop.

7. Physicalizing the Punctuation (13:46)Explore physicalizing that punctuation, turning that script analysis into action on-stage.

8. Bringing it All together (6:23)Bring everything together, perform the monologues, and watch the students work on-stage.

9. Unpacking the experience (5:44)

We’re going to unpack the experience and reflect on what we’ve experienced through the entire workshop.

Grade levels: 6-12


“So, what I’ve aimed to do in this workshop is give you a simple technical approach to Shakespeare that emphasizes personal discovery of the char-acter’s need through the textual analysis. Because

of my movement theatre background, I’ve also added a component to this that allows you to take that script an-alysis and turn it into instant action on-stage for yourself.”

This course provides the key to help make Shake-speare less intimidating for students. Through the use of movement, scene analysis, comprehension and physical exploration of punctuation, students will have a hands-on approach to analyzing and performing Shakespeare. The instructor’s strong physical movement background helps to pull Shakespeare from the page and make it an active exploration. The course includes physical and vo-cal warmups, and how to turn unfamiliar vocabulary into understandable action. Each lesson builds on the next so that when you get to the end of the course you’re, as the instructor says, a “Shakespeare Powerhouse.”

About the InstructorTodd Espeland is the Artistic Director of Commedia Zuppa (www.czuppa.com) and a graduate of the internationally renowned Dell’ Arte School of Physical Theatre in Blue Lake, California. While at Dell Arte, Todd did extensive post-graduate work in mask, clown Commedia Dell’Arte and physical theatre.


With Commedia Zuppa Todd has toured nationally and internationally, directed, served as a specialist and artist-in-residence off-Broadway working on the one man show Orson, and at many regional theatres such as the Kentucky Shakespeare festival, and the Nevada Conser-vatory Theatre.

MODULES

20 DRAMA TEACHER ACADEMYfRIENDLY SHAKESPEARE


Todd has been a guest artist in residence, director and vis-iting instructor at many colleges and universities such as Western Michigan University, Rollins College, The universi-ty of Missouri/Kansas City, Aquinas College. He served as a Guest Artist in Residence at Kalamazoo College from 2002-2010 and was recently a Visiting Asst. Professor of Theatre for their 2013/14 school year. He is a specialist in mask and movement actor training.


RL 9-10.3 College and Career Readiness Anchor Standard: Analyze how and why individuals, events, and ideas develop and interact over the course of a text

RL 9-10.4 CCR Interpret words and phrases as they are used in a text, including determining technical, connotative and figurative meanings, and analyze how specific word choices shape meaning or tone.

L.9-10.3 Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

L.9-10.4 CCR Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts and consulting general and specialized reference materials, as appropriate.



TH.912.O.2.2 Perform a scene or monologue in a non-traditional way that stays true to its dramatic structure and can be justified within the script.

TH.912.F.1.1 Synthesize research, analysis, and imagination to create believable characters and settings.


texas essential Knowledge and skills for theatre Arts8.1.C Create expressive movement and pantomime to define space and characters.8.1.D Create setting, character, and plot in improvised and scripted scenes8.2.C Portray characters through familiar movements and (dialogue)Level II (117.65)II.1.A Practice warm up techniquesII.1.B Demonstrate effective voice and dictionII.2.C Create and sustain believable charactersLevel III (117.66)III.2.B Analyze characters from various genres and media, describing physical, intellectual, emotional, and social dimensions

north Carolina essential standards theatre ArtsB.A.1.1. Interpret the plot structure and the thematic, tech-nical, and dramaturgical elements within scenes from plays.

B.CU.2.2 Use acting conventions, such as stage presence, subtext, style, and ensemble work, to perform formal or informal works.

I.C.1.2 Apply vocal elements of volume, pitch, rate, tone, articulation, and vocal expression appropriately to theatrical texts, such as monologues and scenes.


P.C.2.2. Interpret monologues through formal and informal presentations.


P.A.1.2 Distinguish the evolution of written texts to theatrical performances.



21DRAMA TEACHER ACADEMY fRIENDLY SHAKESPEARE











• choose appropriate vocal techniques to communicate a particular meaning


• •consistentlyusepreciselanguagetoreflectonexperi-ences both in and out of role

• suspend disbelief to create drama


• use knowledge of diverse cultures and historical peri-ods in developing work







B1.2 interpret short drama works and identify and explain their personal response to the works

B3.3 identify and describe various roles, responsibilities, and competencies of key personnel in theatre work




C3.3 demonstrate an understanding of theatre and audience etiquette, in both classroom and formal performance contexts.

22 DRAMA TEACHER ACADEMYTHE TOP TEN PLAYWRITING EXERCISES

tHe toP ten PlAywRItInG exeRCIses

Instructor: LINDSAY PRICE

Materials: Video modules, Handouts, Writing Prompts, Transcripts, MP3 files,

PDf of Powerpoint Slides, Completion Certificate



23DRAMA TEACHER ACADEMY THE TOP TEN PLAYWRITING EXERCISES



Outline of the exercises and how they will be taught and used.

1. Automatic writing (15:00)

Analysis of automatic writing, or free writing, used as a warm up to get students writing by focusing on writing and not specifically content.

2. observation (23:56)

Observation is wonderful tool for finding play ideas be-cause when you start looking at the world as a writer, when you become attentive and aware, everything be-comes a play idea.

3. Point of View (12:20)

This is an exercise to help students grow a concrete meth-od for finding play ideas instead of just waiting for some-thing to come along. It also addresses the rather unhelpful but often quoted suggestion: “Write what you know.”

4. Prompts (21:31)

Prompts give students a tool to do something differ-ent with their writing and in this module, you’ll look at three types of prompts: the picture prompt, the headline prompt, and the dialogue prompt.

5. Character and Conflict (29:10)

What is Character and Conflict? And how do Character and Conflict connect? You’ll learn two exercises to assess and an exercise to complete for yourself

6. Monologue (15:34)

What is a monologue? What makes a good monologue? And why is important to practice the monologue?

7. Dialogue (18:05)

Exploring and practicing dialogue by using the foundation scene.

8. Analyzing the Monologue (8:40)

In order for students to get a full grasp on how they should use the elements of a monologue for their own writing, they should be able to identify those elements in an ex-isting work.

9. Analyzing the scene (9:44)

What is the criteria for analyzing a scene and what do you do when something doesn’t fit the criteria?

10. Questions (16:03)

Why questions are your most useful rewrite tool and what kinds of questions to ask.

Grade levels: 6-12


“I firmly believe it’s important for students to write plays. I also believe it’s possible for every student to write a play regardless of any natural talent or ability. These ten exercises will give you a ground-

ing and a roadmap to not only teach playwriting but teach it well.”

At the end of this course you will have ten exercises that you will be able to take immediately into the classroom. But most importantly, the course will also guide you in the “when,” “why,” and “how” of each exercise and alterna-tives for exercises. In addition, you’ll learn assessment techniques specific to playwriting. Using not only writing exercises, but also text analysis exercises, students will be able to define and evaluate the qualities of strong writing. Your confidence in your ability to include playwriting in your classroom will give your students confidence in their writing abilities. Playwriting could just be what motivates your reluctant writers.

MODULES

24 DRAMA TEACHER ACADEMYTHE TOP TEN PLAYWRITING EXERCISES


About the Instructor:Lindsay Price has been a professional playwright for 20 years working specifically in the education market. She averages 500 productions a year in schools across Can-ada, the US and overseas and has over 60 published plays. Her work has advanced to the Showcase Level of the Sears Drama festival, been performed at the International Thes-pian festival, and in 2013 she won the Ronald M. Ruble New Play award.

Lindsay is also an accomplished workshop instructor, dramaturg and adjudicator. She teaches regularly at the International Thespian festival. She has taught at the Educational Theatre Association Conference as part of the Professional Development Institute, and was invited to teach at the World Congress of the International Drama and Education Association in Paris. She is a mainstage ad-judicator for the Educational Theatre Association and has adjudicated one act festivals in florida, Ontario, Virginia, and Indiana. She is an invited member of the Theatre On-tario Talent Bank in adjudication, creative writing, and play polishing. She is a member of the Playwrights Guild of Canada, The Dramatists Guild of America, The Educa-tional Theatre Association, and Theatre Ontario.

Common Core ConnectionsW.9-10.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

W.9-10.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new ap-proach, focusing on addressing what is the most signifi-cant for a specific purpose and audience.

W.9-10.10 Write routinely over extended time frames for a range of tasks, purposes, and audiences.

L.9-10.1 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

RL.9-10.3 Analyze how complex characters develop over the course of a text, interact with other characters, and ad-vance the plot or develop the theme.

Florida sunshine state standards - theatre 9-12TH.912.C.1.7 Justify personal perceptions of a director’s vision and/or playwright’s intent.

TH.912.C.2.2 Construct imaginative, complex scripts and revise them in collaboration with actors to convey story and meaning to an audience.

TH.912.S.1.5 Write monologues, scenes, and/or short plays using principles and elements of writing found in dramatic literature.

TH.912.F.1.1 Synthesize research, analysis, and use im-agination to create believable characters and settings.


texas essential Knowledge and skills for theatre ArtsIV.2.B Analyze characters from various genres and media, describing physical, intellectual, emotional, and social di-mensions

IV.2.D Improvise and write dialogue that reveals charac-ter motivation, advances plot, provides exposition, and reveals theme

north Carolina essential standards theatre ArtsP.C.1.3 Create original works, such as monologues, scenes, or performance pieces.




25DRAMA TEACHER ACADEMY THE TOP TEN PLAYWRITING EXERCISES










• define and use criteria to assess and evaluate the work of self and others






• consistently use precise language to reflect on experi-ences both in and out of role


• select appropriate dramatic forms for representing particular ideas and experiences

• use a dramatic work as a metaphor

ontarioA1.1 use a variety of print and non-print sources

A1.2 select and use appropriate forms to suit specific purposes in drama works




B2.1 identify and explain the various purposes that drama serves or has served in diverse communities and cultures from the present and past

B2.2 explain how dramatic exploration can contribute to personal growth and self-understanding





26 DRAMA TEACHER ACADEMYSTRONG ENSEMBLE = STRONG PLAY

stRonG enseMBle = stRonG PlAy

Instructor: CRAIG MASON




27DRAMA TEACHER ACADEMY STRONG ENSEMBLE = STRONG PLAY


0. Introduction (8:05)What is an ensemble? What are the ways a strong ensem-ble creates the world of the play?

1. ensemble Building exercises (17:14)There is this whole series of games out there that aren’t fo-cused on one person winning. They’re designed such that everyone who plays has to work together. In this module you’ll learn five specific games in detail: The Machine, The Manhole Cover, Spaghetti, Rock Paper Cheerleader, and Pass the Stone.

2. Character Building (17:18)Character profiles, character exercises, and rehearsal exer-cises. Exercises for anyone in your cast but especially your ensemble.

3. Relationships (8:36)We have relationships with everyone we encounter, every-thing we see. Part of bringing the ensemble to life, making them three-dimensional characters, will be helped by de-fining those relationships.

4. Case studies (17:21)Take the toolkit outlined in Modules 1, 2, and 3 (that’s en-semble building activities, character profiles, and relation-ships) and apply them to specific shows.

Grade levels: 6-12


“I disagree with that perception of the ensemble be-ing lesser actors and I developed this course to flip that perception upside down. Erase it off the board. The ensemble is vital to the success of a show.”

The goal with this mini-course is to give you a toolkit to bring your shows to the next level by having an engaged, active, ensemble. first you’ll learn some games and exer-cises for ensemble building. Use them to teach your cast to work together consistently in harmony. You’ll also learn a character-building activity just for your ensemble mem-bers. This is a great activity particularly for those ensemble members who don’t have named characters in the play or aren’t even mentioned at all in the script.

Students are able to sharpen inference skills by diving even deeper into the analysis of a script and focusing on ensemble characters. Students will create character back-ground and interactions to further the storytelling of the play. The creation of ensemble characters is a wonderful prompt for journaling or other writing projects.

About the Instructor:Craig Mason earned his Honours Bachelor of Arts in Drama at the University of Waterloo. He also completed a sum-mer intensive at the American Academy of Dramatic Arts in New York. He is a founding member of Theatrefolk and the Drama Teacher Academy.

He spent 15 years as a professional actor, and is a mem-ber of the Canadian Actors Association and the Alliance of Canadian Radio and Television Artists. He has performed in Theatres across Canada.

He originated the role of Sterling Mimms in the Norm foster musical JASPER STATION, and toured across Can-ada with the one man tour-de-force THE fLYING BANDIT. He spent four years at the Sunshine festival Theatre Com-pany in such plays as MOVE OVER MRS MARKHAM, OUT Of ORDER, and DON’T DRESS fOR DINNER.

MODULES

28 DRAMA TEACHER ACADEMYSTRONG ENSEMBLE = STRONG PLAY



RL.9-10.3 College and Career Readiness Anchor Standard: Analyze how and why individuals, events, and ideas de-velop and interact over the course of a text

W.9-10.3 Write narratives to develop real or imagined ex-periences or events using effective technique, well-chosen details, and well-structured event sequences.















29DRAMA TEACHER ACADEMY STRONG ENSEMBLE = STRONG PLAY



















A3.3 use a variety of technological tools to communicate or enhance specific aspects of drama works

B2.3 explain how dramatic exploration helps develop group skills and appreciation of communal values

C1.1 identify the drama forms, elements, conventions, and techniques used in their own and others’ drama works, and explain how the various components are used or can

be used to achieve specific purposes or effects




C3.1 identify and follow safe and ethical practices in drama activities



30 DRAMA TEACHER ACADEMYfROM AUDITION TO CURTAIN CALL: DIRECTING YOUTH THEATRE

FRoM AUDItIon to CURtAIn CAll: DIReCtInG yoUtH

tHeAtRe

Instructor: STEVEN STACK




31DRAMA TEACHER ACADEMY fROM AUDITION TO CURTAIN CALL: DIRECTING YOUTH THEATRE



1. setting Up for success (6:19)Learn the four basic pre rehearsal steps that will help you set yourself up for success.

2. the Five Keys (9:00)The five key concepts that are important to communicate to your actors. from memorizing lines, to dealing with stage fright, these ideas are vital.

3. the Audition (13:41)Basic types of auditions you can hold, things to say to the students before the audition starts, what to focus on dur-ing the audition, casting your show, and dealing with the aftermath of casting.

4. Checking In and Checking out (8:14)Learn about these group sharing tools: check-ins and check-outs, that help actors feel connected, valued and part of a community.

5. the First Rehearsal (12:08)This module steps your through your first rehearsal in-cluding introductions, warm-ups, schedules, actor expect-ation, and setting up your rehearsal environment.

6. Rehearsal Games (9:55)five games that will help your cast warm up, restore focus and energy, aid character development and have fun!

7. Blocking the show (10:26)Blocking: what it is, various methods, and how long it should take. You’ll even get a mock scene to practice what you’ve learned.

8. Creating Character Bios (9:57)Learn what makes up a character bio and how they help your actors to see their characters as living, breathing, be-ings and not just characters on the page. This module will even give you a template to use.

9. How to Deal with things you want to not Deal with (10:17)

Issues arise in every production. Here you’ll learn how to deal with everything from actors not off book, to schedul-ing conflicts and actors dropping out of the show.

10. the show and the Curtain Call (6:43)You and your actors have done the work, built the connec-tions, and now it’s time to show the audience this world that you have spent all your time creating.

