The Theatre Experience Lesson Plans for a High School Theatre Class Kelly Crotty April 2011 College of the Arts School of Theatre & Dance Theatre Arts Mentor: Dr. Patrick Finelli Contents Interviews………………………………………………………………….………………………………………………………………….….….3-5 Sunshine State Standards for Drama………………………………..………………………………………………………….…..….6-7 FLDOE Comprehensive Theatre Course Description…………….………….……………………………………….…….….8-11 Syllabus……………………………………………………………………………………………………………………………………….………..12 Lesson Plans…………………………………………………………………………………………………………………………….……...14-89 Works Cited………………………………………………………………………………………………………………………………….….90-91 Interviews What field is your degree in? James Thompson: I have a BA in Theatre and a BS in English Teaching Edwin Velazquez: B.A. in English Language Arts with a minor in theater arts and another in Education. Master's in Interdisciplinary Studies When did you first become interested in drama/theatre? JT: I first became interested in acting and the theatre in the 3rd grade when my class was chosen to write the St. Patrick’s Day play for our school. But my deep interested happed in 1982 (I was 12) when my mother and aunt took me to see A Chorus Line on Broadway. EV: Took my first Drama class in Middle School and was instantly hooked. Did you take any drama classes in high school? a. If so, what were they like? What did you gain [aside from knowledge about theatre]? b. If not, why not? Would you have liked to? How do you think they would have affected your life? JT: Yes. My Drama Classes were fun and quite active. We focused on the relationships needed to work on a production and creating the “Family” that is needed among the cast, crew, and production staff. EV: Yes. I gained a real sense of self awareness, improved social skills, an early sense of the type of community that comes with being a part of the arts. Why did you decide to teach drama? JT: I wanted to teach drama/theatre from the get go in 2000; but I also knew that drama jobs were difficult to find since there is generally only one position per school. That is why I decided to also teach English—my second passion in life. EV: I decided in High School that I wanted to be a teacher, to affect people the way some of my teachers had affected me. My favorite thing in the world was Musical Theatre, so it just made sense. What age level do you teach? JT: I teach grades 9-12 EV: Most of my career has been High School... currently Middle School Why this age level? Would you prefer a different age? JT: I teach this age level because they are fun and in need of the most attention right now, also because a strong background in the arts at this age level can build a lasting impression on their minds. If I were to teach a different age level I think I would like to teach at the middle school level as they are also at a great place to build a fire and create a passion. EV: I have kind of been drawn to middle school as my daughter approaches the middle school age... I kind of like the idea of being the kind of teacher I want her to have. At the end of the day, I prefer High School and will probably return before long. In your opinion, what is the purpose of drama in a high school setting? I feel that the role of Drama or any art for that matter in the high school setting is to build awareness and an appreciation for the arts and to lay the ground work for lifelong enjoyment and or participation. EV: There are a number of purposes. One is that students who do well in theatre, invariably do better in other areas. It also creates an outlet and safe haven for students who have giftings in this area, but may struggle in others. 3 It helps shy students get out of their shells, gives extroverted students an acceptable outlet, and allows TRULY gifted students to find their calling. What benefits do you feel drama classes provide for students in high school? JT: Drama classes and classes in all of the arts provide a creative outlet for students. They are able to come in and feel safe to be themselves and know that they will not be judged for being themselves. They are allowed to express themselves in a way that a traditional classroom setting or FCAT will now accept or allow. EV: Aside from the ones above, it aids students in understanding characterization, symbolism, main idea, conflict, analytical thinking, spatial analysis and thought, critical thinking, author's purpose, setting, research, literacy, History in context and how the arts give a reflection or commentary on the time period in which they are written/created/performed, public speaking, social skills, etiquette, advertising, budget, art (graphic, visual and performing), and so many other disciplines. How do you structure your drama classes? JT: My classes are structured in a way that leads the students through the production process. All students are asked to perform, build, design and create. They may not be interested in acting but they will be given