Acting Methods and Styles

Brecht

Drama 4

75 Minutes

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

TH:Cr1.1.HSIII.a

o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

TH:Cr3.1.HSIII.b

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

TH:Pr4.1.HSII.b

o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

TH:Pr5.1.HSIII.a

o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

A space for students to work/perform in.

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

Step 1: Instruction Explain that we have just come from Augusto Boal, who was very interested in using theater to make social changes. Explain that now we are moving from Brazil to Germany, to study Bertholt Brecht. Explain the following information:

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

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

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

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

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

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

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

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

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

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

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

Step 3: Group Practice Allow students to work in their groups for thirty minutes. Meander about the room, checking in with each group. If they need help, give a suggestion, though it might be better to questions them so they might come to their own solution. As you move between groups, keep an eye out for students you are sitting on the sidelines. Encourage them to get involved. Keep note of who is regularly not participating. Give regular time updates, then stop them after thirty minutes.

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

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

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

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

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

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

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

Acting Methods and Styles

Sanford Meisner and Quiz

Drama 4

75 Minutes

Students will demonstrate their understanding of basic Meisner Technique by completing the connect, respond, and speak activity.

TH:Cr1.1.HSIII.a

o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

TH:Cr3.1.HSIII.b

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

TH:Pr4.1.HSII.b

o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

TH:Pr5.1.HSIII.a

o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

White Board and Dry Erase Marker

Empty Playing Space

The Great Acting Teachers and Their Methods by Richard Brestoff

Have the students follow you up on to the stage.

Step 1: Warm-Up/Group Practice Remind the students that Meisner is all about living truthfully under imagined circumstances. He accomplishes this by never saying or doing anything unless they feel compelled to. Explain that we have worked on the living truthfully part of his technique when we did the repetition with our partners during Shakespeare scenes. Today, we are going to work on the imagined circumstances part. Ask for two partners, and have them do the Knock on the Door exercise from Brestoffs book (pg. 133). Explain the activity as it is explained in the book, but give the students their circumstances: one student is carefully and clumsily gluing a vase back together before his parents get home. She needs to be very careful and precise, but she is also clumsy. Go through the rest of the exercise as outlined in the book.

Step 2: Group Practice Explain to the students that they will split into partners and complete the same exercise. They will decide who is knocking, and who is working on the hard task. Explain that they will decide on their own task, but explain that the task should be something really difficult and requires a lot of attention (e.g. last minute paper due in 5 minutes, your complicated taxes, building a model airplane, etc.). Have the student split into groups, then perform the same exercise.

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

What happened? What was that like?

Any discoveries during the exercise?

Were you surprised by anything?

How were imagined circumstances informing your exercise?

How can this apply to your work as an actor?

Step 4: Directions Explain that we are now going to work on the other important part of the Meisner technique: dont do anything until something happens to make you do it. Ask students to think briefly about the very moment before their monologue starts. What does their partner say to them to make them start their monologue?

Step 5: Individual Practice Talk students through the process of picking a cue line:

What did your partner just say to you?

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

Why does that set you off into your monologue?

Step 6: Directions/Modeling Explain that they will now take this cue line and have a partner give it to them. However, we are going to add one little technique to help motivate us truthfully into the monologue. They will start facing away from their partner. Then, they will connect (turning and visually connecting with the partner), respond (some kind of physical/vocal response to what was just said), and speak (the start their monologue. If the cue line isnt strong enough to motivate the monologue then a new on must be chose. Demonstrate the process for them

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

Step 8: Directions Explain that they will now perform these for the class, without their partner. We will just quickly go around the room and see everyones connect, respond, and speak.

Step 9: Performance Have students before their connect, respond, and speak and have them say the first line of their monologue. Have students perform one right after the other, swiftly. Briefly give some feedback on the strength of their moment before as you go through the performances. Take note of students who may be struggling with concept for further coaching work.

Step 10: Discussion Lead a brief discussion using the following questions?

What happened? What was that like?

