Introduction
The Quest TheatreBridge Residency Teacher Guide provides teachers with information and resources to
prepare themselves and their students for the upcoming one-week visual theatre residency scheduled
for this coming November. It is our hope that these materials can enhance you and your students'
understanding of Quest's work and perhaps lay a foundation to continue to integrate Quest's
educational approach in your classroom after Quest's Departure.
The Quest residency will include:
 a half-day TheatreBridge professional training for teachers
 Four-day "Salute to Shel Silverstein" visual theatre residency
 Student showcase performance of Silverstein Poetry
 Performance of Quest's "Fairytales and Other Nonsense."
The goals of the Quest's residency are to:
 Provide deaf and hard of hearing students with opportunities to engage in quality arts education
activities
 Introduce teachers to Quest's TheatreBridge program which takes a visual theatre, arts
integration approach to learning
 Facilitate and model TheatreBridge teaching units that use visual theatre to satisfy English
Language Arts standards and outcomes.
The residency will address British Columbia Performances standards from the following areas:
Reading: http://www.bced.gov.bc.ca/perf_stands/reading.htm
Writing: http://www.bced.gov.bc.ca/perf_stands/writing.htm
Arts: http://www.bced.gov.bc.ca/irp/course.php?lang=en&subject=Arts_Education&course=Arts_Educa
tion_Drama_K_to_7&year=2010
http://www.bced.gov.bc.ca/irp/course.php?lang=en&subject=Arts_Education&course=Drama_8_to_10
&year=1995
The Prescribed Learning Outcomes for K - 7 reflect Quest's visual theatre approach.
Drama K to 7: At a Glance
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Kindergarten
engagement in drama
activities
taking on roles to
explore and imagine
willingness to
participate
using voice,
movement, and their
bodies to explore ideas
and feelings
personal and general
space
drama from a variety
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Grade 1
exploring and
imagining to create
drama
engagement in drama
activities
co-operation
reflecting on drama
experiences
using voice,
movement, and their
bodies to explore ideas,
feelings, and actions
drama forms to
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Grade 2
sharing ideas for drama
work
exploring and
imagining to create
drama
co-operation
reflecting on drama
experiences
using voice,
movement, and their
bodies to explore
ideas, feelings, and
actions in role
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Grade 3
exploring, imagining,
and reflecting to create
drama
collaboration
using voice,
movement, and their
bodies to convey
intended ideas or
feelings
variety of drama forms
safe participation
ideas expressed in
drama from a variety
1
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of contexts
sharing drama work
responding to drama
presentations
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represent ideas and
feelings
safe participation
drama from a variety
of contexts
participating in and
sharing drama work
responding to drama
presentations
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drama forms to
represent ideas and
feelings
safe participation
purposes of drama
presenting in role
responding to drama
presentations
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of contexts
opportunities for
participating in drama
in the school and
community
engaging in drama
presentations
aspects of drama
presentations that
evoke a response
The Quest residency will touch upon several writing standards. Below is a sample of 3rd Grade strand:
Strand:
Students will:
create a variety of imaginative writing and representations
following patterns modeled from literature [C3]
purposes (Reading & Viewing)
It is expected that students will:
read fluently and demonstrate comprehension of grade-appropriate information texts [B2]
strategies (reading & Viewing)
It is expected that students will:
 use a variety of strategies before reading and viewing [B5]
 use a variety of strategies during reading and viewing to construct, monitor, and confirm
meaning [B6]
 use a variety of strategies after reading and viewing to confirm and extend meaning [B7
2
Grade 4
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drama to express a
variety of feelings and
perspectives
collaboration skills
vocal and movement
elements appropriate to
role and situation
variety of drama forms
safe participation
drama reflective of
cultural beliefs and
attitudes
drama in the
community
commitment to drama
presentations
reflecting on own and
others’ drama
presentations
Grade 5
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drama to express a
variety of feelings and
perspectives
collaboration skills
vocal and movement
elements to
communicate meaning
variety of drama forms
safe participation
how drama affects
beliefs and attitudes
personal opportunities
in drama
active participation in
drama presentations
reflecting on own and
others’ drama
presentations
Grade 6
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creative process to
explore issues and
responses
authentic roles
variety of drama forms
to make meaning
collaboration skills
voice and movement to
interpret and
communicate meaning
safe participation
themes and traditions in
a variety of historical,
social, and cultural
contexts
opportunities in drama
active participation in
drama performances
analysing own and
others’ drama
presentations
Grade 7
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creative process to
explore issues and
concepts
authentic roles
active engagement in a
variety of drama forms
collaboration skills
voice and movement to
interpret and
communicate meaning
safe participation
role of drama in a
variety of historical,
social, and cultural
contexts
how social values are
communicated in drama
lifelong opportunities in
drama
performing drama for
specific audiences and
purposes
analysing own and
others’ drama
presentations
The Quest visual theatre approach is appropriate for students of all ages. The residency also supports
students at the secondary level. Below is a sampling of the Prescribe Learning Outcomes in Language
Arts (Reading and Viewing) for the 8th grade.
Prescribed Learning Outcomes: English Language Arts
Purposes (Reading and Viewing)
B1 read, both collaboratively and independently, to comprehend a variety of literary
texts, including:
 literature reflecting a variety of times, places, and perspectives
 literature reflecting a variety of prose forms
 poetry in a variety of narrative and lyric forms
 significant works of Canadian literature (e.g., the study of plays, short stories, poetry, or novels)
 traditional forms from Aboriginal and other cultures
 student-generated material
B2 read, both collaboratively and independently, to comprehend a variety of
information and persuasive texts with some complexity of ideas and form, such as:
 articles and reports
 biographies and autobiographies
 textbooks, magazines, and newspapers
 print and electronic reference material
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advertising and promotional material
opinion-based material
student-generated material
B3 view, both collaboratively and independently, to comprehend a variety of visual
texts, such as:
 broadcast media
 web sites
 graphic novels
 film and video
 photographs
 art
 visual components of print media
 student-generated material
B4 independently select and read, for sustained periods of time,
texts for enjoyment and to increase fluency
Since writing woven into the Quest TheatreBridge Engagement, 12th Grade writing Performance
Learning Outcomes (writing) would also be appropriate fit for the Quest approach.
