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THEATRE LEVEL I STRAND 1: PERCEPTIONS

THE STUDENT DEVELOPS CONCEPTS ABOUT SELF, HUMAN RELATIONSHIPS, AND THE ENVIRONMENT, USING ELEMENTS OF DRAMA

AND CONVENTIONS OF THEATRE. PRIMARY OBJECTIVE A

THE STUDENT IS EXPECTED TO PRACTICE WARM-UP TECHNIQUES.

I. ENABLING OBJECTIVE/EXPECTANCY: The student will mentally prepare for effective use of the body. A. Mental Preparation through identification of inhibitions B. Through objective analysis of the body C. Through goal setting D. Through tension and relaxation E. Through warm ups

SUGGESTED ACTIVITIES:

1. Progressively relax each portion of the body by a tense/release manipulation of each body portion

2. Display understanding of the need for relaxation of the mind and body prior to

rehearsals/performances by voluntarily performing relaxation exercises before each rehearsal/performance

3. Perform “mind trip” exercises resulting in increased mental focus such as teacher

suggested visualization exercises using sense recall

4. Participate in a name memory game (Sitting in a circle, a person gives his/her first name and a humorous imaginary last name. The next person repeats the name and adds his /her own name. The last person must repeat all names.)

5. Participate in a name memory game (Sitting in a circle, a person gives his/her first

name and a humorous imaginary last name. The next person repeats the name and adds his /her own name. The last person must repeat all names.)

6. Participate in a rhythmic concentration game. (Sitting in a circle, a person slaps his

or her thighs, claps hands, and snaps right then left fingers while calling out his or her number and another person’s number all in a unified rhythm. The person who’s number is called plays next. People who miss drop out of the game.)

II. ENABLING OBJECTIVE/EXPECTANCY: The student will relax and warm up the body.

A. Physical preparation through theory and safety procedures B. Tension and relaxation C. Warm ups

SUGGESTED ACTIVITIES: 1. Execute 15 minutes of strenuous physical exercise prior to each

rehearsal/performance to achieve greater body control, stamina, and coordination in stage movement

2. Execute a series of breathing exercises in order to improve breath support and control

on and offstage III. ENABLING OBJECTIVE/EXPECTANCY: Use sensory and emotional recall in the

imaginative recreation of personal experiences and the development of imaginary situations. A. Imaginative recreation of personal experiences B. Development of imaginary situations


1. Maintain a journal with entries describing the variety of ways different people display specified emotions and refer to the journal when portraying various roles.

2. Describe with sensory language a specific area of his/her environment with reference

to no fewer than 4 of the senses.

3. Cite the sensory images in a situation described by the instructor referring to at least 3 of the senses.

4. Recognize and name the various emotions in an audio or videotape recording.

5. Improvise a scene based on a specific emotion.

6. Recall a favorite and disliked food and improvise a scene for each.

IV. ENABLING OBJECTIVE/EXPECTANCY: Develop concentration techniques and

apply concentration in dramatic activities, rehearsals, and performances. A. Development B. Application

SUGGESTED ACTIVITES:

1. Maintain a solemn facial expression for 3 minutes while classmates provide various verbal and physical distractions.

2. Accurately add 12 figures in a column on a piece of paper, while a partner maintains

a line of potentially distracting chatter.

3. Given a specified scene/play, demonstrate concentration by performing a 3-5 minute scene before the class without breaking character or losing focus on the scene.

V. ENABLING OBJECTIVE/EXPECTANCY: The student will use energy in creative movement. A. Awareness and use of energy (effort or force)

1. Contrasts a. Tense vs. free b. Heavy vs. light c. Strong vs. gentle d. Even vs. uneven

2. Use of energy as a means of emphasis (accent)

VI. ENABLING OBJECTIVE/EXPECTANCY: Apply sensory awareness of sight / sound / smell / taste / touch / kinesthesia to creation of imagery and the perception of emotion. 1. Sensory awareness, imagery, and perception of emotion through sight 2. Through sound 3. Through smell 4. Through taste 5. Through touch 6. Through kinesthesia


1. Given an assigned situation centering on a specified emotion, believably improvise a 1-3 minute scene.

2. Use personal experiences by responding to imaginary stimuli using natural

movement. 3. After handling a real object, recall its shape and characteristics and improvise a scene

involving an imaginary object. .

LEVEL II STRAND 1: PERCEPTIONS

PRIMARY OBJECTIVE B

THE STUDENT IS EXPECTED TO EMPLOY STAGE MOVEMENT AND

PANTOMIME CONSISTENTLY

I. ENABLING OBJECTIVE/EXPECTANCY: The student will use time in creative movement.

Awareness and use of time 1. Contrast: fast vs. slow 2. Developing sense of timing

a. Rhythm/meter b. Tempo c. Duration

II. ENABLING OBJECTIVE/EXPECTANCY: The student will apply procedures for performing pantomime. A. Characterization (Who) B. Dramatic structure (What)

1. Beginning 2. Conflict 3. Resolution 4. Conclusion

C. Setting (When, Where) D. Motivation (Why) E. Technique (How)


1. Pantomime a situation using only facial expressions 2. Pantomime a situation using the body but no facial expression

3. Use pantomime to personify specified objects in various situations

4. In groups students will construct a machine.

5. Play a game (ping-pong, tennis, baseball) using pantomime to create clear actions.

Repeat using mime conventions.