the chance to possibly become interested in the art. This also allows them to understand what the “job” of the other people involved in the production process is. It also allows for there to be no DIVA Complexes. EV: Depends on the level. Beginning Drama is structured more like a traditional classroom, with the boundaries be loosened progressively so that the only chaos that ever ensues is planned and controlled. As the levels go up, it becomes more of a creative, free environment with the students being treated as developing artists to be mentored and nurtured more that "instructed." What determines the plays you perform? JT: I choose plays based on the number of students and their abilities. I also must admit that my favorites also have a huge impact on what I choose to direct. EV: Community standards are always considered in a school environment. If you are going to push the envelope (which I believe in doing often), it must be for a real, defendable, discussable, artistic purpose. NEVER do something risqué (be it sexuality, violence, language, content, etc.) just because "we are the arts and we can." There are THOUSANDS UPON THOUSANDS of choices you can make, why this one? If it is within a class, I take my talent pool into account when making decisions. What play could THIS class do and do well? If it is open call, then my considerations are my facilities, my budget and, to be honest, what turns me on as a director at any given moment. IF YOU ARE EXCITED and PASSIONATE, THEY WILL BE EXCITED AND PASSIONATE AND THEY WILL COME. Do you find it challenging to get students interested in participating? JT: Yes, those students that wish to participate are always there; but getting people to come out and do something new is always a challenge. Impossible, no...you just have to make it fun and enjoyable. If the “new” students come in and have fun and have a welcoming experience they will come back and participate and bring their friends. The difficult part actually is in getting their parents to commit to the rehearsal schedule and coming to the performances. EV: NO What do you hope students gain from your class? EV: Academic, social and artistic development. If not a love for the craft, a healthy respect for the 4 amount of work that goes into it and how rewarding it can be to be a part of the process, any part of the process, from lead actor, to director, to technical crew to audience member. Lifelong friendships and memories. This is a discipline that feeds the heart and soul as much as the mind. I have had classes in EVERY discipline that I can't remember much about. I remember EVERY Drama class I have ever taken and I remember them fondly. I have had some WONDERFUL instructors/mentors over the years. I hope to be remembered that way by my students. What do you think of a class where the entire production process is covered? Including selecting a play, dramaturgy, design, acting and performances. [The class would be more focused on the process, rather than the result.] JT: I actually teach this class and I LOVE IT. Comprehensive Theatre allows the students to act as the director and producer and they choose the play, create the production concept, design the lights, sets, costumes etc., cast the play and run it as a theatre company. I love this process as it allows the students to see what it really takes to produce a play first hand. EV: I think it an excellent prospect for the right group of students. It is like a Drama theory class.. It would need to be a class for students seriously interested in the craft, who understand the depth of what they are about to embark upon before then entered into it, and realize that to cover the entire process in ONE class is nearly impossible. There is SO much to cover, entire classes are devoted to EACH aspect of the process on the University level, although when I went to college Drama 1 was the closest we got to this idea. It really needs to be seen as a class that is an OVERVIEW, where people would acknowledge ahead of time that this is like a wine tasting... a sip of each flavor, not a bottle or a glass. Do you think it’s feasible for high school students? JT: YES EV: See above What problems do you foresee in a class such as that? JT: The main issues or problem is the guidance department not paying attention to the guidelines and using the class as a dumping ground for those students that they are not sure what to do with. This is the main problem for all of the arts courses in certain counties. EV: See above PLUS the issue that at the high school level, drama students want to perform (or craft students want to build)... getting students passed that and into what this class is about could be a challenge. What are your favorite improv games? JT: Some of my favorites are: Party Quirks, Machine, and anything that teaches the students to use their stifled creativity in a positive manner. EV: Freeze Prov and scenes from a hat jump out at me. I like the fact that they require quick thinking on the part of everyone on the team, more so from those already on the stage than from the one joining. Considering how many times I have been on stage and flubbed lines, missed cues and other foreseen issues have created a need to not only think fast, but stay in character while doing it, I think the skill is invaluable. Do you mind if I contact you for additional information and input as I continue my project? JT: YOU MAY CONTACT ME AT ANY TIME! EV: Let me think about it... just kidding... 