Appendices Appendices

Appendix A. Selected Theater Glossary

Appendix B. Suggested Reading and Repertoire

Appendix C. Resources and Bibliography

Appendix D. Assessment and Portfolio Tools

Appendix E. What the Blueprint Means for School Leaders

Appendix F. What the Blueprint Means for Classroom Teachers

Appendix G. What the Blueprint Means for Special Education Practitioners

Appendix H. What the Blueprint Means for Parents

Appendix I. What the Blueprint Means for the Arts Community

Appendix J. What the Blueprint Means for the University Community

Blueprint for the Arts ■ Theater ■ 81 Appendix A. Selected Theater Glossary* heater terminol- Appendix A. Selected Theater Glossary A. Selected Appendix ogy and vocabulary should be used in Abstract Realism: Theater works and performances that Blackout: Stage goes to complete black; the blackout Characterization: classroom, studio are grounded in realism but have nonrealistic elements and lighting cue is often used for a startling effect at the end of The art of developing may not follow conventional plot and narrative structures. a scene. the character (e.g., Tand production settings. They often incorporate a nontraditional use of language and Blocking: The actor’s basic stage positioning given to the his/her life, emotions, The specific language will abstract theater devices. The works of Beckett, Pirandello actor by the director or used in self-direction. choices, motivations, and Ionesco may be defined as abstract realism. objectives). be dependent upon the Blocking Symbols: Act: To represent, perform, interpret, communicate a char- Choices: The deci- activity and the prior train- acter other than oneself; a major division of a play. X= Cross E= Entrance EX= Exit C= Center SR= Stage Right sions of the actor, ing of the students SL= Stage Left DC= Down Center DSR= Down Stage Right director, designer or Actor: A person who performs a role or represents a char- playwright regarding acter in a play, using vocal as well as physical techniques to DSL= Down Stage LeftUC= Up Center USR= Up Stage how a character will be interpreted in a given production or bring the character to life. Right USL= Up Stage Left RC= Right Center USRC= Up Stage Right Center work. Antagonist: The antagonist sets the conflict in motion by Choral Speaking: Reciting, in unison, a poem or piece of offering an obstacle to the protagonist’s objective. USLC= Up Stage Left CenterLC= Left Center DSCR= Down Stage Right Center DSLC= Down Stage Left Center literature. Apron: The curved part of the stage that extends beyond Chorus: In classical drama, the chorus was used to narrate the main curtain. Booms: A vertical pole on which horizontal arms can be mounted, carrying lighting instruments. Often used behind offstage events. Arena Stage: Also called theater-in-the-round and central wings for side-lighting, etc. Sometimes known in the as a Classical Theater: Typically Western theater from the staging. There is seating on all sides of the stage. light tree. periods of Greece and Rome through Shakespeare, Moliere Aside: The dramatic device in which a character speaks Box Office Manager: A person in charge of selling the and up to circa 1850; may also refer to ancient theater forms his/her thoughts aloud unheard by other characters onstage tickets for a production. in non-Western theater. Most classical theater has an ele- at the same time. ment of heightened or poetic language, and requires distinct Box-Set: A two- or three-walled set representing the inte- Audition: An action-oriented interview between direc vocal and physical acting styles. Sometimes referred to as - rior of a room; a feature of realistic theater. tor and actors for the purpose of deciding who will be cast “period plays.” Case Book: in what role; usually involves script reading, performing a The collected research (i.e., photographs, Collage Play: A theater piece incorporating devices of prepared monologue, and/or improvisation. reviews, essays, etc.) used by the dramaturge to help define multiple perspective, forms and voices that can be centered the vision and intent of a particular dramatic work and its Backdrop: on one or multiple events or themes. They are often com- A painted piece of muslin hung from the bat- production. tens to depict a scene. piled in a pastiche format of monologues, poems, stories, Cast: 1. (verb) to assign the roles of a dramatic production songs and scenes. Backstage: The designation also applies to the wings area to actors; 2. (noun) the group of actors with specific roles in Commedia dell’Arte: The basic plots derived from Roman and, loosely, can be used to indicate anything in the physical a play or narrative. plant that is not stage or house. comedy, and the cast of stock characters including Arlec- Cat-Walk: A narrow bridge above the stage providing ac- chino, Columbine, Pierrot, Pantaloon, Pagliaccio, Pulci- Base Makeup: Applying base, highlights, and shadow to cess to stage scenery or lighting units. nello, and Scaramouche. The players appear in masks and improve or alter the facial appearance for the stage. costumes that became the convention for the genre (e.g., the Character: A person or entity (e.g., animal) in a play, or Batten: A wood or metal pipe from which stage lights, black-and-white “domino” costume of Arlecchino). the personality of that person or entity (e.g., animal). drops and scenery are hung.

* This document is based on a glossary from Theatre: A Resource Guide for Standards-Based Instruction, The University of the State of New York/The State Education Department, November 2004. The Theatre Resource Guide is available at www.emsc.nysed.gov/ciai/pub/pubart.html.

For additional theater and technical theater dictionaries, check this online resource: www.glossarist.com/glossaries/arts-culture/theatre.asp

82 ■ Blueprint for the Arts ■ Theater Appendix A. Selected Theater Glossary continued Theater Glossary A. Selected Appendix

Concentration: The actor’s focus on the movement of the Docudrama: A script and performance based on real Front of House: 1.The part of the theatre in front of the play. events that attempts to capture the voices, perspectives and proscenium arch. For example, the lighting equipment actions of the actual occurrence. placed there is referred to as front-of-house lights. 2. Pro Conflict: Conflicts generally are described either as “hu- - duction concerns unrelated to the stage, such as ticket sales, man against human” (e.g., an equal struggle); “human Drama: A literary composition intended to portray charac- seating, concessions, and theater house maintenance by the against self” (e.g., a psychological struggle); and “human ters, conflict, situations or emotions through action and/or against an outside force” (e.g., an unequal struggle against dialogue; designed for theatrical performance front-of-house staff. some greater force, such as nature, the gods or some orga Gel: A thin piece of colored plastic, available in a wide - Dramatize: To present or view a story in a dramatic way. nization). variety of colors, that can be cut and fitted to a light to color Dramatic Criticism: An evaluation and analysis of a play Costumes: the beam directed onto the stage. Clothing worn by the actors in a performance. according to accepted aesthetic principles. Genre: Each of the main genres may be subdivided by style Cue: The action or words that signals what happens next. Dramatic Play: The imaginative play of children in which or content. Comedy, for example, may be absurdist, com- Creative Drama: An improvisational, nonexhibitional, the participants often take on different roles (e.g., hero, edy of humors, comedy of manners, or romantic. Genre process-centered form of theater in which participants are housekeeper or camp counselor). studies examine a particular work in relation to others of guided by a leader to imagine, enact and reflect upon hu - Dramaturg: A literary and production advisor to the di- the same kind, determining how closely it meets the charac- man experience. rector, designers and cast who researches the culture, period teristics in that genre. Crew: The group of people who work on technical aspects and literary references in a play. Gesture: An intentional movement of the arms, hands or of production (e.g., set crew, costume crew, lighting crew, Ensemble: Acting in which a cast works together as a team body that expresses or emphasizes a feeling or idea. sound crew, running crew). continued to create a total effect rather than a group of individual Given Circumstances: A term and concept invented by Clowning: Highly physical theater, often without text, that performances. Stanislavski to help actors and directors understand the draws on the traditions of Commedia dell’Arte, the circus Environment: Physical elements that establish, place, world of the play; the descriptions and details of the script and pantomime. time, mood and atmosphere. The physical and design ele- as noted by the playwright that informs the actor about Comedy: A play that treats characters and situations in a ments that reflect and affect the thoughts, actions, choice time of day, setting and character background information. humorous way and has a happy ending. and emotions of the characters. Given circumstances may also reveal setting and environ- ment. Culture: The arts, beliefs, customs, institutions, and all Experimental Theater: A term associated with avante- other products of human work and thought at a particular garde theater that attempts to break theatre traditions and Gobo: A thin metal plate etched to produce a design that time period. explore theater in new style and modes. can then be projected by a light. The image can be used in soft focus to add texture, rather than a defined image. Cyc: Short for cyclorama. It is a huge, light blue curtain at Exposition: As part of dramatic structure, the information the back of the stage that can be made to look like the sky. that is often presented at the beginning of a play. Here the Grid/Gridiron: A steel framework above the stage to which lines are attached to fly scenery and lights. Denouement: The solution to the conflict in the play, playwright may set the atmosphere and tone, explain the the untangling of the complications and conflict between setting, introduce the characters, and provide the audience Ground Plan: A bird’s-eye view of a stage set; also called a antagonist and protagonist. with any other information necessary to understand the floor plan that often includes scenery placement. plot. Dialogue: Two or more characters speaking with each House: The place where the audience sits. Falling Action: The action after the climax of the plot. (See other. House Manager: The person in charge of the theater Denouement.) Diction: The word choice made by the playwright; also, the house, seating people, ushers, etc. Farce: Stylized comedy that involves artificial and convo- enunciation of the actors as they say their lines. Improvisation: A spontaneous scene or episode created luted plotting and eccentric characters. Director: Person responsible for coordinating, guiding and without script by an actor or actors. Fourth Wall: The invisible wall of a set or the imagined developing of all aspects of a production so that the perfor- barrier through which the audience sees the action of a play. mance represents a unified vision.

