ARKANSAS FINE ARTS ACADEMIC STANDARDS

THEATRE

2020 Table of Contents

Vision for Teaching and Learning...... 3 Costume Design I-II...... 135 Standards for Accreditation Information...... 136 Fine Arts Education ...... 4 Course Description...... 136 Introduction to the Arkansas Fine Arts Academic Standards...... 4 Standards with Teacher Guidance...... 137 Philosophical Foundations and Lifelong Goals...... 5 G.U.I.D.E. for Life and the Arts...... 6 Theatrical Makeup...... 155 Community Service Learning and the Arts...... 8 Standards for Accreditation Information...... 156 ESSA and the Arts...... 9 Course Description...... 156 Standards with Teacher Guidance...... 157 Introduction to Theatre Standards...... 10 Overview of Theatre Anchor Standards and Essential Questions Playwriting I-II...... 169 Standards for Accreditation Information...... 170 Course Description...... 170 Theatre K-8...... 14 Standards with Teacher Guidance...... 171 Standards for Accreditation Information...... 15 Course Description...... 15 Theatre Production and Management ...... 191 Standards with Teacher Guidance...... 16 Standards for Accreditation Information...... 192 Course Description...... 192 Theatre I-IV...... 41 Standards with Teacher Guidance...... 193 Standards for Accreditation Information...... 42 Course Description...... 42 Glossary...... 205 Standards with Teacher Guidance...... 43

Resources...... 205 Musical Theatre I-II...... 75 Standards for Accreditation Information...... 76 Course Description...... 76 Standards with Teacher Guidance...... 77

Theatre Appreciation...... 94 Standards for Accreditation Information...... 95 Course Description...... 95 Standards with Teacher Guidance...... 96

Technical Theatre I-IV ...... 104 Standards for Accreditation Information...... 105 Course Description...... 105 Standards with Teacher Guidance...... 106

2 The Arkansas Department of Education’s Vision for Teaching and Learning

The Arkansas Department of Education’s Vision for Excellence In order to be successful, in Education is transforming Arkansas to lead the nation in student- students will also need a focused education . Implementation of this vision drives significant strong foundation of life changes as the department identifies student learning to be a defining skills – those intangible characteristic of effective teaching . abilities that help people interact with Arkansas is committed to students exhibiting evidence of learning others, communicate through three lenses of application that move students toward well, and make competency in multiple disciplines . In order for Arkansas students to positive contributions graduate college and be career ready, they must be actively literate, in the workplace and critical thinkers, and engaged in the community . The ADE Lenses of beyond . These skills Learning outline how students exhibit evidence of their learning and how are critical to students teachers provide opportunities for students to demonstrate their learning . building and maintaining a strong foundation in At the core of all instruction are content-based academic standards . academic knowledge and personal These standards set the bar for what each student should know and competencies . ADE has created the G.U.I.D.E. for Life, a set of personal be able to do . In an effort to encourage student-focused outcomes competency standards, to develop the requisite skills for outstanding and allow teachers flexibility to meet students where they are in their job performance and successful personal relationships . learning, the ADE has updated the design and presentation of the Arkansas Academic Standards . The Standards are divided into domains ADE’s Vision for Teaching and Learning exemplifies the commitment which represent clusters of big ideas . In some instances, the domains to student-focused education through its bold development of the are organized across K-12, while in other cases they are arranged across ADE Lenses of Learning, reimagined academic standards, and the smaller grade-bands, depending on the age-appropriateness of the G U. .I .D .E . for Life . Outside-the-box thinking has led to the creation and content . The revised format allows districts that are transitioning to a implementation of these innovative tools, which can now be used as competency-based system to more easily move students through the levers to realize Arkansas’ transformational vision to lead the nation in levels of learning as they master grade-level expectations . student-focused education .

3 Arkansas Fine Arts Academic Standards

The Arkansas Department of Education Division of Elementary and them for their expertise and thanks them for the effort that will benefit Secondary Education’s (DESE’s) Vision for Excellence is to transform the students of Arkansas for years to come . Arkansas to lead the nation in student-focused education . The DESE offers these Arkansas Fine Arts Academic Standards to outline learning The Rules Governing Standards for Accreditation require that expectations for students in the study of fine arts . The standards students receive instruction in fine arts . For grades K-8, all students encourage student-focused outcomes and the flexibility to identify must receive instruction annually in visual art and music . In grades 7-8, where students are in their learning . In arts education, personalized all students must receive instruction annually in either visual art or a experiences help all our students grow, regardless of their chosen performing art . As part of the minimum graduation requirements, all field . A student’s unique creativity, a product of student-focused arts students must successfully complete one-half credit of fine arts . education, develops the ability to understand a problem, think of multiple solutions, evaluate the best idea, and then implement it . This ability leads students to become creative change agents in the future . CR PR RE CN The Arkansas Fine Arts Academic Standards set the expectations for all schools in the state for teaching and learning in the artistic PERFORMING/ disciplines of , , , and . The revised standards CREATING RESPONDING CONNECTING dance theatre visual art music PRESENTING are presented in four volumes, one for each of these artistic disciplines . Additionally, opportunities and resources are provided for teachers to Anchor Standard 1 Anchor Standard 4 Anchor Standard 7 Anchor Standard 10 address both DESE’s Vision for Teaching and Learning and DESE’s G U. .I .D .E . Generate and Select, analyze Perceive and analyze Synthesize and for Life and other related programs as they apply to the study of fine arts . conceptualize and interpret artistic work . relate knowledge artistic ideas artistic work for and personal and work . presentation . Anchor Standard 8 experiences to The Arkansas Fine Arts Academic Standards allow students to Interpret intent make art . Anchor Standard 2 Anchor Standard 5 and meaning in participate in the four artistic processes, both cognitive and physical, Organize and Develop and refine artistic work . Anchor Standard 11 with which artists in every discipline learn and make art: creating, develop artistic artistic techniques Relate artistic ideas ideas and work . and work for Anchor Standard 9 and works with performing or presenting, responding, and connecting . These are the presentation . Apply criteria societal, cultural basis of the four domains that stretch across all disciplines, grade levels, Anchor Standard 3 to evaluate and historical Refine and complete Anchor Standard 6 artistic work . context to deepen and courses in the standards . artistic work . Convey meaning understanding . through the presentation of The Arkansas Fine Arts Academic Standards were prepared by a artistic work . diverse committee of educators from all over the state . DESE commends

4 Philosophical Foundations and Lifelong Goals of Arts Education

According to the National Core PHILOSOPHICAL FOUNDATION LIFELONG GOALS Arts Standards, the THE ARTS AS COMMUNICATION philosophical foundations and lifelong goals of a rich In today’s multimedia society, the arts are the media, and therefore Artistically literate citizens use a variety of artistic media, symbols, provide powerful and essential means of communication. The arts and metaphors to independently create and perform work that arts education establish provide unique symbol systems and metaphors that convey and expresses and communicates their own ideas, and are able to respond the basis for the academic inform life experience (i.e., the arts are ways of knowing). by analyzing and interpreting the artistic communications of others. standards and illuminate THE ARTS AS CREATIVE PERSONAL REALIZATION artistic literacy by expressing the overarching Participation in each of the arts as creators, performers, and audience Artistically literate citizens find at least one arts discipline in which members enables individuals to discover and develop their own they develop sufficient competence to continue active involvement in common values and creative capacity, thereby providing a source of lifelong satisfaction. creating, performing, and responding to art as an adult. expectations for learning in arts education . The THE ARTS AS CULTURE, HISTORY, AND CONNECTORS philosophical foundations Throughout history the arts have provided essential Artistically literate citizens know and understand artwork represent the core means for individuals and communities to express their from varied historical periods and cultures, and actively seek principles on which the ideas, experiences, feelings, and deepest beliefs. Each discipline and appreciate diverse forms and genres of artwork of enduring shares common goals, but approaches them through distinct media quality/significance. They also seek to understand relationships standards are based; the and techniques. Understanding artwork provides insights into among the arts, and cultivate habits of searching for and identifying lifelong goals represent individuals’ own and others’ cultures and societies, while patterns and relationships between the arts and other knowledge. also providing opportunities to access, express, and integrate knowledge and skill meaning across a variety of content areas. outcomes that a quality arts education will produce THE ARTS AS MEANS TO WELLBEING over a lifetime . Participation in the arts as creators, performers, Artistically literate citizens find joy, inspiration, peace, and audience members (responders) enhances mental, intellectual stimulation, meaning, and other life-enhancing physical, and emotional wellbeing. qualities through participation in all of the arts.

THE ARTS AS COMMUNITY ENGAGEMENT

The arts provide means for individuals to collaborate and connect Artistically literate citizens seek artistic experiences and support with others in an enjoyable, inclusive environment as they create, the arts in their local, state, national, and global communities. prepare, and share artwork that brings communities together.

5 G.U.I.D.E. for Life and the Arts

The Division of Elementary and Growth (manage yourself); Understanding Secondary Education has identified five (know yourself); Interaction (build guiding principles that support educators, relationships); Decisions (make responsible business leaders, communities, and students choices); and Empathy (be aware of others) . in their efforts to help all Arkansans develop Research shows that learning in and through these critical skills . The principles represent the arts offers rich opportunities for students skills needed to thrive at home, school, and teachers to interact in unique ways that on the job, and in the community: develop these essential life skills .

Growth: Growth: Growth as a product Manage Yourself The Goals of arts education:

• Develop problem- As an Arkansas graduate, I am: Arts students develop the ability to solve solving skills . • Reflective about my personal needs problems by participating in the artistic process • Practice mindfulness . and manage my emotions effectively . of creating as they source ideas, collaborate to • Persevere . • An effective choice-maker and able make artistic choices, and organize their artistic to demonstrate increasing levels of work . In the artistic process of performing or independence in setting goals and presenting, art students learn to persevere by achieving them for college, career, and practicing technical skills, revising, and rehearsing community engagement . until a final product is polished and ready to share • Able to manage time in order to set with a viewer or audience . tasks and goals and achieve them .

