DOCSLIB.ORG

Theatre Arts Syllabus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatre Arts Syllabus Theatre Arts Syllabus Instructor: Ms. Kristina Cummins Room: Drama Email: [email protected] Phone: (360) 596-8043 Course Description: This course is designed for the student interested in dramatic activities with an emphasis on performance. Areas covered in depth include: vocabulary, roles in the theatre, pantomime, movement, acting (scene work and one act plays), theatre evaluation, and theatre history (from ancient Greek to the present), the reading of plays, theatre design and tech, and attendance at a live theatre performance. Students will be involved every day in some performance-based activity. There is an emphasis on memorization, working as a team, and classroom attendance. Students will be creating projects throughout the term in groups/ teams just as they would encounter in the professional theatre world. This course will not count as an English credit. VIDEO/PHOTOGRAPHY: In this course, we often video record students’ performances. Contact me directly if you wish for your child to NOT be photographed and video recorded. Major Assignments and Projects: The following assignments are required for the course: Classroom Based Assessment on Improvisation Pantomime Performances Vocal Recitations Play Reviews and Analysis Duo Scenes and Monologues Technical Theatre Projects Theatre History Presentations Class One Act Production Playwriting Scripts Film Field Trip to Seattle Shakespeare to see Arms and the Man by George Bernard Shaw (permission slips due by September 28!) Weekly Assignments: Students will be expected to complete a weekly assignment posted on Schoology. The work will be assigned on Wednesdays, due the following Wednesday. Leadership Points: In addition to the class work, students will need to contribute to CHS theatre outside of class time. See the attached handout for information on how to earn these Leadership Points. Play Performances: The best way to learn about theatre is to experience it. Students are expected to see at least one production over the course of each semester and write a review of the show. This can be a show produced at CHS, or another local high school, community, or professional theatre. Our field trip to Seattle Shakespeare can be used or any other opportunity made available through the school. Cummins 2018 – 2019 Environment and Safety: To have a truly meaningful experience in this course, it is important that we observe two types of safety rules: physical and emotional. Our basic physical safety rule is no unplanned bodily contact. Without this rule someone may come to physical harm. Just as important are emotional hurts. You and your peers put yourselves on the line when you present for each other. You openly share yourself with us and then allow others to comment on your expression. To preserve the integrity of and maintain positive feelings about your work, the following rules apply to all comments about presentations: o Respect the effort of each member of the class o Appreciate the choices made by each person o Be constructive in any criticism o Include positive responses as part of any full critique o Focus your comments to the individual presenting (i.e. do not compare people) o Limit discussion to in-class only (our work is confidential) In this class we become a family! It is essential that we care for each other well and work together for the common goal of a meaningful production. Performance Materials: In order to establish the best environment possible it is important that all students feel comfortable being a part of the audience. Many award winning theatrical plays, scenes and monologues have objectionable words, subject matter and situations. Please don’t bring material that is inappropriate for a classroom situation into the classroom. If you personally find something that is being presented objectionable in any way feel free to step outside the classroom, you may cut the material from your selection or talk to me personally so that a suitable solution can be found. It is important that we work together to create the most creative environment possible, in which all feel comfortable and learn. Creating this classroom environment is an important task for all of us! Rules and Regulations of the Capital High School Theatre: We are fortunate to have a nice performing arts facility and it takes cooperation from all of us to maintain it. Upon entering this theatre you hereby agree to abide to and enforce the following rules: ● No food, drinks, or gum in the space at any time ● No feet on the seats, seat arms or backs ● Do not climb over the back of the seats ● Persons may be backstage or onstage with permission only ● Students may only be in the space with supervision ● Cell phones are not to be used during class or rehearsal Consequences for not following these rules: 1. Warning 2. Working in the theatre after school to clean it so you know the work it takes to