advanced drama workshop...one‐act play projects / performances unit test 1.1.12.c.2 through...

FREEHOLD REGIONAL HIGH SCHOOL DISTRICT

OFFICE OF CURRICULUM AND INSTRUCTION

ENGLISH DEPARTMENT

ADVANCED DRAMA WORKSHOP

Grade Level: 9-12

Credits: 2.5

BOARD OF EDUCATION ADOPTION DATE:

AUGUST 22, 2011

SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING

APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS

APPENDIX B: ASSESSMENT EVIDENCE

APPENDIX C: INTERDISCIPLINARY CONNECTIONS

https://docs.google.com/document/d/1mEcdd5YsukZgMjnuU4GLQbRsGh-qzbT5eC0sUSt3M0o/edit?usp=sharing

FREEHOLD REGIONAL HIGH SCHOOL DISTRICT

Board of Education

Mr. Heshy Moses, President Mrs. Jennifer Sutera, Vice President

Mr. Carl Accettola Mr. William Bruno

Mrs. Elizabeth Canario Mrs. Kathie Lavin

Mr. Ronald G. Lawson Mr. Michael Messinger Ms. Maryanne Tomazic

Mr. Charles Sampson, Superintendent

Ms. Donna M. Evangelista, Assistant Superintendent for Curriculum and Instruction

Curriculum Writing Committee

Ms. Allyson Descy Mr. Reynold Forman

Supervisors

Ms. Tyniesha Douglas

Ms. Judith Lagana Mr. Craig Chern

Mr. Thomas Gallahue Ms. Jane Goldstein

Advanced Drama Workshop - Introduction

Introduction

Course Philosophy

The student actor who has demonstrated a genuine interest in theatre needs to expand his or her concepts, skills and experience beyond the first Drama course. The Advanced Drama Workshop will provide this opportunity by offering varied activities in many aspects of performance. Students will immerse themselves in improvisation, advanced scene and performance study, directing and play writing which will provide them with the basic skills required to work in any community, college or in some cases professional theatre in a variety of production positions. As well, students will expand their repertoire of the more recent periods in theatrical history than those achieved in Drama. Finally, this course will provide many opportunities for students to actively participate in theatrical exercises, to view and discuss student generated works, as well as to read and analyze dramatic literature. Students will have greater ownership over the choices of and approaches to the material.

Course Description

In the approximately twenty weeks of the duration of the Advanced Drama Workshop, students will engage in improvisation groups to perform in front of classmates in order to prepare for a day's work in scene study. They will participate in a variety of theatrical warm‐ups and exercises throughout the course of each week. These exercises will help the students to develop a variety of skills, which include but are not limited to the following: listening, spontaneity, risk‐taking, group dynamics, concentration, following one's instincts, and emotional resonance. As well, the students will analyze the acting techniques used in a particular production and identify the correlation among the following members of a production team: actor, director, technical director, sound technician, costumer, lighting personnel and other professional teams. Based on a specific production, students may identify and evaluate the methodology and skills of the actors. In addition, students will create an original play and assist in selecting a student director when choosing a cast and rehearsing the work. All students will benefit from directing a scene or play in which they will research the role and responsibilities of a director before planning a production. As part of their directorial responsibilities, they will engage in dramaturgical work to better understand their chosen scene / play. Students will also research modern theatre history periods from the Restoration to the Modern Period, and will reflect on the changes that have occurred since the origins of theatre. In advanced scene study, students will independently choose a theatrical selection to perform, rehearse the selection, possibly master an accent, and in some cases, the students will video and critique rehearsals and performances for analysis.

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Course Map and Proficiencies/Pacing

Course Map

Relevant Standards

Enduring Understandings Essential Questions Assessments

Diagnostic Formative Summative

1.1 12. C2 1.2.12.C.1 1.3.12. C.2 SL.11‐12.6

Though the artist's imagination and intuition drive the work, great art requires skills and discipline to turn notions into a quality performance.