Blueprint for the Arts ■ Theater ■ 83 Appendix A. Selected Theater Glossary continued Appendix A. Selected Theater Glossary Theater Glossary A. Selected Appendix

Imitate: To copy, recreate or mimic the movements, ac- Non-Western Theater: Theater that does not have its ori- Producer: The person who puts together a theatrical tions, speech and appearances of people and animate and gins in Europe or the United States such as the theater and production. He/she obtains financial backing; leases rights inanimate objects theatrical traditions developed in Asia and Africa. to the play; rents the theater; hires the directors, designers, crews; and supervises the budget. Linear Narrative: A sequence of events in storytelling, Objective: The goal a character has in a particular scene or drama or literature that follows a chronological order throughout the play. Prompt Book: A notebook containing a script pasted on and tells the story in the proper sequence of events with a large pages with areas for notes. The notebook also contains Obstacle: A person, place or thing that gets in the way of beginning, middle and end. The idea of cause and effect is production notes, blocking and all lighting, sound, and characters reaching their objective. embedded a linear narrative. special effects cues. Off Book: The time at which an actor has his lines memo- Leg: A tall, narrow curtain that an actor can stand behind Props: See Stage Properties rized and does not need to look at the script. . before an entrance without being seen. Proscenium Stage: Opera: A form of music drama that dates from the 1600s A performance space in which the Lighting Plot: A plan, usually drawn to scale, showing audience views the action as if through a picture frame. and is most often through-sung, incorporating an orchestra the placement of lighting instruments in the performance and classically trained singers. Readers’ Theater: A performance at which a play is read space. Orchestra Pit: The place where the orchestra or band is set aloud for an audience rather than memorized. Magic Realism: Realistic drama that introduces fantastic up; usually in front of the theater or under the stage. Realism: A theater movement, associated with naturalism or nonrealistic elements to heighten the theme, plot or beginning in the late 1800s. Realism emphasizes character- characters. Oral Interpretation: Interpreting and communicating a story or script primarily through voice, facial expression, based plotting, realistic acting and, often, minimalist scene continued Mask: 1. (verb) To use backing, such as flats, draperies and posture and minimal gestures. design. drops, to hide backstage areas from the view of the audi- Rendering: A sketch or illustration of a proposed product ence. 2. (noun) A facial covering that depicts a character, Pantomime: Creating an imaginary object, situation or character through hand and body movement. often used to depict scenery that reflects the meaning and animal and/or an abstract or neutral idea worn by the actor. intent of a play. Melodrama: Features emotional action (more than moti Par: A lamp containing a filament, reflector and lens in one - Resolution: A period of time in which the conflict in the vation), stock characters and a strict black-and-white view sealed unit. The word is an acronym for “parabolic alumi- play is ended. of morality (i.e., virtue rewarded and evil villains punished). nized reflector” lamp. Review: An announcement in print or broadcast media Mime: Physical acting without words or props. Places: A stage manager’s term. It means actors are to go to their first entrance position and be quiet, so that they are of a production with some description of the cast, plot and Monologue: A work written to be spoken by just one ready to start the show. technical elements. person. Ritual: Play Space: Any space where drama takes place (e.g., An act or practice regularly repeated in a set precise Motivation: The reason a character does something; the classroom, stage, and auditorium) or an area within the manner that usually has some symbolic meaning, as in plac- reason for an action. classroom differentiate for dramatic activities. ing one’s hand over the heart for the Pledge of Allegiance. Musical: Theater may incorporate ritual both in performance and in A production consisting of a series of song and Playwright: A person who writes a play. dance scenes, as well as spoken words. repeated ensemble activities. Plot: In dramatic literature, the sequence of actions; in the- Role: Nonverbal Communication: Communication without The designated name and description of a character ater performance, the actions presenting the story on stage. spoken words. in dramatic literature. Portfolio: An organized, systematic record of student Rigging: The process of hanging scenery or lights; the Nonlinear Narrative: Theater script or performance that, work, chosen by the student and teacher, that documents handling of stage curtain or drops. while using narrative, re-shapes the plot line with dream growth in student learning. Portfolio types usually include Rising Action: sequences, flashbacks and other nonlinear devices. process, product, and cumulative portfolios. The events of a play leading up to the cli- max; the creation of conflict; the entanglement of forces. Role-Play: Taking on a role in a play or improvisation.

84 ■ Blueprint for the Arts ■ Theater Appendix A. Selected Theater Glossary continued Theater Glossary A. Selected Appendix

Royalty Pool: Associated with commercial production, Stage Crew: The backstage technical crew responsible for Tragedy: A play in which the protagonist fails to achieve a royalty pool determines the percentage divisions of the running the show. desired goals or is overcome by opposing forces and, in profits from a show. Typically the producer, investors, artis many tragedies, dies. - Stage Manager: The person in charge backstage during tic team and star performers will share in the royalty pool. the performance. Trompe l’oeil: French for “deceive the eye,” a style of Scene: A division of an act or of the play itself. Stage Property: Anything that the actor handles onstage painting that gives an illusion of three-dimensional reality on a two-dimensional painted surface. It is frequently used Scenery: The constructed, projected or film elements of a as well as furniture and other items used to enhance the set; production that define the space, mood and setting. also known as props. in scenic design in painted drops to suggest landscapes and interior settings. Scrim: A drop made from sharkstooth scrim or theatrical Stage Combat: The depiction of fighting, staged battles Understudy: gauze and dyed or lightly painted. It becomes transparent and swordplay onstage in a safe and choreographed manner. Someone who learns a role for the purpose when lit from behind. of performing in the absence of the primary actor cast in Story Board: The depiction of the script in comic book that role. Script: The text of a play, motion picture or broadcast. form to help visualize a play. Unit Set: A stage setting consisting of units of scenery that Script Analysis: The separation of the script into its parts Story Dramatization: An improvised play based on a are capable of being rearranged in various combinations for in order to determine/understand its nature. story and used in informal drama. At the elementary level, different scenes. students are usually guided by a leader who reads or tells Setting: The time and place in which the action of the play Venues: Types of performance space. takes place; the units of scenery that combine to suggest a a story while the students take on roles. At upper levels, Verbal Communication: particular place. students assume the various roles and work in ensemble to Communicating with words.

dramatize the story, often interchanging roles and experi continued - Wings: The offstage area to the right and left of the set used Sight Line: Lines indicating visibility of onstage and back- menting with ideas. as entrances but concealing backstage areas. stage areas from various points in the house or audience. Storytelling: T he process of orally interpreting a story Side Coaching: A teaching/directorial technique used in with a script or from memory using voice, facial expression theater games, activities and rehearsals, in which comments and gestures. and directions are offered from the side to heighten the Strike: To take down the set. portrayals or action. Subtext: The information (i.e., thoughts and motivations) Spike: To mark the placement of set pieces, furniture or that are implied but not spoken by the character. Subtext other theater equipment with colored tape or paint on the may be revealed through the actions, movement and inter floor of the performance space. - action of the character as created by an actor. Stage Areas/Directions: Tableau: A frozen picture. UR= Up Stage Right UC= Up StageCenter Tech Control Center/Console: The place where the light- UL= Up Stage Left ing and sound operation equipment is set up and run. R= Stage Right Technical Elements: Lighting, sound, makeup, costumes, C= Center Stage set design/construction, props. L= Stage Left DR= Down Stage Right Theme: What the play means as opposed to what happens. DC= Down Stage Center Thrust Stage: A combination of the proscenium and arena DL= Down Stage Left stages, where the audience sits on two or three sides of the A= Apron acting area.

Blueprint for the Arts ■ Theater ■ 85 Appendix B. Suggested Reading and Repertoire Appendix B.Appendix Suggested Reading and Repertoire Elementary School/K-5 A Musical Journey Along the Oregon Trail by John Jacobson Elementary School/K-5 Read/Perform and Roger Emerson Literature and Other Resources for Classroom New Kid by Dennis Foon Sharings, Storytelling and Adaptations 10 Easy-to-Read American History Plays That Reach All Kinds of Readers by Sarah Glasscock Paul Sills’ Story Theater: Four Shows by Paul Sills Aesop’s Fables by Aesop 25 Just-Right Plays for Emergent Readers by Carol Pugliano- Peacemaker by David Holman Amazing Grace by Mary Hoffman Martin Plays Children Love: A Treasury of Contemporary and Anansi and the Talking Melon by Eric A. Kimmell Androcles and the Lion by Aurand Harris Classic Plays for Children by Coleman Jennings (ed.) and Aurand Harris (ed.) Anansi, the Spider: A Tale from the Ashanti by Gerald The Big Book of Thematic Plays by Tracey West (ed.) McDermott Plays Children Love: Volume II: by Coleman Jennings (ed.) [Braille]: The Early Life of Louis Braille by Coleman Jennings and Aurand Harris (ed.) Arrow to the Sun: A Pueblo Indian Tale by Gerald and Lola H. Jennings McDermott The Portrait The Wind The Chair by Y. York Cinderella: The World’s Favorite Fairy Tale by Lowell Asian-Pacific Folktales and Legends by Jeannette Faurot Swortzell Rapunzel Uncut by Mariah Everman Bad Day at Riverbend by Chris Van Allsburg Devon’s Hurt by Laurie Brooks Read-Aloud Plays: Civil War (Grades 4-8) by Timothy Nolan Boundless Grace by Mary Hoffman Easy-to-Read Folk and Fairy Tale Plays (Grades 1-3) by Read-Aloud Plays: The Middle Ages (Grades 4-8) by Carol Pugliano Jeannette Sanderson The Bunny Play by Loreen Leedy Eight Plays for Children: The New Generation Play Project by Read-Aloud Plays: Revolutionary War (Grades 4-8) by Dallas The Cat in the Hat by Dr. Seuss (Theodore Seuss Geisel). Coleman Jennings (ed.) Murphy Cinderella Outgrows the Glass Slipper and Other Zany Folktales on Stage: Children’s Plays for Reader’s Theater (or Salt and Pepper by José Cruz Gonzalez Fractured Fairy Tales by J. M. Wolf Readers’ Theatre) With 16 Play Scripts From World Folk and Chicka Chicka Boom Boom by Loretta Krupinski Fairy Tales and Legends by Aaron Shephard Shakespeare Can Be Fun Series (Romeo and Juliet, A Midsummer Night’s Dream, The Tempest, Much Ado About Chicken Soup with Rice by Maurice Sendak Folktale Plays From Around the World - That Kids will Love Nothing) by Lois Burdett (Grades 3-5) by Marci Appelbaum and Jeff Catanese Complete Brothers Grimm Fairy Tales by Brothers Grimm Shakespeare for Young People Series by Diane Davidson Frantic Frogs and Other Frankly Fractured Folktales for Complete Hans Christian Andersen Fairy Tales by Hans Readers Theatre by Anthony D. Fredericks Shakespeare Mini-Books by Jeannette Sanderson Christian Andersen In Between by R.N. Sandberg Six Plays for Children by Aurand Harris Coyote: A Trickster Tale from the American Southwest by Gerald McDermott Johnny Tremain by Lola H. Jennings Step On a Crack by Suzan Zeder Daisy Head Maisy by Dr. Seuss (Theodore Suess Geisel) The Honorable Urashima Taro by Coleman Jennings Theater for Children: Fifteen Classic Plays by Coleman Jennings (ed.) Dancing in the Wings by Debbie Allen Just a Minute: Ten Short Plays and Activities for Your Classroom by Irene N. Watts Theatre for Young Audiences: 20 Great Plays For Children by Dear Mr. Blueberry by Simon James Coleman Jennings (ed.) The Last Bridge by Wendy Kesselman Dear Children of the Earth by Schim Shimmel Wiley and the Hairy Man by Suzan Zeder The Mischief-Makers by Lowell Swortzell The Giving Tree by Shel Silverstein You’re On! Seven Plays in English and Spanish by Lori Marie Mother Hicks by Suzan Zeder Carlson The Garden of Abdul Gasazi by Chris Van Allsburg