Any discoveries during the exercise?

Were you surprised by anything?

How were imagined circumstances informing your exercise?

How can this apply to your work as an actor?

Step 11: Directions Have students take out a piece of paper. Explain that we are going to quiz today on what weve learned so far. Explain that this is open note, but not open neighbor. Should they have taken good notes, they will be fine! Take them through the following questions on the next page.

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

Who is Konstantin Stanislavski and, in broad terms, what is his contribution to Theatre? (Russian Actor and Acting theorist/teacher. He developed a system that is still adapted in used in modern acting styles.)

Name 3 additional parts of the Stanislavski System and briefly describe them.

o Given Circumstances

o Concentration

o Emotional Memory Recall

o Sense Memory

o Objective

o Script Analysis

o Units

o Super Objective

Multiple Choice: Who started the Group Theatre in New York City?

o Cheryl Crawford, Harold Clurman, and Lee Strasberg

o Harold Clurman, Konstantin Stanislavski, Stella Adler

o Cheryl Crawford, Uta Hagen, Stella Adler

o Lee Strasberg, Anton Chekov, Uta Hagen

Why was the Group Theatre created? (Created to adapt and incorporate the realism of Stanislavski in a repertory environment, similar to the Moscow Art Theatre of Stanislavski and his colleagues.)

Pick two of the following individuals and briefly describe their contribution to Theatre.

o Stella Adler

o Uta Hagen

o Lee Strasberg

o Harold Clurman

o Sanford Meisner

What is one Main Point of the Meisner Technique and briefly describe it: (Answers will vary: Live truthfully under imagined circumstances OR dont do anything until you FEEL you must).

What is one thing that you can pull from this realistic acting unit that you can put into your actors toolkit?

Students can be assessed on their presentation of their connect, respond, and speak exercise. Additionally, the quiz will allow you to assess what students are remembering about the methods and artists covered so far. The quiz is worth 40 points.

Acting Methods and Styles

Performance Day

Drama 4

75 Minutes

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

TH:Cr1.1.HSIII.a

o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

TH:Cr3.1.HSIII.b

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

TH:Pr4.1.HSII.b

o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

TH:Pr5.1.HSIII.a

o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

Any materials or media players necessary for the students performances.

Computer/projector to show video clip (Q Brothers, Funk it up About Nothin):

o https://www.youtube.com/watch?v=tzli4K5cmuE

Show the Q Brothers clip, listed above in the materials. Its just a small little video to get the students loosened up and excited.

Step 1: Instructions Explain that each group will perform in a random order selected by you. Explain that each group should slate their piece in some wayjust some kind of introduction so we know what is actually about to take place. Explain that after each group goes, everyone can applaud and whoop and holler or whatever they like. Explain that they should be watching each group for the four main aspects of hip hop culture, and for other aspects of hip-hop culture as was defined last class period. Those four main aspects again are:

Breaking

MCing (rapping)

DJing (turn table)

Graffiti

Ask for any questions, then let the performances begin.

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

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

What did you think?

What did you like?

What is sticking out in your mind?

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

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

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

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

What did those aspects do for the performance?

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

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

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

Step 4: Reflection After the discussion, have students take out a piece of paper and a writing utensil. Explain that they should now write a short reflection based on these experiences. Read the students the following questions and explain they should write at least two thoughtful paragraphs based on the questions. When they are finished, they can turn them into you for grading. The question is:

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

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

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

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

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

Acting Methods and Styles

Forum Theatre Debrief

Drama 4

75 Minutes

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

TH:Cr1.1.HSIII.a

o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

TH:Cr3.1.HSIII.b

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

TH:Pr4.1.HSII.b

o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

TH:Pr5.1.HSIII.a

o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

Computer/Projector with internet access.

Have students recall to you what happened during the last class. Ensure that you vary who is speaking frequently, as it is very important that every student recalls the Forum Theatre Workshop. Probe students until they can recall the specific activities, feelings, and/or thoughts related to the workshop.

