CONTENT AREA: Theatre Arts

Transcription

1 CONTENT AREA: Theatre Arts GRADE/LEVEL: 9-12 COURSE TITLE: ACTING I COURSE NUMBER: COURSE LENGTH: YEAR COURSE DESCRIPTION: This is an introduction to acting class. Beginning actors will be exposed to several different performance styles and methods which will improve their performance skills. This course uses theatre to encourage cooperative learning, team work, organization, and leadership skills. Theatre s forte is in the emotional arena, where participants are able to not only express emotion in a safe environment, but more pertinently, able to learn how to calibrate their emotional responses to various stimuli. The class allows all students the opportunity to perform on a regular basis. PREREQUISITE(S): None MASTER LIST: STANDARDS AND ELEMENTS TAHSAI.1 Analyzing and constructing meaning from theatrical experiences, dramatic literature, and electronic media a. Engages in script analysis and study as a means of actor preparation b. Utilizes evidence provided by the script to support decisions in characterization c. Uses script analysis in the development of presentation of formal and informal theatre performances. TAHSAI.2 Developing scripts through improvisation and other theatrical methods a. Examines theatre practices regarding the development, structure, lay-out, and format of scripts b. Uses improvisation, personal experiences, heritage, imagination, literature, and history to develop scripts c. Performs formal and informal monologues and scenes based on published and original scripts TAHSAI.3 Acting by developing, communicating, and sustaining roles within a variety of situations and environments a. Examines the voice, body, and imagination as tools of the actor b. Explores observation, research, cultural development, and personal experience as potential resources available to the actor c. Implements the tools and resources of acting in the development and presentation of formal and informal monologues and scenes TAHSAI.4 Designing and executing artistic and technical elements of theatre a. Examines the appropriate relationship between the actor, designers, and technical crew b. Explores the effects of set design, costume, and lighting on an actor s performance c. Plans and creates technical elements of a theatrical production d. Collaborates with other members of a creative team to create and execute formal and informal theatrical performances FULTON COUNTY BOARD OF EDUCATION ACTING I 1 OF 20

2 TAHSAI.5 Directing by conceptualizing, organizing, and conducting rehearsals for performance a. Identifies the responsibilities and tasks of an actor in the preparation and performance of a theatrical piece b. Explores and articulates the appropriate relationship between actors and the director c. Collaborates on the development and presentation of formal and informal theatrical performances TAHSAI.6 Researching cultural and historical information to support artistic choices a. Explores the use of cultural and historical information in character development b. Examines research methods used by professional actors and actresses c. Implements meaningful research efforts in developing formal and informal theatre performances TAHSAI.7 Integrating various art forms, other content areas, and life experiences to create theatre a. Examines the relationship between actors and other collaborators in a theatrical production b. Assesses the relationship between an actor's life experience/knowledge and the actor s development as an creative artistic c. Synthesizes concepts and/or skills from other disciplines to create a role or theatre piece TAHSAI.8 Examining the roles of theatre as a reflection of past and present civilizations a. Examines theatrical performance conventions from a variety of historical periods b. Explores cultural influences on acting, theatre, and human interaction c. Applies appropriate historic and cultural data during the performance of a character in formal and informal theatrical pieces TAHSAI.9 Exploring the business of theatre a. Examines how talent and training impact careers in acting b. Assesses the effectiveness of various strategies in pursuing an acting career c. Investigates how an actor's preparation might have an impact on career development outside the theatre community d. Determines and demonstrates effective audition etiquette and technique TAHSAI.10 Critiquing various aspects of theatre and other media using appropriate supporting evidence a. Develops and utilizes meaningful, structured criteria for assessing the work of an actor b. Participates in juried rehearsals and performances to develop individual skills in characterization and performance TAHSAI.11 Engaging actively and appropriately as an audience member in theatre or other media experiences. a. Examines the relationship between actor and audience in history b. Explores the impact of various acting styles (e.g., historical and contemporary) on the actor/audience relationship c. Analyzes and discusses the "chemistry" between actors and audience FULTON COUNTY BOARD OF EDUCATION ACTING I 2 OF 20

