DOCSLIB.ORG

Theatre Standards

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatre Standards IDAHO CONTENT STANDARDS ARTS AND HUMANITIES THEATRE STATE SUPERINTENDENT OF PUBLIC INSTRUCTION SHERRI YBARRA STATE DEPARTMENT OF EDUCATION PO BOX 83720 BOISE, ID 83720-0027 Idaho Fine Arts Standards - Theatre THEATRE Anchor Standard 1: Generate and conceptualize artistic ideas and work. Enduring Understanding: Theatre artists rely on intuition, curiosity, and critical inquiry. Essential Question(s): What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry? Creating Creating K 1 2 3 4 5 6 7 8 HS Proficient HS Accomplished HS Advanced TH:Cr1.1.K. TH:Cr1.1.1. TH:Cr1.1.2. TH:Cr1.1.3. TH:Cr1.1.4. TH:Cr.1.1.5. TH:Cr1.1.6 TH:Cr.1.1.7. TH:Cr1.1.8. TH:Cr1.1.I. TH:Cr1.1.II. TH:Cr1.1.III. a. With prompting a. Propose potential a. Propose potential a. Create roles, a. Articulate the a. Identify physical a. Identify possible a. Investigate a. Imagine and a. Apply basic a. Investigate a. Synthesize and support, invent choices characters new details to plot imagined worlds, visual details of qualities that might solutions to staging multiple explore multiple research to historical and knowledge from a and inhabit an could make in a and story in a and improvised imagined worlds, reveal a character’s challenges in a perspectives and perspectives and construct ideas cultural conventions variety of dramatic imaginary guided drama guided drama stories in a and improvised inner traits in the drama/theatre solutions to staging solutions to staging about the visual and their impact on forms, theatrical elsewhere in experience (e.g., experience (e.g., drama/theatre stories that support imagined world of a work. challenges in a problems in a composition of a the visual conventions, and dramatic play or a process drama, process drama, work. the given drama/theatre drama/theatre drama/ theatre drama/theatre composition of a technologies to guided drama story drama, story drama, circumstances in a work. work. work. work. drama/theatre create the visual experience (e.g., creative drama). creative drama). drama/theatre work. composition of a process drama, work. drama/ theatre Envision/Conceptualize Envision/Conceptualize story drama, work. creative drama). b. With prompting b. Collaborate with b. Collaborate with b. Imagine and b. Visualize and b. Propose design b. Identify solutions b. Explain and b. Imagine and b. Explore the b. Understand and b. Create a and support, use peers to peers to articulate ideas for design technical ideas that support to design challenges present solutions to explore solutions to impact of apply technology to complete design for non- conceptualize conceptualize costumes, props elements that the story and given in a drama/theatre design challenges in design challenges of technology on design solutions for a drama/theatre representational costumes and props scenery in a guided and sets for the support the story circumstances in a work. a drama/ theatre a performance design choices in a a drama/theatre work that materials to create in a guided drama drama experience environment and and given drama/theatre work. space in a drama/theatre work. incorporates all props, puppets, and experience (e.g., (e.g., process characters in a circumstances in a work. drama/theatre work. elements of costume pieces for process drama, drama, story drama, drama/theatre drama/theatre work. technology. dramatic play or a story drama, creative drama). work. work. guided drama creative drama). experience (e.g., process drama, story drama, creative drama). c. Identify ways in c. Identify ways in c. Collaborate to c. Imagine how a c. Imagine how a c. Explore a scripted c. Envision and c. Develop a c. Use script analysis c. Use personal c. Integrate cultural which gestures and which voice and determine how character might character’s inner or improvised describe a scripted scripted or to generate ideas experiences and and historical movement may be sounds may be used characters might move to support the thoughts impact the character by or improvised improvised about a character knowledge to contexts with used to create or to create or retell a move and speak to story and given story and given imagining the given character’s inner character by that is believable develop a character personal retell a story in story in guided support the story circumstances in a circumstances in a circumstances in a thoughts and articulating the and authentic in a that is believable experiences to guided drama drama experiences and given drama/theatre drama/ theatre drama/theatre objectives in a character’s inner drama/theatre and authentic in a create a character experiences (e.g., (e.g., process circumstances in work. work work. drama/theatre thoughts, work. drama/theatre that is believable process drama, drama, story drama, drama/theatre work. objectives, and work. and authentic, in a story drama, creative drama). work. motivations in a drama/theatre creative