maintain 3. REFERRAL TO ADMINISTRATION THE SHOW MUST GO ON! It is essential that all students are here and on time ready to rehearse. When a player is missing, it becomes very difficult for the remainder of the cast to develop the play. Illness and appointments aren’t always avoidable, so please do your best to stay healthy. Cummins 2018 – 2019 Grading and Evaluation: We are implementing the new National Core Art Standards Student progress will be evaluated using a standards-based assessment system. Instead of earning points for individual assignments, you will earn your letter grade on how skilled you are in the following areas: *Engaged Learning(30%): assesses participation and involvement in class activities, journal responses, and script reading reviews. Everyone is expected to be an active participant when appropriate AND respectful members of the audience when observing others’ perform. Leadership points and some weekly assignments are also assessed in this category. *Performance: (70%) assess students’ creative process, performances, some weekly assignments, and reflections. All assessments are graded on rubrics. These assignments can be redone since they are linked to standards, with teacher approval and within the same time/unit as the standard was addressed. Work will be assessed on a 4 point scale. Grad Definition Percentage in Skyward e 4 Advanced - consistently exceeds proficient level of A = 92.5 – 100% standard(s). A-= 86.67 – 92.49% 3.5 Proficient with partial success at advanced level. B+= 80.84 – 86.66% 3 Proficient - Consistently meets standard(s). B = 75.0 – 80.83% B- = 66.67 – 74.99% 2.5 Basic but partial success at proficient level C+= 58.34 - 66.66% 2 Basic - Inconsistently meets standard(s). C = 50.0 – 58.33% C- = 41.67 – 49.99% 1.5 Below basic but partial success at basic. D+= 33.34 – 41.66% 1 Below basic - Rarely meets standard(s). D = 25 – 33.33% 0 The work does not reach a level identified by the F = 0 – 24.99% descriptors above. * An asterisk on the Skyward report means that students have not yet been assessed in this area or is in the process of being assessed, but not yet entered – it is not a missing assignment. Our grading motto is: 4, 3, 2, or REDO. We expect students to show at least “Basic” understanding of a concept; otherwise, they must revisit the assignment. Students and parents/guardians, please sign and return the half page below to me. The syllabus is also on our class website in case you lose this copy. I am looking forward to having a great year together! - - - - - - - - - - - - - By signing this document, I acknowledge that I have read the whole Theatre Arts syllabus, I understand the content, and I know how to contact Mrs. Cummins if I have any questions or concerns. Student name: _________________________________________ Date: ______________ Student signature: __________________________________________________________ Parent/Guardian name: __________________________________ Date: ______________ Parent/Guardian signature: ___________________________________________________ Cummins 2018 – 2019 Cummins 2018 – 2019.
Load more

Recommended publications
  • Sampling of Careers Within the Performing Arts
    Sampling of Careers within the Performing Arts Performing in categories/places/stages including, but not limited to: Broadway Dance Companies International Theatre Short Films Children’s Theatre Documentaries Music Videos Television Commercials Festivals Off-Broadway Touring Companies Community Theatre Film Opera Web Series Cruise Ships Independent Films Regional Theatre West End London Performing arts jobs* including, but not limited to: Actor (27-2011) Dance Academy Owner (27-2032) Mascot (27-2090) Script Writer (27-3043) Announcer/Host (27-2010) Dance Instructor (25-1121) Model (27-2090) Set Designer (27-1027) Art Director (27-1011) Dancer (27-2031) Music Arranger (27-2041) Singer Songwriter (27-2042) Artistic Director (27-1011) Dialect Coach (25-1121) Music Coach (27-2041) Sound Editor (27-4010) Arts Educator (25-1121) Director (27-2012) Music Director (27-2041) Stage Manager (27-2010) Arts Manager (11-9190) Director’s Assistant (27-2090) Music Producer (27-2012) Talent Agent (27-2012) Ballet (27-2031) Drama Coach (25-1121) Music Teacher (25-1121) Casting Agent (27-2012) Drama Critic (27-3040) Musical Composer (27-2041) Technical Director (27-4010) Casting Director (27-2012) Drama Teacher (25-1121) Musical Theatre Musician (27-2042) Technical Writer (27-3042) Choir Director (27-2040) Event Manager (27-3030) Non-profit Administrator (43-9199) Theatre Company Owner (27-2032) Choir Singer (27-2042) Executive Assistant (43-6011) Opera Singer (27-2042) Tour Guide (39-7011) Choreographer (27-2032) Fashion Model (27-2090) Playwright (27-3043)
    [Show full text]
  • Types & Forms of Theatres
    THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.
    [Show full text]
  • The Role of Indian Dances on Indian Culture
    www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts.