Why does improvisation help one understand multiple perspectives of a role? How does improvisation allow for character development in the preparation for a role? How does an actor use the body as a tool for performance? Why does a background in improvisation help one to become an effective actor?

Individual vs. whole group monitoring Student survey

Benchmark assessments Student journals

Unit test Unit project Improvisation performance

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1.1 12 C.1 1.2.12.A.1 1.2.12.A.2 1.4.12.A.3 SL.11‐12.6

Every artist has a style and every artistic period has a style.

Why is it essential to understand the evolving history of theatre and its initial purpose? What aspects of art have been taken from past history and what is new in any work of art? How do previous theatrical periods affect modern drama?


Student journals

Unit test Unit project

1.1. 12.C.2 1.3.12.C.1 SL.11‐12.6

The play writing process involves several steps which involve not only the spoken word, but also the movement and environment in which that spoken word occurs.

What is the process of play writing? Through what process is a newly written play produced? How do stage directions affect the design of a play?

Student survey Writing samples

Student journals Rough drafts of original scripts Teacher‐student conferences Peer critique

One‐act play Projects / performances Unit test

1.1.12.C.2 1.4.12.B.2 1.1.12.C.3 SL.11‐12.6

The direction of a play involves not only the design for acting and movement in a play, but also includes the work of a production team in order to mount the performance.

How does a production team choose its members for a given performance? How does one select a cast through the auditioning process? What are the elements of a stage manager's book? How does a director "block" a scene? How does a director create an effective production that is truthful to the playwright's script?


Student journals Teacher‐student conferences

Production of scene/one‐act or short play Unit test

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1.2.12.A.1 1.3.12.C.1 1.4.12.A.2 SL.11‐12.6

The point of studying plays and scenes is to foster meaning‐making, deeper emotional response, and authentic decision making.

Why is it essential to try various acting techniques in the study of a character?


Student journals

Performance

1.1.12.C.1 1.2.12.A.2 SL.11‐12.6

Breaking accepted norms often gives rise to new forms of artistic expression.

When and why should an actor take risks in character development and scene study?

Student survey Student journals

Performance Script writing Directing project

AR.9‐12.1.2 All students will utilize those skills, media, methods, and technologies appropriate to each art form in the creation, performance, and presentation of dance, music, theater, and visual art. AR.9‐12.1.3 All students will demonstrate an understanding of the elements and principles of dance, music, theater, and visual art.

Proficiencies and Pacing

Unit Title Unit Understanding(s) and Goal(s) Recommended Duration

Unit 1: Improvisation

Though the artist's imagination and intuition drive the work, great art requires skills and discipline to turn notions into a quality performance. Students will create improvisations in order to prepare for characterization in the development of a scene. Students will participate in theatre games to develop aspects of characterization which employ mental and physical readiness.

ongoing

Unit 2: Theater History

Every artist has a style and every artistic period has a style. Students will understand the function and purpose of evolving theatre in society.

4‐5 weeks

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Unit 3: Play Writing

The play writing process involves several steps which involve not only the spoken word, but also the movement and environment in which that spoken word occurs. Students will write a short scene or play based on the elements of playwriting.

4‐5 weeks

Unit 4: Directing

The direction of a play involves not only the design for acting and movement in a play, but also includes the work of a production team in order to mount the performance. Students will learn the responsibilities of the director and all of the members in a play's production team. Students will learn how to cast a play through an audition process. Students will learn how to mark a script and execute the movement for blocking from a director's perspective.

4‐5 weeks

Unit 5: Advanced Scene Study

The point of studying plays and scenes is to foster meaning making, deeper emotional response and authentic decision making. Breaking accepted norm often gives rise to new forms of artistic expression. Students will be able to articulate motivation for characterization as well as the emotional and physical background/landscape of a given scene in a play.

