EGG HARBOR TOWNSHIP PUBLIC SCHOOLS
CURRICULUM
Theater Workshop
Grades 10-12
Length of Course:
Full Year
Elective / Required:
Required
Schools:
Egg Harbor Township High School
Student Eligibility:
Grades10-12
Credit Value:
5 credits
Date Approved:
TABLE OF CONTENTS
Mission Statement
3
Philosophy
3
Statement of Purpose
3
Introduction
3
District Curriculum Template
4
Guiding Principles
4
Intent of the Guide
5
Unit 1 – Theater as Performance
6
Unit 2 –Theater as Playwriting and Direction
9
Unit 3 – Theater as History and Culture
13
Unit 4 – Theater as Aesthetics and Design
15
This curriculum guide was prepared by:
Nancy Portnoy, Egg Harbor Township High School
Coordinated by: Thomas Weber - Supervisor of Fine and Performing Arts
3
DISTRICT MISSION STATEMENT
Our mission in the Egg Harbor Township School District is to partner with the student,
family, school, and community to provide a safe learning environment that addresses
rigorous and relevant 21st Century standards and best practices which will develop
academic scholarship, integrity, leadership, citizenship, and the unique learning style of
students, while encouraging them to develop a strong work ethic and to act responsibly
in their school community and every day society.
FINE AND PERFORMING ARTS - PHILOSOPHY
It is our belief that it is in a child’s inherent nature to create. Experiences in creating in
the arts are essential to a well-rounded education. Furthermore, creative and artistic
exploration enhances critical thinking and problem solving skills. The arts also promote
an atmosphere that embraces cultural diversity. Children who are exposed to the art of
past and present cultures learn about themselves, the society in which they live, and
people throughout history.
FINE AND PERFORMING ARTS - STATEMENT OF PURPOSE
Education exists for the purpose of enabling each individual to realize and maintain
her/his full potential. Music/Dance/Theater/Visual Arts Education, as a social, intellectual,
and physical discipline, specifically involves the development of each individual's
aptitude, understanding, and appreciation and serves as an essential element to the
developmental process.
The Music, Dance, Theater and Visual arts programs provide the opportunity for each
individual to develop a comprehensive foundation of basic knowledge, skills, and
techniques and serves not only as an arts specific course but also provides a vehicle by
which associated disciplines are enhanced and supported.
This curriculum guide has been designed to expose all students to the arts educational
experience outlined within. Each student will be offered thorough and analogous arts
instruction and will be fully prepared for the continuing education offered at the
secondary level. Additionally, through active participation, students will develop positive
individual and group behavioral patterns while exploring the vast cultural and ethnic
diversity reflective of our community and the art form itself.
Our school district provides an extensive arts program, which will enable students to
succeed and compete in the global marketplace using the New Jersey Core Curriculum
Content Standards in conjunction with the New Jersey Visual and Performing Arts
Curriculum Frameworks and technological exploration.
INTRODUCTION
The most precious resource teachers have is time. Regardless of how much time a
course is scheduled for, it is never enough to accomplish all that one would like.
Therefore, it is imperative that teachers utilize the time they have wisely in order to
maximize the potential for all students to achieve the desired learning.
4
High quality educational programs are characterized by clearly stated goals for student
learning, teachers who are well-informed and skilled in enabling students to reach those
goals, program designs that allow for continuous growth over the span of years of
instruction, and ways of measuring whether students are achieving program goals.
THE EGG HARBOR TOWNSHIP SCHOOL DISTRICT CURRICULUM TEMPLATE
The Egg Harbor Township School Districthas embraced the backward-design model as
the foundation for all curriculum development for the educational program. When
reviewing curriculum documents and the Egg Harbor Township curriculum template,
aspects of the backward-design model will be found in the stated enduring
understandings/essential questions, unit assessments, and instructional activities.
Familiarization with backward-design is critical to working effectively with Egg Harbor
Township’s curriculum guides.
GUIDING PRINCIPLES: WHAT IS BACKWARD DESIGN?
WHAT IS UNDERSTANDING BY DESIGN?
“Backward design” is an increasingly common approach to planning curriculum and
instruction. As its name implies, “backward design” is based on defining clear goals,
providing acceptable evidence of having achieved those goals, and then working
‘backward’ to identify what actions need to be taken that will ensure that the gap
between the current status and the desired status is closed.