drama). drama/theatre work. work. Page 1, Theatre Idaho Fine Arts Standards - Theatre Anchor Standard 2: Organize and develop artistic ideas and work. Enduring Understanding: Theatre artists work to discover different ways of communicating meaning. Essential Question(s): How, when, and why do theatre artists’ choices change? Creating Creating K 1 2 3 4 5 6 7 8 HS Proficient HS Accomplished HS Advanced TH:Cr2-K. TH:Cr2-1. TH:Cr2-2. TH:Cr2-3. TH:Cr2-4. TH:Cr2-5. TH:Cr2-6. TH:Cr2-7. TH:Cr2-8. TH:Cr2-I. TH:Cr2-II. TH:Cr2-III. a. With prompting a. Contribute to the a. Collaborate with a. Participate in a. Collaborate to a. Devise original a. Use critical a. Examine and a. Articulate and a. Explore the a. Refine a dramatic a. Develop and and support, development of a peers to devise methods of devise original ideas ideas for a analysis to improve, justify original ideas apply critical function of history concept to synthesize original interact with peers sequential plot in a meaningful dialogue investigation to for a drama/theatre drama/theatre work refine, and evolve and artistic choices analysis, and culture in the demonstrate a ideas in a Develop and contribute to guided drama in a guided drama devise original ideas work by asking that reflect original ideas and in a drama/theatre background development of a critical drama/theatre work Develop dramatic play or a experience (e.g., experience (e.g., for a drama/theatre questions about collective inquiry artistic choices in a work based on knowledge, dramatic concept understanding of utilizing critical guided drama process drama, process drama, work. characters and about characters devised or scripted critical analysis, research, and through a critical historical and analysis, historical experience (e.g., story drama, story drama, plots. and their given drama/theatre background historical and analysis of original cultural influences and cultural process drama, creative drama). creative drama). circumstances. work. knowledge, and cultural context to ideas in a of original ideas context, research, story drama, historical and the development of drama/theatre applied to a and western or creative drama). cultural context. original ideas for a work. drama/theatre nonwestern theatre drama/theatre work. traditions. work. b. With prompting b. With prompting b. Contribute ideas b. Compare ideas b. Make and discuss b. Participate in b. Contribute ideas b. Demonstrate b. Share leadership b. Investigate the b. Cooperate as a b. Collaborate as a and support, and support, and make decisions with peers and group decisions and defined and accept and mutual respect for and responsibilities collaborative nature creative team to creative team to express original participate in group as a group to make selections identify responsibilities incorporate the self and others and to develop of the actor, make interpretive discover artistic ideas in dramatic decision making in a advance a story in a that will enhance responsibilities required to present ideas of others in their roles in collaborative goals director, playwright, choices for a solutions and make play or a guided guided drama guided drama and deepen group required to present a drama/theatre preparing or preparing or when preparing or and designers and drama/theatre interpretive choices drama experience experience (e.g., experience (e.g., drama/theatre a drama/theatre work informally to devising devising devising explore their work. in a devised or (e.g., creative process drama, process drama, work. work to peers. an audience. drama/theatre drama/theatre drama/theatre interdependent scripted drama, process story drama, story drama, work. work. work. roles in a drama/theatre drama, story creative drama). creative drama). drama/theatre work. drama). work. Page 2, Theatre Idaho Fine Arts Standards - Theatre Anchor Standard 3: Refine and complete artistic work. Enduring Understanding: Theatre artists refine their work and practice their craft through rehearsal. Essential Question(s): How do theatre artists transform and edit their initial ideas? Creating Creating K 1 2 3 4 5 6 7 8 HS Proficient HS Accomplished HS Advanced TH:Cr3.1.K. TH:Cr3.1.1. TH:Cr3.1.2. TH:Cr3.1.3. TH:Cr3.1.4. TH:Cr3.1.5. TH:Cr3.1.6. TH:Cr3.1.7. TH:Cr3.1.8. TH:Cr3.1.I. TH:Cr3.1.II. TH:Cr3.1.III. a. With prompting a. Contribute to the a. Contribute to the a. Collaborate with a. Revise and a. Revise and a. Articulate and a. Demonstrate a. Use repetition a. Practice and a. Use the rehearsal a. Refine, transform, and support, ask adaptation of the adaptation of peers to revise, improve an
Load more

Recommended publications
  • DRAMA KIDS COSTUME SUGGESTIONS for “PARADESIA” Dear Parents: Children Doing “Paradesia” Need to Dress As Though They Live on a Tropical Island
