Course Rationale:
Drama is a discipline that originates in the impulse to depict experiences, communicate an understanding of these experiences, and give them form and meaning. It has evolved over time to include a variety of forms and techniques. Drama education provides opportunities to examine human experiences through imagined roles and situations and to value the essential contribution of drama to the quality of life.
Program Units: (the order of units may change)
Ensemble Building & Establishing Leadership Role in Group (4 weeks)
Assessment and Evaluation:
Students will be assessed in a variety of ways: one on one interviews, self/peer evaluations, & teacher observations of work. All assessment is based on criteria clearly stated to the student at the beginning of each lesson and unit/project.
Active Learning (100%) - Made up of two different types:
- Formative Learning Activities (Directing & Script Development) -
These are the in class projects/performances that you create and/or direct throughout the year. They will usually be the ‘less rehearsed’ pieces that we do in our class. They will follow the “Know, Do, Understand” model and use the creative process. These should help prepare you for our summative performances.
- Summative Performance Learning Activities (Directing & Script Development)
Each term you will be given major projects / performances. These will usually be, but are not limited to, the final performance in a unit that we are studying.
Drama & Acting Performance Curriculum Supported by D/S Students... Map –
Including 8 Areas: Staging Basics
Vocal Exploration
Movement/Physical Exploration
Acting Techniques
Preparation
Script Study/Text Analysis
Ensemble Techniques
Improvisation
Theatre Program Performances with D/S Student Support
Staging Basics:
· Stage Directions (With BEG Class)
o Simon Says Stage Directions
· Cheating Out/Opening Up/Suffering Up/Staying Grounded (With BEG Class)
o Notes during production
· Pinning the Corners &Triangulation & Stage Cross Lengths (For D/S)
o Notes during production
· Picturization & Musical Theatre Buttons (With BEG Class)
o Tableux Activities
· Using Ensemble As Stage Focussing (For D/S) – Learned in ADV Acting
o Line Focus
o Costume Color Focus
o Eye Focus
o Soft vs. Hard Focus
o Movement vs. Stillness
o Speaking vs. Silence vs. Choral Speech
o Height & Position on Stage
· Stage Power Positions (For D/S)
o Great game of Power (with objects)
· Block a Scene on Stage (With BEG Class)
· Stage Focus / Mental Discipline (With BEG Class)
o Graveyard
o Bang
o Honey I Love You
· Actor Stage Awareness (With BEG Class)
o How many steps entrance until full stop
o Giving Audience Laughter Pauses/Permissions
o Letters on Floor – Director Role
Vocal Exploration:
· Used to tell stories, create characters, and communicate the character’s emotions and subtext. Using the following language manipulation tools:
· Pitch (With BEG Class)
o Great for character voices (High & Low options)
· Pace/Tempo (With BEG Class)
o How to mark a script
o Express Emotion or Subtext
o Create Dramatic Tension or Comedic Energy
o Picking up cues (Physical and Verbal)
o Character
· Pause (With BEG Class)
o How to mark a script
o Express Emotion or Subtext
o Create Dramatic Tension or Allow Comedic Release
· Tone (With BEG Class)
o How to mark a script
o Express Emotion or Subtext
o Create Dramatic Tension or Comedic Situation
· Stressing Select Words (With BEG Class)
o How to mark a script
o Express Emotion or Subtext
o Create Dramatic Tension or Comedic Situation
· Annunciation/Articulation (With BEG Class)
o Tongue Twisters
o Tongue Stretches
o Vowels for emotion / Consonants for meaning
· Volume/Projection (With BEG Class)
o How to mark a script
o Projection
o Breathing/Pushing air from Diaphragm
o How to mark a script
· Stage Whisper Technique (With BEG Class)
· Create Dramatic Tension or Comedic Situation (For D/S)
Movement & Physical Exploration:
· Used to tell stories, create characters, and communicate the character’s emotions and subtext. Using the following physical manipulation tools:
· Gestures & Facial Expressions (With BEG Class)
o Mirroring & Amplifying Expressions/Gestures (With BEG Class)
· Character Walks (With BEG Class)
o Postures & leading with different body parts
o Turn Twizzle Activity
o Funny Walks
· Mime
o Mine Skit Original Creation with 12 Core Moves (For D/S)
· Space (direct/indirect) and movement patterns (With BEG Class)
o Turn Twizzle Activity
· Weight (strong/light) (With BEG Class)
o Turn Twizzle Activity
· Time (sudden-quick/sustained) (With BEG Class)
o Turn Twizzle Activity
· Flow (bound/free) (With BEG Class)
o Turn Twizzle Activity