6. After pantomiming a large, heavy object, improvise a scene in which the object becomes the center of the action.

7. Students utilize a newspaper story to recreate the action with believability using

conventions of pantomime and then conventions of mime. VII. ENABLING OBJECTIVE/EXPECTANCY: The student will apply stage business

techniques. A. Standing, walking, and turning B. Sitting, rising, and kneeling C. Entering, exiting D. Gestures, facial expression E. Handling properties F. Eating, drinking G. Laughing, crying H. Embracing, kissing


1. Define the word blocking. 2. Demonstrate proper and improper methods of executing stage movement.

3. Define the standard abbreviations for stage movement and areas.

4. Mark a script for blocking and business, using standard abbreviations when

applicable.

5. Given specific stage directions, demonstrate standard techniques of stage business utilizing a specific hand or costume prop.

6. Identify standard techniques of stage business.

7. Arrange physical items and people to achieve a definite specified relationship on

stage.

8. Assume a variety of stage positions while carrying on a conversation with a partner, observing the resulting differences in character relationship, meaning, and strength.

9. After playing a simple situation, in a variety of settings, discuss how the placement of

furniture and objects influences blocking, characterization, focus of attention, motivation, and character relationships.

10. Motivated entrances and exits. Students enter. Audience guesses where they’ve been

and why they have entered.

11. Character walk.

12. Standing, sitting, kneeling improv game.

13. Participate in Mirror/audience with three people per group: one performer, one

mirror and one evaluator of the success of the mirror.

VIII. ENABLING OBJECTIVE/EXPECTANCY: The student will analyze and evaluate

effectiveness of stage movement in personal and group creative experiences. A. Analysis as a participant on the effectiveness of rehearsal process

1. Effectiveness of stage movement in performance 2. Problems and potential solutions

B. Analysis as an observer 1. Effectiveness of movement in performance 2. Problems and potential solutions


1. Charades

2. Students in audience will use numbered (1-5) cards to rate effectiveness of students’ movement on stage performing an improv.

3. Students walk, sit, pick up a cup and drink from it, put cup down, stand and walk

away while pretending to wear heavy winter coat, fur lined gloves, gym clothes, business suit or dress, tuxedo or evening gown, suit of armor, space suit, scuba gear and flippers, or pants that are too tight.

4. Students walk around the room pretending: they are walking on a sidewalk, through

a mud puddle, on the lawn after a rain, over a pile of gravel, on the beach, on a thick carpet, on a floor with grease spilled on it, on a floor covered with broken glass, or on a very soft bed.

IV. ENABLING OBJECTIVE/EXPECTANCY: The student will analyze stage positions. A. Dressing the stage B. Giving and taking the stage C. Giving, sharing and taking focus


1. Identify the 15 standard stage areas by moving onstage to each specific area as directed by the instructor.

2. Block a scene for 9 area, 15 area, arena and thrust.

3. Perform blocked scenes.


PRIMARY OBJECTIVE C

THE STUDENT IS EXPECTED TO DEMONSTRATE EFFECTIVE VOICE AND DICTION

I. ENABLING OBJECTIVE/EXPECTANCY: The student will interpret textural meaning A. Communication of thought B. Emphasis, subordination C. Rhythm, duration, and pause D. Tempo E. Intelligibility F. Coherence G. Communication of emotion H. Credibility


1. Given a character and a situation, improvise a scene providing the voice from offstage while a partner pantomimes the movement onstage. Repeat the scene with the voice dubbed in gibberish.

2. Deliver a patter song from a Gilbert operetta. 3. Analyze professional recordings of poetry, prose, and drama discussing the vocal

qualities of well-known actors and personalities. 4. Given a topic of conversation or a situation, carry on a conversation using the widest

possible range of nonsense sounds. 5. Using appropriate vocal quality, interpret lines for two radically different characters. 6. Read long phrases requiring emotional display and projection in a single breath

without struggle and with believability. 7. Record a 2-4 minute monologue and analyze personal strengths and weaknesses of

articulation. 8. Engage in a topic of conversation and switch between stressing vowel sounds or

consonant sounds as directed.

9. Perform a 2-4 minute monologue from a specified play onstage with class members in all areas of the theatre noting any point at which they cannot distinctly hear and understand the dialogue.

10. Given a character and situation, improvise a scene in slow motion calling across a

vast space

11. Perform a 2-4 minute monologue correctly pronouncing each word

12. Accurately note pronunciation errors when evaluating actors’ performances in specified play productions and broadcasters speech in specified newscasts

II. ENABLING OBJECTIVE/EXPECTANCY: The student will explore vocal characterization. A. Distinctive pronunciation (lisp, slur, and stutter) B. Distinctive rhythm and pacing C. Distinctive articulation D. Intonation patterns E. Variety in inflection F. Pitch, volume and focus


1. Students will provide voices for cartoon taped without the volume.

2. Radio play. 2. Students recite a familiar text (pledge of allegiance, preamble to the Constitution,

nursery rhyme) using different character voice.

III. ENABLING OBJECTIVE/EXPECTANCY: The student will integrate voice and movement


1. One student performs silently while another provides voice for that character. 2. Improv scenes with characters that transform physically and vocally during the

scene. Ex. Superheroes, Wolfman, Dr. Jekyll and Mr. Hyde, Nerd to Mr. Suave when seeing beautiful girl, etc.


PRIMARY OBJECTIVE D

THE STUDENT IS EXPECTED TO ANALYZE DRAMATIC STRUCTURE AND GENRE

I. ENABLING OBJECTIVE/EXPECTANCY: Students will recognize elements of dramatic structure. A. Aristotle’s The Poetics definitions and requirements of drama.