Grade levels: 6-12

Instructor: STEVEN STACK

“I’ve taught acting to, written for, and directed youth actors from ages six all the way to eighteen – sometimes at the same time – and, through that experience, I have discovered a lot of techniques

that really worked and some that, well, didn’t. For this class, we’re going to bypass those – the ones that didn’t – and just focus on the techniques that did work.”

few could argue the benefits of theatre for young people. Script analysis, group work, critical thinking, and creative expression allow students to grow as successful learners. But it’s a daunting process to mount a produc-tion. How do you set yourself up to have the best chance of having a great audition, great cast, a great rehearsal, and then – the cherry on top – a great show? This class will help you find these answers.

MODULES



About the Instructor:Steven Stack has been teaching students ranging from age 7 to adults for almost 20 years, both within and out-side the public education system, and covering topics including math, science, social studies, and health – but his true love is teaching theatre. He’s been involved with theatre for more than 20 years as an instructor, director, playwright, and actor.

Steven has taught for twelve consecutive summers at the Wisconsin Center for Academically Talented Youth (WCATY), working with gifted and talented students in an academically challenging environment where they learn the principles of acting, directing, and playwriting. Work-ing with WCATY and the University of Wisconsin, he also teaches online writing courses to students all over the state of Wisconsin.

He is also a published playwright, having written and directed several full-length plays, countless one-acts and many scenes for various theatres, performing arts schools and professional organizations. His plays have been per-formed all over the United States, as well as internation-ally.

Steven is currently the lead acting instructor at forte Studios in Mount Horeb, Wisconsin, where he has the pleasure of working with amazingly talented actors of all ages.

He thoroughly enjoys teaching, directing, and writing for middle-school students, and that’s been a major focus of his career. His goal in working with that age group is to help students grow into themselves by giving them stories that resonate beyond the stage. Steven believes that the key to helping students become better actors is working with them to understand who they are and helping them bring that experience to the world of the play. He stresses each individual’s contribution to the play, while empha-sizing that it’s about everyone, not just any single person. His students are expected to come through for their fellow actors.

Common Core Connections:RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text


RL.9-10.3 College and Career Readiness Anchor Standard: Analyze how and why individuals, events, and ideas de-velop and interact over the course of a text

RI.9-10.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone.









TH.912.S.1.1 Describe the interactive effect of audience members and actors on performances.


33DRAMA TEACHER ACADEMY fROM AUDITION TO CURTAIN CALL: DIRECTING YOUTH THEATRE



TH.912.S.2.3 Demonstrate an understanding of a dramat-ic work by developing a character analysis for one or more of its major characters and show how the analysis clarifies the character’s physical and emotional dimensions.


TH.912.S.2.8 Strengthen acting skills by engaging in the-atre games and improvisations.

TH.912.S.3.3 Develop acting skills and techniques in the rehearsal process.



I.1.B Develop and practice theatre preparation and warm-up techniques

I.1.C Employ stage movement and pantomime con-sistently to express thoughts, feelings, and actions

I.1.D Develop and practice effective voice and diction to express thoughts and feelings

I.1.E Define and give examples of theatrical conventions (time, setting, fourth wall, visual elements)

I.2.A Demonstrate safe use of the body and voice

I.2.C Portray believable characters when applying acting concepts, skills, and techniques

I.3.F Concentrate in one or more areas of theatre pro-duction (acting, technical theatre, theatre management), demonstrating responsibility, artistic discipline, and cre-ative problem solving.










A.AE.1.1. Use technical knowledge and design skills to formulate designs for a specific audience.

























A3.3 use a variety of technological tools to communicate or enhance specific aspects of drama works

B1.1 use the critical analysis process before and during drama projects to identify and assess individual roles and responsibilities in producing drama works


B1.3 identify aesthetic and technical aspects of drama works and explain how they help achieve specific dramatic purposes


B2.2 explain how dramatic exploration can contribute to personal growth and self- understanding


B2.4 identify ways in which dramatic exploration promotes

an appreciation of diverse cultures and traditions

B3.1 identify specific collaborative skills and attitudes that are required in preparing and staging drama works and explain how they can be applied in other fields or activities

B3.2 identify specific social skills and personal characteristics they have acquired or strengthened through drama work that can help them succeed in other areas of life






C2.2 describe ways in which contemporary dramas show the influence of social trends





35DRAMA TEACHER ACADEMY MISSION POSSIBLE: CREATING A VISION fOR YOUR PROGRAM

MIssIon PossIBle: CReAtInG A VIsIon FoR yoUR PRoGRAM

Instructor: AMY PUGH PATEL

Materials: Video modules, Online resource links, Handouts, Transcripts, MP3 files, PDf of Powerpoint Slides, Completion Certificate

Video length: 7 modules, Total running time: 56 min


36 DRAMA TEACHER ACADEMYMISSION POSSIBLE: CREATING A VISION fOR YOUR PROGRAM


1. the Importance of a Mission (9:06)Identifying what a mission statement does and how it helps your program.

2. the Golden Circle (5:51)Learn how to use a visual aid of a golden circle to answer the questions: why you do what you do, what you do, and how you do it

3. the essential Questions (7:19)Getting to the questions that help define your unique pro-gram.

4. school Culture and Program traditions (9:49)focus on your particular school and the traditions of your school or the traditions of your program.

5. writing your Mission statement (6:31)Taking all of the information you’ve gathered you’ll create, discuss, revise, and ultimately create your mission state-ment.

6. shouting from the Rooftops (8:16)Share your mission statement with others as a way to both check that it makes sense and to share it with your com-munity. This module includes ideas on how to share you mission statement as well.

7. Conclusion (9:08)This module will recap all that you’ve learned and remind you to check back in on your mission statement. It also ex-plains how a mission statement will help to support your program and help you to make important decisions.

Grade levels: 6-12

Instructor: AMY PUGH PATEL

“I’m really excited about the challenge that you’re taking on. Your mission, should you choose to ac-cept it, is actually writing your mission statement with your students. It is a powerful experience. It

has transformed my theatre program and transformed me as a director.”

A mission statement helps to define your program. And creating a mission statement with your students unifies them, inspires and motivates them, and helps to create a culture. By understanding your own program, you can help it grow and use your knowledge to make important decisions. Through a series of questions and discussions, you’ll gain a clearer understanding on what type of pro-gram you have or want to have. Through this analysis of your theatre program, students will be encouraged to use higher order thinking skills to create a meaningful docu-ment that can be shared with the community.

About the Instructor:Amy Pugh Patel teaches Theatre at James Clemens High School in Madison, AL, and has directed and/or served as technical director for over 30 productions, earning recognition at local and statewide festivals and the Inter-national Thespian festival. She was recently honored with the Alabama Theatre Teacher of the Year Award.

She earned her M.A. in Directing from Roosevelt Uni-versity’s Chicago College of Performing Arts in 2006 and her B.A. in Language Arts from the University of Alabama in Huntsville.

She has earned local Wings Awards and nominations for performances in Urinetown: The Musical and Rabbit Hole. She has performed in numerous shows, including The Laramie Project, Dinner with Friends, and the premiere of Where the Great Ones Run, and has competed at the South-eastern Theatre Conference Community Theatre festival.

She recently completed a year-long sabbatical trav-eling to schools across the U.S. to observe productions and classes. She taught Theatre for 14 years at her alma mater, Butler High School, and taught part-time at the University of Alabama in Huntsville, and Hollywood Huntsville studio.

MODULES

37DRAMA TEACHER ACADEMY MISSION POSSIBLE: CREATING A VISION fOR YOUR PROGRAM


Common Core Connections:CCSS.ELA-LITERACY.W.9-10.1 Write arguments to sup-port claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

CCSS.ELA-LITERACY.W.9-10.2 Write informative/explana-tory texts to examine and convey complex ideas, con-cepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

CCSS.ELA-LITERACY.W.9-10.4 Produce clear and coher-ent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1-3 above.)

CCSS.ELA-LITERACY.W.9-10.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (Edi-ting for conventions should demonstrate command of Language standards 1-3 up to and including grades 9-10 here.)

CCSS.ELA-LITERACY.W.9-10.6 Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology’s capacity to link to other information and to display infor-mation flexibly and dynamically.

Florida state standardsTH.912.C.1 Cognition and reflection are required to ap-preciate, interpret, and create with artistic intent.

TH.912.C.2 Assessing our own and others’ artistic work, using critical-thinking, problem- solving, and deci-sion-making skills, is central to artistic growth.

TH.912.S.1 The arts are inherently experiential and act-ively engage learners in the processes of creating, inter-preting, and responding to art.

texas state standardsIV.C.1 Perception. The student develops concepts about self, human relationships, and the environment, using ele-ments of drama and conventions of theatre.

IV.3 Creative expression/performance. The student ap-plies design, directing, and theatre production concepts and skills.

IV.5 Response/evaluation. The student responds to and evaluates theatre and theatrical performances.

north Carolina state standardsA.CU.1 Analyze theatre in terms of the social, historical, and cultural contexts in which it was created.

A.CU. 2 Understand the traditions, roles, and conventions of theatre as an art form.









38 DRAMA TEACHER ACADEMYMISSION POSSIBLE: CREATING A VISION fOR YOUR PROGRAM





B1.1 use the critical analysis process before and during drama projects to identify and assess individual roles and responsibilities in producing drama works


B1.3 identify aesthetic and technical aspects of drama works and explain how they help achieve specific dramatic purposes


B2.2 explain how dramatic exploration can contribute to personal growth and self-understanding



B3.2 identify specific social skills and personal characteristics they have acquired or strengthened through drama work that can help them succeed in other areas of life





C2.2 describe ways in which contemporary dramas show the influence of social trends





39DRAMA TEACHER ACADEMY WORKING WITH MONOLOGUES fOR REHEARSAL AND DEVELOPMENT

woRKInG wItH MonoloGUes FoR ReHeARsAl AnD

DeVeloPMent

Instructor: GAI JONES

Materials: MP3 files, Handouts, Transcripts,




40 DRAMA TEACHER ACADEMYWORKING WITH MONOLOGUES fOR REHEARSAL AND DEVELOPMENT


MODULES


1. the Monologue (8:46)In Lesson 01, you and the instructor will experience what a monologue is, a very brief history of monologue and the different types of monologues.

2. working with a Monologue (13:13)This lesson presents experiences in working with a short monologue for rehearsals. The methods presented in this workshop can be used to work on future monologues.

3. scoring your Role (9:04)In this session, you will mark beats, improvise your text and begin to act this simple monologue, scoring your role, marking your emotional beats for the monologue. Read the monologue yet another time from the first line to the last line.

4. Keeping it Real (9:41)In this lesson we cover keeping it real, in the moment, not indicating, texting or telegramming your monologue, tracing the emotions in the monologue.

5. staging your Monologue (16:23)In this lesson we add action, learn about thinking land, rehearsing with natural gestures, get some staging tips, memorizing tips, how to slate and how to end your mono-logue performance.

6. Musical theatre lyrics (10:44)In this session you’ll use CWOW; remember, character, where, objective, who, or to whom to explore musical the-atre scripts.

7. solo Actor as Playwright (14:38)In this lesson, there are experiences which will encourage your past and present thoughts and feelings. Creating your own original monologue incorporates your thoughts and feelings into personal material.

8. exploring original Monologues (17:38)In Lesson 08, we work with comic and serious perspectives of thinking and writing.

9. writing Monologues (7:02)Creating a character from your memories for your auto-biographical monologue.

10. working with students (5:39)Looking at the four processes involved in the new Arts standards, you can see how all of the monologue work fits somewhere. The four processes, including creating, per-forming, responding, connecting.

Grade levels: 6-12

Instructor: GAI JONES

“I’ve used the creative and reflective inquiry with elementary, middle, high school and adult actors. As a teacher, you can help each student learn how to reflect on his or her ideas and communicate his

or her creative process. The student constructs meanings and will value creative thinking.”

This workshop is a creative and reflective inquiry into monologue work for you and your students. By taking this course and engaging in the exercises, you’ll be able to guide your students through the reflective inquiry process and help them to utilize their higher order thinking skills from recognizing and comprehending ideas to synthesiz-ing and evaluating them.




The information presented in this workshop sup-ports many of the anchor standards and principles of the present educational trends and movements. The stan-dards define what students will understand and be able to do by the end of each acting unit. Big ideas with enduring understandings, essential questions, 21st century skills of creative and critical thinking along with assessments of the students’ work are inherent in this workshop, which is meant to be a project-based experience.

About the InstructorGai Jones is a freelancer, director, and teacher with ex-perience in Ojai, California, Ojai Arts Center Theatre, Elite Theatre, and Ojai Youth Entertainers Studio. She currently teaches at Ventura Charter Schools and the Rubicon The-atre. She has directed intergenerational productions and summer youth productions for the past 10 years. She runs workshops for the Education Department of Ojai ACT and has served on the national board of Educational Theatre Association, the governing board for International Thes-pians. She is also an adjunct assistant professor at Cal State University, East Bay and Santa Barbara Community College Center for Lifelong Learning.

Gai writes theatre ed books and is a SAG-AfTRA com-mercial actress. She’s the author of Raising the Curtain through perfectionlearning.com, Break a Leg, Love Letter to Theatre Teachers and Students, The Student Actor Pre-pares: Acting for Life, with intellectbooks.com. She has a new self-published book entitled Curtain Going Up; Tru-isms and Tips for Community Theatre Actors, Directors, Technicians and Other Volunteers.

Gai has taught over 5,000 students and directed over 500 productions. She believes in the power of reflection to assess at what level the student is and creating to let them give input, thus increasing engagement.

Common Core ConnectionsCCSS.ELA-LITERACY.RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

CCSS.ELA-LITERACY.RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an object-ive summary of the text.

CCSS.ELA-LITERACY.RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motiva-tions) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

CCSS.ELA-LITERACY.RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumula-tive impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

CCSS.ELA-LITERACY.RL.9-10.5 Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, ten-sion, or surprise.

CCSS.ELA-LITERACY.RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of liter-ature from outside the United States, drawing on a wide reading of world literature.

CCSS.ELA-LITERACY.RL.9-10.9 Analyze how an auth-or draws on and transforms source material in a specific work (e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare).



Florida sunshine state standards - theatre 9-12TH.912.C.1.3 Justify a response to a theatrical experience through oral or written analysis, using correct theatre ter-minology. TH.912.C.1.5 Make and defend conscious choices in the creation of a character that will fulfill anticipated audience response. TH.912.C.1.6 Respond to theatrical works by identifying and interpreting influences of historical, social, or cultural contexts. TH.912.C.1.7 Justify personal perceptions of a director’s vision and/or playwright’s intent. TH.912.C.1.8 Apply the components of aesthetics and criticism to a theatrical performance or design. TH.912.C.2.5 Analyze the effect of rehearsal sessions and/or strategies on refining skills and techniques by keeping a performance or rehearsal journal/log. TH.912.C.2.6 Assess a peer’s artistic choices in a produc-tion as a foundation for one’s own artistic growth. TH.912.C.2.8 Improve a performance or project using various self-assessment tools, coaching, feedback, and/or constructive criticism. TH.912.S.1.3 Develop criteria that may be applied to the selection and performance of theatrical work. TH.912.S.1.4 Compare the artistic content as described by playwrights, actors, designers, and/or directors with the final artistic product and assess the success of the final artistic product using established criteria. TH.912.S.1.6 Respond appropriately to directorial choices for improvised and scripted scenes. TH.912.S.1.7 Interpret dramatic texts, organize and con-duct rehearsals, and justify directorial choices for formal and informal productions. TH.912.S.1.8 Use research to extract clues in dramat-ic texts to create performances or technical elements, choosing those that are most interesting and that best convey dramatic intent. TH.912.S.2.3 Demonstrate an understanding of a dramat-ic work by developing a character analysis for one or more of its major characters and show how the analysis clarifies the character’s physical and emotional dimensions. TH.912.S.2.4 Sustain a character or follow technical cues in a production piece to show focus.