3 ACTING I UNIT 1: The Role of The Actor PACING: 3-4 weeks STANDARDS AND ELEMENTS: TAHSAI.1 Analyzing and constructing meaning from theatrical experiences, dramatic literature, and electronic media a. Engages in script analysis and study as a means of actor preparation c. Uses script analysis in the development of presentation of formal and informal theatre performances TAHSAI.2 Developing scripts through improvisation and other theatrical methods b. Uses improvisation, personal experiences, heritage, imagination, literature, and history to develop scripts c. Performs formal and informal monologues and scenes based on published and original scripts TAHSAI.10 Critiquing various aspects of theatre and other media using appropriate supporting evidence a. Develops and utilizes meaningful, structured criteria for assessing the work of an actor b. Participates in juried rehearsals and performances to develop individual skills in characterization and performance TAHSAI.11 Engaging actively and appropriately as an audience member in theatre or other media experiences. a. Examines the relationship between actor and audience in history FULTON COUNTY BOARD OF EDUCATION ACTING I 3 OF 20

4 c. Analyzes and discusses the "chemistry" between actors and audience UNIT RESOURCES: Text -Great Acting Teachers and Their Methods Chapter 1 -Theatre Art in Action: Section 1. Exploration Activities Chapter 1. Acting: Pantomime, and Improvisation -Basic Drama Projects: Chapter 1: Warm up Chapter 4: Improvisation Chapter 8: Ensemble Work, Stage Etiquette Chapter 29: critique a performance Suggested Books: Theatre The Lively Art by Goldfarb and Wilson ISBN: More Theatre Games for Young Performer by Suzi Zimmerman ISBN: Theatre Games for the Classroom: A Teacher s Handbook by Viola Spolin ISBN: Impro: Improvisation and the Theatre by Keith Johnstone ISBN: Physical Comedy Handbook by Davis Rider Robinson ISBN: Websites, all current as of May 2011: SUGGESTED INSTRUCTIONAL STRATEGIES: Suggested Unit Essential Question: What is theatre? What is an actor? What is the main job of an actor? What are the elements of a story? How can the actor use theatre games to explore the craft? What is improv? Suggested Artists References and Historical Correlations: Historical and Contemporary Artists: Griots Commedia Del Arte The Second City FULTON COUNTY BOARD OF EDUCATION ACTING I 4 OF 20

5 Suggested Activities, Assignments, and Projects: Discuss and list all the theatre terms and concepts the class can name off hand. Pare the list down to the bare elements. Discuss the function of the performer in this framework. Introduce theatre games as a form of physical and emotional exploration for theatrical performance. Introduce various forms of actor warm ups that can be achieved through theatre games Play group games that encourage ensemble work Explore games with a beginning, middle and end Explore theatre games that create scenes. Explore story telling as performance (Theatre Art in Action, Story Telling Tradition) Discuss the elements of improvisation through various improv scenarios and scenes FULTON COUNTY BOARD OF EDUCATION ACTING I 5 OF 20

6 UNIT 2: Exploring the Tools of the Actor PACING: 4 weeks STANDARDS AND ELEMENTS: TAHSAI.1 Analyzing and constructing meaning from theatrical experiences, dramatic literature, and electronic media b. Utilizes evidence provided by the script to support decisions in characterization TAHSAI.2 Developing scripts through improvisation and other theatrical methods a. Examines theatre practices regarding the development, structure, lay-out, and format of scripts TAHSAI.3 Acting by developing, communicating, and sustaining roles within a variety of situations and environments a. Examines the voice, body, and imagination as tools of the actor b. Explores observation, research, cultural development, and personal experience as potential resources available to the actor c. Implements the tools and resources of acting in the development and presentation of formal and informal monologues and scenes UNIT RESOURCES: Text- Theatre Art in Action: Chapter 1: Acting Chapter 4: Acting, Motivation and Behavior -Basic Drama Projects: Chapter 1: Warm up Chapter 2: Observation Chapter 5: Movement Chapter 7: Voice Production and Articulation Chapter 8: Ensemble Work Suggested Books: Theatre Games for the Classroom: A Teacher s Handbook by Viola Spolin ISBN: Physical Comedy Handbook by Davis Rider Robinson ISBN: The Use and Training of the Human Voice by Arthur Lessac ISBN: Acting One by Robert Cohen ISBN: Respect for Acting by Uta Hagen ISBN: Audition by Michael Shurtleff ISBN: FULTON COUNTY BOARD OF EDUCATION ACTING I 6 OF 20