Understanding: Understanding: Understanding as a Know Yourself The Goals product of arts education:

• Increase self-awareness . As an Arkansas graduate, I am: The arts provide a natural place to develop • Know your strengths • Able to clearly articulate information characteristics associated with self-awareness . As and weaknesses . I want to share . students participate in art making, they experiment • Develop critical • Growth-minded, curious, and inquisitive . and grapple with new ideas and are asked to thinking skills . • Reflective . communicate both their strengths and weaknesses • Resourceful . with the confidence that understanding themselves as an artist and a person will be the result . In the artistic process of responding, arts students apply critical thinking to evaluate their own artistic work and that of others .

6 Interaction: Interaction: Interaction as a product Build Relationships The Goals of arts education:

• Treat others with respect . As an Arkansas graduate, I am: In the arts, students work as part of a creative team and • Communicate effectively . • An effective cross-cultural support the artistic work of peers in the artistic processes • Seek out and offer communicator . of creating and performing . Through the artistic processes help when needed . • An active listener . of responding and connecting, students respectfully • A supporter of others . observe, consider, and comment on the artistic work of their peers and of other cultures . They are given the opportunity to offer, receive, and apply constructive criticism and practice open discussion and collaboration with peers in both creating and revising their artistic work .

Decisions: Make Decisions: Decision-making as a Responsible Choices The Goals product of arts education:

• Consider personal beliefs, As an Arkansas graduate, I am: As they refine artistic techniques in the artistic process of safety, and the situation . • A self-directed learner . performing, art students must make responsible choices in • Think through • A responsible citizen . the selection, use, and care of the materials needed for their potential consequences . • Able to identify, set, and craft . The art student must also make lifestyle choices that • Put your best self forward . accomplish goals . allow him or her to remain healthy, manage time, and work hard to become a better practitioner of an artistic discipline . Additionally, art students are required to identify, set, and accomplish goals for every art work or performance .

Empathy: Be Empathy: Empathy as a product Aware of Others The Goals of arts education:

• See other perspectives . As an Arkansas graduate, I am: The arts are intertwined with feelings and emotions . In • Value the feelings of others . • Empathetic to others’ feelings . the artistic processes of creating and responding to art, • Appreciate diversity . • Socially aware of cultural issues students strive to understand the feelings and emotions and differences . of the audience, and to generate that understanding in • A collaborative team player . the audience as well . This relationship requires the ability to interpret the needs of another person . Learning about cultural diversity is at the heart of every artistic discipline, and is the foundation of the artistic process of connecting .

RESOURCES:

• PlayEQ Education 2020 • More information about the G U. I. D. E. . for Life can also be found on the DESE website . • Engaging Empathy (Crystal Bridges Museum of American Art)

7 Community Service Learning and the Arts

Community Service Learning (CSL) in Arkansas is specific to the teaching and learning in which students use academic knowledge and implementation of Act 648 of 1993 which combines service to the skills to address genuine community needs . It fosters civic responsibility community with student learning in a way that improves both the and benefits the community in some way . student and the community . CSL is best defined as volunteering or serving in a worthwhile capacity in the community while making a Act 648 of 1993 states that beginning with the 1996-97 school year, conscious effort to reflect, through some thoughtfully designed method, “a student who has completed a minimum of seventy-five (75) clock on what is learned from the service experience . CSL is an approach to hours of documented community service in grades nine (9) through twelve (12), at any certified service agency or a part of a service-learning school program shall be eligible to receive one (1) academic credit that may be applied toward graduation ”.

Community Service Learning is one indicator of a school district’s School Quality and Student Success . To establish a CSL program, school districts are asked to complete a district plan and submit it to the DESE through the Course Approval System.

For a list of nonprofit arts organizations and other community- based organizations that might be interested in partnering with your district in a CSL program, see the Arkansas Arts Council’s list of nonprofit organizations . These organizations provide opportunities and resources statewide, regionally, and locally . Before partnering with any organization, be sure you have secured local board approval . Once local board approval is secured, please submit a partner site application if students are not working under the supervision of licensed district personnel .

More information about Community Service Learning can be found on the DESE website .

8 ESSA and the Arts

The Every Student Succeeds Act (ESSA) requires a well-rounded ESSA AND FUNDING FOR THE ARTS education for every student, and the arts are integral to a well- rounded education . Title IV Part A is ESSA’s “well-rounded funding” and is especially supportive of arts education . Title IV Part A funds educational technology, safe and healthy students, and a well-rounded education . ESSA and Well-Rounded Education: It is distributed annually by each state to each district through a Title VIII, Section 8002 – Definition funding formula . “(52) WELL-ROUNDED EDUCATION .—The term ‘well-rounded education’ means courses, activities, and programming such as To learn about Title IV Part A funding and the arts, familiarize English, reading or language arts, writing, science, technology, yourself with your district’s guidelines for federal funding . Consult engineering, mathematics, foreign languages, civics and with district leadership for options for Title IV Part A funding that government, economics, arts, history, geography, computer might include arts program needs such as sheet music, art supplies, science, music, career and technical education, health, physical artist residencies, or subject-specific professional development for education, and any other subject, as determined by the State or fine arts teachers . Develop a funding request that clearly explains local education agency, with the purpose of providing all students how the requested funds will address the needs of your students, access to an enriched curriculum and educational experience ”. your program, and your school .

RESOURCES:

• Title IV Part A Technical Assistance Center • Review of Evidence: Arts Education Through the Lens of ESSA

• Everything ESSA (National Association for Music Educators) • More information about ESSA can be found on the U S. . Department of Education website . • EdTA’s Guide to Theatre Education Opportunities (Educational Theatre Association)

9 INTRODUCTION TO THEATRE STANDARDS

“I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being ”. – Thornton Wilder

“An essential component of a well-rounded education, theatre teaches critical 21st century life skills — collaboration, communication, creativity, and critical thinking ”.

– Educational Theatre Foundation

The Arkansas Academic Standards for Theatre are designed envisioned worlds and unscripted activities designed to engage to enable students to achieve literacy in theatre . These standards students in a wide range of real and imagined issues; theatrical articulate the most fundamental elements of theatre, delineating production includes the broader and more traditional conventions a path by which every student can achieve proficiency or beyond of the craft that have been developed over the centuries—scripted in this ancient craft . Developing literacy in theatre means discovering plays, acting, public performance, and technical theatre . While many the expressive elements of theatre; knowing the terminology and secondary theatre programs focus on performance and design in vast historical background that is used to comprehend theatre; staged productions as evidence of a student’s understanding and having a clear sense of what theatre embodies; and being able achievement in the art form, ongoing student engagement in theatre to reflect, critique, and connect personal experience to theatre . without an end product is also a valid expression of understanding and achievement . The standards often include the term “drama/ The theatre standards are written with both drama processes theatre” to clarify the distinct but companion parts of theatre and theatrical production in mind . Drama processes encompass education and literacy .

10 The Four Artistic Processes for Theatre

The four artistic processes of creating, performing, responding, contexts of meaning or knowledge (connecting) . As a result, aspects of and connecting are addressed separately in the theatre standards multiple standards can be combined within a learning activity: students but occur simultaneously in the actual practice of theatre . The theatre can learn a skill, apply it to a scene, make creative decisions while in student makes a character, scene, or story come alive (creating), rehearsal, think critically about their ideas, and relate their ideas to other shares the product with others (performing), analyzes and evaluates experiences, contexts, and meanings . the product (responding), and connects the experience to all other

CREATING PERFORMING RESPONDING TO CONNECTING CR DRAMA/THEATRE IDEAS PR DRAMA/THEATRE WORK RE DRAMA/THEATER WORK CN DRAMA/THEATRE WORK

CR.1 Generating DRAMA/ PR.4 Interpreting DRAMA/ RE.7 Analyzing DRAMA/ CN.10 Bringing knowledge and THEATRE IDEAS THEATRE WORK THEATRE WORK personal experience to CR.2 Forming DRAMA/ PR.5 Developing DRAMA/THEATRE RE.8 Discerning DRAMA/ DRAMA/THEATRE WORK THEATRE IDEAS TECHNIQUES and WORK THEATRE INTENT CN.11 Relating DRAMA/THEATRE CR.3 Refining DRAMA PR.6 Performing DRAMA/THEATRE RE.9 Evaluating DRAMA/ WORK to a variety of contexts THEATRE IDEAS WORK for others THEATRE WORK

CREATING WORDS PERFORMING WORDS RESPONDING WORDS CONNECTING WORDS

CR.1 Improvise, Imagine, Devise, Mime, PR.4 Annotate, Choose, Select, RE.7 Discuss, Differentiate, Cite, CN.10 Synthesize, Empathize, Blend, Explore, Prompt, Brainstorm, Classify, Explain, Peruse, Support, React, Dissect, Influence, Journal, Play, Experiment, Side-coach, Authenticate, Visualize, Separate, Perceive Personalize, Interact Storytell, Move PR.5 Drill, Direct, Rehearse, RE.8 Experience, Describe, Determine, CN.11 Compare, Link, Understand, CR.2 Compose, Arrange, Collaborate, Apply, Prepare, Vocalize, Believe, Motivate Associate, Empathize, Research Plan, Script, Record, Block, Articulate, Project, Manipulate, RE.9 Critique, Judge, Defend, Narrate, Plot, Compile Practice, Audition, Focus, Justify, Self-critique CR.3 Revise, Reflect, Share, Assess, Physicalize, Construct, Modify, Incorporate, Internalize Build, Costume, Gesture PR.6 Act, Embody, Express, Refine, Stage, Demonstrate, Communicate, Engage