1. Drama must have conflict. 2. Drama must have a beginning and an end. 3. Drama must be purposeful and evoke a response. 4. Drama must be complete and self-contained. 5. Drama should have action that is varied, engaging, and probable.

B. Aristotle’s elements of drama. 1. Plot

a. Initial incident b. Rising Action c. Climax d. Falling Action e. Conclusion (resolution or denouement)

2.Character and characterization 3. Thought (THEME)

5. Dialogue 5. Melody or Rhythm (Music) 6. Spectacle

SUGGESTED ACTIVITIES: 1. Students will view video of The Man Who Came to Dinner, Driving Miss Daisy, The

Music Man, A Raisin in the Sun or another play and identify the plot elements and evaluate the play using Aristotle’s criteria.

2. Students select a narrative joke and create a short script using the joke as the center

and adding a beginning and ending. The class will perform the best few plays. 3. Compare and contrast the heroes of classical and contemporary tragedy 4. Create a Vinn diagram to compare and contrast 3 forms of dramatic literature 5. Perform monologues from 3 plays representing different forms of dramatic literature 6. Perform a scene varying the delivery to present it in 3 different genres focusing on the

change in voice and tempo that identify the styles

7. Diagram the plot structure of a simple story familiar to all such as “The Three Little

Pigs.”

8. Attend a production and define the elements of dramatic literature as they were presented in the selection


PRIMARY OBJECTIVE E

THE STUDENT IS EXPECTED TO IDENTIFY EXAMPLES OF THEATRICAL CONVENTIONS IN THEATRE, FILM, TELEVISION, AND ELECTRONIC MEDIA

I. ENABLING OBJECTIVE/EXPECTANCY: The student will identify theatrical conventions in theatre. A. Fourth wall in representational plays B. House lights dim when the play is beginning C. Flashing lights at end of intermission change D. Passage of time between scenes and acts E. Soliloquies and asides F. Background music G. Characters bursting into song and/or dance in a musical H. Partial scenery, unrealistic scenery I. Dream sequences and flashbacks J. Curtain calls K. One actor can play more than one part L. Ghosts or supernatural beings distinguished in some way M. Areas on stage can represent places great distances apart simultaneously

II. ENABLING OBJECTIVE/EXPECTANCY: The student will identify theatrical

conventions in film. A. Background music B. Dream sequences and flashbacks C. Passage of time D. Camera can indicate perspective, mood, or characterization. E. Camera provides focus, close ups, wide angle establishing shots, etc. F. Camera motion, pan, truck, tilt or spin to indicate action in story G. Off camera character and events H. Merging of documentary and new footage I. Character theme song

III. ENABLING OBJECTIVE/EXPECTANCY: The student will identify theatrical

conventions in television. A. Background music B. Dream sequences and flashback C. Passage of time

D. Story events timed with time slot and commercial breaks E. Camera can provides perspective, mood, or characterization F. Camera motion, pan, truck, tilt or spin to indicate action in story G. Off camera character and events H. Continuing characters I. Theme song and character songs

IV. ENABLING OBJECTIVE/EXPECTANCY: The student will identify theatrical

conventions in electronic media. A. Video games B. Quick time movies C. Narrow cast D. Radio drama E. Computer animation

SUGGESTED ACTIVITIES 1. View portions of Noises Off and identify the theatrical conventions used and broken. 2. View The Muppet Movies, Young Frankenstein, or another movie that breaks

conventions.

3. View Gilligan’s Island, Beverly Hillbillies, Home Improvement, or Star Trek, and identify the television conventions.

LEVEL TWO STRAND 1: PERCEPTIONS

PRIMARY OBJECTIVE F

THE STUDENT IS EXPECTED TO RELATE THE INTERDEPENDENCE OF ALL THEATRICAL ELEMENTS

I. ENABLING OBJECTIVE/EXPECTANCY: The student will recognize the distinctions between drama and other literary forms.

II. ENABLING OBJECTIVE/EXPECTANCY: The student will analyze a script and

discuss the relationship of the elements of theatre to each other.

SUGGESTED ACTIVITIES: 1. Discuss the differences in telling a story with poetry, prose, drama, music or pictures.

Discuss the benefits and drawbacks of each. 2. Students, in groups of 4-6 will improvise scenes where actors attempt to perform and

technical elements are either missing or are incorrect. 3. After reading a short script, divide the students into “crews.” Have each crew make a

list of elements they will need to coordinate with other crews.

LEVEL II STRAND 2: CREATIVE EXPRESSION/PERFORMANCE

THROUGH A VARIETY OF THEATRICAL EXPERIENCES, STUDENTS

COMMUNICATE IN A DRAMATIC FORM, MAKE ARTISTIC CHOICES, SOLVE PROBLEMS, BUILD POSSITIVE SELF-CONCEPTS, AND RELATE

INTERPERSONALLY

STUDENT INTERPRETS CHARACTERS, USING THE VOICE AND BODY EXPRESSIVELY, AND CREATES DRAMATIZATIONS

PRIMARY OBJECTIVE A

THE STUDENT IS EXPECTED TO DEMONSTRATE SAFE USE OF THE VOICE AND BODY.

I. ENABLING OBJECTIVE/EXPECTANCY: The student will analyze and evaluate

effectiveness of voice in theatrical events II. ENABLING OBJECTIVE/EXPECTANCY: The student will explore vocal characterization and

dialect A. Vocal Characterization

1. Distinctive pronunciation (lisp, slur and stutter) 2. Intonation patterns

B. Distinctive rhythm and pacing C. Dialects

1. Regional 2. National

III. ENABLING OBJECTIVE/EXPECTANCY: The student will integrate voice and movement. IV. ENABLING OBJECTIVE/EXPECTANCY: The student will respond positively to

constructive criticism.