· Pace (fast/slow) (With BEG Class)
o Turn Twizzle Activity
· Pauses (stillness/movement) (With BEG Class)
o Turn Twizzle Activity
· Levels (high/low) (With BEG Class)
o Tableux
o Emotion Movement Circle
o Leader of Movement
· Using Space (With BEG Class)
o Mirroring & Shadowing movements
§ Air bands / Lip Synch (Coaching)
§ Columbian Hypnosis
Acting Techniques:
· Emotional and Physical Believability `
o Objectives (With BEG Class)
§ In the moment Objective (ITMO)
§ Super Objective (For D/S)
o Actions/Tactics (With BEG Class)
§ Honey I Love You (changing actions, not text)
§ Michael Checkov’s Archetypal Actions (For D/S)
o Obstacles & Stakes (With BEG Class)
§ Pushing off against them
§ Creating Conflict
§ Why does it matter (to the character & to the audience)
o Beats (With BEG Class)
§ What are they
§ What do they tell you about that moment in the play (For D/S)
§ Connecting Beats to Vocals and Physicality (For D/S)
· Actor as a Detective (With BEG Class)
o Given Circumstances Applied
§ Research Script as Bible – Find your Character’s Truth & Honor It
o Non-Given Circumstance Choices
§ Moment before
§ Smudging
§ Critical Thinking and Inferring from the Given
· Character Status vs Power (With BEG Class)
o Play high/high, low/low, and high/low (Learn your comfort type)
o Play Pecking Order Game
o Play Great Game of Power
· Leading Drama Games/Activities (With BEG Class)
Preparation: (With BEG Class)
· Memorize by – voice recordings
o 3 Times Method for scenes and monologues - Activity Sheet
o Dropping in lines - In Early Production Rehearsals
· Performance Slating (IE Prep) – Coaching JR IE Pieces
o Wear Theatrical Black Attire & Hit Your Mark
o Make Judge Eye Contact during slate but not during mono.
o Confident and professional but personal and true to you
o Clear articulation of name and selection
Script Study/Text Analysis:
· World of the Play & Director’s Concept - Context and Rules to Follow
o Done in Class Production (For D/S)
· High Light Lines / Honour Lines (With BEG Class)
· Cold Reading (With BEG Class)
o Experience in class, done while selecting plays
· Beats – recognizing them and making choices when unclear (With BEG Class)
o How to mark them
o Always when subject or focus changes
o Always when characters enter or leave
· Stage Directions (With BEG Class)
o Written by original SM – Not always to be followed
· Given Circumstances (With BEG Class)
o Who gives them
o What are they (Handout)
o How do they influence performance
· Characters – what is said about them, what is not said that you can decide
· Researching, Inferring & Making Choices (With BEG Class)
· Moments Before Bits – where can we smudge in a better starting point (With BEG Class)
o Monologue IE Work
o At the Start of Scenes in Production
· Subtext – What is the true meaning behind what is said (With BEG Class)
o Done in Class Production
Ensemble Techniques:
· Listening (action/reaction) Techniques (With BEG Class)
o story one word at a time/conducted die story
o circle tap game
o Count to 10 in circle with yes activity
o Circle of associations
o Bang
· Intensity = Energy + Focus (Commitment to the Moment) (With BEG Class)
o Circle clamp and stomp games
o Eye Contact and Move
o Westwind blows
o Fruit Salid
o Wave chair sit game
o Whoosh whoosh
o Zibboty Zibboty Bop
· Chemistry & Trust Development (With BEG Class)
o Trust Falls, Trust Circle, Trust Runs, Trust Carry, Mine Field, Blindfold Games (Hunter/Hunted, Keeper of Keys, Tanks)
· Relaxation (With BEG Class)
o Message Circle
Improvisation:
· Endowing (With BEG Class)
o Larry is Always Late
· Impulse/Association/Energy (With BEG Class)
o Lead Warm-ups
· Storytelling/Narration
· Conducted Die Story (With BEG Class)
· Character (With BEG Class)
o Taxi
· Style (With Improv Team)
o Children’s TV Show / Soap Opera / Greek Drama / Internet Conspiracy / Late Night Talk Show / Etc.
Theatre Performances:
D/S Students will be involved with –
· Improv/Theatre Sports Show
o Improv Team Program
· Contemporary One Act Play – Comedic or Dramatic
o Grade 8 Play
o Theatre Acting Beginner (End of Semester Showcase)
· Student Written Play
o Directing & Script Development & Extra Curricular
· Surrey District Festival
o Theatre Acting Beg, Int, & Adv, TC & Directing & Script - IE Festival
Drama is a discipline that originates in the impulse to depict experiences, communicate an understanding of these experiences, and give them form and meaning. It has evolved over time to include a variety of forms and techniques. Drama education provides opportunities to examine human experiences through imagined roles and situations and to value the essential contribution of drama to the quality of life.