11 The Eleven Anchor Standards

Under the artistic processes are eleven anchor standards that indicate learning objectives (“I can”) are required to be taught, whereas the the goal for student learning by the end of Grade 12 . Also included are teacher guidance statements (“For example, students might”) are overarching essential questions that teachers can use to guide student offered only as suggestions to spark ideas for instructional strategies. learning when they are designing lessons or planning activities . The artistic As Arkansas school districts plan for the arts education of their processes, anchor standards, and essential questions are drawn from the students, they should strive to nurture theatre programs and implement National Core Arts Standards and parallel theatre education across the a theatre curriculum that best suits the needs of their students . The United States . theatre classroom should be an inclusive community, and teachers should The Arkansas Academic Standards for Theatre have been designed as provide any accommodations needed to facilitate the success of individual a continuum of student achievement and learning, rather than as a fixed students . In conjunction with the Arkansas G U. I. D. E. . for Life, theatre is set of student learning expectations . The idea behind this continuum the only content area that actively teaches empathy for others as an is that most students are on a path of continuous growth and learning essential skill . Within the framework of the Arkansas Academic Standards that is mutually exclusive from their grade level . The continuum model for Theatre, teachers should have the flexibility to explore a wide variety accounts for the differences between school districts or the students’ of dramatic work that promotes empathetic connections between their prior exposure to theatre . The focus on the level of educational attainment students, their audiences, and their communities . for students shifts from when a concept should be taught in the theatre classroom to the students’ ability to demonstrate evidence of their own theatrical knowledge and skills, regardless of their grade level . The grade Supporting Artistic Process Anchor Standard Essential Question Standard or year, designation, and/or level of learning in the continuum bands

ARTISTIC THEATRE K-8 PROCESS Creating

ANCHOR provide a guide for approximating when students should reach learning STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when theatre artists use their imaginations and/or learned theatre skills while expectations while giving the teacher the flexibility to meet students at Grade or Year QUESTION engaging in creative exploration and inquiry?

and Designation SUPPORTING Students will conceive plot, characters, dialogue, and stage movement through exploration. their current level . The student learning objectives, written as “I can” CR.1.1 STANDARD Imagine: K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE statements, are provided for each level of learning . A B C D E F I can imitate the actions I can adapt the behavior I can collaborate with I can collaborate with I can identify how I can plan intentional Level of Learning of the characters in a of a character in a others to improvise others to plan and characters, dialogue, choices for characters, familiar story . familiar story . dialogue for a scene . improvise the plot, and stage movement dialogue, and stage characters, dialogue, and communicate characters movement that I can imagine how I can collaborate with basic stage movement and relationships and support the characters’ changing the plot of others to plan and for a scene . support the story as relationships and the Also provided is teacher guidance in the form of “For example, a story will lead to a improvise the plot, a whole . story as a whole . different ending . characters, and dialogue Student Learning for a scene . students might” statements that could be used to inspire ideas when Objective For example, students might For example, students might For example, students might • act out a character from a familiar story • improvise a scene based on a given scenario • improvise a scene including dialogue and with guidance . that includes the who, what, when, where, and intentional stage movement . • create a variation of a character in a familiar story why with a focus on dialogue, recording this in a • describe why a given stage movement is creating lessons for a standard . These instructional examples and by adapting the character’s behavior . cooperative writing . appropriate for that character’s • engage in developing alternative characters and • collaboratively plan a scenario that includes given circumstances . plot in a guided drama experience . the who, what, when, where, and why with a • create a blocking plan for a previously focus on plot and characters and improvise the improvised scene . dialogue for the scene . resources are not required as part of the curriculum but provide educators • collaboratively plan a previously improvised scene including basic stage movement (e g. ., simple blocking, gestures) specific to the scene . with various ways for students to demonstrate their understanding or Teacher Guidance competency . It is important to note that anchor standards and student THEATRE K-8: CREATING 12

12 Overview of Theatre Anchor Standards and Essential Questions

CR CREATING PR PERFORMING RE RESPONDING CN CONNECTING

Relating artistic ideas and Conceiving and developing Interpreting and Understanding and evaluating work with personal meaning new artistic ideas and work. sharing artistic work. how the arts convey meaning. and external context.

ANCHOR STANDARDS & ANCHOR STANDARDS & ANCHOR STANDARDS & ANCHOR STANDARDS & ESSENTIAL QUESTIONS ESSENTIAL QUESTIONS ESSENTIAL QUESTIONS ESSENTIAL QUESTIONS

CR.1 Students will generate and PR.4 Students will analyze, RE.7 Students will perceive and CN.10 Students will synthesize and conceptualize artistic ideas interpret, and select artistic analyze artistic work. relate knowledge and personal and work. work for presentation. How do theatre artists experiences to make art. What happens when theatre Why are strong choices essential comprehend the essence of What happens when theatre artists use their imaginations to interpreting a drama or drama processes and theatre artists foster understanding and/or learned theatre skills while theatre piece? experiences? between self and others through engaging in creative exploration PR.5 Students will develop and RE.8 Students will interpret intent critical awareness, social and inquiry? refine artistic techniques and and meaning in artistic work. responsibility, and the CR.2 Students will organize and work for presentation. How can the same work of art exploration of empathy? develop artistic ideas and work. What can I do to fully prepare a communicate different messages CN.11 Students will relate artistic How, when, and why do theatre script, performance or to different people? ideas and works with societal, artists’ choices change? technical design? RE.9 Students will apply criteria to cultural, and historical context CR.3 Students will refine and PR.6 Students will convey meaning evaluate artistic work. to deepen understanding. complete artistic work. through the presentation of How are the theatre artists’ What happens when theatre How do theatre artists transform artistic work. processes and the audience’s artists allow an understanding and edit their initial ideas? What happens when theatre perspectives impacted by of themselves and the world to artists and audiences share a analysis and synthesis? inform perceptions about theatre creative experience? and the purpose of their work? In what ways can research into theatre histories, literature, and performances alter the way a theatrical process or production is understood?

13 THEATRE K-8 STANDARDS AND TEACHER GUIDANCE

THEATRE K-8 14 Standards for Accreditation Information

Course Title: Theatre K-8 Theatre K-8 fulfills the Standards for Course/Unit Credit: N/A Accreditation requirement that students Course Number: Drama K-4: 214100, Grade 5 Drama: 355570, have annual instruction in visual art or Grade 5-6 Drama: 356100, Grade 6: 366570, performing art in Grades 7-8 . Drama 7-8: 378700 Teacher Licensure: Please refer to the Course Code Division of Elementary and Secondary Management System for the most current Education approval is not required licensure codes . for Theatre K-8 . Grades: K-8 Prerequisites: No prerequisites are required for Theatre K-8 .

Course Description: Theatre K-8

The Arkansas Theatre K-8 Standards are key concepts of the discipline and are designed to use these standards to support student designed to give students a rigorous education to guide the learning process . The standards achievement at whatever experience level in theatre, while allowing teachers to be support cross-curricular integration as well the student brings to the classroom . creative in their instructional program . The as diverse student needs in both instruction “I can” statements of the standards embody and assessment . Teachers should feel free

THEATRE K-8 15 ARTISTIC THEATRE K-8 PROCESS Creating

ANCHOR STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when theatre artists use their imaginations and/or learned theatre skills while QUESTION engaging in creative exploration and inquiry?

SUPPORTING CR.1.1 STANDARD Imagine: Students will conceive plot, characters, dialogue, and stage movement through exploration.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can imitate the actions I can adapt the behavior I can collaborate with I can collaborate with I can identify how I can plan intentional of the characters in a of a character in a others to improvise others to plan and characters, dialogue, choices for characters, familiar story . familiar story . dialogue for a scene . improvise the plot, and stage movement dialogue, and stage characters, dialogue, and communicate characters movement that I can imagine how I can collaborate with basic stage movement and relationships and support the characters’ changing the plot of others to plan and for a scene . support the story relationships and the a story will lead to a improvise the plot, as a whole . story as a whole . different ending . characters, and dialogue for a scene .

For example, students might For example, students might For example, students might • act out a character from a familiar story • improvise a scene based on a given scenario • improvise a scene including dialogue and with guidance . that includes the who, what, when, where, and intentional stage movement . • create a variation of a character in a familiar story why with a focus on dialogue, recording this in a • describe why a given stage movement is by adapting the character’s behavior . cooperative writing . appropriate for that character’s • engage in developing alternative characters and • collaboratively plan a scenario that includes the given circumstances . plot in a guided drama experience . who, what, when, where, and why with a focus on • create a blocking plan for a previously plot and characters and improvise the dialogue improvised scene . for the scene . • collaboratively plan a previously improvised scene including basic stage movement (e g. ., simple blocking, gestures) specific to the scene .

THEATRE K-8: CREATING 16 SUPPORTING CR.1.2 STANDARD Design: Students will design and create technical elements for a drama/theatre work.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can create props, I can describe how I can explore how a I can work with others to I can collaborate with I can collaborate with puppets, or costume props, costumes, or story’s mood and setting design a costume, prop, others to identify and others and use pieces alone or puppets demonstrate can be shown in props, or scenery for a story analyze design and available technology to with others . character traits . costumes, and scenery . and explain how my technical challenges . design one or more choices are appropriate technical elements . to the story .

For example, students might For example, students might For example, students might • use available materials such as scarves, art • experiment with and discuss how color, line, • observe a video showing the creation of a major supplies, or assorted hats to create a simple shape, and light can suggest mood, environment, technical element in a theatrical work that costume or prop for a familiar character or a or situation in a given story or production . resolves a challenge to staging a particular scenic, puppet based on a familiar character . • work in small groups to design costumes, scenery, character, or costume element . • share ideas and work together to create a and props based on a given story . • recreate a special effect moment from a drama/ costume or prop for a given character or create a • present design ideas and explain why certain theatre work such as making a character puppet based on a familiar character . color, line, and shape have been included in disappear, appear, or transform using lighting, • explain how and why their creation (e g. ., prop, the design . sound, costumes, and other elements of costume, or puppet) is appropriate for that technical theatre . character’s traits, personality, and situation .

