Safe Practices for

the Dramatic Arts

SEPTEMBER 13, 2020

Authored by Jim Alexander

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Contents Why are Dramatic Arts Important Now ............................................................................................................. 3

Rational for Dramatic Arts ............................................................................................................................. 3

Dramatic Arts and Social Emotional Learning ............................................................................................. 6

What is Social Emotional Learning ........................................................................................................... 6

Keeping connections are still possible ....................................................................................................... 7

Aspects of the COVID 19 Virus and Provincial Regulations that Dramatic Arts Teachers need to be

aware of .................................................................................................................................................................. 7

Understanding Transmission COVID-19 ................................................................................................. 7

Provincial Guidelines .................................................................................................................................. 7

Province of Manitoba Response levels ...................................................................................................... 8

What this could look like in Manitoba Performing Art Classrooms ................................................................ 9

Physical Space ............................................................................................................................................. 9

Recommended PPE Equipment ............................................................................................................... 10

Other equipment ....................................................................................................................................... 10

Recommendations for Rehearsals...................................................................................................................... 10

Rehearsals/class time: ............................................................................................................................... 10

An Example ............................................................................................................................................... 10

A Note About Assessment ......................................................................................................................... 11

Recommendations for Performance .................................................................................................................. 11

General Resources ............................................................................................................................................... 12

Specific Resources for Dramatic Arts ............................................................................................................... 13

Acting Resources ............................................................................................................................................ 13

K-8 Resources ................................................................................................................................................. 14

Technical Theatre .......................................................................................................................................... 14

Platforms & Programs ................................................................................................................................... 14

Sample COVID Questionnaire...................................................................................................................... 15

Other Guidelines ................................................................................................................................................. 16

Manitoba Film ........................................................................................................................................... 16

Royal Winnipeg Ballet .............................................................................................................................. 18

British Columbia ....................................................................................................................................... 18

Britain ........................................................................................................................................................ 19

Acknowledgements .............................................................................................................................................. 22

References ............................................................................................................................................................ 23

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Introduction

This document is to be used as a reference for Dramatic Arts teachers. It was created to draw attention to safety

procedures and practices that would also support the Dramatic Arts as well as state the value of Dramatic Arts

programing throughout the reopening of schools. In addition to this information, there are resources and links to

assist with lesson plans for students and assist teacher organizing programming.

Since every school division has their own unique challenges and obstacles, included in this document there is

information from other jurisdictions and industries. This information is included to inspire and provoke thought.

With the approval of local administrations, teachers may choose to consider some of these approaches in their

programming.

This document does not supersede any provisions policies or directives put out by school divisions or provincial

or federal health departments.

As specialists, Dramatic Arts teachers must assert the importance of the Dramatic Arts and advocate for the

positive impacts that such programming has on students. The Dramatic Arts encourage students to express

themselves in meaningful ways. In addition, the Dramatic Arts enhance multi-intelligences and social

intelligence. The benefits of the Dramatic Arts can be seen in student achievement throughout all academic

courses. It should not be forgotten that Fine Arts programing is a key part of a student’s education in Manitoba.

Students participate in the Dramatic Arts throughout K-12.

It should be noted that the primary focus of this document is on middle and senior years Dramatic Arts

programing. Elementary programs will find that many of the resources will be appropriate and the guidance

around safety measures significant.

Why are Dramatic Arts Important Now

During the upheaval of the COVID-19 pandemic students have been put into stressful situations. Through out

these uncertain times students have turned to the arts to find comfort, stability, and creativity.

By ensuring thar Dramatic Arts is part of the reopening and hybrid teaching models, students will have an

enriched environment to participate in. The benefits of the Dramatic Arts can be seen throughout curriculums

and can increase engagement, attendance, and involvement of students in a school’s community.

Rational for Dramatic Arts

The following is taken from the overview within the Manitoba Drama Education curriculum document. It

highlights the value Dramatic Arts has on a student education and development.

“Dramatic arts education develops important disciplinary and cross-curricular competencies for learning and

living well together in an interconnected world. Research indicates that well-designed dramatic arts education

contributes to learning engagement, self-efficacy, and a wide range of positive academic, social, and emotional

effects. Dramatic arts education offers learners diverse, unique, and powerful ways of perceiving and making

meaning about the world. Dramatic arts education is important because . . .

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1. The dramatic arts have intrinsic value. The dramatic arts are a vital, integral part of all human experience,

culture, and history, and have expressed and enriched life since the beginning of time. The dramatic arts help

develop understanding of self and the world. They profoundly engage body, mind, and spirit to communicate

ideas and feelings that often cannot be expressed by any other means.

2. Dramatic arts education develops creative, critical, and ethical thinking. Creative processes, imagination, and

innovation developed through dramatic arts education are important for both artistic and everyday creativity. *

Critical and creative thinking are uniquely positioned in dramatic arts education and are essential for learning in

today’s world. Dramatic arts education provides space and opportunities for learners to explore and

communicate complex ideas and emotions. Learning in the dramatic arts invites open-ended, emergent, and

dialogic thinking. When learners seek possibilities, and envision and consider alternatives, they develop

capacities for tolerating ambiguity and uncertainty. Learners become aware that questions have more than one

answer, that problems have multiple and sometimes unexpected solutions, and that there are many ways to

convey thoughts and ideas. Through the dramatic arts, learners critically observe, analyze, and act in the world.

