Drama, intro (ms)

Sweetwater Union High School District
Drama, Introduction
The typical time ranges reflect estimated times needed to teach the objective to mastery. Times may need to be modified, depending on student needs.
© 2006 Sweetwater Union High School District
Revised on: July 15, 2008 1
Course Length: 1 Year
Classroom Instruction and Review: 180 Hours
Grade Level: 7th
& 8th
UC/CSU/College: District Requirement:
Course Number: 80415
Credential Information: (Any below)
Single Subject in English – K-12
Single Subject with a Supplemental Authorization in English - up to Curriculum grade 9
Single Subject with a Supplemental Authorization in Drama K-12
Course Prerequisites: None
District Approved Textbook/Materials: Exploring Theatre, Glencoe, c2009,
Basic Drama Projects, Perfection Learning, c2004,
Theatre Arts, Glencoe, c2009
Pedagogical Philosophy: Theatre is a study and a reflection of life. It is through the study of drama students will come to learn about others and themselves and to
gain a deeper understanding of the world we live. The Intro to Drama course allows students to explore and discover their artistic potential through the study and
creation of theatre. The course is based on the philosophy of the California Framework for the Visual and Performing Arts. These standards provide a framework for
the study that develops and strengthens the students’ comprehension, analytical, and communication skills. These standards also provide for the development of
performance skills and techniques as well as the acquisition of knowledge pertinent to this discipline. As students develop these skills and gain the knowledge, they
begin to apply and utilize both in their own original works of theatre as well as in the work of others.
ESLR’s: Intro to Drama provides all students a variety of opportunities to develop the following ESLR Skills:
1. Self-Directed Learner
Drama provides all students an array of opportunities and experiences to develop and apply essential skills valuable in achieving personal, educational, and
career goals. In the theatre environment, students will understand the importance of self-discipline, dedication, and focus in attaining goals. They will develop
organizational and time management skills in order to adhere to deadlines and accomplish theatrical tasks. In building an ensemble, students will learn mutual
respect. They will learn to work cooperatively and effectively with all types of people in achieving a common goal. As a team member, they will learn to act
responsibly and ethically in the interaction with others. Through the study of drama, students will become exposed and familiar with a variety of theatre career
opportunities. They will be able to identify the necessary skills and qualifications associated with each career studied. Students will also come to discover and
appreciate theater not only for its entertainment value but for its educational value as well. They will learn how to utilize theatre as an educational vehicle in
enlightening others on how to maintain mental, physical, and social wellness.

Drama, Introduction
2. Culturally Empowered Community Member
Drama lends itself to the exploration and study of man and his universe. Students will be exposed to the world’s cultural diversity through the study of theatre
history. They will gain a more global perspective on the role of theatre in people’s lives by learning about their traditions, beliefs, and values. Students will
come to understand, respect, and appreciate the influences and contributions of other cultures to theatre. They will also gain an awareness of the contributions
of artists from diverse cultures and backgrounds. Through the study and development of scripts and characters, students will gain a deeper understanding
of themselves, others, and life. They will not only understand and appreciate the theatrical contributions of people from their cultures, but they will gain a sense
of pride and accomplishment.
3. Effective Communicator
Drama provides ample opportunities for creative and artistic expression. Students will brainstorm for ideas and determine how best to communicate their
concepts and ideas to others. They will employ their imagination and apply their creativity to original works of theatre. Students will learn how to become
effective communicators not simply by delivering lines from a script, but more importantly, through the soulful analysis of the character and the careful
interpretation of lines. They will learn how to incorporate the use of gestures, facial expressions, and body language to enhance meaning in the portrayal of
their characters. As a team member, students will build and strengthen interpersonal skills. They will improve their communication skills not only in their
performances but also in their daily interaction and collaboration with others as they discuss, prepare, and complete a variety of assignments, projects, and
performances. The scope of theatrical assignments and tasks will not only improve and strengthen their skills in speaking but their skills in listening and
reading as well.
4. Productive Individual
Drama is a collaborative art. It requires students to participate collaboratively with the group as well as independently of the group. Students must not only
learn lines on their own and develop their own characters, but they must learn to be part of an ensemble in order to complete tasks and attain unity. Students
will develop and demonstrate strong skills in communication, organization, and time management in the preparation of individual and group projects and
performances. During the planning and rehearsal process, they will rely on their creativity and knowledge to make aesthetic decisions and apply problem-
solving skills in managing challenges that might arise during the production process. They will identify, plan, and use resources effectively in completing a
variety of tasks from incorporating the principles of the dramatic structure to their original scripts to making artistic choices in the staging of their
performances. Based on their knowledge and understanding of theatre, they will develop a criteria in assessing not only the work of others but also their own
work so as to improve and produce quality work in the future.

Drama, Introduction
District Course Content Standards and Content Objectives
First Semester
1. Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic
media and respond, using the vocabulary of theatre.
1.1 Use the vocabulary of theatre, such as playwright, rehearsal, dress rehearsal, run-through, and cold reading, to describe theatrical experiences.
1.2 Identify dramatic elements within a script, such as foreshadowing, crisis, rising action, catharsis, and denouement, using the vocabulary of theatre.
2. Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/video, and electronic media
productions and to perform in them.
2.1 Use improvisation in rehearsal to discover character and motivation.
2.3 Create characters, environment, and actions that exhibit tension and suspense.
3. Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it
relates to theatre.
3.1 Design and create masks, puppets, props, costumes, or sets in a selected theatrical style drawn from world cultures, such as Japanese shadow puppets or
Kabuki masks.
3.2 Compare and contrast various theatre styles throughout history, such as those of Ancient Greece, Elizabethan theatre, Kabuki theatre, Kathakali dance theatre,
and Commedia dell’arte.
4. Students critique and derive meaning from works of theatre, film / video, electronic media, and theatrical artists on the basis of aesthetic qualities.
4.1 Design and apply appropriate criteria of rubrics for evaluating the effective use of masks, puppetry, makeup, and costumes in a theatrical presentation.