SUGGESTED ACTIVITIES: 1. View professional actors in a film and analyze their vocal and physical character

choices.

2. Select a play that utilizes a regional dialect and prepare a scene or a monologue.

3. Improvise a scene using vocal characteristics of different type and participate in a peer critique session.

4. After a discussion of the dialect regions of the United States with emphasis on

specific geographic regions, students will prepare a scene from a play that uses dialect such as The Adventures of Tom Sawyer, Spoon River Anthology, This Property is Condemned, or The Voice of the Prairie.

5. Select a scene or monologue from one of Shakespeare’s plays and identify the meter. 6. After going over the phonetic alphabet, students will write their names phonetically.

Then they will write a short sentence phonetically.

7. Selecting several different countries, the students will study the accents in English of each. They will then present a short monologue using each country studied. As a game, the audience can try to guess the country.

8. The students will “paint” the wall with various combinations of repeating vocal sound

effects.

9. The students will count as far as they can on one breath in top voice and enunciating correctly.


PRIMARY OBJECTIVE B

THE STUDENT IS EXPECTED TO ANALYZE CHARACTERS FROM VARIOUS GENRES AND MEDIA, DESCRIBING PHYSICAL, INTELLECTUAL, EMOTIONAL AND SOCIAL

DIMENSIONS I. ENABLING OBJECTIVE /EXPECTANCY: The student will prepare characterization

of a role appropriate for setting, situation, mood and style A. Resources

1. Observation of people 2. Recall of past experiences 3. Imagery: animals, objects 4. Similarities and differences between the actor and the character

B. Physical Characteristics 1. Posture and Walk 2. Gestures and business 3. Facial expressions 4. Eyes

C. Vocal Characteristics D. Dialogue interpretation

1. Choice of words and phrases 2. Images 3. Sentence structure 4. Unusual characteristics: dialect, mannerisms 5. Subtext

E. Rhythm and timing

SUGGESTED ACTIVITIES: 1. Research the life of an actor from any period in history and discuss the factors for the

culture and historical period that affected his or her work. 2. After thorough analysis of the character of Laura from Tennessee Williams’ The

Glass Menagerie, physically manifest Laura’s character by altering body positions and characteristics in a previously memorized scene from the play to enhance age, health, emotional, and sociological characteristics

3. Experiment with the dramatic effects of movement by blocking the same scene in a

variety of ways.

4. Students will watch TV for unusual or funny bits and list what it is, why it was different and what people ordinarily do in such a situation. Then analyze why this character made the choices they made.

5. As a character, the student will answer several questions such as: If you were a time

telling device, what would you be? What is the best way to start the day? How would you describe your relationship with _____? What would you do if you were the last person on earth? What advice would you give to a prospective bride or groom?

II. ENABLING OBJECTIVE/EXPECTANCY: The student will perform a role

appropriate for setting, situation, mood, and style. A. Performance of role

1. Use of external factors a) Makeup b) Costume c) Properties d) Setting lighting e) Sound f) Configuration and size of stage and auditorium

2. Rehearsal process a) Observation, recall and imagination b) Experimentation c) Selection d) Refinement

3. Learning of lines and dramatic sequence 4. Concentration 5. Cue pickup and reciprocal response 6. Projection

SUGGESTED ACTIVITIES: 1. Experiment with the dramatic effects of movement by blocking the same scene in a

variety of ways. 2. Students will write and perform monologues based on a character from TV sitcoms,

cartoons, movies, novels, comic books, etc.

3. Student will portray stereotypical character that after establishing type, breaks type. Ex. Granny gets on her Harley; Wrestler goes to get his nails done.


PRIMARY OBJECTIVE C

THE STUDENT IS EXPECTED TO CREATE AND SUSTAIN BELIEVABLE

CHARACTERS.

I. ENABLING OBJECTIVE/EXPECTANCY: The student will use various theories of acting

A. Emotional vs. intellectual approach B. Technical vs. intuitive methods

SUGGESTED ACTIVITIES: 1. Explain Stanislavski’s approach to acting in a 5-10 minute oral report based on the

student’s reading of An Actor Prepares. 2. Discuss and demonstrate the Stanislavski system 3. Use a representational scene and perform it presentationally.

III.ENABLING OBJECTIVE/EXPECTANCY: The student will analyze and evaluate effectiveness of characterization in personal and group creative experiences A. Effectiveness of planning process B. Effectiveness of rehearsal process

IV. ENABLING OBJECTIVE/EXPECTANCY: The student will develop skills of spontaneity and analysis in creating characters


1. Given an event from a newspaper or real life experience, work with other students to create a scene based on the story in which plot is the most important element, while another group creates a scene in which theme is emphasized. Another group will create a scene in which the characters receive the focus. Afterwards, the class will analyze how variations in focus affect audience response.

2. Student will take on various physical characteristics singly, or in combination and

keep portraying them throughout a prepared scene. 3. Assemble a pictorial collage of items that might belong to a real person or literary

character, and then have the class discuss the character traits and person.

4. Students will perform prepared scenes using the voices of different cartoon characters, sustaining then throughout the scene. Ex: Bugs Bunny, Elmer Fudd, Pepe Le Pew, Tweetie Bird.