Program Units: (the order of units may change)
Ensemble Building & Establishing Leadership Role in Group (4 weeks)
- Lead Drama Games/Activities & Teach Beginner Acting Class Skills
- Remembrance Day (Sem 1)... Surrey IE Fest (Sem 2)
- Beginner Acting Class – In Class Performance
- Potential for Surrey IE Festival Performance
- Work with Improv Teams to Perform
- Potential for Surrey IE Festival Performance and/or One Act Play Performance
- Performance at the NS End of Semester Theatre Showcase
Assessment and Evaluation:
Students will be assessed in a variety of ways: one on one interviews, self/peer evaluations, & teacher observations of work. All assessment is based on criteria clearly stated to the student at the beginning of each lesson and unit/project.
Active Learning (100%) - Made up of two different types:
- Formative Learning Activities (Directing & Script Development) -
These are the in class projects/performances that you create and/or direct throughout the year. They will usually be the ‘less rehearsed’ pieces that we do in our class. They will follow the “Know, Do, Understand” model and use the creative process. These should help prepare you for our summative performances.
- Summative Performance Learning Activities (Directing & Script Development)
Each term you will be given major projects / performances. These will usually be, but are not limited to, the final performance in a unit that we are studying.
Drama & Acting Performance Curriculum Supported by D/S Students... Map –
Including 8 Areas: Staging Basics
Vocal Exploration
Movement/Physical Exploration
Acting Techniques
Preparation
Script Study/Text Analysis
Ensemble Techniques
Improvisation
Theatre Program Performances with D/S Student Support
Staging Basics:
· Stage Directions (With BEG Class)
o Simon Says Stage Directions
· Cheating Out/Opening Up/Suffering Up/Staying Grounded (With BEG Class)
o Notes during production
· Pinning the Corners &Triangulation & Stage Cross Lengths (For D/S)
o Notes during production
· Picturization & Musical Theatre Buttons (With BEG Class)
o Tableux Activities
· Using Ensemble As Stage Focussing (For D/S) – Learned in ADV Acting
o Line Focus
o Costume Color Focus
o Eye Focus
o Soft vs. Hard Focus
o Movement vs. Stillness
o Speaking vs. Silence vs. Choral Speech
o Height & Position on Stage
· Stage Power Positions (For D/S)
o Great game of Power (with objects)
· Block a Scene on Stage (With BEG Class)
· Stage Focus / Mental Discipline (With BEG Class)
o Graveyard
o Bang
o Honey I Love You
· Actor Stage Awareness (With BEG Class)
o How many steps entrance until full stop
o Giving Audience Laughter Pauses/Permissions
o Letters on Floor – Director Role
Vocal Exploration:
· Used to tell stories, create characters, and communicate the character’s emotions and subtext. Using the following language manipulation tools:
· Pitch (With BEG Class)
o Great for character voices (High & Low options)
· Pace/Tempo (With BEG Class)
o How to mark a script
o Express Emotion or Subtext
o Create Dramatic Tension or Comedic Energy
o Picking up cues (Physical and Verbal)
o Character
· Pause (With BEG Class)
o How to mark a script
o Express Emotion or Subtext
o Create Dramatic Tension or Allow Comedic Release
· Tone (With BEG Class)
o How to mark a script
o Express Emotion or Subtext
o Create Dramatic Tension or Comedic Situation
· Stressing Select Words (With BEG Class)
o How to mark a script
o Express Emotion or Subtext
o Create Dramatic Tension or Comedic Situation
· Annunciation/Articulation (With BEG Class)
o Tongue Twisters
o Tongue Stretches
o Vowels for emotion / Consonants for meaning
· Volume/Projection (With BEG Class)
o How to mark a script
o Projection
o Breathing/Pushing air from Diaphragm
o How to mark a script
· Stage Whisper Technique (With BEG Class)
· Create Dramatic Tension or Comedic Situation (For D/S)
Movement & Physical Exploration:
· Used to tell stories, create characters, and communicate the character’s emotions and subtext. Using the following physical manipulation tools:
· Gestures & Facial Expressions (With BEG Class)
o Mirroring & Amplifying Expressions/Gestures (With BEG Class)
· Character Walks (With BEG Class)
o Postures & leading with different body parts
o Turn Twizzle Activity
o Funny Walks
· Mime
o Mine Skit Original Creation with 12 Core Moves (For D/S)
· Space (direct/indirect) and movement patterns (With BEG Class)
o Turn Twizzle Activity
