Appendix 1 - Instructional & Assessment Supports

Direct Instruction: structured overview, lecture, whole class discussion using chalkboard or Smartboard, didactic questioning

Indirect Instruction: reflective discussion, using feedback from directors, reading for meaning, diagnostic questions

Experiential Learning: theatre games, storytelling, role playing, hot-seating, Michael Shurtleff film, rehearsal, brainstorming, think/pair/share, movement work, tableau work, soundscapes, drawing, building 

Reflective Learning: reflective journal writing, rehearsal log, using three stars and a wish to reflect on a peer's performance in a small group 

Independent Study: visual research, assigned worksheets, self-assessment

Interactive Instruction: large and small group discussion, play study, portfolio building, student creation of designs, brainstorming, body storming, peer assessment

Instructional Skills:  questioning, demonstrating, diagnosing, explaining, designing problems/tasks

Differentiated Instruction:

• Flexible Groupings: option to work alone, in pairs, or groups of 3 for rehearsal
• Choice of Material: student choice from scripts (scenes or monologues) of varying complexity, varying length and varying maturity levels, advanced students may chose 2 contrasting monologues to prepare for theatre school audition and may chose to bring a head shot and resume as an enrichment option.  Students build the design portfolio for the scripts or stories they have chosen. Within each group, students have a choice of category of visual research.
• Tiering: Students can choose to use graphic organizers for script analysis or character chart, memorize the text or use a line reader. Students can choose the representation mode (drawing, "found object" sculpture, movement piece) to express the theme and mood of their chosen script.  As students work in design groups, they can assign the varied tasks according to learning preference.
• Evaluation: Student Choice Board. Students may select according to their multiple intelligence how to demonstrate learning of curriculum expectations about auditioning and activating text e.g. hot-seating or worksheets or oral defense.  In the design portfolio, students can choose to discuss their concept through a concept map or written explanation.  For the group section of the portfolio, students can choose which part of the assignment they will do.  For the individual portfolio reflections, students can respond through their choice of (a) a written reflection, (b) a recorded oral reflection, (c) a photo collage, (d) a drawing or painting, (e) a recorded musical reflection, or (f) a video recorded movement-based reflection.

Audition: a cold or rehearsed reading of a script by an actor for the purpose of casting a play or assessing an actor's theatrical skills.

Casting: the assigning of acting roles to a cast of a theatre production.

Casting call: an event in which many actors audition for a casting director.

Cold reading: an audition in which an actor "reads" for a part with little to no advance preparation or research. An actor would not memorize lines but would focus on activating the script through instinctual feel for the character and the script.

Costume chart: a visual plot of what each actor wears in each scene in the play; also referred to as the actor's scene chart.

Costume list: a list which specifies every element, including accessories, of each costume worn by every actor.

Costume layout:  a group of small figures that illustrate the costume designs for a number of characters.  Its purpose is to provide an overall view of the costume concept for the entire production.

Costume sketch: a full colour drawing that should give a strong indication of character. It should provide accurate information about the line and detail of the garment.

Decorative props: props used to enhance the setting visually, but not specifically touched by actors.

Fill light: lights used to fill the shadows created by the key light.

Given circumstances: the determining environmental factors provided by the playwright that affect the actors. e.g. in A Streetcar Named Desire, Blanche duBois is in New Orleans in the run-down apartment of her sister Stella. She has lost her job as a teacher for accusations of inappropriate contact with male students, she has buried most of her relatives and she has dropped in socioeconomic standing through the loss of their family property Belle Reve. The play takes place in the 1930's during the Great Depression. These circumstances, given by the playwright, inform the actor of the environmental influences of her character.

Ground plan: a scale mechanical drawing showing the top view of a setting in its proper position on the stage.  It gives the location and measurements for all architectural features of the set, on stage and off.  It can also be referred to as a Floor Plan.

Hand props:  small props that are handled or carried by the actors.

Key light: the brightest light on the scene.

Lighting cue sheet:  a document containing the primary operating instructions (cue number, what specific action the lighting board operator takes, the timing of the cue) for every lighting cue.

Lighting magic sheet: a single piece of paper, divided into squares, each of which represents a visual group of lighting fixtures (acting areas, side lights, cyclorama, specials, etc.). It shows the lighting fixtures, the channel numbers, and the direction of the light.

Light plot: a scale mechanical drawing that indicates where the lighting instruments should be placed.

Neutral script: a short, nondescript text that allows for actors to easily change the dramatic context; also called minimal script.

Playable objective: what a character wants from his/her scene partner. It must be playable and engage the the other partner(s), even in a monologue. For example, "I want to exist" is not a playable action. "I want my scene partner to show me respect" is. This term is often used interchangeably with motivation.

Production concept: the creative interpretation of the script which will unify the artistic vision of producer, director, and designers.

Production style: the central stylistic theme on which the world of the production is based.  It is a recognizable pattern of visual, aural, and intellectual elements used to create the production environment for a particular play.

Obstacle: what stands in the way of the character pursuing his or her objective. It may be a person, a political force, a circumstance. For example, in Ibsen's A Doll's House one significant obstacle to Nora's emancipation is the widely held belief that women should find their ultimate fulfillment as domestic mothers caring for children. Also, within the world of the play, she would not have the option for gainful employment outside of the home.