TH.912.S.2.8 Strengthen acting skills by engaging in the-atre games and improvisations. TH.912.S.3.2 Exercise artistic discipline and collaboration to achieve ensemble in rehearsal and performance. TH.912.S.3.3 Develop acting skills and techniques in the rehearsal process. TH.912.S.3.7 Demonstrate the audition process by re-searching and selecting monologues and presenting a memorized selection. TH.912.S.3.9 Research, analyze, and explain the processes that play-wrights, directors, designers, and performers use when developing a work that conveys artistic intent. TH.912.O.1.1 Research and analyze a dramatic text by breaking it down into its basic, structural elements to sup-port development of a directorial concept, characteriza-tion, and design. TH.912.O.2.2 Perform a scene or monologue in a non-traditional way that stays true to its dramatic struc-ture and can be justified within the script. TH.912.O.3.7 Apply standard conventions of directing, stage management, and design to denote blocking and stage movement for production documentation. TH.912.H.1.1 Analyze how playwrights’ work reflects the cultural and socio-political framework in which it was cre-ated. TH.912.H.2.2 Research and discuss the effects of person-al experience, culture, and current events that shape indi-vidual response to theatrical works. TH.912.H.2.3 Weigh and discuss, based on analysis of dramatic texts, the importance of cultural protocols and historical accuracy for artistic impact. TH.912.H.2.11 Describe the significant works and major contributions of major playwrights, performers, designers, directors, and producers in American musical theatre. TH.912.H.3.1 Apply critical-thinking and problem-solv-ing skills used in theatre collaboration to develop creative solutions to real-life issues. TH.912.H.3.5 Explain how the social interactions of daily life are manifested in theatre. TH.912.F.1.1 Synthesize research, analysis, and imagina-tion to create believable characters and settings.





texas essential Knowledge and skills for theatre ArtsI.1.E Define and give examples of theatrical conventions (time, setting, fourth wall, visual elements)

I.2.B Analyze a character from a script, describing physi-cal, intellectual, emotional, and social dimensions;

I.2.C Portray believable characters when applying acting concepts, skills, and techniques

I.3.C Define the director’s role as a unifying force, prob-lem-solver, interpreter of script, and collaborator;

I.3.D Define the director’s responsibility to the author’s intent, script, actors, designers, technicians, and the au-dience;


III.C.1.D Analyze dramatic structure and genre;

III.5.B Apply the concepts of evaluation to performances and evaluate theatre, film, television, and electronic me-dia with depth and complexity, using appropriate vocab-ulary;

north Carolina essential standards theatre ArtsB.C.1.3 Understand how to read and write scripts that communicate conflict, plot, and character.

B.C.2.2 Interpret various selections of dramatic literature through formal and informal presentations.

B.A.1.2 Analyze informal or formal theatre productions in terms of the emotions or thoughts they evoke, characters, settings, and events.

B.CU.2.1 Illustrate appropriate theatre etiquette as a member of an audience, as a performer, and as a techni-cian.


I.A.1.2 Evaluate the works of theatre artists for strengths, weaknesses, and suggestions for improvement.


P.C.2.2 Interpret monologues through formal and in-formal presentations.





















45DRAMA TEACHER ACADEMY THE DO-IT-ALL DIRECTOR’S INTRODUCTION TO COSTUMING

tHe Do-It-All DIReCtoR’s IntRoDUCtIon to CostUMInG

Instructor: HOLLY BEARDSLEY

Materials: Video modules, Handouts, Transcripts, MP3 files,

PDf of Powerpoint Slides, Reflection, Completion Certificate



46 DRAMA TEACHER ACADEMYTHE DO-IT-ALL DIRECTOR’S INTRODUCTION TO COSTUMING



1. Vision, the Most Important Character in the show (13:54)

By having a strong understanding of the script, and espe-cially the characters, your vision will help to drive your de-sign. It may even make you a stronger director.

2. Fashion, Clothes, and the Habits of a successful Costumer (12:16)

Learn the lingo, understand the styles, and learn to make decisions that are time and character appropriate.

3. Common Costuming Mistakes (8:13)Learn the basic costuming mistakes or challenges that many people attempt and then learn the specific reasons why they aren’t successful and what you can do to turn things around.

4. Building your Costume Closet (7:26)A good costume stock is a life saver for most theatre de-partments. Learn what you can do to make the most out of your costume investments and to build a truly useful costume stock.

5. Costumes from scratch: Materials and Construction (39:13)

from fabric choices, to necessary costume construction tools this unit will guide you through what it takes to cre-ate a costume from start to finish. Also include are some “no-sew” techniques for creating costumes.

6. Buttoning Up your Budget (8:43)Prioritizing your budget is a necessity. In this lesson, you’ll learn where to spend your money so that it will serve you well in your current show and for future shows as well. Holly even shares some tips on what you can do when you have no money at all.

7. Modern to Medieval and Back Again: Costuming a Period show (16:51)

While period shows can often take a dent out of your budget, this lesson can help you to understand that your vision, and often clothes you may already have can serve you well or these types of productions.

8. Dressing the whole show: Color and Costuming in Groups (9:29)In this lesson you’ll learn how to give your show a cohesive feeling through costume connections in groups and color choices.

9. showtime: How to Run a successful Dress Rehearsal and How to Run your show as a Costumer (13:21)

Costuming moves to a whole new level when it’s time for dress rehearsals and the run of the show. In lesson 9 you’ll learn strategies for all of the areas of wardrobe for your show including dress rehearsal strategies, utilizing stage parents, and training your costumers for a show.

Grade levels: 6-12

MODULES

47DRAMA TEACHER ACADEMY THE DO-IT-ALL DIRECTOR’S INTRODUCTION TO COSTUMING



“This course will teach you costuming basics, budget tricks, organization, and, most important-ly, the art of costuming as a director. ”

Do you know the difference between a bustle and a buck-ram frame? Or what works best as an emergency hem? 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 what your experience or budget. In addition to learning how to costume for a specific show, Holly Beardsley includes information on how to build your costume stock and develop your vision as a costumer. Lessons include concepts from fashion to construction and even help avoiding common costuming mistakes. As you develop in your own skills, you can share your knowledge with the aspiring costumers in your program.

About the Instructor:Holly Beardsley wrote and directed middle school plays and musicals within the Illinois Public School System for ten years. In those ten years, she attended both Eureka College and the Academy of Art.

She is also a former director of Burkhalter Productions, a youth summer stock program. She has since left teach-ing to write full time.

Common Core Connections:RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text


RL.9-10.3 College and Career Readiness Anchor Standard:

Analyze how and why individuals, events, and ideas de-velop and interact over the course of a text

RI.9-10.6 Determine an author’s point of view or purpose in text . . .

Florida sunshine state standards - theatreTH.912.C.1.4 Research and define the physical/visual ele-ments necessary to create theatrical reality for a specific historical and/or geographical play. TH.912.C.1.5 Make and defend conscious choices in the creation of a character that will fulfill anticipated audience response. TH.912.C.1.6 Respond to theatrical works by identifying and interpreting influences of historical, social, or cultural contexts.

TH.912.C.1.7 Justify personal perceptions of a director’s vision and/or playwright’s intent.

TH.912.C.1.8 Apply the components of aesthetics and criticism to a theatrical performance or design. TH.912.C.2.1 Explore and describe possible solutions to production or acting challenges and select the solution most likely to produce desired results. TH.912.C.2.4 Collaborate with a team to outline several potential solutions to a design problem and rank them in order of likely success.

TH.912.S.1.4 Compare the artistic content as described by playwrights, actors, designers, and/or directors with the final artistic product and assess the success of the final artistic product using established criteria. TH.912.S.1.8 Use research to extract clues in dramat-ic texts to create performances or technical elements, choosing those that are most interesting and that best convey dramatic intent.

TH.912.S.2.9 Research and defend one’s own artistic choices as a designer. TH.912.S.3.1 Articulate, based on research, the rationale for artistic choices in casting, staging, or technical design for a scene from original or scripted material. TH.912.O.1.3 Execute the responsibilities of director, designer, manager, technician, or performer by applying standard theatrical conventions. TH.912.O.2.3 Create a non-traditional scenic or costume design of a classical play that visually connects it to an-other time period. TH.912.O.2.7 Brainstorm a variety of ways to deviate from western rules and conventions in theatre to influence audience and performer experiences.


48 DRAMA TEACHER ACADEMYTHE DO-IT-ALL DIRECTOR’S INTRODUCTION TO COSTUMING


TH.912.O.3.5 Design technical elements to document the progression of a character, plot, or theme.

TH.912.H.1.3 Present a design or perform in the style of a different historical or cultural context to gain appreciation of that time and culture. TH.912.H.2.5 Apply knowledge of dramatic genres and historical periods to shape the work of performers, direc-tors, and designers. TH.912.H.2.7 Hypothesize how theatre may look in the fu-ture and defend that hypothesis, based on historical and social trends, to show understanding of their importance to the development of theatre. TH.912.F.2.4 Apply the skills necessary to be an effective director, designer, stage manager, and/or technician in the mounting of a theatrical performance. TH.912.F.3.5 Monitor the tasks involved in the creative and design processes and analyze ways those processes might be applied in the workforce.

texas essential Knowledge and skills for theatre ArtsIII.2.B Analyze characters from various genres and media, describing physical, intellectual, emotional, and social di-mensions

III.3 Creative expression/performance. The student ap-plies design, directing, and theatre production concepts and skills. The student is expected to:

III.3.A Construct and operate the technical elements of theatre safely and effectively;

III.3.B Analyze and evaluate dramatic texts as a basis for technical discussions, considering

north Carolina essential standards theatre ArtsA.AE.1.1. Use technical knowledge and design skills to formulate designs for a specific audience.


B.AE.1.1 Understand the major technical elements, such as sound, lights, set, and costumes, and their interrela-tionships.

B.AE.1.2 Explain how the major technical elements, such as sound, lights, set, and costumes, are used to enhance formal or informal productions.

I.AE.1.1 Use technical knowledge and design skills to for-mulate designs.

I.AE.1.2 Use the major technical elements, such as sound, lights, set, and costumes, for formal or informal audiences.

British Columbia• suggest and try a variety of appropriate solutions to a

given problem

• make and act on reasoned and thoughtful decisions

• suspend disbelief to transform objects and create character

• organize abstract ideas into a concrete dramatic form

• demonstrate an awareness of dramatic work as a met-aphor

• apply theatrical conventions to dramatic forms

• select design elements—colour, level, space— to achieve a desired effect

ontarioA2.1 Use the elements of drama to suit an identified pur-pose and form in drama presentations

A3.3 Use a variety of technological tools to communicate or enhance specific aspects of drama works

B1.3 Identify aesthetic and technical aspects of drama works and explain how they help achieve specific dramat-ic purposes

C1.3 Demonstrate an understanding of production roles, practices, and terminology when planning and presenting drama works


49DRAMA TEACHER ACADEMY COPYRIGHT fOR DRAMA TEACHERS

CoPyRIGHt FoR DRAMA teACHeRs


Materials: Video modules, Handouts, Transcripts, MP3 files,

PDf of Powerpoint Slides, Quizzes, Completion Certificate



50 DRAMA TEACHER ACADEMYCOPYRIGHT fOR DRAMA TEACHERS



1. Intellectual Property (19:49)This module identifies what copyright is and what copyright isn’t. It also defines Intellectual Property, which is the um-brella that covers things like trademarks, patents, industrial design and copyright.

2. Copyright (17:05)In this module you’ll learn about the types of works protect-ed by copyright, how long copyright lasts, what happens when copyright ends, and how to tell if something is pro-tected by copyright.

3. Copyright and the theatre (13:59)This is copyright from a theatrical perspective. You’ll learn about adding music to plays, changing scripts, and what parts of a play are protected by copyright.

4. Copyright Cases (9:29)In Module 4 you’ll review some copyright challenges that have been in the news and learn what you can from their outcomes.

5. Free stuff - Public Domain and the Creative Commons (12:30)

This module addresses works in the Public Domain and works placed under a Creative Commons license. You’ll learn how to find these works and you’ll also learn what your responsibilities are when using these works.

6A. Copyright Attorney Gordon Firemark (26:49)

Gordon firemark, a US copyright attorney will speak directly about copyright law in the United States.

6B. Copyright Attorney erin Finlay (27:10)Erin finlay, a Canadian copyright attorney, works for Access Copyright and she’ll also talk a bit about what you can and can’t do with that license in your school.

7. Pay It Forward (10:45)finally, you’ll be able to pass on what you’ve learned to your students. In this lesson, you’ll get lesson plans and other re-sources for a short media literacy unit on Intellectual Prop-erty and Copyright.

Grade levels: 6-12

MODULES

51DRAMA TEACHER ACADEMY COPYRIGHT fOR DRAMA TEACHERS



“The first thing I want you to know is that I’m not a lawyer. I didn’t go to school for law. I have no train-ing in law. So it’s important that I’m clear from the outset - this course is not legal advice. It’s gener-

al information that I have gathered over the years in my capacity as a publisher.”

This course will provide you with the information copy-right you need to know as a drama teacher. Though ex-amples, links to copyright web sites and even information directly from two different copyright lawyers, this course will help to debunk, demystify and declutter everything you’ve ever known or heard about Copyright.

About the Instructor:Craig Mason earned his Honours Bachelor of Arts in Drama at the University of Waterloo. He also completed a sum-mer intensive at the American Academy of Dramatic Arts in New York. He is a founding member of Theatrefolk and the Drama Teacher Academy.

He spent 15 years as a professional actor, and is a mem-ber of the Canadian Actors Association and the Alliance of Canadian Radio and Television Artists. He has performed in Theatres across Canada.

He originated the role of Sterling Mimms in the Norm foster musical JASPER STATION, and toured across Can-ada with the one man tour-de-force THE fLYING BANDIT. He spent four years at the Sunshine festival Theatre Com-pany in such plays as MOVE OVER MRS MARKHAM, OUT Of ORDER, and DON’T DRESS fOR DINNER.



ELA-LITERACY.RH.9-10.1 Cite specific textual evidence to support analysis of primary and secondary sources, attending to such features as the date and origin of the information.

ELA-LITERACY.RH.9-10.3 Analyze in detail a series of events described in a text; determine whether earlier events caused later ones or simply preceded them.

ELA-LITERACY.RH.9-10.7 Integrate quantitative or tech-nical analysis (e.g., charts, research data) with qualitative analysis in print or digital text.

ELA-LITERACY.W.9-10.1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

ELA-LITERACY.W.9-10.1.A Introduce precise claim(s), dis-tinguish the claim(s) from alternate or opposing claims, and create an organization that establishes clear relation-ships among claim(s), counterclaims, reasons, and evi-dence.

ELA-LITERACY.W.9-10.1.B Develop claim(s) and counter-claims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level and concerns.

Florida sunshine state standards - theatreTH.912.C.1.5 Make and defend conscious choices in the creation of a character that will fulfill anticipated audience response.



TH.912.O.3.3 Analyze and demonstrate how to use vari-ous media to impact theatrical productions.

TH.912.H.1.5 Respect the rights of performers and audi-ence members to perform or view controversial work with sensitivity to school and community standards.


52 DRAMA TEACHER ACADEMYCOPYRIGHT fOR DRAMA TEACHERS


texas essential Knowledge and skills for theatre ArtsIII.2.C Portray believable characters in improvised and scripted scenes of various styles;

III.2.D Improvise and write dialogue that reveals charac-ter motivation, advances plot, provides exposition, and reveals theme.

north Carolina essential standards theatre ArtsB.C.2.1 Use improvisation and acting skills, such as obser-vation, concentration, and characterization in a variety of theatre exercises.