Drama, Introduction
Second Semester
1. Students observe their environment and respond, using the elements of theatre. They also observe formal and informal theatre, film/video, and electronic media and
respond, using the vocabulary of theatre.
1.2 Use the vocabulary of the theatre, such as playwright, rehearsal, dress rehearsal, run-through, and cold reading, to describe theatrical experiences.
2. Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/video, and electronic media
productions and to perform in them.
2.1 Use improvisation in rehearsal to discover character and motivation.
2.2 Maintain a rehearsal/script notebook to record directions and blocking.
3. Students analyze the role and development of theatre, film/video and electronic media in past and present cultures throughout history, noting diversity as it relates to
theatre.
3.2 Compare and contrast various theatre styles through history, such as Ancient Greece, Elizabethan theatre, Kabuki theatre, Kathakali dance theatre, and
Commedia dell’arte.
5. Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving,
communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
5.2 Demonstrate projection, vocal variety, diction, gesture, and confidence in oral presentations.

Drama, Introduction
Component Strand: ARTISTIC PERCEPTION
Standard: 1.0 Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre,
film/video, and electronic media and respond, using the vocabulary of theatre.
Objective Prerequisites Essential Vocabulary
Typical Time
Range
Performance
Standard
1.1 Use of the vocabulary of theatre, such as
playwright, rehearsal, dress rehearsal, run-
through, cold reading, to describe theatrical
experiences.
None Ad-lib Apron Aside
Backdrop Backstage Balance
Bit part Build Character part
Cheat Clear stage Climax
Cold reading Costume props
Counter cross Cue Curtain call
Cut Cyclorama Dialogue
Director Double cast Downstage
Dress rehearsal Dressing the stage
Extras Flat Floor plan
Focus Fourth wall Freezing
Give stage Heavy Hold
House Ingénue Juvenile
Kill Lead Legs
Mask Mood Notes
Open Pace Pick up your cues
Places Plant Playwright
Preview Production Prologue
Prop box Reading Rehearsal
Repertory Royalty Run through
Scene Script Set
Set props Soliloquy Stage props
Stage whisper Steal Strike
Tableaux Tagline Take the stage
Teaser Tempo Theater
Throw away Timing Top
Tormentor Trap Traveler
Understudy Upstage Wings
Range:
Acquisition:
Proficient:

Drama, Introduction
Assessment and Practice Format
Specifications
Sample Assessment
Suggested Instructional
Resources
Possible Instructional
Strategies/Activities for
Objective
Multiple Choice
• Given ten sentences with a
missing theatre term
• Given a list of theatre terms to
choose from
• The student will select the best
term that gives correct meaning
to the sentence
• Vocabulary Quiz
• Vocabulary Test
Read each sentence below and fill in the blank with the
term that gives correct meaning to the sentence.
1. The director reminded us to ______if we forget a
line
2. Our task is to create _____ and use props that are
appropriate for our character and the situation.
3. My _____ included waltzing across the stage with
an imaginary partner.
ad-lib blocking build business
characterization costume cue dialogue
director focus
Match the definition on the right to its term on the left.
Write the letter of your choice in the space provided to
the left.
____ 1. Movement or lines inserted a. blocking
into the play which were not in
the script and often used to b. director
cover a mistake
c. ad-lib
____2. Planned movement of the actors onstage.
____3. Person in charge of the artistic production of the
play
State and district
produced
vocabulary lists
Drama A to Z – Jack A.
Vaughn
Teacher constructed
quiz/test
Provide visuals (e.g. provide
diagram of the stage, actor’s
body positions, types of
stages, etc.)
Incorporate modeling
demonstrations by teacher
and/or student volunteers with
a scene to improvise such as a
disagreement between two
siblings on who has to stay
home and baby-sit Friday
evening. Have them illustrate
what the term and the
command to build the scene
means based on its definition;
improvise a scene between
two people waiting to
interview for a job; one is
extremely calm while the
other is extremely nervous.
Have volunteers create
business appropriate for each
character to communicate
physical, emotional, and
mental state of the character.

Drama, Introduction
Formative Assessment (Constructed or
Performance)
• Given a list of ten theatre terms
• Given instructions to write ten
original sentences relating to theatre
using the terms
• The student will write the sentences
of no less than seven words each
Write a sentence for each of the following theatre terms,
using no less than seven words per sentence. Underline
term.
ad-lib blocking build business
characterization costume cue dialogue
director focus
I had to ad-lib when the lead forgot her cue and did not
make her entrance on time.
Exploring Theatre:
Teacher’s
Resource Binder
(reproducible vocabulary
puzzle)
Vocabulary Worksheets
Vocabulary Builders
SDAIE Strategy: numbered
heads together – Group
members number themselves
off 1 thru 4; provide groups
with the oral definition of the
term; group members arrive at
a consensus on the correct
term; call out a number;
members whose number is
called reveals answer on white
board; members reveal their
answers at the same time
Summative Assessment (Authentic/Real
World Performance)
• Having acquired theatre vocabulary
• Having observed a theatre
performance
• The student will write a paragraph
reflecting on and/or critiquing the
performance using at least seven
theatre terms and/or
• The student will give an oral critique
of a video-taped or live performance,
using at least seven theatre terms in
their review and/or
• The student will write a self-
performance assessment of one
paragraph, using no less than seven
theatre terms addressing
their strengths and weaknesses
Write a one-paragraph review of a dramatic performance,
using at least seven theatre terms correctly to analyze the
strengths and weaknesses. You must substantiate your
findings with examples. Also include suggestions and
recommendations for improvement.
Take notes while observing a performance, focusing on
both strengths and weaknesses. Be prepared to give an
oral critique using at least seven theatre terms correctly.
You must substantiate your findings with examples. Also
include suggestions and recommendations for
improvement for future work.
Write one paragraph assessing your performance. You
must use a minimum of at least seven theatre terms
correctly in your analysis of both strengths and
weaknesses. Make sure to include suggestions and
recommendations for improvement for future work.
The Least You Should
Know About Theatre –
Clark Stevens
(reproducible lessons and
activities) Check list for
reviewers
Exploring Theatre -
Nancy Prince & Jeanie
Jackson
Sample reviews from
magazines, newspapers,
etc.
SDAIE Strategy: Quick write
“What was your favorite
movie or play?”
Have an open discussion on
movies students have seen.
Use the vocabulary of the
theatre to analyze strengths
and weaknesses in the movie;
what factors categorize a good
movie versus a great movie?
A bad movie?