7 Websites, all current as of May 2011: SUGGESTED INSTRUCTIONAL STRATEGIES: Suggested Unit Essential Question: What are the tools of an actor? How can the actor properly warm up? What is actor ready? What are beats? What are objectives and tactics? How does the actor implement vocal and movement techniques in performance? Suggested Artists References and Historical Correlations: Historical and Contemporary Artists: Kristen Linklater Arthur Lessac F. Matthias Alexander Uta Hagen Michael Chekov Constantine Stanislavsky Suggested Activities, Assignments, and Projects: Introduce basic physical and vocal warm ups for the start of class. Explore the skills inherent in the following: Uta Hagen s Sense Memory, Stanislavsky s Concentration Circles, Private Moments, and Tactics. Use the vocabulary from physical exploration to observe and recreate others outside the classroom Have students explore creating mid action statues of tactics for a given text. Break a scene or monologue into beats and objectives Learn and perform Open scenes Recreate a private scene from a real life experience outside of the classroom FULTON COUNTY BOARD OF EDUCATION ACTING I 7 OF 20

8 Acting I UNIT 3: Types of Performance PACING: 6 weeks STANDARDS AND ELEMENTS: TAHSAI.1 Analyzing and constructing meaning from theatrical experiences, dramatic literature, and electronic media a. Engages in script analysis and study as a means of actor preparation b. Utilizes evidence provided by the script to support decisions in characterization c. Uses script analysis in the development of presentation of formal and informal theatre performances TAHSAI.6 Researching cultural and historical information to support artistic choices a. Explores the use of cultural and historical information in character development b. Examines research methods used by professional actors and actresses c. Implements meaningful research efforts in developing formal and informal theatre performances TAHSAI.7 Integrating various art forms, other content areas, and life experiences to create theatre a. Examines the relationship between actors and other collaborators in a theatrical production b. Assesses the relationship between an actor's life experience/knowledge and the actor s development as an creative artistic c. Synthesizes concepts and/or skills from other disciplines to create a role or theatre piece TAHSAI.8 Examining the roles of theatre as a reflection of past and present civilizations a. Examines theatrical performance conventions from a variety of historical periods b. Explores cultural influences on acting, theatre, and human interaction c. Applies appropriate historic and cultural data during the performance of a character in formal and informal theatrical pieces TAHSAI.11 Engaging actively and appropriately as an audience member in theatre or other media experiences. a. Examines the relationship between actor and audience in history b. Explores the impact of various acting styles (e.g., historical and contemporary) on the actor/audience relationship UNIT RESOURCES: FULTON COUNTY BOARD OF EDUCATION ACTING I 8 OF 20

9 Text Theatre, Art in Action Chapter 7: Acting, Acting Styles Section 3, Performance, Activities Performance Projects Basic Drama Projects Chapter 9, Character Analysis Chapter 10, Character Development Chapter 11, Dramatic Roles Chapter 12, Comic Roles Chapter 24, Musical Theatre Suggested Books: Acting With Style by John Harrop ISBN: Freeing Shakespeare s Voice by Kristen Linklater ISBN: Websites, all current as of May : Poetry Out Loud, SUGGESTED INSTRUCTIONAL STRATEGIES: Suggested Unit Essential Question: What is an acting style? How can a particular genre of literature influence the choice of acting style? What are the parameters for a given style? How can the actor prepare verse text for performance? Suggested Artistic References and Historical Correlations: Classical Tragedy Modern Tragedy Tragicomedy Docudrama Melodrama Slam Poetry Poetry Recitation Children s Theatre High Comedy Satire Comedy of Manners Romantic Comedy Low Comedy Farce Burlesque and Parody Grotesque Comedy Black Comedy Suggested Activities, Assignments, and Projects: FULTON COUNTY BOARD OF EDUCATION ACTING I 9 OF 20