Building on the concept of backward design, Grant Wiggins and Jay McTighe (2005)
have developed a structured approach to planning programs, curriculum, and
instructional units. Their modelasks educators to state goals; identify deep
understandings, pose essential questions, and specify clear evidence that goals,
understandings, and core learning have been achieved.
Programs based on backward design use desired results to drive decisions. With this
design, there are questions to consider, such as: What should students understand,
know, and be able to do? What does it look like to meet those goals? What kind of
program will result in the outcomes stated? How will we know students have achieved
that result? What other kinds of evidence will tell us that we have a quality program?
These questions apply regardless of whether they are goals in program planning or
classroom instruction.
The backward design process involves three interrelated stages for developing an entire
curriculum or a single unit of instruction. The relationship from planning to curriculum
design, development, and implementation hinges upon the integration of the following
three stages.
Stage I: Identifying Desired Results: Enduring understandings, essential questions,
knowledgeand skills need to be woven into curriculum publications, documents,
standards, and scope and sequence materials. Enduring understandings identify the
“big ideas” that students will grapple with during the course of the unit. Essential
5
questions provide a unifying focus for the unit and students should be able to answer
more deeply and fully these questions as they proceed through the unit. Knowledge and
skills are the “stuff” upon which the understandings are built.
Stage II: Determining Acceptable Evidence: Varied types of evidence are specified to
ensure that students demonstrate attainment of desired results. While discrete
knowledge assessments (e.g.: multiple choice, fill-in-the-blank, short answer, etc…) will
be utilized during an instructional unit, the overall unit assessment is performance-based
and asks students to demonstrate that they have mastered the desired understandings.
These culminating (summative) assessments are authentic tasks that students would
likely encounter in the real-world after they leave school. They allow students to
demonstrate all that they have learned and can do.
To demonstrate their
understandings students can explain, interpret, apply, provide critical and insightful
points of view, show empathy and/or evidence self-knowledge. Models of student
performance and clearly defined criteria (i.e.: rubrics) are provided to all students in
advance of starting work on the unit task.
Stage III: Designing Learning Activities: Instructional tasks, activities, and experiences
are aligned with stages one and two so that the desired results are obtained based on
the identified evidence or assessment tasks. Instructional activities and strategies are
considered only once stages one and two have been clearly explicated. Therefore,
congruence among all three stages can be ensured and teachers can make wise
instructional choices.
At the curricular level, these three stages are best realized as a fusion of research, best
practices, shared and sustained inquiry, consensus building, and initiative that involves
all stakeholders. In this design, administrators are instructional leaders who enable the
alignment between the curriculum and other key initiatives in their district or schools.
These leaders demonstrate a clear purpose and direction for the curriculum within their
school or district by providing support for implementation, opportunities for revision
through sustained and consistent professional development, initiating action research
activities, and collecting and evaluating materials to ensure alignment with the desired
results. Intrinsic to the success of curriculum is to show how it aligns with the overarching
goals of the district, how the document relates to district, state, or national standards,
what a high quality educational program looks like, and what excellent teaching and
learning looks like. Within education, success of the educational program is realized
through this blend of commitment and organizational direction.
INTENT OF THE GUIDE
This guide is intended to provide teachers with course objectives and possible activities,
as well as assist the teacher in planning and delivering instruction in accordance with the
New Jersey Core Curriculum Content Standards. The guide is not intended to restrict or
limit the teacher’s resources or individual instruction techniques. It is expected that the
teacher will reflectively adjust and modify instruction and units during the course of
normal lessons depending on the varying needs of the class, provided such modified
instruction attends to the objectives and essential questionsoutlined below.
6
Unit 1: Theater Workshop : Theater as Performance
UNIT SUMMARY
This unit is intended for auditioned Advanced Theater Students, grades 10-12.This unit will be comprised of
various performances featuring a wide range of repertoire from diverse cultures and time periods. Advanced
Drama focuses on multiple aspects of theatre with the intent to provide each student with an in depth
understanding of theatre, including acting, design, and history. Students will be able to identify, analyze, and
report on key works of theatre, understand major periods of theatre history, perform increasingly difficult
scenes and monologues, complete design projects as they relate to the texts read in class, and understand the
complexities of directing, producing, and playwriting. Students will be expected to complete performance
related activities and daily written work at an advanced level of application and understanding, as well as
maintain an organized Actors Portfolio.