4‐5 weeks

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Advanced Drama Workshop - Unit 01

Improvisation- Unit 1

Enduring Understandings: Though the artist's imagination and intuition drive the work, great art requires skills and discipline to turn notions into a quality performance. Essential Questions: 1. Why does improvisation help one understand multiple perspectives of a role? 2. How does improvisation allow for character development in the preparation for a role? 3. How does an actor use the body as a tool for performance? 4. Why does a background in improvisation help one to become an effective actor? Unit Goals: 1. Students will create improvisations in order to prepare for characterization in the development of a scene. 2. Students will participate in theatre games to develop aspects of characterization which employ mental and physical readiness. Recommended Duration: On‐going

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Guiding/Topical Questions

Content/Themes/Skills Resources and Materials

Suggested Strategies Suggested Assessments

How does an understanding of spontaneous physicalization promote a greater understanding of character?

Develop a sense of who, what, where, and why Develop a sense of motivation and action

Basic Drama Projects—Fran Tanner

Activity: Participate in various improvisation exercises in pairs and small groups for an audience of fellow classmates; game suggestions include Freeze, Bus Stop, Party Quirks, and Pieces of Paper Activity: Create improvisation scenarios designed to develop character awareness and communication

Demo: Performance abilities in authentic assessment

Diagnostic: Individual vs. whole group monitoring

Student generated rubric Summative: Journal outcomes of effective use of improvisation Formative: Check individual progress by noting involvement in the practice of the exercises

Summative: Perform an original scene based upon a teacher designed rubric

Analyze/critique an improvisation for authenticity of situation and truth in character

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How do imagination and creativity help an actor develop characterization and purpose?

Develop improved concentration Develop ability to take risks Imaginary circumstances

Theater Games for the Classroom‐ Viola Spolin Improvisation for the Theater‐ Viola Spolin Games for Actors and Non‐Actors—Augusto Boal

Activity: Create improvisation scenarios designed to develop character awareness and communication






Why is an awareness of the body as a means of communication essential to scene study?

Utilize observation and sensory recall Outline a scenario for improvisation

Theater Games for the Classroom‐ Viola Spolin Improvisation for the Theater‐ Viola Spolin Games for Actors and Non‐Actors—Augosto Boal

Activity: Create physicalizations utilizing facial gestures and body language Written Exercise: Outline an improvisation






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Why is developing a familiarity with the techniques of improvisation essential to understanding dramatic structure?

Implement a property in the design of an improvisation

Experience conflict to move a scene forward Explore various settings and how they can serve as stimuli for different conflicts

Basic Drama Projects—Fran Tanner

Activity: Create improvisation scenarios designed to develop character awareness and communication



Student‐generated rubric Summative: Journal outcomes of effective use of improvisation Formative: Check individual progress by noting involvement in the practice of the exercises



LA.11‐12.SL.11‐12.6 Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate. AR.9‐12.1.1.12.C.1 Analyze examples of theatre's influence on history and history's influence on theatre in Western and non‐Western theatre traditions. AR.9‐12.1.3.12.1 Effective scripted and improvisational performances require informed, supported, and sustained choices by actors, directors, and designers. Theatre genres are created by combining

complex narrative structures, technical theatrical elements, and thematic intent. AR.9‐12.1.3.12.C.2 Create and evaluate performances by citing evidence of specific physical choices, sustained vocal technique, and clearly motivated actions.

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Differentiation

Teachers may give students time to self‐select improvisations from a guided list of situations in which they may find themselves. Working one‐on‐one with a teacher or another student, students can participate in real‐life situations before trying their hand at on‐stage performance. When appropriate, teachers may allow students to choose responsibilities for group work such as writing, acting, or directing.

Technology

Students will create a multimedia presentation of revolving improvisation situations to use on stage. Students will publish online a student handbook of improvisations for one through ten characters. Students will record student‐created improvisations for suggestions/feedback.

College and Workplace Readiness

Students should be introduced to local area workshops that provide classes on improvisations. As well, students should research college classes that focus on introductory acting workshops, and how improvisation can provide for improved public speaking and debates.