British Columbia• suggest and try a variety of appropriate solutions to a

given problem


• demonstrate trust in others through class activities and individual and ensemble performances


• use a variety of strategies to make choices in problem solving

ontarioA2.1 Use the elements of drama to suit an identified pur-pose and form in drama presentations


C3.1 Identify and follow safe and ethical practices in drama activities (e.g., find ways to ensure the emotional safety [trust] and physical safety of themselves and others, both onstage and offstage; identify and follow guidelines for avoiding plagiarism and for respecting/protecting their own and others’ intellectual property rights)

A1.1 Develop interpretations of issues from contemporary or historical sources

A1.2 Select and use appropriate forms to present identi-fied issues from a variety of perspectives

A1.3 Use role play and characterization to explore person-al and social issues


53DRAMA TEACHER ACADEMY LABAN: ADVANCED CHARACTERIZATION

lABAn: ADVAnCeD CHARACteRIzAtIon


Materials: Video modules, Example Videos, Handouts, Transcripts, MP3 files,




54 DRAMA TEACHER ACADEMYLABAN: ADVANCED CHARACTERIZATION


1. Introduction (7:06)Introduction to the course and explanation of how Laban work will be addressed throughout the course. This lesson breaks down each of the lessons that follow.

2. Class Assignments (13:05)This lesson explains the various assignments that go with Laban work for characterization. The instructor goes through them in detail so that you’re comfortable with them when it’s time to assign them to your students.

3. eight efforts (33:28)In this lesson you’ll learn the Laban efforts and their com-ponent parts. Also, you’ll learn how an impulse improv will help your students experience the Laban efforts.

4. laban and Voice (18:08)Using warm ups and exercises tailored to the Laban ef-forts, you will learn how to get your students to focus on Laban and the voice while working on monologues.

5. laban, Voice and Body (15:00)In this lesson, using warm ups and exercises, you’ll learn how to have your students apply Laban both physically and vocally to their monologues.

6. extended Character showoff (12:40)In lesson 6, you’ll work with the extended character as-signment and allow the students to do an “extended char-acter showoff.”

7. second extended Character showoff (12:27)This lesson is a second extended character show off. You’ll learn how to use students assignments so they can share what they’ve observed and learned about the characters they are creating.

8. extended Character Improv Interview (9:25)In lesson 8, you’ll learn about the extended character im-prov interview and how it helps students learn about and create characters.

9. wrap-Up (3:49)The final lesson is a wrap up of the course and a quick re-view of each previous lesson.

Grade levels: 6-12

MODULES




“This particular class is an advanced acting class. It’s an advanced acting class in playing charac-ter. This class is going to be all about play and all about play, as it relates to character.”

In this class you’re going to explore the eight efforts, and their component parts, that were composed by a man named Rudolf Laban. You’re going to use and define those parts to help turn them into physical things you can do to express character. If you’re familiar with Laban, this class is going to be a little different than your standard walk around and just do the efforts. You’ll learn how to take these Laban efforts and figure out how to use them within the voice and how to use them to define physical behavior.



With Commedia Zuppa Todd has toured nationally and internationally, directed, served as a specialist and artist-in-residence off-Broadway working on the one man show Orson, and at many regional theatres such as the Kentucky Shakespeare festival, and the Nevada Conserv-atory Theatre

Todd has been a guest artist in residence, director and visiting instructor at many colleges and universities such as Western Michigan University, Rollins College, The uni-versity of Missouri/Kansas City, Aquinas College. He served as a Guest Artist in Residence at Kalamazoo College from 2002-2010 and was recently a Visiting Asst. Professor of

Theatre for their 2013/14 school year. He is a specialist in mask and movement actor training.

Common Core Connections:ELA-LITERACY.RL.9-10.1 Cite strong and thorough text-ual evidence to support analysis of what the text says ex-plicitly as well as inferences drawn from the text.

ELA-LITERACY.RL.9-10.3 Analyze how complex charac-ters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other char-acters, and advance the plot or develop the theme.


L.9-10.5 Demonstrate understanding of figurative lan-guage, word relationships, and nuances in word mean-ings.

ELA-LITERACY.CCRA.SL.1 Prepare for and participate ef-fectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and ex-pressing their own clearly and persuasively.

ELA-LITERACY.CCRA.L.3 Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.



Florida sunshine state standards - theatre 9-12TH.912.C.1.7 Justify personal perceptions of a director’s vision and/or playwright’s intent.

TH.912.C.2.5 Analyze the effect of rehearsal sessions and/or strategies on refining skills and techniques by keeping a performance or rehearsal journal/log.

TH.912.S.1.7 Interpret dramatic texts, organize and con-duct rehearsals, and justify directorial choices for formal and informal productions.




TH.912.S.2.3 Demonstrate an understanding of a dramat-ic work by developing a character analysis for one or more of its major characters and show how the analysis clarifies the character’s physical and emotional dimensions.

TH.912.S.2.5 Perform memorized theatrical literature in contrasting pieces to show ability to apply principles and structure, focus on details of performance, and process-ing skills to establish successful interpretation, expression, and believability.

TH.912.S.2.6 Transfer acting and technical skills and techniques from one piece of dramatic text to another.




TH.912.F.3.3 Exhibit independence, discipline, and com-mitment to the theatre process when working on assigned projects and productions.







TH.912.S.3.1 Articulate, based on research, the rationale for artistic choices in casting, staging, or technical design for a scene from original or scripted material.



TH.912.S.3.5 Conduct a comparative analysis of acting methods and the teacher-artists who developed them as a foundational guide to acting.

TH.912.S.3.6 Compare the Stanislavski Method with other acting methods to support development of a per-sonal method.

TH.912.O.2.5 Explain how the contributions and methods of significant individuals from various cultures and histor-ical periods have influenced the creative innovations of theatre, and apply one of their innovations to a theatrical piece in a new way.

TH.912.O.2.6 Deconstruct a play, using an established theory, to understand its dramatic structure.




III.c.1.D Analyze dramatic structure and genre;

III.c.2.B Analyze characters from various genres and styles, describing physical, intellectual, emotional, and social dimensions

III.c.3.C Cast and direct duet scenes

IV.C.1.a Develop and practice theatre preparation and warm-up techniques;

IV.C.1.b Employ stage movement and pantomime con-sistently;

IV.C.1.c Develop effective use of voice and diction;


north Carolina essential standards theatre ArtsB.C.1.1 Use non-verbal expression to illustrate how hu-man emotion affects the body and is conveyed through the body.




B.C.1.2 Apply vocal elements of volume, pitch, rate, tone, articulation, and vocal expression.

B.C.1.3 Understand how to read and write scripts that communicate conflict, plot, and character.

B.C.2.1 Use improvisation and acting skills, such as obser-vation, concentration, and characterization in a variety of theatre exercises.


B.A.1.1 Interpret the plot structure and the thematic, technical, and dramaturgical elements within scenes from plays.


B.AE.1.1 Understand the major technical elements, such as sound, lights, set, and costumes, and their interrela-tionships.


B.CU.2.1 Illustrate appropriate theatre etiquette as a member of an audience, as a performer, and as a techni-cian.


I.C.1.1 Use non-verbal expression to illustrate how hu-man motivations are prompted by physical and emotion-al needs.

P.C.1.1 Use non-verbal expression and physical self-awareness to communicate movement elements and characterization, including size, weight, and rate of movement.

P.C.2.2 Interpret monologues through formal and in-formal presentations.

A.C.1.1 Use non-verbal expression and physical self-awareness to communicate movement elements and characterization, including differentiation between multiple characters.

British Columbia• demonstrate voice and movement elements appropri-

ate to performance

• demonstrate understanding of the body and voice as performing instruments

• apply safety and health considerations to body and voice

• identify appropriate theatre terminology to describe movement and voice

• identify a character’s objectives and motivations

• identify a range of internal and external strategies for developing character

• demonstrate appropriate strategies to develop a char-acter

• demonstrate understanding of standard script conven-tions and structures

• identify a range of drama forms

• demonstrate understanding of the use of elements of drama in performance

• demonstrate understanding of how a central image contributes to a unified performance

• demonstrate understanding of how production ele-ments affect performance

• use appropriate stage terminology

• apply skills and techniques to communicate thoughts, feelings, and beliefs in a theatre performance

• maintain engagement in performance

• demonstrate the ability to move in and out of role

• take performance risks in a variety of situations

• critique their own and others’ performances

• use appropriate terminology to describe theatre per-formance

• demonstrate proficient use of body and voice as per-forming instruments

• use selected voice elements and elements of move-ment to achieve a specific purpose





• use appropriate theatre terminology to describe move-ment and voice

ontarioA1.3 Use role play to explore, develop, and represent themes, ideas, characters, feelings, and beliefs in produ-cing drama works

A2.1 Use the elements of drama to suit an identified pur-pose and form in drama presentations

A2.2 Use a variety of conventions to develop character and shape the action in ensemble drama presentations

A3.1 Identify and use a variety of techniques or methods for establishing a rapport between performer and audi-ence

A3.2 Use a variety of expressive voice and movement tech-niques to support the depiction of character


B1.2 Interpret short drama works and identify and explain their personal response to the works

B2.2 Explain how dramatic exploration can contribute to personal growth and self- understanding

C1.1 Identify the drama forms, elements, conventions, and techniques used in their own and others’ drama works, and explain how the various components are used or can be used to achieve specific purposes or effects

C1.2 Use correct terminology to refer to the forms, ele-ments, conventions, and techniques of drama


C3.1 Identify and follow safe and ethical practices in drama activities

C3.3 Demonstrate an understanding of theatre and audi-ence etiquette, in both classroom and formal perform-ance contexts

A2.2 Use a variety of conventions to create a distinct voice that reflects a particular global, social, or personal per-spective

A3.2 Use a variety of voice and movement techniques to support the creation of character or atmosphere during rehearsal


59DRAMA TEACHER ACADEMY SERIOUS PLAY: THEATRE GAMES AND WARMUPS

seRIoUs PlAy: tHeAtRe GAMes AnD wARMUPs


Materials: Video modules, Handouts, Transcripts, MP3 files, PDf

of Powerpoint Slides, Completion Certificate



60 DRAMA TEACHER ACADEMYSERIOUS PLAY: THEATRE GAMES AND WARMUPS


1. warmups (6:14)Introduction to the course and an overview of the types of games you’ll learn, how you can use them, and the effect they have on those who play them.

2. Risk Games (13:49)In this lesson, you’ll learn risk games. Risk games encour-age students to take risks, move out of their comfort zone, and learn something new. Risk games – they’re a great way to train your students to do and not think.

3. Movement Games (13:26)Learn three valuable movement games that help your actors to get comfortable moving their bodies and com-municating using their bodies.

4. Focus Games (13:06)During lesson four, you’ll learn important focus games that not only help to build ensemble, but also help your students to focus on themselves and others.

5. Voice Games (13:31)Through vocal games, your students will be encouraged to “play in their voice” and makes sounds in a free and im-pulsive way.

6. All-Inclusive Games (16:19)In lesson six you’ll learned games that will be linked together and will mimic the rehearsal and performance process.

7. when to use Games (16:16)Lesson seven reviews the categories of games you learn-ed and guides you through how to use them for specific rehearsals. You’ll even learn tips on how to use games you already know throughout the rehearsal process.

8. wrap-Up (2:50)In this final module, you’ll review what you’ve learned and how you can use and add on to what you’ve learned throughout the rehearsal and performance process.

Grade levels: 6-12

MODULES

61DRAMA TEACHER ACADEMY SERIOUS PLAY: THEATRE GAMES AND WARMUPS



“I believe that acting is play, I believe that theatre is play, and I like to start all my rehearsals out and all my classes out with play, so I keep reinforcing this idea of play of games.”

Not all theatre games are equal. In this course, you’ll learn different categories of games and how they can not only be used as warm ups (physical, mental, and vocal) but also as a connection to what you’re working on in a rehearsal. Todd Espeland will guide your through the use of these games and help you to develop your own. You’ll not only learn the games themselves but the “why” behind using them.



With Commedia Zuppa Todd has toured nationally and internationally, directed, served as a specialist and artist-in-residence off-Broadway working on the one man show Orson, and at many regional theatres such as the Kentucky Shakespeare festival, and the Nevada Conserv-atory Theatre.

Todd has been a guest artist in residence, director and visiting instructor at many colleges and universities such as Western Michigan University, Rollins College, The uni-versity of Missouri/Kansas City, Aquinas College. He served as a Guest Artist in Residence at Kalamazoo College from 2002-2010 and was recently a Visiting Asst. Professor of Theatre for their 2013/14 school year. He is a specialist in mask and movement actor training.

Common Core Connections:ELA-LITERACY.SL.8.6 Adapt speech to a variety of con-texts and tasks, demonstrating command of formal Eng-lish when indicated or appropriate. (See grade 8 Language standards 1 and 3 here for specific expectations.)

ELA-LITERACY.L.8.6 Acquire and use accurately grade-ap-propriate general academic and domain-specific words and phrases; gather vocabulary knowledge when consid-ering a word or phrase important to comprehension or expression.





L.9-10.5 Demonstrate understanding of figurative lan-guage, word relationships, and nuances in word meanings.

Florida sunshine state standards - theatre 9-12TH.912.S.2.8 Strengthen acting skills by engaging in the-atre games and improvisations.






62 DRAMA TEACHER ACADEMYSERIOUS PLAY: THEATRE GAMES AND WARMUPS










IV.C.1.a develop and practice theatre preparation and warm-up techniques;

IV.C.1.b employ stage movement and pantomime con-sistently;

IV.C.1.c develop effective use of voice and diction;


north Carolina essential standards theatre ArtsB.C.1.1. Use non-verbal expression to illustrate how human emotion affects the body and is conveyed through the body.


B.C.2.1. Use improvisation and acting skills, such as ob-servation, concentration, and characterization in a variety of theatre exercises.

B.C.U.2.2. Use acting conventions, such as stage pres-ence, subtext, style, and ensemble work, to perform for-mal or informal works.

British Columbia• demonstrate trust through collaborative drama


• demonstrate an appreciation for the diversity of others and their various perspectives

• make choices among a variety of ways to express thoughts, feelings, and beliefs

• identify a variety of movement possibilities that could be used to create a specific effect

• identify a variety of vocal techniques that could be used to communicate a specific meaning

• identify examples of the interrelationship of movement and voice in communicating meaning

• demonstrate how various emotions affect vocal and physical expression

ontarioA1.3 Use role play to explore, develop, and represent themes, ideas, characters, feelings, and beliefs in produ-cing drama works


C3.2 Identify and apply the skills and attitudes needed to perform various tasks and responsibilities in producing drama works


B2.2 Explain how dramatic exploration helps develop aware-ness of different roles and identities people have in society

B3.1 Identify and describe skills, attitudes, and strategies they used in collaborative drama activities

B3.2 Identify skills they have developed through drama activities and explain how they can be useful in work and other social contexts


63DRAMA TEACHER ACADEMY BREATH CONTROL AND PROJECTION

BReAtH ContRol AnD PRoJeCtIon

Instructor: ELISABETH OPPELT

Materials: Video modules, Handouts, Transcripts, MP3 files, PDf

of Powerpoint Slides, Completion Certificate

Video length: 8 modules, Total running time: 54 min


64 DRAMA TEACHER ACADEMYBREATH CONTROL AND PROJECTION


0. Introduction (2:25)Meeting the instructor and learn more about the overall arc of the course.

1. Preparing the Body to Breathe (7:35)“Preparing the Body to Breathe” focuses on posture and how proper air flow aids in projection and ultimately protecting the voice.

2. Anatomy of Breathing (6:57)“The Anatomy of Breathing” reviews the function of the lungs and diaphragm and demonstrates how we tend to try and use our chests to breathe rather than the diaphragm.

3. Using the Diaphragm (8:34)“Using the Diaphragm to Breathe” contains a series of exercises aimed at training you to use the diaphragm and help to strengthen it as well.