5 T Creation and Communication he Arts Standard 1: The student improvises, writes, and refines scripts based on heritage, imagination, literature, history, and per- sonal experiences. (TH.B.1.4) 1. understands how actors, directors, and designers create and refine dialogue and stage directions that Grades 9-12 convey the playwright’s intent. Cultural and Historical Connections Standard 1: Theatre The student understands context by analyzing the role of theatre, film, television, and electronic media in the past and present. (TH.C.1.4) Skills and Techniques 1. understands cultural and historical influences on dramatic forms (e.g., theatre, film, and television). Standard 1: 2. understands how the development of theatrical The student acts by developing, communicating, and sus- forms and production practices are used to dis- taining characters in improvisation and formal or infor- cover symbolic clues in dramatic texts. mal productions. (TH.A.1.4) 1. uses classical, contemporary, and vocal acting tech- Aesthetic and Critical Analysis niques and methods to portray the physical, emo- tional, and social dimensions of characters from Standard 1: various genres and media. The student analyzes, criticizes, and constructs mean- ing from formal and informal theatre, film, television, Standard 2: and electronic media. (TH.D.1.4) The student directs by interpreting dramatic texts and 1. compares the artistic content as described by play- organizing and conducting rehearsals for formal and in- wrights, actors, designers, and/or directors with formal productions. (TH.A.2.4) the final artistic product. 2. understands allegoric and symbolic references in 1. uses unified production concepts and techniques plays. (e.g., auditioning, directing, producing, and sched- 3. understands theatrical performances from the per- uling) for various media (e.g., theatre, film, televi- spective of current personal, national, and inter- sion, and electronic media). national issues, through the evaluation of artistic choices in film, television, and electronic media Standard 3: (e.g., different depictions of the story of Aladdin). The student designs, conceptualizes, and interprets for- Applications to Life mal and informal productions. (TH.A.3.4) 1. uses scientific and technological advances to de- Standard 1: velop visual and aural staging elements that complement the interpretation of a text. The student understands applications of the role of the- 2. understands the technical (physical and chemical) atre, film, television, and electronic media in everyday aspects of theatre production to safely create prop- life. (TH.E.1.4) erties, sound, costumes, and makeup. 1. understands how to use various arts media to en- 3. designs, implements, and integrates all sound ef- hance communication in theatrical productions. fects into the production concept. 2. understands the reasons for personal and audi- 4. understands all technical elements used to influ- ence reactions to theatre from various cultures and ence the meaning of the drama. time periods (e.g., French farce, Greek tragedy, and Japanese Noh). 6 3. understands the pertinent skills necessary to pur- sue theatre careers and avocational opportunities in theatre (e.g., production skills for managing, administering, organizing, publishing, accounting, and marketing). 4. understands the necessity of goal-setting, self-dis- cipline, punctuality, meeting deadlines, and ful- filling responsibilities when mounting a theatri- cal production. 5. recognizes the significant works and major con- tributions of major playwrights, performers, de- signers, directors, and producers in American the- atre. 17 7 Florida Department of Education COURSE DESCRIPTION - GRADES 9-12, ADULT Subject Area: Drama - Theatre Arts Course Number: 0400480 Course Title: Comprehensive Theatre IV Credit: 1.0 Will meet graduation requirement for Performing Fine Arts A. Major Concepts/Content. The purpose of this course is to enable students to develop and synthesize advanced elements of theatre arts into final production using varied media, techniques, and processes. The content should include, but not be limited to, the following: -acting and characterization -improvisation -theatre terminology -historical, cultural, and societal influences -analysis and evaluation of dramatic literature -movement and vocal production -technical theatre and design -playwriting skills -theatre arts personnel -publicity -artistic discipline -audience etiquette -role of the director -auditioning and casting -production management techniques -roles and careers This course shall integrate the Goal 3 Student Performance Standards of the Florida System of School Improvement and Accountability as appropriate to the content and processes of the subject matter. "Course Descriptions." Florida Department of Education. Web. 1 Oct. 2010. <http://data.fldoe.org/crsCode/default.cfm?action=subject>. 