86 ■ Blueprint for the Arts ■ Theater Appendix B. Suggested Reading and Repertoire continued B.Appendix Suggested Reading and Repertoire

The Grapes of Math by Greg Tang Positively Mother Goose by Diane Loomans, Karen Kolberg and Julia Loomans Middle School 6-12 Harriet Tubman: The Road to Freedom by Catherine Clinton Read The Rag Coat by Lauren Mills Classical: Hiawatha by Henry Wadsworth Longfellow Raven: A Trickster Tale from the Pacific Northwest by Gerald Antigone by Sophocles How Much Is a Million? by David Schwartz McDermott The Birds by Aristophanes How Do Dinosaurs Say Goodnight? by Jane Yolen and Mark The Real Mother Goose by Blanche Fish Wright Teague The Frogs by Aristophanes Seven Brave Women by Betsy Hearne Italian Folktales by Italo Calvino Oedipus Rex by Sophocles Stories to Dramatize by Winifred Ward Japanese Children’s Favorite Stories by Florence Sakade Medea by Euripides The Story of Ruby Bridges by Robert Coles Insectlopedia by Douglas Florian th th th Tacky, the Penguin by Helen Lester 16 17 and 18 Century: King & King by Linda de Haan and Stern Nijland Tales from Shakespeare by Tina Packer A Midsummer Night’s Dream by William Shakespeare The Magic Boots by Scott Emerson and Howard Post Tar Beach by Faith Ringgold Romeo and Juliet by William Shakespeare The Lion and the Gypsy by Geoffrey Patterson Teaching with Cinderella Stories From Around the World by Twelfth Night by William Shakespeare The Lorax by Dr. Suess (Theodore Suess Geisel) Kathleen M. Hollenbeck The Servant of Two Masters by Carlo Goldoni The Magic Orange Tree, and Other Haitian Folktales by Through My Eyes by Ruby Bridges Diane Wolkstein 20th Century: Today I Feel Silly by Jamie Lee Curtis Mirandy and Brother Wind by Patricia McKissack (Adapted Ah, Wilderness! by Eugene O’Neill into a play by Gloria Bond Clunie) Walking the Bridge of Your Nose by Michael Rose continued Androcles and the Lion by George Bernard Shaw More, More, More, Said the Baby by Vera B. Williams We Were There, Too: Young People in U.S. History by Phillip Hoose The House of Bernarda Alba by Federico Garcia Lorca Multicultural Fables and Fairy Tales by Tara McCarthy The Z was Zapped: A Play in Twenty-Six Acts by Chris Van Oklahoma! by Richard Rodgers and Oscar Hammerstein Multicultural Myths and Legends (Grades 4-7) by Tara Allsburg McCarthy Glass Menagerie by Tennessee Williams Zomo, the Rabbit: A Trickster Tale from West Africa by The Mysteries of Harris Burdick by Chris Van Allsburg Gerald McDermott On the Town by Betty Comden, Adolph Green and Leonard Bernstein Nice Try, Tooth Fairy by Mary W. Olson Our Town by Thornton Wilder Never Take a Pig to Lunch by Nadine Bernard Westcott Pullman Car Hiawatha by Thorton Wilder The Little Old Lady Who Was Not Afraid of Anything by Linda Williams Long Christmas Dinner by Thorton Wilder Oliver Button Is a Sissy by Tomie dePaola The Member of the Wedding by Carson McCullers The Other Side by Jacqueline Woodson. Under Milk Wood by Dylan Thomas Papagayo: The Mischief Maker by Gerald McDermott A Raisin in the Sun by Lorraine Hansberry Twelve Angry Men by Reginald Rose

Blueprint for the Arts ■ Theater ■ 87 Appendix B. Suggested Reading and Repertoire continued Appendix B.Appendix Suggested Reading and Repertoire

West Side Story by Arthur Laurents, Leonard Bernstein and The Portrait, The Wind, The Chair by Y. York Stephen Sondheim High School 9-12 Salt and Pepper by José Cruz Gonzalez Read Bye Bye Birdie by Charles Strouse Step On a Crack by Suzan Zeder Classical: The Crucible by Arthur Miller Antigone by Sophocles Theatre for Youth: Twelve Plays with Mature Themes by Paul Sills’ Story Theater: Four Shows by Paul Sills Coleman Jennings (ed.) The Frogs by Aristophanes In White America: A Documentary Play by Martin B. Wiley and the Hairy Man by Suzan Zeder Medea by Euripides Duberman Note: Also consider the Music Theater International: Oedipus Rex by Sophocles Prelude to a Kiss by Craig Lucas Broadway Junior Series, which includes The Music Man, Bye Bye Birdie, Into the Woods, Godspell, etc. th th th Roosters by Milcha Sanchez-Scott 16 , 17 and 18 Century: Music Theatre International Hamlet by William Shakespeare Widows by Ariel Dorfmann 421 West 54th Street Blood Knot by Athol Fugard New York, NY 10019 Macbeth by William Shakespeare 212-541-4684 www.broadwayjr.com/default_HOME.asp Othello by William Shakespeare

Works to Consider for Performance Antony and Cleopatra by William Shakespeare Androcles and the Lion by Aurand Harris Dr. Faustus by Christopher Marlowe Story Theatre by Paul Sills: Around the World in Twenty Fuente Ovejuna by Lope de Vega Plays by Lowell Swortzell (ed.) The Miser by Jean-Baptiste Poquelin Molière continued Devon’s Hurt by Laurie Brooks The Doctor in Spite of Himself by Jean-Baptiste Poquelin In Between by R.N. Sandberg Molière Jungalbook by Edward Mast The Phantom Lady by Pedro de la Barca Calderon The Last Bridge by Wendy Kessleman Phaedra by Jean Racine Mother Hicks by Suzan Zeder School for Scandal by Richard Sheridan The Mischief-Makers by Lowell Swortzell She Stoops to Conquer by Oliver Goldsmith New Kid by Dennis Foon The Marriage of Figaro by Pierre-Augustin Beaumarchais

Peacemaker by David Holman 19th Century: Hedda Gabler by Henrik Ibsen A Doll’s House by Henrik Ibsen Three Sisters by Anton Chekhov The Cherry Orchard by Anton Chekhov

88 ■ Blueprint for the Arts ■ Theater Appendix B. Suggested Reading and Repertoire continued B.Appendix Suggested Reading and Repertoire

Miss Julie by August Strindberg A Raisin in the Sun by Lorraine Hansberry Works to Consider for Performance/High School 9-12 The Importance of Being Earnest by Oscar Wilde Guys and Dolls by Frank Loesser Note: Many of the works listed in the previous reading list above may be suitable for high school performance, Zoo Story by Edward Albee depending on the skill level of the student actors. 20th Century: A Flea in Her Ear by George Feydeau The American Dream by Edward Albee Deadly Weapons by Laurie Brooks Major Barbara by George Bernard Shaw The Sandbox by Edward Albee The Wrestling Season by Laurie Brooks Antigone by Jean Anouilh For Colored Girls … by Ntzake Shange Five Visits From Mr. Whitcomb by Carter S. Bays The House of Bernarda Alba by Federico García Lorca Brighton Beach Memoirs by Neil Simon Guyworld by Brett LaGree Blood Wedding by Federico García Lorca Biloxi Blues by Neil Simon Tender Places by Jason Brown Long Day’s Journey into Night by Eugene O’Neill Golden Child by Henry David Hwang Psychoneurotic Phantasies by Gilbert David Feke Mother Courage by Bertolt Brecht M Butterfly by Henry David Hwang This Is a Test by Stephen Gregg The Three Penny Opera by Bertolt Brecht and Kurt Weill A Colored Museum by George C. Wolff Theatre for Youth: Twelve Plays With Mature Themes by Coleman A. Jennings (ed.) and Gretta Berghammer (ed.) The Man Who Came to Dinner by George S. Kaufman and Execution of Justice by Emily Mann Moss Hart The American Play by Suzanne Lori Parks Blythe Spirit by Noel Coward The Man Who Turned Into a Dog by Osvaldo Dragun The Glass Menagerie by Tennessee Williams Burning Patience (Il Postino) by Antonio Skarmeta

A Street Car Named Desire by Tennessee Williams continued I Swear to You, Juana, That I Feel Like It by Emilio Cat on a Hot Tin Roof by Tennessee Williams Carballido Death of a Salesman by Arthur Miller Filumena Marturano by Eduardo De Filippo All My Sons by Arthur Miller Only Drunks and Children Tell the Truth by Drew Haydon Taylor Six Characters in Search of a Author by Luigi Pirandello Short Eyes by Miguel Pinero The Bald Soprano by Eugene Ionesco Fences by August Wilson Waiting for Godot by Samuel Beckett The Piano Lesson by August Wilson The Children’s Hour by Lillian Hellman Joe Turner’s Come and Gone by August Wilson The Little Foxes by Lillian Hellman ‘night, Mother by Marsha Norman Fires in the Mirror by Anna Deavere Smith Marisol by José Rivera

Blueprint for the Arts ■ Theater ■ 89 Appendix C. Resources and Bibliography Appendix C. Resources Appendix and Bibliography Elementary Teacher Resources/Bibliography

