acting methods and styles unit

Created by Carson Wright

ACTING METHODS AND STYLES UNIT


Table of Contents

ACTING METHODS AND STYLES UNIT OVERVIEW .................................................................... 2

Lesson #1: Introduction to the Unit/Stanislavsky ....................................................................................... 7

Lesson #2: Stanislavski System ...................................................................................................................... 14

Lesson #3: Imagination/Magic If ................................................................................................................. 20

Lesson #4: Stanislavski System Moves to America .................................................................................... 24

Lesson #5: Sanford Meisner and Quiz ......................................................................................................... 28

Lesson #6: Viola Spolin .................................................................................................................................. 32

Lesson #7: Forum Theatre Workshop (Part 1) .......................................................................................... 35

Lesson #8: Forum Theatre Workshop (Part 2) .......................................................................................... 39

Lesson #9: Forum Theatre Debrief .............................................................................................................. 43

Lesson #10: Brecht ......................................................................................................................................... 46

Lesson #11: Hip Hop Theatre ...................................................................................................................... 49

Lesson #12: Practice Day ............................................................................................................................... 53

Lesson #13: Review/Work Day .................................................................................................................... 55

Lesson #14: Performance Day ...................................................................................................................... 58

Lesson #15: Final Exam ................................................................................................................................. 61

Unit: Acting Methods and Styles 1


ACTING METHODS AND STYLES UNIT OVERVIEW

UNIT TITLE

Acting Methods and Styles

UNIT OBJECTIVE

Students will be able to demonstrate their understanding of a several different acting methods and styles by completing an exam.

CLASS LEVEL

Advanced Drama Class

PRIOR EXPERIENCE

While it is possible for students to succeed in this unit without any prior knowledge or skills, it is expected and preferred that students will have some exposure to drama and acting, either in extracurricular drama classes, or in prior drama classes in Junior High/High School.

PRE-ASSESSMENT

The Balderdash Activity—see lesson #1 for more detailed information. This pre-assessment is designed to survey the students on what they might already know about the styles and methods we will be covering in the unit. Attached in the lesson #1 are a list of terms, names, styles, etc. that will be used in the Balderdash Activity. This activity is designed to get the students excited and to briefly introduce each main concept. Upon completing the activity, you should have a good sense of what students are already familiar with, or to what extent that are familiar with something.

GRADING BREAKDOWN

 Daily Assignments and Participation—14 assignments for a total of 280 points

 Pop-Quiz—40 points

 Ad-rap-tation performance—80 points

 Final Exam—150 points

TOTAL POINTS = 550 points

NATIONAL STANDARDS

CREATING

 TH:Cr1.1.HSIII.a o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

 TH:Cr3.1.HSIII.b o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work.

PERFORMANCE

 TH:Pr4.1.HSII.b o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.



 TH:Pr5.1.HSIII.a o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

BIG IDEAS

Perspective, Reflection, Critique

ESSENTIAL QUESTIONS

 How do theatre artists comprehend the essence of drama processes and theatre experiences?

 In what ways can research into theatre histories, theories, literature, and performances alter the way a drama process or production is understood?

ENDURING UNDERSTANDINGS

 Theatre artists critically inquire into the ways others have thought about and created drama processes and productions to inform their own work.

 Theatre artists reflect to understand the impact of drama processes and theatre experiences.

Lesson breakdown:

Pre-Unit

There is nothing specific that students should be working on before this unit. There are no assignments that need to be assigned prior to the first day of the unit.

Day 1: Introduction to the Unit/Stanislavski

Students will be able to demonstrate their current understanding of various acting methods and styles by participating in the “Balderdash” pre-assessment activity.

Assessments:

 Participation in the Balderdash Activity. o Participation is worth 20 points.

Day 2: Stanislavski System

Students will be able to demonstrate their understanding of the given circumstance, objective, and super objective by completing the Stanislavski System assignment.

Assessments:

 Participation in discussions, and learning activities.

 Completion of the Stanislavski System assignment. o The Stanislavski System assignment is worth 20 points.

Day 3: Imagination/Magic If

Students will be able to demonstrate their ability to explore and use their imagination by participation in both group and individual exercises through out the class period.

Assessments:

 Participation in the class activities. o Respectful and thoughtful participation is worth 20 points.



Day 4: Stanislavski System Moves to America

Students will be able to demonstrate their knowledge of 20 short, group presentations to the class. th century theatre pioneers by making

Assessments:

 Participation in class activities.

 Group presentations. o These presentations are worth 20 points.

Day 5: Sanford Meisner and Quiz

Students will demonstrate their understanding of basic Meisner Technique by completing the

“connect, respond, and speak” activity.

Assessments:

 Participation in the activities, including the “connect, respond, and speak” activity.

 Pop-Quiz. o This quiz is worth 40 points.

Day 6: Viola Spolin

Students will be able to demonstrate their understanding of the strength of improvisation exercises by participating in several improvisation games as a class.

Assessments:

 Participation in classroom activities and discussions.

 Participation in Spolin improvised games. o Brave participation is worth 20 points.

Day 7: Forum Theatre Workshop (Part 1)

Students will be able to explore some techniques and practices of Augusto Boal by participating in a

Forum Theatre workshop.

Assessments:

 Participation in all facets of the workshop. o Respectful and thoughtful participation is worth 20 points.

Day 8: Forum Theatre Workshop (Part 2)



Assessments:

 Participation in all facets of the workshop. o Respectful and thoughtful participation is worth 20 points.

Day 9: Forum Theatre Debrief

Students will be able to analyze, describe, and demonstrate their understanding of Augusto Boal’s games and practices by discussing in small groups and writing a reflection response.

Assessments:

 Participation in learning activities.

 Participation in group discussion and completion of the reflection o Thoughtful and respectful participation is worth 10 points.. o The reflection is worth another 10 points for a total of 20 points for the day.



Day 10: Brecht

Students will be able to accurately demonstrate Brechtian style by creating and performing mini

Brechtian scenes.

 Participation in class discussion and learning activities

 Creation and performance of mini Brecht scenes. o This performance is worth 20 points.

Day 11: Hip-Hop Theatre

Students will be able to articulate the basic tenants of hip hop theatre and culture by participating in the class discussion.

Assessments:

 Participation in the class discussion and learning activities o Thoughtful and respectful participation is worth 20 points.

Day 12: Practice Day

Students will be able to demonstrate their understanding of hip-hop theatre and culture by rehearsing and preparing their Shakespeare ad-rap-tations.

 Participation within their work groups.

 Check-in with instructor. o This check-in is worth 20 points.

Day 13: Review Day/Work Day

Students will be able to demonstrate their understanding of a several different acting methods and styles by reviewing concepts and techniques learned throughout the unit.

 Participation in group discussion and group reviews.

 Participation in review game. o Participating in the review game is worth 20 points.

Day 14: Performance Day

Students will be able to demonstrate their understanding of hip-hop theatre and culture by performing their Shakespeare ad-rap-tations.

Assessments:

 Hip-Hop theatre reflection.

 Performance of their ad-rap-tation. o This performance is worth 80 points, with another 20 points allotted to a thoughtful reflection assignment.

Day 15: Final Test


Assessments:

 The final exam. o This is worth 150 points.



Post-Unit

Students now have an understanding of a variety of methods and styles in which to create and perform as theatre artists. This unit is designed to lead directly into a closely related unit where students take a more hands-on approach to the styles they have learned, by rehearsing and creating theatre performances using specific styles that they have learned.



DAY 1

UNIT TITLE


LESSON TITLE

Introduction to the Unit/Stanislavsky

CLASS

Drama 4

DURATION

75 Minutes

EDUCATIONAL OBJECTIVE

Students will be able to demonstrate their current understanding of various acting methods and styles by participating in the “Balderdash” pre-assessment activity.

NATIONAL THEATRE ARTS CORE STANDARDS

CREATING



PERFORMANCE



MATERIALS

 Pre-made “correct” answers for Balderdash (you can just cut out the answers attached to this lesson)

 An empty cardboard box.

 A copy of the “Stanislavski System” for each student.

TEACHING PRESENTATION:

Hook: Explain that we are going to play a little game called Balderdash! First, split students into groups. Count them off into 4 or 5 groups, or split them however you feel is necessary.



Step 1: Instruction [5 minutes] Once groups have been created assign each group and even number of the names/terms listed below:

 Konstantin Stanislavski

 The Stanislavski System

 Uta Hagen

 Theatre of the Oppressed

 Method Acting

 Viola Spolin

 Augusto Boal

 The Rainbow of Desire

 Lee Strasberg

 Stella Adler

 Meisner Technique

 Bertold Brecht

 The Magic “What If”

 Emotional Recall

 Sense Memory

 Jonzi D

 Second City

Explain that each group member needs to write a definition for the term. If they know the term, then only one person should write the correct definition. Explain that they are trying to fool their classmates into thinking their definition is right. So, when all is said and done, each member of the group should have written their own definition for the term. Explain that it would be nice if they could write neatly, so that you can read them. Answer questions, then proceed.

Step 2: Work time [5-7 minutes] Allow students time to work on their bogus answers. Walk around and offer help and ensure students are completed the task as it was instructed to them. After a few minutes, ensure all of the students have finished their bogus answers.

Step 3: Game [35-40 minutes] Explain that you will call each term up, one at a time. You will collect all the bogus terms from the group that was assigned it, and throw them into a cardboard box (or some similar container) along with the right answer. The box is so students cannot see which piece of paper you are reading from. You will read each answer, then allow the students to guess. Have the class vote, if necessary, but let majority rule on the final answer. Once they’ve picked, you can share the correct answer with the class.

NOTE: Students will not pick the right answer, usually. It’s surprising because the right answer just feels so right. But they will fall for many of the tricks of their fellow students. Feel free to add anything to the list that you feel is necessary.

Once students are clear on the instructions, play the game! Go through each term until you have covered all the terms.



NOTE: This is your chance to understand what students are familiar with and/or not familiar with.

Pay attention to each student as they respond, as their responses will allow you to better gauge their understanding.

Step 4: Instruction [5 minutes] Once the game wraps up and students have been given enough time to transition themselves, explain that we are not embarking on a unit that is a little longer than our normal ones. In this unit we are going to start with recent theatre and trace many of the artists, methods, and styles that have developed over the century or so.

Explain that for the next several weeks, we are going to be examining acting methods and styles through the eyes of theatre artists. From here on out, we are a group of theatre artists who are trying to explore our craft. Ask the students, “Why is it important as theatre artists to know methods, styles, or techniques?” Take a few ideas. Then remind the students again that as we move forward, we aren’t a class of high school-ers anymore, but we are theatre artists who are exploring our craft.