8 Course student performance standards must be adopted by the district, and they must reflect appropriate Sunshine State Standards benchmarks. B. Special Note. This course generally requires students to participate in extra rehearsals, performances, and production responsibilities beyond the school day. Materials (theatre literature) used for instruction in this course must comply with the standards used to determine propriety of such materials as specified in Selection and Adaptation of Instructional Materials in section 1006.34(b)(2), Florida Statutes. C. Course Requirements. These requirements include, but are not limited to, the benchmarks from the Sunshine State Standards that are most relevant to this course. Benchmarks correlated with a specific course requirement may also be addressed by other course requirements as appropriate. Some requirements in this course are not addressed in the Sunshine State Standards. After successfully completing this course, the student will: 1. Demonstrate use of advanced acting techniques, improvisation, and character analysis to reflect internal and external qualities of a character, as well as the period, style, and culture of the production. TH.A.1.4.1 use classical, contemporary, and vocal acting techniques and methods to portray the physical, emotional, and social dimensions of characters from various genres and media. TH.B.1.4.1 understand how actors, directors, and designers create and refine dialogue and stage directions that convey the playwright’s intent. 2. Demonstrate use of appropriate theatre terminology when participating in or evaluating theatre designs, rehearsals, and productions. 3. Demonstrate understanding of major historical periods and playwrights and the impact of culture and society on theatrical productions. TH.C.1.4.1 understand the cultural and historical influences on dramatic forms (e.g., theatre, film, and television). TH.D.1.4.3 understand theatrical performances from the perspective of current personal, national, and international issues, through the evaluation of artistic choices in film, television, and electronic media (e.g., different depictions of the story of Aladdin). TH.E.1.4.2 understand the reasons for personal and audience reactions to "Course Descriptions." Florida Department of Education. Web. 1 Oct. 2010. <http://data.fldoe.org/crsCode/default.cfm?action=subject>. 9 theatre from various cultures and time periods (e.g., French farce, Greek tragedy, and Japanese Noh). TH.E.1.4.5 recognize the significant works and major contributions of major playwrights, performers, designers, directors, and producers in American theatre. 4. Analyze and evaluate the structure, style, thematic content, and period of dramatic literature to be performed. TH.C.1.4.2 understand how the development of theatrical forms and production practices are used to discover symbolic clues in dramatic texts. TH.D.1.4.2 understand allegoric and symbolic references in plays. 5. Demonstrate use of advanced movement and vocal production techniques. 6. Demonstrate understanding of the effect of technical elements on the mood, style, and setting of a production. TH.A.3.4.4 understand all technical elements used to influence the meaning of the drama. TH.D.1.4.1 compare the artistic content as described by playwrights, actors, designers, and/or directors with the final artistic product. 7. Demonstrate understanding of stagecraft and technical theatre design(i.e., properties, costumes, make-up, lighting, sound, and set). TH.A.3.4.1 use scientific and technological advances to develop visual and aural staging elements that complement the interpretation of a text. TH.A.3.4.2 understand the technical (physical and chemical) aspects of theatre production to safely create properties, sound, costumes, and makeup. TH.A.3.4.3 design, implement, and integrate all sound effects into the production concept. 8. Demonstrate use of intermediate-level playwriting skills to write a monologue or scene and apply relevant aspects of Aristotle’s Poetics to the writing. 9. Demonstrate understanding of the respective contributions, responsibilities, and craft of the producer, designer, manager, and crew members. TH.A.2.4.1 use unified production concepts and techniques (e.g., auditioning, "Course Descriptions." Florida Department of Education. Web. 1 Oct. 2010. <http://data.fldoe.org/crsCode/default.cfm?action=subject>. 10