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NJSLS Career Readiness and Preparation and Educational Technology

NJSLS Career Ready Practices

NJSLS 9.2 Career Awareness, Exploration & Preparation

NJSLS 8.1 Educational Technology

SUPPORTING RESOURCES

Appendix A: Accommodations and Modifications for Various Student Populations

Appendix B: Assessment Evidence

Appendix C: Interdisciplinary Connections

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https://docs.google.com/document/d/1CkNM91AH5WCFXA3Z_eVKYPK1JaIin19NDXacdCHt1Ok/edit?usp=sharinghttps://docs.google.com/document/d/1sRoQZFDrYGfjvpNtJWYkop7gugR_RcCg1ktMJZo1mSA/edit?usp=sharinghttps://docs.google.com/document/d/1MGYQLzbuGMMLatKErH3kRZE8X2Elg1FePz8BxH3P8To/edit?usp=sharinghttps://docs.google.com/document/d/17J0tjIJctIE0lw2bpOHSFTOG_jSsmSyreg3v-Wc9Bho/edit?usp=sharinghttps://docs.google.com/document/d/12M165h1BkQqtDs_Z6DqzPVS8Xy_SMCLEo4HdlggAxgU/edit?usp=sharinghttps://docs.google.com/document/d/13BFFeDNosjcCOuAYmRB8Neo4klii4jpgkfzogzUqSac/edit?usp=sharing

Advanced Drama Workshop - Unit 02 Theatre History- Unit 02

Enduring Understandings: Every artist has a style and every artistic period has a style. Essential Questions: 1. Why is it essential to understand the evolving history of theatre and its initial purpose? 2. What aspects of art have been taken from past history and what is new in any work of art? 3. How do previous theatrical periods affect modern drama? Unit Goals: Students will understand the function and purpose of evolving theatre in society. Recommended Duration: 4‐5 weeks


Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments

How does modern performance reflect aspects of the following historical periods: Restoration and French Neo‐classic?

Explore, analyze and distinguish among: Primitive rituals Early theatre Amphitheatre Morality plays Miracle plays Tragedy Comedy Explore vernacular, pronunciation, and language of the period

Basic Drama Projects, pp. vii Theater Games for the Classroom‐ Spolin Improvisation for the Theater‐ Spolin Period pieces from major authors and scholars

Present an overview of the periods through a multimedia project. View video clips of classical works and modern works, and analyze the similarities and differences between them

Diagnostic: Elicit student knowledge through a survey of the historical theatre periods Formative : Assess student responses in classroom discussion Theatre period history quiz Small group oral presentation on theatrical periods utilizing web quests in the presentation Summative: Stage a dramatic reading based upon a teacher designed rubric

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How does modern performance reflect aspects of the following historical periods: eighteenth century and nineteenth century?

Analyze roles and stations of the characters of the period Research evolving changes of the unit set as it applies to eighteenth and nineteenth century demands

Bentley, Eric, ed. The Theory of the Modern Stage Brockett, Oscar G. History of the Theatre Russell, Douglas A. Period Style for the Theatre

Simulate oral presentations from each of the given periods so that students may understand the atmosphere of each type of theatre

Present an overview of the periods through a multimedia project.

Diagnostic: Elicit student knowledge through a survey of the historical theatre periods Formative: Assess student responses in classroom discussion. Summative: Stage a dramatic reading based upon a teacher designed rubric

What are the elements of twentieth and twenty‐first century modern drama?

