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What should go on and what should stay off of an acting resume? What is an auditioner looking for? Students will discuss the purpose of an acting resume, review a model, create their own and reflect on the process.

Students are introduced to aspects of Ancient Greek Theatre and the performing space. The session culminates in students creating their own choral ode in groups.

In this second lesson, students continue to practice classroom norms and interact with a second element of the Weekly Ensemble Rubric: SAY YES. Students will role-play a column of the SAY YES category of the Weekly Ensemble Rubric in small groups via a performance task.

Students will engage in a guided relaxation. Through this exercise, students will gain insight into some relaxation techniques and what intentional relaxation may enable them to do more easily.

This lesson introduces the idea of “Objective/Goal, Obstacle, and Action/Tactic” to simple scenes by scoring those scenes and playing the scored text.

Students will work in small groups to devise a one-minute long theatrical piece from a prompt. They will create a performance, create a prompt script, assign Stage Manager and Technical Operator roles, rehearse the piece, and perform it for the rest of the class. Depending on your time allowance, this lesson could be completed in one class using only items found in the classroom; or this lesson can be spread over four classes (one class to assign and plan, one class to rehearse, one class as a technical/dress rehearsal, and one class as a performance and discussion/reflection class).

Students will act in and direct a commercial. They will break a script down into shots to “cover” the script. They will also format a script into video and audio. Actors will need to hit marks, make a point concisely, and hit the time format of the commercial. They should also use the acting techniques for film as much as possible.

In this lesson, students will explore nonverbal communication. How do students determine what others are thinking and feeling? Can they read body language and other forms of nonverbal communication? When they look at a photo can they identify what someone is thinking?

In this lesson, students will create a script draft that includes scene setting, expression, and movement notes.

Students will practice the techniques of choral speaking with a variety of pieces and applying specific vocal tools (volume, pitch, rhythm, emphasis) culminating in a assessed presentation.

The Ancient Greek Theatre is the birth of the modern theatre. We can look at the production of theatre in that time and see similarities to how we present theatre today. But where do we start? And how do we make theatre history more than the collection of data? It’s hard for students to conceptualize an era that happened so long ago as populated with real people. This lesson plan encourages discussion, application, and reflection on the Ancient Greeks. Be sure to check out the Ancient Greek Theatre handout as an accompaniment to this lesson. A powerpoint link is also included that is ready to use in your classroom!

The Ancient Greek Theatre is the birth of the modern theatre. We can look at the production of theatre in that time and see similarities to how we present theatre today. But where do we start? And how do we make theatre history more than the collection of data?

This unit marks the first step in the production process: identifying and understanding theatre company roles, identifying student skills for particular roles, and identifying production needs.

In this lesson, we will close read sections of an early modern text: The Importance of Being Earnest by Oscar Wilde. This play fits the criteria well for a close read text: Lots of details both in story and character, lots of structural “hows” to analyze, and Oscar Wilde makes a lot of statements with this play about Victorian England, about how people behave, about marriage, and about being truthful (earnest). Students will approach the text through a variety of exercises, from close reading the title, to single sentences, to a small section, to a culminating assignment.

Use this lesson plan as an introduction to a playwriting unit. This is a two lesson plan unit. Students complete exercises that demystify and reframe the four foundational elements of the playwriting process: Warm Ups, The Idea, Character, and Conflict. These plans are grounded in the statement: “You can’t build a house without a good foundation.” In order to write plays students need to know the basics first.

This lesson incorporates physicality into stage relationships and learn to use stage position as an element of blocking that can show the dynamics of and changes in power in a scene.

Character is one of the backbone elements of a good play. In this lesson, students will work on a character profile.

Students will be able to brainstorm fitting characters, setting, and conflict for a contentless scene. Students will use a variety of methods they’ve learned in the previous unit to communicate meaning: setting, pantomime, relationship clues, objectives, stakes, and tactics.

In this lesson, students will complete a rehearsal checklist, focusing on objectives, tactics, and blocking.

Making a first impression is the most important part of an audition. By learning to slate with confidence, students will learn how to introduce themselves in a musical theatre audition. The bookend to the slate is the “thank you” at the end. A well-executed slate/thank you adds a layer of professionalism to the audition. Students will also be introduced to the Mock Audition assignment in this lesson.