UNIT RESOURSES:
Printed Materials:Acting Is Believing: A Basic Method by Wadsworth; 1996; College Prep
GOALS AND STANDARDS:
NJCCCS
1.1.12. C.2 Formulate a process of script analysis to identify how the physical, emotional, and social
dimensions of a character are communicated through the application of acting techniques.
1.1.12. C.3 Apply the basic physical and chemical properties (e.g., light, electricity, color, paint, scenic
construction, costumes, makeup, and audio components) inherent in technical theatre to safely implement
theatre design
1.3.12.C.1 Create plays that include well-structured plots and subplots, clear thematic intent, original
characters, and technical theatrical elements appropriate to a variety of theatrical genres.
1.3.12. C.2 Create and evaluate performances by citing evidence of specific physical choices, sustained vocal
technique, and clearly motivated actions.
ENDURING UNDERSTANDINGS:
1. Though the artist' imagination and intuition drive the work great art requires skills and discipline to
turn notions into a quality performance.
2. Performers need to develop vocal and body control for communicating artistic expression and to
communicate action and reaction.
3. Theatrical Performance requires technical and creative proficiency.
4. Training in motion and communication is necessary for successful drama presentations.
5. Improvisation is important in the expression of higher level and divergent thinking and problem
solving.
6. Role playing develops the mind, body voice as a creative instrument.
7. Societal standards of theater production are learned by attending performances as well as
participating in a drama performance.
8. Performance expectations are culturally derived and vary according to dramatic forms.
9. Performing can develop responsible behavior and social discipline, as well as a respect for the Arts.
7
ESSENTIAL QUESTIONS :
1. Why does improvisation help one understand multiple perspectives of a role?
2. What acting techniques when applied can help communicate the physical, emotional and social
dimensions of a character?
3. What process of script analysis is helpful in identifying the physical emotional and social dimensions
of a character?
4. How do movements, gestures, and expressions help improve and support a scene? How do
performers prepare and use their bodies for presentations? How does posture, breathing and voice
control affect a performance?
5. How do acting skills help with improvisational scenes? Why is it difficult to do improvisation? How do
improvisational activities prepare an actor for a scripted scene?
6. How are voice and movement used to develop a role?
7. Why is it important to create a personality and a background for a character?
8. How will being a part of a performance help you in your life? How do cooperation,
communication, self-esteem, and sympathy in theater and real life?
9. How does setting and purpose of a performance influence choice of costumes?
KNOWLEDGE AND SKILLS:
Through Theatrical performance(s) students will experience the following hierarchy of learning:
1. The student actor will understand how to research and develop a character; using the skills and
principals of script analysis.
2. Students will learn knowledge of and the skills related to: The use of imagination, role playing, script
interpretation, and improvisation.
3. Recognize, discuss and apply the relationship of sensory perception, imagery and concentration to life
and acting.
4. Demonstrate commitment to the ensemble in the rehearsal/performance process
STAGE TWO
PERFORMANCE TASKS
Title:
Students will perform a solo performance
Rubric: Formal rehearsal and performance
Attendance/Punctuality
Memorization
Weight: 25%
Weight: 25%
Student is punctual,
Student demonstrates
prepared with script
memorization of blocking
make-up and costume
and required pieces and
and present for their
a mastery of physical and
rehearsals and
emotional connection to
performances
the piece
Students performance is
successful
Weight: 25%
Student demonstrates a
mastery of their required
skillsand a mastery of
their repertoire through
their performance.
Performance Attitude and
Etiquette
Weight: 25%
Student behavior and
attitude during all
rehearsals and
performances is
respectful, mature, and
professional.
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Title: Rubric: Acting in One Act performances
Blocking /Movement
Weight: 20%
Voice/ Diction
Weight: 20%
20 Pts
Movement is very
innovative, accentuates
the lines, adds greatly to
the depth of the
character, and supports
plot. Creates wellbalanced poignant
pictures. Body Language
for character is clear &
decisive and conveys
character clearly
20 Pts.
Superior vocal control,
differentiation in pace &
inflection, resonance,
quality and very clear &
distinct enunciation.
Communicates
character's uniqueness.
Character is clearly heard
and has a distinct
qualityand tone
15 Pts.
Movement accents the
lines, adds to the depth
of the character, and is
interesting to the
audience. Creates
interesting pictures
15 Pts.
Voice shows expression,
differentiation in pace and
inflection, and
enunciation. Can hear a
unique voice true to the
character
Characterization/
Believability
Emotional Commitment
Memorization/
Concentration
Weight: 20%
Weight: 40%
20 pts.