General Learning Expectation
Students use elements of style, form, and convention (e.g., literary devices),
appropriate to purpose and audience, to enhance writing and representing.
Oral language, reading, and writing need to be taught and learned in an integrated way.
C13 use and experiment with elements of form in writing and representing, appropriate to purpose and
audience, to enhance meaning and artistry, including organization of ideas and
information text features and visual/artistic devices
Organization of Ideas and Information
C14 use conventions in writing and representing, appropriate to purpose and audience, to
enhance meaning and artistry, including
 grammar and usage
 punctuation, capitalization, and Canadian spelling
 copyright and citation of references
 presentation/layout
Quest encourages teachers in other disciplines to think about their curricular needs and what units they
will be teaching in November and consider ways that they can weave Quest's visual theatre into their
instructional approach. Science, Mathematics, Social Studies, Physical Education, and Fine Arts all have
the potential for an arts integration approach.
The pre-activities and residency activities will focus on the following literary forms:
 Fables/Fairytales
 Poetry
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This packet includes information about Quest's educational approach, visual theatre, theatre games,
reading resources, and sample lesson plans. Teachers should feel free to select materials and
procedures that they feel will support their class's curricular goals and the developmental needs of their
students. Teachers are welcome to contact Quest President/Artistic Director, Tim McCarty at any time
prior to his arrival for assistance. Tim's contact information is below:
Email: tim@quest4arts.org
Skype. Tim.Mcarty5
Phone: (301) 524-3849
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Education and Quest
Vision statement: Quest celebrates the role of visual theatre to enhance learning, promote creativity
and introduce people of all ages and cultural backgrounds to the artistic process. Quest builds a spirit of
community through its inclusive and accessible approach to the arts. Deaf and hearing artists, staff and
volunteers from diverse cultures comprise this internationally recognized company.
Mission statement: Quest believes that visual theatre can be a powerful tool to enhance literacy,
creativity and higher level thinking skills. Visual theatre can also serve as a vehicle to develop
communication skills and to build relationships among diverse populations in the community.
About TheatreBridge
TheatreBridge encourages teachers and parents to integrate visual theatre games and activities into the
curriculum. TheatreBridge's goals are to:
I. Increase opportunities for children at risk to engage in quality arts and arts education
experiences
II. Provide teachers, teaching artists and parents serving TheatreBridge's target population
with professional development and training in Quest's visual theatre, arts integration
approach
III. Improve the academic, literacy, and social skills of children participating in
TheatreBridge
In their interviews with the TheatreBridge research team, participating teachers at the Maryland School
for the Deaf identified meaningful academic growth with their students. At the elementary level, this
growth included: A greater retention of learned material; an increase in critical thinking; a greater
understanding of content; and, enhanced story comprehension. At the middle school level teachers
observed that their students: Were better able to internalize skills; improve their language skills; and,
increase their literacy rates.
TheatreBridge research findings also indicate that students are more invested in learning and increase
their theatre, communication, and interpersonal skills when they engage in visual theatre activities that
are woven into the curriculum. They more successfully participate in collaborative learning and gain a
greater understanding and retention of content, while teachers noticed a reduction of inappropriate
student behavior and outbursts. These findings reflect a profound positive impact on a population of
students who too often face frustration and failure. The reading level of all Deaf people remains below
the 4th grade and unemployment is unacceptably high. Over the next several years, Quest will continue
to build upon this initial research and continue to expand its TheatreBridge offerings in area school
systems.
TheatreBridge is affecting meaningful change in our schools. “My students love doing the theatre
activities,” beams MSD elementary school teacher, Shannon Negussie. “Linking theatre games to the
curriculum helps the students learn and retain information,” fifth year teacher, Negussie continues.
“TheatreBridge has given me a renewed enthusiasm for teaching,” notes middle school language arts
teacher, Susan Maginnis. “I come to school every day full of ideas for using the theatre games to support
my lesson plans. I’m also using the games to develop my students’ communications and interpersonal
skills,” veteran teacher Maginnis says effusively. Maginnis goes on to note:
All the videotaping we have done. It’s been great for [the students] to sit and watch, all by
themselves, develop these skills [e.g., confidence, risk taking, critique]…We do film and then the
kids come back and they watch their work and then, if time permits, …I ask them if they are
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satisfied with it, if they feel it was clear, you know? And they evaluate their work and then we
redo what they feel was not clear…I’ve used the tableau work repeatedly as a retelling of a story
they’ve read, and after we read the story they determine how they’re going to tell the story
again. They become the characters. They decide how the tableaus should be shared to tell the
story and then they rewrite it. And then, they take the finished book, their book, and they take it
to the third grade class and they tell the story again with their tableaus…And my students have
so improved in their ability to tell a story, with expression and with, like, this love, that just gets
communicated to the younger kids…Now, it’s the expectation, if they really like a book, they’ll
say, “Can we tableau?” And then, “And can we tell it to the third grade?” So it’s really been a
benefit to both age groups.