10 Discuss the challenges of performing for children. Determine methods of overcoming those challenges. Use these methods in order to define a classroom definition for the parameters of a Children s theatre acting style. Using the style of children s theatre, take a well known children s story and turn it into an appropriate performance Determine the rules of poetry reading and prepare a text for performance within that style Explore the style of realism as defined by Stanislavsky. Apply a realistic acting style to a scene from an early realist author, ie Anton Chekov. Compare the differences of classical acting styles (Greek or Elizabethan) with realism using the same monologue. Develop a dramatic realism scene for performance for the class. Have the class critique the scene using the rules of the style. Allow time to work on the critiques and present again. Discuss the improvements as a class. Repeat scene development, performance, critique, and final presentation for other styles outside of Realism Explore the style of physical comedy by recreating a scene from an early film comedic icon, ie Charlie Chaplin, Buster Keaton, or the Marx Brothers. Write a scene with a beginning, middle, and end that explores physical or any other form of comedy ACTING I UNIT 4: Building a Performance PACING: 4 weeks STANDARDS AND ELEMENTS: TAHSAI.1 Analyzing and constructing meaning from theatrical experiences, dramatic literature, and electronic media a. Engages in script analysis and study as a means of actor preparation b. Utilizes evidence provided by the script to support decisions in characterization c. Uses script analysis in the development of presentation of formal and informal theatre performances TAHSAI.2 Developing scripts through improvisation and other theatrical methods c. Performs formal and informal monologues and scenes based on published and original scripts TAHSAI.4 Designing and executing artistic and technical elements of theatre a. Examines the appropriate relationship between the actor, designers, and technical crew b. Explores the effects of set design, costume, and lighting on an actor s FULTON COUNTY BOARD OF EDUCATION ACTING I 10 OF 20

11 performance c. Plans and creates technical elements of a theatrical production d. Collaborates with other members of a creative team to create and execute formal and informal theatrical performances TAHSAI.5 Directing by conceptualizing, organizing, and conducting rehearsals for performance a. Identifies the responsibilities and tasks of an actor in the preparation and performance of a theatrical piece b. Explores and articulates the appropriate relationship between actors and the c. Collaborates on the development and presentation of formal and informal theatrical performances TAHSAI.7 Integrating various art forms, other content areas, and life experiences to create theatre b. Assesses the relationship between an actor's life experience/knowledge and the actor s development as an creative artistic c. Synthesizes concepts and/or skills from other disciplines to create a role or theatre piece TAHSAI.9 Exploring the business of theatre a. Examines how talent and training impact careers in acting b. Assesses the effectiveness of various strategies in pursuing an acting career c. Investigates how an actor's preparation might have an impact on career development outside the theatre community d. Determines and demonstrates effective audition etiquette and technique TAHSAI.10 Critiquing various aspects of theatre and other media using appropriate supporting evidence b. Participates in juried rehearsals and performances to develop individual skills in characterization and performance TAHSAI.11 Engaging actively and appropriately as an audience member in theatre or other media experiences. c. Analyzes and discusses the "chemistry" between actors and audience UNIT RESOURCES: Texts -Theatre Art in Action: Chapter 2 Directing and Producing Chapter 3. Technical Theatre -Basic Drama Projects: Chapter 14: The Director and Producer Chapter 15: The Cast Chapter 16: Blocking FULTON COUNTY BOARD OF EDUCATION ACTING I 11 OF 20