    [Show full text]
  • Bridging the Gap: Exploring Indian Classical Dances As a Source of Dance/Movement Therapy, a Literature Review
    Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Capstone Theses (GSASS) Spring 5-16-2020 Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Ruta Pai Lesley University, [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_theses Part of the Art Education Commons, Counseling Commons, Counseling Psychology Commons, Dance Commons, Dramatic Literature, Criticism and Theory Commons, Other Arts and Humanities Commons, Other Languages, Societies, and Cultures Commons, and the Performance Studies Commons Recommended Citation Pai, Ruta, "Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review." (2020). Expressive Therapies Capstone Theses. 234. https://digitalcommons.lesley.edu/expressive_theses/234 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]. BRIDGING THE GAP 1 Bridging the Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Capstone Thesis Lesley University August 5, 2019 Ruta Pai Dance/Movement Therapy Meg Chang, EdD, BC-DMT, LCAT BRIDGING THE GAP 2 ABSTRACT Indian Classical Dances are a mirror of the traditional culture in India and therefore the people in India find it easy to connect with them. These dances involve a combination of body movements, gestures and facial expressions to portray certain emotions and feelings.
    [Show full text]
  • School of Performing Arts
    School of Performing Arts 2019-2020 Student Handbook Table of Contents General Information .................................................................................................................... 4 Honor Pledge............................................................................................................................. 4 Academic Dishonesty ............................................................................................................. 4 Penalties for Academic Dishonesty ................................................................................... 4 Photocopy Policies ...................................................................................................................... 5 Reinhardt University Student Music Organizations .................................................................... 6 Collegiate National Association for Music Education ............................................... 6 Naturally Sharp, the Reinhardt Collegiate Chapter associated with Music Teachers National Association ........................................................................................... 6 The Society of Pi Kappa Lambda ........................................................................................ 6 Mu Phi Epsilon ........................................................................................................................... 7 School of Performing Arts Policies .............................................................................................. 8 School
    [Show full text]
  • Performing Arts –Drama Georgia 4-H Project Achievement Empowers Young People with Skills Overview: for a Lifetime
    Project Achievement Development Guide Performing Arts –Drama Georgia 4-H Project Achievement empowers young people with skills Overview: for a lifetime. Through a competitive process, students explore their interests, unleash their creativity, share their work, and celebrate Choose project their achievements! This guide provides 9th—12th graders with examples for getting started with their project exploration. Develop skills in: - Project - Leadership Description of Project: - Service 4-H'ers may explore areas of expression using their bodies and voices to convey a message in a performance. Through this project 4-H'ers may: Prepare portfolio develop an appreciation for appropriate use of leisure time for work completed express originality and creativity through performance January 1— identify different methods of expression through drama which may December 31 include monologue, spoken word/ poetry, oral interpretation, comedy, or pantomime performances with an emphasis on acting/drama skills Prepare learn how to select dramatic performance pieces performance explore career opportunities in the area of performing arts Practice Each Performing Arts Drama Participant will: prepare and present a 4 minute performance that includes a short Compete introduction. Talent acts should primarily include a dramatic presentation. Background music is allowed, but singing, dancing, or playing an instrument in Reflect this project is not appropriate use the microphone provided at the contest and not his/her own personal microphone Examples of Project Development Experiences: Enroll in drama classes, lessons, workshops, or camps to build your stage confidence and stage presence — consider musical theatre, improv, creative theatre, theatre therapy, etc. Have yourself critiqued—Remember practice makes perfect Attend professional performances Participate in a school, community, or church drama group, such as your school’s literary team, solo and ensemble, etc.
    [Show full text]
  • Introduction to Visual & Performing Arts
    INTRODUCTION VISUAL AND PERFORMING ARTS STANDARDS Catalina Foothills School District June 2017 Introduction to the Visual and Performing Arts Standards The Catalina Foothills School District (CFSD) has a long-standing commitment to providing students with a comprehensive arts education. The adoption of the Visual and Performing Arts standards and programs signify CFSD’s understanding that the Arts are an essential part of a total program of study, and also contribute to raising overall student achievement. Artistically literate graduates are well-equipped with the creativity, communication, critical thinking, problem solving, and collaborative skills necessary to live rich, meaningful lives. The CFSD Visual and Performing Arts standards build upon the philosophy and goals of the 2014 National Core Arts Standards (NCAS) and the National Association for Music Education (NAfME) standards. The Arizona Academic Standards in the Arts (2015) are also referenced and used in the collective work. The standards provide a structure within which educators can provide all students with key arts experiences. Through creative practices (imagine, investigate, construct, reflect), these experiences help students to understand what it means to be artistically literate, and how that literacy prepares them for a lifetime of artistic pleasure and appreciation. Artistic Literacy The CFSD Academic Standards in the Visual and Performing Arts embrace the idea of artistic literacy – the ability of students to create art, perform and present art, respond to or critique art, and connect art to their lives and the world around them. Developing artistic literacy in our students is the overarching goal of arts learning and programming in CFSD. The following definition of artistic literacy from the National Coalition for Core Arts Standards (2014) guides the work: ARTISTIC LITERACY Artistic literacy is the knowledge and understanding required to participate authentically in the arts.