Research theatre design for modern theatre houses Explore recent scripts for evolving characterization anomalies such as anthropomorphism (apply human characteristics to non‐human/animal characters) in The Lion King Analyze changes in world theatre through internet research

Franko, Mark, ed. Acting on the Past: Historical Performances Across the Disciplines Boardman, Gerald. American Theatre: A Chronicle of Comedy and Drama 1869‐1969 Kurahashi, Yuko. Asian American Culture on Stage: The History of the East West Players

Have students focus on the growth of the theatre, from primitive times to modern drama View video clips of appropriate productions and identify and analyze elements in the performances

Diagnostic: Elicit student knowledge through a survey of the historical theatre periods Formative: Evaluate student research for accuracy Small group oral presentation on theatrical periods utilizing web quests in the presentation Summative: Stage a dramatic reading based upon a teacher designed rubric

LA.11‐12.SL.11‐12.6

Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate.

AR.9‐12.1.1.12.C.1 Analyze examples of theatre's influence on history and history's influence on theatre in Western and non‐Western theatre traditions. AR.9‐12.1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced world cultures throughout history. AR.9‐12.1.2.12.A.2 Justify the impact of innovations in the arts (e.g., the availability of music online) on societal norms and habits of mind in various historical eras. AR.9‐12.1.4.12.A. Develop informed personal responses to an assortment of artworks across the four arts disciplines (dance, music, theatre, and visual art), using historical significance, craftsmanship,

cultural context, and originality as criteria for assigning value to the works.

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Differentiation

The teacher will provide students with plays, posters and theater research so that students may actually see works from the given time periods. Students may create shorter versions of related pieces along with art work/cover pamphlets that reflect these periods.

Technology

Using multimedia presentations or another creative desktop sources, students will create brochures reflective of each time period using artwork, facts and historical data for publication. Students will publish a fact sheet distinguishing the time periods and their most significant influences. Students will research the tenets of each theatrical period and provide examples of works from each.


Students should be given the opportunity to go to theatres that present pieces of each given time period. If not, provide students with video copies which allow them to see works of each period. Students should research local area colleges for information regarding such periods, including all of the areas of the production including: sets, props, costumes, dialogue coaching, lighting and acting.

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How does one present a newly written play for an audience?

Examine an actor's copy of a published script as a guideline for correct presentational format Research original works for a peer audience Analyze newly written plays during staged readings

Friedman, Robert. Playwriting Power: A Concise How‐To‐Book for the Dramatist Van Itallie, Jean‐Claude. The Playwright's Workbook Sova, Kathy, et.al. Dramatists Sourcebook

Actors will hold an open forum for discussion of characterization in a written log of character study/analysis Complete a teacher designed character biography Enact a "table‐read" for first time writers of original works Present original plays to an audience as a sharing day Provide constructive feedback in the form of a critique of each original script

Diagnostic: Survey students' knowledge character biographies Formative: Assess student responses in classroom discussions Summative: Present a staged reading or a table reading of student driven scenes/plays; evaluate student responses to all works

Why are stage directions essential to the meaning of a given text?

Provide examples of script blocking using the playwright's manifest Examine a variety of stage directions from a series of different works

Tanner, Fran Averett. Basic Drama Projects (seventh edition) Wright, Michael. Playwriting in Process: Thinking and Working Theatrically Hatcher, Jeffrey. The Art and Craft of Playwriting Downs, William. Playwriting Egri, Lajos. Art of Dramatic Writing

Create stage directions that pertain to student written scenes Enact a "walk through" of student driven stage directions

Diagnostic: Elicit student responses to the meanings of stage directions from a variety of plays Formative: Assess stage directions as students are creating scenes Summative: Students will mark their own scenes for movement based on the given stage directions

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Play Writing- Unit 03

Enduring Understandings: The play writing process involves several steps which involve not only the spoken word, but also the movement and environment in which that spoken word occurs. Essential Questions: 1. What is the process of play writing? 2. Through what process is a newly written play produced? 3. How do stage directions affect the design of a play? Unit Goals: Students will write a short scene or play based on the elements of playwriting. Recommended Duration: 4‐5 weeks



How does one create an original play?