    DRAMA KIDS COSTUME SUGGESTIONS FOR “PARADESIA” Dear Parents: Children doing “Paradesia” need to dress as though they live on a tropical island. Our end of the year performance will have a Hawaiian feel. Our performance weekend is May 13-14. They will have a dress rehearsal in class the week prior to the performance. They will need to “show” their costume to their teacher 2 weeks prior to their performance (you can text or email us a picture or bring it in to the class). Then, on their show date, they will need to arrive at the Glenridge Theatre in costume and make- up for their final dress rehearsal and performance. Look at Wal-Mart, Walgreens, Goodwill/Salvation Army, Party Stores, swim stores, on-line, or consignment stores for costumes pieces. Call (941) 922-8121 if you have any questions. Girls: Girls should wear bathing suits with a floral/tropical print or bright color. They should wear a sarong, wrap-around type skirt or large scarf/fabric piece tied around their waist or around neck so as to create an “island-type” skirt/dress. They may also wear a Hawaiian sundress. They can accessories with leis, flowers in their hair, anklets and shell necklaces. *NO GRASS SKIRTS OR COCONUTS. Boys: Boys should wear a bright, tropical print bathing suit or shorts. They should go shirtless, but may wear a Hawaiian print shirt if they are self-conscious or matching tank top. They can also wear shell necklaces, anklets and leis to accessorize. Bare Feet: All children will perform with bare feet.
    [Show full text]
  • Qinqiang Opera Drama Costume Connotation and Aesthetic
    2nd International Conference on Education Technology, Management and Humanities Science (ETMHS 2016) Qinqiang opera drama costume connotation and aesthetic implication 1, a Yugang Chen 1Jiangxi Institute of Fashion Technology, Jiangxi, Nanchang, 330201 [email protected] Keywords: Qinqiang opera drama; Clothing; The cultural connotation Abstract. Qinqiang opera drama is one of the most exquisite stylized performance of traditional Chinese local operas. Qinqiang opera drama clothing, and other theatrical performances of traditional clothing similarity is exquisite and stylized, decorative effect as well as the audiences in the symbolization of abstract feelings, dramatic clothes in qinqiang opera drama very expressive aesthetics and art. Introduction Qinqiang opera drama as a traditional Chinese drama conductions, its dramatic clothes also represents the character appearance of traditional drama clothing, under the stylized costumes or wear shows of the respect and inheritance on traditional culture. Studies of qinqiang opera costume for one of the models, style characteristic, found that it contains the cultural connotation and aesthetic implication, the essence of traditional clothing, for the development of qinqiang opera drama has a positive and far-reaching significance. The formation of Qinqiang opera drama clothing Qin has been active in shanxi, gansu and the northwest region is the vast land of an ancient opera. The earliest qinqiang opera originated in shanxi guanzhong area, from the perspective of the change of type c, Qin Sheng, qin three stages. In the qianlong period reached for her best. From the point of geography, shanxi, gansu, ningxia, qinghai, xinjiang northwest five provinces close to geographical culture, so the ancient qin, with its wide sound big voice spoke quickly popular in this area.
    [Show full text]
  • The Structure of Plays
    n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago.
    [Show full text]
  • Greek Theory of Tragedy: Aristotle's Poetics
    Greek Theory of Tragedy: Aristotle's Poetics The classic discussion of Greek tragedy is Aristotle's Poetics. He defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself." He continues, "Tragedy is a form of drama exciting the emotions of pity and fear. Its action should be single and complete, presenting a reversal of fortune, involving persons renowned and of superior attainments, and it should be written in poetry embellished with every kind of artistic expression." The writer presents "incidents arousing pity and fear, wherewith to interpret its catharsis of such of such emotions" (by catharsis, Aristotle means a purging or sweeping away of the pity and fear aroused by the tragic action). The basic difference Aristotle draws between tragedy and other genres, such as comedy and the epic, is the "tragic pleasure of pity and fear" the audience feel watching a tragedy. In order for the tragic hero to arouse these feelings in the audience, he cannot be either all good or all evil but must be someone the audience can identify with; however, if he is superior in some way(s), the tragic pleasure is intensified. His disastrous end results from a mistaken action, which in turn arises from a tragic flaw or from a tragic error in judgment. Often the tragic flaw is hubris, an excessive pride that causes the hero to ignore a divine warning or to break a moral law. It has been suggested that because the tragic hero's suffering is greater than his offense, the audience feels pity; because the audience members perceive that they could behave similarly, they feel pity.