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

What is challenging about being a young-adult?

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

What have you discovered about this subject today?

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

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

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

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

Do you notice any patterns?

Are there surprised?

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

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

Step 3: Reflection Ask the students to pull out a piece of paper and something to write with. Explain that they will complete a reflection based on their experiences over the last few days. They should answer the following questions:

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

How is it different?

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

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

Step 4: Instruction Explain to the students the following information:

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

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

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

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

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

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

Augusto Boals book is called Games for Actors and Non-Actors. What we just did would be better suited for who? Actors or Non-Actors? (Non-Actors).

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

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

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

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

Acting Methods and Styles

Forum Theatre Workshop (Part 2)

Drama 4

75 Minutes

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

TH:Cr1.1.HSIII.a

o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

TH:Cr3.1.HSIII.b

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

TH:Pr4.1.HSII.b

o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

TH:Pr5.1.HSIII.a

o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

Empty Playing Space

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

Step 1Image of the word (Boal, pg. 181)

Explain to the students that you will be continuing the discussion around the idea of student/adult relationships. Explain that class will silently create a still image related to the idea of student/adult relationships. The students should silently place themselves in an image all together. Once the students are set in an image, explain that one by one they can step out of the image and view the image. After everyone has seen the image, lead a short discussion regarding the experience using the following questions:

Whose story is this?

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

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

What is the story here?

How does this relate to the student/adult relationship weve been talking about?

Transition

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

Step 2Image of transition (Boal, pg. 185)

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

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

Which ones resonate with you and your experience?

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

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

Whose story is this?

What is the story?

Where is the oppression here?

Transition

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

Step 3Multiple image of oppression (Boal, pg. 186)

Have another student shape an oppression theyve experienced. Then have the student shape the ideal ending to the situation.

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

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

What did that feel like?

Do you feel you have a certain role?

What was the story here?

Is there a protagonist? an antagonist?

Once a protagonist and antagonist have been identified, give them this adjustment: they must not simply move to the final ideal solution. Instead they need move in accordance to the character that they are portraying in the image. This means that they might not necessarily end in the 'ideal image.' Count to 10 and allow the students to try this adjustment, then conduct a short discussion using the following questions:

How did the story change?

What was the story here?

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

Transition

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

Step 4Forum Theatre (Boal, pg. 241-252)

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

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

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

What does the protagonist want?

What is preventing the protagonist from getting that?

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

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

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

What did this person do differently than the original person?

Did they get what they wanted?

Was it realistic?

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

Would that option work for everyone?

What other options could they try in this situation?

What other choices does the protagonist have?

Have they gotten all they wanted?

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

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

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

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

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

What other obstacles will the protagonist encounter?

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

Step 5 Wrap-Up

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

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

Acting Methods and Styles

Viola Spolin

Drama 4

75 Minutes

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

TH:Cr1.1.HSIII.a

o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

TH:Cr3.1.HSIII.b

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

TH:Pr4.1.HSII.b

o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

TH:Pr5.1.HSIII.a

o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

Empty Playing Space

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

Computer/projector so play the following clips:

o https://www.youtube.com/watch?v=Mil3d9oD_Uk (Viola Spolin Interview)

o http://www.secondcity.com/media/mediaplayerfull/53/0/ (Drivers Ed, Second City)

Show students the Drivers Ed video from Second City.

Step 1: Discussion/Instruction Explain that this video is from an improv group called Second City. They are kind of like Whose Line Is It Anyway of Saturday Night Live. You may want to ask the students if any of them are familiar with these shows, just to be aware of their understanding of improvisation. After the preliminary questioning. Conduct a discussion using the following questions:

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

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

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

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

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

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

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

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

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

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

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

Why is Spolin against Improv Sports?