What is Visual Theatre
Movement is the central organizing principle in visual theatre. Performers communicate information,
relationships and emotions primarily through movement such as traditional mime, various forms of
dance, sign language, gesture, or the circus arts. Other visual theatre choices include puppetry and
masks. Visual theatre is not necessarily silent or non-verbal. It may contain spoken word, sign language,
music, or other sound. It may also contain multimedia elements such as video or projections. However,
the essential meaning of any visual theatre piece transpires through its visual vernacular. Visual theatre
is accessible to deaf and hearing audiences as well as non-English speaking audiences without the use of
interpreters or captioning.
Visual Theatre Games
Theatre games and exercises are a common tool that teachers and directors use in their classes and
rehearsals to develop an actor’s performance skills and a sense of ensemble in a group. Most theatre
games have an improvisational base. This means that the instructor establishes the rules or
circumstances of a game. Then the actors, using the given rules or circumstances, are free to create
characters, dialogue and scenes. Theatre teachers use games to achieve curricular goals while directors
use games to meet the needs of a particular production of a play.
Like all theatre training, teachers and directors use visual theatre games and exercises to develop
students’ creative and expressive skills. Visual theatre games should particularly focus on enhancing the
actor’s tools:
 Body
 Imagination
 Experience
The body is the primary tool in visual theatre. Teachers, therefore, must invest time and care to
develop this essential tool. Students must learn how to move effectively in space and to effectively
move each part of their bodies. A visual theatre actor must have the ability to call upon parts of his or
her body to accurately interpret or express images, characters, emotions, and settings. It is through this
movement or the images created by an actor’s body or group of actors’ bodies, that an audience must
read and interpret a scene or sequence. Therefore, when an actor can effectively utilize his or her body,
audience members more readily understand what the actor or actors are trying to express. This ability
to communicate effectively and with clarity can be challenging, especially with students who are
accustomed to people not understanding them. Empowerment of students to clearly express
themselves visually is, in fact, invaluable for building student success.
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However, the ability to move effectively and accurately is not enough to be a good actor. Actors must
convey character, ideas, feelings, and places. Effective visual theatre games encourage students to use
their imagination and experiences to accurately express a specific character, particular ideas, defined
feelings, and certain places. Often, students have not been encouraged to express themselves lack the
ability to do so. They need time, many opportunities, and constructive feedback to play with ways of
creating and expressing themselves visually, and learn that their ideas are interesting.
With TheatreBridge, Quest staff and artists encourage teachers to weave theatre games into the
classroom throughout the school year. Sometimes, the games are to focus on students’ development of
acting or communication skills. However, the key to building student success is integrating games into
the curriculum so that students gain a greater understanding of course content. The games also become
a valuable tool for assessment of student learning.
Benefits of Visual Theatre Games
With visual theatre games, students play first according to rules provided by their teacher. Then, they
begin to apply that play to important curricular goals and outcomes. The kinesthetic and intellectual
play, along with accompanying discussions, photos of student visual theatre work, and written
assignments, engages students in their educational process. Students become familiar with the
curricular content in various forms. They begin to experience success in the classroom, and through this
success, students begin to build confidence. This confidence is vital for many students who experience
frustration and failure in the classroom.
Tableau
Quest trainers encourage teachers to spiral a variety of visual theatre games into their curriculum
throughout the year, enabling students to develop their visual theatre, communication, interpersonal
and intellectual skills. However, the visual theatre technique that plays a critical role in student success
in the TheatreBridge Program is the tableau.
Tableau is a traditional theatre technique used in many forms of theatre all around the world. In a
tableau, actors create a frozen image or still picture with their bodies. A group can use the tableau to
represent something that they read, a photo or painting that they have studied or an idea that they
want to express. Because there is no movement, a tableau helps students identify one or two important
ideas and then express those ideas succinctly and with clarity.
Creation and assessment of tableaus in the classroom touch upon a broad range of learning and
knowledge skills. Bloom’s Taxonomy of Learning Domain (Clark, 2013) provides an ideal framework for
understanding how the tableau process works.
Bloom's Taxonomy (Link)
TheatreBridge teachers often ask their students to create a tableau that visually represents something
that they read in class. To successfully create their tableaus, the students must utilize all levels of
Blooms’ taxonomy.
Remembering: The students must remember the details of the story.
Understanding: Students must understand the story to plan their tableaus.
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Applying: Students use details of the story that they then apply to the creation of their tableaus.
Analyzing: After the students create their first draft, they look critically at photos that the teacher has
taken of their tableaus.
Evaluating: The students critique their work.
Creating: Based upon their self-critique, the students revise their tableaus and share them with their
peers. Their creation of the tableau is not a replication of the story. It is their visual interpretation of the
story.
The tableau sharing, feedback, and revision process offers students several opportunities to explore the
full range of Bloom's Taxonomy.
The Sharing Process
When creating works like tableaus, students should share their work with peers. Sharing adds some
tension to the process. Knowing they are creating something that is then shared with others encourages
students to think about audience acceptance in the creative process. (Hattie, 2008).
When first using the sharing process, teachers should clarify roles. Students who are presenting their
work are actors who must commit themselves to the work or performances. Those students who are
observing the work are audience members who will provide constructive feedback.
Following the tableau sharing, performers stand in a line in front of the audience. The performer’s job is
to actively listen to feedback, and he or she is not permitted to respond or explain. If the
performers/students are allowed to respond, they are not listening. Instead, they are preparing their
responses to feedback when they should be attending to audience critique.
Audience members must give specific, concrete analysis of the work performed. “I like it, it was funny, it
was good,” is not an acceptable feedback statement. Audience members must make statements and use
descriptive evidence to support those statements. For example, “I thought the focus was very clear
because everyone was looking at Robert.” “I thought the tableau clearly showed that everyone was sad
because each actor frowned and their shoulders slumped.”