Drama, Introduction
Component Strand: ARTISTIC PERCEPTION
Standard: 1.0 Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre,
film/video, and electronic media and respond, using the vocabulary of theatre.
Typical Time
Range
Performance
Standard
1.2 Identify dramatic elements within a
script, such as foreshadowing, crisis,
rising action, catharsis, and denouement,
using the vocabulary of theatre.
Understanding the meaning of
the dramatic elements and/or
structure
Antagonist Character
Climax Conflict
Crisis Denouement (resolution)
Dramatic structure Exposition
Falling Action Foreshadowing
Genre Initial incident
Motivation Objective
Playwright Plot
Point of attack Protagonist
Rising action Subplot
Subtext Theme
Range:
Acquisition:
Proficient:

Drama, Introduction
Specifications
Sample Assessment
Resources
Objective
Multiple Choice
• Given a diagram of the basic dramatic
structure
• Given a list of dramatic elements relevant
to a generic plot
• The student will label the diagram
correctly
• Given the meanings of the dramatic
elements in a script
• Given the elements or terms
• The student will match the element or
term correctly to its definition
• Quiz
• Final
f)____________
e)_____________
g)__________
d)____________
h)________
c)______
a) _____ b)_______
Using the terms listed below, label the diagram in the correct
sequence that they would appear in a generic plot.
conflict climax rising action
exposition denouement initial incident
falling action crisis
Read each definition carefully and match it to the correct term.
Write your answer in the space provided to the left.
a. foreshadowing b. climax c. conflict
____1. the struggle between two opposing forces
____2. to create expectation for the audience that something
will occur
____3. the most exciting moment and turning point in the play
Drama: A Comprehensive
Guide to Dramatic Elements
and Style – Clark Stevens
The Least You Should Know
About Drama (reproducible
lessons and activities) – Clark
Stevens
Teacher constructed dramatic
structure diagram
Teacher-constructed quiz
and/or test on a specific play
and its dramatic structure and
elements
SDAIE strategies such as KWL
chart e.g. “What are the
important elements/parts of a
plot or a story?”
Select two teams each with
eight players; Hand each player
from each team one word from
the dramatic structure (use
words listed to the left). Words
should be written large enough
to see. Teams compete to
arrange the words and position
themselves in the correct order,
as they would appear in a
generic plot.
Class discussions (e.g. of play
being read out loud in class)
Lecture
Cornell Note taking
Performance)
• Provided with an outline of a dramatic
structure
• Provided with a copy of the teacher
selected script
• With the teacher’s guidance, the student
will complete each component of the
outline as the play is read out loud,
analyzed and discussed in class
For each component of the dramatic structure outline, determine
and take notes on the most important bit(s) of information, as
the play is discussed and analyzed. Write the information on
the lines provided.
Exposition: (the background information necessary in
understanding the characters and their relationships, past
actions, setting, etc.)
• ___________________________________________
• ___________________________________________
• ___________________________________________
Initial incident: (the first most important event or moment from
which the rest of the plot develops)
• ___________________________________________
How to Analyze Drama –
Christopher Russell Reaske
Teacher-constructed play
analysis outline
Teacher selected scripts for
analysis (recommendations:
Oh, What a Tangled Web: The
Widow’s Plight; or if putting
on a production in the near
future, use the production
script to be produced).
Cooperative learning groups –
Providing a dramatic structure
outline and using fairy tales as
a source, have students in their
groups apply the dramatic
structure and elements to their
choice of a fairy tale. Students
identify as many of the
dramatic elements in their fairy
tale. Have groups share their
analysis with the rest of the
class and re-enact the fairy tale
based on their analysis.

Drama, Introduction
Notes:
Summative Assessment (Authentic/Real World
Performance)
• Given a dramatic outline and topic(s)
• Having formed writing groups of three to
four by the teacher
• Students will write and perform an
original script, incorporating the dramatic
elements of a play
Complete the dramatic outline for teacher approval prior to
writing your script.
Topic: _____________________________________________
Genre: _____________________________________________
Plot summary: ______________________________________
___________________________________________________
___________________________________________________
___________________________________________________
___________________________________________________
Theme: ____________________________________________
Characters: __________________ ____________________
__________________ ____________________
Exposition:
• __________________________________________
• __________________________________________
• __________________________________________
Initial Incident:
• ___________________________________________
• ___________________________________________
Conflict
• ___________________________________________
___________________________________________
Rising Action:
• ___________________________________________
• ___________________________________________
• ___________________________________________
• ___________________________________________
Climax
• ___________________________________________
___________________________________________
Falling Action
• ___________________________________________
• ___________________________________________
Denouement
• ___________________________________________
How to Prepare and Give a
Speech (Writing a Play) –
Michael Kramme
Using his or her own life
experiences, have student write
down an event or situation on
an index card that might serve
as a great source or foundation
from which to base a play on. It
should be an event with a
conflict. Using the SDAIE
strategy, Round Robin, have
each student take a turn
sharing. Consider sharing some
ideas with the class.