THEATRE K-8: CREATING 17 SUPPORTING Characterize: Students will explore characters and describe vocal qualities, physical qualities, and STANDARD CR.1.3 movement that reveal the character’s traits.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can identify the five I can suggest ways to I can work with others I can use dialogue and I can explore multiple I can analyze a senses and the use my voice and body and use details from stage directions to make characters’ movements, character’s inner actor’s tools . when telling a familiar a story to plan how a decisions about how speech, and thoughts, objectives, story or being a character should characters should move inner thoughts . and motivation and I can imitate people, familiar character . move and talk . and speak in a scene . suggest vocal and creatures, or things I can analyze how a physical qualities using body and I can describe how a character’s background that reveal those facial expression . movement or vocal affects movement, character traits . quality can reflect a speech, and character’s traits inner thoughts . and personality .

For example, students might For example, students might For example, students might • engage in sensory activities and explore his or her • engage in a pair and share to determine • create a Facebook page or Instagram stream for body, imagination, and voice as tools . appropriate character vocalization and movement given characters revealing their personalities and • use pantomime or tableau, individually or in for a specific character (e g. ., The Big Bad Wolf characteristics and how the characters interact groups, with guidance as needed, to imitate using a growly voice and moving in a sneaky with other characters . people, creatures, or things using his or her body manner) from the details of a story . • write journal entries for a given character and as a tool . • read a scripted drama/theatre work and discuss a share them . • demonstrate or suggest various gestures, character’s vocal and physical attributes based on movements, and vocal qualities (e g. ., gestures, personal interpretation of the dialogue and pitch, posture, rate, tone, volume) that a specific stage directions . character might use . • read a scripted drama/theatre work and explain how a specific movement or vocal quality is reflective of character traits and personalities .

THEATRE K-8: CREATING 18 ARTISTIC THEATRE K-8 PROCESS Creating

ANCHOR STANDARD Students will organize and develop artistic ideas and work.

CR.2 ESSENTIAL QUESTION How, when, and why do theatre artists’ choices change?

SUPPORTING CR.2.1 STANDARD Develop: Students will explore story elements to develop and write original material.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can work with others to I can add details and I can identify the I can work with others I can develop a dramatic I can develop an original retell a familiar story . new ideas when retelling story elements in and use the story piece of a familiar story, dramatic piece that a familiar story . a given story . elements to plan a personal experience, or includes monologue scene and write it in a historical or cultural or dialogue, action, I can work with others script format . event using dialogue . and setting . to create a new story that has a beginning, I can work with others I can develop a dramatic middle, and end . to develop a new or piece based on familiar dramatized version of stories that includes a familiar story monologue or dialogue using dialogue . and action .

For example, students might For example, students might For example, students might • engage in a pair and share activity to retell a • identify story elements (e g. ., character, dialogue, • share a monologue about a personal, significant familiar story, using sequencing picture cards . plot, and setting) in a familiar story . experience such as winning an award, • participate in a whole-group brainstorming • using planning cards (e g. ., who, what, when, participating in a community holiday event, or session to identify ways to add new details and where, why, problem, solution), work in small becoming a sibling . ideas to a familiar story and then retell the story groups to plan an original scene from a given • adapt a story from mythology . using the new details to a partner . theme such as a family event, school situation, • collaboratively develop a readers theatre that • work in small groups to create an original story or fantasy . focuses on a societal issue of the student’s choice . with a need, an obstacle, a plan, implementation, • work in small groups to create a short script with and a resolution . a beginning, middle, and end from an original idea or a familiar story .

THEATRE K-8: CREATING 19 SUPPORTING CR.2.2 STANDARD Collaborate: Students will collaborate with a creative team to prepare for a drama/theatre work.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can cooperate with I can cooperate with I can collaborate with I can identify the I can contribute to I can collaborate with a others and share my others to make decisions others to make decisions team members and the production of a creative team to share ideas when acting when acting out a story . when creating a their respective drama/theatre work leadership roles and out a story . story or scene . responsibilities needed and demonstrate my responsibilities and to present a relationship to other demonstrate respect theatrical work . team members . for self and others to prepare for a drama/ theatre work .

For example, students might For example, students might For example, students might • engage with other students when acting out • identify verbally or in writing the responsibilities • create a theatre hierarchy chart that can provide Cinderella or Rafe Martin’s The Rough-Faced Girl . of an actor, designer, director, playwright, a graphic representation of the various personnel • work in small groups to make decisions about producer, stage manager, and technicians . and how each of the respective teams relate to how to act out a familiar story and then act out one another . the story for the class . • divide into design teams to draft a proposed design concept .

THEATRE K-8: CREATING 20 ARTISTIC THEATRE K-8 PROCESS Creating

ANCHOR STANDARD Students will refine and complete artistic work.

CR.3 ESSENTIAL QUESTION How do theatre artists transform and edit their initial ideas?

SUPPORTING CR.3.1 STANDARD Refine: Students will apply self-reflection and peer feedback to refine artistic work.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can ask and answer I can work with others to I can collaborate I can self-reflect and I can use repetition to I can refine an questions about a story . change an original story . with others to collaborate with others refine an improvised or improvised or scripted adapt dialogue . to revise an improvised scripted story . story through repetition, I can work with others to or scripted story . reflection, and feedback . change a familiar story . I can collaborate with others to revise an improvised or scripted story .

For example, students might For example, students might For example, students might • ask why a character took a certain action . • pair and share to improve dialogue . • work in a small group to act out Where the Wild • work with a partner to create an alternate ending • work in small groups to address problems in a Things Are by Maurice Sendak multiple times and for a familiar fairy tale . given script based on group feedback . then reflect on and incorporate the best parts of • work in small groups to change an original story • following a partner improvisation, use a each presentation . to clarify the character relationships . predetermined checklist or worksheet to reflect, revising the work accordingly .

THEATRE K-8: CREATING 21 Creating Notes: Favorite Resources:

THEATRE K-8: CREATING 22 ARTISTIC THEATRE K-8 PROCESS Performing

ANCHOR STANDARD Students will select, analyze, and interpret artistic work for presentation.

PR.4 ESSENTIAL QUESTION Why are strong choices essential to interpreting a drama or theatre piece?

SUPPORTING PR.4.1 STANDARD Choose: Students will make appropriate acting and staging choices that advance the story.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can tell who the I can describe the I can act out a I can discuss how a I can identify the key I can consider different characters of a story or characters, their story with specific character’s thoughts and events of a story that options for staging a play are and where the relationships, and characters, relationships, emotions affect what are the most important scene and choose the play takes place . their actions from and setting . they say and do . for telling the story . one(s) that work best a story or play . for the story or play . I can analyze dialogue I can consider different and character actions to options for staging a infer their emotions scene and try one or and objectives . more options .

For example, students might For example, students might For example, students might • listen to a story and pair and share to identify the • read Look Out for the Big Bad Fish by Sheridan • fill out a plot analysis form in which they identify characters and setting . Cain, and in a small group, discuss and act out exposition, inciting incident, rising action, climax, • read from a simple script and choose a character specific characters, focusing on their relationships falling action, denouement, and resolution . to draw illustrating an action . and the setting (e g. ., Mommy Frog and her • adjust blocking in a scene in response to the • describe a character’s action to a buddy . Tadpole in a pond) . teacher adding set pieces or other • use a scripted form of a fable to analyze dialogue, characters’ entrances . character actions, and motivations .

THEATRE K-8: PERFORMING 23 SUPPORTING PR.4.2 STANDARD Select: Students will select voice, movement, and expression to interpret a drama/theatre work.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can use body language I can change my voice I can experiment with I can choose specific I can identify physical I can use physical and and facial expressions to and use body language using my voice and vocal changes and body and vocal choices to vocal choices to show a show how my character and facial expressions body to communicate movements to portray show motivation and character’s motivation, is feeling in a scene . to show specific a character in a a character . emotions behind objectives, and emotions character traits . variety of ways . an individual in a drama/theatre work . I can explain how an character’s actions . actor uses his/her body I can apply a character’s and voice to create a motivation, objectives, believable character . and tactics in a drama/ theatre work to overcome obstacles by making vocal and physical choices .

For example, students might For example, students might For example, students might • work in a group to generate a list of emotions and • play Charades with a student-created list • play a game called “Honey, if you love me” in then explore the emotions using body language of characters, justifying their guesses of the which the objective of one student is to make his and facial expressions . character who is being portrayed . partner, who is resisting, smile . • play Charades with a teacher-created list of • observe classmates’ performances and use a • use a Meisner repetition exercise to explore a characters (e g. ., Pecos Bill, Gaston, Goldilocks), teacher-created rubric to evaluate what they did character’s motivation and objective behind lines manipulating body language and facial expression with their body and voice to make their of text from the script . to demonstrate the character’s specific traits . characters believable .

THEATRE K-8: PERFORMING 24 ARTISTIC THEATRE K-8 PROCESS Performing

ANCHOR STANDARD Students will develop and refine artistic techniques and work for presentation.

PR.5 ESSENTIAL QUESTION What can I do to fully prepare a performance or technical design?

SUPPORTING PR.5.1 STANDARD Prepare: Students will cultivate physical and vocal qualities to develop characters.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can use my face, body, I can improve my I can use a variety of I can use appropriate I can identify effective I can refine effective voice, and movement to communication with physical and vocal physical and vocal physical, vocal, and character traits through show ideas and feelings . others by practicing qualities to show qualities to develop a emotional traits of the preparation of a physical and vocal skills . emotions and other character in a scripted characters in the scripted or improvised character traits of a or improvised drama/ preparation of a scripted drama/theatre work . specific and/or theatre work . or improvised drama/ familiar character . theatre work .

For example, students might For example, students might For example, students might • experiment with showing sadness through • explore vocal variety by saying a line of text as • review a video of themselves rehearsing a scene downturned facial expression, dropped shoulders, a familiar character such as Troll or Little Red and evaluate the performance, addressing the and slow gait . Riding Hood . effectiveness of physical, vocal, and • practice tongue twisters for articulation, vocal • explore appropriate physical and vocal qualities emotional traits . exercises for pitch variety, and pantomime of a specific character, demonstrating appropriate • perform several lines of scripted text repeatedly exercises for expressive movement and gestures . emotions according to the character’s while changing the emotional context using a list changing circumstances . of various emotions .