5. Students will perform prepared scenes with new scenic elements added each time.

6. Students will perform prepared scenes with others voicing the thoughts the characters

are thinking. LEVEL II

STRAND 2: CREATIVE EXPRESSION/PERFORMANCE

PRIMARY OBJECTIVE D

THE STUDENT IS EXPECTED TO IMPROVISE AND WRITE DIALOGUE THAT

REVEALS CHARACTER MOTIVATION IN SHORT VIGNETTES. I. ENABLING OBJECTIVE/EXPECTANCY: The student will improvise scenes that

include character motivation. II. ENABLING OBJECTIVE/EXPECTANCY: The student will write dialogue for

scenes that include character motivation.

SUGGESTED ACTIVITIES: 1. Students will write and perform monologues based a character from TV sitcoms,

cartoons, movies, novels, comic books, etc. 2. Using a photo the student will write and perform a scene that will lead up to the scene

in the photo. They will be able to justify their choices. Can be done with a painting.

3. Using a photo the student will write and perform a scene that will follow the scene in the photo. They will be able to justify their choices. Can be done with a painting.

4. Students will improvise and write a scene in which a character in one story is placed

in totally unfamiliar territory.

LEVEL II STRAND 3: HISTORICAL/CULTURAL HERITAGE

STUDENTS INCREASE THEIR UNDERSTANDING OF HERITAGE AND TRADITIONS

THROUGH HISTORICAL AND CULTURAL STUDIES IN THEATRE

THE STUDENT RELATES THEATRE TO HISTORY, SOCIETY AND CULTURE

PRIMARY OBJECTIVE A

THE STUDENT IS EXPECTED TO ANALYZE HISTORICAL AND CULTURAL INFLUENCES ON THEATRE

I. ENABLING OBJECTIVE/EXPECTANCY: Analyze the historical and cultural influences from the PRE-HISTORIC period on theatre.

Origin of theatre 1. Rituals for influencing forces of nature

a. Sacrifice b. Sympathetic magic

1) Art: cave drawings, sand paintings 2) Dance: buffalo, rain, and war

c. Animalism d. Totemism

2. Imitation for instruction and entertainment a. Dance b. Storytelling c. Initiation ceremony

3. Evolution of dramatic elements a. Imitative movement into dance b. Disguise and masks into costumes and makeup c. Rhythm into music d. Chant into poetry e. Storytelling into myths and drama f. Dancer into actor g. Priest (shaman) into playwright


1. Choose a natural phenomenon that your village celebrates. Members of the group will take the roles of shaman, dancer, and audience and react to the telling of the story. Focus is on the movement used to non-verbally convey the message to music.

2. Choose a natural phenomenon; retain the same roles and use gibberish and intonation

to give your report or warning to the village. Show the different character perspectives through responses to the news.

II. ENABLING OBJECTIVE/EXPECTANCY: Analyze the historical and cultural background of GREEK THEATRE.

A. Dionysian worship 1. Fertility rituals (13th century B.C.) 2. Choral contests (8th century B.C.)

a. Dances b. Dithyrambs

3. Play festivals (6th century B.C.) a. Rural Dionysia in December b. Lenaia in January emphasizing comedies c. City Dionysia in March emphasizing tragedies

B. Festival management 1. Civic and religious celebration for all citizens 2. Financial support

a. Choregus for chorus, costumes, and scenery b. State for actors, costumes and the theatre

C. Events 1. Procession with statue of Dionysus 2. Sacrifice 3. Dithramb contest 4. Comedy contest: one day with five plays 5. Tragedy contest: three days with one trilogy and a satyr play each day 6. Awards

a. Panel of ten judges b. Recognition of best dithyrambic chorus, comedy, trilogy, and tragic

actor D. Hellenistic period (4th century B.C.)

1. Plays performed for civic occasions rather than Dionysian worship 2. Tragedies moved away from realism 3. Comedies moved toward realism

III. ENABLING OBJECTIVE/EXPECTANCY: Present scenes from GREEK

playwrights A. Duties of playwright

1. Author 2. Musical composer 3. Director 4. Actor on occasion

B. Tragedies 1. Thespis [534 B.C.]

(1.)Chorus of twelve (2.)Introduced first solo actor

2. Aeschylus [525 B.C.] (1.)Introduced second actor (2.)Major theme: man’s relationship to the gods

3. Sophocles [496-406 B.C.] (1.)Introduced third actor (2.)Increased chorus to fifteen (3.)Major theme: human relationships

4. Euripides [484-406 B.C.] (1.)Further reduction of role of chorus (2.)Major themes: philosophical and psychological

3. Comedies 1. Aristophanes [448-380 B.C.]

(1.) Old comedy: fantasies (2.) Major themes were satirical commentary on contemporary affairs

2. Meander [342-292 B.C.] (1.) New comedy: more realistic (2.) Major themes: everyday middle-class life


1. Divide the students into groups and have each select a scene from a different Greek play and focus on the presentational style and use of chorus

2. Compare a scene from each of the tragic writers and identify the themes chosen by the

writers.