Has internalized the
subtext and self-talk &
the actor is transformed
into the character
throughout the
performance.
40 Pts
Well developed with a
great variety of emotion
and very realistic.The
student has achieved an
"ownership of lines" as if
they are saying their own
words to the point you
almost forget there ever
was a script.
15 Pts.
Performer has a distinct
character and stayed in
character throughout the
performance.
30 pts.
Well developed with a
variety of different
emotional levels and good
realism. Lines appear to
be memorized, accurate,
and lines flow easily. A
few unneeded pauses.
20 Pts.
10 Pts.
There is movement, and
it accents the lines being
read. Movement is
inconsistent with scene or
character; or several
times movement is
lacking
10 Pts.
Some expressive
moments; inconsistent in
quality and pace. Some
problems with
enunciation. Some
mispronunciation. While
unique, may not always
reflect character well.
10 Pts.
Performer had a fairly
distinct character, and
tried to stay in character
through most of the
performance.
100Pts each possible
Self _____
Teacher _____
Self _____
Teacher _____
Self _____
Teacher _____
Good emotional
commitment with some
variation and some
levels. A couple spots
were lacking focus. Lines
appear to be memorized,
but not accurately. Flow
is a bit disjointed,
unneeded pauses, and
awkward hesitations
Self _____
Teacher _____
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OTHER EVIDENCE
1.
2.
3.
4.
Unit vocabulary test
Quizzes on readings from plays and playwrights
Performance Journals
Quarterly Exams: Four times a year, students will be formally assessed using a written exam. This
exam will be comprised of questions concerning repertoire that the students are currently reading
rehearsing-performing
5. Worksheets with different critique criteria
STAGE THREE
LEARNING ACTIVITIES
'A Night with Will'
Students will Perform “A Mid Summer’s Night Dream" for Competition and an Invited Audience.
Unit 2: Theater Workshop: Playwriting and Direction
UNIT SUMMARY
This Unit is intended for Advanced Theater Student auditioned grades 10-12. This Unit of study will be
comprised of various advanced knowledge and skills required for study in the Advanced Theater Arts
Program which includes the literary basis, playwriting and direction, technique, visual impact, and the
creative process of the presentation of drama.
UNIT RESOURSES:
Printed Materials:
Theatre: A Way of Seeing by Wadsworth; 2006; College Prep
GOALS AND STANDARDS:
NJCCCS
1.1.12. C.2 Formulate a process of script analysis to identify how the physical, emotional, and social
dimensions of a character are communicated through the application of acting techniques.
1.1.12. C.3 Applyadvanced physical and chemical properties (e.g., light, electricity, color, paint, scenic
construction, costumes, makeup, and audio components) inherent in technical theatre to safely implement
theatre design
1.3.12.C.1 Create plays that include well-structured plots and subplots, clear thematic intent, original
characters, and technical theatrical elements appropriate to a variety of theatrical genres.
1.3.12. C.2 Create and evaluate performances by citing evidence of specific physical choices, sustained
vocal technique, and clearly motivated actions. Distinguish characteristics of theatre that differentiate it
from other art
10
ENDURING UNDERSTANDINGS
a. The lighting, music and sound effects used in a production for performance directly influence the
actors’, and thereby the audiences’, perceptions of the production.
b. The creation and design of the space (the architecture of the physical space) directly influences the
actors’, and thereby the audiences’, perceptions of the production.
c. How to conceptualize, visualize and realize the architecture and design of a production and
implement it, whether it be for an improvised scene, a scene extracted from a play, a one-act or
full-length play
d. The play writing process involves several steps which involve not only the spoken word, but also
the movement and environment in which that spoken word occurs.
ESSENTIAL QUESTIONS
a. How can lighting affect the mood or emotional impact of a situation?
b. How can music and sound effects affect the mood or emotional impact of a situation?
c. What is spatial awareness?
d. How does spatial awareness and movement change the way an actor reacts?
e. How does a plays genre, mood, setting, and time period effect costuming?
f. How does the design of a production (the architecture) and the space it is found in affect the
director’s concept?
g. How does the design of a production affect the audience’s response to the overall production?
h. Does the director of the play have the only and final word on everything in a production?
i.