    [Show full text]
  • Tragedy Tragedy: Drama That Shows the Downfall of a Noble Hero, A
    Tragedy Tragedy: Drama that shows the downfall of a noble hero, a generally good person of high birth who makes a tragic mistake or error in judgment. It can also be a character flaw. (In Greek tragedy, it is usually hubris, or excessive pride, that causes the downfall of the character.) Prior to his death, the hero usually has some realization about human fate and destiny. A tragedy was supposed to arouse pity and fear in the audience—pity that a man of reasonably good character is suffering and fear that the same thing could happen to them. The end of tragedy was intended to produce katharsis, the purging or cleansing of the excess pity and fear aroused by the play. The goal of tragedy was to reduce negative emotions to a healthy, balanced proportion. Aristotle loved Sophocles’ play cycle of Oedipus the King and considered it the perfect tragedy. He wrote Poetics to give the “rules” of tragedy. There are six elements, with plot being the most important and spectacle being the least. 1. Plot: must have a beginning, middle and end. In Greek tragedy, there is only one plot, no subplots. Each event in the plot must play off the others. There can be no “coincidences.” A tragic plot must be serious. 2 A plot should be complex, and must show that the tragic hero recognizes the cause of his problems and is sorry for his actions before his death. According to Aristotle, there is a definite cause and effect chain throughout the play. 2. Character: character supports plot, and the motivations of the character are tied to the plot.
    [Show full text]
  • Teaching Guide: Costume Design
    A-LEVEL DRAMA AND THEATRE Understanding and designing theatre costume 7262 Teaching guide: costume design Please note: this guide contains references to a number of designers/practitioners, not all of whom are prescribed practitioners for the AQA AS and A-level Drama and Theatre specifications. For assessment of AS Component 2, A-level Component 2 and A-level Component 3, students must select from the prescribed practitioner list published in the AS and A-level specifications. Contents Understanding and designing theatre costume Understanding theatre costume 3 What about the character? What style is the costume? / What decisions has the designer made? What about the audience? Examples in action Do it yourself Designing theatre costume 9 What do I need to do? What practicalities should I consider? Where can I get inspiration? How can I present my ideas? Examples in action Do it yourself Component 1: Drama and theatre 15 Hints and tips for the written paper Component 2: Creating original drama and Component 3: Making theatre 18 Hints and tips for the practical work 2 Understanding and designing theatre costume – A-level Understanding theatre costume Introduction The purpose of this section is to introduce you to costume design, and to give you some ways of approaching and understanding theatre costume. It will suggest some key questions you can consider when you see or create a theatre costume. What about the character? The character is the most important starting Characteristics of the role will include point for a costume designer. Costume thinking about how the character is designs must communicate something about represented in the play text.
    [Show full text]
  • Music Theatre 2020-2021
    Claire Trevor School of the Arts B.F.A. Degree Requirements MUSIC THEATRE 2020-2021 31 Courses plus DRAMA 101 & NYSP (approximately) DRAMA 10 Introduction to Theatre _______ *Must be taken in the first year; DRAMA 10 is a prerequisite for many Drama courses. Select one course from: DRAMA 15 Performance Now DRAMA 20A Culture in Performance DRAMA 20B Culture in Performance DRAMA 20C Culture in Performance _______ DRAMA 30A Acting _______ DRAMA 30B Acting _______ DRAMA 30C Acting _______ *To continue to Intermediate Acting, students must earn an average grade of B or better in 30A, 30B, and 30C. Must be taken in the first year. DRAMA 40A Development of Drama _______ DRAMA 40B Development of Drama _______ DRAMA 40C Development of Drama _______ *Typically taken in the second year (first year for transfer students). Select one design course from: DRAMA 50A Costume Design _______ DRAMA 50B Scenic Design DRAMA 50C Lighting Design DRAMA 50D Sound Design DRAMA 50E Stage Management DRAMA 100 University Theatre _______ *Must be a musical production DRAMA 101 Theatre Production _______ *4 units must be completed during the first year of residency Freshmen must complete 8 units; transfer students with sophomore standing must complete 6 units; transfer students with junior or senior standing must complete 4 units. One Dramatic Literature course _______ *Selected from Drama 103-129 or 180 (BFA requirements continued on other side) Claire Trevor School of the Arts (BFA requirements continued) DRAMA 136 Music Theatre Acting _______ DRAMA 142 Music Theatre II _______ DRAMA 143A Music Theatre III _______ DRAMA 143B Music Theatre III _______ DRAMA 143C Music Theatre III _______ DRAMA 144 Music Theatre IV _______ DRAMA 145 Music Theatre Singing _______ DRAMA 146 N.Y.