Critical thinking and reflection in dramatic arts education support the development of ethical thinking. By

identifying and discussing ethical concepts and issues related to dramatic arts education, learners apply ethical

principles in a range of situations.

3. Dramatic arts education expands literacy choices for meaning making. In today’s multi-faceted world, literacy

is defined as much more than the ability to read and write print text. The texts that fill the world of today’s

learners are multi-modal and combine print, digital, physical, aural/oral, gestural, spatial, and visual texts, along

with many more.

Drama/theatre is considered an expressive form of literacy with a unique set of language, skills, knowledge, and

practices. The dramatic arts are important ways of knowing that expand learners’ repertoire of literacies needed

to make and communicate meaning in diverse and evolving contexts. Ways of knowing in the dramatic arts are

unique and powerful affordances* and resources for making meaning that are not always possible through other

representational forms.

In this shifting and complex world, literacies are interconnected and codependent. Since all literacies contribute

to meaning making in different ways, it is important for learners to develop a diverse range of literacies,

including artistic literacies, from which to choose, depending on meaning-making needs and contexts.

A wide range of available literacies creates opportunities for learners to make meaningful literacy choices and to

produce and consume new forms of texts by combining and recombining literacy resources.

Drama/theatre literacy empowers learners with new meaning-making resources and facilitates ways of knowing

in other forms, such as print-based literacy and numeracy.

4. Dramatic arts education contributes to identity construction. “The ability to define oneself rather than

allowing others to do it for us is one of the advantages offered by the arts” (Canada Council for the Arts).

Through dramatic arts education, learners have profound ways to define themselves and to construct personal

and artistic identities. Developing artistic identity as a member of a dramatic arts community promotes a sense

of belonging, unity, and acceptance.

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Learners explore, negotiate, and express personal and artistic identity through creating, consuming, and

responding to the dramatic arts. Learners examine the ways that the dramatic arts reflect, shape, and comment

upon societal and cultural beliefs and issues to develop understandings about social and cultural identity.

The dramatic arts offer individual and collective means of self-expression—ways of illuminating the inner world

and connecting to the outer, and ways of expressing the intangible.

5. Dramatic arts education develops communication and collaboration competencies.

The dramatic arts provide unique and powerful tools and processes for communication and collaboration that

transcend time, place, language, and culture. The collaborative nature of dramatic arts education nurtures

positive relationships and interactions. Learners are able to communicate emotion and ideas through an

expansive and powerful repertoire of dramatic arts language and practices.

Using dramatic arts language and practices, along with information and communication technology, generates

opportunities for learners to build and deepen relationships with other learners, dramatic artists, and

communities.

6. Dramatic arts education develops intercultural competencies. Through dramatic arts education, learners

develop intercultural understandings as they engage with and learn to value others’ cultures, languages, and

beliefs. By engaging hearts and minds, the dramatic arts cultivate empathy and compassion for self and others.

Understanding how others think and feel is necessary for intercultural awareness and competency and for

navigating and negotiating the complexities of the world. These qualities are key to developing leadership,

social responsibility, and active democratic citizenship.

7. Dramatic arts education is essential for well-being.

Dramatic arts education can improve and enhance social, emotional, physical, and spiritual well-being and

resilience. Well-being and resilience are vital for positive interpersonal relationships and learning engagement.

The capacity for dramatic arts education to deeply engage learners can enhance self-belief and self-esteem, and

sustain perseverance and commitment. These qualities lead to improved school attendance and successful

learning.

The dramatic arts offer unique ways and safe spaces for learners to examine and give voice to ideas and feelings

that cannot be expressed by words.

8. Dramatic arts education supports sustainable development. Dramatic arts education offers opportunities for

learners to engage in issues of cultural, social, political, environmental, and economic forms of sustainability.

Dramatic arts education plays an important role in Manitoba’s goals for sustainable development. The document

Education for a Sustainable Future: A Resource for Curriculum Developers, Teachers, and Administrators

(Manitoba Education and Training) highlights community and culture, the economic viability of arts and

cultural enterprises, and the preservation and nurture of heritage and culture as crucial sustainability issues.

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Cultural sustainability and social well-being are essential and integrated components of an equitable quality of

life and a sustainable future for all Canadians.

Social and personal competencies developed through dramatic arts education foster leadership, social

responsibility, and environmental and global awareness, which are crucial for the successful future of

sustainable development.

9. Dramatic arts education is transformative learning. Learning in the dramatic arts has the potential to foster

transformative learning (Mezirow, “Transformative Learning Theory” 19) and change the ways people view the

world. Transformative learning draws on new ways of knowing and being so that learners are empowered to

challenge assumptions and develop agency, identity, and self-direction for their lives.

Arts-based processes have powerful transformative potential “because they tap into embodied knowing, honor

emotions, and create spaces for rehearsal for action . . . . and imagining of alternative realities” (Butterwick and

Lawrence 44).

The transformative power of dramatic arts education inspires learners to be leaders, innovators, and community

builders, and to address critical challenges of their times.