Drama, Introduction
Component Strand: CREATIVE EXPRESSION
Standard: 2.0 Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/video, and
electronic media productions and to perform them.
Typical Time
Range
Performance
Standard
2.1 Use improvisation in rehearsal to discover
character and motivation.
Understanding the Guidelines for
Improvisation
Improvisation
Improvise Role Playing
Character Dialogue
Conflict Motivation
Point of view
Breaking character
Dead-end phrases
Range:
Acquisition:
Proficient:
Specifications
Sample Assessment
Resources
Objective
Multiple Choice
• Having discussed the guide lines for
performing improvisations
• Using the SDAIE strategy, Anticipatory
Guide
• Students demonstrate their understanding
of the do’s and don’ts in performing
improvisations by either agreeing or
disagreeing with the statements
Note: Can also be done in true/false quiz
format
AGREE DISAGREE
Drawing on your memory of real-life
characters and imitating them is
helpful in performing improvisations _______ _______
In performing improvisations, you
need only communicate your
character through dialogue _______ _______
Laughing at yourself or others while
performing in an improvisation is
acceptable. _______ _______
Words such as “no,” “I don’t know,”
“Well,” “So,” “I guess,” and “Whatever,”
may be considered dead-end words
that stifle the dialogue. _______ _______
A well constructed improv includes
a beginning, middle and end with
a conflict _______ _______
Exploring Theatre – Nancy
Prince & Jeanine Jackson
Writing Your Own Plays
Creating, Adapting,
Improvising – Carol Korty
SDAIE strategy – Quick write
What is make-believe and what
is involved?

Drama, Introduction
Performance)
• Given an improvisational prompt to
explore characters and motivation
(or improvisational prompts that explore
character relationships and conflict)
• Given a partner(s)
• The student will improvise action and
dialogue focusing on character and
motivation (or character relationships and
conflict)
Choose a partner(s) and one of the following situations to
improvise. You will be given ten minutes to discuss setting,
characters, and basic plot (beginning, middle, and end) as well
as the conflict. Make sure to keep in mind the guidelines for
improvisation.
a. To the dismay of the parents, son/daughter chooses to join
the military instead of applying to college
b. Teenage daughter tries to defend herself after trying to
sneak in past curfew. The worried parents are now furious
and threaten consequences
c. Three friends go shopping. One witnesses another
shoplifting and decides to confront her/him to convince
her/him to return the item
Theatre Games for Young
Performers: Improvisations
& Exercises for Developing
Acting Skills – Maria C.
Novelly
Creative Drama in the
Classroom: Improvisation:
Characters Move and Speak –
Nellie McCaslin
Improvisations Starters – Philip
Bernardi
Can of Squirms - Meriwether
Cooperative Learning
Improvisational activities,
games, and exercises
Role Playing
Story Dramatizations
Story building (a person starts
the story; then another person
picks up the story and adds to
it; leader calls out next, and the
next person continues where
the story left off and the cycle
continues)
Performance)
• Having divided students into groups
• Being assigned a teacher selected
published skit or excerpt from a play
• Students will rehearse and perform it for
class (note: performers may stay on
book)
• Then teacher will select the same actors
to portray their characters and improvise
scenes that might have taken place before
the start of the skit, during the course of
the skit, or after the ending of the skit.
• Teacher and/or students determine the
circumstance(s) to be improvised.
•
or
• Having read and analyzed a play
• Having been divided into pairs/groups
• Students will select and improvise a
scene (student or teacher constructed)
that might have taken place before the
beginning of the play, during the course
of the play, or after the ending of the
play.
or
You will improvise a scene that might have logically taken
place before the start of the play, elsewhere during the play, or
after the end of the play. For example, how would the scene
play out between (choice of characters) if the play had
continued?
Choose one of the following scenes to perform a one to two
minute improvisation. Focus on characterization and
motivation keeping in mind what you have already discovered
about the characters through the play analysis. Dialogue and
action should be consistent with the character and situation.
You will have ten minutes to discuss ideas.
A scene in the castle between Robin Hood and Maid Marion
when they use to play together as children
A scene between King Richard, Lady Merle, and Prince John
before he leaves for the Crusades
Teacher-created worksheet
and/or outlines (e.g. character
analysis outline – students fill
out a character analysis chart
on a selected character; an
adjective or characteristic is
listed on each line to describe
the character; then the
supporting source as evidence
(e.g. playwright, or other
character; then the line and/or
action supporting the adjective
or characteristic listed)
Drama that Delivers: Real life
Problems, Students’ Solutions
– Nancy Duffy Hery
The Colorful Kidnapping –
Cheryl Miller Thurston
SDAIE strategy: Webbing
Divide class into groups; each
group draws a character’s
name to analyze: using the
webbing strategy; the groups
list as many adjectives or
descriptive phrases for their
character; they also list
evidence or source in support
(e.g. either action or line) then
groups share their character
web with the class
or
Have students complete a
character web on themselves
before completing one on a
character from a play
Graphic organizers