    [Show full text]
  • Course Outline
    Degree Applicable Glendale Community College October 2013 COURSE OUTLINE Theatre Arts 107 (C-ID Number: THTR 114) Drama Heritage: Play Structure, Form, and Analysis (C-ID Title: Script Analysis) I. Catalog Statement Theatre Arts 107 is a survey of dramatic literature from the classical to the contemporary periods from the structural, stage production, and analytical points of view. The course combines reading, analyzing and understanding play scripts with field trips to local theatres and in-class audio-visual presentations. The student examines the playwright’s methods of creating theatre and learns to distinguish between a play as literature versus a play as performance. Total Lecture Units: 3.0 Total Course Units: 3.0 Total Lecture Hours: 48.0 Total Faculty Contact Hours: 48.0 Prerequisite: None. Note: During the semester, students are expected to attend professional and Glendale Community College Theatre Arts Department productions as a part of the learning process. II. Course Entry Expectations Skill Level Ranges: Reading 5; Writing 5; Listening/Speaking 4; Math 1. III. Course Exit Standards Upon successful completion of the required coursework, the student will be able to: 1. identify representative plays and playwrights of each of the major periods and styles of dramatic literature; 2. demonstrate a respect and appreciation of plays and playwrights, their problems, techniques and relevance to social conditions of the past and present; 3. demonstrate this respect and appreciation through class participation and written assignments dealing with the comparing and contrasting of the various plays and playwrights under study; 4. identify the patterns common to most, if not all, dramatic storytelling.
    [Show full text]
  • History of Greek Theatre
    HISTORY OF GREEK THEATRE Several hundred years before the birth of Christ, a theatre flourished, which to you and I would seem strange, but, had it not been for this Grecian Theatre, we would not have our tradition-rich, living theatre today. The ancient Greek theatre marks the First Golden Age of Theatre. GREEK AMPHITHEATRE- carved from a hillside, and seating thousands, it faced a circle, called orchestra (acting area) marked out on the ground. In the center of the circle was an altar (thymele), on which a ritualistic goat was sacrificed (tragos- where the word tragedy comes from), signifying the start of the Dionysian festival. - across the circle from the audience was a changing house called a skene. From this comes our present day term, scene. This skene can also be used to represent a temple or home of a ruler. (sometime in the middle of the 5th century BC) DIONYSIAN FESTIVAL- (named after Dionysis, god of wine and fertility) This festival, held in the Spring, was a procession of singers and musicians performing a combination of worship and musical revue inside the circle. **Women were not allowed to act. Men played these parts wearing masks. **There was also no set scenery. A- In time, the tradition was refined as poets and other Greek states composed plays recounting the deeds of the gods or heroes. B- As the form and content of the drama became more elaborate, so did the physical theatre itself. 1- The skene grow in size- actors could change costumes and robes to assume new roles or indicate a change in the same character’s mood.