10. Dramatic arts education fosters human flourishing. Dramatic arts education brings joy to self and others; it

illuminates, deepens, and enriches learning and life.”

In addition to this Dramatic Arts programming can be used across the curriculums to enhance motivation and

engagement in all academic classes.

Dramatic Arts and Social Emotional Learning

“Welcoming Students Back: Restoring safe Schools”, clearly states that, “mental health and Wellbeing is critical

for reopening plans.” Dramatic Arts programing can be an essential part of the reopening plan. By providing

the students with an outlet they will find dealing with the crisis more palatable.

What is Social Emotional Learning

CASEL defines Social Emotional Learning as, “Social and emotional learning (SEL) is the process through

which children and adults understand and manage emotions, set and achieve positive goals, feel and show

empathy for others, establish and maintain positive relationships, and make responsible decisions.” Dramatic

Arts education and Social Emotional Learning is inseparable. Throughout a student’s experience with the

Dramatic Arts, they will have the opportunity to explore, experiment, empathize, communicate and create. The

benefits of this development extend beyond the classroom and into the students’ lives.

In the document, “September Ready Fall 2020 Guidance for Arts Education Report, Arts Ed NJ, Dramatic Arts

education promote social emotional learning by:

• The relationship built between arts teacher and students over multiple years of instruction fosters the

caring environment necessary to help build school connectedness and foster empathy.

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• The perseverance needed to dedicate oneself to artistic excellence fosters resiliency both in and out of

the arts classroom.

• Artistic creation fosters self-awareness and allows students to develop a greater sense of autonomy and

emotional vocabulary.

• The collaborative community developed in the arts classroom welcomes discussions and an awareness

of acceptance and embracing diversity.

• Through the arts students learn the necessity of personal goal-setting, self-assessment, and

accountability as they develop high standards for their artist endeavors and themselves.

• Arts education provides developmental experiences that actively allow students to practice and hone

social emotional competencies.

Keeping connections are still possible

Maintaining relationships and contact with students can still be possible. Though teachers may feel limited due

to the necessary constraints placed on staff, there are some measures that can be taken.

• Ensure that there is a class. Advocate for Dramatic Arts programming.

• Ensure the students that they can still do meaningful work.

• Meet with students online (via Zoom, or Teams)

• Try and have in person rehearsals and classes

• Smaller projects may be more achievable then larger ones.

• Short scenes or small projects can be shared with the school to add positive energy to the schools

climate.

Aspects of the COVID 19 Virus and Provincial Regulations that

Dramatic Arts Teachers need to be aware of

The following information has been taken from the Provincial Document: Welcoming our Students Back:

Restoring Safe Schools. The following are some highlights that could directly impact teachers who administer

Dramatic Arts courses.

Understanding Transmission COVID-19

The Virus is most commonly spread from an infected person through respiratory droplets generated through

coughing, sneezing, laughing, singing and talking. It spreads more easily when contact is close (within six feet

or two metres) and prolonged (more than 15 minutes). COVID-19 can also be spread by close personal contact,

such as touching or shaking hands, or touching something with the virus on it and then touching one’s mouth,

nose, or eyes before cleaning one’s hands. Some people who have few or no symptoms can spread COVID-19.

(Welcoming Students Back: Restoring Safe Schools, pg 9)

Provincial Guidelines

• Physical Distancing Physical distancing of two metres or six feet between all individuals should occur

whenever reasonably possible in a school setting. The maximum number of individuals congregating

(i.e., close interactions among people longer than 15 minutes) in a common space for indoor and

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outdoor settings must comply with the most up-to-date public health orders at

https://www.gov.mb.ca/covid19/soe.html#current.

• Where possible, arrange spaces to encourage the recommended separation. For example, space children

to avoid close contact and assign a designated chair and table for each child.

• Schools must manage the flow of people in common areas, including hallways, to minimize crowding

and allow for the ease of people passing through. Young children need easy-to understand visual

prompts. For example, use tape on the floor, hoops, mats, or other items that can mark off personal

space. Another idea is to organize play activities with a visual cue about how many children should be

in that area (e.g., two chairs next to an activity with markers or numbers taped to the floor). 11

• Implement the practice of staggered entrance and exit times, or use separate entrances

• Avoid close greetings (e.g., hugs and handshakes).

• Stagger staff break times and avoid large, in-person staff meetings.

• Assemblies and gatherings are discouraged, and those that exceed public health advice may not be

scheduled.

• Physical barriers can be used, where appropriate, when physical distancing cannot be maintained. This

includes plexiglass barriers for high-traffic areas, such as reception desks and check-out counters. These

must be implemented with a plan for frequent cleaning and sanitizing for infection prevention and

control.

• Masks are required

• Don’t mix students from Cohorts work within the cohort.

Province of Manitoba Response levels

The Province of Manitoba will modify its response level as needed. How this impacts practice in schools varies

depending on many variables. It is best practice to wait for guidance before making changes to practice.

There are four response levels:

Green: Limited Risk

The spread of COVID-19 is broadly contained and a vaccine and/or effective treatment for COVID-19 is

available.

Transmission of the virus is at very low to undetectable levels between household and close contacts. There may

be single or isolated small outbreaks, which are quickly contained. Community transmission is low to

undetectable. Learn more about possible restrictions at this level.