· Weight (strong/light) (With BEG Class)
o Turn Twizzle Activity
· Time (sudden-quick/sustained) (With BEG Class)
o Turn Twizzle Activity
· Flow (bound/free) (With BEG Class)
o Turn Twizzle Activity
· Pace (fast/slow) (With BEG Class)
o Turn Twizzle Activity
· Pauses (stillness/movement) (With BEG Class)
o Turn Twizzle Activity
· Levels (high/low) (With BEG Class)
o Tableux
o Emotion Movement Circle
o Leader of Movement
· Using Space (With BEG Class)
o Mirroring & Shadowing movements
§ Air bands / Lip Synch (Coaching)
§ Columbian Hypnosis
Acting Techniques:
· Emotional and Physical Believability `
o Objectives (With BEG Class)
§ In the moment Objective (ITMO)
§ Super Objective (For D/S)
o Actions/Tactics (With BEG Class)
§ Honey I Love You (changing actions, not text)
§ Michael Checkov’s Archetypal Actions (For D/S)
o Obstacles & Stakes (With BEG Class)
§ Pushing off against them
§ Creating Conflict
§ Why does it matter (to the character & to the audience)
o Beats (With BEG Class)
§ What are they
§ What do they tell you about that moment in the play (For D/S)
§ Connecting Beats to Vocals and Physicality (For D/S)
· Actor as a Detective (With BEG Class)
o Given Circumstances Applied
§ Research Script as Bible – Find your Character’s Truth & Honor It
o Non-Given Circumstance Choices
§ Moment before
§ Smudging
§ Critical Thinking and Inferring from the Given
· Character Status vs Power (With BEG Class)
o Play high/high, low/low, and high/low (Learn your comfort type)
o Play Pecking Order Game
o Play Great Game of Power
· Leading Drama Games/Activities (With BEG Class)
Preparation: (With BEG Class)
· Memorize by – voice recordings
o 3 Times Method for scenes and monologues - Activity Sheet
o Dropping in lines - In Early Production Rehearsals
· Performance Slating (IE Prep) – Coaching JR IE Pieces
o Wear Theatrical Black Attire & Hit Your Mark
o Make Judge Eye Contact during slate but not during mono.
o Confident and professional but personal and true to you
o Clear articulation of name and selection
Script Study/Text Analysis:
· World of the Play & Director’s Concept - Context and Rules to Follow
o Done in Class Production (For D/S)
· High Light Lines / Honour Lines (With BEG Class)
· Cold Reading (With BEG Class)
o Experience in class, done while selecting plays
· Beats – recognizing them and making choices when unclear (With BEG Class)
o How to mark them
o Always when subject or focus changes
o Always when characters enter or leave
· Stage Directions (With BEG Class)
o Written by original SM – Not always to be followed
· Given Circumstances (With BEG Class)
o Who gives them
o What are they (Handout)
o How do they influence performance
· Characters – what is said about them, what is not said that you can decide
· Researching, Inferring & Making Choices (With BEG Class)
· Moments Before Bits – where can we smudge in a better starting point (With BEG Class)
o Monologue IE Work
o At the Start of Scenes in Production
· Subtext – What is the true meaning behind what is said (With BEG Class)
o Done in Class Production
Ensemble Techniques:
· Listening (action/reaction) Techniques (With BEG Class)
o story one word at a time/conducted die story
o circle tap game
o Count to 10 in circle with yes activity
o Circle of associations
o Bang
· Intensity = Energy + Focus (Commitment to the Moment) (With BEG Class)
o Circle clamp and stomp games
o Eye Contact and Move
o Westwind blows
o Fruit Salid
o Wave chair sit game
o Whoosh whoosh
o Zibboty Zibboty Bop
· Chemistry & Trust Development (With BEG Class)
o Trust Falls, Trust Circle, Trust Runs, Trust Carry, Mine Field, Blindfold Games (Hunter/Hunted, Keeper of Keys, Tanks)
· Relaxation (With BEG Class)
o Message Circle
Improvisation:
· Endowing (With BEG Class)
o Larry is Always Late
· Impulse/Association/Energy (With BEG Class)
o Lead Warm-ups
· Storytelling/Narration
· Conducted Die Story (With BEG Class)
· Character (With BEG Class)
o Taxi
· Style (With Improv Team)
o Children’s TV Show / Soap Opera / Greek Drama / Internet Conspiracy / Late Night Talk Show / Etc.
Theatre Performances:
D/S Students will be involved with –
· Improv/Theatre Sports Show
o Improv Team Program
· Contemporary One Act Play – Comedic or Dramatic
o Grade 8 Play
o Theatre Acting Beginner (End of Semester Showcase)
· Student Written Play
o Directing & Script Development & Extra Curricular
· Surrey District Festival
o Theatre Acting Beg, Int, & Adv, TC & Directing & Script - IE Festival