Kipnis, Claude. Hamilton, Martha, and Mitch Weiss. Acting and Improvisation The Mime Book. Creative Dramatics and Children Tell Stories: A Teaching Guide. Creative Play Bany-Winters, Lisa. Colorado Springs, CO: Meriwether, 1988. Katonah, NY: Richard C. Owen Publishers, 1990. On Stage. Muir, Kerry. Chicago: Chicago Review Press, 1997. Spolin, Viola. Theater Games for the Classroom: A Childsplay. Saldana, Johnny. New York: Limelight Editions, 1995. Barker, Clive. Teacher’s Handbook. Drama of Color: Improvisation with Mutli- Theatre Games: A New Approach to Drama Northwestern University Press, 1986. ethnic Folklore. Nobleman, Roberta. Portsmouth, NH: Heinemann, 1995. Training. 50 Projects for Creative Dramatics. Portsmouth, NH: Heinemann, 1977. Spolin, Viola, and Paul Sills. Improvisation for the Theater: A Hand- Rowayton, CT: New Plays Inc., 1980. Sawyer, Ruth. book of Teaching and Directing Techniques The Way of the Storyteller. Bernardi, Phillip. Novelly, Maria C. Improvisation Starters: A Collection of 900 (Drama and Performance Studies). New York: Viking Press, revised ed., 1977. Northwestern University Press, 3rd ed., Theatre Games for Young Performers: Improvisation Situations for the Theater. Improvisations and Exercises for Developing Cincinnati, OH: Betterway Books, 1992. 1999. Swartz, Larry. Acting Skill. Drama Themes: A Practical Guide for Teach- Meriwether Publishing, Ltd, 1985. Hodgson, John, and Ernest Richards. Spolin, Viola et al. ing Drama. Theater Games for the Lone Actor. Portsmouth, NH: Heinemann, 1988. Improvisation. Owens, Fred. Barnes & Noble, 1974. Northwestern Publishing House, 2001. Theatre Games. Tanner, Frank Averett. San Francisco: Diamond Heights Basic Drama Projects. Jesse, Anita. Publishers, 1979. The Playing Is The Thing. Careers Caldwell, ID: Clark Publishing Co., 1987. Burbank, CA: Wolf Creek Press, 1996. Padol Brian. Johansen, Mila. The Young Performers Guide: How to Break Teacher Resource Theater History 101 Theater Games For Drama Teachers, Into Show Business. Classroom Teachers and Directors. Cincinnati, OH: Betterway Books, 1990. Barchers, Suzanne I. Meserve, Walter J., and Molly Ann Nevada City, CA: Classics With a Twist, Readers Theatre for Beginning Readers. Meserve. 1993. Englewood, CO: Teacher Ideas Press, 1993. A Chronological Outline of World Theatre. Feedback Theatre Books, 1992. Johnstone, Keith. Fennessey, Sharon. Impro: Improvisation and the Theatre. History in the Spotlight: Creative Drama Theatre Arts Books, New York: Routledge/ and Theatre Practices for the Social Studies Theatre Art Books, 1988 Classroom. Portsmouth, NH: Heinemann, 2000. Johnstone, Keith. Improv for Storytellers. Fox, Mem. New York: Routledge/Theatre Arts Books, Teaching Drama to Young Children. 1999. Portsmouth, NH: Heinemann, 1987.

90 ■ Blueprint for the Arts ■ Theater Appendix C. Resources and Bibliography continued Middle School Teacher Resources/Bibliography C. ResourcesAppendix and Bibliography

Evans, C. Moon, Louise. Acting, Improvisation and Acting and Theater. The Vancouver Theateresports League Careers Voice E.D.C. Publishing, 1992. Playbook. Charles, Jill. Vancouver, BC: The Vancouver Theatre- Actor’s Picture/Résumé Book. Barker, Clive. Gordon, Mel. Sports League, 1986. Theatre Games: A New Approach to Drama Dorset, VT: Theatre Directories, 2d revised Lazzi: Comic Routines of the Commedia ed., 1998. Training. dell’Arte. Novelly, Maria C. Portsmouth, NH: Heinemann, 1977. New York: Performing Arts Journal Publi- Theatre Games for Young Performers: Field, Shelly. cations, 1983. Improvisations and Exercises for Developing Career Opportunities in Theatre and the Barton, John. Acting Skills. Playing Shakespeare. Performing Arts. Grantham, Varry. Meriwether Publishing, 1985. New York: Facts on File, 1992. New York: Methuen, 1985. Playing Commedia: A Training Guide to Commedia Techniques. Owens, Fred. Greenberg, Jan. Belt, Linda D. Portsmouth, NH: Heinemann, 2000. Theatre Games. The Acting Primer: An Acting Course in Theatre Careers. San Francisco: Diamond Heights Publish- New York: Holt, Rinehart Winston, 1983. Making Choices: Acting Techniques for a Hodgson, John, and Ernest Richards. ers, 1979. Vibrant and Alive Performance. Improvisation. Puyallup, WA: Thespis Productions, 1993. Hunt, Gordon. Barnes & Noble, 1974. Oxenford, Lyn. How to Audition. Playing Period Plays. New York: Harper & Row, 2d ed., 1992. Belt, Linda D., and Rebecca Stockley. Johansen, Mila. Chicago: Coach House Press, 1984. continued Improvisation Through Theatre Sports: A 101 Theatre Games For Drama Teachers, Curriculum to Improve Acting Skills. Palo, Brian, and Alan Simon. Classroom Teachers and Directors. Rudlin, John. The Young Performers Guide: How to Break Puyallup, WA: Thespis Productions, 2d ed., Nevada City, CA: Classics With a Twist, Commedia dell’Arte: An Actor’s Handbook. 1993. into Show Business. 1993. New York: Routledge/Theatre Arts Books, Cincinnati, OH: Betterway Books, 1990. 1994. Belt, Lynda D. Johnstone, Keith. Improv Game Book II: A Source Book of Impro: Improvisation and the Theatre. Spolin, Viola. Design, Technical and Improvisation Performance Games. New York: Routledge/Theatre Arts Books, Theater Games for the Classroom: A Management Pulyallup, WA: Thespis Productions, 1993. 1988. Teacher’s Handbook. Northwestern University Press, 1986. Buckman, Herman. Bernardi, Phillip. Killam, Paul. Stage Makeup. Improvisation Starters: A Collection of 900 Seattle TheatreSports Playbook. Spolin, Viola, and Paul Sills. Cincinnati, OH: Watson-Guptill, revised Improvisation Situations for the Theater. Seattle: Seattle TheatreSports, 1988. Improvisation for the Theater: A Hand- ed., 1989. Cincinnati, OH: Betterway Books, 1992. book of Teaching and Directing Techniques Lecoq, Jacques et al. (Drama and Performance Studies). Caltagirone, Dennis. The Moving Body: Teaching Creative Northwestern University Press, 3d. ed., Theatre Arts: The Dynamics of Acting. Theatre. 1999. Lincolnwood, IL: National Textbook Com- New York: Routledge/Theatre Arts Books, pany, 1997. 2002. Spolin, Viola et al. Theater Games for the Lone Actor. Northwestern Publishing House, 2001.

Blueprint for the Arts ■ Theater ■ 91 Appendix C. Resources and Bibliography continued Appendix C. Resources Appendix and Bibliography Middle School Teacher Resources/Bibliography

Katz, Leon. Theater History Scenes and Repertoire Classic Monologues. Teacher Resources Brockett, Oscar G. Burdett, Lois. New York: Applause Books, 2002. Davidson, Diane. The Theatre: An Introduction Shakespeare Can Be Fun Series (Romeo McGraw-Hill, Glen and Jamestown Educa- Shakespeare for Young People Series New York: Holt, Rinehart & Winston, 4th and Juliet, Macbeth, A Midsummer Night’s tion - Best Plays: Introductory New Hyde Park, NY: Swan Books, 2000. ed., 1992. Dream, The Tempest, Hamlet, Much Ado Glencoe/McGraw-Hill, 2001. About Nothing). Fennessey, Sharon. Cheney, Sheldon. Buffalo, NY: Firefly Books, 1998. McGraw-Hill, Glen and Jamestown Educa- History in the Spotlight: Creative Drama Theatre: 3000 Years of Drama, Acting and tion - Best Plays: Middle. and Theatre Practices for the Social Studies Stagecraft. Carlson, Lori Marie, ed. Glencoe/McGraw-Hill, 2001. Classroom. McKay, 1972. You’re On!: Seven Plays in English and Portsmouth, NH: Heinemann, 2000. Spanish. Murphy, Dallas. Chute, Marchette. Harper Collins (October 27, 1999) Read-Aloud Plays: Revolutionary War Goodwillie, Barbara. Shakespeare of London. (Grades 4-8). Breaking Through: Drama Strategies for 10’s New York: Viking Penguin, 1991. Cohen, Lorraine. New York: Scholastic, 2000. to 15’s. Scenes for Young Actors. Rowayton, CT: New Plays Books, 1986. Hartnoll, Phyllis. New York: Avon Books, 1982. Nolan, Timothy. The Concise History of Theatre. Read-Aloud Plays: Civil War (Grades 4-8). Hodgson, John Reed. New York: Abrams, 1968. Cullum, Dr. Albert. New York: Scholastic, 1999. The Uses of Drama; Sources Giving a Back- continued Greek and Roman Plays for the Intermediate ground to Acting as a Social and Educa- Henke, Robert. Grades. Sanderson, Jeannette. tional Force. Performance and Literature in Commedia Paramount Communications Company, Read-Aloud Plays: The Middle Ages (Grades London: Eyre Methuen Ltd, 1972. dell’Arte. 1983. 4-8). New York: Cambridge University Press, New York: Scholastic, 1999. Swartz, Larry. 2003. Gassner, John. Drama Themes: A Practical Guide for Teach- Best American Plays - 6th Series (1918- Shepard, Aaron. ing Drama. McKernie, Grant and Jack Watson. 1967). Stories on Stage: Scripts for Reader’s Theater. Portsmouth, NH: Heinemann, 1988. A Cutural History of Theatre. New York: Crown Publishers, 1987. H.W. Wilson, 1993. White Plains, NY: Longman Publishing Group, 1993. Glasscock, Sarah. 10 American History Plays for the Classroom Meserve, Walter J., and Molly Ann (Grades 4-8). Meserve. New York: Scholastic, 1999. A Chronological Outline of World Theatre. Feedback Theatre Books, 1992. Slaight, Craig, and Jack Sharrar. Multicultural Monologues. Lyme, NH: Smith and Kraus, Inc., 1995.

Holt, Robin. Scenes from Shakespeare. Jefferson, NC: McFarland, 1988.