4. yelling vs. Projection (9:38)“Projection” starts to determine the difference between yelling and projecting and includes exercises that help you and your students learn to project.

5. How to teach students to Use the Diaphragm (6:41)

“How to Apply What You’ve Learned to Your Students” focuses on how to guide your students to use their diaphragm muscle. Take what you’ve learned so far and apply it to how you’ll work with your students.

6. teaching students How to Project (6:26)“How to Teach Students to Project.” Sounds daunting doesn’t it? Don’t worry, this module guides you in working with your students to enhance their projection. It even introduces you to some common challenges students face when learning to project.

7. Assessments for Understanding (4:40)“Possible Assessments to Test for Understanding.” In this module you gain tools so that you can assess your students’ progress.

Grade levels: 6-12

Instructor ELISABETH OPPELT

“I have taken private voice lessons and sang in choirs for fifteen years. That training gives me skills in controlling how I breathe and how loud I talk, and I have incorporated these skills into my teach-

ing. I am going to be teaching you how to do the same thing.”

The foundation of speech is our ability to breathe and control the flow of air. Elisabeth Oppelt uses her experi-ence as a singer and teacher to provide you with the tools you need to train your students to project. from exercises done in class, to additional exercises that your students can do at home, Oppelt helps you to teach, observe, and assess your student’s progress in projection. This course gives you specific methods to guide students as they learn to be more self aware of how they breathe and control the air flow which ultimately leads to better projection.

Common Core Connections:ELA-LITERACY.SL.8.6 Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate.

ELA-LITERACY.CCRA.SL.1 Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.


Florida sunshine state standards - theatre 9-12TH.912.S.2.8 Strengthen acting skills by engaging in theatre games and improvisations.


MODULES

65DRAMA TEACHER ACADEMY BREATH CONTROL AND PROJECTION







texas essential Knowledge and skills for theatre Arts8.2.C Portray characters through familiar movements and (dialogue)

IV.C.1.a Develop and practice theatre preparation and warm-up techniques;

IV.C.1.b Employ stage movement and pantomime consistently;

IV.C.1.c Develop effective use of voice and diction


B.C.1.2. Apply vocal elements of volume, pitch, rate, tone, articulation, and vocal expression.

B.C.2.1. Use improvisation and acting skills, such as observation, concentration, and characterization in a variety of theatre exercises.

B.C.U.2.2. Use acting conventions, such as stage presence, subtext, style, and ensemble work, to perform formal or informal works.





ontarioA3.2 Use a variety of expressive voice and movement techniques to support the depiction of character


C3.3 Demonstrate an understanding of theatre and audience etiquette, in both classroom and formal performance contexts

B2.2 Explain how dramatic exploration helps develop awareness of different roles and identities people have in society




66 DRAMA TEACHER ACADEMYCLOSE READING IN THE DRAMA CLASSROOM

Close ReADInG In tHe DRAMA ClAssRooM





67DRAMA TEACHER ACADEMY CLOSE READING IN THE DRAMA CLASSROOM



1. Be Prepared (22:14)This module answers questions like: What is Close Reading? What is its purpose? And what are the steps of Close Reading?

1A. Being the Preparedest (12:55)In module 1A you’ll learn the final step to Close Reading - questions. Questions are key to Close Reading since they allow students to demonstrate comprehension.

2. Pre-study exercises (28:00)This module is all about pre-study exercises such as how to Close Read a picture, a title and a sentence as a way to prepare your students to Close Read something more complicated.

3. Modelling (37:34)You’ll learn about modelling the process and how it helps your students approach Close Reading. In addition to using a monologue to model the process, you’ll also learn some culminating activities.

4. shakespeare (29:34)In this module, you’ll learn the guidelines and steps to Close Reading Shakespeare. You’ll also Close Read the prologue to Romeo and Juliet.

4A. shakespeare Continued (21:00)You’ll continue on with the Close Reading of Shakespeare as you Close Read the Sampson and Gregory scene from Romeo and Juliet.

5. Modern (14:18)In this module you’ll learn pre-study exercises and step through the Close Reading process with an Early Modern play - The Importance of Being Earnest.

6. Modern Continued (22:24)Continuing on with the Modern era, you’ll Close Read an absurd play: The Bald Soprano and a teen issue play: Cen-sorbleep.

7. exercises (6:17)You’ll learn even more exercises that will serve as exercises for your students’ minds. These are exercises you can take immediately into the classroom.

8. Assessment (8:52)You’ll address assessment of Close Reading by seeking the answers to the following questions: How do you assess something that is by and large a process? How do you assess something that demands a student draw conclusions?

Grade levels: 6-12


“Close reading links to the common core being used in the United States and to many standards here in the Canada. For example, in the US, Close Reading applies to the common core anchor English lan-

guage standard for reading.”

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.

Diving into a script (from Shakespeare to modern to absurd) and figuring out what’s being said, how it’s being said, word choice, punctuation, sentence structure, sentence meaning, why it’s being said, what’s the author’s intention, are the actions of analyzing a script. They become the building blocks of character development. They help a director form their vision. They are also the actions of Close Reading.

MODULES



About the Instructor:Lindsay Price has been a professional playwright for 20 years working specifically in the education market. She averages 500 productions a year in schools across Canada, the US and overseas and has over 60 published plays. Her work has advanced to the Showcase Level of the Sears Drama festival, been performed at the International Thespian festival, and in 2013 she won the Ronald M. Ruble New Play award.

Lindsay is also an accomplished workshop instructor, dramaturg and adjudicator. She teaches regularly at the International Thespian festival. She has taught at the Educational Theatre Association Conference as part of the Professional Development Institute, and was invited to teach at the World Congress of the International Drama and Education Association in Paris. She is a mainstage adjudicator for the Educational Theatre Association and has adjudicated one act festivals in florida, Ontario, Virginia, and Indiana. She is an invited member of the Theatre Ontario Talent Bank in adjudication, creative writing, and play polishing. She is a member of the Playwrights Guild of Canada, The Dramatists Guild of America, The Educational Theatre Association, and Theatre Ontario.

Common Core ConnectionsELA-LITERACY.RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

ELA-LITERACY.RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

ELA-LITERACY.RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

ELA-LITERACY.RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

ELA-LITERACY.RL.9-10.5 Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

ELA-LITERACY.RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.

ELA-LITERACY.RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

ELA-LITERACY.RI.9-10.2 Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

ELA-LITERACY.RI.9-10.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language of a court opinion differs from that of a newspaper).

ELA-LITERACY.RI.9-10.5 Analyze in detail how an author’s ideas or claims are developed and refined by particular sentences, paragraphs, or larger portions of a text (e.g., a section or chapter).

ELA-LITERACY.RI.9-10.6 Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose.

Florida sunshine state standards - theatre 9-12TH.912.C.1 Cognition and reflection are required to appreciate, interpret, and create with artistic intent.

TH.912.C.1.6 Respond to theatrical works by identifying and interpreting influences of historical, social, or cultural contexts.


TH.912.S.1 The arts are inherently experiential and actively engage learners in the processes of creating, interpreting, and responding to art.




TH.912.S.1.7 Interpret dramatic texts, organize and conduct rehearsals, and justify directorial choices for formal and informal productions.

TH.912.S.1.8 Use research to extract clues in dramatic texts to create performances or technical elements, choosing those that are most interesting and that best convey dramatic intent.

TH.912.S.2.3 Demonstrate an understanding of a dramatic work by developing a character analysis for one or more of its major characters and show how the analysis clarifies the character’s physical and emotional dimensions.

TH.912.S.3 Through purposeful practice, artists learn to manage, master, and refine simple, then complex, skills and techniques.

TH.912.S.3.9 Research, analyze, and explain the processes that playwrights, directors, designers, and performers use when developing a work that conveys artistic intent.

TH.912.O.1 Understanding the organizational structure of an art form provides a foundation for appreciation of artistic works and respect for the creative process.

TH.912.O.1.1 Research and analyze a dramatic text by breaking it down into its basic, structural elements to support development of a directorial concept, characterization, and design.

TH.912.O.1.2 Compare the conventions of western theatre with eastern theatre practices.


TH.912.H.1 Through study in the arts, we learn about and honor others and the worlds in which they live(d).

TH.912.H.1.1 Analyze how playwrights’ work reflects the cultural and socio-political framework in which it was created.

TH.912.H.1.2 Study, rehearse, and discuss a broad range of theatre works by diverse playwrights to enrich one’s perspective of the world.

TH.912.H.1.4 Interpret a text through different social, cultural, and historical lenses to consider how perspective and context shape a work and its characters.

TH.912.H.2 The arts reflect and document cultural trends and historical events, and help explain how new directions in the arts have emerged.

TH.912.H.2.3 Weigh and discuss, based on analysis of dramatic texts, the importance of cultural protocols and historical accuracy for artistic impact.

TH.912.H.2.5 Apply knowledge of dramatic genres and historical periods to shape the work of performers, directors, and designers.

TH.912.H.2.6 Explore how gender, race, and age are perceived in plays and how they affect the development of theatre.

texas essential Knowledge and skills for theatre Arts117.64.2.C.1.A Improvise, using emotional and sensory recall;

117.64.2.C.1.E Define and give examples of theatrical conventions (time, setting, fourth wall, visual elements)

117.64.2.C.2 Creative expression/performance. The student interprets characters, using the voice and body expressively, and creates dramatizations.

117.64.2.C.2.B Analyze a character from a script, describ-ing physical, intellectual, emotional, and social dimen-sions;

117.64.2.C.2.C Portray believable characters when apply-ing acting concepts, skills, and techniques; and

117.64.2.C.4 Historical/cultural heritage. The student relates theatre to history, society, and culture

117.64.2.C.5.C Identify and compare the treatment of moods in theatre, musical theatre, dance, art, and music and integrate more than one art form in informal perform-ances

117.65.C.1.D Analyze dramatic structure and genre

117.65.2.B Analyze characters from various genres and media, describing physical, intellectual, emotional, and social dimensions; 117.65.2.C Create and sustain believable characters




north Carolina essential standards theatre ArtsB.C.1.1 Use non-verbal expression to illustrate how human emotion affects the body and is conveyed through the body.


B.C.1.3 Understand how to read and write scripts that communicate conflict, plot, and character.

B.C.2.1 Use improvisation and acting skills, such as observation, concentration, and characterization in a variety of theatre exercises.


B.A.1.1 Interpret the plot structure and the thematic, technical, and dramaturgical elements within scenes from plays.


B.AE.1.1 Understand the major technical elements, such as sound, lights, set, and costumes, and their interrelationships.


B.CU.2.1 Illustrate appropriate theatre etiquette as a member of an audience, as a performer, and as a technician.


I.C.1.1 Use non-verbal expression to illustrate how human motivations are prompted by physical and emotional needs.

P.C.1.1 Use non-verbal expression and physical self-awareness to communicate movement elements and characterization, including size, weight, and rate of movement.

P.C.2.2 Interpret monologues through formal and informal presentations.

A.C.1.1 Use non-verbal expression and physical self-awareness to communicate movement elements and characterization, including differentiation between multiple characters.

British Columbia• demonstrate voice and movement elements appropri-

ate to performance

• demonstrate understanding of the body and voice as performing instruments


• identify appropriate theatre terminology to describe movement and voice

• identify a character’s objectives and motivations

• identify a range of internal and external strategies for developing character

• demonstrate understanding of standard script conven-tions and structures


• apply skills and techniques to communicate thoughts, feelings, and beliefs in a theatre performance

• maintain engagement in performance

• demonstrate the ability to move in and out of role

• take performance risks in a variety of situations

• critique their own and others’ performances


• demonstrate proficient use of body and voice as per-forming instruments

• use selected voice elements and elements of move-ment to achieve a specific purpose

• use appropriate theatre terminology to describe move-ment and voice




ontarioA1.3 Use role play to explore, develop, and represent themes, ideas, characters, feelings, and beliefs in producing drama works

A2.1 Use the elements of drama to suit an identified purpose and form in drama presentations

A2.2 Use a variety of conventions to develop character and shape the action in ensemble drama presentations

A3.1 Identify and use a variety of techniques or methods for establishing a rapport between performer and audience

A3.2 Use a variety of expressive voice and movement techniques to support the depiction of character




C1.1 Identify the drama forms, elements, conventions, and techniques used in their own and others’ drama works, and explain how the various components are used or can be used to achieve specific purposes or effects

C1.2 Use correct terminology to refer to the forms, elements, conventions, and techniques of drama


C3.1 Identify and follow safe and ethical practices in drama activities


A2.2 Use a variety of conventions to create a distinct voice that reflects a particular global, social, or personal perspective



72 DRAMA TEACHER ACADEMYCONCEPT-BASED DESIGN

ConCePt-BAseD DesIGn





73DRAMA TEACHER ACADEMY CONCEPT-BASED DESIGN



1. selecting a Play (11:33)In this lesson you’ll learn about how to select a play for your school by taking into consideration your school and local communities as well as your talent pool.

2. time, space and Money (21:23)Producing a play from start to finish takes planning and a goal. In lesson two you’ll learn about creating a schedule and obtaining the rights for your production. By examining your production needs and the resources and limitations of your school’s program and facility, you’ll be far better prepared for your production.

3. Understanding the Concept-Driven Production (7:57)

Lesson three defines what a concept is and how it can be applied to the various production elements of your show.

4. Creating the Concept Design (8:50)Script analysis and understanding the theme of your play will help to drive your concept and design. In this lesson, you’ll learn how to analyze your script and identify pos-sible themes that will support the concept that drives the design of your show.

5. Generating a Design (3:35)In lesson five you’ll use what you’ve been developing throughout the other lessons such as a conceptual state-ment to address design challenges and problem solving. You’re guided through the process and provided with mul-tiple examples.

6. the ‘what If?’ Game (8:05)In this lesson, you’ll learn how to play the “What-If” game to further your ideas and to help you think outside of the box in addressing challenges and new ideas for your de-sign.

7. Advertising & Publicity (8:51)Lesson seven introduces you to the idea of how to use your conceptual design as part of the advertising campaign for your show. Step by step instructions and clear examples are provided.

8. Using existing scenic elements (14:14)In this lesson, you’re going to learn the five basic pieces of scenery you must have in your stocks for nearly every occasion. If you have these five pieces, you can generate just about anything.

9. teaching Concept-Based Design (6:24)Lesson nine will show you how to teach concept-based design to your students. By starting at the very beginning, a blank scene, your students will work individually, in pairs, and in small groups to analyze a script and apply the various techniques you’ve learned throughout this course to develop a concept-based design.

Grade levels: 6-12

MODULES




“Learning the skills to generate a concept-based design will expand brand new horizons for your work as a director. It changes the equation from “What can I do?” to “What can it be?””

Throughout this course you will learn what concept-based design is and how it can be applied to your show. Without the knowledge of how to creatively generate the design for a show, you’re at the mercy of the printed script sugges-tions, which are not practical for a typical education pro-duction. Either that or you throw together what you can based on what support is available to you. Many times, the process is not as satisfying as directors would like it to be. Through anecdotes, examples, and activities, you’ll learn how concept-based design creates a unique look and feel for your production and helps you to understand and util-ize the resources available to you.

About the InstructorMatt Webster is a former tenured Associate Professor of Theatre Education/Theatre for Youth. After teaching the-atre teachers how to teach theatre for 14 years he transi-tioned to teaching high school theatre. Matt is currently the chair of the fine Arts Department in a high school in North Carolina.

In addition to teaching, Matt is an actor and director who has worked for professional theatre companies such as the Silver Bear Theatre in Albuquerque, Honolulu The-atre for Youth, Seattle Children’s Theatre and Children’s Theatre of Charlotte.

