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Part of Playwriting: Part 2 Unit

Session 9: Final Writing Day

by Lindsay Price

This is the last class session students have to work on their plays.
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# Playwriting # playwriting

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Part of Playwriting: Part 2 Unit

Sessions 10 & 11: Practice, Staged Reading, Reflection

by Lindsay Price

In these last two sessions, students will focus on the performance aspect of playwriting. Students will practice in groups, present an online staged reading, and reflect on their experience with the unit.
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# Playwriting # playwriting

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Gender and Casting

by Kerry Hishon

In this lesson students will have the opportunity to explore and discuss ideas and concepts related to gender in plays, to try making casting decisions themselves, and to consider how gender can affect how an actor portrays a character and is perceived by an audience member. Can they look beyond the male/female binary and be thoughtful and inclusive in their casting choices?
# Character Development

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Part of Theatre of the Absurd Unit

Visual Absurdity

by Lea Marshall

To introduce Theatre of the Absurd, students will look at photos from Europe after World War II to inform the reflection monologues they will write later. First, they will discuss an assigned photo in groups. Next, they will create group tableaux and write personal reflection monologues.

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Part of Theatre of the Absurd Unit

Out of Tune

by Lea Marshall

Students will explore one of the four background/historical elements for Theatre of the Absurd. Within their groups, they will create a way to share their area of exploration with the class. This works best as a multiple-class lesson.

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Part of Theatre of the Absurd Unit

Cliches, Stereotypes, and Overused Phrases

by Lea Marshall

Students will explore using clichés, stereotypes, and overused phrases in dialogue as used in Theatre of the Absurd.

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Part of Theatre of the Absurd Unit

Cliches, Stereotypes, and Overused Phrases in Waiting for Godot

by Lea Marshall

Students will be introduced to Samuel Beckett’s Waiting for Godot and examine clichés, stereotypes, and overused phrases.

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Part of Theatre of the Absurd Unit

Meaningless Language and The Bald Soprano

by Lea Marshall

Students will explore the absurdism theatrical convention of using meaningless language to communicate (or not communicate) a larger theme of interpersonal relationships and misunderstandings. Students will create nonsensical scenes using their own text messages.

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Part of Theatre of the Absurd Unit

Acting the Absurd

by Lea Marshall

Students will explore acting the absurd by taking a blank scene and adding specific absurd acting choices.

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Part of Theatre of the Absurd Unit

Circular Plot Lines

by Lea Marshall

Students will explore the absurdism theatrical convention of circular plot lines that appear to go nowhere and end in unresolved situations. They will create a conventional and an unconventional (absurdist) plot line using a well-known fairy tale.

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Part of Theatre of the Absurd Unit

Circular Plot Lines in The Arsonists

by Lea Marshall

Students continue to explore the absurdism theatrical convention of circular plot lines that appear to go nowhere and end in unresolved situations. Students are introduced to The Arsonists by Max Frisch.

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Part of Theatre of the Absurd Unit

The Pause

by Lea Marshall

Students will perform a blank scene, varying the placements and lengths of pauses to show the absurdist convention of using pauses to create tension and misunderstanding. They will also be introduced to the master of the pause, Harold Pinter.

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Part of Theatre of the Absurd Unit

The Pause in Waiting for Godot

by Lea Marshall

Students will demonstrate the absurdist dialogue convention of strange and ill-timed pauses by adding pauses to Lucky’s monologue from Waiting For Godot and either direct or perform with varying pauses in their performance.

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Part of Theatre of the Absurd Unit

Impossible Things are Happening Every Day

by Lea Marshall

Students will create a scene where impossible things happen and there isn’t a conventional response. This is a multiple-class lesson.

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Part of Theatre of the Absurd Unit

Impossibilities and Rhinoceros

by Lea Marshall

Students will act truthfully in fictitious circumstances, as they physically act as humans turning into rhinoceroses. They will be introduced to Ionesco’s play Rhinoceros.

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Part of Theatre of the Absurd Unit

Unit Project

by Lea Marshall

Students will apply what they have learned in a final project. Their goal is to demonstrate their understanding of the elements and the historical and philosophical background of absurdism. This will be a multi-day project.

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Part of Mock Audition Unit

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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Part of Mock Audition Unit

The Acting Resume

by Lindsay Price

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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Part of Mock Audition Unit

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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Part of Mock Audition Unit

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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