THEATRE K-8: PERFORMING 25 SUPPORTING PR.5.2 STANDARD Rehearse: Students will apply theatre exercises to technical acting skills.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can use imagination, I can connect my voice I can concentrate and I can choose theatre I can practice a variety I can apply a variety of voices, sounds, and and body movements to cooperate with others games and exercises to of acting techniques acting techniques that movement when acting the way my character is while participating in develop and refine my that will help me will help me portray a out stories . feeling in a play . group theatre games acting technique . develop a character . specific character in a or exercises . drama/theatre work .

For example, students might For example, students might For example, students might • watch the Munchkin scene from the musical The • participate in a group drama game such as • place a given character in a new setting (e g. ,. Wizard of Oz and explain to a partner how each Wizards, Giants and Goblins . Little Red Riding Hood in Manhattan, Dr . Seuss’s character’s voice was appropriate for • participate in a variety of theatre games and Horton in the Chocolate Factory) to deepen the character . cognitive exercises and then reflect on how the understanding of the character’s motivation . • choose a favorite character from a drama/theatre implicit dynamics of the games and exercises help • participate in physical and vocal warm-up work and demonstrate appropriate vocalization to improve acting skills . activities before a performance . and movement based on the character’s • use a variety of techniques such as pantomime, • participate in a Meisner repetition exercise changing feelings . director-guided rehearsal of scripted material, or using open scenes . improvisation to develop a character .

THEATRE K-8: PERFORMING 26 SUPPORTING PR.5.3 STANDARD Prepare: Students will use and design technical elements.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can use costumes or I can use lights, I can share ideas about I can identify I can identify I can refine and apply props when acting . sound, special effects, what technical elements appropriate vocabulary appropriate vocabulary solutions to a planned costumes, and sets in might enhance a to describe various to describe various technical design during a performance . theatrical work . stage and types of stage spaces . the rehearsal process for technical elements . a drama/theatre work I can identify costume, I can analyze a planned through collaboration makeup, and scenic I can discuss a planned technical design during with peers and by using elements of a planned technical design during the rehearsal process available technology technical design during the rehearsal process for a scripted drama/ when appropriate . the rehearsal process for a scripted drama/ theatre work . for a scripted drama/ theatre work . theatre work .

For example, students might For example, students might For example, students might • choose a prop from a prop box and act out • work in small groups to create a model • label a diagram of a given stage space using a character based on that prop (e g. ,. choose from a variety of materials such as cardboard, terms such as apron, arena, back stage, black a marker from the box and pretend to be building blocks, and construction paper . box, grand drape, house, on/off stage, a teacher) . • locate center stage, stage right, stage proscenium, thrust, and wings . • choose from percussive instruments to create left, upstage, and downstage in a • build a shoebox set of a given scene . sound effects for a drama/theatre work performance space . • design a ground plan in various stage (e g. ., use drums to make the sound of hooves • create a drawing of how they imagine a configurations (e g. ., thrust, proscenium, arena), hitting the bridge as the big Billy Goat Gruff character’s costume design and makeup constructs (e g. ,. classroom, hallway, stage), stomps across it) . design would look . or restrictions (e g. ., available materials) . • create a simple drawing of a • use editing and design software, sound and character’s environment . lighting equipment, or web resources to refine • in a small group discuss the possible a technical design . technical designs that are appropriate for the text .

THEATRE K-8: PERFORMING 27 ARTISTIC THEATRE K-8 PROCESS Performing

ANCHOR STANDARD Students will convey meaning through the presentation of artistic work.

PR.6 ESSENTIAL QUESTION What happens when theatre artists and audiences share a creative experience?

SUPPORTING PR.6.1 STANDARD Share: Students will present a variety of drama/theatre works for diverse audiences.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can imitate people, I can use my voice I can perform a I can perform a I can perform a drama/ I can perform a scripted creatures, or things and body to portray theatrical work theatrical work with theatre work, including and rehearsed drama/ and communicate a specific familiar informally for peers . personal significance some technical theatre work for emotions using my character for and discuss its meaning elements, informally or an audience . voice and body . an audience . with peers . formally for an audience .

For example, students might For example, students might For example, students might • use informal performances to imitate people, • use a theme and a planning card to create, • participate in a class production in an acting or a creatures, or things . practice, and perform a scene (e g. ,. given the technical role . • choose how to manipulate their voice and body to theme of family, students create and act out a portray a specific character . scene about a brother and sister arguing about • use informal performances to communicate who gets the last piece of pizza) . emotions to an audience . • watch a recording of their own performance in class and discuss with their classmates what the performance meant . • rehearse and perform a theatrical work for other students in the school .

THEATRE K-8: PERFORMING 28 Performing Notes: Favorite Resources:

THEATRE K-8: PERFORMING 29 ARTISTIC THEATRE K-8 PROCESS Responding

ANCHOR STANDARD Students will perceive and analyze artistic work.

RE.7 ESSENTIAL QUESTION How do theatre artists comprehend the essence of drama processes and theatre experiences?

SUPPORTING Reflect: The student will analyze artistic and technical choices in an individual or ensemble STANDARD RE.7.1 performance of a drama/theatre work.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can share how I can identify artistic I can explain why artists I can explain how artistic I can compare and I can analyze the artistic a performance and technical choices make specific artistic and technical choices contrast my reaction to and technical choices makes me feel . others have made in and technical choices impact my reactions to the artistic and technical in an individual or a theatrical work . when putting together a theatrical work . choices in a theatrical ensemble performance I can identify my own a theatrical work . work with my of a drama/theatre work . artistic choices . peers’ reactions .

For example, students might For example, students might For example, students might • participate in a group discussion describing their • discuss the costume renderings, set model, • watch two different versions of the same feelings after a performance . and/or lighting plot for a specific production and performance (i e. ,. original version of Oklahoma • describe why a specific character’s costume was why the designer made specific artistic choices . and the 2019 revival of Oklahoma) and through an appropriate choice for that character . • after watching a live or filmed performance, discussion, compare the varied reactions, explain how the lighting affected their opinions, and preferences of peers to the piece . emotional response .

THEATRE K-8: RESPONDING 30 SUPPORTING RE.7.2 STANDARD Observe: Students will exhibit appropriate audience behavior.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can use manners with I can use manners I can demonstrate with I can demonstrate with I can demonstrate I can adjust guidance in rehearsal, as in rehearsal, as an guidance appropriate guidance appropriate appropriate listening appropriate listening an audience member, or audience member, or stage and listening performance standards skills and performance skills and performance as a performer . as a performer . skills in rehearsal, as an in rehearsal or on stage . standards in rehearsal, standards to audience member, or as an audience member, different environments . as a performer . or as a performer .

For example, students might For example, students might For example, students might • watch the teacher for entrance cues . • listen quietly while the actors in another scene • place props in a location assigned by the • practice respectful audience behavior . are rehearsing with the teacher . teacher when not in use during a performance . • discuss their experiences after watching • always be aware of what is happening onstage • provide supportive comments to peers a performance . during a rehearsal or performance . in rehearsal .

THEATRE K-8: RESPONDING 31 ARTISTIC THEATRE K-8 PROCESS Responding

ANCHOR STANDARD Students will interpret intent and meaning in artistic work.

RE.8 ESSENTIAL QUESTION How can the same work of art communicate different messages to different people?

SUPPORTING Interpret: Students will analyze the influence of cultural perspectives on the creation and interpreta- STANDARD RE.8.1 tion of a drama/theatre work.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can identify the I can explain why I can recognize there are I can identify how I can explain how I can analyze how characters and setting a character does multiple ways to develop technical elements artistic and technical cultural perspectives of the play . something and what a character that reflects reflect cultural choices made in a influence the will happen to the cultural perspectives . perspectives in a theatrical work reflect interpretation of a I can explain why character based on theatrical work . cultural perspectives . drama/theatre work . a character does those choices . something .

For example, students might For example, students might For example, students might • pair and share regarding their favorite characters • discuss the manner in which costumes change • watch scenes from the musical Hamilton and from a drama/theatre work and identify from culture to culture . discuss the directorial and casting choices made the setting . • use a traditional folk tale or fairy tale and in some by Lin Manuel Miranda and how that reflects his • identify a particular choice a character has made way change the cultural perspective (e g. ., change cultural perspective . and predict what will happen next . a story from a forest setting to the inner city) .

THEATRE K-8: RESPONDING 32 SUPPORTING Interpret: Students will analyze the influence of personal perspectives on the creation and inter- STANDARD CR.8.2 pretation of a drama/theatre work.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can compare my I can compare my I can compare my I can identify the I can compare the I can apply my personal reactions to those of a emotions to those of a personal experiences to playwright’s personal effect of my personal preferences and beliefs character in a character in a those of a character in a preferences and beliefs preferences and beliefs when interpreting a given situation . given situation . given situation . in a drama/theatre work . to the playwright’s when drama/theatre work . interpreting a drama/ theatre work .

For example, students might For example, students might For example, students might • identify the emotions of Alexander in Alexander • watch a performance on video without volume • write a monologue or scene that reflects his or and the Terrible, Horrible, No-Good, Very Bad and create dialogue based on facial expressions her own personal or cultural perspective . Day by Judith Viorst and make connections to and gestures; explain his or her choices to emotions he or she experienced on a bad day . a partner . • discuss the cause and effect of character actions and relate those actions to a personal experience .

THEATRE K-8: RESPONDING 33 ARTISTIC THEATRE K-8 PROCESS Responding

ANCHOR STANDARD Students will apply criteria to evaluate artistic work.

RE.9 ESSENTIAL How are the theatre artists’ processes and the audience’s perspectives impacted by analysis QUESTION and synthesis?