Drama, Introduction
• Having learned the dramatic structure
• Being assigned playwriting groups and
a topic upon which to write a play about
(e.g. stage fright)
• The students will use the technique of
of improvisation in the writing of their
scripts to discover character and
motivation (or to develop and explore
character relationships and conflict)
A scene between Lady Merle and the sheriff upon hearing
about King Richard’s departure.
A scene between Maid Marion and King Richard informing
her of his departure and his decision to leave her under the
care of Lady Merle
A scene between Lady Merle and Prince John discussing the
possibility of marriage between Maid Marion and himself.
A scene between the sheriff, the sheriff’s wife, and Salome
discussing Lady Merle’s character.
A scene between Robin Hood, Will, and Little John as they
try to talk him out of attending Lady Merle’s Fair.
A scene between Kaspar and Lady Merle before the archery
contest
A scene between the sheriff and Lady Merle after Robin
escapes capture when his true identity is discovered
A scene between Friar Tuck and a soldier in the castle as he
tries to sneak by, disguised as a chef
In this improvisational prompt, a student has been assigned the
lead in the upcoming school production. Unfortunately, just a
couple of days before opening night, the student becomes very
apprehensive about performing in front of an audience and
insists he/she cannot go on. There is no understudy. Choose
one of the following scenes to improvise with a partner.
a. Scene between the performer and the director
b. Scene between the performer and co-actor
c. Scene between the performer and his/her parent
Notes: The teacher constructed improvisational selections provided are applicable to the play, Robin Hood by Tim Kelly. You may wish to have two groups do the
same improvisational scene for comparison and interpretation.

Drama, Introduction
Standard: 2.0 Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/videos,
and electronic media productions and to perform in them.
Typical Time
Range
Performance
Standard
2.2 Maintain a rehearsal/script notebook to record
direction and blocking.
Familiarity with actor’s body positions
Familiarity with stage areas
Familiarity with blocking
Notations/symbols; abbreviations
Acting Areas
Actor’s body positions
Blocking Business
Cheat Cue
Dialogue Floor plan
Motivation Open
Props Scene Script
Share
Stage abbreviations
Stage directions
Range:
Acquisition:
Proficient:
Specifications
Sample Assessment
Resources
Objective
Multiple Choice
• Given a proscenium stage diagram with
stage abbreviations
• Given the blocking terms
• The student 1) label the nine stage areas
correctly; 2) provide the correct blocking
notation/abbreviation for the words; 3)
convert stage directions into stage
abbreviations correctly (vice versa);4)
label the eight actor’s body positions
correctly
• Quiz
• Test
1) Label the stage areas using stage abbreviations
C
Audience
LC UR DL UC DR UL DC RC C
2) Provide the script notation for each word
Cross = ____X____ Exit = ___En_____
X D L St 1/4 R
__________________________________________
Cross down left and stand one quarter right
District produced notation
guide
Exploring Theatre: Teacher’s
Resource Binder (Resource
Script Marking Guide) –
Nancy Prince & Jeanie Jackson
Theatre Art I: Teacher’s
Course Guide – Alan
Engelsman & Penny
Engelsman
Sample noted scripts
Teacher constructed quiz/test
SDAIE strategy - Quick write
What is the purpose of
movement on stage?
Lecture
Cornell Note taking
Cooperative learning
Learning the actor’s body
positions, have the students
stand up and respond to
directions. Indicate which wall
is the audience then call out
body positions. (e.g. stand full
front; stand full back; stand one
quarter right. For fun, do the
exercise incorporating “Simon
Says.”)

Drama, Introduction
3) Convert the script notation into complete sentences.
Enter stage right and cross center and stand full front
__________________________________________
EN SR X C ST FF
Performance)
• Having demonstrated on stage the
different areas of the stage
• The student will correctly follow a set of
directions given by the teacher
Note: Give a set of directions using letters of the
alphabet, shapes, and numbers. If the
student follows the stage directions
correctly, he/she will have drawn one of the
above clearly for the audience. You may
have the other students observe carefully and
indicate on their papers what their classmate
has etched on the stage floor.
• Having learned the stage abbreviations
and notations
• Have completed the practice worksheets
on stage abbreviations
• The student will create five sets of stage
directions in written form and then
provide the stage-abbreviated form for
each one correctly. Each one should
contain no less than five stage
abbreviations.
You will each demonstrate your understanding of the stage
areas by following my stage directions carefully. If you have
done so, you will have etched on stage a letter of the alphabet, a
number, or a shape clearly for the audience.
1. Let’s begin upstage right
2. Now cross upstage center
3. Cross upstage left
4. Cross center
5. Cross downstage right
6. Cross downstage center
7. Cross downstage left
(if the student completed the set of directions correctly,
they would have drawn the letter Z)
1. Let’s begin upstage center
2. Now cross upstage right
3. Cross right center
4. Cross center
5. Cross downstage center
6. Cross downstage right
(if the student completed the set of directions correctly,
they would have etched the or letter S or the number 5)
Create five different sets of stage directions in written form and
then provide the stage-abbreviated form for each one. Each set
of directions should contain no less than five abbreviations.
e.g. 1. Enter center right, cross down left, and stand one quarter
right.
En CR X DL St 1/4 R
Sample notated scripts
Teacher constructed stage
notation/abbreviation
worksheets
Share/pair evaluation for script
notation

Drama, Introduction
Performance)
• Assigned a performing group
• Given a published scene/skit to prepare
• Having designed their own floor plan
• The student will maintain a script
notebook, creating a minimum of three
bits of business for their character.
Student will record their
blocking/directions for their character
with a minimum of five sets of directions
using script notation.
You will rehearse your scene creating and recording all
directions and blocking. You must have a minimum of three
bits of business and five sets of blocking, using script notation.
Make sure to write down the blocking on your scripts using
pencil.
The Drama Handbook;
Teaching Acting Through
Scene Work – Davina Rubin
Notes:

Drama, Introduction
Standard: 2.0 Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/video, and
electronic media productions and to perform in them.
Typical Time
Range
Performance
Standard
2.3 Create characters, environments, and actions
that exhibit tensions and suspense.
Familiarity with the dramatic structure
and elements
Understanding the Guidelines for
Improvisation
Beat
Character analysis
Characterization
Climax
Complication
Foreshadowing
Improvise
Improvisation
Motivation Mood
Objective Setting
Tactic Tension
Suspense
Range:
Acquisition:
Proficient:
Specifications
Sample Assessment
Resources
Objective
Multiple Choice
• Quiz
• Test
Match the definition on the right to its term on the left. Write
the letter of your choice in the space provided to the left.
1. ___ A snarl, twist, entanglement, or jam a. conflict
in the rising action
b. beat
2. ___ The highest point of interest or
excitement c. suspense
3. ___ The main problem or obstacle d. complication
4. ___ A unit of action (e.g. change in e. climax
emotion)
5. ___ The growing excitement, anticipation, or
uncertainty felt as the story builds
Jackson
The Dynamics of Acting – Joan
Snyder & Michael P. Drumsta
Lecture
Cornell Note taking

Drama, Introduction
Performance)
• Having paired/grouped students
• Having been provided a situation and
characters
• Having provided fifteen minutes to
discuss ideas in regards to the characters
and situation
• Student will improvise and develop a
scene, focusing on developing tension
and suspense by the arrangement of
complications
You will choose a partner(s) to perform an improv prompt listed
below. You should have a beginning, middle, and an end with a
clear conflict. You will have fifteen minutes to determine your
characters and discuss ideas. Remember the middle (rising
action) should consist of a variety of complications that grow in
intensity. Arrange your complications to exhibit tension and
suspense as your scene develops and progresses.
a. Friends on a road trip experience car trouble end up in a ghost
town
Theatre Games for Young
Performers – Maria C. Novelly
Improvisation Starters – Philip
Bernardi
Can of Squirms – Meriwether
Teacher constructed improv
ideas
The Camping Script – Internet
Improvisational games,
activities, and exercises
Role Playing
Taking random scenes from a
fairy tale (or other teacher
selected source) have students
arrange them in chronological
order
Performance)
• Having studied the dramatic structure and
elements
• Having been assigned groups
• Having been given a circumstance
• Having completed the dramatic structure
outline (see 1.2)
• Students will write, rehearse, and perform
an original skit creating characters,
environments, and actions that exhibit
tension and suspense
In groups of three to four, you will write a five to seven minute
script on (teacher assigned topic) following the dramatic
structure and incorporating the elements of a play. You will
create characters, situations, and actions that exhibit tension and
suspense. You will self-direct, plan business, and incorporate
blocking, using script notation.
How to Prepare and Give a
Speech (Writing a Play) –
Michael Kramme
Teaching Young Playwrights –
Gerald Chapman
Playmaking – Daniel Judah
Sklar
Writing Your Own Plays –
Carol Korty
Playwriting Step by Step –
Marsh Cassady
Teacher constructed dramatic
structure outline
Sample scripts
Show video taped original skits
from former students
Writing groups
Notes:

Drama, Introduction
Component Strand: HISTORICAL AND CULTURAL CONTEXT
Standard: 3.0 Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world,
noting diversity as it relates to theatre.
Typical Time
Range
Performance
Standard
3.1 Design and create masks, puppets, props,
costumes, or sets in a selected theatrical style
drawn from world cultures, such as Japanese
shadow puppets or Kabuki masks.
The study and analysis of theatrical styles
and cultures.
Bunraku Ceremony
Festival Greek Theatre
Ritual
Commedia dell’arte
Kabuki theatre
Marionettes
Noh theatre
Range:
Acquisition:
Proficient:
Specifications
Sample Assessment
Resources
Objective
Multiple Choice
• Quiz
• Test
Read each question below and determine the correct answer.
Write the answer in the space provided to the left.
1. ____ Which of the following theatre styles used highly
stylized makeup instead of masks in theatrical
performances
a. Greek theatre c. Kabuki
b. Commedia dell’arte d. Noh
2. ____ Which theatre style incorporated five distinct types of
masks (gods, men, women, madmen, and demons)
a. Greek theatre c. Kabuki
b. Commedia dell’arte d. Noh
Cut and Make … Masks – A.G.
Smith and Josie Hazen
Play Production Today –
Jonniepat Mobley
Exploring Theatre - Nancy
Prince & Jeanie Jackson
The World of Theatre –
Scholastic Discovery Music
and Performing Arts
SDAIE strategy – Anticipatory
Chart – KWL, “What I know
about Masks?”
Lecture
Cornell Notes
Graphic Organizers
Venn Diagram
Comparison/Contrast Chart