Step 5: Lecture [15 minutes] With that in mind, you can return to where you left off. You may ask the students where theatre originated, and they should answer, “Greece!” Then explain that we aren’t going back that far but instead we are going to start with a man names Konstantin Stanislavski.

Give the students some of the following information.

 Born in 1863

 Stanislavski, pioneer of realism in theatre movement.

Ask the students the following question:

 Who knows what realism is? In Theatre? o Realism is about making the stage action represent everyday life.

Get a few answers from the students then continue on with the following information and questions:

 Stankislavski is really the foremost pioneer in Realistic Acting. o Based on what you know about realism, what does realistic acting mean?

 Stanislavski as an actor, but he was freaked out that he felt dead onstage. He didn’t feel real, so he spent a lot of time researching, watching actors, and developing what is known now as the Stanislavski system.

 What do you know about the Stanislavski System?

Again, take a few responses then move onto the next section:

 The S. System is about working from the inside out. He writes that technique is really the most important part about acting. The most talented actors have the most technique. o However, Stanislavski says that the system is merely a means to an end. It won’t make you a great actor. He doesn’t really believe acting can be taught. o He also says that his system shouldn’t be the end all be all, however it has sort of become that way. o Many of our modern acting styles and methods have stemmed from Stanislavski.

At this point hand out the Stanislavski System handout and conduct the following discussion:

 What do you notice?



 Is there anything you recognize? Anything familiar?

Students might be a little overwhelmed by this diagram. That is just fine. In fact, that is the point.

Let them see the complicated system and then explain that they do not need to know everything.

However it is a good visual representation of all the work that Stanislavski says you should be doing.

90% of the performance should be work and technique, and 10% should be talent, as Stanislavski says. Explain that students should hang onto the Stanislavski System handout for next time.

Step 6: Assignment [10 minutes] Explain to the students that need to locate a monologue to use in class. They should find it and start memorizing it. The monologue should be somewhat realistic meaning, they shouldn’t play a character who is dead, who is an animal, who is over ten years older then them, etc. Provide students with suggestions as necessary, however the choice of a monologue should not be something the students slave over too much. As long as they have something they connect to and that they could realistically play, they will be fine.

Allow student the last few minutes of class to start searching for those monologues. They should have them chosen by next class period.

Assessment:

Student’s participation in the Balderdash Activity is worth 20 points for each student.







 Konstantin Stanislavski o Russian Actor and Teacher, and realistic acting pioneer

 The Stanislavski System o A system of steps and techniques to create characters

 Uta Hagen o German-American acting teacher

 Method Acting o A style of acting where the actor takes on the emotions and feelings of a character

 Viola Spolin o A pioneer of American Improv

 Augusto Boal o Brazilian theatre artist and politician

 The Rainbow of Desire o The desired outcome

 Lee Strasberg o The creator of “method acting”

 Stella Adler o The only American to study with Stanislavski

 Meisner Technique o Acting technique designed to create honest characters in imaginary circumstances

 Bertold Brecht o German theatre pioneer and innovator


 Theatre of the Oppressed o Theatre that explores power dynamics

 The Magic “What If” o A method for developing honest emotional connection.

 Emotional Recall o Using a real-life memory to get an emotional reaction in acting

 Sense Memory o Remembering the physical sensations of emotional moments.

 Jonzi D o Hip-Hop theatre pioneer

 Second City o Chicago based improv group




DAY 2

UNIT TITLE


LESSON TITLE

Stanislavski System

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to demonstrate their understanding of the given circumstance, objective, and super objective by completing the Stanislavski System assignment.

NATIONAL THEATRE ARTS CORE STANDARDS

CREATING



PERFORMANCE



MATERIALS

 Whiteboard

 Dry-Erase Markers

 Given Circumstances, Objective, Super Objective, Adaptations worksheet (1 for each students)

 Open space for students to work in.

 Some random object (plastic animal toy, a doll, something that isn’t normally found in the room)




Hook: Set the random object in the front of the room. Students may inquire about it, but just tell them that it’s for later. They will continue to wonder about it until you use it in step 4. After announcements or other class business, ask the students to leave their things in their seats, and to come onto the stage with you.

Step 1 Instruction/Group Practice [7-10 minutes] Have the students find a space on the stage that is their own. They should have enough space to call their own. Then take them through some of the following relaxation exercises.

1.

Ask the students to check in with their body. Silently, they should check in with their

2.

3.

4.

5.

muscles and body, and locate and discover their tensions.

Explain to the students that they should tense their whole body, tighten every muscle.

Allow the students to do this for a moment, and then tell them to relax their muscles.

Have them repeat it again. Then have them check in again with their bodies.

Briefly ask the students if there is a difference in their tensions. Have some released a bit?

Then have the students try to tense just one side of their body. They shouldn’t be able to,

6.

7.

but that’s the point.

Have the students try to tense just one muscle only, leaving the rest of their body tight.

Again, they should be able to do it, but that is the point.

Ask the students if they are able to do that? Ask them about their experience trying to tighten just one muscle.

Ideally, students should be able to discern that it is not possible. They should be able to discern that even small tension begins to slip into the other muscles. After a few minutes of discussion regarding the tensions, explain that exploring tension and relaxation was another fundamental part of the

Stanislavski system. We will talk more about later in the lesson.

Step 2 Review [3 minutes] After the relaxation activity, ask the students to help you review what we talked about last time. Be sure to cover the following points:

 Konstantin Stanislavski o Russian actor and acting theorist, teacher, and director o Developed the Stanislavski System of acting

 This system is designed to be used by actors to develop realistic characters and performances.

 Emphasize his contribution to realism in acting.

Prompt students to sum up what we have covered so far, asking for as much specific information from them if possible. Then explain that we are going to add on to what we know about the

Stanislavski System today. We aren’t going to cover every facet, however we will the most basic and fundamental parts of the System, starting with relaxation.

Step 3 Instruction/Group Practice [6 minutes] Explain that relaxation is one of the most basic parts of the Stanislavski system. Give them the following information:

 In developing the system, Stanislavski observed great actors and noticed that they were completely relaxed, that there was no tension in their body.



 He decided that tension is the greatest enemy to creating a real and free character.

 Stanislavski stresses the importance of actively seeking to relax unwanted tensions, both in preparing to act and in the actual performance.

Step 4 Instruction [8 minutes] Then have the students return to their seats. On the whiteboard, write

“Relaxation” followed by “The Magic If.” Explain that the Magic If is one of the most fundamental part of the Stanislavski System. Ask the students the following question:

 What do you think I mean by the magic if?

Take some suggestions, then explain that you are going to show them what it means.

Ask for a volunteer. Ask the volunteer to pick up the random object in the front of the room. After she is successful, say this: “What if this [random object] weighed 2000 pounds? Pick it up.” They should take the bait and imagine it’s heavy. They won’t be able to life it. Thank them and return them to their seat.

Ask for another volunteer. Ask them to go and walk through the door. They do it. Then say, “Okay, what if that door were the front door to your house, and it was 3 hours past curfew.” They will be a little more ginger about it. There will be more action. Thank them and return them to their seat.

Then explain to the class that the magic “if” is the lever that lifts you out of reality and into the imagined world. As an actor, you use the magic “if” to suspend your disbelief and place yourself in the imaginary world, just as the volunteers did. Ask the students if they need clarification, and then proceed.

Step 6: Instruction [5 minutes] Explain that the next fundamental part of the Stanislavski System are the given circumstances. Write “given circumstances” on the white board. Ask the students what they think that means. Take some responses, then give them the following information.

 This is, again, about finding truth in the performance. It’s about portraying realistic performances, through the creation of a specific imagined space.

 After the magic if, it’s the given circumstances that really help develop the truth and realism of a performance.

 The given circumstances are anything and everything from the specific details of the time period, the contexts, details about characters, the place, relationships, family dynamics, etc.

Be sure to explain that for Stanislavski, this was very important. The more specific the information was, the better. The temperature in the room, the humidity, the smells, the way a lampshade feels— all of this is important for the actor to know.

Step 5 Instruction/Group Practice [8 minutes] Write on the white board “concentration.” Explain that

Stanislavski also places great importance on concentration. Explain to the students that we are going to try some concentration activities.

First have students close their eyes. Explain that they should remain silent and just listen. They should take note of every sound that they hear. They should keep their eyes closed, mouths closed, and their ears open until you tell them to open their eyes again. Let them listen for a few minutes, then conduct a short discussion using the following questions:

 What did you hear?



 Have you heard it before?

 What else did you notice?

Explain that this all feeds back into those given circumstances. Stanislavski believes that it’s so important to be intimately aware of your surroundings, so much so that the actor should really only be aware of themselves, and the immediate space around them. Explain that this is where the idea of the Fourth Wall comes from.

The fourth wall separates the actors form the audience. Stanislavski is a huge fan of it. The actor should be so focused on his character and creating the life that the audience should just fade away.

That is why concentration exercises are so important for Stanislavski. Take any questions as they come up, and then continue onto the next step.

Step 6 Instruction [5 minutes] Write on the white board “Emotional Memory Recall” and “Sense

Memory.” Explain the following information:

 Emotional Recall and Sense Memory involve using your own memories from your own life to recreate the feelings in your acting.

 For example, if your character looses a loved one, you might used the real-life death of your grandmother to create the same feelings of loss in you, so that you might more realistically convey those emotions.

 Sense memory is similar, though it involves the physical sensations surrounding emotional events, to that you can trigger yourself to feel those old emotions.

Answer any questions that come up, then be sure to emphasize the following: this is a dangerous method for acting. In fact, Stanislavski moved away from this in his later years. Think about it: trudging up old buried emotions and feels to better portray them as a character is not healthy. As a result, I won’t be leading anyone through those activities. However, it is important to know about

Emotional Recall and Sense memory, as they are foundations of the Stanislavski System.

Answer any other questions, then move on.

Step 7 Instruction [3 minutes] Write on the white board “Objective” and “Super objective.” This should be familiar to the class, so it is not necessary to spend so much time on it. Ask the students what the difference between the objective and the super-objective might be. Take several responses, and then offer the following information:

 Stanislavski believed that in every scene, a character had their objective. You are all familiar with objectives.

 He also believed that all those objectives that exist throughout the play all weave into one larger, over-arching super objective.

 That means that a character has one over-arching drive throughout the play.