    [Show full text]
  • (Music, Dance, Comedy, Theatre), from Rehearsals to Performances
    7. Performing arts This category applies to all performing arts (music, dance, comedy, theatre), from rehearsals to performances. Organisers should consider rehearsals and set-up as a separate issue from performances. NB: Detailed governmental guidance about amateur and professional performing arts activities is available at https://www.gov.uk/guidance/working-safely-during-coronavirus-covid-19/performing-arts#arts-5-2 The OU Drama Sabbatical Officer and OU Music Society will have further advice for performing arts activities. Government guidelines for performing arts are very strict, particularly because shouting, singing, close contact and playing of wind/brass instruments carry extra risk and yet play a large part in performing arts. Government limits on numbers and types of participants (amateur or professional), indoor/outdoor space use, ventilation and social distancing must be obeyed, and may change. Risk category Detail Control measures Person in charge Communication Risk of attendees eg providing pre-event communications in multiple ways to misunderstanding and inform participants ignoring precautions eg remind all participants that social distancing will be required eg signage at the venue eg consider equalities impacts in advance Test and Trace Cross-infection between eg use venue’s Test and Trace logging system for visitors logging participants or keep manual record of participants and their contact details for 21 days Detection of Detecting COVID-19 cases eg reminding participants not to ignore COVID-19 symptoms infection
    [Show full text]
  • Research Article
    Available Online at http://www.recentscientific.com International Journal of CODEN: IJRSFP (USA) Recent Scientific International Journal of Recent Scientific Research Research Vol. 12, Issue, 02 (E), pp. 41069-41072, February, 2021 ISSN: 0976-3031 DOI: 10.24327/IJRSR Research Article PERFORMING ARTS AS A DOMAIN OF INTANGIBLE CULTURAL HERITAGE WITH SPECIAL REFRENCE TO INDIAN FOLK THEATRE Mohammad Irfan, Farin Khan* and Himanshi Sharma Department of Museology, Aligarh Muslim University, Aligarh-202002, Uttar Pradesh, India DOI: http://dx.doi.org/10.24327/ijrsr.2021.1202.5823 ARTICLE INFO ABSTRACT Article History: Performing Arts have been a very important and integral part of Indian Tradition and Culture. In the past times these performances used to be performed in each and every part of India in their regional Received 06th November, 2020 th ethics and customs. But with the change in time we see change in our customs and traditions. We are Received in revised form 14 swiftly moving towards western culture as a result of which these integral parts of Indian tradition December, 2020 are also changing and vanishing up to an extent. Performing Arts have a very wide range and India Accepted 23rd January, 2021 th has been a hub of many such activities, these activities include dance performances, folk music sung Published online 28 February, 2021 in festivals, marriages, funerals and other important ceremonies as well. This shows that whatever the occasion be, different art forms have been an integral part of our Indian Traditional Culture. But Key Words: with the change in time, a constant decrement has been seen in these community performances.
    [Show full text]
  • Digital Humanities and the Performing Arts: Building Communities, Creating Knowledge
    Nic Leonhardt – DH and the Performing Arts: Building Communities, Creating Knowledge 1 Digital Humanities and the Performing Arts: Building Communities, Creating Knowledge Nic Leonhardt, LMU Munich, Shool of Arts, Theatre Studies Keynote at SIBMAS / TLA Conference, New York City, 12 June, 2014 (www.sibmas.org / www.tla-online.org) Contact: [email protected] DH matters! - DH matters? – an introduction Digital Humanities are all the rage. The areas of application of digital technologies have become more and more diverse, in medicine, the natural sciences, and recently also in the humanities. Most of us aren’t “digital natives”, but we have learned to engage with digital media and have allowed them to become an integral part of our everyday lives, as well as useful assistants and “generators of ideas” in our professions. We can get our questions answered by a friend, colleague, or family member – or google the answer; if we lose our compass, we can ask local passers-by for assistance – or consult our smart phone app; and if we need advice we ask our closest friends - or let our peers on our social media networks negotiate the best solution for us. I came across a song the other day that seems to be an epitome of that penetration of digital technology into our everyday lives. It is produced by the French electronic music duo “Daft Punk” and entitled Technologic (http://www.youtube.com/watch?v=cLFRlsisrBM ) The lyrics are: Buy it, use it, break it, fix it, Trash it, change it, mail, upgrade it Charge it, point it, zoom it, press it Snap it, work it, quick, erase it Write it, cut it, paste it, save it Load it, check it, quick rewrite it Plug it, play it, burn it, rip it Drag and drop it, zip, unzip it Lock it, fill it, call it, find it View it, code it, jam unlock it Surf it, scroll it, pause it, click it Cross it, crack it, switch update it Name it, rate it, tune it, print it Scan it, send it, fax, rename it Touch it, bring it, pay it, watch it Turn it, leave it, start, format it ...
