How do you introduce students to Shakespeare? This unit introduces the Bard through life in Elizabethan England and the playwrights, players, and playhouses. It also explores how to approach unfamiliar words and context clues in Shakespeare’s texts.
The final project will incorporate multiple areas that students have studied over the course of the year/semester: playwriting, acting, scenic design, and marketing. They are putting everything they’ve learned into a final package, including writing, rehearsing, and performing.
This unit on Puppetry is designed for middle school and up, to introduce students to the material and get them comfortable with performing in a safe and low exposure environment.
This is a unit that builds to a culminating experience for your students. Each lesson is designed to explore techniques, provide opportunities for creative collaboration among your students, and give them opportunities to perform. Some of the lessons require materials to build or create puppets. Puppetry can be as easy as drawing a face on your finger for finger puppets, to actually purchasing your own finger puppets for students to use.
While the focus of this unit is puppetry, your students will explore other skills as well. There’s the obvious ones of creative thinking, teamwork, and problem solving. They are also going to explore storytelling, performing skills, and playwriting.
In this unit by Anna Porter, students are introduced to the works of Shakespeare and explore how to bring a character to life in a monologue performance. Students are also introduced to the tools to help them unlock meaning in Shakespeare’s text. Through this eleven lesson series, students will participate in class discussions, activities and performance. Assessment tools include informal assessment, submission of textual analysis work and a final performance.
Shakespeare’s text holds valuable tools that students can use to unlock and understand meaning. In this unit by Anna Porter, students explore how to use the tools of research, context, textual analysis, imagery and punctuation to help them unlock meaning in Shakespeare’s text. This unit is created for an Intermediate to Advanced drama class with a basic background in plot structure and acting technique.
Through this five lesson series, students will use journals, participate in class discussions, activities and performance to explore the tools used to unlock a text. Assessment tools include informal assessment as well as a final group presentation and performance.
This is a read, discuss, and apply literature unit. Students will study the play Our Town by Thornton Wilder.
Our Town is often referred to as “nostalgic.” It’s seen as an antiquated look at a moment in time. But this play is called Our Town, not My Town. What’s happening in Grover’s Corners happened in the past, the distant past, in our present, and even in the future. The themes of the play—the ordinary versus universality, the concept of time, the cycle of life, the ignorance of humanity to the eternal—these are just as relevant in the twenty-first century as they were when the play was written.
The purpose of the unit is not to have students recall knowledge about the play. Students will be able to identify, articulate, and dramatize text themes and concepts and compare/contrast these concepts to their own experiences.
The goal for this unit is to give students a process to work primarily on their own to create a staged scene with specific, dynamic blocking and three-dimensional characters. This unit would work well as a culminating project for a semester. In this unit, students will work independently to analyze, block, build character, experiment, and rehearse a scene. Their performance can count as a summative assessment for the class.
Material: This unit requires that students have access to scenes from plays. Ideally, students should work in pairs and prepare duet scenes.
Working in educational theatre I know how easy it is to get bogged down in actor coaching and away from the bigger picture storytelling when directing a show. I saw a need for a method of text analysis and physical staging tools that help the director stay focused on the bigger picture of telling the story of the play.
This class is in two parts: The first consists of the text analysis tools P.A.S.T.O and Major Dramatic Question. From these tools you will brainstorm keywords to define your vision of the story.
In the second part of the class you will focus on taking the information generated in the text analysis and crafting the ideas into vibrant physical pictures through an exercise called Starburst.
Learn about the Laban system to teach your students to physically and vocally discover character. This is an advanced course, which means that the course goes deep into exploring character and exploring character work through the work of Rudolph Laban.
In this class, Serious Play, the instructor will lead you through a series of games in risk, movement, focus, and voice. You will get access to a series of all inclusive games that you can string together to make one giant game that is great to use in rehearsal. You will learn how and when to use these games.
You'll get ideas on how to craft your own warm-up lesson plan; and, most importantly, you'll learn about about a pre-class warm-up that you can do on your own so that you can get yourself into that third stage of the creative brain, so that you can begin trying out interesting, creative, and risky choices for yourself in your classes and in rehearsals.