You can use Romeo as an example. In the Balcony Scene, Romeo’s objective might be to get a kiss.

However, that objective feeds into the greater super objective, which might, to spend his life with

Juliet. Brainstorm a few other super-objectives as a class using other plays and stories that you all may know.



Step 8 Assignment [30 minutes] Hand out the Stanislavski half-sheet and explain that students should complete this worksheet by next class period, using the monologue they should have picked. Explain that this is a sort of mini practice of the Stanislavski technique, so they should be as specific and clear as they can. They should be nitpicky and very descriptive. Remember, that for Stanislavski the more detail, the better. Explain that they have the rest of class to get started on the worksheet, or if they haven’t solidified their monologue, the can continue to look for one.

Allow students the time to work on their homework or to search for monologues. Offer suggestions as you meander through the class.

Assessment:

Students will complete with Stanislavski handout, and will turn it in at the next class. It is worth 20 points.



Stanislavski – Given Circumstances, Objective,

Super Objective, Adaptations

On a separate piece of paper, write or type your answers to following questions. Your responses are due next class period (October 23)!

1.

List 15 specifics (very specific) about the location in which your monologue takes place. BE SURE TO VARY THE TYPE OF INFORMAITON

YOU LIST

. (Temperature, lighting, smells, what has happened before,

2.

what is expected to happen in the space, etc.)

List 15 specifics about your character.

3.

4.

5.

What is your character’s Super Objective (as we defined it in class)?

What is your character’s objective in the monologue?

What does my character need to overcome to achieve my objective

Stanislavski – Given Circumstances, Objective,

Super Objective, Adaptations

On a separate piece of paper, write or type your answers to following questions. Your responses are due next class period (October 23)!

1.

List 15 specifics (very specific) about the location in which your monologue takes place. BE SURE TO VARY THE TYPE OF INFORMAITON

YOU LIST

. (Temperature, lighting, smells, what has happened before,

2.

3.

4.

5.

what is expected to happen in the space, etc.)

List 15 specifics about your character.

What is your character’s Super Objective (as we defined it in class)?

What is your character’s objective in the monologue?

What does my character need to overcome to achieve my objective?



DAY 3

UNIT TITLE


LESSON TITLE

Imagination/Magic If

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to demonstrate their ability to explore and use their imagination by participation in both group and individual exercises through out the class period.

NATIONAL CORE ARTS STANDARDS

CREATING



PERFORMANCE



MATERIALS

 Freeing the Natural Voice by Kristin Linklater (2006)

 An open work space.


Hook: Explain to the students that they should follow you onto the stage and lie down flat on their back. Instruct them to close their eyes. Explain that we are going to continue exploring Stanislavski today, so we will being on relaxation and concentration. There should be no talking, and only listening [3 minutes]



Step 1: Group Practice [10 minutes] Once students are situated on the floor, take them through the relaxation exercise in Kristin Linklater’s book “Freeing the Natural Voice,” found on page 54. Follow her instructions. You can even read directly from the book (in fact I would recommend that—her wordings are much better than what I could come up with).

Take your time as you go through the instructions. Don’t rush the students and allow for enough time for them to truly feel relaxed. It should take about 10 minutes to complete the whole activity.

Step 2: Discussion [4 minutes] Once you’ve completed the relaxation exercise, explain that students should take caution in standing back up. Let them take their time, then begin a short discussion to start the student’s brains up. Use the following questions:

 How do you feel?

 Why do you feel that way?

 How can relaxation prepare you for creative work? Have you experienced that before?

Entertain thoughts and ideas for several minutes as student’s brains and bodies wake back up. Then continue to the next step.

Step 3: Group Practice [10 minutes] Ask the students to sit in a circle. They should face the middle.

Explain that this is a silent activity. Then continue on using the following prompts:

1.

In the middle of the circle, there is a golden ball. Can you see it? It is right in the middle of the circle.

2.

Observe the ball. See its color, its texture. See its size. Guess it’s weight.

3.

The ball is glowing now. It is emanating a soft light. What does it look like? a.

At this point you can ask specific students, “What does the ball look like, Travis?”

How big is it, Nancy?” b.

Use their input as you continue to describe the ball.

4.

The ball is suddenly transforming…it is now an egg. And the egg is glowing. a.

What does is look like now, Matt? b.

What else about it, Jeff?

5.

Now inside that glowing egg, there is a poisonous snake. What’s it doing?

6.

The egg is about to hatch. a.

At this point call on a specific volunteer.

7.

Dillon, go pick up the egg.

The purpose of this exercise is to get the students to get deeply invested with their imaginations. By the time the egg is about to hatch, the students should hopefully be involved enough that the suggestion of a poisonous hatchling should frighten them in some way. It doesn’t matter what the last volunteer does, as long as they are reacting honestly.

Step 4: Discussion [5 minutes] Once the volunteer has picked the egg up, or if she leaves it in the middle, you “hatch” the egg for a nice surprise. Then thank the class for their participation. Lead a short discussion using the following questions:

 What was that experience like?

 Did you feel anything?

 What happened when I told you it was a snake?



Usually, students will be excited to talk and will give you plenty to work with. Let as many students respond as you can. As the discussion winds us, explain that we’re going to try another exercise.

Step 5: Modeling [5 minutes] Choose a volunteer who you feel is willing to trust you and is willing to let their imagination take over. Explain to the volunteer that there is a box in the middle of the circle.

Then ask the volunteer to think of the thing that they want most in the world—more than anything else. They should divulge it to the group. Once they have that in their mind, explain that inside the box in the middle of the room is what they want. Leave the prompt there. The student should most likely pick it up and open it. As the open it, offer them some side coaching:

 This is what you want most. In the entire world, this is what you want.

 See it first. Open it and see it. Take it in. What does it mean?

 Let the imagination take you there.

The student should respond to your prompts and will “receive” their desire in an honest way, hopefully.

Step 6: Discussion [5 minutes] After the volunteer has demonstrated, ask the class several questions:

 What did you see?

 Were you interested? Why?

 How did she feel about it? Was it clear?

Let students respond to questions for a few minutes before moving on.

Step 7: Group Practice [10 minutes] Explain that you are now going to try a few exercises as a group.

First pose the following question: What if I told you that the time was now 3:00 AM? Get responses from as many students as you can. Prompt them to ask their own questions, such as “Why are we still here? Why haven’t I left? Why have you kept us?” As you start to receive questions, pose them right back to the class. Encourage them to fill in the gaps. Why are we here? Why haven’t you left?

Imagine the circumstanced! Allow this to continue as students create the circumstances together.

Then explain that we are going to go a different direction. What if this room were actually a pirate ship? Students will start to suggest ideas and details. Eventually, simply ask the class, “Show me.”

They will most likely, without too much prompting, start creating the life aboard a pirate ship. As they continue on, give them some side coaching:

 What is the air like?

 What is the whether like?

 What is the ocean like?

 What are you wearing?

 How does it smell?

 Who are you talking to?

 Why are you here?

Encourage their imagination for several minutes as they create the pirate ship. Then bring them back to reality and continue to the next step.



NOTE: You can substitute these imagination scenarios with any scenario you’d like, as long as it allows students to take responsibility for filling in the gaps with their imaginations.

Step 8: Discussion [5 minutes] Lead a discussion using the following questions:

 What is that experience like?

 Did anyone make any discoveries about themselves or their imagination?

 Did anyone feel anything? What? How?

 By what power did we create this pirate ship?

Take as many comments as you can, using them to springboard into other questions that encourage the class to think beyond the obvious. Be sure to emphasize that it is through the imagination, through the magic if, that we start to emote and to feel things as we act. Without that lever, the emotion is much harder to find. That is why the Magic If is so important to Stanislavski’s technique.

As the discussion winds down, thank the class for their participation and then continue to the next step.

Step 9: Assignment [10 minutes] Split the class into six groups. Explain that each of the groups will be assigned a name. They need to come next time prepared to give a short presentation on the person they were assigned. The presentation should be no more than 5 minutes. Explain they should use the internet, books in the classroom, or any other resource they might have access to gather their information. Emphasize that these presentations need not be anything grand. However, the whole group must participate in the presentation. They will have some time on the next day to communicate with their group mates prior to giving their presentation. However, everyone should come prepared with as much information as they can on his or her person. Ask for clarifying questions, then assign each group one of the names below.

 Harold Clurman

 Lee Strasberg

 Uta Hagen

 Stella Adler

 Sanford Meisner

 The Group Theatre in New York City

Assessment

Students can be assessed through their participation in discussions and class activities. Students should be respectful of themselves as well as of their classmates. Their participation is worth 20 points. Don’t hesitate to dock students today if necessary. It’s a great to establish that we respect each other in this classroom.



DAY 4

UNIT TITLE


LESSON TITLE

Stanislavski System Moves to America

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to demonstrate their knowledge of 20 th short, group presentations to the class.

century theatre pioneers by making


CREATING



PERFORMANCE



MATERIALS

 Computer/projector to play the following clips: o https://www.youtube.com/watch?v=M2iGQV_H4PQ (Harold Clurman) o https://www.youtube.com/watch?v=HNBRFSUXR-A (Lee Strasberg) o https://www.youtube.com/watch?v=xpzLLv-7_JE (Uta Hagen) o https://www.youtube.com/watch?v=QjNCdjWee5k (Stella Adler) o https://www.youtube.com/watch?v=jP1Nkr1kc5o (Sanford Meisner) o https://www.youtube.com/watch?v=ZTRb4F7hyK0 (Group Theatre)




Hook: Begin the class with a where exercise. All you have to do, is say “What if this room were an airport?” Wait for students to respond. They will be confused, for a moment maybe. Just repeat the question and eventually they will begin to imagine that the room is an airport and behaving as such.

Allow the exercise to continue for some time. You can change the location by asking another question like, “What if we were on the beach?” Go through as many questions as you can to allow students to stretch their imaginations and to get physically a little warmed up. [10 minutes]

Step 1: Review [4 minutes] Upon completion of the “where exercise,” lead a short discussion to review the important aspects of the Stanislavski system. Use the following questions:

 Which part of the Stanislavski System were we using in that activity? (the “magic if”)

 How would you describe the magic if? o Ensure they know and understand that the magic if is the “lever” that lifts you from reality and into the imagined circumstances.

Just spend a brief amount of time catching up, then continue on.

Step 2: Transition [2 minutes] Explain that we are going to move on from Stanislavski today. Explain that, even though we are moving on, Stanislavski had a HUGE effect on theatre artists of the early

20 th century. A gigantic effect. Today we are going to brush over several of individuals that were greatly affected by Stanislavski and his work. Since they are all so similar to Stanislavski, we are going to just touch on each person so that you are aware of them.