How does the director best convey his/her vision to the actors, scenic designers, lighting
designers, stage crew, etc.?
j. Students will be able to…
k. Read a play and create workable schema for production; i.e. budget, casting, hiring of stage crew
and stage manager, front of housestaff, publicity, royalties, etc.
l. What is spatial awareness?
m. How does movement within a space affect the way a director perceives a play?
n. How does spatial awareness and movement change the way an actor reacts?
o. How will the students’ knowledge and application of spatial awareness allow them to be better
directors, staff, publicity, royalties, etc.?
KNOWLEDGE AND SKILLS
Students will be able to…
a.
b.
c.
d.
e.
f.
g.
Design the major components of the theatrical event
Perform the functions of the various theatre personnel
Demonstrate knowledgeof specific terms relating to the study of theatre
Write using the knowledge of the parts of a play
Perform the different forms of drama
Design and realize a workable set with the use of scenery and props
Develop focused ideas for the environment using visual elements (line, texture, color, space) and
visual principals (repetition, balance, emphasis, contrast, unity), from traditional and
nontraditional sources that clearly support the text. Theirown work and their peers’ work.
STAGE TWO
PERFORMANCE TASKS
Tittle: Production
a) Students work in cooperative learning groups, researching all the various roles.
b) Students work in groups developing production schedules, stage management plans, promotional
ideas, and business and front of house procedures for theatre
c) Students present a workable document as production plan for a performance piece.
d) Students will write and direct their owns scenes based on a set of given criteria
11
Title:A Night of Theater and Dance
Students will be able to… create and direct each other in Scenes and monologues for an invited
performance using this knowledge
Production and Stage
Management
Weight 20%
Excellent level
Production schedule for
rehearsals and
performance clear
Microphone and music
needs submitted and
well designed
Flyers ~T- Shirt Ideas
Tickets design and
program notes
submitted and chosen
(5)
Direction
Weight 20%
Excellentlevel
Clear well- designed
floor plans that help the
production value,
dramaturgy, blocking,
audition notes,
character notes and
descriptions author’s
intent (5)
Design
Performance
Weight 20%
Weight 40%
Excellent level
The design reflects the
author’s intent.
Costume-make-uplighting, scene and
sound and prop
designs submitted
(5)
Excellent level
Performance is fully
and creatively realized
with characterization,
period
Genre, physical
emotional , and
intellectual
demonstrations of
preparedness and skill
(5)
Proficient (3)
schedule for rehearsals
and performance
Microphone and music
needs submitted
Flyers ~T- Shirt Ideas
Tickets design and
program notes
submitted but not fully
realized
Proficient (3)
Floor Plans,
dramaturgy, blocking,
audition notes,
character, notes and
description of author’s
intent submitted on
time but not fully
realized
Proficient (3)
Costume-make-uplighting, scene and
sound and prop
designs submitted
Author’s intent not
fully realized
Proficient (3)
Performance is
accomplished with
characterization, period
Genre, physical
emotional , and
intellectual
demonstrations of
preparedness and
Skill but not fully
realized
Emerging / beginning
understanding of the
process/ staying
involved but needing
lots of guidance and
help and turned in
unfinished
(1)
Emerging / beginning
understanding of the
process/ staying
involved but needing
lots of guidance and
help and turned in
unfinished
(1)
Emerging / beginning
understanding of the
process/ staying
involved but needing
lots of guidance and
help and turned in
unfinished (1)
Emerging / beginning
understanding of the
process/ staying
involved but needing
lots of guidance and
help performance
unrealized not ready for
stage (1)
Total
Total
Total
Total
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Title: Theater Production
Students will know:
how to conceptualize, visualize and realize the architecture and design of a production, whether it be for
an improvised scene, a scene extracted from a play, a one-act or full-length play
Rubric: Example: A Mid Summer’s Night Dream
After reading the play A Mid Summer’s Night Dreamproduce and direct and star in their own production
learners.
Historical and
Cultural
Weight: 25%
Theater Production /
Creativity
Weight: 25%
Creative and Collaborative
Process
Weight: 25%
Analyze and
Synthesize Production
Weight: 25%
Advanced~25
Learner has
conceptualized
contrasting productions
(to learner created
production) and
produced an excellent
play using the
components of theater.