Remaining attentive during the feedback process helps students accept criticism. After receiving
feedback, performing students may choose to ignore the feedback or incorporate it into their
presentations during their next draft. TheatreBridge staff members consider self-evaluation and peer
critique as essential to developing students’ collaborative skills. This collaborative approach is a valuable
part of the students’ overall learning process.
Developing Tableau Skills
Quest's website includes a variety of visual theatre games that help students develop their skills to
create a tableau. The “freeze” part of the Environments game is the first step in learning tableau. Many
students are not aware of their bodies and how they move or control their bodies. Taking the time to
develop the ability to create interesting pictures as an individual and as a group is an important part of
the tableau process. When creating interesting tableaus students must:
 Commit their entire body to the picture and the picture’s intent
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Have a clear focal point
Use a variety of levels
One of the standard games that Quest artists use to teach tableau is "1, 2, 3." This guides includes a
script for teaching "1,2,3." Teachers have a variety of options in how they might apply tableau in the
classroom. Creating tableaus is one of the activities that MSD teachers and students effectively
incorporate into their classes. Tableaus, emphasizing position, motion, expression, and collaboration,
are woven into a myriad of lesson plans in various subjects that form MSD’s core curriculum. For
example, in a second grade MSD class, students learn about nature’s life cycles and specifically study the
life cycle of a frog. Using toys, puppets and flashcards, the teacher introduces students to vocabulary,
such as, “frog, tadpole, eggs.” The students and teacher each have an opportunity to manipulate the
objects and discuss what they know about each vocabulary word. Then the class moves to a different
section of the room where the teacher shows a brief animated film of the frog’s life cycle. Students
discuss the film, and the teacher assists them in using the vocabulary they have just learned. Finally, the
teacher projects a series of pictures depicting the frog’s life cycle, and the students create a tableau for
each picture. The teacher takes a photo of each tableau, reflecting the students’ interpretation of each
picture. Teachers and students use these photos in a number of ways throughout the unit. Sometimes
the teacher projects the picture and the students explain what is happening. Sometimes the teacher and
students create sentences to caption their photos. The process, most importantly, enables students to
develop a deeper understanding of the information about a frog’s life cycle because of the active way
learning takes place.
MSD teachers have been pleased with how TheatreBridge and the use of tableaus are working in the
classroom. Sixth-year teacher Shannon Negussie, author of the frog cycle lesson plan, indicated “linking
theatre games to the curriculum helps the students learn and retain information,”
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Pre-Residency Activities
PURPOSE: The materials in this section provide teachers with lesson plans, theatre games, and
resources that they can use prior to Quest's arrival. Quest encourages teachers to adapt the materials to
meet the curricular goals and individual needs of their classes and students. Quest's performance of
"Fairytales and Other Nonsense" features the company's visual interpretation of fairytales and fables
such as "Three Little Pigs," Rapunzel," "Cinderella," and "Little Red Riding Hood." Reading these stories
prior to Quest's arrival will enhance the students' enjoyment of the show. However, teachers may
choose to use these stories to satisfy English Language Arts reading and writing curricular goals. Quest
encourages teachers to integrate visual theatre into their instructional strategies and this section
includes several visual theatre games samples and sample lesson plans. We have included several
versions of each story. Teachers may choose to use the links below or their own resources for the
stories.
Reading Resources
Fairytale Elements
http://www.surfturk.com/mythology/fairytaleelements.html
http://www.readwritethink.org/files/resources/lesson_images/lesson1/RWTa51-4.pdf
http://www.primary-education-oasis.com/characteristics-of-fairy-tales.html
Fables Elements
http://www.siue.edu/~dkoehne/ppchapter6/tsld014.htm
http://teacher.scholastic.com/reading/bestpractices/comprehension/genrechart.pdf
http://mail.wecdsb.on.ca/~karina_piroli/FOV1-00048715/FOV1-0006565F/Fable%20Characteristics.pdf
Poetry Elements
http://learn.lexiconic.net/elementsofpoetry.htm
http://www.buzzle.com/articles/basic-elements-of-poetry.html
http://archive.csustan.edu/english/reuben/pal/append/AXF.HTML
Cinderella
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http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks1/english/story_telling/cinderella/cinderel
la1.htm
http://www.learner.org/interactives/story/cinderella.html
http://www.pitt.edu/~dash/grimm021.html
http://www.speakaboos.com/story/cinderella
Little Red Riding Hood
http://www.dltk-teach.com/rhymes/littlered/1.htm
http://www.eastoftheweb.com/short-stories/UBooks/LittRed.shtml
Three Little Pigs
http://homepages.uni-paderborn.de/odenbach/wwwmath/pigs/pig2.html
http://www.dltk-teach.com/rhymes/pigs/1.htm
http://www.speakaboos.com/story/the-three-little-pigs
Ballet version: http://northernballet.com/?q=three-little-pigs/videos
Rapunzel
http://www.eastoftheweb.com/short-stories/UBooks/Rapu.shtml
http://www.speakaboos.com/story/rapunzel
http://www.pitt.edu/~dash/grimm012.html
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Visual Theatre Game Samples
NOTE: Teachers need to be aware that all visual theatre games require a open space free of
obstructions. Students should feel free to move. Some games will work best when there are more than 8
participants.
Quest artists and teachers trained by Quest have discovered the importance of tables and smart phones
in supporting visual theatre activities. The teacher takes pictures and videos of student drafts work. The
students look at their photo or video and discuss possible changes for their next draft. This process
provides students with a better understanding of what they have created, encourages them to analyze
their work, and prompts them to edit their work and create additional drafts to improve their work. The
use of tablets or smart phones is one strategy to encourage students to pay attention to details and to
not gloss their work.