92 ■ Blueprint for the Arts ■ Theater Appendix C. Resources and Bibliography continued High School Teacher Resources/Bibliography C. Resources Appendix and Bibliography

Brook, Peter. Johansen, Mila. Vancouver, BC: The Vancouver Theatre- Acting, Improvisation And The Empty Space: A Book About The -The 101 Theatre Games For Drama Teachers, Sports League, 1986. Voice atre: Deadly, Holy, Rough, Immediate. Classroom Teachers and Directors. Touchstone, 1995. Nevada City, CA: Classics With a Twist, Morrow, Lee Alan. Barker, Clive. 1993. Creating Theatre. Theatre Games. Evans, Cheryl. New York: Vintage, 1986. Portsmouth, NH: Heinemann, 1988. Acting and Theater (Usborne Introduction). Johnstone, Keith E.D.C. Publishing, 1992. Improv: Improvisation and the Theatre. Novelly, Maria C. Barker, Clive. New York: Routledge/New Theatre Arts, Theatre Games for Young Performers: Theatre Games: A New Approach to Drama Gordon, Mel. 1988. Improvisations and Exercises for Developing Training. Lazzi: Comic Routines of the Commedia Acting Skills. Portsmouth, NH: Heinemann, 1977. dell’Arte. Johnstone, Keith. Meriwether Publishing, Ltd; 1985. New York: Performing Arts Journal Publi- Improv for Storytellers. Baul, Augusto. cations, 1983. New York: Routledge/Theatre Arts Books, Owens, Fred. Theatre of the Oppressed. 1999. Theatre Games. New York: Theatre Communications Grantham, Varry. San Francisco: Diamond Heights Publish- Group, 1985. Playing Commedia: A Training Guide to Killam, Paul. ers, 1979. Commedia Techniques. Seattle TheatreSports Playbook. Belt, Linda D. Portsmouth, NH: Heinemann, 2000. Seattle: Seattle TheatreSports, 1988. Oxenford, Lyn. The Acting Primer: An Acting Course in Playing Period Plays. continued Making Choices: Acting Techniques for a Grotowski, Jerzy. Kipnis, Claude. Chicago: Coach House Press, 1984. Vibrant and Alive Performance. Towards a Poor Theatre. The Mime Book. Puyallup, WA: Thespis Productions, 1993. New York: Routledge/New Theatre Arts, Colorado Springs, CO: Meriwether, 1988. Rooyackers, Paul, and Margaret Hofland. 2002. 101 More Drama Games for Children: New Belt, Linda D., and Rebecca Stockley. Lecoq, Jacques et al. Fun and Learning With Acting and Make- Improvisation Through Theatre Sports: A Hagan, Uta. The Moving Body: Teaching Creative The- Believe (Hunter House Smartfun Book). Curriculum to Improve Acting Skills. A Challenge for the Actor. atre. Hunter House, 2002. Puyallup, WA: Thespis Productions, 2d ed., New York: Wiley, 1973. New York: Routledge/Theatre Arts Books, 1993. 2002. Rudlin, John. Hagen, Uta, with Frankel, Haskel. Commedia dell’Arte: An Actor’s Handbook. Belt, Lynda D. Respect for Acting. Linkletter, Kristin. New York: Routledge/Theatre Arts Books, Improv Game Book II: A Source Book of New York: Wiley, 1973. Freeing Shakespeare’s Voice. 1994. Improvisation Performance Games. New York: Theatre Communications Pulyallup, WA: Thespis Productions, 1993. Henke, Robert. Group, 1992. Saldana, Johnny. Performance and Literature in Commedia Drama of Color: Improvisation with Multi- Bernardi, Phillip dell’Arte. Meisner, Sandford et al. ethnic Folklore. Improvisation Starters: A Collection of 900 New York: Cambridge University Press, Sanford Meisner on Acting. Portsmouth, NH: Heinemann, 1995. Improvisation Situations for the Theater. 2003. Vintage, 1987. Cincinnati, OH: Betterway Books, 1992. Thomas, James. Hodgson, John, and Ernest Richards. Moon, Louise. Script Analysis for Actors, Directors and Improvisation. The Vancouver Theateresports League Designers. Barnes & Noble, 1974. Playbook. Stoneham, MA: Focal Press, 2d ed., 1998.

Blueprint for the Arts ■ Theater ■ 93 Appendix C. Resources and Bibliography continued Appendix C. Resources Appendix and Bibliography High School Teacher Resources/Bibliography continued

Spolin, Viola. Theater Games for the Classroom: A Careers Design, Technical Theatre Directing and Management Teacher’s Handbook. Charles, Jill. Ball, William. Northwestern University Press, 1986. Actor Resume/Picture Book. Anderson, Barbara, and Cletus Anderson. A Sense of Direction. VT: Theatre Directories, 2d ed., 1994. New York: Drama Book Specialists, 1984. Spolin, Viola, and Paul Sills. Costume Design. Wadsworth Publishing, 2d ed., 1998. Improvisation for the Theater: A Hand- Everett, Carole J., and Muriel Topaz. Clurman, Harold. book of Teaching and Directing Techniques Guide to Performing Arts Programs: Profiles On Directing. (Drama and Performance Studies). Buckman, Herman. of Over 600 Colleges, High Schools, and Stage Makeup. New York: Macmillan, 1974. Northwestern University Press, 3d ed., Summer Programs. 1999. Cincinnati, OH: Watson-Guptill, 2d ed., The Princeton Review, 1998. 1989. Cole, Toby. Directors on Directing. Spolin, Viola et al. Field, Shelly. Langley, Stephen. Indianapolis: Bobbs-Merrill, 1963. Theater Games for the Lone Actor. Career Opportunities in Theatre and the Northwestern Publishing House, 2001. Theatre Management and Production in Performing Arts. America. Converse, Terry John. New York: Facts on File, 1992. New York: Drama Book Publishers, 1990. Directing for the Stage: A Workshop Guide of Stanislavski, Constantine. 42 Creative Training Exercises and Projects. An Actor Prepares. Greenberg, Jan. Colorado Springs, CO: Meriwether Pub- New York: Routledge/Theatre Arts Books, Volz, Jim. Theatre Careers. How to Run a Theater: A Witty, Practical, lishing, 1995. continued reprint ed., 1989. New York: Holt, Rinehart & Winston, 1983. and Fun Guide to Arts Management. New York: Backstage, 2004. Stanislavski, Constantine. Hunt, Gordon. My Life in Art. How to Audition. New York: Routledge/Theatre Arts Books, New York: Harper & Row, 2d ed., 1992. 1974. Palo, Brian, and Alan Simon. The Young Performers Guide: How to Break Into Show Business. Cincinnati, OH: Betterway Books, 1990.

Shurtleff, Michael. Audition: Everything an Actor Needs to Get the Part. Bantam, reissue ed., 1980.

94 ■ Blueprint for the Arts ■ Theater Appendix C. Resources and Bibliography continued High School Teacher Resources/Bibliography continued C. Resources Appendix and Bibliography

Brockett, Oscar G. McKernie, Grant and Jack Watson. Theater History and The Essential Theatre. A Cutural History of Theatre. Scenes And Repertoire Theory New York: Holt, Rinehart & Winston, 1988. White Plains, NY: Longman Publishing Cassady, Marshall. Group, 1993. The Book of Scenes for Acting Practice. Aristotle (S. H. Butcher, translation.) Brockett, Oscar G., and Franklin J. Hildy. Aristotle’s Poetics. Lincolnwood, IL: National Textbook Com- History of the Theatre. Meserve, Walter J., and Molly Ann pany, 1985. Hill and Wang, 1961. Allyn & Bacon, 1998. Meserve. A Chronological Outline of World Theatre. Cohen, Lorraine. Artaud, Antonin. Brown, Gene. Feedback Theatre Books, 1992. The Theater and Its Double. Scenes for Young Actors. Show Time: A Chronology of Broadway New York: Avon Books, 1982. Grove Press, 1966. and the Theatre from Its Beginnings to the Strasberg, Lee. Present. A Dream of Passion: The Development of the Bentley, Eric, ed. Gassner, John. Macmillan, 1998. Method. Best American Plays - 6th Series (1918- The Theory of the Modern Stage. Plume Books; reissue ed., 1990. Applause Books, (2000). 1967). Clurman, Harold. New York: Crown Publishers, 1987. The Fervent Years: The Group Theatre and Boon, Richard et al. the Thirties. Holt, Robin. Theatre Matters: Performance and Culture Da Capo Paperback, 1983. on the World Stage (Cambridge Studies in Scenes from Shakespeare. Modern Theatre). Jefferson, NC: McFarland, 1988. Cheney, Sheldon. continued Cambridge University Press, 1998. Theatre: 3000 Years of Drama, Acting and Katz, Leon. Stagecraft. Classic Monologues. Bordman, Gerald, and Thomas S. Hischak. McKay, 1972. The Oxford Companion to American The- New York: Applause Books, 2002. atre. Chute, Marchette. Oxford University Press, 2004. Lamb, Wendy, and Wendy Wasserstein. Shakespeare of London. Ten Out of Ten: Ten Winning Plays. New York: Viking Penguin, 1991. Brockett, Oscar G. Laurel Leaf, 1992. History of the Theatre. Gerould, Daniel. Boston: Allyn and Bacon, 4th ed., 1982 Watts, Irene N. Theatre/Theory/Theatre. Just a Minute: Ten Short Plays and Activities Applause Books, 2003. Brockett, Oscar G. for Your Classroom. Portsmouth, NH: Heineman, 1990. Plays for the Theatre: An Anthology of World Hartnoll, Phyllis. Drama. The Concise History of Theatre. th New York: Holt, Rinehart & Winston, 4 New York: Abrams, 1968. ed., 1984.

Blueprint for the Arts ■ Theater ■ 95 Appendix C. Resources and Bibliography continued Appendix C. ResourcesAppendix and Bibliography Teacher Resources/Bibliography Acting and Improvisation Creative Drama/ Directing Miscellaneous Improvisation Cassady, Marsh. Hodge, Francis. Christensen, Linda. Acting Games: Improvisations and Exercises. Beall-Heinig, Ruth. Play Directing. Reading, Writing, and Rising Up: Teaching CO: Meriwether, 2003. Creative Drama for the Classroom Teacher. Englewood Cliffs, NJ: Prentice Hall, 3d ed., About Social Justice and the Power of the Englewood Cliffs, NJ: Prentice Hall, 1974. 1988. Written Word. Hobbs, William. Rethinking Schools, 2000. Stage Combat: The Action to the Word. Beall-Heinig, Ruth. Playwriting New York: St. Martin’s, 1981. Creative Drama for the Classroom Teacher Cornett, Claudia. for Grades 4 Through 6. Chapman, Gerald, and Lisa A. Barnett. Creating Meaning Through Literature and Spolin, Viola. Englewood Cliffs, NJ: Prentice Hall Teaching Young Playwrights. the Arts. Theater Games for the Classroom: A Portsmouth, NH: Heinemann, 1990. Prentice Hall, 2nd ed., 2002. Teacher’s Handbook. Cresci, Maureen McCurry. Northwestern University Press, 1986. Creative Dramatics for Children. Creative Education Systems. Jones, Robert Edmund. Glenview, IL: Scott, Foresman & Co., Good Playmaking: An Integration of the Arts in The Dramatic Imagination. Spolin, Viola, and Paul Sills. Year Books Dept., 1989. Education. Theatre Arts Books, 2d ed., 2004. Improvisation for the Theater: A Hand- Riverside, CA: Dovehaven Press, 1991. book of Teaching and Directing Techniques Garratt, Judi. Jones, Constance. (Drama and Performance Studies). New York Public Library Performing Arts continued Learning Through Mime/Creative Dramat- Thomson, Greg. Northwestern University Press, 3d ed., ics: Quiet Creativity in the Classroom. Step by Step Theater: Creating Plays for Class Desk Reference. 1999. Los Angeles: The Performing Tree, 1981. Presentation. New York: Macmillan, 1994. Belmont, CA: Fearon Teacher Aids, David Spolin, Viola et al Goodridge, Janet. S. Lake Publishers 1989. Maloly, Dr. Jonnie Patricia. Theater Games for the Lone Actor. Creative Drama And Improvised Movement NTC’s Dictionary of Theatre and Drama Northwestern Publishing House, 2001. for Children. Production Terms. Boston: Plays Inc., 1980. Belmont, CA: National Textbook Company, 1992. Mobley, Jonnie Pat. Kelner, Lenore Blank. Play Production Today. A Guide for Using Creative Drama in the Lincolnwood, IL: National Textbook Co., Stage Combat Classroom. 5th ed., 1996. Silver Spring: InterAct, Inc., 1990. Johnson, Raoul. Theatre Video Series: Combat for the Stage. McCaslin, Nellie. Design Video Communication, 1989. Creative Drama in the Classroom. Allyn & Bacon, 7th ed., 1999.