IV. ENABLING OBJECTIVE/EXPECTANCY: Analyze the historical and cultural

background of ROMAN THEATRE A. Ludi

1. Financial support by Senate and wealthy citizens 2. Theatrical company managers purchased scripts and provided actors, musicians,

and costumes 3. Free admission 4. Frequently unruly audiences

B. Types of entertainment 1. Tragedy

a. Based on Greek themes b. Horrifying plots c. Totally good or totally depraved characters d. Melodramatic effects e. Elaborate flowery speech f. All roles played by men

2. Comedy a. Based on Greek new comedy b. Chorus eliminated

c. Musical accompaniment and song (much like modern musical theatre) d. Themes: everyday domestic affairs e. Typical plots: mistaken identity, free-spending sons deceiving their fathers, and

humorous intrigues invented by clever slaves f. Character types all played by men: old miser, rebellious son, scheming slave,

parasite, courtesan, slave dealer, and cowardly soldier g. All action occurs in a street

3. Mime a. Troupes of strolling players, jugglers, acrobats, and mimics b. Improvised dialogue c. Themes: farcical treatment of topical events d. Female roles played by women (first actresses) e. No masks f. Often vulgar (led to Church’s opposition to the theatre)

4. Pantomime a. Silent interpretive dance b. Single actor using various masks c. Narration by chorus d. Musical accompaniment e. Themes: serious treatment of mythology

5. Spectacles a. Gladiatorial combat b. Circus c. Naumachia

C. Degeneration of the theatre 1. Spectacular, sensational, exotic, and indecent elements emphasized 2. Christianity recognized as semiofficial religion by Emperor Constantine

(312-337 A.D.) 3. Mime performers excommunicated (5th century A.D.) 4. Theatres closed by Justinian (6th century A.D.) 5. Surreptitious theatrical activities, pagan rites, and festivals continue

V. ENABLING OBJECTIVE/EXPECTANCY: Identify ROMAN plays and playwrights

A. Plautus [254-184 B.C.] 1. Farcical comedies of situation 2. Single plot

B. Terence [195-159 B.C.] 1. Romantic comedies 2. Double

C. Seneca [4 B.C. - 65 A.D.] 1. Tragedies [model for Renaissance tragedians] 2. Five-act form 3. Elaborate flowery language 4. Theme of revenge

5. Graphic violent action 6. Magical rites and ghosts 7. Device of confidant 8. Soliloquies and asides


1. View theatre history video dealing with ancient Roman playwrights.

2. Play matching game with plays and playwrights. 3. Analyze The Menaechmi in accordance with the rules for classical comedy. 4. Stage a myth or legend in the style of a Roman pantomime employing dance, music

and narration by a chorus 5. Identify and analyze the stock characters of Roman theatre

VI. ENABLING OBJECTIVE/EXPECTANCY: Analyze the historical and cultural

background of MEDIEVAL THEATRE A. Drama in the church [900-1250 A.D.]

1. Living tableau 2. Tropes

B. Drama out of the church [13th - 16th centuries] 1. Guilds 2. Mystery plays 3. Miracle plays 4. Morality plays 5. Farces 6. Interludes

C. Decline of religious drama [late 16th century] 1. Revival of interest in classical culture 2. The Reformation 3. Prohibition of religious plays by church and state 4. Return of professional players


1. Create a pageant wagon from a shoebox displaying the design by the guild of your choice.

2. Read Everyman aloud moving to the “mansions” as the play progresses.

VII. ENABLING OBJECTIVE/EXPECTANCY: Identify MEDIEVAL plays and

production style.

A. Characteristics of scripts 1. Cycles 2. Vernacular language 3. Songs and music 4. Juxtapositions of instruction and entertainment, Biblical and contemporary references, and serious and comic elements

B. Male actors C. Influences on Elizabethan drama

1. Loosely organized plot spanning long time periods 2. Numerous locations 3. Mixture of serious and comic 4. Moral instruction


1. Tell an object lesson using personification 2. Read The Sheep Thief and identify the parallels from Act I and Act II

VIII. ENABLING OBJECTIVE/EXPECTANCY: Analyze the historical and cultural

background of RENAISSANCE THEATRE A. Identify Italian Renaissance plays and playwrights

1. Pastorals and operas 2. Commedia dell’arte

B. Identify Spanish auto sacramental and playwrights 1. Lope de Vega 2. Calderon 3. Cervantes

C. Identify French Neoclassicism 1. Corneille 2. Racine 3. Moliere


1. Present scenes from a representative playwright of each country and compare and contrast the character styles.

2. Research the culture in each of these countries and how it affected the posture and

movement of the characters.

3. Research the clothing style in each country and how it would effect the movement of the actor.

IX. ENABLING OBJECTIVE/EXPECTANCY: Identify ELIZABETHAN plays and playwrights

A. Types of plays 1. Tragedy: historical, classical and romantic 2. Comedy: prose, masques

B. Playwrights 1. Thomas Kyd 2. Christopher Marlowe 3. William Shakespeare 4. Ben Johnson 5. Francis Beaumont and John Fletcher 6. John Webster

X. ENABLING OBJECTIVE/EXPECTANCY: Analyze production styles of

ELIZABETHAN theatre A. Playhouses

1. Inn yards 2. Open-air public theatres

(1) Pit (yard) (2) Three-tiered galleries (3) Stage: covered forestage, doors at sides and rear, inner below, and inner

above (4) Musicians gallery

3. Private indoor halls B. Scenery

1. Permanent façade 2. Set pieces, properties and banners 3. Machines: trapdoors, cranes and sound effects

C. Costumes 1. Contemporary garments 2. Addition of historical elements 3. Symbolic dress for supernatural characters

D. Acting companies 1. Playwright - director 2. Ten to twenty men including shareholders, hired men and apprenticed boys 3. Repertory performances.