“Yes, and…” is the guiding principle behind all improv. This course will teach you how to teach improv, and more importantly how to give feedback to your students. The course looks at making strong offers and also using gibberish to ironically improv communication skills. You will also see how feelings can safely be used to add flavour and get laughs in our scenes.
Jennine Profeta, Second City performer and theatre educator, leads this course with a clear methodology for teaching and giving positive nurturing feedback. This course will give you all the tools and the insight you need to teach improv with confidence.
Second City performer and theatre educator Jennine Profeta is back and ready to help you take your Improv classes to the next level. It’s all getting students to perform - and how to be a great improv coach who can keep them supported and grounded (and having fun!)
In this course, you’ll learn the golden rules of improv. You’ll learn a bunch of improv games (great for warm-ups, teaching tools, and even for competitions). You’ll learn Jennine’s tips and tricks for what to look for when coaching and how to troubleshoot common issues.
The course is designed to help you improv as an ensemble and give you the know-how to coach with confidence whether it’s in the classroom or on the stage!
Todd Espeland has the experience to know that having more tools in your toolbox makes you a better actor. This is especially important when teaching students how to approach Shakespeare. They need help breaking through the language barrier and into the character’s needs and into the character’s thoughts.
The tools that you’ll receive in this course will do just that. The course looks at scansion as a tool for breaking down Shakespeare’s verse, the importance of end of lines, and caesura. Caesura is an inner-line pause which is a lot of fun to play with and really, helps us provide insight to the character’s thoughts and into their needs.
The course provides numerous examples and handouts, and culminates in a performance assignment to use with your students.
Who says theatre history has to be boring? Hands-On Theatre History: Creating a Modern Day Morality play is an interactive course by Wendy-Marie Martin, combining hands-on activities with research and analysis techniques leading to a full performance of the popular medieval morality play, Everyman.
This course gives students an overview of the medieval period and the various medieval play forms and teaches students the key points of storytelling and adaptation.
It includes dynamic individual and group exercises leading students from the first steps of the adaptation process through a final, full-class performance of Everyman—and proves, once and for all, that theatre history can be fun and exciting to learn.
In this course, James Van Leishout explores why students should direct, and covers the first two tools in the director’s toolbox: self and the script. What background should every director have? Why should they learn to love research? What should happen in the first four reads of a script?
With every step along the way, there will be exercises and activities your student directors can take on before they step into the rehearsal process.
Jennine Profeta, Second City performer and theatre educator, leads this course. This course was designed to give a teacher tools to create a safe environment in which students can go beyond their old patterns to take risks, embrace failure, be more confident and aware of the effects of their word choice. The course includes modules on risk-taking, creating a safe environment, failure, confidence, and positive/negative speak.
SEL stands for Social Emotional Learning. Theatre teachers know that Social Emotional Learning and its categories: Self-Awareness, Self-Management, Social Awareness, Relationship Skills and Responsible Decision Making, are innate in what we do.
The goal of this mini-course is to show you that you can take SEL in the way that your administration wants you to, using the language they want you to use, and apply it to lessons you already teach.
Instructor Christa Vogt will take you through the facets of SEL, and then take you step by step through an activity - to show you how you can apply SEL to each and every step.
The skills identified in Social Emotional Learning are the same skills theatre teachers spotlight in the warmups, games, and activities, as well as group work and theater-related assignments found in the drama curriculum every day.
This course will break down the various games and activities in the drama classroom to identify, incorporate, and intensify the Social Emotional Learning outcomes we want our students to achieve. By the end of this course, you will be able to identify the five components of Social Emotional Learning and see the places in the curriculum where they intersect with basic games and activities in the drama classroom.
Our parent company Theatrefolk offers a fantastic selection of plays written specifically for high school and middle school students.
Whether for performances or class study, there's something for everyone: relevant & relatable themes, simple sets & costumes, flexible casting options and much more - a perfect addition to any drama program!