96 ■ Blueprint for the Arts ■ Theater Appendix C. Resources and Bibliography continued Teacher Resources/Bibliography C. ResourcesAppendix and Bibliography

Heathcote, Dorothy, and Gavin Bolton. Taylor, Philip. Theater Education Drama for Learning. The Drama Classroom: Action, Reflection, Barranger, Milly S. Portsmouth, NH: Heinemann, 1995. Transformation. Theatre: A Way of Seeing. Falmer Press, 2000. Belmont, CA: Wadsworth Publishing Com- Hodgson, John Reed. pany, 2001. The Uses of Drama: Sources Giving a Back- Theodorou, Michael. ground to Acting as Social and Educational Ideas That Work in Drama. Chan Bing, Paula. Force. Cheltenham, UK: Stanley Thornes Publish- Arts Resource Handbook: Activities for London: Eyre Metheun Ltd., 1972. ers Ltd., 1989. Students with Disabilities. Teachers Ideas Press, 2003. Mda, Zakes. Thistle, Louise. When People Play People: Development Dramatizing Myths and Tales: Creating Cheifetz, Dan. Communication Through Theatre. Plays for Large Groups. Theater in My Head. Zed Books, 1993. Palo Alto, CA: Dale Seymour Publications, Boston: Little, Brown & Co., 1971. 1995. Schanker, Harry H., and Katherine Cranston, Jerneral W. Ommanney. Viola, Albert T., and Mona Lynn Goone. Transformations Through Drama: A The Stage and the School. The Theatre Machine: A Resource Manual Teacher’s Guide to Educational Drama Mission Hill, CA: McGraw-Hill, 1999. for Teaching Acting. (Grades K-8). Denver, CO: Pioneer Drama Service, 1987. continued Lanham, MD: University Press of America, Scher, Anna and Charles Verrall. 1991. 100+ Ideas for Drama. Way, Brian. London: Heinemann, 1982. Development Through Drama. Cranston, Jerneral W. Humanity Books, 1967. Dramatic Imagination: A Handbook for Simonson, Lee. Teachers. The Stage is Set. Trinidad: Jenfred Press, 1975. Westport, CT: Greenwood, 3d ed., 1975.

Fox, Mem. Skis, Geraldine Brain. Teaching Drama to Young Children. Drama With Children. Portsmouth, NH: Heinemann, 1990. New York: HarperCollins, 1977.

Goodwillie, Barbara. Swartz, Larry. Breaking Through: Drama Strategies for 10’s Drama Themes: A Practical Guide for Teach- to 15’s. ing Drama. Rowayton, CT: New Plays Books, 1986. Portsmouth, NH: Heinemann, 1988. Tanner, Fran Averett. Basic Drama Projects. Topeka, KS: Clark Publishing Co., 1999.

Blueprint for the Arts ■ Theater ■ 97 Appendix C. Resources and Bibliography continued Appendix C. ResourcesAppendix and Bibliography Technical Theater Resource/Bibliography

Kidd, Mary T. Lord, William H., and Arthur Zapel. Costumes and Makeup Stage Costume Step by Step. General Technical Theater Stagecraft 1: A Complete Guide to Backstage Barton, Lucy. Cincinatti, OH: Betterway Books, 2002. Carter, Paul. Work. Historic Costume for the Stage. The Backstage Handbook: An Illustrated Meriwether Publishing, 2d ed., 1991. Boston: Walter Baker, revised ed., 1961. Laver, James. Almanac of Technical Information. Costumes and Fashion: A Concise History. Broadway Press, 3d ed., 1994. Lounsbury, Warren C., and Norman Braun and Schneider. London: Thames & Hudson, 1982. Boulanger. History of Costumes in Pictures. Gillette, John Michael. Theatre Backstage from A to Z. New York: Dover Books, 1995. Prisk, Berneice. Technical Design and Production: An Intro- University of Washington Press, 4th ed., Stage Costume Handbook. duction to Scene Design and Construction, 2000. Corson, Richard. Westport, CT: Greenwood, 1979. Lighting, Sound, Costume and Makeup. Stage Makeup. Mountain View, CA: Mayfield, 1992. Sammler, Ben. Englewood Cliffs, NJ: Prentice Hall, 9th ed., Swinfield, Rosemarie. Technical Design Solutions for Theatre (The 1990. Stage Makeup Step by Step. Glerum, Jay. Technical Brief Collection, Volume 2). Cincinatti, OH: Betterway Books, 2002. Stage Rigging Handbook. Focal Press, 2002. Cunnington, Phillis. Southern Illinois University Press, 2d spiral Costumes in Pictures. ed., 1997. Sammler, Ben, and Don Harvey. New York: The Herbert Press, 1981. Technical Design Solutions for Theatre (The Holloway, John. Technical Brief Collection, Volume 1). continued Davies, Gil. Illustrated Theater Production Guide. Focal Press, 2002. Create Your Own Stage Makeup. Focal Press, 2002. New York: Backstage Books, 2001. Sweet, Harvey. Huntington, John. Handbook of Scenery, Properties and Light- Huaixiang, Tan. Control Systems for Live Entertainment. ing, Volume I. Character Costume Figure Drawing: Focal Press, 2d ed., 2000. Engelwood Cliffs, NJ: Prentice Hall, 1994. Step-by-Step Drawing Methods for Theatre Costume Designers. Inoanzzi, Daniel. Focal Press, April 2004. The Stagecraft Handbook. Concinnati, OH: Betterway Books, 1996. Jackson, Sheila. Costumes for the Stage: A Complete Hand- Kaluta, John. book for Every Kind of Play. The Perfect Stage Crew: The CompleateTech- New Amsterdam Books, 2d ed., 2001. nical Guide for High School, College and Community Theater. Allworth Press, 2004.

98 ■ Blueprint for the Arts ■ Theater Appendix C. Resources and Bibliography continued Technical Theater Resource/Bibliography continued C. ResourcesAppendix and Bibliography Lighting Scenic Design and Stage and Theater Construction Management Gillette, John Michael. Designing with Light. Arnold, Richard L. Dilker, Barbara. Mountain View, CA: Mayfield, 2d ed., 1989. Scene Technology. Stage Management Forms and Formats: A Englewood Cliffs, NJ: Prentice Hall, 3d ed., Collection of Over 100 Forms Ready to Use. Walters, Graham. 1994. Quite Specific Media Group, reprint ed., Stage Lighting Step by Step. 1991. Cincinnati, OH: Betterway Books, 1997. Buerki, F.A., and Susan J. Christensen. Stagecraft for Nonprofessionals (Revised and Kelly, Thomas. Updated). A Backstage Guide to Stage Management. Props University of Wisconsin Press, 3d ed., 1983. New York: Watson-Guptill, 1991.

Govier, Jacquie. Burris-Meyer, Harold, and Edward C. Cole. Langley, Stephen. Create Your Own Stage Props. Scenery for the Theatre. Theatre Management and Production in Englewood Cliffs, NJ: Prentice Hall, 1984. Boston: Little Brown & Co., 1972. America. Drama Book Publishers, 1990. Clark, I. E.

Stagecrafters Handbook Guide for Theatre Volz, Jim. continued Technicians. How to Run a Theater: A Witty, Practical, Players Press, 3d ed., 1994. and Fun Guide to Arts Management. New York: Backstage, 2004. Holden, Alys, and Ben Sammler. Structural Design for the Stage. Focal Press, 1999.

Raoul, Bill. Stock Scenery Construction. Broadway Press, 1990.

Blueprint for the Arts ■ Theater ■ 99 Appendix C. Resources and Bibliography continued Appendix C. Resources Appendix and Bibliography Online Theater Resources

The New York State Foundation for the Mainstage Theatrical Supply Acting & Performance Arts www.mainstage.com/mainstage_av_stage_ Plays & Playwriting Acting Lesson Plans www.nyfa.org makeup.html Applause Books www.byu.edu/tma/arts-ed/units/unithome. www.applausepub.com htm The New York State Theatre Education -As Makeup FX sociation (NYSTEA) www.makeup-fx.com International Assoc. of Theater for Children The Actor Source www.nystea.org and Young People/USA www.actorsource.com Mask Making www.assitej-usa.org/index.html Costumes and Makeup www.cln.org/themes/masks.html Creative Dynamics Bakers Plays Online www.kmrscripts.com/cdguide.html Angel Mask TDF Costume Collection www.bakersplays.com www.angel-mask.com www.tdf.org/programs/costume Game Guide Childrens’ Plays www.irondale.org Alter Years Mehron Makeup www.ChildrensTheatrePlays.com www.alteryears.com www.mehron.com Get Your Act Together Drama Workshop www.actingresume.com/getyouracttogeth- Broadway Costumes The Costume Gallery www.chdramaworkshop.homestead.com er.htm www.broadwaycostumes.com www.costumegallery.com Dramatists Play Service continued Improvisational Theatre Structures Costume History & Research The Costume Page www.dramatists.com/text/home.html www.staircase.org/structures www.artslynx.org/theatre/costume.html http://members.aol.com/nebula5/costume. html The Dramatists Guild of America National Storytelling Network Elizabethan Costuming Page www.dramatistsguild.com www.storynet.org http://costume.dm.net The Costume Site www.milieux.com/costume Internet Theatre Bookshop New Actors Workshop Encore Theatrical Supply www.stageplays.com/plays.htm www.newactorsworkshop.com www.globaldomain.com/encore/makeup. Theatre Makeup htm www.stagesupply.com/catalog.html Kids 4 Broadway Story Theatre www.pacificsites.com/~kidsplay/about.htm www.paulsills.com Graftobian Theatrical Makeup Victorian Millinery www.graftobian.com www.victorianmillinery.com Musical Plays for Musically Timid Teachers The Spolin Center www.badwolfpress.com www.spolin.com Historic Enterprises Web Resources in Costume www.historicenterprises.com www.library.ubc.ca/finearts/COSTUME. New Dramatists TheatrGROUP Method Acting html www.newdramatists.org www.theatrgroup.com History in the Making www.historyinthemaking.org/catalog/links. Wings and Roses New Plays for Children Arts Advocacy/Funding htm http://wingsandroses.com www.newplaysforchildren.com