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

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

Step 3: Group Practice Explain to the students that you are now going try out a bunch of her games. Explain that everyone must participate for his or her grade for the day. Also encourage students not to be scared! Its improv, so there is no wrong or right! There is only do or do not. For the following games, use the instructions and side coaching provided in Spolins book (listed under the materials section of this plan). You can use any mix of the following game. The idea is to let students be exposed to a variety of her improv games, so that can better understand the range and depth of her work:

Seeing a Sport, pg. 56

Listening to the Environment, pg. 57

Who Started the Motion, Pg. 68

Mirror, pg. 61

Tug-Of-War, pg. 63

How Old Am I, pg. 69

Whos Knocking, pg. 105

Gibberish, pg. 114

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

What do you like about these exercises?

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

How might you use them?

What do you want to know more about?

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

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

Acting Methods and Styles

Final Exam

Drama 4

75 Minutes

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

TH:Cr1.1.HSIII.a

o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

TH:Cr3.1.HSIII.b

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

TH:Pr4.1.HSII.b

o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

TH:Pr5.1.HSIII.a

o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

Copy of the test for each student.

Key for the Multiple Choice and matching sections.

Play the Jeopardy Theme Song, if you have it. Silly joke, maybe, but the purpose is to lift the spirits of the students prior to taking the test. They will most likely be very worried. They shouldnt be, if they have studied.

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

Step 2: Supervise Answer only clarifying questions that students might have. Ensure that students are quietly focused on their own papers. Allow students the full period to complete the test. Some students will finish quickly; others will take longer.

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

Matching

1. E

2. I

3. J

4. C

5. B

6. D

7. G

8. A

9. F

10. H

Multiple Choice

1. A

2. C

3. B

4. A

5. D

Grade the short answers and essays. The students should provide details and thoughtful answers. Subtract as many points as you see fit (typically when a students doesnt quite dig deep enough to answer the question fully, or leaves out an important part of the question).

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

Day 15.Final Exam

Acting Methods and Styles

Forum Theatre Workshop (Part 1)

Drama 4

75 Minutes

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

TH:Cr1.1.HSIII.a

o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

TH:Cr3.1.HSIII.b

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

TH:Pr4.1.HSII.b

o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

TH:Pr5.1.HSIII.a

o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

Empty Playing space

All the activities in this workshop are taken from Augusto Boals book, Games for Actors and Non-Actors, 2nd ed.

Ask students to leave their seats and to join you on stage. Explain that we are now going into some unfamiliar territory as a little conservatory group. For the next few days we will be trying something that students havent really been through. Explain that students should just come along for the ride.

Step 1The cross and the circle (Boal, pg. 50)

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

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

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

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

Transition

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

Step 2The designated leader (Boal, pg. 158)

Ask the students to form a circle in the room. Ask the group to close their eyes and drop their heads. As you circle around behind them, explain that you will touch one person. Explain that when they open their eyes the person who was touch will lead the group in whatever movement they wish. Explain that they can do anything that they want, but they should try not to let anyone else know that they are the leader.

This activity will be performed two times without discussion in between. The first time, dont touch anyone. The second time, touch everyone.

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

What was this experience like?

Was it difficult to decide who was the leader?

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

Who had the power in this situation? Why?

Did you feel you could express yourself?

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

Transition

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

Step 3Columbian hypnosis (Boal, pg. 51)

Ask the students to pair up. Then explain that one part of the pair (they can decide) will hold their hand forward, palm out, and fingers upright and will hold their hand in front of their partners face. The other partner must keep their head about a foot away from their partners hand AND they must keep their head in line with the hand at all times (their hairline with the fingertips, their chin with the palm). Explain that the person leading will move their hand in any way they wish, and the person following MUST keep their head keep their face level with the hand.

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

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

What was this experience like?

What was easier? Following or leading?

Who has the power in this situation? Why?

Is it possible to express yourself in this situation?

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

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

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

Did you make any new discoveries?

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

Be sure to listen to their answers and guide them to more discoveries if you can tell they are close. Repeat the activity with as many themes as you feel necessary

VARIATION:

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

How did this change your experience?

Any new discoveries?