12 Chapter 29: Critique a Performance Suggested Books: Theatre The Lively Art by Goldfarb and Wilson ISBN: Play Directing: Analysis, Communication, and Style by Francis Hodge ISBN: SUGGESTED INSTRUCTIONAL STRATEGIES: Suggested Unit Essential Question: What is the role of the director? How does the actor audition? What is effective blocking? What are the technical concerns of producing a performance? What are the different types of performance spaces? Suggested Artists References and Historical Correlations: Historical and Contemporary Artists: Ancient Greek Staging Shakespearian Staging Stanislavsky Julie Taymor Robert Falls George C. Wolfe Robert Wilson Suggested Activities, Assignments, and Projects: Discuss the basic rules of auditioning and effective audition techniques. Hold a cattle call class audition with one minute monologues and discuss the more effective performances. Discuss the role of the director and the definition of a directorial concept. Provide scripts for the students to analyze and present directorial concepts. Vote on the most effective concepts to select student group directors. Allow groups to divide the responsibilities of cast and crew. Have group directors hold a read thru and table work rehearsal Allow groups time to block and stage the scenes while giving side coaching where needed. Hold Technical rehearsals Fully produce the scenes for a final assessment. UNIT 5: Implementing the Tools of the Actor PACING: 6 weeks FULTON COUNTY BOARD OF EDUCATION ACTING I 12 OF 20

13 STANDARDS AND ELEMENTS: TAHSAI.1 Analyzing and constructing meaning from theatrical experiences, dramatic literature, and electronic media b. Utilizes evidence provided by the script to support decisions in characterization TAHSAI.2 Developing scripts through improvisation and other theatrical methods a. Examines theatre practices regarding the development, structure, lay-out, and format of scripts TAHSAI.3 Acting by developing, communicating, and sustaining roles within a variety of situations and environments a. Examines the voice, body, and imagination as tools of the actor b. Explores observation, research, cultural development, and personal experience as potential resources available to the actor c. Implements the tools and resources of acting in the development and presentation of formal and informal monologues and scenes UNIT RESOURCES: Text- Theatre Art in Action: Chapter 1: Acting Chapter 4: Acting, Motivation and Behavior -Basic Drama Projects: Chapter 1: Warm up Chapter 2: Observation Chapter 5: Movement Chapter 7: Voice Production and Articulation Chapter 8: Ensemble Work Suggested Books: The Use and Training of the Human Voice by Arthur Lessac ISBN: Acting One by Robert Cohen ISBN: Respect for Acting by Uta Hagen ISBN: Audition by Michael Shurtleff ISBN: Sanford Meisner on Acting by Sanford Meisner ISBN Body Learning by Michael J. Gelb ISBN: SUGGESTED INSTRUCTIONAL STRATEGIES: Suggested Unit Essential Question: How can the actor categorize the vocal options available for performance? What are ways to insure vocal safety in performance? FULTON COUNTY BOARD OF EDUCATION ACTING I 13 OF 20

14 What are terms that define the actor s physical choices for a performance? How can a character move through space? How can the actor properly warm up? What is actor ready? What does it mean to the actor to be focused? What are beats? What are objectives and tactics? How does the actor implement vocal and movement techniques in performance? What is a character analysis? Suggested Artists References and Historical Correlations: Historical and Contemporary Artists: Kristen Linklater Arthur Lessac F. Matthias Alexander Uta Hagen Michael Chekov Constantine Stanislavsky Laban Sanford Meisner Suggested Activities, Assignments, and Projects: Break a monologue into beats and objectives for performance. Explore a dramatic text in terms of vocal opportunities and go over ways to mark the text for vocal choices. Explore a physical opportunities of a dramatic text and discuss ways to mark it for physical choices. Analyze an audition monologue or scene using Shurtleff s Guideposts. Explore sense memory through food and group discussion. Discuss ways to implement this in performance. Explain a release object and discuss ways to use it in a current monologue. Use Lessac markings to clarify the vocal opportunities in sustained consonants for a given text. Explore movement through space using the elements Laban Movement or body leading. Explore Stanislavsky s circles of concentration. FULTON COUNTY BOARD OF EDUCATION ACTING I 14 OF 20