Yellow: Caution

Community transmission of COVID-19 is at low levels.

Household and close contact transmission could be occurring in Manitoba. There may be single or isolated small

cluster outbreaks which are quickly contained. Community transmission is low to undetectable. Learn more

about possible restrictions at this level.

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Orange: Restricted

Community transmission of COVID-19 is occurring. However, the virus is being transmitted at levels that

public health and the health system can manage.

New clusters are more common, but can be controlled through testing and contact tracing. The health care

system is able to manage COVID-19 case levels. Learn more about possible restrictions at this level.

Red: Critical

Community spread of COVID-19 is not contained and/or there are significant strains on our health care system.

The virus is being transmitted at levels that public health and the health system cannot manage. Extensive

community transmission is occurring. There are widespread outbreaks and new clusters that cannot be

controlled through testing and contact tracing. The health care system may be close to or over capacity. Learn

more about possible restrictions at this level.

https://www.gov.mb.ca/covid19/restartmb/prs/system/index.html

What this could look like in Manitoba Performing Art Classrooms

Even with all of the necessary protective measures Dramatic Arts programing can still be successfully

implemented.

Consider the organic nature of performance. Speaking specifically about acting, performance should never be

planned down to the micron. For a natural, truthful, authentic performance an actor must live in the moment and

create in that moment. Basic preparation (such as memorization, general planning, general blocking, character

development, etc.) can be done of site or over platforms such as Teams or Zoom. When it is time for in person

rehearsal the blocking can be planned out incorporating necessary safety measures and can be taped out on the

floor to assist the students. The product will still be authentic and strong because performance is “in the

moment”. Every movement should not be planned to the minutia. Students will be able to create truthful

authentic moments out of their interactions on stage.

Physical Space

Most classrooms in which Dramatic Arts teachers teach in are large enough to maintain physical distancing.

When possible, the class can be run outside. This could facilitate larger group activities or activities that may

involve the students to raise their voices. Ventilation measures should be discussed and considered with

administration. Options such as opening windows or door can assist in enhancing ventilation.

Other measures that would assist in adapting a Dramatic Arts space are:

1.) Ensuring that time is set aside to sanitize between classes

2.) Entrances and exits should be assigned and should not overlap

3.) Spaces can be marked out for each student on the floor with blocking tape (2 meters x 2 meters)

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4.) Space can be staggered to maintain physical distancing

5.) The teacher can have a designated “teaching area” that can be taped off

6.) Discourage the use of couches or “soft” furniture

7.) Teacher can provide minimal props that will be needed to be wiped down.

8.) Students should not go into storage areas to retrieve props, costumes, etc.

9.) Costumes are not to be distributed or shared. Costume areas should be sectioned off.

Recommended PPE Equipment

1.) Masks

2.) Approved Sanitizing solution and wipes

3.) Face shields

4.) Gloves

Other equipment

1.) Blocking tape to mark off where actors can move (multiple colors if possible)

2.) Scripts for everyone, as well as a few extra (there should be no sharing)

3.) Avoid sharing props between students. Props should be able to be sanitized down after use. Teachers

will need to be aware that some solutions may damage props.

4.) Avoid providing costumes. Students can provide from home and should not share with other students.

Recommendations for Rehearsals

Dramatic Arts is visual art form in which student would prepare work to show to others. This presents many

challenges when COVID-19 protocols need to be factored in.

Rehearsals/class time:

Here is some guidance around rehearsal.

• Smaller rehearsals, with no kids gathered waiting to begin

• Host virtual rehearsals whenever you can

• Hold shorter rehearsals

• Consider utilizing outside performance spaces

• Encourage students to bring their own marked water bottles, and masks

• No sharing of food or beverages

• Wipe down or spray all surfaces—chairs, set pieces, props, rails, technical hardware, etc.— before and

after rehearsal, using CDC-approved disinfectants

• Provide scripts for each student—ideally digitally—that honor copyright restrictions

For some tips around running a rehearsal on Zoom or teams go to the following link:

https://americanrepertorytheater.org/virtual-workshop-tips/

An Example

This is an example of how a scene could be prepared in class.

1.) Selectivity of scenes will be important. Scenes that require physical intimacy or contact (hugging,

kissing, holding hands, stage combat, etc.) should be ruled out for the time being.

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2.) Rehearse and perform outside whenever possible.

3.) Creatively blocking to ensure separation will need to be part of rehearsal. This may require some

adjustments to the original scene but most work should be adaptable.

4.) Be cognizant of raised voices. Yelling and projection will release more droplets into the air. As a

different acting choice, the performer could use a more subdued but firm tone instead of shouting.

5.) Props and costumes should be provided by the cast and should be sanitized. Ideally, a scene that a prop

is being passed back and forth should be avoided. However, it is possible that the wiping down of a

prop could be incorporated into a scene or done off stage when it is not being focused on.

6.) Minimalism is not a bad thing. Students can get focused on the reliance of props and scenery. There

are educational benefits for a minimalist approach. The actors will need to tell the story, with their eyes,

gestures and intonation and not rely on backgrounds and props.

7.) Filming is an option for the delivery of product. This can be used for assessment or for public

consumption.