Drama, Introduction
Notes:
Performance)
• Having studied and analyzed a selected
theatrical style
• Having been provided a mask template
• Having been provided with the necessary
art materials and supplies
• Student will make a rendering of an
original concept for a mask, reflecting the
theatrical style and/or culture and/or
• Student will make a rendering of a theatre
or stage from a selected theatrical style
(e.g. Greek, Pageant Wagon, Kabuki etc.)
You will make a rendering of an original mask, reflecting the
Greek Style of theatre and/or its culture. On your rendering,
indicate how you will embellish your mask by labeling what
and where materials will be used and placed.
You will make a rendering or diagram of a theatre or stage from
a selected theatrical style. Label parts and areas where
applicable.
Mask Template
Puppets: Methods and
Alan Fortney
Incredible Art Department –
Internet
Masks & Aesops Fables –
Internet
Masks Around The World –
Internet
Mask making Intro (video)–
Masks From Many Cultures –
Crystal Productions
In text questions – Students
answer teacher constructed
questions about a reading
selection as they read it.
Students review their answer
with their small group, and then
share with the whole group.
Visual aids (pictures or photos
Greek, Chinese, Japanese
productions)
Performance)
• Having completed a rendering of an
original mask concept
• Having been provided with the necessary
art supplies and materials
• Student will create and design an original
mask based on Greek theatre (or selected
theatre style) and/or culture
• Having completed teacher constructed
questionnaire or guide in regards to
design (e.g. what is the function or
purpose of your mask? What emotion or
mood does your mask convey; etc.)
• Student will give an oral presentation
explaining their original mask design and
how it reflects the Greek theatrical style
(or selected theater style) and/or culture
through their creation and design.
or
• Student will construct a model of a
theatre or stage from a theatrical style
(e.g. Greek, Pageant Wagon, Elizabethan,
Kabuki, etc.)
You will give an oral presentation on the mask you have
created, discussing your design as it relates to the Greek theatre
style, customs, and/or culture.
You will construct a model of a theatre or stage from a
theatrical style and give an oral presentation describing the
characteristics of the theatre or stage of that period.
Make A Mask – Sander
Johnson, Tim Murphy,
Patricia Ryan Sarka, & Ann de
la Sota
Paper Masks and Puppets for
Stories, Songs, and Plays –
Ron and Marsha Feller
The Usborne Book of Masks –
Ray Gibson
Teacher constructed questions
relating to students’ mask
presentation (to be used a guide
for students in preparing them
for their oral presentation).
Art Catalogues
Nasco Arts & Crafts
Blick Art Materials
Sax Arts & Crafts

Drama, Introduction
Component Strand: HISTORICAL AND CULTURAL CONTEXT
Standard: 3.0 Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting
diversity as it relates to theatre.
Typical Time
Range
Performance
Standard
3.2 Compare and contrast various theatre styles
history, such as Ancient Greece, Elizabethan
theatre, Kabuki theatre, Kathakal dance theatre,
and Commedia dell’arte.
None Aeschylus
Aristophanes
Athens
Aristotle
Chorus
Comedy
Dionysus
Dithyramb
Euripides
Menander
Orchestra
Satyr
Skene
Sophocles
Thespsis
Tragedy
Cycles
Miracle
Mystery
Pageant Wagon
Trope
No Theatre
Bunraku
Kabuki
Sanskrit drama
Ben Johnson
Christopher Marlow
Globe Theatre
Shakespeare
Renaissance
Lope De Vega
Calderon
Range:
Acquisition:
Proficient:

Drama, Introduction
Commedia dell’arte
Improvise
Stock characters
Moliere
Opera
Proscenium
Three dimensional scenery
Restoration
Legitimate
Aphra Behn
William Congreve
David Garrick
Richard Brinsley Sheridan
WilliamWycherley
Romanticism
Melodrama
Realism
Lorraine Hansberry
Eugene O’Neil
Tennessee Williams
Musical
George Cohan
Jerome Kern
George and Ira Gershwin
Irving Berlin
Rodgers and Hammerstein

Drama, Introduction
Specifications
Sample Assessment
Resources
Objective
Multiple Choice
• Quiz
• Test
Read statement below and determine which one does not apply
to the theatre style stated. Choose the best answer and write the
letter of your choice in the space provided to the left.
1. ____ In reference to Greek theatre which statement does
not apply
a. Plays were performed only a few times a year
at religious festivals
b. The theatre was built into a hillside
c. Greek actors wore highly stylized makeup
d. Greek theatre consisted of one to three actors and a
chorus
Arts Edge: Greek Theatre –
Internet
Teacher constructed in-text
questions
SDAIE strategy: Anticipatory
Guide – given a series of
statements that relate to a
reading selection, lecture, or
video. Students indicate agree’
or ‘disagree’. After the
information has been presented,
students check to see if they are
correct
Performance)
Student will complete a graphic organizer filling in
the requested information as it pertains to the
specific theatre period (e.g.)
Theatre Period: Greek Period
Origin, roots or religious rituals and
Influences: celebrations
Purpose: worship of Dionysus,
god of wine and harvest;
religious occasion
Staging: amphitheatre; open air
theatre built on a hillside
Type of Plays: tragedies, comedies,
Source: myths and legends
Plot: stories of gods and heroes
Themes: showed how good and evil are
always in conflict
Complete the graphic organizer below on the theater style being
discussed and analyzed. Complete the requested info only
where applicable to the period being studied.
Theatre Period: Roman Theatre
Origin, roots or influences:
Purpose:
Staging:
Types of Play:
Teacher constructed graphic
organizer
Theatre Through the Ages –
Michael Kramme
Play Production – Jonniepat
Mobley
The World of Theatre -
Scholastic (Voyages of
Discovery: Music And
Performing Arts)
The Theatre –
William M. Hutchinson
Starting Drama – Eric Boagey
Visual aids (photos and
diagrams) of Greek,
Elizabethan, and Asian
Theatres
In-text questions – Students
answer teacher-constructed
questions about a reading
selection as they read it.
Students review their answers
in a small group then share
them with the whole group.
Lecture
Cornell Note taking
Graphic organizers
Comparison-Contrast
Chart or Matrix
Venn Diagram
Timelines (noting important
events in theatre)