    [Show full text]
  • BOLD BUCCANEERS” Dear Parents: Children Doing “The Bold Buccaneers” Need to Dress As Pirates Or Sailors for Our End of the Year Performance
    DRAMA KIDS COSTUME SUGGESTIONS FOR “BOLD BUCCANEERS” Dear Parents: Children doing “The Bold Buccaneers” need to dress as pirates or sailors for our end of the year performance. Our performance weekend is May 13-14. They will have a dress rehearsal in class the week prior to the performance. They should “show” their teacher their costumes 2 weeks prior to the performance in class (you can text or email us a picture or bring it in to the class). The day of the show they will need to arrive at the Glenridge Theatre in costume and make-up for their final dress rehearsal and performance. Look at Goodwill/Salvation Army, Party Stores, on-line, or consignment stores for costumes. Call (941)922-8121 if you have any questions. PIRATES: Shirts: Boys and girls can wear either puffy, long-sleeved shirts, striped t-shirts or pirate shirts that come in a costume set from a party-type store. They can also wear a vest over the shirt. If you order on-line please get approval from teacher so we don’t have duplicate costumes. Also, the captain should have a grand pirate jacket. Pants/Skirts: Boys and girls can either wear black, brown or white pants, either cut off or rolled up. Girls can choose to wear a gypsy-style skirt if they prefer. No jeans please. Accessories: They should wear sashes or belts. They can wear a bandana/scarf or a black bandana with crossbones (party store), pirate cap, or black buccaneer cap with feather. They can wear pirate beads, a hoop earring and eye patch if they like.
    [Show full text]
  • Musical Theatre and Drama Therapy: a Duet for Dementia
    Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Capstone Theses (GSASS) Spring 5-21-2022 Musical Theatre and Drama Therapy: A Duet for Dementia Amy Bingen [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_theses Part of the Social and Behavioral Sciences Commons Recommended Citation Bingen, Amy, "Musical Theatre and Drama Therapy: A Duet for Dementia" (2022). Expressive Therapies Capstone Theses. 500. https://digitalcommons.lesley.edu/expressive_theses/500 This Thesis is brought to you for free and open access by the Graduate School of Arts and Social Sciences (GSASS) at DigitalCommons@Lesley. It has been accepted for inclusion in Expressive Therapies Capstone Theses by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected], [email protected]. Running head: MUSICALLY INFORMED DRAMA THERAPY FOR ADRD 1 Musical Theatre and Drama Therapy: A Duet for Dementia A Literature Review Capstone Thesis Lesley University May 5th, 2021 Amy Bingen Mental Health Counseling, Drama Therapy Tim Reagan, PhD, RDT, APTT MUSICALLY INFORMED DRAMA THERAPY FOR ADRD 2 Abstract The purpose of this capstone thesis is to explore the potential of developing musically informed dramatic interventions that directly support the quality of life (QoL) for patients with Alzheimer's disease and related dementias (ADRD). Alzheimer's disease (AD) is progressive, causing people to lose their memory and thinking skills and eventually carrying out simple daily tasks. Researchers estimate that more than 5 million Americans live with AD today. There is no known cure for dementia, but treatment care has evolved into person-centered, non- pharmacological approaches often involving expressive art interventions to channel a patient's creative strengths.
    [Show full text]
  • Dance Singing Choir Drama Musical Theatre
    DANCE DRAMA SINGING MUSICAL THEATRE CHOIR Founded 1962 MUNSTER’S MOST PRESTIGIOUS TRAINING GROUND FOR YOUNG TALENT Directors: Eileen Nolan & Trevor Ryan www.montfortcollege.com At the Montfort College of Performing Arts we are proud to continue a teaching tradition introduced by our founder Eileen Nolan over 55 years ago, which has been instrumental in the personal development of so many talented young people. Every student is an important aspects of the performing arts, also provides support, friendship and the life skills that build how large or small the goal, we encourage our students to believe in themselves and develop environment, the disciplines of acting, singing, musical theatre and dance bring young people together in an exciting and happy environment to explore the magical world of performance. DANCE All of our dancers are given plenty of opportunities to perform in our annual musical, our Christmas pantomime and our end of year showcase ‘Applause’ in Cork Opera House. Dance classes available include Our classes are divided MODERN/JAZZ, CONTEMPORARY, into three categories THEATRE CRAFT, BALLET, TAP, MINI MONTFORTS (3- 6 yrs) ACRO, PERFORMANCE and PRIMARY DANCE (7 – 11 yrs) HIP HOP. SECONDARY DANCE (12 – 17 yrs) Adult dance and tap classes also available. Full details on all classes can be found at www.montfortcollege.com MINI MONTFORTS MUSICAL THEATRE SINGING DRAMA Red Riding Hood Broadway Kidz Carol Bells A Grand Night for Singing Feis MaitiuLAMDA
    [Show full text]