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Displaying items 81-100 of 693 in total

Unit Project

by Karen Loftus

The final project will allow students to demonstrate their improv skills in a two-person scene.
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High-Stakes Objectives

by Lindsay Johnson

In this lesson, we’ll look at multiple perspectives that can lead to a conflict. Students will take an objectives quiz to demonstrate their understanding of objectives, conflict, and stakes. This could be graded as a daily work grade or an assessment, and will give you a snapshot of students’ current understanding.
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Conflict and Objectives

by Lindsay Johnson

In this lesson, we’ll look at multiple perspectives that can lead to a conflict. In pairs, students will improvise a short scene in which each character has an objective that conflicts with the other character’s objective.
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Tactics

by Lindsay Johnson

In this lesson, we’ll look at multiple perspectives that can lead to a conflict and strategies employed to resolve it. Students will improvise a scene using 2+ tactics in partner groups. Some groups will perform for the class and receiving coaching and feedback on the Tactics Rubric.
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Relationship and Setting Rehearsal

by Lindsay Johnson

In this lesson, students will use a variety of methods they’ve learned so far during this unit to communicate meaning in a scene: setting, pantomime, relationship clues, objectives, stakes, and tactics. Students will complete a Rehearsal Checklist.
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Scene Performance Assessment

by Lindsay Johnson

In this lesson, students will use a variety of methods they’ve learned so far during this unit to communicate meaning in a scene: setting, pantomime, relationship clues, objectives, stakes, and tactics. Students will perform their final partner scene in front of the class for assessment. They will also complete an Audience Feedback Sheet in which they give their peers feedback on Rubric skills.
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Voice

by Lindsay Price and Karen Loftus

This unit focuses specifically on the technical aspects of vocal production. By understanding how voice is created, students will be more aware of how to improve their vocal production. Students will explore posture and breathing exercises, as well as how to use the diaphragm, projection, and articulation. The final project will test students’ abilities to properly project and articulate a joke at a distance from a microphone

Objective and Tactics

by Lindsay Johnson

In this lesson, students will use a variety of methods they’ve learned so far during this unit to communicate meaning in a scene: setting, pantomime, relationship clues, objectives, stakes, and tactics. Students will complete a Rehearsal Checklist.
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Improvising Your Monologue Exercise

Use this exercise in the middle of a monologue project, to get students to the heart of the monologue, using improvisation techniques.

Ten Rounds For Your Next Warm Up

Are you looking for a great vocal warm up that will improve their listening skills? Use rounds!

Unit Eight: Theatre of the Oppressed

by Lindsay Johnson

Students will have a chance to merge their understanding of scene elements with their improvisation skills in this final unit based on Augusto Boal’s Theatre of the Oppressed. Theatre of the Oppressed is a style of theatre specifically created to highlight the injustices of power and oppression in society and to problem-solve ways to bring about change. Starting with image theatre techniques to identify issues of power and oppression, students will then use forum theatre to create scenarios of oppression taken from their own lives and improvise realistic solutions. The unit culminates in a performance in which students participate as both actors in a scene they create themselves and spect-actors in scenes created by their peers.

Sample Rehearsal Checklist (Partner Scene Planning)

Contributed by Lindsay Johnson

This is a checklist for planning a partner scene (planned and rehearsed, but built using improvisation). Students were already familiar with relationship, setting, objective / tactics.

How to Give Feedback to Student Playwrights

by Nicholas Pappas

The two big questions we’re going to answer in this course are: What is feedback? And, What is useful feedback? Now, if you asked a hundred people to answer these two questions, you’ll likely get a hundred different answers, but at its core, all the answers will focus on giving notes that will improve the work, which, in this case, is our student’s plays. And, as a teacher, that’s what your hope is, right? To help your students improve as writers, one work at a time. We want our students to write, and to grow through their writing. If we want our students to get better, we need to get better. Understanding the definition of feedback, and understanding how to provide useful feedback is the key to all of us getting better. Join Nick Pappas in this course designed to give you the tools to help your student writers find their voice.

Feedback Continued

by Lindsay Johnson

In this fifth lesson, students continue to practice classroom norms and continue to practice giving strong feedback. In the performance task, students will practice giving strong feedback by giving a specific suggestion for improvement.
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The Unities

by Karen Loftus

Students continue their exploration of playwriting by learning about Aristotle’s Unities of time, place, and action. They apply the Unities in an improv.
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Acting the Other and Intensifying the Tactics

by John Minigan

This lesson includes a series of improv games to focus students on “the other” rather than “the self,” on listening, on sharing their energy with scene partners, and on collaboration in acting.

Feedback Continued and Feedback Quiz

by Lindsay Johnson

In this sixth lesson, students continue to practice classroom norms and continue to practice giving strong feedback. In the performance task, students will give peers strong feedback through using body language and vocal tone to encourage and show eagerness for peers to improve.
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The Ren Run

by Corinna Rezzelle

In this lesson, students will work in groups to create transitions in improvised tableaux and movement pieces. They will also participate in a “ren run” to practice improv blocking.
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The Ren Run

by Corinna Rezzelle

In this lesson, students will work in groups to create transitions in improvised tableaux and movement pieces. They will also participate in a “ren run” to practice improv blocking.
Attachments
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