Advanced ~25
Learner has described
and analyzed the
meaning of the theatrical
Advanced ~25
production and given
Learner has demonstrated
excellent feedback and
excellentperformance,directorial
critique
and production choices and
Learner has gone above
created a great collaborative
and beyond in
experience for fellow actors
contributing to the
success and public
relations effort of the
production
Proficient~20
Learner has explained
how the culture and
history of the time affect
the play and
demonstrates a basic
knowledge through
performance
Proficient~20
Learner has analyzed
how the components of
theater are used in this
learner-created
production and has
displayed basiccreativity
and production
knowledge
Proficient~20
Learner has articulated his/her
performance, directorial and
production choices and related
these to other's choices in the
production in an effective
Manner.
Basic~15
Learner has described
the cultural, historical
aspects of the play.
Basic ~15
Learner has understood
how the components of
theater are used in this
learner-created
theatrical production.
In Progress~10 Learner
has identified the time
period in the play.
In progress~10
Learner has identified
the components of
theatre that are used in
this learner-created
theatrical production.
Advanced ~25
Learner has analyzed
and demonstrated how
the elements of the play
exemplify the time
period and demonstrates
this knowledge through
an excellent
performance and design
Basic~15
Learner has described his/her
performance in the production.
In Progress~10 Learner has
performed in the production.
Proficient~20
Learner has described
and analyzed the
meaning of the theatrical
production and given
constructive critique.
Some public relations
effort.
Basic~15
Learner has described
issues which the
theatrical production
presents.
In Progress~10 Learner
has described the
theatrical production.
OTHER EVIDENCE
1. Quizzes and question and answer sessions on the plays.
2. Research papers (1-2 pages maximum) on specific playwrights, styles or plays to show knowledge
of cultural, social, political, philosophical background of plays and playwrights.
3. Journal entries
13
STAGE THREE
LEARNING ACTIVITIES
a.
b.
c.
d.
e.
f.
g.
Participate in online activities involving set design and construction, directing, acting, and
playwriting
Develop an appreciation for theatre as an art form and a reflection of society
Pass three required exams
Write two short papers or web pages (click here to get information) on specific aspects of theatre
(to be determined during the course), depending on students' individual areas of theatrical
interest.
Student creates a working and workable environment from given textual evidence or imagined
sources.
Student describes the process they used in order to create the space.
Participation, research history and culture, read and evaluate plays, present sketches or designs,
formulate design concept
Unit 3: Theater Workshop: Theater as History and Culture
UNIT SUMMARY
The study of this unit prepares theater students to appreciate and understand the relationship between
the theatre and society. Through the activities presented in this lesson, students will become familiar
with the history and design of The Globe Theater, understand Shakespearean drama as a form of
popular entertainment, and appreciate the grand vision and scope behind the new Globe Theater. They
will gain an understanding of the impact live Shakespearean productions had on cultural
literacy.Students will understand the historical timeline and its relevance to the Theater. Late 19th to
mid-20th Century Drama from Ibsen to Ionesco Readings and lectures will focus on the elements of
theatrical practice; artists and innovators of theater throughout history; and on the theater's
development as an art form and a social phenomenon; participation in class forum.
UNIT RESOURSES:
Printed Materials:
Theatre: A Way of Seeing by Wadsworth; 2006; College Prep
GOALS AND STANDARDS:
NJCCCS
1.1.12.C.1 Analyze examples of theatre's influence on history and history's influence on theatre in
Western and non-Western theatre traditions.
1.1.12. C.2 Formulate a process of script analysis to identify how the physical, emotional, and social
dimensions of a character are communicated through the application of acting techniques.
1.2.12. A.1 Determine how dance, music, theatre, and visual art have influenced world cultures
throughout history.
1.2.12. A.2 Justify the impact of innovations in the arts (e.g., the availability of music online) on
societal norms and habits of mind in various historical eras.
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ENDURING UNDERSTANDINGS
a.
b.
c.
d.
e.
f.
Drama is a reflection of history and culture.
Understanding the world’s historical events helps to portray the drama medium of that time
period.
Cultural and historical research supports artistic choices in the set, costume, sound, lighting,
props, make-up, etc.
The writings of certain contemporary playwrights have shaped the direction that theatre has
taken in the past 150 years.
We are currently living in the “fourth major period of dramatic arts”.