8.) Students can perform with masks, in conjunction with other safety measures.

The previous suggestions can be adapted for any lesson in a Dramatic Arts classroom.

A Note About Assessment

As teachers and professionals, we are entrusted to assess a student’s achievement. These are unique times that

demand that teachers adjust their assessments. During this time teachers and students will find themselves

touching upon different educational objective than they may have in the past. Adjusting lessons and

assessments will go hand in hand.

An example would be if a student submits work that has been poorly filmed. Was the goal of the assignment

filming or was it the skill being demonstrated? Assessment should reflect what the goal of the assignment was

to be.

Teacher may also wish to consider that students may be creating and filming presentations in environments that

do not support the Dramatic Arts (ex. Bedrooms, basements, outside locations, etc.) Some latitude may want to

be considered since these are less than ideal environments may be more of an obstacle than a young person can

overcome.

Recommendations for Performance

At this time performing for a “live” audience is not recommended. Recording presentations and placing them

online. Private YouTube channels can be set up and student work posted for a limited time.

Student performing for students is also valuable. Performing for the class can provide opportunities for learning

and growth.

Recommendations for full, public performance will be released in the future.

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General Resources

Here is a list of resources that contain information that can inspire teachers in the classroom. By no means is

this list finite. However, you may find some valuable information or inspirations here.

Manitoba Dance Curriculum

https://www.edu.gov.mb.ca/k12/cur/arts/dance/index.html

Manitoba Dramatic Arts Curriculum

https://www.edu.gov.mb.ca/k12/cur/arts/drama/framework_9-12.html

Theatre Folk

https://www.theatrefolk.com/

Canadian Network for Arts and Learning

https://www.eduarts.ca/

Protective Personal Equipment Resources

https://www.gov.mb.ca/covid19/prepareandprevent/index.html

Cleaning Resources

https://www.canada.ca/en/health-canada/services/drugs-health-products/disinfectants/covid-19/list.html

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Specific Resources for Dramatic Arts

The following list came from: SEPTEMBER READY Fall 2020 Guidance for Arts Education. This document

was produced by New Jersey Department of Education, New Jersey State Council on the Arts, New Jersey

Education Association, New Jersey Principals and Supervisors Association, New Jersey PTA, New Jersey

School Boards Association, New Jersey Art Administrators Association, New Jersey Music Administrators

Association, Arts Ed NJ, Art Educators of New Jersey, Dance New Jersey, New Jersey Music Educators

Association, New Jersey Thespians, Speech and Theatre Association of New Jersey, Geraldine R. Dodge

Foundation, Grunin Foundation, Montclair State University, Rowan University, and Young Audiences of New

Jersey and Eastern Pennsylvania.

Acting Resources

1.) Spreadsheet of resources from MTEA

https://drive.google.com/file/d/19RKaGux1Bak2N2TE-YxHCd7_T5FCjvHk/view

2.) Theatre Folk Create Your Own Choice Board

https://www.theatrefolk.com/products/create-your-own-choice-board-drama-activities/sample.pdf

3.) Theatre Folk: Vocal exercises

https://www.theatrefolk.com/blog/vocal-exercises-and-physical-performance-exercises/

4.) Theatre Folk: Free Resources

https://www.theatrefolk.com/free-resources/acting

5.) Theatre Folk: 2 Person Scenes

https://www.theatrefolk.com/free-resources/two-person-scenes

6.) Improv and community Building games

https://docs.google.com/spreadsheets/d/1b9BHQ4f8UGdBRKM4HN-

3nakXi3aN_O_Y2ORNKZS9zRA/edit#gid=0

7.) Theatre Folk: Individual Performances

https://www.theatrefolk.com/blog/monologue-individual-performance-exercises/

8.) Theatre Folk: Larger Projects

https://www.theatrefolk.com/blog/larger-projects-

isps/?utm_source=Theatrefolk+Newsletter&utm_campaign=f078cb4a6a-

EMAIL_SPOTLIGHT_2020_APRIL1_NEW&utm_medium=email&utm_term=0_9393de0ed8-

f078cb4a6a-54413081&mc_cid=f078cb4a6a&mc_eid=d360a736fa

9.) Theatre Folk: Classroom Study

https://www.theatrefolk.com/classroom-

study?utm_source=Theatrefolk+Newsletter&utm_campaign=f739444ddc-

EMAIL_SPOTLIGHT_2019_NOVEMBER13&utm_medium=email&utm_term=0_9393de0ed8-

f739444ddc-54413081&mc_cid=f739444ddc&mc_eid=d360a736fa

10.) Theatre Folk: Shakespeare for Another time

https://www.theatrefolk.com/blog/shakespeare-set-another-time/

11.) Digital Theatre

https://www.digitaltheatreplus.com/education

12.) Theatre Folk: Play writing and written analysis

https://www.theatrefolk.com/blog/playwriting-written-analysis-exercises/

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K-8 Resources

1.) Theatre Folk: Distance Learning

https://www.theatrefolk.com/distance_learning/Distance%20Learning%20Exercises%20-

%20Bekah%20Schneider%20videos.pdf?utm_source=Theatrefolk+Newsletter&utm_campaign=af4e4c