Step 3: Instructions [3 minutes] Explain to the student that they are going to take turns going through their presentations. They should all come up as a group and present their little mini presentations.

They should include all the information they could find about their assigned person. Explain that the order that you will proceed in is as follows:

 Harold Clurman

 Lee Strasberg

 The Group Theatre in New York City

 Uta Hagen

 Stella Adler

 Sanford Meisner

Step 4: Group presentations [45-50 minutes] Let students present. As the present, take note of who is participating and who is not. Their grade for the day is dependent upon their participation in their presentation. Explain that after each presentation, you are going to be adding bits and pieces to ensure that the students have all the information. Also explain that you are going to show After each presentation, follow the instructions that follow after each name below:

Harold Clurman:

 Show the Harold Clurman video clip.

 Ask the students the following: o Is he was you expected?

Lee Strasberg:



 Show the Lee Strasberg clip

 Ensure students understand that Lee Strasberg is the man who invented the Method

Technique.

 He loved Stanislavski’s teachings, especially emotional recall and sense memory.

 When Stanislavski moved away from those, Lee Strasberg felt utterly betrayed.

The Group Theatre:

 Show the Arthur Miller talking about The Group Theatre clip

 Explain that this video is Arthur Miller, a playwright, talking about The Group Theatre.

 It was a group of like-minded theatre artists all seeking to create good realistic theatre. It was based in Stanislavski.

 It ran in repertory, meaning that it was the same group of actors for every show, and no one was the star. They were all equal.

 Be sure students know that it was founded by Harold Clurman, Cheryl Crawford, and Lee

Strasberg.

Uta Hagen:

 Show the Uta Hagen clip

 Explain that Utah Hagen was very much interested in bring herself to her roles. She didn’t think you could be real without bring a part of yourself to it. She is also interested in the details that surround and make-up the character. You are constantly motivated by something in someway, and as the actor you need to find out what that is.

 Harold Clurman heavily influenced her in her work.

Stella Adler:

 Show the Stella Adler clip

 Explain that she was the only American to have studied directly with Stanislavski.

Sanford Meisner:

 Show the Meisner clip

 Explain that Meisner had his voice box removed and so he talks through a series of controlled burps. Crazy, right?

 Explain that Meisner was a member of the Group Theatre and came out with a strong training in Stanislavski based theory, however he rejected emotional recall and sense memory, instead working from the outside in to create honest characters

 Explain that we are going to learn more about Meisner next time.

Step 5: Conclusion [5 minutes] Explain to the students that they are going to be held accountable for all the information we covered today. Ensure they understand that they need only know the basics about each of these individuals and their contributions to modern day theatre. Take any questions that may arise.

Assessment



Students can be assessed on their short group presentations. If they have effectively participated in their groups, they can receive 20 points for the day.



DAY 5

UNIT TITLE


LESSON TITLE

Sanford Meisner and Quiz

CLASS

Drama 4

DURATION

75 Minutes


Students will demonstrate their understanding of basic Meisner Technique by completing the

“connect, respond, and speak” activity.


CREATING



PERFORMANCE



MATERIALS

 White Board and Dry Erase Marker

 Empty Playing Space

 The Great Acting Teachers and Their Methods by Richard Brestoff


Hook: Have the students follow you up on to the stage.

Step 1: Warm-Up/Group Practice [8 minutes] Remind the students that Meisner is all about living truthfully under imagined circumstances. He accomplishes this by never saying or doing anything unless they feel compelled to. Explain that we have worked on the living truthfully part of his


Created by Carson Wright technique when we did the repetition with our partners during Shakespeare scenes. Today, we are going to work on the imagined circumstances part. Ask for two partners, and have them do the

“Knock on the Door” exercise from Brestoff’s book (pg. 133). Explain the activity as it is explained in the book, but give the students their circumstances: one student is carefully and clumsily gluing a vase back together before his parents get home. She needs to be very careful and precise, but she is also clumsy. Go through the rest of the exercise as outlined in the book.

Step 2: Group Practice [8 minutes] Explain to the students that they will split into partners and complete the same exercise. They will decide who is knocking, and who is working on the hard task.

Explain that they will decide on their own task, but explain that the task should be something really difficult and requires a lot of attention (e.g. last minute paper due in 5 minutes, your complicated taxes, building a model airplane, etc.). Have the student split into groups, then perform the same exercise.

Step 3: Discussion [5 minutes] Lead a brief discussion, based on the exercise, using the following questions:

 What happened? What was that like?

 Any discoveries during the exercise?

 Were you surprised by anything?

 How were imagined circumstances informing your exercise?

 How can this apply to your work as an actor?

Step 4: Directions [2 minutes] Explain that we are now going to work on the other important part of the Meisner technique: don’t do anything until something happens to make you do it. Ask students to think briefly about the very moment before their monologue starts. What does their partner say to them to make them start their monologue?

Step 5: Individual Practice [2 minutes] Talk students through the process of picking a cue line:

 What did your partner just say to you?

 What specifically? What are they exact words? What is the quote?

 Why does that set you off into your monologue?

Step 6: Directions/Modeling [4 minutes] Explain that they will now take this cue line and have a partner give it to them. However, we are going to add one little technique to help motivate us truthfully into the monologue. They will start facing away from their partner. Then, they will connect (turning and visually connecting with the partner), respond (some kind of physical/vocal response to what was just said), and speak (the start their monologue. If the cue line isn’t strong enough to motivate the monologue then a new on must be chose. Demonstrate the process for them

Step 7: Group Practice [5 minutes] Practice “connect, respond, and speak” in partnerships. Wander through the room offering some coaching. Explain that they should try it several times. Keep working until they are told to stop.

Step 8: Directions [2 minutes] Explain that they will now perform these for the class, without their partner. We will just quickly go around the room and see everyone’s “connect, respond, and speak.”



Step 9: Performance [20 minutes] Have students before their connect, respond, and speak and have them say the first line of their monologue. Have students perform one right after the other, swiftly.

Briefly give some feedback on the strength of their moment before as you go through the performances. Take note of students who may be struggling with concept for further coaching work.

Step 10: Discussion [3 minutes] Lead a brief discussion using the following questions?

 What happened? What was that like?

 Any discoveries during the exercise?

 Were you surprised by anything?

 How were imagined circumstances informing your exercise?

 How can this apply to your work as an actor?

Step 11: Directions [2 minutes] Have students take out a piece of paper. Explain that we are going to quiz today on what we’ve learned so far. Explain that this is open note, but not open neighbor.

Should they have taken good notes, they will be fine! Take them through the following questions on the next page.

Step 12: Quiz [20 minutes] Administer the quiz to the class verbally, allowing them time to complete each question. Again, they may use their notes.

 [4 points] Who is Konstantin Stanislavski and, in broad terms, what is his contribution to

Theatre? (Russian Actor and Acting theorist/teacher. He developed a system that is still adapted in used in modern acting styles.)

 [12 points] Name 3 additional parts of the Stanislavski System and briefly describe them. o Given Circumstances o Concentration o Emotional Memory Recall o Sense Memory o Objective o Script Analysis o Units o Super Objective

 [4 points] Multiple Choice: Who started the Group Theatre in New York City? o Cheryl Crawford, Harold Clurman, and Lee Strasberg o Harold Clurman, Konstantin Stanislavski, Stella Adler o Cheryl Crawford, Uta Hagen, Stella Adler o Lee Strasberg, Anton Chekov, Uta Hagen

 [4 points] Why was the Group Theatre created? (Created to adapt and incorporate the realism of Stanislavski in a repertory environment, similar to the Moscow Art Theatre of

Stanislavski and his colleagues.)

 [8 points] Pick two of the following individuals and briefly describe their contribution to

Theatre. o Stella Adler o Uta Hagen o Lee Strasberg o Harold Clurman


Created by Carson Wright o Sanford Meisner

 [4 points] What is one Main Point of the Meisner Technique and briefly describe it:

(Answers will vary: Live truthfully under imagined circumstances OR don’t do anything until you FEEL you must).

 [4 points] What is one thing that you can pull from this realistic acting unit that you can put into your actors toolkit?

Assessment

Students can be assessed on their presentation of their “connect, respond, and speak” exercise.

Additionally, the quiz will allow you to assess what students are remembering about the methods and artists covered so far. The quiz is worth 40 points.



DAY 6

UNIT TITLE


LESSON TITLE

Viola Spolin

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to demonstrate their understanding of the strength of improvisation exercises by participating in several improvisation games as a class.


CREATING



PERFORMANCE



MATERIALS


 Improvisation for the Theater, 3 rd ed. by Viola Spolin (1999).

 Computer/projector so play the following clips: o https://www.youtube.com/watch?v=Mil3d9oD_Uk (Viola Spolin Interview) o http://www.secondcity.com/media/mediaplayerfull/53/0/ (Driver’s Ed, Second

City)


Hook: Show students the Driver’s Ed video from Second City. [3 minutes]



Step 1: Discussion/Instruction [6 minutes] Explain that this video is from an improv group called

Second City. They are kind of like Whose Line Is It Anyway of Saturday Night Live. You may want to ask the students if any of them are familiar with these shows, just to be aware of their understanding of improvisation. After the preliminary questioning. Conduct a discussion using the following questions:

 How would being involved with something like this be a useful exercise for an actor?

 How would this help someone become a better actor? In what ways would an actor get better?

Let the class toss some ideas around. Field the questions, calling on as many students as you can within the span of a few minutes.

Explain that today we are going to be studying a very neat lady who is called Viola Spolin. Explain the following background information to the students:

 Viola Spolin was born in 1906 and died in 1994. In her lifetime, she became known as the mother of American Improvisation.

 She is a Chicago lady, though spent a lot of time on the west coast.

 Her son, Paul Sills, started Second City (the video we just say). He used her games in that program.

 She wrote a book called Improvisation for the Theatre, which is still the go-to book for improvisational games and exercises.

NOTE: This background information is not super important, but just tid-bits for students to connect to.

Explain that you are not going to watch Viola Spolin talk a little bit about her work with improv, and maybe that will give us a better idea of why we would be studying improv as a technique for acting.

Step 2: Clip/Discussion [10 minutes] Explain that Spolin is being asked about Improv Sports, where points are awarded for the best improv sketches. She responds. Show the clip then conduct a short discussion:

 Why is Spolin against Improv Sports?

 Based on what she said, why would improvisation be good training for actors?