The development of theatre from the realism of the end of the 19th century through different
movements of expressionism, symbolism, romanticism, etc. has shaped our current theatre
ESSENTIAL QUESTIONS
a. How is understanding the evolution of theater related to present day theater?
b. How did the drama begin?
c. How did drama change during the Middle Ages and the Renaissance?
d. Who were the great Elizabethan playwrights?
e. How has American drama developed?
f. How does culture affect drama through history? • How does drama bridge cultural diversity? •
g. How does drama reflect the lives of people in the past?
h. Is it possible to make “un-theatrical” theatre into good theatre?
i. What is “good theatre”?
j. How do literature, poetry and music play a role in the development of drama in the 19th and
20th centuries?
KNOWLEDGE AND SKILLS
Students will be able to…
a.
b.
c.
Discus and demonstrate of historical theater terminology
Create, direct and perform in historically correct performances using character, voice, costume,
movement, scene design and blocking
Students will share the significance of theatre and its relationship to history and cultures in
theatrical performance.
PERFORMANCE TASKS
a. Students will present a solo performance in class choosing one genre from the studied
playwrights, using costumes-make up, voice, blocking and movement that reflects the style
and culture of the play
b. Short lectures, cooperative group work and discussions of various styles of theater
c. Staged readings in-class of student written plays based on historical characters
Title: Final Theater History Performance~
Student will choose, research and perform a monologue from a list of Historical Theater
styles and genres. Presentation will involve all aspects of character presentation and costume and
make-up design.
OTHER EVIDENCE
a. Notes on the History of Drama through oral lecture and multi-media presentation
b. Comprehension quizzes
c. Participation research history and culture, read and evaluate plays, present sketches or
designs, formulate design concept
LEARNING ACTIVITIES:
A Continuation of Shakespeare for performance and readings of plays, with discussions and scene
study and viewing of extracts from filmed works: (i.e. A Streetcar Named Desire). Realism and
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Naturalism :plays by Henrik Ibsen, August Strindberg, Anton Chekhov, Frank Wedekind; Departures
from Realism – expressionism, etc. with plays by Luigi Pirandello, Federico Garcia Lorca, Bertolt Brecht,
Jean Paul Sartre; Modern Drama in England and Ireland: plays by George Bernard Shaw, Oscar Wilde,
John Millington Synge, Noel Coward; Modern American Drama: plays by Eugene O’Neill, Thornton
Wilder, Clifford Odets, Tennessee Williams, Arthur Miller; Modernist directions: plays by Jean Anouilh,
Jean Genet, Eugene Ionesco Note: This unit may be broken up throughout the year, in order to
maintain coherency and keep the student’s interest.
Unit 4: Theater Workshop: Theater as Aesthetics and Design
UNIT SUMMARY The purpose of this Theatre Appreciation Unit is to increase students'
understanding, appreciation, and critical perceptions of the theatrical event. Readings and lectures will
focus on the elements of theatrical practice; artists and innovators of theater throughout history; and
on the theater's development as an art form and a social phenomenon; participation in class forum
discussions and sharing of critiques and short reports will offer avenues to explore students' individual
theatrical interests.
UNIT RESOURSES:
Printed Materials:
Theatre: A Way of Seeing by Wadsworth; 2006; College Prep
GOALS AND STANDARDS:
NJCCCS
1.4.12.A.3 Develop informed personal responses to an assortment of artworks across the four arts
disciplines (dance, music, theatre, and visual art), using historical significance, craftsmanship, cultural
context, and originality as criteria for assigning value to the works.
1.4.12.B.1 Formulate criteria for arts evaluation using the principles of positive critique and observation
of the elements of art and principles of design, and use the criteria to evaluate works of dance, music,
theatre, visual, and multimedia artwork from diverse cultural contexts and historical eras.
1.4.12.B.2 Evaluate how an artist's technical proficiency may affect the creation or presentation of a
work of art, as well as how the context in which a work is performed or shown may impact perceptions
of its significance/meaning.
1.4.12.B.3 Determine the role of art and art-making in a global society by analyzing the influence of
technology on the visual, performing, and multimedia arts for consumers, creators, and performers
around the world.
1.3.12.C.1 Create plays that include well-structured plots and subplots, clear thematic intent, original
characters, and technical theatrical elements appropriate to a variety of theatrical genres.
1.3.12.C.2 Create and evaluate performances by citing evidence of specific physical choices, sustained
vocal technique, and clearly motivated actions.
ENDURING UNDERSTANDINGS
a.
b.
c.
d.
e.
f.
Students will understand that spatial awareness and the ability to move within a clearly defined
space are fundamental in directing and acting in scenes or plays
Performing can develop responsible behavior and social discipline, as well as a respect for the
Arts.