15 Acting I UNIT 6: Traditional Performance Styles PACING: 6 weeks STANDARDS AND ELEMENTS: TAHSAI.1 Analyzing and constructing meaning from theatrical experiences, dramatic literature, and electronic media a. Engages in script analysis and study as a means of actor preparation b. Utilizes evidence provided by the script to support decisions in characterization c. Uses script analysis in the development of presentation of formal and informal theatre performances TAHSAI.6 Researching cultural and historical information to support artistic choices a. Explores the use of cultural and historical information in character development b. Examines research methods used by professional actors and actresses c. Implements meaningful research efforts in developing formal and informal theatre performances TAHSAI.7 Integrating various art forms, other content areas, and life experiences to create theatre a. Examines the relationship between actors and other collaborators in a theatrical production b. Assesses the relationship between an actor's life experience/knowledge and the actor s development as an creative artistic c. Synthesizes concepts and/or skills from other disciplines to create a role or theatre piece TAHSAI.8 Examining the roles of theatre as a reflection of past and present civilizations a. Examines theatrical performance conventions from a variety of historical periods b. Explores cultural influences on acting, theatre, and human interaction c. Applies appropriate historic and cultural data during the performance of a character in formal and informal theatrical pieces TAHSAI.11 Engaging actively and appropriately as an audience member in theatre or other media experiences. a. Examines the relationship between actor and audience in history b. Explores the impact of various acting styles (e.g., historical and contemporary) on the actor/audience relationship UNIT RESOURCES: FULTON COUNTY BOARD OF EDUCATION ACTING I 15 OF 20

16 Text Theatre, Art in Action Chapter 7: Acting, Acting Styles Section 3, Performance, Activities Performance Projects Basic Drama Projects Chapter 9, Character Analysis Chapter 10, Character Development Chapter 11, Dramatic Roles Chapter 12, Comic Roles Chapter 24, Musical Theatre Suggested Books: Acting With Style by John Harrop ISBN: Freeing Shakespeare s Voice by Kristen Linklater ISBN: SUGGESTED INSTRUCTIONAL STRATEGIES: Suggested Unit Essential Question: What is an acting style? How can a particular genre of literature influence the choice of acting style? What are the parameters for a given style? How can the actor prepare verse text for performance? What are the requirements for playing classical styles? Suggested Artistic References and Historical Correlations: Classical Tragedy Euripides Shakespeare Kit Marlowe Modern Tragedy Arthur Miller Tennessee Williams Tina Landau Viewpoints Tragicomedy Docudrama Doug Wright Melodrama Dion Boucicault High Comedy Satire Comedy of Manners Oscar Wilde Moliere Romantic Comedy Low Comedy Farce FULTON COUNTY BOARD OF EDUCATION ACTING I 16 OF 20

17 Burlesque and Parody Grotesque Comedy Black Comedy Suggested Activities, Assignments, and Projects: Explore the style of realism as defined by Stanislavsky. Apply a realistic acting style to a scene from an early realist author, ie Anton Chekov. Compare the differences of classical acting styles ( Greek or Elizabethan) with realism using the same monologue. Develop a dramatic realism scene for performance for the class. Have the class critique the scene using the rules of the style. Allow time to work on the critiques and present again. Discuss the improvements as a class. Discuss the structure of verse text and the means for using the language to the actors advantage. Work on a text as a class. Have the students prepare a monologue for performance. Repeat scene development, performance, critique, and final presentation for other styles outside of Realism Prepare scenes from a third canonical style of theatrical performance, ie neo classical, Commedy of Manners, Absurd. ACTING I UNIT 7: Producing a Performance PACING: 6 weeks STANDARDS AND ELEMENTS: TAHSAI.1 Analyzing and constructing meaning from theatrical experiences, dramatic literature, and electronic media a. Engages in script analysis and study as a means of actor preparation b. Utilizes evidence provided by the script to support decisions in characterization c. Uses script analysis in the development of presentation of formal and informal theatre performances TAHSAI.2 Developing scripts through improvisation and other theatrical methods c. Performs formal and informal monologues and scenes based on published and original scripts TAHSAI.4 Designing and executing artistic and technical elements of theatre a. Examines the appropriate relationship between the actor, designers, and technical crew b. Explores the effects of set design, costume, and lighting on an actor s performance c. Plans and creates technical elements of a theatrical production FULTON COUNTY BOARD OF EDUCATION ACTING I 17 OF 20