1. Improvise scenes involving an Elizabethan acting troupe preparing for a performance.

2. Make a model or draw a picture of a performance of one of Shakespeare’s plays.

XI. ENABLING OBJECTIVE/EXPECTANCY: Analyze the historical and cultural background of ELIZABETHAN theatre A. Evolution of professional acting troupes

1. Wandering players outlawed as rouges 2. Players protected if attached to noble households as servants 3. Master of Revels office created to examine plays and license acting companies with noble patronage [1574]

B. University production 1. Classic roman plays performed in Latin 2. New plays imitating classics in Latin and English 3. New plays with English subject matter in English; Gordoduc

C. Court masques 1. Allegorical scripts based on mythology 2. Procession, music and dances 3. Italian staging methods by Inigo Jones

D. Closing of theatres [1642] 1. Puritan oppositions 2. The Commonwealth


1. Present scenes from Romeo and Juliet, Taming of the Shrew, Merchant of Venice, etc. that use balcony scenes and focus on the movement of the action level to level.

2. Choose a sonnet or monologue and deliver it with emphasis on the beat set by the

meter and the beat set by your own interpretation of its meaning. Record each and compare and contrast their strengths.

XII. ENABLING OBJECTIVE/EXPECTANCY: Analyze the historical and cultural background of RESTORATION THEATRE

A. Opening of theatres in 1660 B. Introduction of actresses C. Repertory system

XIII. ENABLING OBJECTIVE/EXPECTANCY: Analyze RESTORATION plays and

playwrights A. Types of plays

1.Comedy of manners 2.Sentimental comedy 3.Domestic tragedy 4.Opera, ballad opera and comic opera 5.Burlesque 6.Pantomime

B. Playwrights

1. England a. John Dryden b. William Congreve c. George Farquhar d. John Gay e. Oliver Goldsmith f. Richard Brinsley Sheridan

2. France a. Voltaire b. Pierre Augustin Caron de Beaumarchais 3. Italy: Carlo Goldoni 4. Germany: Gotthold Lessing


1. Present scene work from representative Restoration playwrights 2. View and evaluate characters presented in representational period films.

3. Work with scenes from Lady Windemere’s Fan and Oscar Wilde’s Perfect Husband

and note the similarities in use of personal props.

XIV. ENABLING OBJECTIVE/EXPECTANCY: Analyze the historical and cultural background of NINETEENTH CENTURY THEATRE A. European national theatres

1. Theatre Libre [France] 2. Freie Buhne [Germany] 3. Abbey Theatre [Ireland] 4. Independent Theatre [England] 5. Moscow Art Theatre [Russia]

B. European producers and directors 1. Georg II, Duke of Saxe-Meiningen 2. Constantin Stanislavsky 3. Max Reinhardt 4. Richard Wagner 5. Adolphe Appla 6. Gordon Craig

C. Early American theatre 1. Pre-colonial drama

a. Mexico b. New Mexico c. Texas

2. Colonial drama a. English touring productions b. First American productions

c. University productions d. The Hallums

3. Revolutionary War period a. Effect on American theatre b. Rise of native drama

4. American theatre styles and movements a. Repertory theatre b. Touring stock companies c. Melodramas d. Vaudeville e. Minstrels f. Showboats

XV. ENABLING OBJECTIVE/EXPECTANCY: Identify NINETEENTH CENTURY plays and playwrights A. European

1. Georg Bucher 2. Anton Chekhov 3. Alexander Dumas 4. Johann Wolfang von Goethe 5. Nikolai Gogol 6. Victor Hugo 7. Henrik Ibsen 8. Heinrich von Kleist 7. Eugene Labiche 8. Maurice Maeterlinck 9. Edmond Rostand 10. Friedrich von Schiller 11. George Bernard Shaw 12. August Strindberg 13. Oscar Wilde

B. American 1. Dion Boucicault 2. Augustin Daly 3. William Dunlap 4. Anna Cora Mowatt 5. Royall Tyler


1. Create a mobile with the steps of Stanislavski’s method. 2. Prepare a monologue from Checkov and Ibsen using the method.

3. Read Cyrano and watch scenes from Roxane with Steve Martin, and find the parallels.

XVI. ENABLING OBJECTIVE/EXPECTANCY: Analyze the historical and cultural

background of TWENTIETH CENTURY THEATRE A. European theatre styles and movements

1. Technical innovations 2. National theatres 3. Avant-garde 4. Epic

B. America theatre styles and movements 1. Commercial

a. Burlesque b. Vaudeville

c. Musicals d. Movies and television

e. Multimedia f. Off-Broadway

g. Regional theatre h. Theatre for children 2. Community 3. Educational

XVI. ENABLING OBJECTIVE/EXPECTANCY: Identify TWENTIETH

CENTURY directors, designers and playwrights A. European Directors Designers Playwrights and their plays B. American Directors, Designers Playwrights and their plays

SUGGESTED ACTIVITIES

1. Research a 20th century actor and report on their body of work and their contribution to the American stage.

2. Make a timeline for the 20th century using playwrights and their major works.

3. Research the history of the Pulitzer Prize in Drama and recipients since its inception.

4. Choose a scene from a Pulitzer Prize winner.

5. Examine theatre terminology and theatrical conventions. Find historical sources for

them.

6. Analyze present practices and conventions that may influence American theatre in the future.

LEVEL II STRAND 3: HISTORICAL / CULTURAL HERITAGE

PRIMARY OBJECTIVE B

THE STUDENT IS EXPECTED TO DEFINE THE INFLUENCE OF AMERICAN SOCIETY

ON LIVE THEATRE AND FILM

I. ENABLING OBJECTIVE/EXPECTANCY: Recognize the relationship of culture and society to theatre and film. 1. Theatre reflects life 2. Theatre emerges from the society that produces it. 3. Theatre should be produced with the audience in

mind. II. ENABLING OBJECTIVE/EXPECTANCY: Comprehend the relationship between

societal trends and historical events to theatre and film. 1. Natural disasters, criminal acts, wars, scandals, political movements, technological

innovations, and changes in environment all impact theatre. 2. Historical events impact subject matter in stories, character choices, as well as theatre

buildings and production company organization.