SUPPORTING RE.9.1 STANDARD Critique: Students will evaluate theatrical works.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can listen respectfully I can think about what I I can form an opinion I can describe why I can evaluate a I can develop and and respond am seeing and hearing about a theatrical and how individuals theatrical work as an implement a plan to appropriately to a when I am an audience work based on my and groups evaluate a audience member based evaluate a theatrical theatrical experience . member and make personal response as an theatrical work . on simple, given criteria . work, using supporting personal connections . audience member . evidence, personal aesthetics, and artistic criteria .

For example, students might For example, students might For example, students might • demonstrate appropriate listening, observing, and • participate in group discussions to evaluate a • attend a play or watch a recording of a production behavior skills during peers’ presentations . given performance . and use predetermined criteria to evaluate the • compare appropriate audience responses to • maintain a personal response journal that includes aesthetic, artistic, and technical choices of theatrical events with other events such as movies personal opinions about theatrical work or that piece . or sporting events . artistic choices .

THEATRE K-8: RESPONDING 34 SUPPORTING RE.9.2 STANDARD Impact: Students will examine the impact of a theatrical work on an audience.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can connect my I can discuss decisions I can observe how an I can discuss how the I can identify a specific I can examine methods decisions to the that different characters audience responds to a problems and situations audience or purpose for of determining the decisions a would make in the theatrical work . in a theatrical work a drama/theatre work . degree to which character makes . same situation . influence an audience . a drama/theatre I can describe an I can examine the work impacts a audience’s reaction to relationship between the specific audience . a character’s choices . purpose of a work and a while observing a specific audience . theatrical work .

For example, students might For example, students might For example, students might • make a decision and compare it to decisions that • through journal entries, describe how an audience • choose an appropriate text for a specific audience a character has made . responds to a theatrical work . (e g. ., The Three Billy Goats Gruff for children ages • compare and contrast how the seven dwarfs • discuss in a Socratic Circle the impact that the 3-7 for the purpose of entertainment; monologue would each respond differently to the appearance character’s problem has on an audience . from William Golding’s Lord of the Flies for of Snow White . middle school students to prompt a discussion of social norms) . • identify and describe methods of feedback for a given performance (e g. ,. applause, post production discussion, audience feedback) .

THEATRE K-8: RESPONDING 35 Responding Notes: Favorite Resources:

THEATRE K-8: RESPONDING 36 ARTISTIC THEATRE K-8 PROCESS Connecting

ANCHOR STANDARD Students will synthesize and relate knowledge and personal experiences to make art.

CN.10 ESSENTIAL What happens when theatre artists foster understanding between self and others through critical QUESTION awareness, social responsibility, and the exploration of empathy?

SUPPORTING Relate: Students will relate personal, cultural, and global perspectives and beliefs to STANDARD CN.10.1 theatrical works.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can talk about I can make connections I can identify how I can compare how I can examine various I can incorporate ways that I am the between a story theatrical works share the ideas presented in cultural perspectives, multiple cultural same and different from and myself . information, as well as a theatrical work may community beliefs, and perspectives, global characters in a play . thoughts and feelings, support or conflict with personal beliefs in a perspectives, community with others . my beliefs or the theatrical work . beliefs, and personal I can identify emotions beliefs of others . beliefs in a scripted a character in a play is I can determine the or improvised feeling and talk about ways a theatrical theatrical work . a time when I felt work reflects what is the same way . happening in my family, community, or culture .

For example, students might For example, students might For example, students might • compare something a character experiences with • compare a theatrical work to something • compare and contrast ideas presented in a something that they have experienced . happening within their own community or culture . drama/theatre work with their beliefs or those of • compare events, characters, or situations to their • compare and contrast ideas presented in a other students and explain how those beliefs have own lives . theatrical work with their beliefs or those impacted the theatrical work . of others . • use a specific drama/theatre work that has been presented from different cultural perspectives and examine the intended impact of each work (e g. ,. the musicals The Wizard of Oz and The Wiz, the books Cinderella and Rafe Martin’s The Rough- Faced Girl) .

THEATRE K-8: CONNECTING 37 ARTISTIC THEATRE K-8 PROCESS Connecting

ANCHOR Relate: Students will relate artistic ideas and works with societal, cultural, and historical CN.11 STANDARD context to deepen understanding. ESSENTIAL What happens when theatre artists allow an understanding of themselves and the world to inform QUESTION perceptions about theatre and the purpose of their work?

SUPPORTING Incorporate: Students will recognize and incorporate multiple art forms, cultural traditions, and STANDARD CN.11.1 social themes in theatrical works.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can use what I already I can use knowledge I can include cultural I can identify social I can investigate I can dramatize universal know when I am acting . and skills from other art and/or historical issues that are universal themes themes and/or social forms in my traditions in a addressed in a from a particular issues from a particular I can use knowledge theatrical work . scene or play . theatrical work . cultural, global, or cultural, global, or from other content areas historical perspective in historical perspective in in my theatrical work . I can respond to social a drama/theatre work . a drama/theatre work . issues through an improvised or scripted I can incorporate theatrical work . relevant music, dance, art, and/or media into a drama/theatre work .

For example, students might For example, students might For example, students might • use their prior knowledge to plan and present a • improvise a scene at a birthday party, • read a variety of drama/theatre works and pantomime of the life cycle of a caterpillar . incorporating the “Happy Birthday” song . explore the presentation of a particular theme • create a mask based on a chosen character from • working with a partner, list cultural traditions (e g. ., good, evil, love, pride, prejudice, joy, sorrow) a shared story using a variety of art supplies and (e g. ., celebrations, clothing, dance, food, from the perspective of different cultures . explain choices regarding color, shape, or line . greetings, holidays, music) . • choose a drama/theatre work and create a • discuss social issues addressed in a live presentation that explores a universal theme, performance or digital media piece . incorporating music, dance, art, and/or media • write a scene that models an appropriate to enhance the performance . strategy to use when facing a social media bullying situation .

THEATRE K-8: CONNECTING 38 SUPPORTING CN.11.2 STANDARD Research: Students will investigate historical contexts and/or cultural influences in theatrical works.

K-2: BEGINNER 3-5: EMERGING 6-8: INTERMEDIATE

A B C D E F

I can explore a I can tell a short story I can explore stories and I can collaborate with I can investigate time I can compare cross- variety of stories . based on a folk tales from various others to create a periods in the history cultural or historical personal experience . cultures or time periods . short scene based on of theatre . approaches to I can tell others a historical or cultural storytelling in a drama/ about myself . I can compare similar I can collaborate with literary source . I can compare the theatre work . stories from others to create a various conventions and I can talk about how multiple cultures . short scene based on a I can create an terminology of different I can research one stories are different fictional literary source . improvised or scripted time periods . or more sources from one another . I can tell a short story scene based on of information to based on someone historical or determine how a else’s experiences . cultural information . playwright intended a drama/theatre work I can examine how to be produced . artists have historically presented the same I can investigate stories using different historical context and/ art forms or genres . or cultural influences on the work of a playwright .

For example, students might For example, students might For example, students might • act out fairy tales or stories from classroom • work from a given historical script and improvise • research a particular era of theatre history literature with guidance . scenes to add to the script to enhance a (e g. ., Greco-Roman, Elizabethan, Renaissance) • share their favorite food, color, and activity with a final performance . and create a presentation and performance partner or the class . • work in a small group to create a scene based on on that era with a group . • discuss differences between two different stories a chosen fictional text . • participate in a table read of a Greek play and or two versions of the same story . • examine examples of art from the same historical consider elements of Greek theatre and evidence • tell about the last time they did a favorite activity . period or culture (e g. ., examine poetry, paintings, of historical values within the context of the play . • interview a partner and then tell their partner’s and dances from the Harlem Renaissance) and • compare stock characters of the Commedia story as if it was their own . write dialogue for a short scene based on dell’Arte to contemporary television that examination . sitcom characters . • compare and contrast the characteristics of fables, legends, oral history, myths, and playwriting as storytelling approaches .

THEATRE K-8: CONNECTING 39 Connecting Notes: Favorite Resources:

THEATRE K-8: CONNECTING 40 THEATRE I-IV STANDARDS AND TEACHER GUIDANCE

THEATRE I-IV 41 Standards for Accreditation Information

Course Title: Theatre I-IV Theatre I fulfills the 0 .5 credit fine arts Course/Unit Credit: 1 unit per course graduation requirement . Course Number: Theatre I: 459100, Theatre II: 459110, Theatre III: 459120, Theatre IV: 459130 Division of Elementary and Secondary Teacher Licensure: Please refer to the Course Code Education approval is not required for Management System for the most current Theatre I-IV . licensure codes . Grades: 9-12 Prerequisites: There is no prerequisite for Theatre I . The student entering Theatre II, III, or IV should successfully complete the preceding year of Theatre and/or have the instructor’s approval through audition .

Course Description: Theatre I-IV

Theatre I is a two-semester course in stagecraft . Students will evaluate and critique students to master the skills required to direct which students master both academic and both written and performed works and make drama/theatre experiences . performance skills in the art of drama and connections between theatre, other art forms, theatrical production . They are introduced and other cultures . Theatre II and III expand the NOTE: Theatre I-IV are not conducive to large to improvisation, expressive movement, knowledge and performance base of Theatre I . group instruction . Recommended class size is analysis of scripts and characters, acting, and Theatre IV is a two-semester course that guides 30 students per class .

THEATRE I-IV 42 ARTISTIC THEATRE I-IV PROCESS Creating

ANCHOR STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when theatre artists use their imaginations and/or learned theatre skills while QUESTION engaging in creative exploration and inquiry?

SUPPORTING Imagine: Students will explore characters and describe vocal qualities, physical qualities, and move- STANDARD CR.1.1 ment that reveal the character’s traits.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can explore with guidance I can collaborate with others to I can use imaginary environments to I can direct others in imaginary imaginary environments to generate explore imaginary environments to improvise the elements of a story to environments to create the elements ideas for the elements of a story . improvise the elements of a story . elicit a specific audience response . of a story to elicit a specific audience response .