    [Show full text]
  • How Are the Performing Arts Performing?
    Zannie Voss Director, SMU DataArts Professor of Arts Management Meadows School of the Arts & Cox School of Business How Are the Performing Arts Performing? NATIONAL CENTER FOR ARTS RESEARCH Vision Statement Building a national culture of data-driven decision making for those who want to see the arts and culture sector thrive. Mission Statement To empower arts and cultural leaders with high-quality data and evidence-based resources and insights that help them to overcome challenges and increase impact. SCOPE ANALYSIS INSIGHT Data aggregation and Defining implications of first-level findings. analysis and disseminating independent research Joining forces to strengthen the national arts and cultural community through data, the knowledge that can be generated DATA GATHERING from it, and the resources to ENABLEMENT Primary data learn from and use it. Provide useful collecting and tools and collating. resources that help users apply insights Our work today: What is available to you now The Data: Your Data Welcome to the Cultural Data Profile! Arts and Cultural Advocates Organizations Leverage data to impact Analyze performance Grantmakers Researchers funding and policy. and benchmark against Analyze applicant data Gain insights from a deep peers data set. The Data: Your Data + Your Community’s Data Partners and Our Model of the Arts & Culture Ecosystem Arts & Cultural Community Cultural Policy Organizations Socioeconomic & Public funding of Individual Artists Activities, Practices, Demographic characteristics the arts from & Arts Patrons Decisions & Outcomes Competitors, Complements & National, State, & •Cultural Data Profile Substitutes Local agencies •Theatre Communications Group •League of American Orch •IRS 990s Knowledge Partners: Arts and Cultural Organizations and a Sense of Place Example – Ecosystem of ABC Theatre in Chicago ABC Theatre 0-1 km radius, weight=100% 1-2 km radius, weight=27% 2-3 km radius, weight=18% What we do with the data: Research, Knowledge, and Tools Chicago and Four Major Markets Population: 14.2 million # Organizations: 2,733 Ave.
    [Show full text]
  • Performing Arts
    Performing Arts Code: 1107 / Version: 01 Copyright © 2009. All Rights Reserved. Performing Arts General Assessment Information Blueprint Contents General Assessment Information Sample Written Items Written Assessment Information Specic Competencies Covered in the Test Test Type: The Performing Arts industry-based credential is included in NOCTI’s Pathway assessment battery. Pathway assessments assess knowledge and skills at a broader level than the Job Ready assessments and focus on the Pathways established as part of the national career cluster model. Pathway assessments are delivered entirely online which allows NOCTI to include engaging interactive items. Revision Team: The assessment content is based on input from secondary, post-secondary, and business/industry representatives from the states of Connecticut, Michigan, New York, and Oklahoma. CIP Code 50.9999-Visual and Performing Arts, Other Career Cluster 3-Arts, A/V Technology, and Communications The Association for Career and Technical Education (ACTE), the leading professional organization for career and technical educators, commends all students who participate in career and technical education programs and choose to validate their educational attainment through rigorous technical assessments. In taking this assessment you demonstrate to your school, your parents and guardians, your future employers and yourself that you understand the concepts and knowledge needed to succeed in the workplace. Good Luck! In the lower division baccalaureate/associate degree category, 3 semester hours in Performing Arts, Theater, Drama, or Communications NOCTI Pathway Assessment Page 2 of 9 Performing Arts Wrien Assessment NOCTI written assessments consist of questions to measure an individual’s factual theoretical knowledge. Administration Time: 2 hours Number of Questions: 104 Number of Sessions: This assessment may be administered in one, two, or three sessions.
    [Show full text]