18 d. Collaborates with other members of a creative team to create and execute formal and informal theatrical performances TAHSAI.5 Directing by conceptualizing, organizing, and conducting rehearsals for performance a. Identifies the responsibilities and tasks of an actor in the preparation and performance of a theatrical piece b. Explores and articulates the appropriate relationship between actors and the c. Collaborates on the development and presentation of formal and informal theatrical performances TAHSAI.7 Integrating various art forms, other content areas, and life experiences to create theatre b. Assesses the relationship between an actor's life experience/knowledge and the actor s development as an creative artistic c. Synthesizes concepts and/or skills from other disciplines to create a role or theatre piece TAHSAI.9 Exploring the business of theatre a. Examines how talent and training impact careers in acting b. Assesses the effectiveness of various strategies in pursuing an acting career c. Investigates how an actor's preparation might have an impact on career development outside the theatre community d. Determines and demonstrates effective audition etiquette and technique TAHSAI.10 Critiquing various aspects of theatre and other media using appropriate supporting evidence b. Participates in juried rehearsals and performances to develop individual skills in characterization and performance TAHSAI.11 Engaging actively and appropriately as an audience member in theatre or other media experiences. c. Analyzes and discusses the "chemistry" between actors and audience UNIT RESOURCES: Texts -Theatre Art in Action: Chapter 2 Directing and Producing Chapter 3. Technical Theatre -Basic Drama Projects: Chapter 14: The Director and Producer Chapter 15: The Cast Chapter 16: Blocking Chapter 29: Critique a Performance Suggested Books: FULTON COUNTY BOARD OF EDUCATION ACTING I 18 OF 20

19 Theatre The Lively Art by Goldfarb and Wilson ISBN: Play Directing: Analysis, Communication, and Styl by Francis Hodge ISBN: Audition by Michael Shirtluff SUGGESTED INSTRUCTIONAL STRATEGIES: Suggested Unit Essential Question: What is the role of the director? How does the actor audition? What is effective blocking? What are the technical concerns of producing a performance? What are the different types of performance spaces? Suggested Artists References and Historical Correlations: Historical and Contemporary Artists: Ancient Greek Staging Shakespearian Staging Stanislavsky Julie Taymor Robert Falls George C. Wolfe Robert Wilson Suggested Activities, Assignments, and Projects: Discuss a series of short plays as a class. Discuss their technical and acting requirements. Select a production as a class. Divide the technical and performance responsibilities between the students. As a class set deadlines for design meetings, off book rehearsals, dress and tech rehearsals. Follow the schedule and produce the short play for an audience using the elements of style and tools studied throughout the semester. FULTON COUNTY BOARD OF EDUCATION ACTING I 19 OF 20

20 SAMPLE ASSESSMENTS: (FOR ALL UNITS) Suggested Types of Assessments: observation essays performance tasks rubrics teacher created tests self evaluation class critiques written theatrical criticism Incorporate formative and summative self-assessment as an on-going part of all lessons/units. Explicitly teach students how to self-assess processes and work. The goal is for students to grow into independent learners and to monitor their own journey to excellence. Formative Assessments: Use observations during class projects to make sure students are learning project objectives Set performance tasks for students to meet Mini-critiques Summative Assessments: Project rubric for grading project, include a self-grading section Unit test over techniques and concepts learned Written critique on live performance FULTON COUNTY BOARD OF EDUCATION ACTING I 20 OF 20