Lesson - Richard Rose - Action, Event, and the Space Between

• What is the action in theatre, and how is it different from an event?
• How do conflicting objectives between characters create dramatic tension?
• How do actors’ choices shape the space between characters, the place where audience meaning is generated?
• What happens when a “new idea” disrupts the unity of the story?
• How can we, as performers and directors, keep the story at the centre so the work "disappears" and the audience only sees the action?

By the end of this lesson, students will [know, understand and/or be able to] …

• Identify the difference between event (what happens) and action (what drives what happens)
• Use physical and vocal choices to create action in time and space
• Work with conflicting objectives to generate dramatic tension
• Notice and manipulate “the space between actors” to illuminate the story
• Reflect on the challenges of maintaining coherence in an ensemble when “new ideas” emerge
• Apply drama vocabulary such as objective, tactic, action, event, conflict, status, and space

Students should understand basic dramatic conventions (e.g., tableaux, improvisation, objectives) and be able to move safely, comfortably in rehearsal space. Prior to this lesson, they should have had some experience with simple scene work (blocking, stage directions, etc.). Diagnostic warm ups could check their understanding of objective/tactic and their ability to create meaning physically.

• Action
• Event
• Objective
• Tactic
• Conflict
• Status
• Space between actors
• Beat
• Impulse

• Open studio/classroom with tables and chairs bushed to the perimeter.
• Chart Paper and markers
• Cue Cards
• Video Projector (optional)
• Timer
• PDF #1 Anecdotal Record Tool
• PDF # 2 Exit Slip
• PDF #3 Richard Rose Scene Work Rubric

Reinforce that this lesson deals with internal/external conflict and emotional stakes, but activities should remain non-personal. Students must work with fictional situations only. Offer verbal and movement-based entry points. Be aware of students’ comfort with physical proximity and provide alternatives when exploring the space. Try to use universal language where possible (e.g., Travel through the space vs. walk through the space, if you have someone in a wheelchair).

Provide visual diagrams of space relationships. Allow students who prefer distance to work with gestures rather than full-body movement. Students with mobility needs can adapt using hand movement or seated work, or can describe movement in writing or a recording of their voice.

• Observation: Note how students distinguish action from event. (See PDF #1 Anecdotal Reporting Tool).

• Conversation: Ask students to articulate their objective and how it shaped movement.(See PDF #1 Anecdotal Reporting Tool).

• Diagnostic (Product): Exit slip. Asks students to describe in one sentence the difference between event and action. (See PDF # 2 Exit Slip)

Remind students that conflict in drama is fictional, and tension should be created through clear objectives, tactics, and physical choices, not personal emotional triggers. Reiterate that the purpose of today’s activities is to explore what Richard Rose calls, “the action in time and space” and to notice how meaning arises in the space between performers. Ensure students know they may opt for non-contact alternatives if needed.

Offer visual cue cards for objectives for students who benefit from reading rather than listening.

Provide a scripted version of the improvisation for students needing additional structure.

Allow students uncomfortable with performing to act as directors, coaching peers on tactics and spatial choices.

Observation Checklist (PDF #1)

• Is the student identifying an objective?

• Is the student making physical/vocal choices that express action?

• Does the student adjust behaviour when encountering another’s objective?

Conversation:

• Ask students to explain the difference between event and action in their own words.

• Probe: What tactic were you using when…?”

Reflection:

• Quick think-pair-share, or journal log: “Where did the action live in my group’s improv?”

Provide tactile floor markers to help some students visualize spatial relationships such as spike tape, or props, or masking tape, or lighting, or bean bags etc. Place them in spaces to serve as markers (“Go to the red tape, then to the green tape, then to the blue tape”).

Allow written objectives for students who need time to process.

Encourage MLL students to focus on physical tactics rather than verbal nuance, and then encourage language choices to follow.

Observation Checklist:

• Are students able to adjust objectives mid-scene when encountering resistance?

• Are students making choices that support a unified story? (See PDF #4 - Quick Observation Checklist)

Conversation:

• Define “Action” in your own words.

• Give one example of how you used the space between to tell the story. (See PDF #4 - Quick Observation Checklist)

Product:

• Assess the students’ understanding of the above learning goals through their performance of the Round One and Round Two scenes. Assessment is always individual based on individual evidence of content mastery. See PDF #3 Richard Rose Scene Work Rubric

Consolidation helps students to articulate what they learned from the explorations and connects their discoveries to Richard Rose’s core concepts.

1. Action = movement through time and space.
2. Action arises from conflicting objectives.
3. Meaning is created in the space between.
4. “I have an idea” often disrupts coherence.

Ensure students have vocabulary support available. Perhaps this ends up on a chart on the wall, or marker board, or google classroom space.

The assessment tools provided in the PDF links are not mandatory for use. Please adjust as needed. Provided are enough tools for each assessment type, however, not all assessments offered in this lesson are necessary to collect comprehensive assessment data.