Allow students to respond. Follow-up with additional questions as you see fit. Ensure that students understand that improvisation in theatre is not about winning or loosing. It’s about being. It happens, and it’s neither good nor bad. There is no fail and there is no win! Also, be sure that students understand that improv takes away all the pre-conceived ideas of Stanislavski. In improv, you don’t know what the person is going to say. You don’t know the other persons objective. You are simply trying to react as honestly and as believably as you can.

Step 3: Group Practice [45 minutes] Explain to the students that you are now going try out a bunch of her games. Explain that everyone must participate for his or her grade for the day. Also encourage students not to be scared! It’s improv, so there is no wrong or right! There is only do or do not. For the following games, use the instructions and side coaching provided in Spolin’s book (listed under


Created by Carson Wright the materials section of this plan). You can use any mix of the following game. The idea is to let students be exposed to a variety of her improv games, so that can better understand the range and depth of her work:

 Seeing a Sport, pg. 56

 Listening to the Environment, pg. 57

 Who Started the Motion, Pg. 68

 Mirror, pg. 61

 Tug-Of-War, pg. 63

 How Old Am I, pg. 69

 Who’s Knocking, pg. 105

 Gibberish, pg. 114

Step 4: Discussion [5-8 minutes] In the last few minutes of class, after playing several games, conduct a short exit discussion:

 What do you like about these exercises?

 Having done a few, are you seeing potential ways to use them in rehearsals and things?

 How might you use them?

 What do you want to know more about?

This discussion will serve as an informal assessment, allowing you to see how students are starting to apply the theories and methods to the actual creation process, rather than just leaving them as games to be played for fun. It will be helpful to put in their mind, through questioning, the idea that these exercises are more than just fun.

Assessment

Students can be assessed on their participation in the improvisation games that are played during class. Willing and respectful participation is worth 20 points.



DAY 7

UNIT TITLE


LESSON TITLE

Forum Theatre Workshop (Part 1)

CLASS

Drama 4

DURATION

75 Minutes





CREATING



PERFORMANCE



MATERIALS

 Empty Playing space


NOTE:

All the activities in this workshop are taken from Augusto Boal’s book, Games for Actors and Non-

Actors, 2 nd ed.

Hook: Ask students to leave their seats and to join you on stage. Explain that we are now going into some unfamiliar territory as a little conservatory group. For the next few days we will be trying something that students haven’t really been through. Explain that students should just come along for the ride.



Step 1—The cross and the circle (Boal, pg. 50) [10 minutes]

This activity, though it might be used in some symbolic or metaphoric way, is really designed to get students warmed up. The warm up is an important process, and is especially important when working with students with little to no theatre experience.

Explain that you will begin with a little game. Explain that they can try it standing, sitting down, on a table, in a chair, or even laying on the ground—it doesn’t matter. Explain that this exercise is almost impossible to do, and that you are not expecting anyone to be able to accomplish it. Then ask the students to “describe” a circle with their right hand. In the air, in front of them, they can make it as big or small as they would like. Stop them. Then ask them to make a cross with their left hand. Have them try it several times (it should be fairly easy). Then stop them. Then ask them to do both simultaneously. Let the students flounder and get frustrated. It is normal that only one or two people will succeed in this task.

VARIATION: Upon completing the first part, ask them to now describe a circle with their right foot. Without stopping them, explain that they should write their first name in the air with their right hand. They should continue to keep their foot circling. Allow this to continue one for a minute or so until it is clear that the group is frustrated or done.

NOTE: It should be a fun warm up with very little risk. The exercise is about building an atmosphere of trust and excitement.

Transition—

Briefly thank the group for their participation then explain that you will now do another exercise together.

Step 2—The designated leader (Boal, pg. 158) [20 minutes]

Ask the students to form a circle in the room. Ask the group to close their eyes and drop their heads.

As you circle around behind them, explain that you will touch one person. Explain that when they open their eyes the person who was touch will lead the group in whatever movement they wish.

Explain that they can do anything that they want, but they should try not to let anyone else know that they are the leader.

This activity will be performed two times without discussion in between. The first time, don’t touch anyone. The second time, touch everyone.

After the completion of this activity lead short discussion about the experience using the following questions:

 What was this experience like?

 Was it difficult to decide who was the leader?

 Who do you think the leader was? Why do you think that?

 Who had the power in this situation? Why?

 Did you feel you could express yourself?

You can decide when, if at all, you reveal that you touched everyone or touched no one. Should the group insist that you had the power, acknowledge it and direct the discussion back to whoever has the power.



Transition—

Again, explain that you are moving to a new exercise.

Step 3—Columbian hypnosis (Boal, pg. 51) [30 minutes]

Ask the students to pair up. Then explain that one part of the pair (they can decide) will hold their hand forward, palm out, and fingers upright and will hold their hand in front of their partner’s face.

The other partner must keep their head about a foot away from their partner’s hand AND they must keep their head in line with the hand at all times (their hairline with the fingertips, their chin with the palm). Explain that the person leading will move their hand in any way they wish, and the person following MUST keep their head keep their face level with the hand.

Let the partnerships play the game for a minute or two, and if necessary encourage them to really challenge their partner’s limits. Switch the leader and follower and repeat the exercise.

After completing the activity once, lead a short discussion using the following questions:

 What was this experience like?

 What was easier? Following or leading?

 Who has the power in this situation? Why?

 Is it possible to express yourself in this situation?

Explain that they will do the activity again keeping in mind one of the following themes: relationships, challenge, teachers and students, parent and students, power, or any other theme you feel fits in with the theme. You can progress through as many of themes you feel are necessary, but the purpose of the activity is to begin to focus the workshop in the direction of the student/adult relationship that is the basis of this workshop.

After a minute or two of the activity with the added theme, stop the students and lead a short discussion using the following questions:

 How did that idea (whatever the theme was) change the activity?

 Did you make any new discoveries?

 Are their any relationships forming? Any characters forming when we add an idea?

Be sure to listen to their answers and guide them to more discoveries if you can tell they are close.

Repeat the activity with as many themes as you feel necessary

VARIATION:

Select one person as the leader. They will “hypnotize” two different classmates at the same time, with both hands. The individuals being hypnotized will then lead their own followers, so you have a chain of leaders and followers. Let the activity run for a minute or two and stop the class. Conduct a short discussion using the following questions:

 How did this change your experience?

 Any new discoveries?

 What is it like leading two people? What about following and leading? What about following at the end of the chain?

You can perform the activity again if you wish and even add once of the themes as an idea to think about.



NOTE: The discussion during step 2 and 3 can last a long time. Do not let the conversation slip by.

Wait long enough for students to join the conversation. This is new work for the students so you have to wait for the students to catch up.

Step 4—Wrap up [5 minutes]

Explain that students should try to hold onto the ideas and thoughts they’ve had today. We will be coming back to this activity next time.

Assessment:

Student’s respectful and willing participation is paramount for this activity. The can be assessed on their participation for 20 points per day.



DAY 8

UNIT TITLE


LESSON TITLE

Forum Theatre Workshop (Part 2)

CLASS

Drama 4

DURATION

75 Minutes





CREATING



PERFORMANCE



MATERIALS



Hook: Have the students follow you up on to the stage. Then have students recount the activities and thoughts from the last days work. This will allow you to get caught up again so you can continue with the workshop.

Step 1—Image of the word (Boal, pg. 181) [10 minutes]

Explain to the students that you will be continuing the discussion around the idea of student/adult relationships. Explain that class will silently create a still image related to the idea of student/adult relationships. The students should silently place themselves in an image all together. Once the


Created by Carson Wright students are set in an image, explain that one by one they can step out of the image and view the image. After everyone has seen the image, lead a short discussion regarding the experience using the following questions:

 Whose story is this?

 Who is the hero? Or who is the main character? Why?

 Is there an antagonist? Or is there a villain? Why? How do you know?

 What is the story here?

 How does this relate to the student/adult relationship we’ve been talking about?

Transition—

At the end of the discussion, seamlessly transition into the next activity. The transition does not need to be stated but just move onto the next step.

Step 2—Image of transition (Boal, pg. 185) [10 minutes]

Ask the students the following questions in order to set up the next stage of the workshop:

• What kinds of oppressions are found in student/adult relationships?

• Which ones resonate with you and your experience?

After discussion these questions for a few minutes, ask if someone can think of an experience in which they have felt oppressed by an adult (whether that be a teacher, parent, principal, etc.). Don’t let the student tell their experience, but instead ask them if they are willing sculpt the other students in an image that tells their experience. Explain that the sculptor should use not verbal communication, but should use everyone to create the image including the sculptor. Once the students are set in an image, explain that one by one they can step out of the image and view the image. If they wish to move anyone, they may do so during this viewing period.

Once the image is complete lead a short discussion using the following questions:

• Whose story is this?

• What is the story?

• Where is the oppression here?

Transition—

After the discussion, simply continue onto the next section of the workshop.

Step 3—Multiple image of oppression (Boal, pg. 186) [15 minutes]

Have another student shape an oppression they’ve experienced. Then have the student shape the ideal ending to the situation.

Have the students return to the first image. Then explain that when you say so, students should move in slow-motion toward the final picture as you count to 10. By 10, they should reach the final picture.

Allow students to do it once, conduct a short discussion using the questions below:

• What did that feel like?

• Do you feel you have a certain role?

• What was the story here?

• Is there a protagonist? an antagonist?



Once a protagonist and antagonist have been identified, give them this adjustment: they must not simply move to the final ideal solution. Instead they need move in accordance to the character that they are portraying in the image. This means that they might not necessarily end in the "ideal image."

Count to 10 and allow the students to try this adjustment, then conduct a short discussion using the following questions:

• How did the story change?

• What was the story here?

• Which was more realistic? The first or the second time? Why?

Transition—

After discussing the previous activity move onto the forum theatre experience.

Step 4—Forum Theatre (Boal, pg. 241-252) [35 minutes]

First ask the sculptor of the last image what the original story was that they were sculpting. Then ask the class if this is something that resonates with them and they can relate to. If so then continue on with the next forum steps. If not, ask for another experience for other students until you feel that you have found one the whole group identifies with.

Ask for a few volunteers who would like to improvise the scene that the sculptor described (or the scene you decided on as a class). Explain that the volunteers who will improv are going to present the oppression and not the solution. The protagonist should not win in the end.

Allow the scene to run completely once. This scene will serve as the script for the forum theatre experience. After the first scene, ask the following questions:

• What does the protagonist want?

• What is preventing the protagonist from getting that?