Environments Activity Outline
Educational value:
o Increases student’s ability to concentrate
o Encourages creativity
o Enhances student’s visual imaging skills
o Develops a sense of ensemble
o Improves student’s ability to recognize and perform patterns and sequences
o Encourages students to take risks
[This game requires a space free of impediments and large enough to enable the group to move freely.]
We are going to play a game called “Environments.” I’m going to give you a gesture for a particular
environment when I sign “go,” you move in that environment until I sign “freeze.”
Our first environment is “fog.” I’ll sign it like this (show again). This whole space, this whole room is filled
with fog. Imagine what that is like. Ready. Go. [Allow the group to explore and discover and have fun.
There should be no talking. After a minute or two sign freeze. Wait until everyone has totally frozen.
Keep the freeze sign until there is total stillness. Clap your hands a couple of times and indicate that the
participants are to return to their circle.]
Our next environment is" syrup," but I’ll sign it this way [“sticky”]. This whole room is filled with syrup.
Through the magic of theatre you will be able to breath. You won’t die. Imagine yourself trying to move
or walk through “sticky.” Ready “sticky” “go.”
[Same procedure. Your instructions should diminish as you go through the different environments. Be
sure to indicate for ice, hot, water 1 inch that the whole floor is that environment.]
Environments Sequence
 Fog
 Syrup (sticky)
 Ice (floor)
 Hot (floor)
 Water (1 inch)
 Water (waist high)
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
Water (neck high)
[After to you complete the cycle.]
Great job. OK, let’s review. What are our environments? First is was…? Then…? [etc]
I am going to review the environments myself. Watch and tell me if I make a mistake. [Do the entire
environment sequence for the students.] Did I do the right sequence? Did I forget any environments?
OK, here we go again. [Begin the sequence again, but this time you do not sign “freeze.” Start with “fog”
then at some point sign “sticky” several times until most of the group sees the new sign. Allow them to
adjust and get it right. If someone doesn’t get it, don’t worry about it. They will eventually figure it out.
As the sequence goes along, shorten the length of time you sign the next environment. Don’t be too
brief, but enough for reasonable number of folks to see it and get it. You want the group to begin to
depend on each other and not just you.
Go through the exact same sequence. The go back to “water” (1 inch). Once everyone is doing that
environment, get up on a chair or something to elevate yourself. Begin so gesture “waves” on a beach.
You can make the sound of waves if you want. Keep doing it. Allow the group to figure it out and have
fun with it. The sign “freeze.” When they all freeze give them a big round of applause. Then ask them to
sit in a circle.]
Sample processing questions:
When someone responds to a question, repeat and rephrase their response so that everyone gets it and
you reinforce the important points.
 What did you discover in that game? What did you learn in that game?
o I used my imagination.
o I had fun.
o I moved differently in different environments? [Follow up question: How?]
 Before you can move in an environment, what did you have to do first?
o I had to imagine the environment first [Follow up: Is that important in theatre?]
 Yes. [Why?]
 Because to be a character in a play or to do anything in the play well, I need to
have specific image in my head first.]
 Did you always know when to stop or change an environment?
o No [The how did you know which environment we were in?]
o I had to watch the others in the group. [Is being aware of others on stage important in
theatre?]
 Yes [Why?]
 Because most of the time you are acting with other people on stage. [That’s
right. So this is a good game to develop a sense of ensemble, a group, everyone
working together.]
 Is there a sequence in this game?…What is that sequence?
 Are sequences important in theatre?
o Yes [Why?]
 Actors must memorize lines or sequences.
 Anything else you discovered with this game? [Responses. Good. Now let’s go to our next
activity.
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1, 2, 3
Educational Value:
 Improves a student’s ability to focus
 Promotes a sense of ensemble (enhances the student’s commitment to and
contribution to group work)
 Develops student’s ability to follow directions
 Clarifies vocabulary (interpreting specific emotions)
 Improves a student’s physical composition skills
 Enhances a student’s critical eye
 Improves constructive criticism skills
 Enhances student’s ability to accept and use criticism
 Increases student’s attention to detail
 Increases student’s ability to follow directions
Place an object Left, one Center and one Right.
This is a game about focus and using our body to sculpt pictures. The body is an essential actor’s tool in
visual theatre. We need to create pictures that the audience can readily clearly and easily see and
understand. Because we have limited time, I’ll give one hint about creating interesting pictures…levels. If
we create different levels with our bodies, pictures that the audience might not expect or pictures that
have interesting shapes that evoke a thought or feeling, we have a better chance of engaging the
audience.
For this game, you well enter from the Right with a general focus. I’ll clap my hands and you rush to #1
and freeze in a tableau. The object is the focus. So no matter what picture you create, you must be
looking at the object.
I’ll clap my hands again and you break and walk around with a general focus. I clap again and you rush to
#2 to create a second tableau. I clap…general…I clap…tableau for #3.
Note: when you rush to an object, you don’t have to leave the object where it is, you can raise it and
thus move the focus. You still need to freeze.
[After each group does their tableaus, the audience provides feedback about what worked and didn’t.
After the first group goes, you can add contrasting emotions to the three objects.
At the end of the game, process with the participants about what they learned in this game.]
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Big/Little
Educational value:





Encourages creativity
Enhances student’s visual imaging skills
Develops a sense of ensemble
Encourages students to take risks
Enhances a student’s critical eye
We’re going to play a game. It’s called “Big and Little.” In this game, you need to pay attention to my
instructions. First, we are going to stand up, leave some room between you and the next person. Now
just stand in what we call a neutral or relaxed position. We’re now going to make ourselves as big as
possible. We going to first do this as slowly as possible. Are you ready? OK, feel yourself start to grow.