03aa-EMAIL_SPOTLIGHT_2020_APRIL29_NEW&utm_medium=email&utm_term=0_9393de0ed8-

af4e4c03aa-54413081&mc_cid=af4e4c03aa&mc_eid=d360a736fa

2.) Warmups and Improv

https://docs.google.com/spreadsheets/d/1b9BHQ4f8UGdBRKM4HN-

3nakXi3aN_O_Y2ORNKZS9zRA/edit#gid=0

3.) 5 Engaging e learning lessons for middle school Drama

http://www.dramayogi.com/blog/top-5-engaging-e-learning-lessons-for-middle-school-drama

4.) PBS Crash Course Theatre

https://www.pbs.org/show/crash-course-theater/

Technical Theatre

1.) 10 Educational Videos for Technical Theatre Students

https://performerstuff.com/mgs/10-educational-videos-for-inspired-technical-theatre-students/

2.) Theatre Folk: Technical Theatre

https://www.theatrefolk.com/blog/technical-theatre/

3.) Theatre Folk Technical Theater Activities

https://www.theatrefolk.com/distance_learning/Theatrefolk%20-

%20Distance%20Learning%20Technical%20Theatre%20Activities.pdf

4.) Theatre Safety

http://theatre%20safety%20%26%20tools%20for%20the%20stage/

Platforms & Programs

1.) Google Classroom

2.) Zoom

3.) Teams

4.) Go React

5.) Nearpod

6.) Pear Deck

7.) DigitalTheatre+

8.) StageAgent

9.) Screencastify

10.) Padlet

11.) Edpuzzle

12.) YouTube Livestream

**** Before using any of these resources ensure that you check with your division to ensure they are

supported or approved. ****

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Sample COVID Questionnaire

The following is a sample Questionnaire is from the Manitoba Media Production Industry COVID-19 Safety

and Health Guide. This can be adapted for schools and used if deemed necessary.

STANDARD DAILY COVID-19 HEALTH QUESTIONNAIRE FOR PRODUCTIONS

To be completed by all employers, employees, contractors, visitors and subjects (including producers, cast,

background performers, interview subjects, crew, guests, visitors, etc.) prior to each work day whether on set, on

location, in a production office or in the offices of a production company in Manitoba.

Date: ________________________________

Name: ____________________________________________

Team or Pod if applicable: _________________________________

1. Have you completed the Shared Health Manitoba Screening Tool?

Yes ______ No ______

2. Did the Shared Health Manitoba Screening results advise that you should consult a medical

professional?

Yes ______ No ______

3. Have you travelled outside of Manitoba any time in the last 14 days?

Yes ______ No ______

4. Have you been in contact with anyone who has travelled outside of Manitoba any time in the last 14

days?

Yes ______ No ______

5. Have you, or anyone you’ve been in contact with, experienced any COVID-19 symptoms?

Yes ____ No _____

6. Have you tested positive for COVID-19

Yes ______ No ______

7. Have you been in contact with anyone who has contracted the COVID-19 virus?

Yes ______ No ______

I, ____________________________________ affirm that all of the above is truthful and I agree that I will

immediately notify the Producer or their designate (COVID-19 Safety and Health Supervisor/Department head

(must indicate who to report to)) of any information that would change my answers to these questions.

___________________ Signature

___________________ Parent Signature

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Other Guidelines

The purpose of sharing this information is to inspire teachers to see how others are dealing with the pandemic

and think about ways they too can continue creating work and being safe.

Manitoba Film

The film industry in Manitoba has created a thorough document to support the media industry in Manitoba. In

preparation of this document the Government of Manitoba but also ACTRA, IATSE 856, City of Winnipeg Film

and Events Office, Film Training Manitoba DGC Manitoba, Manitoba Film and Music and the Manitoba Film

Liaison were all consulted. This team was able to create a series of protocols that would support the

performance arts industry to safely operate during the pandemic.

The following would be the regulations that could influence a performance arts classroom.

Physical Distancing

Employers must ensure processes, space and materials are available to facilitate physical distancing, and

employees, contractors and visitors must work with employers to ensure physical distancing is maintained.

- Ensure physical distancing of at least 2 metres (six feet) whenever reasonably possible.

- When physical distancing cannot be maintained, appropriate steps must be taken to minimize risk, this

may include the use of non-medical personal protective equipment.

- Maintain a single point of entry and discourage people from leaving and re-entering the premises

- Congregation of people must be actively discouraged by the employer through the use of posters and

floor markings indicating physical distancing. All common spaces such as meal service, rest, waiting,

staging, preparation, parking and washroom areas may be regulated by the employer to prevent

congestion

- Keep the number of people on set, on location, and in the production office to a minimum. This may

include “cohorts,” “teams” or “pods” – essentially organizing people into smaller groups that work

together. Staggered start times and/or shorter workdays may also be considered

- As much as possible, productions and production companies should limit the number of face-to face

interactions by facilitating tele-working whenever reasonably possible including holding preproduction

and production meetings and rehearsals virtually.

- • Use outdoor locations when possible.

Hygiene

Employers, employees, contractors and approved guests must not go to work if they are sick, they should

stay home and seek medical advice as appropriate.