Peruse books on play writing Recognize the significance of a play idea statement Analyze a character biography Imperative tension Character biographies

Tanner, Fran Averett. Basic Drama Projects (eighth edition) Wright, Michael. Playwriting in Process: Thinking and Working Theatrically Hatcher, Jeffrey. The Art and Craft of Playwriting Downs, William. Playwriting Egri, Lajos. Art of Dramatic Writing

Complete a play idea statement based on a teacher made graphic organizer Complete lines of dialogue for a two‐ three person scene Refer and read the "Golden Rules for Playwrights" by Marsha Norman Read one‐act plays and write an analysis

Diagnostic: Elicit student knowledge of the playwriting process Student generated rubric Formative: Check individual progress by collecting and reviewing character biographies and idea statements Summative: Submit a scene using the varied rules of play writing

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LA.11‐12.SL.11‐12.6 Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate. AR.9‐12.1.1.12.C.2 Formulate a process of script analysis to identify how the physical, emotional, and social dimensions of a character are communicated through the application of acting techniques. AR.9‐12.1.3.12.C.1 Create plays that include well‐structured plots and subplots, clear thematic intent, original characters, and technical theatrical elements appropriate to a variety of theatrical genres.

Differentiation

One of the most helpful ways to create a play is to give students a blank outline of character names and dialogue lines for them to create a scene. By using a blank outline, students will be able to create that scene given the specified time frame. A series of helpful topics listed beforehand may also spark interest in the creative process.

Technology

Students will see desktop publishing or an online playwriting source to create a play for performance in class. Students can research methods of playwrights by using online guides from specified websites. Students can also read online plays to see how the publishing process works and report on given findings.


Students should be able to visit local area colleges for cabaret nights which devote themselves to student created pieces for viewing. Students will assess all areas of the playwriting process by critiquing such performances as well as staying for question and answer sessions provided by local playwrights. In addition, students can attend staged readings of new works at community and regional theaters in the area. Students can participate in regional and national play writing competitions as well.

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Unit Plan

Enduring Understandings: The direction of a play involves not only the design for acting and movement in a play, but also includes the work of a production team in order to mount the performance. Essential Questions: 1. How does a production team choose its members for a given performance? 2. How does one select a cast through the auditioning process? 3. What are the elements of a stage manager's book? 4. How does a director "block" a scene? 5. How does a director create an effective production that is truthful to the playwright's script? Unit Goals: 1. Students will learn the responsibilities of the director and all of the members in a play's production team. 2. Students will learn how to cast a play through an audition process. 3. Students will learn how to mark a script and execute the movement for blocking from a director's perspective. Recommended Duration: 4‐5 weeks

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What are the positions and responsibilities of a play's production team for professional and amateur theatre?

Research professional and amateur theatre positions Analyze the responsibilities of the members of the production team

Tanner, Fran Averett. Basic Drama Projects (seventh edition) Bentley, Nancy, et al. Putting on a Play: The Young Playwright's Guide to Scripting, Directing and Performing Grote, David. Play Directing in the School: A Drama Director's Survival Guide Clurman, Harold. On Directing

View a multimedia discussion detailing the jobs in the theatre Discuss research on leaders in theatrical design

Diagnostic: Complete an interest survey for students in which they choose a theatre job for study Formative: Complete a report of the responsibilities of the production team Summative: Assessment on the roles and responsibilities of jobs in the theatre

How does a director go about casting a play for performance?

Provide character sketches for available parts List an audition notice with dates, times and locations Peruse resumes for potential performers

Cohen, Robert and John Harrop. Creative Play Direction Dean, Alexander and Lawrence Carra. Fundamentals of Play Directing Hodge, Francis. Play Directing: Analysis, Communication and Style

Preview, analyze and rehearse a scene Audition students for role placement for initial auditions and call backs Analyze casting choices of popular shows and films

Diagnostic: Survey students’ knowledge of directing and stage responsibilities Formative: Assess balanced groupings for individual scene choices; assess role choices with facilitative feedback Summative: Complete a scene with physical direction by a student

What is the necessity of a stage manager's book?