You are getting bigger…bigger…bigger. You are so big it feels like you can fill up this room with your
whole body. You’re really big. You are huge. Uhoh! I’m getting smaller. I’m slowly getting
smaller…smaller…smaller. I’m shrinking. I’m getting small. Now I’m getting teeny. I’m so small. Wow, the
room is so big because I am so small. Uhoh! I’m getting bigger…
[And so on. Repeat the big then small a couple of times.] Now that you are big, move about the room as
a big, big person. I’m big. I’m really big. Uhoh, I’m getting smaller. .. Now that you are small move
around the room as a small, small person…I’m growing again! I’m growing back to…normal. Whew! It
feels good to be my size again.
Can anyone tell me something that is really big? (Elephant, tree, house, whale, etc) OK, let’s imagine we
are a [object]. Let’s become a big, big [object]. Now, move around as a [object]. Very Good. Now slowly
become yourself and your normal size.
Can anyone tell me something that is really small? (ant, bee, fly, atom, etc) OK, let’s imagine we are a
[object]. Let’s get small like a [object]. Let move around as a [object]. Very good. Now become yourself
and your normal size.
[Repeat the exercise as different things. Then ask for a volunteer to be big like a [object] and someone
else to be small as a [object]. ]
Thank you, I want the two of you to move around as [object 1] and [object 2]. Are you ready? Go. Now
try to interact with each other.
[Let the two actors interact for a bit.] OK, great! Let’s thank our actors [applause]. Can I have two more
volunteers? What should we have them be this time? [Assign the actors two different characters/objects
and repeat the activity.]
OK very good. What do you think we learned from this game? [Response]
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Fables/Fairytales Tableaus
This activity should take place after the students have read the fables/fairytales. Prior to doing this
activity, the teacher must lead the students in several visual theatre games. At least one of those games
should focus on tableau skills.
Educational value:
 Enhances student’s “composition” skills
 Develops student’s sequencing skills
 Improves student’s ability to select major ideas or events
 Enhances a student’s critical eye
 Improves constructive criticism skills
 Enhances student’s ability to accept and use criticism
 Increases student’s attention to detail
We are going to divide you into # groups. [The number of groups depends on the size of class. Three to
five people in a group is a good number.]
I’m going to give each group a fairytale or fable. I want you to create up to 10 tableaus to present your
story. Your story will be like watching a slide show. You will have about 10 minutes each to plan and
rehearse your story.
[Demonstrate several tableaus. Then count off the students and divide them into their groups.]
Group 1 will work over here. Group 2 will work here. Etc
[Go to the first group and secretly give them a story. Repeat this until each group has a story. Some
stories that work well in this situation are:
 Little Red Riding Hood
 Rapunzel
 Three Little Pigs
 Cinderella
[Go around to each group to facilitate, but not direct. Take pictures of each tableau using a tablet or
smart phone. Show the group the pictures. Ask them if they want to make any edits. When it is time, call
the groups together.]
Now we are going to share our work. The rules of performance apply here. What is the job for the group
on stage? (To act; to perform)
That’s right and the group sitting out here, what is their job? (To be an audience; To watch)
And how does the audience watch? (Carefully; Quietly;)
Because when the group finishes performing, what is the audience’s job? (To give feedback.)
And the job of the performers during feedback is to..? (Listen and accept)
Alright, Group 1 come on up here. Ladies and gentlemen, we proudly present Group #1. Yay!
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[Everyone watches the first group. Applause.]
Great job! OK, what story were they doing? [Responses] How did you know that? [Responses. Comment
on the responses] What feedback do you have for Group 1? Were their tableaus interesting? Did each
picture have a strong focus? Are there suggestions for how they might improve their tableaus?
Good work group one! Now Group 2 come up. Ladies and gentlemen, we proudly present Group 2!
[Repeat the process]
[Once all the groups have completed their stories, it’s time to wrap up.]
Writing The Fables
Educational value:
 Enhances student’s composition skills
 Improves student’s sequencing skills
 Improves student’s ability to select major ideas or events
 Enhances student’s ability to communicate images, ideas, and experiences
 Encourages listening and cooperative learning skills
 Increases student’s ability to provide constructive feedback
[Instead of index cards, the teacher may opt to load the pictures onto a smart board and follow the
sequence described in the activity.]
Now we are going to document our stories. We are going to put our stories on paper and we are going
to do this in two ways. I have some index cards. I want each group to draw a simple picture of each
tableau on these index cards. If you had 7 tableaus, you will draw 7 pictures. If you had 10 tableaus, you
will have 10 cards.
[Each group draws their cards. The group should sequence the cards and agree that their sequence is
correct. They should also edit any drawings that need clarification.]
I want the groups to exchange their cards with another group. The first thing I want each group to do is
take the picture cards and put them in the correct order based upon how that group performed the
story here. You must work together as a group to decide if everything is in the correct order. I don’t
want to see one person deciding the order. You must go it together. OK, go ahead.
[After this activity is complete…]
Let’s check our work. Could I have a representative from Group # to check to see if Group # put your
cards in the right sequence. [Repeat the process]
Let's get back in your groups with the cards from your story. I want you to write a sentence to match the
action in each picture. By the time you finish, you should have one sentence card for each picture card.
Match your sentence cards with each picture. For example, “The first pig built a house of straw.” Or
“Cinderella danced with the Prince.” Make sure that tableau 1 matches sentence 1 and so forth.
[Hand out index cards and writing utensils. Give the groups time to complete the activity.]