• What else could the protagonist have done to get what they wanted? What other choices did they have?

Once the group suggests solutions, ask if they would be willing to step into the protagonists place to try the solution.

Ask the student where in the scene they would like to start from and let the volunteer try their solution. When they have shown the solution, you can stop the action by shouting "freeze." Then lead a discussion with the following questions:

• What did this person do differently than the original person?

• Did they get what they wanted?

• Was it realistic?

At this point, you can begin to encourage further responses and solutions by asking any of the following questions:

• Would that option work for everyone?

• What other options could they try in this situation?

• What other choices does the protagonist have?

• Have they gotten all they wanted?

• How else could the protagonist get any or all of those things.

Ask for more volunteers to step in as the protagonist, following the same steps listed above.

Should the group have difficulties in finding solutions, suggest your own solutions, change the circumstance, relationships, or change the scene.



If you feel you have discussed the protagonist and solutions enough, you can use the following set of questions and instructions to continue the dialogue:

• Is there something else the antagonist could do to continue the oppression?

• What other obstacles will the protagonist encounter?

Have students step into the role of the antagonist in the same way they did with the protagonist, and run the scene again. Use the questions in the previous paragraph to discuss the performance and to create new solutions.

Step 5— Wrap-Up [5 minutes]

Thanks the students for their work and their openness. Explain that we will be coming back briefly to this work next time. So remind them to try to keep these thoughts and feelings alive until we can address them again.

Assessment:

Student’s respectful and willing participation is paramount for this activity. The can be assessed on their participation for 20 points per day.



DAY 9

UNIT TITLE


LESSON TITLE

Forum Theatre Debrief

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to analyze, describe, and demonstrate their understanding of Augusto Boal’s games and practices by discussing in small groups and writing a reflection response.


CREATING



PERFORMANCE



MATERIALS

 Computer/Projector with internet access.


Hook: Have students recall to you what happened during the last class. Ensure that you vary who is speaking frequently, as it is very important that every student recalls the Forum Theatre Workshop.

Probe students until they can recall the specific activities, feelings, and/or thoughts related to the workshop. [6 minutes]



Step 1: Discussion [15 minutes] Once you feel that you have effectively re-opened “the case,” as it were, through your initial recalling and discussions conduct a discussion about the overall experience using the following questions:

• What is challenging about being a “young-adult?”

• Is there anything challenging about being an adult, in relation to the student/adult relationship we explored? What and why?

• What have you discovered about this subject today?

This discussion serves as a reflection on the entire workshop, and should prepare them for the next part of the activity.

Step 2: Poll [10 minutes] Using the computer, start a new poll on www.pollanywhere.com. The question for the poll should provide an opportunity for students to think about how this workshop will affect them in the future. A good question might be, "How will your discoveries today influence your life after you leave here today?"

Instruct the class to pull their cell-phones out and text the number on the screen and their response to your question. If some students do not have cell-phones, ask for students to lend their phones to their classmates. Explain that after they send their message, they should read the messages on the screen as they come in. This provides an opportunity for students to anonymously participate in a communal discussion about the workshop.

Explain that as students post, they should also read what is being posted, silently noted things they agree with and things they do not agree with. You may ask more than one question if you feel it would benefit the class. Conduct another short discussion after reading the text messages:

 Do you notice any patterns?

 Are there surprised?

 Has your perspective changed at all based on the text messages?

Allow discussion for a few minutes. Do not force a discussion, however. If there isn’t much to be said, then move on!

Step 3: Reflection [20 minutes] Ask the students to pull out a piece of paper and something to write with. Explain that they will complete a reflection based on their experiences over the last few days.

They should answer the following questions:

 How is this experience similar to theatre the way that I know it?

 How is it different?

 How could I possibly parts of this workshop in my work as an actor?

Allow student 10-20 minutes to finish their reflections. Be sure to collect them before continuing onto the next step.

Step 4: Instruction [20 minutes] Explain to the students the following information:

 The workshop we did over the last few class periods was a Forum Theatre Workshop. The forum theatre was the last part of



 Augusto Boal invented Theatre of the Oppressed to examine power relationships and oppressions, with the intent of solving problems, just as we attempted to do in our forum theatre.

 Boal would go into cities, towns, governments, etc. and set up forums like this, sometimes on a much larger scale. The whole town would participate.

 Again, the purpose of the Forum Theatre is to solve problems, not create them, which is why I asked so many times, “Is this realistic?”

 That being said, how can we use Boal’s excercises in our work as actors? What did you come up with for your reflection?

Take a few responses before continuing on. Explain the following:

 Augusto Boal’s book is called “Games for Actors and Non-Actors.” What we just did would be better suited for who? Actors or Non-Actors? (Non-Actors).

 However, Boal still uses these activities and games when creating theatre like we normally see it.

 For instance, in the book, Boal lists a “Hamlet Variation” for many of his games. This variation takes the activity and uses it between characters in a more traditional approach to theatre. That being said, are there any new ideas for using Boal’s games in a more traditional rehearsal process?

Give students enough time to think it through, then take several responses. Offer your own suggestions, should there be a lack of response from the class. Explain that next time, we will continue looking at some more non-traditional approaches to theatre as we move into studying

Bertholt Brecht.

Assessment

Students will turn in their reflection for assessment. This reflection should be a thoughtful consideration of Forum Theatre/Boal work. A thoughtful and detailed reflection is worth 20 points.



DAY 10

UNIT TITLE


LESSON TITLE

Brecht

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to accurately demonstrate Brechtian style by creating and performing mini-

Brechtian scenes.


CREATING



PERFORMANCE



MATERIALS

 A space for students to work/perform in.


Hook: Ask the class, “what is your favorite fairy tale?” While this seems random, the mini-scenes in this lesson will be based on fairy tales. The students may find the question strange, which is exactly my purpose, to distance the students in a way, while still getting them to think ahead about what fairy tale they might like turn into a scene. Listen to a few suggestions from the group, and then explain that there is much to do, so we must move on. [5 minutes]



Step 1: Instruction [15 minutes] Explain that we have just come from Augusto Boal, who was very interested in using theater to make social changes. Explain that now we are moving from Brazil to

Germany, to study Bertholt Brecht. Explain the following information:

 Brecht was interested in using theatre as a means for political change.

 He believed that theatre, in it’s traditional form, sent both the actors and audience into a sort of passive trance.

 He wanted theatre to be a much more present experience, causing the audience and actors to think more about what they were seeing.

 As a result, he disliked realisms. It was too much like life. He preferred broad physicalizations. He believed it created a distance between the actor and the part he was playing.

 He wanted to go in the complete opposite direction of “the willing suspension of disbelief,” and ask his audiences to use their disbelief and skepticism.

 He wanted to create what he calls a “distancing effect, or alienation effect,” that would constantly remind the audience that there were watching theatre it was not real.

 He wanted this because the separation would allow the audiences to then think more about what the piece was trying to say.

 He accomplished this distancing by using very broad physical techniques, using half curtains, changing costumes in full view of the audience, rejecting Stanislavski methods, not empathizing with characters, projections, announcing scenes, or pretty much anything that would throw the audience off.

 All of this disconnect was aimed at trying to have the play mean something political.

Answer questions as you go along, and elaborate when necessary. It’s important that they understand that Brecht was a political theatre practitioner, and that he wanted to achieve the distancing effect to keep his audience off guard, so that his political messages could get across.

Step 2: Directions [5 minutes] Explain that you will be counting off the class into groups of 4. Once you have been added into a group, your group must decide on a fairytale that they would like to tell in Brechtian style. That means that your group should reimagine your fairy tale as a political statement, and figure out how to perform it while creating the distancing effect in whatever way you feel is right. You only have 30 minutes to create your performance. It should be no longer than 4 minutes. Take clarifying questions, then allow the students to work!

Step 3: Group Practice [30 minutes] Allow students to work in their groups for thirty minutes.

Meander about the room, checking in with each group. If they need help, give a suggestion, though it might be better to questions them so they might come to their own solution. As you move between groups, keep an eye out for students you are sitting on the sidelines. Encourage them to get involved. Keep note of who is regularly not participating. Give regular time updates, then stop them after thirty minutes.

Step 4: Performance [20 minutes] Explain that each group will go, one right after the other. Explain that you will choose which group will be going next. Applaud between each performance.

Step 5: Reflection [5 minutes] Upon completion of the performances of the Brechtian fairy tales, conduct a short discussion:



 How does Brecht differ from the other methods we have studied so far? From Stanislavski?

From Boal? From Meisner?

 From your experience with Brechtian style today, do you like it? What does it feel like to you as an actor?

 How might this come in handy during a rehearsal process? Or will it?

Give follow-up questions to encourage students to delve deeper and think broader. It’s important that students start to connect the styles and methods to one another and to real life situations. So help guide conversations in that direction.

Assessment

Students can be assessed on their Mini-Brechtian scene performances. Participation in this scenes is worth 20 points.



DAY 11

UNIT TITLE


LESSON TITLE

Hip Hop Theatre

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to articulate the basic tenants of hip hop theatre and culture by participating in the class discussion.


CREATING



PERFORMANCE



MATERIALS

 A computer/projector to show the following clips: o https://www.youtube.com/watch?v=9LDJirfiacw (Lyrikal Fearta) o https://www.youtube.com/watch?v=lq1Uzbjz504 (Breakin Convention) o https://www.youtube.com/watch?v=CI40t4KVbV4 (Othello Remix Preview) o https://www.youtube.com/watch?v=erQ8zJpuWVo (Othello Remix, Q Brother

Talking) o https://www.youtube.com/watch?v=KZb4hh_FLaE (New York Hip Hop Festival) o https://www.youtube.com/watch?v=wT7XUPTqrDg (Big City Brains) o http://qbrothersofficial.com/we-teach-chicago-q-brothers.php

(Q Brothers Teach) o https://www.youtube.com/watch?v=UvK00CMqG-g (What the Heck I gotta do) o https://www.youtube.com/watch?v=B2Rd7Cpx-Ss (In The Heights)




Hook: After students are all situated and ready for the day, rap for them. This can be a rap that you have written before hand, or it can be something you make-up freestyle. It doesn’t have to be good.

In fact, it is probably better if it isn’t good, then students won’t feel the pressure when they are asked to rap. The rap doesn’t have to be long, but it should introduce the idea that we are switching over to a new style: Hip-Hop theatre.

Step 1: Introduction/Discussion [6-7 minutes] After the students stop laughing at you for your lackluster rap, confirm that you rapped for a reason: we are switching to a form of theatre that the students might not no much about. Ask the students what they know, or think they know about

Hip-Hop theatre.