A reading: when an actor reads for a part in a play so that a director can hear and see how well the actor fits the part.

Set props: larger movable items, not built into the set, that are used in some way by the actors (e.g. furniture, tree stumps, floor lamps).

Sound cue sheet: a document containing the primary operating instructions (cue number, what specific action the sound board operator takes, the timing of the cue) for every sound cue.

Super-objective: what a character wants overall in the play or in the life of the character. A character pursues objectives within a scene that are in line with his or her super-objective. For example, Nora from A Doll's House has the objective in a scene of learning how her friend Christine is supporting herself as an independent woman so that it can help her achieve her super-objective of being a free and fulfilled woman.

Stage manager: right hand person of the director, in charge of all organizational details of the show; in charge of running the show during production.

Stage manager's call: the verbal instruction that tells specific crew members when to perform their cues.

Stage manager's prompt book: a copy of the script with details about each actor's blocking as well as the location of all sets, props, lights, and sound cues.

Stakes: what is at stake for an actor's character, why the pursued outcome of the scene is personally important to a character.

Tactic: the method or strategy a character uses to achieve his/her objective. For example, if a character wants to stay the evening as a guest she might use the tactics of flattery, subjecting her scene partner to guilt, and even threatening her to achieve her objective.

Tech drawing: a scale representation of a set piece, which includes all measurements of the piece.

Through-line: the arc of a character; the many smaller objectives that build toward the super-objective of a character in a play. The term originates from Stanislavsky's work at the Moscow Art Theatre in developing "the Method" as a way of developing a characterization for a naturalistic play.

Thumbnail sketch: Rough drawing, usually in pencil, that shows the general composition of the set with very little detail.

Visual research: research based on images: photos, artworks, the environment, video, internet images, etc.  

Unit 1 Building the Theatre Company

Purpose: To introduce the areas of the stage and stage directions in an active way

Sequencing: To be done before scripts with stage directions are handed out; the choreography of a movement piece is demonstrated; or as a fun warm-up on the day of your auditions

The Activity:

1. Walk the students en masse through the areas of the stage, designating a specific spot for Upstage, Downstage, Centre Stage, Stage Left and Stage Right.
2. Integrate the historical principles such as this area is called Downstage because proscenium arch stages used to be raked. Remind students that stage directions are to be given to the actor, therefore stage areas are called from the actor's perspective.
3. Teach students a few fun poses in advance of the game: "Director's Coming" (Stand at attention because the director is the boss); "Romeo and Juliet" (one person bends on their knee creating a seat for a 'Juliet' of any gender to sit down); "Hamlet" (actor mimes holding Yorick's skull and calls out, "To be or not to be");   "Lady Macbeth" (actor covers face and calls out "Out, Out damn spot");"Dead body onstage" (actor either hits the deck or dangles his/her head and sticks out tongue).
4. Call out the areas of the stage and the phrases above e.g. "Lady Macbeth Upstage Centre". Instruct students to move to those areas.

Unit 2 Theatre Production - Stage Management

Purpose:  To give students practice in calling and receiving cues; to demonstrate the standard order of calling standby cues and execution cues

The Activity:

1. Instruct class to sit in a large circle and number off consecutively.
2. Choose one student to begin as the "Stage Manager."
3. Establish a strong 4 beat rhythm e.g. 2 claps and 2 snaps.
4. Instruct the Stage Manager to begin the game with either calling a standby or a "go" cue e.g. "Standby cue 4."
5. The student whose number was called responds appropriately e.g. "Cue 4 standing by" (when receiving a standby cue). The SM then calls again.
6. If the Stage Manager calls a "go" cue. e.g. "Cue 6 (beat) go," the student whose number was called responds by naming another Stage Manager "SM 3 go".
7. Stage Manager #3 now has to call a cue.
8. If a student loses the beat, or calls or responds incorrectly, they must take on the highest number in the circle and move to that spot. All students affected have to reduce their number by one. e.g. If there are 22 students and #10 responds incorrectly, #10 takes the spot of #22 and becomes #22.  Numbers 11 to 22 move a step to fill in the space and become numbers 10 to 21.
9. The cues must be called in the right order.  Stage Managers must say "standby" before the number; they must say the number before saying "go."

Unit 3 Audition into Scene Study

Purpose: To develop students' skills in creating the given circumstances and exploring subtext and objective

The Activity

1. Divide students into groups of 4 and hand out minimal (also known as neutral) scripts for 2-3 characters (see BLM #5 Minimal Script).
2. Each pair determines the relationship of the two characters and chooses a playable objective for speaking the text. Each pair presents their scene to the other, who will then try to guess the character's motivation, tactics used, and their relationship.
3. If time, have students present their minimal scripts to the class and see if the audience can guess the relationships and objectives.
4. Encourage discussion: How does a change in relationship affect of the text? For example, how was the neutral script different if the characters were business partners; teenage lovers; an estranged couple? What techniques did the actors use to demonstrate tension? What techniques did they use to show objective?