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Keep your picture cards in order. Mix up your sentence cards and place them in a pile. Each group
should now shift to a different story. Each group should work cooperatively to place the sentence cards
under each picture card. Make sure that you work together and that you agree.
[When the groups have matched the sentences to the pictures.}
Each group check the work of the other group and provide feedback.
[The next step in this process could be to remove the picture cards, mix up the sentence cards again,
and ask each group to place the sentence cards in the correct order. Another way to do the cards is to
take digital photos of the tableaus. Using a Smart Board, the students could manipulate the photos into
the correct order.]
Play/Story Building
Educational value:
 Develops student’s ability to identify the elements of a story or play
 Increases student’s retelling and paraphrasing skills
 Develops student’s ability to clearly communicate to an audience
 Enhances student’s composition skills
 Improves student’s sequencing skills
 Enhances student’s ability to relate codification to images, ideas, and experiences
 Encourages listening and cooperative learning skills
 Increases student’s ability to provide constructive feedback
Topic
Today, we are going to focus on fairytales and fables. We are going to explore what we know about
these types of stories and we are going to create our own version of a fairytale or fable and create our
own play or story in that style.
Mapping topic
[One way to insure that everyone in the class has some understanding of the fairytales and fables is
use semantic mapping to identify the various things they know about fairytales and fables. Write two
circles on the board or flip chart. Invite the participants to generate as many words as possible related
to fairytales and fables. Write the words on the board and categorize the words. Continue until the
group has enough information to clarify and characterize the topic.]
Here is a link to several examples of semantic mapping:
https://www.google.com/search?q=semantic+mapping&client=firefox-a&hs=5R&rls=org.mozilla:enUS:official&channel=sb&tbm=isch&tbo=u&source=univ&sa=X&ei=lgH2U5WCDqrIsAThq4KgAg&ved=0
CB4QsAQ&biw=1440&bih=776
Tell me what you know about (Fables/Fairytales). [mapping]
Alright, we have clarified what we know about fables and fairytales. This will be our focus for today.
Brainstorming
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[Depending upon the size of your class, divide the students into small groups (3 - 5). Each group will
use the elements of fables/fairytales to create their own story or script. Each group will brainstorm
ideas to create their own story. Once they have decided on a topic ask the students to create a
storyboard or a series of tableaus depicting their story sequence. If the students use tableau, take
photos of each tableau. If they choose to storyboard, provide them either with index cards or a
storyboard template. Here is a link to several kinds of templates:
http://www.printablepaper.net/category/storyboard
[Once each group is satisfied with their draft, they should identify the story's elements
 characters
 setting
 conflict
 resolution
If their story requires props, the students should identify the props that they need.
The students should also explain how their story follows the elements of fables/fairytales.
Next, the students should share their story with students from the other groups to receive feedback.
After receiving the feedback, the groups should reconvene and produce their second drafts.]
Scripting
[Next, each group should write a sentence for each of their tableaus or slides. Each student in the group
should participate in writing, editing, and providing feedback in the scripting process.
Each group should then rehearse their story. This time, they should include signing their script. This
rehearsal should also focus on how the narrator or narrators sign the lines for each tableau/slide.
Finally, each group should share their revised story to other students. Teachers should consider
videotaping the final performances. If the school has an online vehicle for sharing videos, it would be
wonderful to have videos of all student performances shared with the entire school.
Instructor’s Role
The role of the instructor in this process is that of a facilitator. The students should feel ownership of
their work. The instructor should ask questions like: “What do you think this character is feeling?” or
“What do you think the goal or focus of this scene is?” The instructor should also keep the students
aware of how much time they have to work on the project.
Sharing
Sharing is an important part of the process. It gives closure. It can also serve as an informational tool for
other students who may be studying the same topic or story. It is important to remember that it is the
process that is important here not the product. The rehearsal and sharing process should enable the
students to gain a greater understanding of the selected topic and at the same time provide the
instructor with assessment tools. Whatever the decision is for the sharing here are some criteria to
consider:
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Space: Do the sharing in a location that provides ample space for the performers. The location should
also enable the audience to see the “performance.” The space must also be an appropriate size to
accommodate the audience. The space should also insure that the performers and audience will be able
to focus on the “performance” and not be distracted. A classroom, multipurpose room, or theatre may
be an appropriate choice.
Audience: All performances need an audience, but since the focus here is on process, then the
determination of who the audience is should emanate from what is best for the students. Sharing in
front of their fellow classmates could be sufficient. Performing in front of other students studying the
same topic or story could also be appropriate. However, this should only happen if your students are
prepared for this level of “sharing” and if the audience has also had some preparation. Anything beyond
this, tends to place greater emphasis on product rather than process.]
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Another Lesson Plan Choice
The following is a lesson plan developed by Susan Maginis. Susan is one of the teachers from the
Maryland School for the Deaf trained in Quest's TheatreBridge approach.
Characters with Fabric for Creative Writing
Title of Lesson: Characters with Fabric for Creative Writing
Maginnis
Date of Actual Lesson: January 25-26, 2012
Level: 2)
Instructor/Author: Susan
Grade: 6-8 (Instructional
Arts: Theatre
Content Area/Subject: Language Arts
Standards: 3.0 Creative Expression and
Production
Standards:4.0 Writing
Topic/Goal: Students will demonstrate the
ability to apply theatrical knowledge, principles,
and practices and to collaborative theatre
presentations.
Topic/Goal: Students will compose in a variety of
modes by developing content, employing specific
forms, and selecting language appropriate for a
particular audience and purpose.