For example, students might For example, students might For example, students might For example, students might • mime fairy tales or • participate in small group • participate in a series of • provide prompts and side coach cartoon characters . exercises in pantomime, mime, improvisations based on a single peers in a series of improvisations • improvise acting out a or improvisation . prompt and compare and contrast designed to elicit varied responses favorite story . the varied responses of from observers . the observers .

THEATRE I-IV: CREATING 43 SUPPORTING CR.1.2 STANDARD Design: Students will design and create technical elements for a drama/theatre work.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can imagine solutions to design I can explore the impact of I can generate multiple designs for I can make design choices challenges in a drama/theatre work . digital media on design for a a single drama/theatre work using from a directorial perspective drama/theatre work . available technology . using technology .

For example, students might For example, students might For example, students might For example, students might • compile a digital inspiration • watch a video about the • use technology to plan lighting • research a broad range of board or collage . technology used in preparation and sound designs for a production concepts for a for a Broadway production . selected work . proposed production . • use technology to explore a variety of settings for Shakespearean plays . • make a playlist to serve as the soundtrack for an original script .

THEATRE I-IV: CREATING 44 SUPPORTING CR.1.3 STANDARD Characterize: Students will explore the creation of diverse characters.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can explore with guidance the I can collaborate with others to explore I can use a variety of sources I can direct others in using a creation of diverse characters . the creation of diverse characters . to generate ideas about diverse variety of sources to generate ideas characters who elicit a specific about diverse characters who elicit a audience response . specific audience response .

For example, students might For example, students might For example, students might For example, students might • look through magazines for • discuss the personalities of fairy • read a scene from a play and • facilitate a discussion with pictures of people who seem to tale characters such as Rapunzel list clues in the script about peers to determine appropriate represent character types; share or Aladdin and brainstorm master the characters’ behavior resources for developing a and discuss with peers . gestures that would express or motivation . variety of original characters . those personalities . • consider their own personal knowledge and experience as it relates to a character’s conduct .

THEATRE I-IV: CREATING 45 ARTISTIC THEATRE I-IV PROCESS Creating

ANCHOR STANDARD Students will organize and develop artistic ideas and work.

CR.2 ESSENTIAL QUESTION How, when, and why do theatre artists’ choices change?

SUPPORTING CR.2.1 STANDARD Develop: Students will develop narrative elements in devised or scripted works.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can develop characters, I can develop characters, I can assess choices made in the I can justify choices made setting, and plot individually in setting, and plot individually and in development of characters, setting, in the development of characters, a devised or scripted work . groups to create a desired effect in and plot to create a desired effect in a setting, and plot to create a desired a devised or scripted work . devised or scripted work . effect in a devised or scripted drama/theatre work .

For example, students might For example, students might For example, students might For example, students might • identify the components of the • discuss a variety of possible • compare and contrast the • in a discussion following a group plot of a play and create a plot resolutions to the conflict in motivations and objectives of improvisation, ask questions that diagram for an original story . a script . multiple characters in a encourage peers to consider the • create a character’s history from • collaboratively create a body scripted work . effect of the piece on observers imagination while staying true to biography (character sketch) by • write an alternate ending to a and justify the choices that information about the character drawing a life-sized depiction of well-known story or play . were made . provided in the script . the character, noting appearance, thoughts, motives, and tactics through visual representations .

THEATRE I-IV: CREATING 46 SUPPORTING CR.2.2 STANDARD Collaborate: Students will collaborate with a creative team to prepare for a drama/theatre work.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can explore the I can collaborate with others to I can collaborate to develop ideas for I can provide oversight and vision collaborative nature of theatre . develop ideas for an informal or an informal or formal performance for for the work of a creative team in formal performance . a specific audience or specific purpose . developing ideas for an informal or I can identify onstage and offstage formal performance . theatrical roles or positions and the I can investigate onstage and offstage I can fulfill the responsibilities of one responsibilities of each . theatrical roles or positions and the onstage or offstage theatrical role or I can fulfill the responsibilities and responsibilities of each . position as part of a creative team . provide guidance as the director of a creative team .

For example, students might For example, students might For example, students might For example, students might • participate in team building • working with others, source ideas • bring music, poems, or quotations • facilitate the planning of exercises or group for an original duet or to class to compile into a patriotic a production for movement exercises . group scene . readers’ theatre appropriate for a elementary students . • participate in a class discussion • research various theatrical civic event . of the contributions of various positions such as actor, designer, • act as prop master, contributing theatrical positions to the director, playwright, producer, ideas in a production overall production . stage manager, or technician, staff meeting . using digital media when available .

THEATRE I-IV: CREATING 47 SUPPORTING CR.2.3 STANDARD Organize: Students will use a variety of methods to organize artistic ideas.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can respond to stage directions . I can use stage directions to I can determine weak and I can block movement to express explore artistic work . strong stage positions . artistic ideas, using stage directions . I can identify different types of stages . I can explore different I can compare and contrast I can facilitate the organization I can identify theatrical paperwork . types of stages . different types of stages . of artistic work in a variety of theatre spaces . I can use selected I can create selected theatrical paperwork . theatrical paperwork . I can compile and synthesize a full set of theatrical paperwork to prepare for a theatrical project .

For example, students might For example, students might For example, students might For example, students might • participate in exercises that • discuss the blocking of a scene, • recognize that up left is a weaker • create blocking, using appropriate require responding to stage using appropriate terminology position than center stage . terminology, to facilitate a directions (e g. ., center stage, related to stage directions . • discuss the advantages or classroom movement exercise downstage, stage left, stage right, • create models of different types of disadvantages of different types for peers . upstage, profile) . stages based on research . of stages for specific • prepare a blank director’s book for • draw and label specific types of • use a rehearsal report template . artistic works . a mock production . stages such as thrust, proscenium, • fill out an audition ormf . • create a rehearsal report template . • use digital media to refine black box, and arena stages . • create an audition form . selected theatrical paperwork . • identify examples of theatrical • create a rehearsal calendar . paperwork such as audition resumes, rehearsal schedules, and audition forms .

THEATRE I-IV: CREATING 48 ARTISTIC THEATRE I-IV PROCESS Creating

ANCHOR STANDARD Students will refine and complete artistic work.

CR.3 ESSENTIAL QUESTION How do theatre artists transform and edit their initial ideas?

SUPPORTING CR.3.1 STANDARD Refine: Students will apply self-reflection and peer feedback to refine artistic work.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify strengths and I can modify theatrical ideas based on I can refine theatrical choices based on I can advise peers in refining theatrical weaknesses when preparing self-reflection and feedback . self-reflection and feedback . choices based on their self-reflection . theatrical ideas .

For example, students might For example, students might For example, students might For example, students might • after sharing a monologue, write • incorporate peer feedback to • reflect and respond during a • provide notes to actors during a self-reflection comparing their change movement or diction teacher-guided workshop after classroom exercises . personal expectations for the within a scene . sharing a duet scene with piece to their perception of the the class . actual delivery of it .

THEATRE I-IV: CREATING 49 Creating Notes: Favorite Resources:

THEATRE I-IV: CREATING 50 ARTISTIC THEATRE I-IV PROCESS Performing

ANCHOR STANDARD Students will select, analyze, and interpret artistic work for presentation.

PR.4 ESSENTIAL QUESTION Why are strong choices essential to interpreting a drama or theatre piece?

SUPPORTING PR.4.1 STANDARD Analyze: Students will apply script analysis skills.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can analyze a script of I can analyze a script of literary I can analyze a script of I can analyze a script of literary literary merit to identify and merit to interpret characters, literary merit to interpret characters, merit to interpret characters, visual define the elements of drama . visual design elements, and visual design elements, cultural design elements, cultural or historical other elements of drama . or historical significance, and significance, and other elements I can explore technical other elements of drama . of drama for making artistic, elements based on research . I can analyze technical elements directorial choices . based on research from multiple I can make artistic choices related to sources of information . technical elements based on research I can recommend multiple from multiple sources of information . sources of information for the production staff’s research and guide artistic choices related to technical elements made by the staff .

For example, students might For example, students might For example, students might For example, students might • annotate a script with markings • analyze Our Town for technical • write a reflection on the cultural • create a vision board using for dramatic elements such as requirements, including complexity to be considered when Pinterest or Google Docs with character, language, plot, rhythm, costume or set needs and preparing a scene from Evita or trigger words and photos from the spectacle, and theme . character development . A Raisin in the Sun . script to articulate, as director, the • explore costumes of the • discuss the needs and requirements of a script for all appropriate period by examining appropriateness of scripts for characters and technical aspects vintage magazines such as specific audiences (e g. ., children, of a production . Godey’s Lady’s Book or teens, adults) and then choose Vogue online . scripts based on that information .

THEATRE I-IV: PERFORMING 51 SUPPORTING PR.4.2 STANDARD Determine: Students will apply character analysis skills.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify the types of I can examine the manner in which I can analyze the manner in which a I can develop a directorial approach characters and their relationship to character choices advance the plot character’s motives contribute to the to guide actors in making character the plot of a drama/theatre work . in a drama/theatre work . believability of a drama/theatre work . choices in a drama/theatre work .

I can explore characters I can analyze characters based I can interpret the playwright’s intent I can communicate to actors based on research . on research from multiple for a character’s objectives and tactics . the playwright’s intent for sources of information . characters and tactics . I can determine character objectives and tactics . I can articulate character objectives and tactics in a work .

For example, students might For example, students might For example, students might For example, students might • create a plot diagram for the role • use a character development • discuss the manner in which a • discuss character objectives and of Laura in The Glass Menagerie . document or a plot diagram for character’s objectives must be choices and how each affects the • define antagonist, protagonist, West Side Story to determine true to the information provided overall story of The Diary of Anne foil, objective, motivation, and Maria’s super objective . about the character in the script . Frank, using research of other super objective as they relate to • present character introductions • share a monologue with the class, directors’ approaches and cultural the characters of a play . that convey the character’s followed by an explanation of the and historical events as a guide . • working with a partner, write objectives and tactics . playwright’s intent for • from Shakespeare’s perspective, a character analysis of the the character . communicate objectives, tactics, antagonist and protagonist and motivations to actors in of Othello . preparation for a production of Macbeth .