Provide stage manager book copies for perusal Analyze the responsibilities of a stage manager

Grote, David. Play Directing in the School: A Drama Director's Survival Guide Clurman, Harold. On Directing

Using a new script, outline the job details of the stage manager Create a written or give an oral critique of a scene Create lists which include: props, costumes, make‐up plans, lighting plans

Diagnostic: Elicit student knowledge of the role of a stage manager Formative: Evaluate lists of stage manager responsibilities for accessibility and feasibility for use in the classroom Summative: Submit a stage manager's book for evaluation of a scene/act

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How does a director mark a script for acting and blocking?

Analyze a previously marked script for acting notes and blocking notes/markings

Cohen, Robert and John Harrop. Creative Play Direction Dean, Alexander and Lawrence Carra. Fundamentals of Play Directing Hodge, Francis. Play Directing: Analysis, Communication and Style Grote, David. Play Directing in the School: A Drama Director's Survival Guide Clurman, Harold. On Directing

Use available furniture and props to set up the "world of the play" Complete a set design sketch to utilize for blocking purposes Use various blocking exercises to stage the scene Plan blocking using appropriate abbreviations and script markings

Diagnostic: Have students review an actual marked script and elicit knowledge of the markings Formative: Evaluate student choices regarding blocking; monitor student participation and commitment to the exercises Summative: Evaluate presentations and student efforts for a(an) scene/act‐‐this should be a fully staged scene with set pieces, props, and costumes

LA.11‐12.SL.11‐12.6

Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate.

AR.9‐12.1.1.12.C.2 Formulate a process of script analysis to identify how the physical, emotional, and social dimensions of a character are communicated through the application of acting techniques. AR.9‐12.1.1.12.C.3 Apply the basic physical and chemical properties (e.g., light, electricity, color, paint, scenic construction, costumes, makeup, and audio components) inherent in technical theatre to safely

implement theatre design. AR.9‐12.1.4.12.B.2 Evaluate how an artist's technical proficiency may affect the creation or presentation of a work of art, as well as how the context in which a work is performed or shown may impact

perceptions of its significance/meaning.

Differentiation

Students who are unfamiliar with a marked script may take an already prepared one and list the type of movements associated with a given scene. As well, students can analyze a resume in choosing types/characters for in the audition process. Small scenes can be directed for teacher observation/group reflection.

Technology

Using desktop publishing, students can mark scripts for analysis and create blocking that is essential to each scene. Students may also videotape directors in action to compare/contrast style, director's notes, and the rehearsal process for analysis. Using the Internet, students can read director's blogs for casting information, the rehearsal process and theatre reviews.


In order to prepare for college/workplace readiness, students should be given ample opportunities to direct self‐created pieces for cabaret style performance. Students should also visit local community colleges to see student directed pieces for analysis and conversation.

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Unit Plan

Enduring Understandings: 1. The point of studying plays and scenes is to foster meaning‐making, deeper emotional response and authentic decision making. 2. Breaking accepted norms often gives rise to new forms of artistic expression. Essential Questions: 1. Why is it essential to try various acting techniques in the study of a character? 2. When and why should an actor take risks in character development and scene study? Unit Goals: 1. Students will move beyond advanced scene study from drama by annotating and blocking scenes from a given script. 2. Students will be able to articulate motivation for characterization as well as the emotional and physical background/landscape of a given scene in a play. Recommended Duration: 4‐5 weeks


Content/Themes/Skills Resources and Materials

Suggested Strategies Suggested Assessments

How does one determine the internal and external qualities of a character?

Imagination exercises

Comprehension study

Emotional response

Basic Drama Projects ‐ Fran Tanner

Theater Games for the Classroom ‐ Viola Spolin

Improvisation for the Theater ‐ Viola Spolin Games for Actors and Non‐Actors ‐ Augosto Boal

Improvisation exercises Design a character outline that includes: motivation, physical characteristics, personality, location, period, and other traits that are essential to the piece

Diagnostic: Complete a character outline for a recent class improvisation or scene study Formative: Using a student generated outline, analyze a character study for a classmate Summative: Written report on characterization study; detailed character sketch

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Why is it essential to know a character’s background, motivation and influencing circumstances?