Americans for the Arts History of the Costume Plays & Playwriting www.americansforthearts.org www.siue.edu/COSTUMES/history.html www.aate.com/resources/links/Playsand- New York State Council on the Arts PlaywritingLinks.htm www.nysca.org

100 ■ Blueprint for the Arts ■ Theater Appendix C. Resources and Bibliography continued Online Theater Resources continued C. Resources Appendix and Bibliography

Playwriting 101 www.playwriting101.com/ Shakespeare Technical Theatre Theater Education Folger Shakespeare Library Backstage Information Guide Alliance of Resident Theatres Plays Magazine www.folger.edu www.bath.ac.uk/~su2bc/infoguides/index. www.offbroadwayonline.com www.playsmag.com shtml Proper Elizabethan Accents American Alliance for Theatre and Playwrights Noticeboard www.renfaire.com/Language/index.html Careers in Stage Management & Technical Education www.stageplays.com/markets.htm Theatre www.aate.com Mr. Wm. Shakespeare & the Internet www.drama.ac.uk/lighting.html Playwrights Project http://shakespeare.palomar.edu Artslynx Theatre Education www.playwrightsproject.com Design & Technical Production for www.artslynx.org/theatre/thed.htm Shakespeare Links High Schools Stage Kids- The Edu-Tainment Company www.as.miami.edu/english/jshoulson/431_ www.hstech.org Association for Theatre in Higher www.stagekids.com 99/shakelinks.html Education Lighting & Theatre Effects www.athe.org Storytelling & Creative Dramatics Shakespeare Magazine www.musicyellowpages.com/lteg.htm http://falcon.jmu.edu/~ramseyil/drama. www.shakespearemag.com Creative Drama and Theatre Education htm Lighting Links www.creativedrama.com Shakespeare Online www.lighting-association.com/links

Theater Pedia-Listing of Playwrights www.nyu.edu/classes/jeffreys/links.htm Drama in Education Site continued and Plays Stage Managers Handbook www.stemnet.nf.ca/~mcoady www.perspicacity.com/elactheatre/library/ Shakespeare on the Internet www.geocities.com/Broadway/Stage/2203/ plays.htm www.sogang.ac.kr/~anthony/Shcontacts. Smhandbook.html Educational Theatre Association htm www.edta.org TheatreFolk Original Plays Stage Managers Home Page www.theatrefolk.com Shakespeare’s Web http://home.pacbell.net/jmorone Internet Theatre Resources www.shakespeare.com www.nypl.org/research/lpa/internet/ Young Playwrights Technical Theatre Resources theatretop.htm www.youngplaywrights.org Shakespeare Illustrated www.theatrecrafts.com www.emory.edu/ENGLISH/classes/Shake- Lesson Plans for Creative Drama speare_Illustrated/Shakespeare.html Tools for Stagecraft www.geocities.com/Broadway/Alley/3765. www.toolsforstagecraft.com/index.htm lessons.html Plays of William Shakespeare www.teachersfirst.com/shakespr.shtml US Institute for Theatre Technology McCoy’s Guide to Theatre Studies www.usitt.org/home.htm www.stetson.edu/departments/csata/ Surfing with the Bard thr_guid.html www.ulen.com/shakespeare National Standards for Theatre Education Welcome to Shakespeare’s 3D Globe www.byu.edu/tma/arts-ed www.acslink.aone.net.au/sandhurst/globe

Blueprint for the Arts ■ Theater ■ 101 Appendix C. Resources and Bibliography continued Appendix C. Resources Appendix and Bibliography Online Theater Resources continued

NYSTEA (New York State Theatre Education Association) Teacher Resource/ www.nystea.org Certification The New York State Education Department Performing Arts Resources www.nysed.gov www.educationindex.com/theater

Pro Teacher Drama Resources www.proteacher.com/080010.shtml

The Educational Theatre Association (ETA) www.edta.org

The School Page www.schoolshows.demon.co.uk

Theatre Arts Guide http://libaxp.hartford.edu/llr/Music_ Guides/theatre.htm continued Theatre Arts Resources on the Web http://library.humboldt.edu/~msj/theatre. htm

Theater Database www.theatredatabase.com/index.html

Theatre History www.theatrehistory.com

Theatre Lesson Plan Exchange www.geocities.com/Shalyndria13

Theatre Resources http://123world.com/theater

Theatre-Link Resources www.theatre-link.com

WWW Virtual Library of Theatre & Dance www.vl-theatre.com

102 ■ Blueprint for the Arts ■ Theater Appendix D. Assessment and Portfolio Tools D.Appendix Tools and Portfolio Assessment Forms of Traditional Forms of Alternative Perceptive Assessment: ■ Using research, writing and other dra- Shows evidence of critical analysis to maturgy processes to inform a theater Assessment Assessment enhance performance. production. Courtesy Barbara Bashaw ■ Viewing theater works with specific Discussion, written work or movement The nonperforming aspects of theater content in mind. When students participate in and in response to theater creation, perfor- learning can be measured using tradi- respond to theater, reflect upon their mance, research and study of various tional instruments that are shared with experience, and revise their work using styles and genres, showing the following other subject areas. These may include: Reflective Assessment: the methods below, teachers may collect processes: Shows evidence of understanding ■ Written tests and quizzes on topics the evidence to evaluate the teaching and ■ Discriminating. through self-reflection. such as: learning in their classroom. ■ Describing. ■ - theater vocabulary and terminology Student journals. Performance Assessment: ■ Identifying. ■ - theater history Rehearsing. Shows evidence of development of skills, ■ Analyzing. ■ - theater styles and genres Poetry in response to theater. projects or tasks. ■ Distinguishing. ■ - technical theater and stage craft Collecting ideas for theater. ■ Comparing one theater performance ■ Comparing. ■ Sharing feelings, dreams and wishes with another. ■ Synthesizing. about theater. ■ Written work, such as: ■ Engaging in dialogue with a jury. ■ Using specialized theater vocabulary. ■ Revising and reworking theater - descriptions of theater experiences. ■ Recording theater tasks or perfor- ■ Using graphic organizers, such as lists, writings. - personal responses to performances. mances (using video, blocking nota- webs and charts. ■ Brainstorming with others about - critical reviews of performances. tion, written notes, drawings, etc.). theater. - research papers on theater artists, ■ Using standards or rubrics (teacher- ■ Remembering/reminiscing about periods, styles or genres in the con- generated or student-generated). theater. text of society, culture; and general ■ Self-critiquing. ■ Exit slips. history. ■ Peer critiquing. - reports, interviews, and job-shadow ■ journals about theater and theater- Setting explicit goals for specific skills, related careers. projects or tasks. ■ - creative writing in response to or Setting personal goals about theater. - personal or directorial mission statements in relation to a work of theater, blocking notations and other administrative paperwork associated with theater .

■ Oral work, such as: class presentations on theater subjects participation in class discussions

Blueprint for the Arts ■ Theater ■ 103 Appendix D. Assessment and Portfolio Tools continued Appendix D.Appendix Tools and Portfolio Assessment Student Theater ■ Student’s self-critique of his/her learning. ■ Peer critique of the student’s learning. Portfolios ■ Student/teacher conference records. Courtesy Barbara Bashaw ■ Peer conference records. ■ Here are some examples of the types of evi- Student’s defense of the grade he/she feels dence teachers want to include in a student is deserved. theater portfolio: For high school seniors: ■ Student’s individual goals (for theater growth, academic growth, and personal ■ Student theater and personal résumé growth through theater). with cover letter. ■ Teacher’s expectations (rules, guidelines, year-long/project goals, rubrics, theater standards). ■ Videotape and photographs of student engaged in process and in performance during the beginning, middle and end of the year or project. ■ Student’s class notes, reading notes, jour- continued nals and reports. ■ Student’s theater journal documenting personal growth and self-reflection. ■ Completed class exercises, such as webs, artwork, or graphic organizers used for tasks. ■ Completed theater homework assign- ments and research papers. ■ Graded tests on theater subjects. ■ Special recognition student has received (awards, citations, performance invita- tions, competition placements). ■ Incidental correspondence or drawings the student may send to the teacher via the theater mailbox. ■ Parent feedback, formal and informal.

104 ■ Blueprint for the Arts ■ Theater Sample Rubric: Theater Making Strand/Acting 2nd Grade Imagination and Analysis Skills Category Strand/Acting Rubric: Theater Making Sample 2nd Grade

Indicator Secure (S) Developing (D) Beginning (B) Not Yet (NY)

Imagination and Analysis Skills Imagination and Analysis Skills Imagination and Analysis Skills Imagination and Analysis Skills Imagination and Analysis Skills

Builds on skills learned in early ■ Demonstrates a consistent ability ■ Demonstrates a developing abil- ■ Demonstrates an emerging abil- ■ Is not yet integrating skills activities to use skills learned in earlier ity to use skills learned in earlier ity to use skills learned in earlier learned in earlier experiences experiences into work habits. experiences into work habits. experiences into work habits. into work habits.

Demonstrates inventiveness and ■ Shows a high level of curiosity, ■ Shows a moderate level of curi- ■ Shows a developing curiosity, ■ Does not yet demonstrate curios- imagination playfulness and consistent ability osity, playfulness and somewhat playfulness and the emerging ity and playfulness. Needs work to focus on pretending, invent- consistent ability to focus pre- ability to focus on pretend- to focus on pretending, invent- ing and imagining in activities, tending, inventing and imagin- ing, inventing and imagining ing and imagining in activities, dramatic play and sharings. ing in activities, dramatic play in activities, dramatic play and dramatic play and sharings. and sharings. sharings.

Sustains concentration and com- ■ Shows consistent ability to ■ Shows a developing ability to ■ Shows an emerging ability to ■ Is not yet able to sustain concen- mitment in dramatic play and sustain concentration, focus and sustain concentration, focus and sustain concentration, focus and tration, focus and commitment activities commitment to personal and commitment to personal and commitment to personal and to personal and group goals and group goals and the imaginary group goals and the imaginary group goals and the imaginary the imaginary world of dramatic world of dramatic play. world of dramatic play. world of dramatic play. play.