Matt is also an award winning playwright. His play House of Mirrors was awarded the American Alliance for Theatre and Education Unpublished Play Reading Pro-ject, and was a semi-finalist in the prestigious Bonderman Playwriting for Youth National Competition.

Common Core Connections:ELA-LITERACY.RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

ELA-LITERACY.RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

ELA-LITERACY.RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

ELA-LITERACY.RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

ELA-LITERACY.RL.9-10.5 Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

ELA-LITERACY.RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.

ELA-LITERACY.RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

ELA-LITERACY.RI.9-10.2 Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.





Florida sunshine state standards - theatre 9-12TH.912.C.1.3 Justify a response to a theatrical experience through oral or written analysis, using correct theatre terminology.

TH.912.C.1.4 Research and define the physical/visual elements necessary to create theatrical reality for a specific historical and/or geographical play.

TH.912.C.1.6 Respond to theatrical works by identifying and interpreting influences of historical, social, or cultural contexts. TH.912.C.1.7 Justify personal perceptions of a director’s vision and/or playwright’s intent. TH.912.C.1.8 Apply the components of aesthetics and criticism to a theatrical performance or design. TH.912.C.2.1 Explore and describe possible solutions to production or acting challenges and select the solution most likely to produce desired results.

TH.912.C.2.3 Analyze different types of stage configura-tions to determine the effects of each as potential produc-tion solutions.

TH.912.C.2.4 Collaborate with a team to outline several potential solutions to a design problem and rank them in order of likely success. TH.912.C.3.1 Explore commonalities between works of theatre and other performance media. TH.912.C.3.2 Develop and apply criteria to select works for a portfolio and defend one’s artistic choices with a prepared analysis.

TH.912.C.3.3 Critique, based on exemplary models and established criteria, the production values and effectiveness of school, community, and live or recorded professional productions.

TH.912.S.1.3 Develop criteria that may be applied to the selection and performance of theatrical work.

TH.912.S.1.4 Compare the artistic content as described by playwrights, actors, designers, and/or directors with the final artistic product and assess the success of the final artistic product using established criteria.


TH.912.S.2.1 Create one or more technical design documents for a theatrical production.

TH.912.S.2.2 Apply technical knowledge of safety procedures and demonstrate safe operation of theatre equipment, tools, and raw materials.


TH.912.S.2.9 Research and defend one’s own artistic choices as a designer.


TH.912.S.3.4 Apply scientific and technological advances to develop visual and aural design elements that complement the interpretation of the text.


TH.912.O.1.3 Execute the responsibilities of director, designer, manager, technician, or performer by applying standard theatrical conventions. TH.912.O.2.3 Create a non-traditional scenic or costume design of a classical play that visually connects it to another time period.

TH.912.O.2.7 Brainstorm a variety of ways to deviate from western rules and conventions in theatre to influence audience and performer experiences.

TH.912.O.3.1 Analyze the methods of communication among directors, designers, stage managers, technicians, and actors that establish the most effective support of the creative process.

TH.912.O.3.2 Analyze a variety of theatre and staging configurations to understand their influence on the audience experience and response.

TH.912.O.3.3 Analyze and demonstrate how to use various media to impact theatrical productions.






TH.912.H.1.3 Present a design or perform in the style of a different historical or cultural context to gain appreciation of that time and culture.



TH.912.H.2.4 Research the intent of, and critical reaction to, artists in history who created groundbreaking, innova-tive, or controversial works.


TH.912.H.3.2 Compare the applications of various art forms used in theatre production.

TH.912.F.1.4 Research the cause-and-effect relationship between production needs and new and emerging tech-nologies to support creativity and innovation in theatre.

TH.912.F.2.4 Apply the skills necessary to be an effective director, designer, stage manager, and/or technician in the mounting of a theatrical performance.

TH.912.F.3.3 Exhibit independence, discipline, and commitment to the theatre process when working on assigned projects and productions.

TH.912.F.3.7 Use social networking or other communica-tion technology appropriately to advertise for a produc-tion or school event.

texas essential Knowledge and skills for theatre Arts117.64.2.C.1.E Define and give examples of theatrical conventions (time, setting, fourth wall, visual elements)


117.66.C.1.F Analyze the interdependence of all theatrical elements.

117.66.C.2.A Practice appropriate safety measures;

117.66.C.3 Creative expression/performance. The student applies design, directing, and theatre production concepts and skills. The student is expected to:

117.66.C.3.A Construct and operate the technical elements of theatre safely and effectively;

117.66.C.3.B Analyze and evaluate dramatic texts as a basis for technical discussions, considering themes, settings, times, literary styles, genres, and characters;

117.66.C.4.C Define selected theatrical styles and genres.

north Carolina essential standards theatre ArtsB.AE.1.1 Understand the major technical elements, such as sound, lights, set, and costumes, and their interrelationships.


P.AE.1.1 Analyze design concepts for aesthetic impact of technical elements.

P.AE.1.2 Apply working knowledge to solve problems in the major technical elements, such as sound, lights, set, and costumes, for formal or informal audiences

A.AE.1.1 Use technical knowledge and design skills to formulate designs for a specific audience.


British Columbia• demonstrate understanding of standard script conven-

tions and structures



• suggest and try a variety of appropriate solutions to a given problem


• identify ways to advance dramatic action

• use given criteria to assess and evaluate their work




ontarioA3.3 Use a variety of technological tools to communicate or enhance specific aspects of drama works


B1.3 Identify aesthetic and technical aspects of drama works and explain how they help achieve specific dramatic purposes


B3.3 Identify and describe various roles, responsibilities, and competencies of key personnel in theatre work






78 DRAMA TEACHER ACADEMYINTRODUCTION TO STAGE MANAGEMENT

IntRoDUCtIon to stAGe MAnAGeMent

Instructor: KAREN LOfTUS




79DRAMA TEACHER ACADEMY INTRODUCTION TO STAGE MANAGEMENT



1. what is stage Management? (6:21)In this lesson you’ll learn a working definition of stage management that will guide the rest of the lessons. You’ll also learn the benefits of having student Stage Managers in your program.

2. Paperwork & Prompt script (11:56)Paperwork, paperwork, paperwork! This lesson will explain the various types of paperwork a Stage Manager creates, why they’re necessary, and how they’re used. Each form is explained and examples are provided.

3. Preparing for Rehearsal (14:34)Preparing for rehearsal includes communication with the cast and setting up the rehearsal space. In this lesson you’ll learn about ways your Stage Managers can gather information and be as prepared as possible for rehearsals.

4. Rehearsal Responsibilities (9:31)In lesson 4 you’ll learn about the Stage Manager’s responsibilities during rehearsal including starting and ending on time, taking notes, and being on book.

5. Blocking & tracking (12:25)This lesson focuses primarily on how a Stage Manager notates blocking and tracks items that are using in a show. You’ll learn one specific blocking notation technique and you’ll receive examples of various types of preset, running, and shift sheets.

6. outside Rehearsal and Challenges (12:16)Stage Managers can have responsibilities outside of rehearsal as well including costume fittings and publicity events. In this lesson you’ll learn how your Stage Managers can be a part of these events and how you can set up your student Stage Managers for success overall.

7. the Final Checklist (5:20)In our final lesson, we’ll recap all that we’ve learned throughout the course.

Grade levels: 6-12

Instructor: KAREN LOfTUS

“A unit on stage management is a great way to link technical theatre, acting, and even directing. By exploring stage management – whether in class or in production – students learn skills such as

analytical thinking, organization, teamwork, and prob-lem-solving.”

In this course, you’ll explore the responsibilities of a Stage Manager. But, more importantly, you’ll learn exercises that will help you demonstrate those responsibilities and the necessary skills of a Stage Manager to your students. This course explores how a Stage Manager prepares for re-hearsal and the responsibilities of the Stage Manager dur-ing rehearsal including paperwork, note taking, and com-munication. You’ll also learn how you can set up a stage management program at your school for your school’s productions.

About the InstructorKaren Loftus currently serves as the Production Man-ager at The Lee Strasberg Theatre and film Institute in New York City. She also teaches fourth, sixth, and eighth graders throughout Brooklyn and Queens as part of an in-school theatre and film residency through the Stages on the Sound theatre company. She’s a proud member of Ac-tors’ Equity Association and has served as a professional Stage Manager for companies such as: Manhattan Theatre Club, The Vineyard Theatre, Blue Man Group, New York Classical Theatre, and The Walt Disney Company.

She’s a former theatre director and fine arts department head at St. Cloud High School in Osceola County florida where she was recognized as an “Arts Teacher of the Year.” She holds certifications in Drama 6-12 and Language Arts 6-12 and was an early candidate for the Content Area Reading Certification in the state of florida.

She received her BA in Acting and Directing from DeSales University and her MfA in Design and Production with an emphasis in Stage Management from the University of California, Irvine.

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80 DRAMA TEACHER ACADEMYINTRODUCTION TO STAGE MANAGEMENT


In addition to arts administration and education, Karen continues to direct both the young (Rent, School Edition and Into the Woods at the White Plains Performing Arts Center) and the not-as-young (Much Ado About Noth-ing - White Plains Shakespeare in the Park). She was also seen last Spring in the Metropolitan Playhouse’s Guilded Stage festival as part of a devised work created by Stages on the Sound.

Common Core Connections:CCSS.ELA-LITERACY.RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

CCSS.ELA-LITERACY.RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

CCSS.ELA-LITERACY.RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

CCSS.ELA-LITERACY.RI.9-10.2 Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

CCSS.ELA-LITERACY.RI.9-10.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language of a court opinion differs from that of a newspaper).

Florida sunshine state standards - theatre 9-12TH.912.C.1.4 Research and define the physical/visual elements necessary to create theatrical reality for a specific historical and/or geographical play.


TH.912.C.2.1 Explore and describe possible solutions to production or acting challenges and select the solution most likely to produce desired results.


TH.912.C.2.4 Collaborate with a team to outline several potential solutions to a design problem and rank them in order of likely success.








TH.912.O.1.3 Execute the responsibilities of director, designer, manager, technician, or performer by applying standard theatrical conventions.

TH.912.O.3.1 Analyze the methods of communication among directors, designers, Stage Managers, technicians, and actors that establish the most effective support of the creative process.




81DRAMA TEACHER ACADEMY INTRODUCTION TO STAGE MANAGEMENT




TH.912.F.1.4 Research the cause-and-effect relationship between production needs and new and emerging technologies to support creativity and innovation in theatre.

TH.912.F.2.4 Apply the skills necessary to be an effective director, designer, Stage Manager, and/or technician in the mounting of a theatrical performance.



texas essential Knowledge and skills for theatre Arts117.64.2.C.1.E Define and give examples of theatrical conventions (time, setting, fourth wall, visual elements)




117.66.C.3.A Construct and operate the technical ele-ments of theatre safely and effectively;
























82 DRAMA TEACHER ACADEMYYES, AND . . . HOW TO TEACH IMPROV

yes, AnD . . . How to teACH IMPRoV

Instructor: JENNINE PROfETA

Materials: Video modules, Handouts, Demonstration Videos, Transcripts,

MP3 files, PDf of Powerpoint Slides, Completion Certificate



83DRAMA TEACHER ACADEMY YES, AND . . . HOW TO TEACH IMPROV



1. yes, And...! (13:51)In Lesson 1 you’ll learn three simple exercises that help you and your students learn the power of “saying yes” in improv.

2. telling stories (13:37)You’ll take what you’ve learned in Lesson 1 about saying “Yes, and...” and apply it to storytelling. You’ll encourage your students to think about “the group win” and stop thinking so much about how they can be the funniest per-son in the room.

3. strong offers and Character (15:41)In lesson 3 you’ll learn exercises that will help you and your students to “make strong offers” and create and develop strong characters.

4. environment and object work (13:27)Next up, you’ll focus on movement and environment and object work in improvisation. Various warm ups and activ-ities allow you and your student to explore these concepts in depth.

5. Gibberish (14:05)Ithage kneja wa sena… Oops, sorry - this lesson is all about Gibberish! You’ll continue your work using the “gift giving” exercise and build upon it to create better scenes.

6. emotional work (19:30)In this lesson, we’ll incorporate emotions into scene work. Through warm ups and exercises, you’ll reinforce the idea that ideas are safe in the theatre classroom and we can play with them and see the effect they have on our scenes.

7. Questions (11:18)In Lesson 7 you’ll learn how questions affect a scene. Ques-tions often hold performers back. In this lesson you’ll learn a new warm up and an exercise called “Job Interview.”

8. Intro to scene work (16:35)You’ll take all you’ve learned so far and start to apply it to-ward scene work. You’ll learn how to guide and support your students as they take this next step.

9. wrap-up (5:55)This lesson is a wrap up and review of all of the wonderful warm ups, exercises and overall advice that you’ve learn-ed about improvisation.

Grade levels: 6-12

Instructor: JENNINE PROfETA

“We’re going to give you some tangible stuff to work with. I’m going to give you a methodology for teaching and I’m going to give you some tips on how to give feedback on this stuff.”

People are drawn to improv because it’s unpredictable and it’s wacky and it’s all about living in the moment. It ter-rifies them for the exact same reason. In this course, you’ll learn the “laws for improv” that are going to help even the most challenged students succeeded. Using a series of videos and instruction Jennine Profeta, an instructor at The Second City Training Centre in Toronto Canada, will show you how to work with your students, guide them, and lead down the right path in improvisation.

About the InstructorJennine Profeta is an actor, improviser, writer and instruct-or at The Second City Training Centre in Toronto. After graduating with an Honours Theatre Degree from the Uni-versity of Winnipeg, Jennine moved to Toronto to pursue her love of comedy. There she was a member of the first Conservatory Program in Toronto, and went on to be a member of The Second City’s National Touring Company. She also spent a year working for The Second City aboard Norwegian Cruise Line’s Jewel and Gem ships, performing and teaching in the Mediterranean and Caribbean.

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84 DRAMA TEACHER ACADEMYYES, AND . . . HOW TO TEACH IMPROV


As an instructor, Jennine has used her improv skills to train doctors, lead corporate training workshops and de-velop original works with young people. Through various organizations she teaches improv, prepares students for public performances and uses standard improv exercises to build self-esteem and develop confidence in young per-formers.

In addition to improv, Jennine has appeared in many commercials and was a principal player on Howie Man-del’s “Howie Do It” on NBC. She’s performed all over Can-ada, in the U.S. and Australia. She is the producer of the all-female comedy extravaganza Girls Nite Out and has written for television, radio, newspapers and magazines.

Common Core Connections:CCSS.ELA-LITERACY.SL.8.6 Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate. (See grade 8 Language standards 1 and 3 here for specific expectations.)

CCSS.ELA-LITERACY.L.8.6 Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression.

CCSS.ELA-LITERACY.CCRA.SL.1 Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.

CCSS.ELA-LITERACY.CCRA.L.3 Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.



L.9-10.5 Demonstrate understanding of figurative lan-guage, word relationships, and nuances in word mean-ings.

Florida sunshine state standards - theatre 9-12TH.912.S.2.8 Strengthen acting skills by engaging in theatre games and improvisations.










texas essential Knowledge and skills for theatre Arts117.64.2.C.1 Perception. The student develops concepts about self, human relationships, and the environment, using elements of drama and conventions of theatre.

117.64.2.C.1.A Improvise, using emotional and sensory recall;

117.64.2.C.1.B Develop and practice theatre preparation and warm-up techniques;

117.64.2.C.1.C Employ stage movement and pantomime consistently to express thoughts, feelings, and actions;

117.64.2.C.1.D Develop and practice effective voice and diction to express thoughts and feelings;


85DRAMA TEACHER ACADEMY YES, AND . . . HOW TO TEACH IMPROV


117.64.2.C.1 .E -Define and give examples of theatrical conventions (time, setting, fourth wall, visual elements)

117.64.2.C.2.C Portray believable characters when applying acting concepts, skills, and techniques; and

117.65.C.1.A Practice warm-up techniques;

117.65.C.1.B Employ stage movement and pantomime consistently;

117.65.C.1.C Demonstrate effective voice and diction;



B.C.2.1. Use improvisation and acting skills, such as observation, concentration, and characterization in a variety of theatre exercises.