Sense recall

Projection Imaginary circumstances Objective, tactic, and obstacle

Group dynamics



Improvisation for the Theater ‐ Viola Spolin Games for Actors and Non‐Actors ‐ Augosto Boal Stanislavksi's works

Small group work on scripted scenes; volunteers perform for classmates

Have students create improvisations that distinguish mood and guide students to a better understanding of their characters Create and perform original scenes that show / explain why a character behaves the way he / she does in the given scene (example: what happens before the play begins?)

Diagnostic: Complete a character outline for a recent class improvisation or scene study Formative: Using a student generated outline, analyze a character study for a classmate Summative: Characterization study; Improvisation study

How does one validate character choices including blocking, costumes, and props?

Blocking Costume and prop selection Marking the text




Class activity: class directs student volunteers in a scripted scene, offering suggestions on blocking and characterization

Read various scenes, distinguish the mood, possible characterization, props, movement, and landscape when choosing a character/scene Create a costumes/props list from a given scene

Diagnostic: Review stage directions and relevant stage crosses Formative: Check props lists, costume plans and movement notes during the rehearsal process Summative: In a scene study, students should mark a text with proper blocking, generate a prop and costume list, and complete a character outline for a self‐selected piece; performance rubric

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Why should actors incorporate criticism and direction into further work on scene study?

Comprehension study Critique Direction Group dynamics/ table readings




Pair/share in a scene study and have students elicit a variety of critiques from different students regarding their scene work

Diagnostic: Elicit fair student response at a tabled reading regarding critique Formative: Student will address a formal response to group feedback on a scene; written evaluations of performances by fellow classmates Summative: Teacher assessment denoting characterization/scene improvement regarding formal critique; self and peer evaluation of performances

LA.11‐12.SL.11‐12.6 Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate. AR.9‐12.1.1.12.C.1 Analyze examples of theatre's influence on history and history's influence on theatre in Western and non‐Western theatre traditions. AR.9‐12.1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced world cultures throughout history. AR.9‐12.1.2.12.A.2 Justify the impact of innovations in the arts (e.g., the availability of music online) on societal norms and habits of mind in various historical eras. AR.9‐12.1.3.12.C.1 Create plays that include well‐structured plots and subplots, clear thematic intent, original characters, and technical theatrical elements appropriate to a variety of theatrical genres. AR.9‐12.1.4.12.A.2 Speculate on the artist's intent, using discipline‐specific arts terminology and citing embedded clues to substantiate the hypothesis.

Differentiation

Students can create a characterization log via journal log or multimedia presentation format that depicts all of the elements of physical characterization including costuming, gestures and detailed motivation. Through a class presentation of this log, students could add/detract/edit such findings in a discussion of multiple interpretations of a given character(s).

Technology

Teachers can videotape students' performances throughout the duration of the course in order for students to view and analyze their growth as actors. Using the internet, students can read interviews with actors and critiques of productions. Students can research audition opportunities by searching websites of various theaters in addition to online newspapers.


In order to prepare for college/workplace readiness, students should be given ample opportunities to perform for an audience (in addition to performing for their classmates). Possibilities include an end‐of‐course showcase of favorite pieces for an invited audience of family / friends; a cabaret‐style performance for classes in the English department; one‐act play festivals. Students should also visit local community colleges to see student directed pieces for analysis and conversation, and should attend professional theater productions which they will critique for their classmates in oral presentations.

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Advanced Drama WorkshopADW IntroductionADW Unit 1ADW Unit 2ADW Unit 3ADW Unit 4ADW Unit 5

advanced drama workshop...one‐act play projects / performances unit test 1.1.12.c.2 through...

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