SUGGESTED ACTIVITIES: 1. Student will select a play or musical currently playing Broadway. Discuss the aspects

of American society that are evident in this production. (May even require that they be revivals and note changes from original production.)

2. Students will discover and/or hypothesize how the following events impacted

American theatre: the Revolutionary War, Industrial Revolution, Lincoln’s assassination, westward expansion, the Civil War, reconstruction, sinking of the Titanic, electrification of the nation, bombing of Pearl Harbor, Black Monday and the Depression, World War II, Vietnam War, Korean War, Civil Rights Movement, space race and Moon landing, Cold War, Kennedy’s assassination, Aids Epidemic, Women’s Rights, the computer revolution and the Cuban Missile Crisis.

LEVEL II STRAND 4: RESPONSE/EVALUATION

STUDENT RESPONSE AND EVALUATION PROMOTE THINKING AND FURTHER

DISCRIMINATING JUDGMENT, DEVELOPING JUDGEMENT, DEVELOPING STUDENTS WHO ARE APPRECIATIVE AND EVALUATIVE CONSUMERS OF LIVE

THEATRE, FILM, TELEVISION, AND OTHER TECHNOLOGIES.

THE STUDENT RESPONDS TO AND EVALUATES THEATRE AND THEATRICAL PERFORMANCES

PRIMARY OBJECTIVE A

THE STUDENT IS EXPECTED TO JUDGE AND APPLY APPROPRIATE AUDIENCE

BEHAVIOR AT VARIOUS TYPES OF LIVE PERFORMANCES.

I. ENABLING OBJECTIVE/EXPECTANCY: The student is expected to recognize proper theatre etiquette.

II. ENABLING OBJECTIVE/EXPECTANCY: The student is expected to demonstrate

good theatre etiquette.

SUGGESTED ACTIVITIES: 1. Students will plan and perform improvised scenes showing the effects of poor theatre

etiquette. 2. Practice good theatre etiquette during classroom performances. 3. Practice appropriate audience etiquette at campus productions, concerts, sporting

events and rallies. 4. Practice good audience etiquette during a professional performance.


PRIMARY OBJECTIVE B

THE STUDENT IS EXPECTED TO EVALUATE EMOTIONAL RESPONSES TO AND

PERSONAL PREFERENCS 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. I. ENABLING OBJECTIVE/EXPECTANCY: The student will be able to discuss their

response to a performance using appropriate terminology. A. Differentiate personal preference from observed event. B. Appreciate quality performance in material outside of preferred genre. C. Evaluate with specificity and precise terminology.

II. ENABLING OBJECTIVE/EXPECTANCY: The student will be able to identify what

they enjoy watching and why they like it, using appropriate theatre terminology.

III. ENABLING OBJECTIVE/EXPECTANCY: The student will be able to identify

intent, structure, effectiveness, and value in a given performance. A. Intent can be the goals of the playwright, producer, director and/or the performers. B. Structure is the dramatic and plot framework. C. Effectiveness is the degree to which to intent was realized. D. Value is the worth or significance of the performance and the principles and ideals represented in the story.

IV. ENABLING OBJECTIVE/EXPECTANCY: The student will be able to write

comprehensive play reports and present oral reports evaluating live theatre, film, and television shows.


1. Students view video of TV sitcom and, in a group, complete a critique. 2. Students clip theatre, television and movie critiques from newspapers and magazines.

Compare the critic’s opinion to those in the group.

3. Students write a review of a play or movie they have seen using a standard set of criteria. Students present the reviews to the class in a television show critic type format.

4. Each student will create his/her top 10 favorite plays, movies, television shows, actors

and actresses. They should be prepared to explain their choices to the class.

5. Make a report on “The best television show adults aren’t watching.”


PRIMARY OBJECTIVE C

THE STUDENT IS EXPECTED TO IDENTIFY THE TREATMENT OF THEME,

CHARACTER, SETTING, AND ACTION IN THEATRE, MUSICAL THEATRE, DANCE, ART AND MUSIC AND INTEGRATE MORE THAN ONE ART FORM IN INFORMAL

PRESENTATIONS.


1. Show clips from several productions and variations of Romeo and Juliet. The students will compare and contrast treatment, character, setting and action and discuss the result on the effectiveness of the production. Alternate, A Midsummer Night’s Dream, Sleeping Beauty, Othello, Faust, Jekell and Hyde, Dracula, Frankenstein.

2. Students will create music videos.

3. Students will perform record pantomimes


PRIMARY OBJECTIVE D

THE STUDENT IS EXPECTED TO SELECT CAREER AND AVOCATIONAL

OPPORTUNITIES IN THEATRE AND EXPLORE THE TRAINING, SKILLS, SELF-DISCIPLINE, AND

ARTISTIC DISCIPLINE NEEDED TO PURSUE THEM.


1. In groups, students will select a theatre career and determine the preparation required for that occupation. (See careers highlighted at the end of each chapter in The Stage and the School.) Identify the skills and talents as well as discipline need to pursue that career.

2. Create an imaginary resume for a director, tech designer or master technician. Include

appropriate education and organization affiliations.

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