Drama, Introduction
Notes:
Performance)
• Having studied and analyzed several
theatre styles
• Student will write a one-page paper
comparing and contrasting the theatre
elements (plays, stages, staging,
costumes, etc.) from two periods in
theatre history (e.g. Greek and
Elizabethan)
•
or
• Having studied and analyzed several
theatre styles
• Presenting a series of pictures, photos, or
slide show (e.g. pageant wagon)
• Student will be able to identify theatre
elements (plays, stages, costumes,
staging, etc.) pertaining to a particular
theatre style and/or culture
Choose two periods in theatre history to write a one-page paper,
comparing and contrasting the theatre elements (plays, stages,
staging, costumes, etc.) from two different theatre styles. (e.g.
Greek Theatre and Elizabethan Theatre).
Analyze photo number one depicting a stage. Identify which
theatre style and /or culture it pertains to. Write the answer and
one trait or characteristic of the theatre style in support of your
answer.
Theatre Style and/or Trait/characteristic
Photo #1: Pageant wagon
actors performed miracle
Medieval theatre plays on moveable stage
wagons
Photo #2: theatre built on hillside
_________________________ ____________________
____________________
____________________
How Theatre Began (video) –
Nancy Forderer
SDAIE strategy: Send-A-
Problem – Using the text, each
student on a team makes up a
review question and writes it on
a 3X5 card. The writer asks the
question of the other members
of the team. When everyone
agrees on an answer, it is
written on the back of the card.
The teams then send their
review question to another
team. Teams respond by
having one student read the
first question. Each team
member writes down answer.
Team members then compare
and discuss their answer. If
they agree, they turn the card
over to see if they concur with
the sending team. If not, they
write their answer on the back
of the card as an alternate
answer. A second student reads
the next question, and so on.
The cycle continues. At the
end, teacher should provide an
opportunity to discuss and
clarify questions and answers.

Drama, Introduction
Component Strand: AESTHETIC VALUING
Standard: 4.0 Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.
Typical Time
Range
Performance
Standard
4.1 Design and apply, appropriate criteria or rubrics
for evaluating the effective use of masks,
puppetry, makeup, and costumes in a theatrical
presentation.
None Aesthetic
Aesthetic appreciation
Aesthetic perception
Authentic evaluation
Criteria
Critique
Constructive Criticism
Rubric
Range:
Acquisition:
Proficient:
Specifications
Sample Assessment
Resources
Objective
Multiple Choice
• Quiz
• Test
Match the definition on the left to the correct term on the right.
Write the letter of your choice in the space provided to the left.
1. ____ evaluation guidelines applied a. evaluation
in judging a performance
2. ____ an evaluation involving real-life b. critique
situations and role-playing to
test skills and abilities for the real
world c. criteria
3. ____ an assessment of strengths and d. authentic
weaknesses evaluation
4. ____ opinions and comments based
on predetermined criteria
Exploring theatre – Nancy
Paper Masks and Puppets for
Stories, Songs, and Plays –
Ron and Marsha Feller
Make A Mask Instruction
Guide – Sander Johnson, Tim
Murphy, Patricia Ryan, Sarka,
Anne de la Sota
Cut and Make Masks –
A .G. Smith and Josie Hazen
The Usborne Book of Masks –
Ray Gibson
Pictures or photos of masks
Class discussion
In text questions
SDAIE strategy: Pair/share

Drama, Introduction
Performance)
• Having learned the essential vocabulary
• Having been assigned a character from a
fairy tale (or other source) to design a
mask for
• Having designed a mask
• The student will develop a rubric for
evaluating the effectiveness of a mask
(puppetry, makeup, or costume) in a
theatrical presentation.
You and your partner will brainstorm and develop a rubric for
evaluating the effectiveness of a mask in a theatrical
presentation.
Sample Rubrics
Performance)
• Students will apply their rubric to
evaluate the effectiveness of their
partner’s mask in a theatrical presentation
of a fairy tale or other teacher selected
presentation (e.g. pantomime)
You will apply the rubric you created in evaluating the
effectiveness of your partner’s mask in their theatrical
presentation.
Notes:

Drama, Introduction
Component Strand: CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Standard: 5.0 Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in
problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.
Typical Time
Range
Performance
Standard
5.2 Demonstrate projection, vocal variety, diction, gesture,
and confidence in an oral presentation.
None Diction Diaphragm
Flexibility Gesture
Inflection Pitch
Poise Projection
Pronunciation Quality
Rate
Vocal expression
Range:
Acquisition:
Proficient:

Drama, Introduction
Specifications
Sample Assessment
Resources
Objective
Multiple Choice
• Quiz
• Test
Read each definition carefully and match it to the correct term.
1. ____ The shaping and molding of a. poise
sounds into syllables
b. articulation
2. ____ The speed at which you speak
c. rate
3. ____ The effective control of all voice
elements and body movements
Exploring Theatre
Prince & Jeanine Jackson
Lecture
Cornell Note taking
In Text Questions
Vocal drills, exercises, and
activities
Students identify careers that
require effective oral and
communication skills
Performance)
• Given a selection of monologues from
which to choose from for a presentation
• Having analyzed their script, focusing on
line interpretation
• The student will provide notations on
their script addressing mood, emotion,
and attitude of character. Student will
also underline operative words that are to
be given emphasis
You will provide notations on your monologue addressing
mood, emotion, and attitude of character. You will indicate the
operative words by underlining words to be given emphasis.
Script work: line analysis
Pair/share peer
Performance)
• Given a selection of monologues from
which to choose for a presentation
• Having analyzed their monologue,
focusing on line interpretation
• Instructed to provide notations on the
student selected monologue
• The student will perform their memorized
monologue, demonstrating appropriate
projection levels, vocal expression,
diction, gesture, and poise as a result of
their line and character analysis
You will perform a monologue of your choosing, demonstrating
appropriate projection levels, vocal variety, diction, gesture, and
confidence.
Teacher provided monologues
for student selection
Exploring Theatre Teacher’s
Source Binder (reproducible
monologue exercises) – Nancy
Teenage Mouth (monologues)–
Roger Karshner
Teens Have Feelings, Too!
(monologues) - Deborah
Karczewski

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