Chances are students will respond with something about In the Height the musical. If that is the case, explain that In The Heights would be on the mainstream side of the Hip Hop theatre spectrum. This discussion needn’t take very long, just enough time to gauge what students know. Once you feel ready, proceed with the lesson.

Explain that describing Hip-Hop theatre is as hard as trying to describe what salt tastes like. It’s just easier to show you. Explain that because of this, we will be watching several clips and coming up with our own definitions of Hip Hop Theatre.

Step 2: Clip [12 minutes] Explain that you are going to show two clips, one from the Broadway

Musical In The Heights, and another one from a short musical called What the Heck I Gotta Do?

Explain that these are on the more mainstream side of the spectrum. Then roll the clips.

Step 3: Discussion [3 minutes] After the clips, lead a short discussion:

 Based on these clips, what are the qualities or main elements of Hip-Hop theatre?

Just get some of their ideas out into the open and then move onto the next clip.

Step 4: Clip [4 minutes] Explain that the next clip is a completely different representation of Hip

Hop theatre. The performer is Jonzi D, who is a pioneer in the Hip Hop Theatre community. He is

British. This clip is from his one-man show called The Letter. It’s about whether or not he is going to accept an MBE (it’s like a lesser knighthood in the U.K.). Show the clip then discuss.

Step 5: Discussion [3 minutes] After the clips, lead a short discussion:

 Based on this clip, what are the qualities or main elements of Hip-Hop theatre?

 What is similar? What is different?

Get some more answers from different students, then introduce the next clip.

Step 6: Clip [6 minutes] Explain that Jonzi D is also the artistic director of a dance festival called

Breakin’ Convention. Pay attention in this video to how the people talk about hip-hop theatre and how they talk about hip-hop culture.



Step 7: Discussion [3 minutes] On the white board, write two headings: Hip Hop Theatre and Hip

Hop Culture. Then ask the following questions. Write down answers under the appropriate headings.

 Based on this clip, what can we say are aspects of Hip Hop Theatre and Hip Hop Culture? o Taking Hip-Hop conventions and adding narrative, changing the context, making it art, contemporary reflection of today.

Here introduce the four main elements of Hip-Hop culture, which are:

 Grafitti

 Breaking (break dance)

 MC’ing (rapping)

 DJ’ing (Turn table)

Explain that when Jonzi D is talking about the Hip Hop forms in this clip, he is talking about these four elements. These are defining elements of Hip Hop theatre.

Finish up the working definitions of Hip-Hop Culture and Hip-Hop Theatre, then proceed to the next clip.

Step 8: Clip [5 minutes] Explain that students should watch the next clip looking for more that we could add to our definitions of hip-hop theatre New York Hip Hop Festival

Step 9: Discussion [3 minutes] Conduct a short discussion:

 Based on this clip, what would we add to our definition of Hip Hop Culture? o More than rap music, living/breathing entity.

 Based on this clip, what would add to our definition of Hip Hop Theatre? o Gives a voice, it’s about expression and being true, it’s constantly evolving and changing, disillusion of borders, it’s about service and caring.

Finish up the working definitions of Hip-Hop Culture and Hip-Hop Theatre, and then proceed to the next clip.

Step 10: Clip [8 minutes] Explain that the next clips are about a show that was created by two brothers: they call themselves the Q Brothers. They do hip-hop theatre a little differently. Show the first clip (the Othello Remix preview) followed by the second video (Q brothers talking about

Othello remix).

Step 11: Discussion [5 minutes] Conduct a short discussion:

 What did you see? Similarities to the other clips? Differences?

 Would you add anything to our definitions based on these clips? o Students might not add much. The other two videos cover it pretty well.

 Would you want to see that version of Othello? Why?

Explain that what the Q Brothers are doing is commonly known as ad-rap-tations. It’s when you take an already existing text and you basically translate it into contemporary speech for the purpose of rapping it. Explain that to get a better handle on Hip-Hop theatre, we are going to create our adrap-ations, similar to the Q Brothers.



Step 12: Clip [5 minutes] If you have time and you would like to, you can show the Big City Brains clip as another example of what Hip-Hop theatre can look like. However, if you lack the time, you can skip this step.

Step 13: Assignment [6 minutes] Explain to the students that they can pick their own groups. They should make groups of 5 or 6—no more, no less. In their groups the should decide on what they want to ad-rap (like adapt, get it?). It could be scene from a Shakespeare play, or an entire play.

Explain that they will have to present it all together, and they should between 3-5 minutes long. Also explain that this performance will not happen for three class periods. Students will work next class period, they will work a little bit the class period after that, and then they will perform it the class period after that. They have about a class period and a half of class time to practice, though they will most likely need to meet outside of class to rehearse as well. Ask for clarifying questions, and then let student make their groups and start working.

Step 14: Group Practice [10 minutes] Allow groups to discus. Walk between groups encouraging them to select a scene or play today so they can get started on it

Assessment

Students must contribute to the discussion throughout the class period to receive the 20 points for the day. Students can be assessed on their participation in the ongoing class discussion.



DAY 12

UNIT TITLE


LESSON TITLE

Practice Day

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to demonstrate their understanding of hip-hop theatre and culture by rehearsing and preparing their Shakespeare ad-rap-tations.


MATERIALS

 Any materials or media players necessary for the student’s performances.

 Computer/projector to show video clip (Bomb-itty of Errors): o https://www.youtube.com/watch?v=ZxFGDsyGeyc


Hook: Show the video clip above. It’s another clip to generate some ideas for them as they practice their ad-rap-tations. After showing it, point out once again that there is no “one way” to do these ad-rap-tations. This is one example. We’ve seen some others as well. Just let the creativity flow!

Step 1: Instructions [4 minutes] Explain to the students that they will have the entire class to work on their ad-rap-tations. They should use their time wisely. Explain that they have today, a little bit of work time next class period, and then they will perform them two class periods from now. Explain that they MUST check in with you in the last 30 minutes of class. They need to report on what scene/play they are working on, any materials they might need, how far they have gotten, and what they have left to accomplish. Emphasize that this check is worth points for the day. Ask for any clarifying questions, then allow students to work.

Step 2: Group Practice [70 minutes] Allow students to work freely in their groups. They will want the full time, generally. Walk around checking with group every so often. They may need some encouragement if Hip Hop is something that they are far removed from. Reinforce the idea that it doesn’t have to be anything in particular. Just express yourself and tell the story using the main aspects of hip-hop culture.

Step 3: Check-in [30 minutes] At about thirty minutes to the end of class, remind the students that they must check in with you. Be sure each group has the chance to meet with you briefly, and also


Created by Carson Wright make sure that you are aware of any special needs of the groups. This will give you ample to time to prepare, should you need to.

Assessment

Each group should check in with you. Each member of the group will receive 20 points for checking in with you.



DAY 13

UNIT TITLE


LESSON TITLE

Review/Work Day

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to demonstrate their understanding of a several different acting methods and styles by reviewing concepts and techniques learned throughout the unit.


CREATING



PERFORMANCE



MATERIALS

 White Board and Markers.

 A buzzer (if you have one! It’s not necessary)


Hook: Inform the students that today is a historic day, as it marks the day of a great battle is about to take place in this classroom!

NOTE: This lesson is a friendly competition. There are points rewarded but they mean nothing!

You can decide to make them worth something or offer other rewards, however this lesson is


Created by Carson Wright designed to assign points for nothing. It’s just a spirited review session. That being said, on with the lesson plan!

Step 1: First Round [15 minutes] Split the class into two teams. Have each decide on a name for themselves. Keep score throughout on the whiteboard or on your own paper.

Explain that in this first round, each team will send one representative up to the front. They will stand on either side of a desk, table, or stool, and await their question. The must listen to the full question before they can answer, otherwise they will be disqualified for that question. Explain that when they hear the question they must “buzz” in to answer it. That involves a movement and a sound. The movement is slapping the desk/table/chair, and they must make a sound (e.g. “beep!

Buzz! SKITTLE, or whatever they want). Until the movement and sound have been completed, the must not answer the question. If you have a buzzer, it will take the place of the verbal sound. Should a student buzz in and take longer than 8 seconds to answer OR they answer incorrectly, the other team gets a shot at answering the question for half points. Ask for clarifying questions, and then proceed to the game.

Use the following questions to quiz each pair of students (each is worth 2 points):

 Who was Uta Hagen? o German-American Actress/Teacher who believed in bringing more of yourself into the role.

 What are the four main elements of hip hop theatre? o Breaking, MC’ing (rapping), DJ’ing (turn table), and Graffiti

 What is the “magic if?” o The lever that lifts you from reality into imagination?

 What is “method acting?” o Created by Lee Strasberg, it involves creating the feeling and thoughts of characters in yourself.

 Who invented Theatre of the Oppressed? o Augusto Boal

 Who invented group theatre? o Harold Clurman, Cheryl Crawford, and Lee Strasberg

 What is the main tenet of Meisner’s technique? o Living truthfully in imagined circumstances.

 Where was Stanislavski from? o Russia

You can add or invent as many questions as you like. Award points as you move through the questions. Then move on when you feel it is right.

Step 2: Second Round [10 minutes] Explain to the students the rules: This is a group-timed event.

Each group will have 3 minutes to write as many aspects of the Stanislavski System as they can,

complete with descriptions of each part of the system. Explain that their answers must be legible; otherwise they will not be counted.

VARIATION:



Should you only have white board for the whole classroom, you can have each team go separately.

Send the opposing team into the hall to wait patiently while one team competes, then switch.

Allow each team 3 minutes each to write as much down as they can. After they have, you can award points for correct answers. Each correct part of the Stanislavski system is worth 1 point, and a correct explanation is worth 1 point.

After this team round, move onto the third round.

Step 3: Third Round [15 minutes] Explain that each team will be given a question that they must work together to answer. They will have 5 minutes to create together their answers, which they will read. You, as the judge, will decide how many points each is worth based on thoughtfulness, specificity, and creativity. You can award a maximum of 10 points for each answer. Both teams will be able to earn up to 10 points for each question this round. Ask for questions. If there are no more, then pose the following questions:

 Why is it important to know the Stanislavski System and its background?

 As a theatre artist, what can I use from this unit in my work?

 Why isn’t hip-hop theatre more popular and more common in the theatre scene?

 Is there a right way to create theatre? A wrong way? What does it look like?