B.C.U.2.2. Use acting conventions, such as stage presence, subtext, style, and ensemble work, to perform formal or informal works.



• demonstrate an appreciation for the diversity of others and their various perspectives make choices among a variety of ways to express thoughts, feelings, and be-liefs

• identify a variety of movement possibilities that could be used to create a specific effect




ontarioA1.3 Use role play to explore, develop, and represent themes, ideas, characters, feelings, and beliefs in producing drama works

A3.2 Use a variety of expressive voice and movement techniques to support the depiction of character







86 DRAMA TEACHER ACADEMYGOOGLE DRIVE IN THE DRAMA CLASSROOM

GooGle DRIVe In tHe DRAMA ClAssRooM

Instructor: JOSHUA HATT





87DRAMA TEACHER ACADEMY GOOGLE DRIVE IN THE DRAMA CLASSROOM


0. Introduction (9:43)Meet the instructor and learn how Google, specifically Google Slides, can be used in the Drama classroom.

1. the Basics (6:12)You’ll jump right in and learn how to plan your class by using the workbook journal approach and how to make it fit your educational context and needs

2. the Google Journal in Action (11:07)In lesson 2 you’ll get up close and personal with the pro-gram itself and through a series of examples, and mini-ac-tivities, you’ll have a better understanding of the possibil-ities for your classroom and how to begin you journals.

3. Using Google slides (11:17)You’ll learn how to make a copy of your journal, and add photos and video. You’ll have a solid understanding of how to navigate through your own journal and have a cus-tomized version that you might be able to use with your students.

4. Customize your Google slides (9:37)Building on what you’ve already learned in previous les-sons, in lesson 4 will teach how to make your own docu-ment and how to format it. You’ll learn how to add text boxes, tables and how to add slides. Through examples, demonstrations, and mini-activities, you’ll have a solid understanding of how to make your own journal from scratch to fit your own classroom needs.

5. Preparing for your students (9:01)Learning all of these wonderful elements is great and you want to make sure you can share this with your students. In lesson 5 you’ll recap what you’ve learned and then move forward into the prep involved to make sure you feel confident that you can engage your students with this technology with as few “hiccups” as possible.

6. Introducing Google Drive to your students (8:19)In this lesson you’ll learn how to use an introductory les-son to get your students started. Using an lesson provided to you below the video module, by the end of this lesson you should feel confident delivering your introductory les-son to your students.

7. Addressing Common Issues (11:18)Troubleshooting! In this lesson Joshua steps you through various “glitches” you might run into when working with you students on this project. “forewarned is forearmed” and Joshua makes sure you feel prepared to take on this new project and for implementation.

8. the Basics: Part 2 (16:35)If you’re a Power Point or Keynote user, working offline might make your more conformable. In this lesson, Joshua guides you through how to design your journal in Power Point and upload it to Google Drive. He’ll also share tips and trick to ensure proper formatting. By the end of the lesson, you’ll be able to transition between Power Point and Google Slides seamlessly.

9. you Can Do It! (5:55)In this final lesson you’ll get to hit the “save” button on everything you’ve learned through a thorough review and recap.

Grade levels: 6-12

MODULES



Instructor: JOSHUA HATT

“Reflection is such a powerful tool in the drama classroom. Students who can reflect and use their analytical skills are the students who learn and connect their drama to the various situations in re-

al-life contexts.”

In this truly hands on course you’ll be introduced to the wonders of Google drive, with a focus on the use of Goo-gle slides to create a new kind of journaling experience for your students. Using screencasts, examples, and mini-ac-tivities, instructor Joshua Hatt guides you step by step through the process of learning how to use Google slides and how to share this information with your students. fear not technologically shy! Clear explanations, guided instruction, easy-to-follow examples and additional re-source material make this class a hit with all teachers.

About the InstructorJoshua Hatt has taught drama in international schools all over the world - in China, Germany, Dubai, and Shanghai. He is a self-professed ‘huge drama nerd’ who believes that drama teaches humanity, emotions and the human ex-perience.

Joshua has a firm belief that in order for technology to be useful, it has to have a meaningful application into the instruction, and has discovered effective, hands-on ways to use online tools to transform his classroom.

Common Core Connections:ELA-LITERACY.W.4.1.A Introduce a topic or text clearly, state an opinion, and create an organizational structure in which related ideas are grouped to support the writer’s purpose.

ELA-LITERACY.W.4.1.B Provide reasons that are supported by facts and details.

ELA-LITERACY.W.4.1.C Link opinion and reasons using words and phrases (e.g., for instance, in order to, in addition).

ELA-LITERACY.W.4.2.A Introduce a topic clearly and group related information in paragraphs and sections; include formatting (e.g., headings), illustrations, and multimedia when useful to aiding comprehension.

ELA-LITERACY.W.4.2.B Develop the topic with facts, definitions, concrete details, quotations, or other information and examples related to the topic.

ELA-LITERACY.W.4.2.C Link ideas within categories of information using words and phrases (e.g., another,for example, also, because).

ELA-LITERACY.W.4.2.D Use precise language and domain-specific vocabulary to inform about or explain the topic.

ELA-LITERACY.W.4.3.A Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally.

ELA-LITERACY.W.4.3.B Use dialogue and description to develop experiences and events or show the responses of characters to situations.

ELA-LITERACY.W.4.3.C Use a variety of transitional words and phrases to manage the sequence of events.

ELA-LITERACY.W.4.3.D Use concrete words and phrases and sensory details to convey experiences and events precisely.

ELA-LITERACY.W.4.4 Produce clear and coherent writing in which the development and organization are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1-3 above.)

ELA-LITERACY.W.4.5 With guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, and editing.




ELA-LITERACY.W.4.6 With some guidance and support from adults, use technology, including the Internet, to produce and publish writing as well as to interact and collaborate with others; demonstrate sufficient command of keyboarding skills to type a minimum of one page in a single sitting.

Florida sunshine state standardsTH.912.C.1.3 Justify a response to a theatrical experience through oral or written analysis, using correct theatre terminology.




TH.912.C.1.8 Apply the components of aesthetics and criticism to a theatrical performance or design.

TH.912.C.2 Assessing our own and others’ artistic work, using critical-thinking, problem solving,and decision-making skills, is central to artistic growth.


TH.912.C.2.3 Analyze different types of stage configurations to determine the effects of each as potential production solutions.


TH.912.C.2.6 Assess a peer’s artistic choices in a production as a foundation for one’s own artistic growth.


TH.912.C.3 The processes of critiquing works of art lead to development of critical thinking skills transferable to other contexts.

TH.912.C.3.1 Explore commonalities between works of theatre and other performance media.

TH.912.C.3.2 Develop and apply criteria to select works for a portfolio and defend one’s artistic choices with a prepared analysis.


TH.912.S.1 The arts are inherently experiential and actively engage learners in the processes of creating, interpreting, and responding to art.

TH.912.S.1.1 Describe the interactive effect of audience members and actors on performances.

TH.912.S.1.2 Describe the Stanislavski Method and its impact on realism in theatrical performance in the 20th century.





TH.912.S.3.5 Conduct a comparative analysis of acting methods and the teacher-artists who developed them as a foundational guide to acting.

TH.912.S.3.6 Compare the Stanislavski Method with other acting methods to support development of a personal method.

TH.912.S.3.9 Research, analyze, and explain the processes that playwrights, directors, designers, and performers use when developing a work that conveys artistic intent.





TH.912.O.2.7 Brainstorm a variety of ways to deviate from western rules and conventions in theatre to influence audience and performer experiences. TH.912.H.1.1 Analyze how playwrights’ work reflects the cultural and socio-political framework in which it was created.

TH.912.H.2.2 Research and discuss the effects of personal experience, culture, and current events that shape individual response to theatrical works.


TH.912.H.2.4 Research the intent of, and critical reaction to, artists in history who created groundbreaking, innovative, or controversial works. TH.912.H.2.7 Hypothesize how theatre may look in the future and defend that hypothesis, based on historical and social trends, to show understanding of their importance to the development of theatre.

TH.912.H.2.8 Analyze how events have been portrayed through theatre and film, balancing historical accuracy versus theatrical storytelling.

TH.912.H.2.10 Analyze how the history of American musical theatre is tied to events in U.S. history and popular culture, detailing the ways in which theatre evolved. TH.912.H.2.11 Describe the significant works and major contributions of major playwrights, performers, designers, directors, and producers in American musical theatre. TH.912.H.3.1 Apply critical-thinking and problem-solving skills used in theatre collaboration to develop creative solutions to real-life issues.


TH.912.H.3.5 Explain how the social interactions of daily life are manifested in theatre.

TH.912.F.1.4 Research the cause-and-effect relationship between production needs and new and emerging tech-nologies to support creativity and innovation in theatre.

TH.912.F.3.4 Discuss how participation in theatre supports development of life skills useful in other content areas and organizational structures.

texas state standards117.65.C.1.D Analyze dramatic structure and genre;

117.65.C.1.E Identify examples of theatrical conventions in theatre, film, television, and electronic media;

117.65.C.1.F Relate the interdependence of all theatrical elements.

117.65.C.2.B Analyze characters from various genres and media, describing physical, intellectual, emotional, and social dimensions;

117.65.C.3.B Examine cultural, social, and political aspects of a script to depict appropriately technical elements;

117.65.C.3.C Consider script selection, casting, and directing skills;

117.65.C.3.C Define the director’s responsibility to the author’s intent, script, actors, designers, technicians, and the audience;

117.65.C.4.A Analyze historical and cultural influences on theatre;

117.65.C.4.B Define the influence of American society on live theatre and film.

117.65.C.5.B Evaluate emotional responses to and personal preferences for dramatic performances, using appropriate theatre vocabulary, and apply the concepts of evaluation (intent, structure, effectiveness, value) to live theatre, film, television, and electronic media in written and oral form with precise and specific observations;

117.65.C.5.D Select career and avocational opportunities in theatre and film and explore the training, skills, self-discipline, and artistic discipline needed to pursue them.

117.66.C.5.C Compare communication methods of theatre with that of art, music, and dance and integrate more than one art form in informal and formal performances;

north CarolinaB.A.1.1 Interpret the plot structure and the thematic, technical, and dramaturgical elements within scenes from plays.





B.CU.1.1 Use theatre arts to explore concepts in world history and relate them to significant events, ideas, and movements from a global context.

I.A.1.2 Evaluate the works of theatre artists for strengths, weaknesses, and suggestions for improvement.

I.CU.1.1 Use theatre arts to explore concepts of civics and economics, such as systems, functions, structures, democracy, economies, and interdependence.


P.CU.1.1 Understand the role of theatre arts in United States history as a means of interpreting past eras within an historical context.

P.CU.2.1 Understand how the rules of audience etiquette originated, how they have evolved, and for what purpose.

P.CU.2.2 Analyze the interrelationships of theatre roles.

A.A.1.2 Critique performances of written texts based on a set of given criteria.

A.CU.2.1 Design strategies to encourage appropriate audience etiquette.

British Columbia• compare their own thoughts, feelings, and beliefs with

those of others






• apply the principle of the three unities

• explain the unique responsibilities of the director

• articulate an aesthetic response based on their own criteria

• explain how other art forms are used to affect the dra-matic moment

• demonstrate a recognition that theatre and the arts can enhance all aspects of their lives

ontarioA1.1 Use a variety of print and non-print sources


B1.1 Use the critical analysis process before and during drama projects to identify and assess individual roles and responsibilities in producing drama works



B2.1 Identify and explain the various purposes that drama serves or has served in diverse communities and cultures from the present and past






C2.1 Describe the origins and development of various drama forms, elements, conventions, and techniques

C2.2 Describe ways in which contemporary dramas show the influence of social trends


92 DRAMA TEACHER ACADEMYTHE DO-IT-ALL-DIRECTOR’S INTRODUCTION TO SET DESIGN

tHe Do-It-All-DIReCtoR’s IntRoDUCtIon to set DesIGn


Materials: Video modules, Handouts, Transcripts, MP3 files, PDf of Powerpoint

Slides, Demonstration Videos, Completion Certificate



93DRAMA TEACHER ACADEMY THE DO-IT-ALL-DIRECTOR’S INTRODUCTION TO SET DESIGN



1. Vision and Ambiance: the Character and Feel of your show (14:38)

In this lesson you’ll focus on vision and ambiance: How to find your vision through characterization and how to translate it into your set design. You’ll also explore what you can do with light and sound to help create the ambi-ance.

2. Flats, Platforms, and wagons: the Building Blocks of your set (14:53)

You’ll dive right in and learn about the three basic com-ponents of set design, how to read a script to determine your scenic needs and ways to share your ideas with others.

3. In and out of the Black Box: Using yourPerformance space (10:21)

Your performance space has a huge effect on your produc-tion. In Lesson 3, you’ll learn the pros and cons of each type of performance space and how to make the most of the space you have or don’t have.

4. the Most Common Mistakes of Rookie setDesign and How to Avoid them (8:00)

Sometimes it’s good to learn through “non-examples.” Holly shares the most common “Set Wrecks” that can happen and gives you tips and tricks for avoiding these mistakes.

5. Introduction to Construction (13:50)In this introduction to construction, you’ll learn about tools and safety and how to construct the three most basic components of set design. You’ll also be introduced to easy materials for simple and safe sets.

6. Paint: the Key to a Colorful set (16:13)There are few things that have as much impact on your scenic design than paint. In this lesson you’ll learn how to make the right color choices for your set. You’ll be intro-duced to various tools, materials and painting techniques as well as learn tips and tricks for a big impact.

7. Dressing the set: Using Props to Complete the stage (7:15)

Don’t let your set go naked! In lesson 7, you’ll see how props can be used to complete the look of your design by “dressing the set.”

8. scene Changes: speeding them Up Before you even Perform (5:34)

Scene changes are an important element of your scenic design. In this lesson you’ll learn how to fit more than one scene into a set and how to address your scene changes earlier so that they become an integral part of your design.

9. something from nothing: Creating a set on little to no Budget (6:42)

Sometimes it all comes down to money. Or does it? In this lesson, you’ll learn how to become a “set design scaven-ger” and how to deal with your current budget and raise money for your next set.

Grade levels: 6-12


“Although, some of my set design techniques come from college courses, most of my knowledge comes from over a dozen years of experience, both mis-takes and successes that have combined to give

me a thorough understanding of the intimidating mon-ster that set design can be.”

The Do-it-All Director’s Introduction to Set Design will give you the director, who must do-it-all, the confidence and skills to not only direct but build your own set as well no matter your experience or budget. This course will teach you set design basics, construction tips, budget tricks, and how to tackle your precious performance space armed with a hammer, and most importantly, without fear.

MODULES



About the Instructor:Holly Beardsley wrote and directed middle school plays and musicals within the Illinois Public School System for ten years. In those ten years, she attended both Eureka College and the Academy of Art.

She is also a former director of Burkhalter Productions, a youth summer stock program. She has since left teach-ing to write full time.

Common Core Connections:ELA-LITERACY.RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.ELA-LITERACY.RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.ELA-LITERACY.RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.ELA-LITERACY.RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).ELA-LITERACY.RL.9-10.5 Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.ELA-LITERACY.RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.ELA-LITERACY.RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.ELA-LITERACY.RI.9-10.2 Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.


Florida sunshine state standards - theatre 9-12TH.912.C.1.3 Justify a response to a theatrical experience through oral or written analysis, using correct theatre terminology.