Societal standards of theater production are learned by attending performances as well as
participating in a drama performance.
Knowledge of dramatic arts and theatre leads to a lifelong appreciation and active interest in
the Arts.
The writings of certain current playwrights have been shaped through the direction that theatre
has taken in the past 150 years.
We are currently living in the “fourth major period of dramatic arts”.
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g.
Many modern playwrights adapt plays or novels to become musical theatre or straight theatre
with mixed success
ESSENTIAL QUESTIONS
a.
How does performing, creating and responding to dramatic/theatrical works provide a means
for artistic development?
b. How does participating in theatre help young artists "voice what they mean'- and then discover
that one is not aloneReadings of plays, with discussions and mise-en-scene whenever possible.
c. How can lighting affect the mood or emotional impact of a situation?
d. How can music and sound effects affect the mood or emotional impact of a situation?
e. What is spatial awareness?
f. How does spatial awareness and movement change the way an actor reacts?
g. How does a plays genre, mood, setting, and time period effect costuming?
h. How does the design of a production (the architecture) and the space it is found in affect the
director’s concept?
i. How does the design of a production affect the audience’s response to the overall production?
j.
Does the director of the play have the only and final word on everything in a production?
k. How does the director best convey his/her vision to the actors, scenic designers, lighting
designers, stage crew, etc.?
l. How does movement within a space affect the way a director perceives a play?
m. How does spatial awareness and movement change the way an actor reacts?
n. How will the students’ knowledge and application of spatial awareness allow them to be better
directors?
KNOWLEDGE AND SKILLS
a.
b.
c.
d.
e.
f.
g.
h.
i.
j.
Perform different forms of drama
Demonstrate the difference between theater and drama
Demonstrate an appreciation for theater as an art form and a reflection of society
Distinguish characteristics of theater that differentiate it from other art forms
Perform the major components of the theatrical event
Demonstrate terms relating to the study of theatre
Students create and reliably implement production schedules, stage management plans,
promotional ideas, and business and front of house procedures for theatre, film or television
Student describes the process they used in order to create the above.
What happens behind the scenes is the most vital part of the engine of a theatrical production.
All the aspects of producing a play, whether in a professional or amateur production.
PERFORMANCE TASKS
Title: Critique





Small and large group performances
Public Performances
Formal and informal discussion groups
Viewing of extracts from filmed works:
Contemporary Theatre: plays by Edward Albee, Christopher Durang, David Mamet, Sam
Shepard, David Auburn (Proof), etc.
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
Rubric: Critique Evaluation
Trait: Critical skills/thinking
Analysis
Self Review
Weight: 25%
Weight: 25%
Peer Review
Application
Weight: 25%
Weight: 25%
Below Proficiency:
Below Proficiency:
Below Proficiency:
Below Proficiency:
Students are not able to
Students are not able to
Students are not able to
Students are not able to
recognize elements or
describe the genre, style
describe the genre,
utilize key concepts to
differentiate between
or quality of their
style, or quality of the
improve aspects of the
styles or genres.
performance
peers performance
performance
Proficient: Students are
Proficient: Students are
often able to recognize
often given general and
theatrical elements. In
appropriate terminology
addition, students can
recognize different styles
even if they cannot
relating to style, genre
and quality of
performance.
define.
general and appropriate
feedback relating to
style, genre, and quality
of peer performance.
Proficient: Students
utilize general and
appropriate concepts to
improve their
performance with
prompt
Advanced Proficiency:
Advanced Proficiency:
Students can
Advanced Proficiency:
differentiate between
Students are able to
styles and genres
synthesize and apply
fluently. In addition,
information to improve
terminology and
the quality of a given
application shows high
performance.
levels of mastery.
OTHER EVIDENCE
Proficient: Students give
Advanced Proficiency:
Students perform at a
Students are able to
mature level based upon
synthesize, express, and
prior and gained
accurately apply
knowledge. Students
information to shape the
make mature and
quality of a peer
meaningful judgments
performance.
about music and musical
performances
Unit Vocabulary Quarterlies Journal Entries Theatrical Design Projects
LEARNING ACTIVITIES
Advanced complex plays and genres will be explored.
Describe and analyze the play script--characters, plot and structure, or content and theme, as in
the play reading critique--and explain how the production realized that element of the written text
in its production. Then apply it to performances throughout the year.