- Employers must provide multiple hand washing (with running warm water)/sanitizing stations in every

workspace, near washroom facilities and food and beverage services. This includes at the entrance and

exit to all sets, office spaces, trucks, trailers, etc.

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- Employers must provide signage regarding recommended COVID-19 health protocols including

instructions to: o Wash hands frequently and thoroughly (20 seconds), using hand sanitizer when warm

running water and soap is not available. This includes upon entering or leaving the premises, before and

after meals, after using the washroom, upon moving into a different workspace. o Avoid touching your

face. o Cough or sneeze into a disposable tissue or your elbow. Tissues should be disposed of in the

garbage immediately after use and hands should be washed or sanitized.

- Washrooms should be limited to one person at a time. • Sharing of food and personal items should not

be permitted.

Cleaning

Employers must ensure processes, space and materials are available to facilitate cleaning, and employees,

contractors and visitors must work with employers to ensure cleaning protocols are implemented.

- All employers, employees, subjects and contractors should clean and sanitize personal phones, laptops

or other equipment on a regular basis.

- Shared equipment (such as props, camera equipment) must be cleaned/disinfected frequently and after

each use (if it cannot be cleaned/disinfected between cast and crew, then it cannot be used).

- It is the employer’s responsibility to provide appropriate sanitization/cleaning supplies, schedules and

human resources for workspaces, common areas, equipment/supplies and high touch objects

Other Guidelines

- Productions with less than 10 people working at the same time are encouraged to designate a safety and

health representative, who is responsible for ensuring COVID-19 Safety and Health Guidelines are

being met on set, on location and in production offices in Manitoba

- Productions with more than 50 people working at the same time are encouraged to hire one person

dedicated to communicating and enforcing COVID-19 Safety and Health Protocols.

- Microphones will be cleaned before and after each user.

The entire booklet and guidelines can be found at: https://onscreenmanitoba.com/wp-

content/uploads/2020/07/MB-MPI-COVID-19-Safety-Health-Guide-July-3.pdf

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Royal Winnipeg Ballet

The Royal Winnipeg Ballet has these protocols set in place for students.

• Students and teachers must wash their hand with soap and water, for at least 20 seconds, or use an alcohol-based

hand sanitizer before and after class.

• Students will be physically distanced 2M from one another.

• Students and teachers will be required to practice physical distancing measures while in the building and

studios.

• Students will be assigned to a specific studio for the duration of their program.

• Students will also remain with their primary teachers and must remain with their designated group.

• No access to changerooms or lockers; students are to arrive dressed for class.

• Limit the number of personal belongings to be brought into the building.

• Visitors and families are not permitted in the building.

• Studios will be cleaned and sanitized frequently and between groups. (RWB – Sept 20th, 2020

All of the guidelines, and updates, can be found at: https://www.rwb.org/news/article/rwb-organizational-

strategy-reopening-safely/

British Columbia

Currently the Department of Education in British Columbia does not have specific guidelines for all of the

Dramatic Arts. They seemed to have focused on Choir and Music. The guidance for Choir does have some

guidance that can cover all Dramatic Arts.

Speaking and singing lead to the release of large respiratory droplets, which are the primary route of

transmission for COVID-19. However, the forceful exhalations associated with loud singing can result in greater

numbers of particles being released. As a result, the risk of COVID-19 transmission is increased when people

are singing together in-person. This is especially true for large groups, spaces that do not allow for adequate

physical distancing, indoor venues with poor ventilation, and when microphones, music stands, or music binders

are shared.

• Anyone who has been diagnosed with COVID or who has symptoms of COVID-19 should not

participate in choir activities in-person.

• Public health recommends that people who are more likely to experience complications of COVID-19 –

including older adults – avoid singing with others in-person, especially in larger groups.

• Adults and children who are not ill should sing in groups that are no larger than 50 and follow

appropriate COVID-19 precautions (e.g., physical distancing, recording the contact information of

participants, and regular hand washing) and Orders of the Provincial Health Officer.

• Singing outdoors is best, or in a large indoor space with good ventilation.

• Avoid sharing equipment; if sharing must occur, clean and disinfect between users.

• Reduce the duration of indoor singing. Have practice intervals followed by breaks to allow rooms to

ventilate. The longer the duration of a practice where people are in close proximity, the greater the

chance of transmission.

• Make sure the social aspects of choir or band rehearsals are adapted for COVID-19 precautions. Don’t

bring or share food, opt out of physical greetings (like hugs or handshakes), and keep adequate physical

distance during breaks.

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Britain

Britain has presented its teachers with guidance regarding curriculum and safety.

“Teach an ambitious and broad curriculum in all subjects from the start of the autumn term but make

use of existing flexibilities to create time to cover the most important missed content.”

Our arts students will need support to refresh and restoke their skills, abilities, and passions. They may need to

review past steps so as to move forward.

The British system acknowledges the value of the Dramatic Arts and advocates for its inclusion.

“All pupils should have access to a quality arts education. Music, dance and drama build confidence and help

children live happier, more enriched lives, and discover the joy of expressing themselves. There may, however,

be an additional risk of infection in environments where singing, chanting, playing wind or brass instruments,

dance and drama takes place.” (https://www.gov.uk/government/publications/actions-for-schools-during-the-

coronavirus-outbreak/guidance-for-full-opening-schools)

Here are some notable highlights from the British Guidelines.

