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Displaying items 461-480 of 2310 in total

Unit Project

by Karen Loftus

Groups complete their scripts, format it properly, then hand it in. Next, they will perform their scene and complete a final reflection.
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What is Scenic Design?

by Karen Loftus

Students begin their exploration of scene design by defining the role of the scenic designer, learning what kind of sets shows can have, and applying their knowledge with a practical exercise.
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The Process

by Karen Loftus

Students continue their exploration of scenic design by designing the dream bedroom of their partner.
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The Script

by Karen Loftus

Students continue their exploration of scenic design by taking on the role of the set designer, talking to “the director,” and analyzing a set description for a play.
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Drafting: Part 1

by Karen Loftus

Students continue their exploration of scenic design by learning about and applying the concept of scale. Students will create a ground plan of their classroom.
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Drafting: Part 2

by Karen Loftus

Students continue their exploration of scenic design by taking the drawing they made for The Glass Menagerie and turning it into a ground plan.
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Rendering

by Karen Loftus

Students continue their exploration of scenic design by creating a color rendering of their set design.
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Final Submission

by Karen Loftus

Students hand in script notes, ground plan, and renderings. An assessment rubric is included, as well as ideas for unit reflection and an extra credit project.
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Acting the Song - Musical Tactics

by Anna Porter

Students will understand how they can identify and create their own musical tactics and interpretation of a song by breaking down its music and lyrics. Students will build upon/review their understanding of basic music terminology and apply it to performance.
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Acting the Song - Textual Analysis

by Anna Porter

Students will understand how to analyze a song to find meaning, objective, and tactics through textual analysis.
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Introduction to Dance

by Anna Porter

Students will understand the importance of endurance, emotion, and commitment in movement when performing. They will also gain an understanding of how to pick up choreography by learning the concepts of routine and anticipation.
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Final Project

by Anna Porter

This unit includes the opportunity for students to choose and perform a musical theatre piece using the oral techniques and textual analysis that they learned in the lesson.

Introduction to the Audition Process

by Lindsay Price

In order to partake in the audition process, students need to identify and comprehend the necessary steps in that process. What is the auditioning process? Why is it used? Is the process fair? Why or why not? The class ends with students playing director in the “Who Would You Cast?” Exercise.
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The Acting Resume

by Todd Espeland

An actor needs two documents when they audition for a role: a resume and a headshot. What should go on an acting resume and what should stay off of it? What is an auditioner looking for? Students will discuss the purpose of an acting resume, review a model, and reflect on the process. Students will use this template when they create a resume for their mock audition.
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Becoming a Professional Actor: Headshots

by Lindsay Price

While the Mock Audition does not require students to bring in a headshot, it is an essential document in the “real world” audition process. A good headshot will help a director remember an actor. A bad headshot can get an actor rejected before they step through the door. Students will complete exercises that respond to the question What makes a good headshot?
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Audition Etiquette

by Lindsay Price

Students will continue their journey toward the Mock Audition by exploring audition etiquette. How can an actor’s attitude and behaviour affect an audition?
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Choosing a Monologue

by Lindsay Price

Students will continue their journey toward the Mock Audition by exploring what goes into choosing an appropriate audition monologue. This lesson takes 2 class periods.
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Monologue Prep: Character Profile

by Lindsay Price

After students choose their monologues, the next step is to prepare. More often than not, students think that preparing means learning the lines and throwing in a few moves. When students do this in an audition, it shows. The character is one-dimensional and the movement looks out of place. You want to see three-dimensional characters. You want to see characters brought to life both physically and vocally. In this lesson, students are given time to practice their monologue and start working on the who, what, when, where, and why.
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Monologue Prep: Vocal Profile

by Lindsay Price

Students will continue their journey toward the Mock Audition by exploring what they can do to prepare their monologue. Once students have completed the Character Profile, have them complete the Physical Profile. This will solidify how the character stands, gestures, and moves.
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Monologue Prep: Vocal Profile, Slate, and Thank You

by Lindsay Price

Students will continue their journey toward the Mock Audition by exploring what they can do to prepare their monologue. The last profile students complete will be the Vocal Profile. This will solidify how the character communicates orally.
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