These questions are obviously very ambiguous. As I mentioned previously, the points are worth nothing. The idea is to get students thinking critically about the methods and styles. This will better prepare them for the essay questions on the exam.

Listen to each groups answers, and award points as you see fit.

Step 4: Group Practice [30 minutes] After the completion of the game and the declaration of a winning team, explain that the students have the rest of the time to work on their ad-rap-tations.

Explain that they should continue to study, using our review today as a guide. If they want to take a few minutes to write down what was reviewed today, they are welcome to, but then they should use the rest of the class period to rehearse their ad-rap-tations.

Check in with each group to see where they are at, and to find out what resources they may need for their performance. They might need a speaker, a CD player, a stage, a place to store thing, or whatever else. You should confirm all of this today, and have it ready for next class.

Assessment

Students who participate in the review by volunteering to represent their team will receive 20 points for their participation grade for the day.



DAY 14

UNIT TITLE


LESSON TITLE

Performance Day

CLASS

Drama 4

DURATION

75 Minutes


Students will be able to demonstrate their understanding of hip-hop theatre and culture by performing their Shakespeare ad-rap-tations.


CREATING



PERFORMANCE



MATERIALS

 Any materials or media players necessary for the student’s performances.

 Computer/projector to show video clip (Q Brothers, Funk it up About Nothin’): o https://www.youtube.com/watch?v=tzli4K5cmuE


Hook: Show the Q Brothers clip, listed above in the materials. It’s just a small little video to get the students loosened up and excited.

Step 1: Instructions [5 minutes] Explain that each group will perform in a random order selected by you. Explain that each group should “slate” their piece in some way—just some kind of introduction


Created by Carson Wright so we know what is actually about to take place. Explain that after each group goes, everyone can applaud and whoop and holler or whatever they like. Explain that they should be watching each group for the four main aspects of hip hop culture, and for other aspects of hip-hop culture as was defined last class period. Those four main aspects again are:

 Breaking

 MC’ing (rapping)

 DJ’ing (turn table)

 Graffiti

Ask for any questions, then let the performances begin.

Step 2: Performance [45 minutes] Select each group at random and have them perform. You can allow for a few minutes in between each group for some responses, chatter, or general noisiness, as the next group gets set. Remind students to be watching for those elements and aspects of hip hop theatre as we have discussed.

Step 3: Discussion [6-9 minutes] After the performances have finished, conduct a short discussion, with the aim of getting students to better identify what they saw. Star the discussion with the following questions:

 What did you think?

 What did you like?

 What is sticking out in your mind?

 Any new ideas for ad-rap-tations? After watching?

 Any new ideas for hip-hop theatre performances after watching?

After getting students to talk generally about the performances, guide the students with the following questions:

 Which of the main aspects of hip-hop culture did you see? Where?

 What did those aspects do for the performance?

 Where else did you find elements of hip-hop culture and hip-hop theatre?

 Did you discover anything new about hip-hop theatre through watching the performances?

Allow students to discuss. Ensure to probe them into deeper levels of thinking when possible. They should reference specific parts of the performances, or specific feelings they had. They should be analyzing these performances.

Step 4: Reflection [10 minutes] After the discussion, have students take out a piece of paper and a writing utensil. Explain that they should now write a short reflection based on these experiences.

Read the students the following questions and explain they should write at least two thoughtful paragraphs based on the questions. When they are finished, they can turn them into you for grading.

The question is:

 How can you imagine using hip-hop theatre in your future endeavors as theatre artists, besides ad-rap-tations of Shakespeare?

 What makes Hip-Hop theatre unique from other theatre styles?

Once they are finished, be sure to collect the prompts.

Assessment



Student’s ad-rap-tation performances are worth 80 points. If students have used time wisely in class and have participated to their best ability they can receive full points.

Additionally, their short reflection is worth 20 points. Should they complete two thoughtful paragraphs, they can receive full points.



DAY 15

UNIT TITLE


LESSON TITLE

Final Exam

CLASS

Drama 4

DURATION

75 Minutes




CREATING



PERFORMANCE



MATERIALS

 Copy of the test for each student.

 Key for the Multiple Choice and matching sections.


Hook: Play the Jeopardy Theme Song, if you have it. Silly joke, maybe, but the purpose is to lift the spirits of the students prior to taking the test. They will most likely be very worried. They shouldn’t be, if they have studied.



Step 1: Instructions [5 minutes] Once students are settled, ask student to put everything away except for a pen or pencil. Explain that the test will take them anywhere from thirty-five minutes to the full period. They should take their time, read each question carefully, and relax. Explain that the short answer and essay sections have a sentence suggestion. That is a suggestion. It should take them about that long to thoughtfully address each questions. They should ensure that they put most of their work into the essays, as it is where the bulk of the points come from. Explain that when they finish, they should bring it up to you, then return to their seat to quietly do work for some other class. They shouldn’t talk during the test and anything that might look like cheating will be treated as such. Don’t cheat! It’s not worth it! Take any questions, and then let students take the test.

Step 2: Supervise [70 minutes] Answer only clarifying questions that students might have. Ensure that students are quietly focused on their own papers. Allow students the full period to complete the test.

Some students will finish quickly; others will take longer.

Assessment

The test is the final assessment for the unit. It is graded out of 150 points. Below is the answer key for the matching and multiple-choice sections:

Matching

1.

E

2.

I

3.

J

4.

C

5.

B

6.

D

7.

G

8.

A

9.

F

10.

H

Multiple Choice

1.

A

2.

C

3.

B

4.

A

5.

D

Grade the short answers and essays. The students should provide details and thoughtful answers.

Subtract as many points as you see fit (typically when a students doesn’t quite dig deep enough to answer the question fully, or leaves out an important part of the question).

There are some goofy answers that you can change to be whatever you want. It’s designed to relax the students as they take the test.



NAME:__________________________________ SCORE:_____/150

ACTING METHODS AND STYLES — FINAL TEST

Please read ALL INSTRUCTIONS to ensure you get full points. Good luck!

Matching (2 points each)

Match the name, phrase, or term on the left side to the correct explanation on the right side.

1.

______Viola Spolin A.

German American Actress and Acting

Teacher

2.

______Theatre of the Oppressed

B.

Artistic Director of the “Breakin’

3.

______Method Acting

Convention”

4.

______Hip Hop Theatre

5.

______Jonzi D

6.

______Columbian Hypnosis

7.

______Magic “If”

8.

______Uta Hagen

9.

______Stella Adler

10.

______Mr. Wright

Multiple Choice (4 points each)

1.

Who started the Group Theatre in New York City? a.

Cheryl Crawford, Harold Clurman, and Lee Strasberg b.

Harold Clurman, Konstantin Stanislavski, Stella Adler c.

Cheryl Crawford, Uta Hagen, Stella Adler d.

Lee Strasberg, Anton Chekov, Uta Hagen

2.

Theatre of the Oppressed was invented by… a.

Harold Clurman b.

Janice Updike c.

Augusto Boal d.

Julio Barasca e.

Septiembre de la Jolla

C.

Based on service, self-expression, and being true to yourself

D.

A theatre game

E.

Mother of American Improvisation

F.

The only American to have studied with

Stanislavski

G.

The “lever” that lifts the actor out of reality

H.

Supreme, yet benevolent Overlord

I.

Turns the audience into “spect-actors”

J.

Creating in yourself the thoughts and feelings of characters


Created by Carson Wright, BYU, Fall 2014

3.

Which of the following is NOT one of the four main expressionistic elements of hip hop theatre? a.

Graffiti b.

Slamming c.

MC-ing d.

Breaking

4.

Sanford Meisner’s technique is based on what crucial idea? a.

Living truthfully in imagined circumstances b.

Starting with the “seed” c.

Think outside the bun. d.

Finding the spine of the scene e.

5.

Konstantin Stanislavski was a.

An actor b.

A director c.

A teacher d.

All of the above e.

None of the above f.

A and C g.

B and C h.

A and B i.

D and E j.

F and H

Short Answer (10 points each)

Write 3-5 sentences answering each question. Be sure to include as much specific detail as possible.

1.

List three parts of the Stanislavski System and briefly describe each one.

2.

Explain Forum Theatre, as you understand it. What is it? What does it look like? What is the purpose of Forum Theatre?



3.

Briefly compare and contrast the Stanislavski System to the Meisner Technique.

4.

Who founded the Group Theatre in New York City? What was the Group Theatre and what was the purpose of it?

5.

How do Viola Spolin’s improvisation games used as training and exercise for the actor?

According to Spolin, what about improvisation helps actors?

6.

Describe the “distancing effect” (also known as the alienation effect, or the estrangements effect). What is its purpose?



Essay (25 points each)

Please write 10-12 sentences for each essay question. To receive full credit on these essays, your answers should be thoughtful, and should reflect what you have learned over the course of this unit.

They should demonstrate your ability to honestly analyze and apply the methods and styles we learned. THIS IS WHERE THE BULK OF YOUR POINTS COMES FROM.

1.

Choose two of the methods/styles or exercises we have studied and analyze them. Explain the pros and cons of each method as you see them.



2.

Choose one of the methods/styles that we have studied over the course of the unit. In a paragraph, describe specifically how your might use that style, methods, or any exercise in the creation/rehearsal process or during a performance. Why would you choose this exercise?

BONUS: (3 points)

What will you take away from this unit? What do you think you will use again? In what way?


acting methods and styles unit - BYU Theatre Education Database

ACTING METHODS AND STYLES UNIT OVERVIEW

DAY 1

DAY 2

Stanislavski – Given Circumstances, Objective,

Super Objective, Adaptations

YOU LIST

Stanislavski – Given Circumstances, Objective,

Super Objective, Adaptations

YOU LIST

DAY 3

DAY 4

DAY 5

DAY 6

DAY 7

DAY 8

DAY 9

DAY 10

DAY 11

DAY 12

DAY 13

DAY 14

DAY 15

ACTING METHODS AND STYLES — FINAL TEST

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acting methods and styles unit - BYU Theatre Education Database

ACTING METHODS AND STYLES UNIT

ACTING METHODS AND STYLES UNIT OVERVIEW

DAY 1

DAY 2

Stanislavski – Given Circumstances, Objective,

Super Objective, Adaptations

YOU LIST

Stanislavski – Given Circumstances, Objective,

Super Objective, Adaptations

YOU LIST

DAY 3

DAY 4

DAY 5

DAY 6

DAY 7

DAY 8

DAY 9

DAY 10

DAY 11

DAY 12

DAY 13

DAY 14

DAY 15

ACTING METHODS AND STYLES — FINAL TEST

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