Indicator/Objectives:
Indicator/Objectives:
1. Use a variety of theatrical elements to
communicate ideas and feelings
1. Create improvisational scenes
using given ideas to develop
characters, settings, conflicts,
and resolutions
2. Demonstrate knowledge of
theatre performance and
production skills in formal and
informal presentations
1. Use selected posture
and movement to enact
improvised characters
1.
Use collaborative theatre processes to
create, perform, and revise scenes that
are based on imagination and personal
experience
Vocabulary: improvisation, setting, conflict,
1. Compose texts using the prewriting and
drafting strategies of effective writers
1. Generate ideas and topics and make a
plan before writing
2. Write a first draft with a main idea and
supporting details
3. Organize related ideas into a simple
paragraph
4. Compose oral, written, and visual
presentations that express personal
ideas, inform, and persuade
1. Contribute to a shared writing
experience or topic of interest
2. Use sensory details to expand
ideas
Vocabulary: Main idea, details, adjectives, problem,
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resolution
solution
Materials:





Multi-color, large pieces of fabric
Story map
Vocabulary cards
LCD projector
ELMO camera
(DAY 1)
Background/Review:


Review the meaning of improvisation, setting, conflict, and resolution
Review main idea, details, and adjectives
Procedure (Introduction, Modeling, Guided Practice, Independent Practice,
Closure):
(Introduction)
1. Review the meanings of the vocabulary being used.
2. Have students stand in a circle with the fabric in the middle.
3. Explain that using only the fabric they will develop characters. Emphasize that the characters
should be developed to the point that the audience can guess who they are based on
appearance and mannerisms. They should not use language to identify their character.
(Modeling)
1. Choose a piece of fabric and develop a character.
2. Ask the students to guess the identity of the character.
(Guided Practice)
1. Direct the students to select their fabric and begin developing a character.
2. As the activity progresses make suggestions about refining the character or adding more detail.
(Independent Practice)
1. Continue the activity until the students appear ready to guess each other’s characters.
2. Return to the circle and “perform” for each other. Have the students guess each other’s
characters.
3. Give the students a setting and direct them to develop a conflict and resolution within the
setting for all the characters.
4. Continue the improvisation until the “story” is complete.
(Closure)
1. Explain that the next day they will write a collaborative creative story about the characters,
problem, and solution they developed.
Assessment:
1. Observe students ability to develop well defined characters using only fabric.
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2. Observe students ability to create an improvisational scene in which the characters are
connected through a common setting, conflict and resolution.
(DAY 2)
Background/Review:



Review the meaning of improvisation, setting, conflict, and resolution
Review main idea, details, and adjectives
Review the original characters that were developed the day before
Procedure (Introduction, Modeling, Guided Practice, Independent Practice,
Closure):
(Introduction)
1. Review the meanings of the vocabulary being used.
2. Explain to the students they will write the story they created together the day before.
3. Have students recreate the characters and the scene they created (using the fabric).
Allow them to “tweak” their work if they desire.
(Modeling)
1. Project the “Story Map” on the white board and ask the students to return to their desks and
work together to fill in the information based on the scene they created together.
2. Assist with proper placement of story elements where necessary.
3. Instruct the students to transfer the information on the story map to paragraph form (provide
modeling and support when necessary).
(Guided Practice)
 Have students take turns reading their original story with appropriate expression.
(Independent Practice)
 Students read their story to each other in pairs.
(Closure)
 For homework, students will illustrate scenes from their story to be displayed with the story.
Assessment:

Observe students’ ability to transfer the scene they created into a collaborative piece of writing.
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Quest Residency
Student Residency: A Salute to Shel Silverstein
Goals
Students participating in Quest's Shel Silverstein residency will:
 Develop their skills in visual theatre
 Use visual theatre to enhance their literacy skills
Objectives
The students will accomplish these goals by:
 Attending a "Fairytales and Other Nonsense" performance
 Working with professional deaf and hard of hearing artists
 Participating in visual theatre exercises and activities
 Analyzing the poetry of Shel Silverstein
 Interpreting the selected Silverstein poems using visual theatre
 Sharing their Silverstein interpretations through a showcase performance
Classroom Preparation
The students participating in the residency will be moving and doing theatre games. The artist and the
students will need a space where they can move freely and safely. A classroom with chairs, tables, and
desks moved to the side will be fine. A white board, chalkboard, or flip chart should be available to the
artist and the students.
Typical Session
Each class will begin with a series of theatre warm-ups and games. Then the artists and students will
analyze selected Silverstein poems. Based upon their analysis, the students, with the assistance of the
artist, will create their visual interpretation of the poetry.
Preparing Your Students for the Residency
Prior to the residency, teachers may want to review Quest teacher guide. The guide provides insight to
Quest's visual theatre approach to learning. The guide also includes games and activities that teachers
may use with their students to augment the Quest experience.
Culminating Activity
At the conclusion of the residency, students will share their visual interpretations of Shel Silverstein's
poetry with a showcase performance of their work. If possible, we would like to use a projector to share
the text of the poem with the audience. One student will recite the poem. Then each class that has
created an interpretation of that poem will perform it in turn. We will repeat this process until all the
poems have been shared.
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Performance: "Fairytales and Other Nonsense"
This performance features members of Quest's Wings Company, an ensemble of Deaf, hard of hearing,
performers. The Wings Company travels nationally and internationally performing and teaching.
"Fairytales and Other Nonsense is the company's newest work. "Little Red Riding Hood," Rapunzel,"
"The Three Little Pigs," and another classic fairytales and children stories find their way into Quest Visual
Theatre's whacky production of "Fairytales and Other Nonsense." This family friendly nonverbal
performance takes audiences on a whimsical and hilarious journey through classic tales they all now.
"Fairytales and Other Nonsense" made its debut last May in Austria.
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