TH.912.C.1.8 Apply the components of aesthetics and criticism to a theatrical performance or design.



TH.912.C.2.4 Collaborate with a team to outline several potential solutions to a design problem and rank them in order of likely success.

TH.912.C.3.1 Explore commonalities between works of theatre and other performance media.

TH.912.C.3.2 Develop and apply criteria to select works for a portfolio and defend one’s artistic choices with a prepared analysis.




95DRAMA TEACHER ACADEMY THE DO-IT-ALL-DIRECTOR’S INTRODUCTION TO SET DESIGN










TH.912.O.1.1 Research and analyze a dramatic text by breaking it down into its basic, structural elements to sup-port development of a directorial concept, characteriza-tion, and design.

TH.912.O.1.3 Execute the responsibilities of director, designer, manager, technician, or performer by applying standard theatrical conventions.

TH.912.O.2.3 Create a non-traditional scenic or costume design of a classical play that visually connects it to another time period.

TH.912.O.2.7 Brainstorm a variety of ways to deviate from western rules and conventions in theatre to influence audience and performer experiences.

TH.912.O.3.1 Analyze the methods of communication among directors, designers, stage managers, technicians, and actors that establish the most effective support of the creative process.








TH.912.H.2.4 Research the intent of, and critical reaction to, artists in history who created groundbreaking, innovative, or controversial works.



TH.912.F.1.4 Research the cause-and-effect relationship between production needs and new and emerging technologies to support creativity and innovation in theatre.

TH.912.F.2.4 Apply the skills necessary to be an effective director, designer, stage manager, and/or technician in the mounting of a theatrical performance.






texas essential Knowledge and skills for theatre Arts117.64.2.C.1 .E Define and give examples of theatrical conventions (time, setting, fourth wall, visual elements)





117.66.C.3.A Construct and operate the technical ele-ments of theatre safely and effectively;




























97DRAMA TEACHER ACADEMY COMMEDIA I: PLAYING COMEDY


CoMMeDIA I: PlAyInG CoMeDy






98 DRAMA TEACHER ACADEMYCOMMEDIA I: PLAYING COMEDY


lesson 1 - Introduction (15:40)Meet the instructor and learn what this class is and how it works in connection with the next class.

lesson 2 - status (27:59)In lesson 2 you’ll explore status and its effect on comedy. You’ll learn exercises that will help your students under-stand how status affects them physically and you’ll learn helpful side coaching tips to keep your students engaged and on track. You’ll also learn an observation assignment for your students that they’ll continue to use throughout their exploration of comedy and Commedia.

lesson 3 - status Games (30:22)Building what you’ve learned in lesson 2, you’ll learn status games that you can use to really drive home status, obser-vation of status, and most importantly playing status in a scene as part of the action of the scene.

lesson 4 - Appetites (29:14)You’ll learn how to use a free-form impulse improv to ex-plore appetites - the engine of comedy and the primal needs of characters in comedy.

lesson 5 - swing (18:40)Swing is the instantaneous switch between two emotional states or two needs of a character. In this lesson you’ll ex-plore how swing effects comedy through the “laugh/cry” game as well as other exercises.

lesson 6 - Intention/Invention (15:18)In lesson 6 you’ll explore how characters solve their prob-lem or obtain their need, also known as intention/inven-tion. You’ll utilize the “Do It Get It Done Game” to under-stand the effect intention/invention has on comedy.

lesson 7 - Using the tools of Comedy (7:35)You’ve learned the various tools of comedy: status, appe-

tites, swing, and intention/invention. Now you’ll learn how to use these tools in having your students prepare a scene. Again, the tools that we covered are

lesson 8 -wrap Up (4:31)This lesson is a quick review of everything you’ve learned in this course - a great way to “press the save button.”

Grade levels: 6-12


“This particular class is going to be all about play-ing comedy. The principles of comedy, the princi-ples that make up these characters coming into conflict with each other.”

Part one of a two part class on Commedia Dell’Arte, Com-media I - Playing Comedy explores comedy and breaks down the elements of comedy and turns them into specif-ic tools that you can use when approaching comedy or ap-proaching commedia. This course is a foundation that will be built upon when exploring the specific characters, hist-ory and style of Commedia Dell’Arte in the second course Commedia II - Style

About the InstructorTodd is Artistic Director of the Kalamazoo Civic Theatre, the founder and former Artistic Director of Commedia Zuppa and a graduate of the world renowned Dell’ Arte International in Blue Lake California. While at Dell Arte, Todd did extensive post-graduate work in Mask, Clown, Commedia Dell’ Arte and Physical Theatre.

He has an MfA in Directing from the University of Nev-ada Las Vegas, where he directed such plays as On the Verge, Equus and toured work to the Adelaide fringe festival in Adelaide Australia. While in Las Vegas, he was a Clown consultant on Cirque du Soleil’s show Zumanity, working alongside lead Cirque clown Shannan Calcutt. With Commedia Zuppa Todd has toured work nationally and internationally. He has also directed, served as a Mas-

MODULES

99DRAMA TEACHER ACADEMY COMMEDIA I: PLAYING COMEDY


ter Teacher and artist in residence Off-Broadway for the Rosebud Theatre Company, and at many regional the-atres, colleges and universities. He is a specialist in mask and movement actor training.

Todd has also served as a Guest Artist/visiting Assistant Professor at Kalamazoo College where he taught classes in acting, mask performance and directed recent produc-tions of Peer Gynt and Romeo and Juliet. In 2002 his mask show BOXHEAD was nominated for a Brickenden Award for best touring production by the London free Press. His production of Richard the Third won the Civic Theatre Pro-duction Excellence award (2015).

Common Core ConnectionsELA-LITERACY.SL.8.6 Adapt speech to a variety of con-texts and tasks, demonstrating command of formal Eng-lish when indicated or appropriate.


ELA-LITERACY.CCRA.SL.1 Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.


Florida sunshine state standards - theatre 9-12TH.912.H.1 Through study in the arts, we learn about and honor others and the worlds in which they live(d).


TH.912.H.2 The arts reflect and document cultural trends and historical events, and help explain how new direc-tions in the arts have emerged.

TH.912.H.2.5 Apply knowledge of dramatic genres and historical periods to shape the work of performers, direc-tors, and designers.











texas essential Knowledge and skills for theatre Arts117.66.C.2.B Analyze characters from various genres and styles, describing physical, intellectual, emotional, and social dimensions;

117.64.2.C.1 Perception. The student develops concepts about self, human relationships, and the environment, using elements of drama and conventions of theatre.

117.66.C.4.A Evaluate historical and cultural influences on theatre;


100 DRAMA TEACHER ACADEMYCOMMEDIA I: PLAYING COMEDY



117.64.2.C.1 .B Develop and practice theatre preparation and warm-up techniques;

117.64.2.C.1 .C Employ stage movement and pantomime consistently to express thoughts, feelings, and actions;



117.64.2.C.2.C Portray believable characters when ap-plying acting concepts, skills, and techniques; and




north Carolina essential standards theatre ArtsB.CU.1.1 Use theatre arts to explore concepts in world history and relate them to significant events, ideas, and movements from a global context.

B.C.1.1. Use non-verbal expression to illustrate how hu-man emotion affects the body and is conveyed through the body.




British Columbia• Use knowledge of diverse cultures and historical peri-

ods in developing work

• Demonstrate trust through collaborative drama

• Demonstrate the unique ability of drama to unify a di-verse group

• Demonstrate an appreciation for the diversity of others and their various perspectives make choices among a variety of ways to express thoughts, feelings, and be-liefs

• Identify a variety of movement possibilities that could be used to create a specific effect

• Identify a variety of vocal techniques that could be used to communicate a specific meaning



ontarioB2.1 Identify and explain the various purposes that drama serves or has served in diverse communities and cultures from the present and past

B2.4 Identify ways in which dramatic exploration pro-motes an appreciation of diverse cultures and traditions

A1.3 Use role play to explore, develop, and represent themes, ideas, characters, feelings, and beliefs in produ-cing drama works








101DRAMA TEACHER ACADEMY COMMEDIA II: STYLE


CoMMeDIA II: style






102 DRAMA TEACHER ACADEMYCOMMEDIA II: STYLE


lesson 1 - Introduction (2:22)

lesson 2 - History of Commedia (21:36)In lesson two you’ll learn about the roots of Commedia Dell’Arte as originating from Carnevale and how it’s re-lationship ship with the Church and Culture of the time helped to shape the characters we know today.

lesson 3 - Character History (24:37)Each character in Commedia Dell’Arte has a specific and unique history. By exploring the history of main characters in commedia, you’ll have a better understanding of their behaviors and how they are played on stage.

lesson 4 - warm Ups (20:30)In this lesson you’ll learn warm ups that will really help you and your students begin to understand the physicalization of the characters of Commedia.

lesson 5 - Poses of Arlecchino (19:34)focusing on the character of Arlecchino, you’ll learn some movement exercises that will give you a sense of the crisp, specific physicalization that is required in Commedia Dell’Arte.

lesson 6 - Character walks (13:06)In lesson six you’ll learn the specific physicalities and body language of the character Arlecchino and you’ll understand how that affects the character’s psychology. Through descriptions and example videos you’ll learn how to guide your students in an Arlecchino character walk.

lesson 7 - Character walks (13:43)You’ll continue to explore the physicalities of Pantalone, Capitano, The Lovers, and Dottore. Todd will guide you through the posture and walks of these various characters through explanation and demonstration videos.

lesson 8 -lazzi (9:25)Lazzi is a comic bit based on character. Lazzis spring out of and reveal the essence of the character. In lesson eight, you’ll learn some examples of character-based lazzi and how you can coach your students to perform existing lazzi and develop their own based specifically on character.

lesson 9 - Intention Invention (6:39)In lesson nine, you’ll apply what you’ve learned so far to specific scenarios/scenes. With a focus on intention/in-vention, Todd will guide you through some scenarios in-corporating various Commedia characters.

lesson 10 - Commedia Resources (12:53)In lesson ten you’ll explore the various Commedia resour-ces that are available to you to help with your continued ex-ploration of Commedia Dell’Arte. You’ll also review how to combine the important information in Commedia II - Style with what you learned in Commedia I - Playing Comedy.

lesson 11 - wrap Up (4:57)

Grade levels: 6-12


“We’re going to learn all of the stylistic things that we need to know to play Commedia, how the char-acters move, how historically they behave, and what Commedia was all about. What was this

crazy, wacky comedy of stereotypes all about?”

In Commedia II, you’ll explore the history, characters, and style of Commedia Dell’Arte. Using exercises both new and from Commedia I - Playing Comedy, you’ll be able to build on the principles of comedy you learned in Commedia I and apply the style, behaviors, and concepts of Com-media Dell’Arte to improvised and scripted work.

MODULES



About the InstructorTodd is Artistic Director of the Kalamazoo Civic Theatre, the founder and former Artistic Director of Commedia Zuppa and a graduate of the world renowned Dell’ Arte International in Blue Lake California. While at Dell Arte, Todd did extensive post-graduate work in Mask, Clown, Commedia Dell’ Arte and Physical Theatre.

He has an MfA in Directing from the University of Nev-ada Las Vegas, where he directed such plays as On the Verge, Equus and toured work to the Adelaide fringe festival in Adelaide Australia. While in Las Vegas, he was a Clown consultant on Cirque du Soleil’s show Zumanity, working alongside lead Cirque clown Shannan Calcutt. With Commedia Zuppa Todd has toured work nationally and internationally. He has also directed, served as a Mas-ter Teacher and artist in residence Off-Broadway for the Rosebud Theatre Company, and at many regional the-atres, colleges and universities. He is a specialist in mask and movement actor training.

Todd has also served as a Guest Artist/visiting Assistant Professor at Kalamazoo College where he taught classes in acting, mask performance and directed recent produc-tions of Peer Gynt and Romeo and Juliet. In 2002 his mask show BOXHEAD was nominated for a Brickenden Award for best touring production by the London free Press. His production of Richard the Third won the Civic Theatre Pro-duction Excellence award (2015).

Common Core ConnectionsELA-LITERACY.SL.8.6 Adapt speech to a variety of con-texts and tasks, demonstrating command of formal Eng-lish when indicated or appropriate.



ELA-LITERACY.CCRA.L.3 Apply knowledge of language to understand how language functions in different contexts,

to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

Florida sunshine state standards - theatre 9-12TH.912.H.1 Through study in the arts, we learn about and honor others and the worlds in which they live(d).


TH.912.H.2 The arts reflect and document cultural trends and historical events, and help explain how new direc-tions in the arts have emerged.

TH.912.H.2.5 Apply knowledge of dramatic genres and historical periods to shape the work of performers, direc-tors, and designers.








TH.912.C.2.8 Improve a performance or project using various self-assessment tools, coaching, feedback, and/or constructive criticism. TH.912.C.2.8




104 DRAMA TEACHER ACADEMYCOMMEDIA II: STYLE


texas essential Knowledge and skills for theatre Arts117.66.C.2.B Analyze characters from various genres and styles, describing physical, intellectual, emotional, and social dimensions;

117.64.2.C.1 Perception. The student develops concepts about self, human relationships, and the environment, using elements of drama and conventions of theatre.

117.66.C.4.A Evaluate historical and cultural influences on theatre;


117.64.2.C.1 .B Develop and practice theatre preparation and warm-up techniques;

117.64.2.C.1 .C Employ stage movement and pantomime consistently to express thoughts, feelings, and actions;



117.64.2.C.2.C Portray believable characters when ap-plying acting concepts, skills, and techniques; and




north Carolina essential standards theatre ArtsB.CU.1.1 Use theatre arts to explore concepts in world history and relate them to significant events, ideas, and movements from a global context.

B.C.1.1. Use non-verbal expression to illustrate how hu-man emotion affects the body and is conveyed through the body.




British Columbia• Use knowledge of diverse cultures and historical peri-

ods in developing work

• Demonstrate trust through collaborative drama

• Demonstrate the unique ability of drama to unify a di-verse group

• Demonstrate an appreciation for the diversity of others and their various perspectives make choices among a variety of ways to express thoughts, feelings, and be-liefs

• Identify a variety of movement possibilities that could be used to create a specific effect

• Identify a variety of vocal techniques that could be used to communicate a specific meaning

• Identify examples of the interrelationship of movement and voice in communicating meaning

• Demonstrate how various emotions affect vocal and physical expression




ontarioB2.1 Identify and explain the various purposes that drama serves or has served in diverse communities and cultures from the present and past

B2.4 Identify ways in which dramatic exploration pro-motes an appreciation of diverse cultures and traditions

A1.3 Use role play to explore, develop, and represent themes, ideas, characters, feelings, and beliefs in produ-cing drama works









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Testimonials

“I am using this course to teach mask right now and my students LOVE it! I was nervous as I have high school students who typically have a hard time physically connecting to characters as well as being at an age that they worry about what everyone thinks about them. However, this has proven to be a great class for every-one including me!”

- Rachel Rudd

“I like the courses and the lesson plan ideas that allow me to constantly make what I am doing with students better. These lessons are well thought out and allow us to do it on our time. I am able to get fresh ideas, quality lessons and a chance to con-tinue to grow as a theatre teacher!”

- Linda Phillips

“Joining this program has been one of the best professional development choices I have made! Oftentimes, theater teachers are basically alone on staff and [DTA] has provided a means of feeling connected to others with common interests and teach-ing challenges!”

- Linda Hahn

“The content of the DTA helps me to jump right in with my students and take the information immediately back to my classroom. I’ve seen the exercise performed so I understand them much better than just reading about them. It’s also nice to be able to reassess my use of the exercise by being able to go back to the online class whenever I want.”

- Karen Loftus

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