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

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

NOTE: The discussion during step 2 and 3 can last a long time. Do not let the conversation slip by. Wait long enough for students to join the conversation. This is new work for the students so you have to wait for the students to catch up.

Step 4Wrap up

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

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

Acting Methods and Styles

Introduction to the Unit/Stanislavsky

Drama 4

75 Minutes

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

TH:Cr1.1.HSIII.a

o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work

TH:Cr3.1.HSIII.b

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

TH:Pr4.1.HSII.b

o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

TH:Pr5.1.HSIII.a

o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

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

An empty cardboard box.

A copy of the Stanislavski System for each student.

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

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

Konstantin Stanislavski

The Stanislavski System

Uta Hagen

Theatre of the Oppressed

Method Acting

Viola Spolin

Augusto Boal

The Rainbow of Desire

Lee Strasberg

Stella Adler

Meisner Technique

Bertold Brecht

The Magic What If

Emotional Recall

Sense Memory

Jonzi D

Second City

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

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

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

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

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

NOTE: This is your chance to understand what students are familiar with and/or not familiar with. Pay attention to each student as they respond, as their responses will allow you to better gauge their understanding.

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

Explain that for the next several weeks, we are going to be examining acting methods and styles through the eyes of theatre artists. From here on out, we are a group of theatre artists who are trying to explore our craft. Ask the students, Why is it important as theatre artists to know methods, styles, or techniques? Take a few ideas. Then remind the students again that as we move forward, we arent a class of high school-ers anymore, but we are theatre artists who are exploring our craft.

Step 5: Lecture With that in mind, you can return to where you left off. You may ask the students where theatre originated, and they should answer, Greece! Then explain that we arent going back that far but instead we are going to start with a man names Konstantin Stanislavski. Give the students some of the following information.

Born in 1863

Stanislavski, pioneer of realism in theatre movement.

Ask the students the following question:

Who knows what realism is? In Theatre?

o Realism is about making the stage action represent everyday life.

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

Stankislavski is really the foremost pioneer in Realistic Acting.

o Based on what you know about realism, what does realistic acting mean?

Stanislavski as an actor, but he was freaked out that he felt dead onstage. He didnt feel real, so he spent a lot of time researching, watching actors, and developing what is known now as the Stanislavski system.

What do you know about the Stanislavski System?

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

The S. System is about working from the inside out. He writes that technique is really the most important part about acting. The most talented actors have the most technique.

o However, Stanislavski says that the system is merely a means to an end. It wont make you a great actor. He doesnt really believe acting can be taught.

o He also says that his system shouldnt be the end all be all, however it has sort of become that way.

o Many of our modern acting styles and methods have stemmed from Stanislavski.

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

What do you notice?

Is there anything you recognize? Anything familiar?

Students might be a little overwhelmed by this diagram. That is just fine. In fact, that is the point. Let them see the complicated system and then explain that they do not need to know everything. However it is a good visual representation of all the work that Stanislavski says you should be doing. 90% of the performance should be work and technique, and 10% should be talent, as Stanislavski says. Explain that students should hang onto the Stanislavski System handout for next time.

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

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

Students participation in the Balderdash Activity is worth 20 points for each student.

Day 1.Balderdash HOOK answers

Day 1.Stanislavski Chart

Acting Methods and Styles

Practice Day

Drama 4

75 Minutes

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

Any materials or media players necessary for the students performances.

Computer/projector to show video clip (Bomb-itty of Errors):

o https://www.youtube.com/watch?v=ZxFGDsyGeyc

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

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

Step 2: Group Practice Allow students to work freely in their groups. They will want the full time, generally. Walk around checking with group every so often. They may need some encouragement if Hip Hop is something that they are far removed from. Reinforce the idea that it doesnt have to be anything in particular. Just express yourself and tell the story using the main aspects of hip-hop culture.

Step 3: Check-in At about thirty minutes to the end of class, remind the students that they must check in with you. Be sure each group has the chance to meet with you briefly, and also make sure that you are aware of any special needs of the groups. This will give you ample to time to prepare, should you need to.

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