• Maintaining social distancing wherever possible. Non-professionals should not engage in activities that

may lead to social distancing being compromised.

• Ensuring activity takes place outside wherever possible, including performance

• Limiting the number of performers as far as possible with non-professionals being restricted by rules

on meeting with others safely guidance. This means that non-professional Dramatic Arts activity,

including choirs, orchestras or drama groups can continue to rehearse or perform together where this is

planned activity in line with the Dramatic Arts guidance and if they can do so in a way that ensures that

there is no interaction between groups of more than 6 at any time. If an amateur group is not able to

ensure that no mingling takes place between these sub-groups of no more than 6 (including when

arriving at or leaving activity or in any breaks or socializing) then such non-professional activity should

not take place.

• Limiting the number of audience members, noting that capacity should be maintained at a level that

allows social distancing to be maintained

• Limiting the duration of social interaction opportunities i.e. rehearsals or performances as far as possible

• Taking steps to improve ventilation as far as possible and whenever possible, both through the use of

mechanical systems and opening windows and doors

• Taking steps to encourage audiences to support the overall safety of the event, including discouraging

activities which can create aerosol (such as shouting, chanting and singing along), seating individuals

rather than allowing them to stand (to help maintain social distancing) and the other mitigations outlined

in this guidance.

• Continue to take the other vital steps outlined in this guidance, including preventing unwell people from

attending, maintaining cleanliness, supporting contact tracing and other mitigating measures.

• Limiting the number of people in the venue or on the premises, overall and in any particular congestion

areas, for example doorways between outside and inside spaces

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• Managing occupancy levels and changeover by reducing class, rehearsal group or audience sizes and

amending timetabling

• Allowing a sufficient break time between sessions or performances held to prevent waiting in groups.

• Managing performance scheduling so that audiences for different performances are not using the site,

premises or venue at the same time in a way that compromises adherence to social distancing, and to

allow for adequate cleaning.

• Considering using available spaces outdoors for performances with a live audience in attendance.

• Discouraging or avoiding gatherings such as performances or screenings that may encourage audience

behaviors that increase transmission risk, for example crowding, clustering or physical contact outside

of household groups or support bubbles.

• Providing space for performers and other attendees to be socially distanced from each other and from

any audience, production team members or other individuals, wherever possible during training,

rehearsal, pre-production, performance and any other form of Dramatic Arts activity.

• Working outdoors where possible. Where this is not possible, ensuring all rehearsal, training and

performance areas, with particular regard to indoor and covered areas, have maximum ventilation

whenever staff or audiences are present.

• Organizing and designing repertoire, rehearsals, training and performance to avoid situations where

performers cannot socially distance, wherever feasible.

• Reducing as far as possible any time that individuals are not able to maintain social distancing.

• Reducing group and cast sizes where possible to maintain social distancing. Conducting rehearsals and

training in smaller fixed teams wherever possible.

• Adapting live Dramatic Arts to ensure they are safe. If that is not possible, consider the use of

technology solutions to reduce interactions and ensure social distancing (for example for castings,

rehearsals, training and performance).

• Using floor tape or paint to mark areas to help people maintain social distance, where possible.

• Positioning side-to-side or back-to-back and avoiding working face-to-face wherever possible.

• Screening of anyone prior to entry into venues, which may include, but not be limited to, a COVID-19

symptom questionnaire.

• Considering using booths, barriers or screens between performers and any audience, noting that: The

effectiveness of the booth, barrier or screen varies substantially depending on the type of booth, barrier

or screen used.

• Reducing cast, orchestra and other performance group sizes wherever possible to enable social

distancing to be maintained.

• Maintaining social distancing wherever possible in rehearsals and performance. If close contact is

absolutely essential, minimizing this and using fixed teams where possible.

• Mapping out productions in advance of commencing in-person rehearsals.

• Learning lines or parts in advance to avoid carrying scripts in rehearsal.

• If performers are likely to spit during their performance, organizers should consider additional

mitigations such the use of face coverings or screens.

• Displaying scripts onto screens in rehearsal rooms to reduce contact requirements and to support

accessibility.

• Increasing use of technology in rehearsals such as to complete read-throughs, and in performance where

feasible.

• Avoiding rehearsing and performing face-to-face wherever possible.

• Performers attending rehearsals and performances only when required for their part.

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• Changing the call schedules so that only those required are on-site.

• Detailing rotating of cast when entering and exiting the stage trying to minimize the number of people

working in the same area at the same time.

• Using radio, phone and video links where possible to avoid face-to-face contact.

The full document is very detailed and contains more guidance for the return of audiences. That is not our

reality right now but it is a good place to start when we get there. The guidelines can be accessed here:

https://www.gov.uk/guidance/working-safely-during-coronavirus-covid-19/performing-arts

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Acknowledgements

Troy Scott

Tracey Groening

Sharon Labossière

Kyle Collins

James McLellan

Manitoba Drama Educators Association

Virginia Helmer

Beryl Peters

Manitoba Drama Specialists

Ontario Ministry of Education

Pembina Trails School Division

23

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