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This lesson focuses on symbolism by investigating The Manifesto of Symbolism by Jean Moreas to help inspire students to write their own short manifestos.

This lesson introduces the characteristics of Dadaism, through Ubu Roi, Dadaism manifestos, Voltaire, and Dada art. Students will learn how to write a Dada poem of their own.

This lesson looks at Breton's Manifesto of Surrealism, Atraud's Theatre of Cruelty, and the game of Exquisite Corpse. Students will create their own short surrealist play.

This lesson investigates expressionist theatre and compare to the other movements discussed thus far. Using O'Neill's The Hairy Ape, students will conduct deep analysis on a scene.

This lesson enters the last and final -ism for the unit, with a focus on five iconic absurdist playwrights: Beckett, Ionesco, Genet, Pinter, and Albee.

Students work on their makeup design plot. They have this class period to complete their design on paper.

Students use this class to learn and practice any makeup skills they will require to complete their makeup design.

Students take everything they have learned, and complete their makeup designs on themselves.

Students discuss and reflect on the process. What went well? What didn’t go so well?

In this ELP, students problem solve common tech theatre issues.

Use this lesson at the beginning of a playwriting unit, or a devising unit. Students practice the act of choosing a form for a scene and a prompt as a starting point. Drive home for students the importance of execution - instead of students ruminating on the perfect idea, they choose a form, choose a prompt and execute. The goal of the lesson is to show students that there are many different ways to form a theatrical piece and that execution is more useful to moving a piece forward than being stuck on the idea.

In this student driven activity, students will work together to put up a short one act play from audition to production within a one week time limit. The purpose of the activity is to show students, quickly, how important it is to work together, to collaborate, and to negotiate as a group. This is also a good activity to apply responsibility. The students themselves are responsible for all aspects of this activity - you should only take on an advisory role. Give feedback when asked but don’t act as a director or make decisions for your students. The point is not a “perfect” production but to give students an activity where they must work together in order to succeed. The process is more important than the product.

In this ELP, students participate in an online masterclass with insight into a specific arts profession, and complete a viewing quiz.

It takes practice for students to get used to the idea of working together, crafting ideas together, and learning how to negotiate. In a collaboration everyone comes to the table equally, and that means there is a process of give and take. Use this exercise to have your students practice negotiating instead of following one or two leaders.

Use this as part of a playwriting unit or a devising unit. The goal of the lesson is to show students different ways to explore a theme through writing. Not every scene has to be linear, and not every scene has to follow a traditional format. Students will read existing scenes that apply a specific form for a scene. They will analyze those scenes and then apply their knowledge by writing their own scene.

The voice is a powerful instrument. Beyond being the vehicle with which an actor delivers their dialogue, the voice can suggest emotion, subtext, character personality, location, and more. There are a variety of vocal tools an actor can use to communicate effectively with an audience. This lesson covers tone.

In this lesson students are introduced to the definition of a stage manager, learn what a stage management team may look like, and take on their first stage management tasks: reading the script and creating a props list.

One goal of a stage manager is to prepare all of the necessary information to ensure a successful production. For example: character/scene breakdown, prop list, light cues, schedules. In this lesson, students practice creating a number of documents which every stage manager keeps in their prompt script.

Along with paperwork, there are other tasks a stage manager must undertake to prepare for rehearsal. Students will perform tasks that a stage manager must carry out to prepare the rehearsal space and communicate with actors/crew.

In this lesson, students practice some of the rehearsal responsibilities of a stage manager such as keeping rehearsals running on time through proper communication, line notes, and completing a rehearsal report.