Responds to and incorporates ■ Consistently asks for clarification ■ Frequently asks for clarification ■ Occasionally asks for clarifica- ■ Does not yet ask for clarification direction from the teacher and responds from teacher and responds to tion from the teacher. Needs from the teacher. Is resistant to to and incorporates directions and incorporates directions with guidance responding to and responding to and incorporating with enthusiasm and commit- enthusiasm and commitment. incorporating directions. directions. ment.

By circling the level of a student’s strength in various areas, both student and teacher can assess the student’s strengths and areas that need attention. Teachers can devise their own rubrics in greater or lesser detail according to the goals of their lesson, unit or year-long plan. Descriptive values (as shown) or numerical values may be as- signed depending on the purpose of the scoring guide. Comparing a student’s rubrics over time yields a sense of overall progress. For ideas about how to create various kinds of rubrics, go to websites such as: http://rubistar.4teachers.org/index.php www.2learn.ca/projects/together/START/rubricc.html www2.gsu.edu/~mstnrhx/457/rubric.htm

Blueprint for the Arts ■ Theater ■ 105 Appendix E. What the Blueprint Means for School Leaders Appendix E. The Blueprint Means ForAppendix What Leaders School

All students deserve an excellent arts education, and the reorganization of the New York City Department of Education is an opportunity to recommit to that mission. One of the priorities of the reorganization is to look anew at how the arts are approached and taught across the city. This Blueprint outlines how teaching and learning in the arts should be implemented in New York City public schools, PreK–12.

School leaders can ask some simple but vital questions: ■ What is the place of the arts in our comprehensive educational plan (CEP)? ■ Do we have the staffing in place to support our arts goals? If not, what short- and long-term strategies can we use to implement an infrastructure for effective arts education? ■ How can we use ongoing assessment to help us improve our arts instruction? ■ Are parents meaningfully involved? If not, how can we help them become more aware of our students’ learning in the arts? ■ Are we taking advantage of the rich arts resources that New York City has to offer? ■ How can strategic arts partnerships help us advance teaching and learning in the arts? ■ Do our arts teachers, classroom teachers, and visiting artists have adequate pro- fessional development to carry out work that is developmentally appropriate and has artistic integrity? What can we do to support them? ■ What resources can the New York City Department of Education provide that would help us meet our goals?

In every school community, different agendas compete for time and resources. Schools are responsible for helping students learn to read and write, compute, investigate, explore, imagine, and create. Research supports the assertion that authentic work in the arts serve all of these goals, and New York City, through its commitment to a PreK–12 citywide arts curriculum, has made a major investment to ensure that there is equity and access to the arts for every child. Effective arts education can only be achieved with the commitment of school leaders.

106 ■ Blueprint for the Arts ■ Theater Appendix F. What the Blueprint Means for Classroom Teachers F.Appendix The Blueprint Means For What Classroom Teachers

Interdisciplinary education enables students to identify and apply authentic con- ■ Infusion: Teachers focus on the strong relationships among disciplines and com- nections between two or more disciplines and to understand essential concepts that mit to a deep and fruitful collaboration. Example: Theater and history teachers transcend individual disciplines. —The Consortium of National Arts Education on the high school level plan a seminar involving both their disciplines. They Associations* focus on Global Studies and primary-source readings from the particular culture, including scripts, scenarios and other theater-related documents, so that students can draw shared meaning from both disciplines. The infusion could also incor- Great teachers know the power of the arts to transform, motivate and inspire. Great porate a residency by an Asian theater or puppetry specialist. arts teachers know the power of connecting their work to the teaching and learning in other subjects. Authentic connections reinforce the power and relevance of the arts, and add depth and dimension to studies in other disciplines. In the Blueprint, the “Connections” strand of instruction suggests how theater and teachers can connect their work to other disciplines. Similarly, teachers of other subject areas can draw on the power of the arts to help their students delve deeper Since this Blueprint is aimed at providing equitable access to an excellent theater into the topics they study. General classroom teachers may be especially interested education for all New York City public school students, it follows that teachers in in this section. The Blueprint does not include examples of how themes or con- theater and in other subjects can work together to help make this a reality. There cepts from other disciplines might initiate joint projects, because its purpose is to are already many exemplary models for how teachers can infuse the arts into their demonstrate the power of what happens in the arts classroom. Joint planning at the general classroom work, many through partnerships with cultural institutions and local school level will generate many examples of how theater teachers and teach- others through school-based efforts. Successful collaborations generally involve ers from other subject areas can help create healthy, rich learning environments for interdisciplinary education and may take the following forms: their students. This Blueprint has been designed to encourage such collaborative endeavors in schools. ■ Parallel Instruction: Teachers agree to focus on a common topic or theme but work on them separately. Example: An elementary classroom teacher teaching *Authentic Connections: Interdisciplinary Work in the Arts, The Consortium of science and the theater teacher agree to examine the five senses in both their National Arts Education Associations (AATE, MENC, NAEA, NDEO), 2002. The classrooms. Students are able to draw connections between these parallel experi- examples given in this citation are also drawn from this article. ences to reinforce learning in both science and theater.

■ Cross-Disciplinary Instruction: Teachers agree to focus on a common theme, concept or problem. They plan together and often engage in team teaching. Example: A theater teacher, a literature teacher, and a social studies teacher at the middle school level work together to plan a unit of study focusing on and The Crucible by Arthur Miller and The Member of the Wedding by Carson McCullers, both of which explore issues of power and the interplay of American young women with adults. These collaborative experiences deepen students’ understanding of the content areas.

Blueprint for the Arts ■ Theater ■ 107 Appendix G. What the Blueprint Means for Special Education Practitioners Appendix G. What the Blueprint Means for Special Education G. What Appendix Practitioners

To help all students achieve to their potential, it is recommended that attention to different learning styles be addressed in all teaching strategies. Most of the suggest- ed activities that appear in the New York City Department of Education Blueprint for Teaching and Learning in the Arts can be adapted to meet the needs of students and teachers in Special Education programs.

To ensure access and participation in theater classes, some students with disabilities may need services and supports to address their unique learning needs. Advance preparation may be needed to achieve equal access, especially for events taking place outside of the school.

Consultation may be necessary to make activities, events and classroom teaching happen smoothly and efficiently for Special Education students.

For references and assistance, please contact the Office of the Arts Supervisor for District 75.

108 ■ Blueprint for the Arts ■ Theater Appendix H. What the Blueprint Means for Parents the Blueprint Means for Parents H. What Appendix

Children First, the city’s education reform program, is being implemented to improve teaching and learning in all New York City public schools. Already many innovations have been introduced: ■ stronger instruction in reading, writing, and math; ■ trained parent coordinators in every school; and ■ a simpler, more streamlined structure to redirect resources directly to schools, where funds are most needed.

The arts must also become a rich and vital part of the school experience for every child. As parents and as families, you can help your child by being informed about arts education. This Blueprint outlines what theater education should look like for students in PreK-Grade 12. In addition to staying informed, there are several areas of arts learning in which parent participation is explicitly suggested, and others where it would be welcome. All the research about successful arts education indi- cates that parent involvement is crucial. There is a lot you can do at home to help children do their best in the arts. Here are just a few ideas: ■ Share the rich arts traditions of your family and culture: sing to your child, dance, paint, draw, or tell stories you heard when you were young. ■ Attend performances or visit museums with your child, taking advantage of the many family programs offered by New York City’s cultural institutions. ■ Support your school’s arts programs by attending workshops or performances in the arts. ■ Support the arts goals set by the school. In the preface material, you will find “A Guide to Implementing a Theater Program,” which lets you know what kind of theater arts instruction you should expect for your child. If these programs and indicators are not in place at your child’s school at the present time, you can start a conversation with your parent coordinator and the school staff by referring to this Blueprint. Parents, families, and communities have an important role in contributing to and supporting arts education in the schools. Arts educators and members of the arts community look forward to working with you to give every child in New York City equal access to an excellent education in the arts.

Blueprint for the Arts ■ Theater ■ 109 Appendix I. What the Blueprint Means for the Arts Community Appendix I. What the Blueprint Means for The Arts Community the Blueprint Means for The Arts I. What Appendix

The arts community of New York City is a vital element of the theater education of our youth. In recognition of its expertise, the Department of Education has asked theater and theater education organizations and teaching artists to actively par- ticipate in the creation of this Blueprint. No other major urban school system has a collaboration with its arts community on quite this scale. It is a groundbreaking initiative and a hallmark of this administration.

■ What does the Blueprint mean to arts organizations? The arts community has been represented by colleagues who have served tirelessly to assist the Depart- ment of Education in its work. Representatives from many arts organizations were invited to examine this Blueprint, give feedback to the committees whose task it was to refine it, and consider how this work will interact with their educa- tional missions, programs, and offerings. As the Blueprint is implemented across New York City, it will strengthen and deepen the partnerships between the arts community, the schools, and the teacher preparatory programs at the city’s col- leges and universities.

■ What does the Blueprint mean to teaching artists? Whether they are working independently or are employed by arts organizations, teaching artists are the practitioners who work with teachers and students in schools, and their relation- ship to the Blueprint will be critical. Understanding the educational goals of arts teachers and the schools in which they work will be vital to creating dynamic col- laborations that maximize a school’s resources.

■ Will the Blueprint change the way the arts community works with schools? As the school’s commitment to the arts increases over the next few years, there will most likely be an even greater need for the participation of the arts community. As the “Community and Cultural Resources” strand indicates, even schools that have not had active theater programs will be asked to consider the strategic use of cultural and community resources to support arts learning. The joint work between the arts community and the schools also means that teaching practices will be examined. Because meaningful and ongoing professional development is required to engage teachers and artists in improving the work they do, the work will be planned collaboratively. It is the hope theater committees that the imple- mentation of the Blueprint will lead to increased and improved arts education for New York City students, and that the arts community will play a vital and explicit role in its success.

110 ■ Blueprint for the Arts ■ Theater Appendix J. What the Blueprint Means for the University Community Community the Blueprint Means for University J. What Appendix

The Blueprint has been developed with the advice and counsel of the members of departments of theater and theater education on college campuses across our city. Since the success of teaching and learning in the arts is dependent upon the skill and competence of the theater teachers in the classroom, the university community is crucial to the future of arts education in our schools. It is crucial that theater education programs in our universities and colleges reflect and support this new Department of Education Blueprint so that future generations of theater educators will be prepared to provide exemplary theater instruction to our students. We look to them to integrate this document into the coursework and build upon this impor- tant work. We therefore invite our colleagues in higher education to continue with us in this effort to strengthen the work of school-based arts professionals toward a common framework of high expectations and rigorous content for our students.

Blueprint for the Arts ■ Theater ■ 111