THEATRE I-IV: PERFORMING 52 ARTISTIC THEATRE I-IV PROCESS Performing

ANCHOR STANDARD Students will develop and refine artistic techniques and work for presentation.

PR.5 ESSENTIAL QUESTION What can I do to fully prepare a performance or technical design?

SUPPORTING PR.5.1 STANDARD Prepare: Students will cultivate physical and vocal qualities to develop characters.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can prepare a character for a drama/ I can develop a believable, authentic, I can refine a believable, authentic, I can assess an actor’s physical, theatre work through physical, vocal, and relevant character in a drama/ and relevant character in a drama/ vocal, and psychological choices and psychological choices . theatre work through physical, vocal, theatre work through physical, vocal, in the creation of a believable, and psychological choices . and psychological choices . authentic, and relevant character . I can demonstrate empathy for characters in literature . I can create empathetic characters I can investigate diverse methods of I can facilitate the actors’ in a devised or scripted work . creating empathetic characters . choices to cultivate an empathetic I can identify the characteristics of a response from the audience . strong and versatile stage voice . I can practice the characteristics I can independently cultivate a of a strong and versatile stage strong and versatile stage voice . I can facilitate the actors’ cultivation voice with guidance . of strong and versatile stage voices .

For example, students might For example, students might For example, students might For example, students might • use a character development • create a variety of diverse • incorporating knowledge gained • as the director of a drama/ worksheet to prepare a character characters (e g. ., Nora from A from developing a wide variety theatre project, use character physically and vocally and to Doll’s House, Eliza Doolittle of characters, create a character development worksheets for explore why the character makes from Pygmalian, Sophie from focusing on the psychological each character and communicate the psychological choices he does . Star-Spangled Girl) and focus choices that make the character this analysis to actors; watch • identify character motivation and specifically on vocal and believable and authentic . rehearsals and provide feedback . objectives during the character physical choices . • use a variety of acting theories • direct a piece that involves the development process . • practice breathing, stage diction, to explore multiple strategies for communication of objectives, • experiment with tone, tempo, and projection exercises in creating empathetic characters . tactics, and motivations to actors projection, articulation, and classroom activities such as • using teacher-assigned vocal in preparation for a performance . breath support through guided tongue-twisters and throwing qualities for the characters, deliver performance around a the voice . open-ended scenes to reflect common text . multiple interpretations .

THEATRE I-IV: PERFORMING 53 SUPPORTING PR.5.2 STANDARD Rehearse: Students will participate in established rehearsal processes.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can develop theatrical skills and I can apply theatrical skills and I can refine theatrical skills and I can facilitate the rehearsal process . techniques through the techniques through the techniques through the rehearsal process . rehearsal process . rehearsal process . I can facilitate the acting process .

I can prepare a drama/theatre work I can develop a drama/theatre work I can make artistic choices to I can synthesize knowledge of acting following steps in the acting process . following steps in the acting process . refine a drama/theatre work using theories to rehearse a performance of steps in the acting process . student-created drama/theatre work . I can identify acting theories . I can research acting theories used in the creation of drama/theatre work . I can apply acting theories to increase the impact of my original drama/theatre work .

For example, students might For example, students might For example, students might For example, students might • for a collaborative class project, • participate in preparing an • utilize the phase of working • as a director, prepare in advance work through a comprehensive informal solo piece such as Lady rehearsals to reflect on and for each phase of the rehearsal schedule that includes Bracknell from The Importance of discuss various aspects of a rehearsal process . table work, blocking, working Being Earnest to be presented for drama/theatre work to polish the • direct a variety of scenes, each rehearsals, tech rehearsals, and an audience of peers, utilizing the actors’ interpretation of the piece . utilizing a different acting method . dress rehearsals . steps of the rehearsal process and • apply analysis and research on • explain how a specific acting • list and define steps in the acting the steps of the acting process . vocal and movement choices, method can affect the individual process including analysis, • analyze and research vocal and character choices, and rehearsal performance of each cast member research, vocal and movement movement choices, character techniques to a given character or in a production . choices, character choices, choices, and rehearsal techniques group of characters . and rehearsal . for a given character or group • participate in paired monologues • use digital and other means to of characters . utilizing specific acting theories research method acting . • research acting theories and share and note the differences in the • read and discuss the theories of findings with peers . production value . Stanislavski, Meisner, Strasberg, and others and plot similarities and differences using graphic organizers .

THEATRE I-IV: PERFORMING 54 SUPPORTING PR.5.3 STANDARD Build: Students will design and construct technical elements for a performance.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can research I can create an original I can revise an original theatrical I can create a directorial vision for an a theatrical design . theatrical design . design for a devised or scripted overall theatrical design concept for drama/theatre work . presentation to the creative team . I can identify tools and I can demonstrate the safe and equipment used in stagecraft . appropriate use of tools . I can use tools in a safe and I can organize and direct the use of appropriate manner to build technical tools to create a production . I can describe the safe and elements for a production . appropriate use of tools .

For example, students might For example, students might For example, students might For example, students might • based on the study of past • create costume sketches, artist’s • incorporate feedback from the • articulate technical requirements productions of a selected drama/ renderings, models of sets, or director or production staff to at the initial production staff theatre work, share ideas with lighting plots for a selected make changes needed to address meeting to assist the staff in peers for costuming, props, drama/theatre work . challenges in a set design . visualizing the overall scenery, and other • fasten 2 x 4s using a power • design multiple costumes for design concept . technical elements . drill/driver and screws . one character in a play or design • match tools such as a sewing • measure and mark a sheet of a full suite of technical elements machine and serger to their names plywood using a chalk line and/or for a play . and descriptions . a quick square . • build a scenery flat for a • categorize tools by function, school production . such as construction tools, • hang and secure stage lights to measurement tools, and a pipe batten for a community sewing tools . theatre production .

THEATRE I-IV: PERFORMING 55 ARTISTIC THEATRE I-IV PROCESS Performing

ANCHOR STANDARD Students will convey meaning through the presentation of artistic work.

PR.6 ESSENTIAL QUESTION What happens when theatre artists and audiences share a creative experience?

SUPPORTING Imagine: Students will convey a specific interpretation through the performance of a devised PR.6.1 STANDARD or scripted work.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can convey a specific I can convey a specific I can convey a specific I can convey different interpretation through the interpretation through the interpretation through a interpretations of the same story performance of a devised performance of a devised or collaborative performance of a of a devised or scripted drama/ or scripted work . scripted drama/theatre work devised or scripted drama/theatre theatre work for different audiences . for a particular audience . work for a particular audience .

For example, students might For example, students might For example, students might For example, students might • as a class project, perform a • adapt an existing script to fit • collaborate to present a group • perform the same monologue scene, an ensemble piece, or a full a specific audience’s needs performance of pieces centering more than once or perform production, focusing on a topic of while still maintaining the around a common theme chosen open-ended scenes to compare personal importance . original meaning . for a specific audience . and contrast different meanings • improvise a scene that • use a different acting style • present a readers’ theatre that in the same script . communicates a given message when performing for an conveys a message such as anti- or ends with a given tag line . audience of children than bullying or anti-drugs for an when performing for adults . audience of middle school students .

THEATRE I-IV: PERFORMING 56 Performing Notes: Favorite Resources:

THEATRE I-IV: PERFORMING 57 ARTISTIC THEATRE I-IV PROCESS Responding

ANCHOR STANDARD Students will perceive and analyze artistic work.

RE.7 ESSENTIAL QUESTION How do theatre artists comprehend the essence of drama processes and theatre experiences?

SUPPORTING RE.7.1 STANDARD Reflect: Students will explore the consequences of character decisions and actions.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify the consequences of a I can discuss the consequences of a I can infer the consequences of a I can analyze the consequences of a character’s decisions and actions . character’s decisions and actions . character’s decisions and actions . character’s decisions and actions .

For example, students might For example, students might For example, students might For example, students might • identify the choices that • discuss the choices that • reflect on the choices that • write a critique analyzing the characters make and the results characters make and the results characters make and the results choices that a character has of their decisions in a variety of their decisions in a variety of their decisions in a variety made and analyzing the of scripts such as short scenes, of scripts such as short scenes, of scripts such as short scenes, resulting consequences . musicals, and soliloquies . musicals, and soliloquies . musicals, and soliloquies . • compare the character’s choices • watch short videos of • watch short videos of • infer the consequences of in a performance piece with real performances to identify character performances and discuss in character decisions and analyze life examples . decisions and actions . Socratic format the characters’ the similarity or differences in decisions and resulting actions . inferred consequences and actual consequences .

THEATRE I-IV: RESPONDING 58 SUPPORTING RE.7.2 STANDARD Reflect: Students will explore authentic character interactions.

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G H I J

I can identify character interactions . I can explore characteristics of I can discuss the authenticity of I can compare and contrast the authentic character interactions . character interactions in specific authenticity of character interactions drama/theatre works . in specific drama/theatre works .

For example, students might For example, students might For example, students might For example, students might • watch clips of movies, plays, • workshop duet or group • discuss the characteristics of • in small groups, observe peer or musicals with the intent of scenes or read and discuss authentic character interactions and professional performances identifying character interactions . scripts with the intent of with examples pulled from to compare and contrast discussing the authenticity significant theatrical works or performances the group considers of character interactions . through other media forms authentic or inauthentic . • explore examples of including digital platforms . • discuss character interactions authentic and inauthentic within a scene as it pertains to character interactions . the storyline as a whole .

THEATRE I-IV: RESPONDING 59 SUPPORTING RE.7.3 STANDARD Analyze: Students will analyze the dramatic elements in a theatrical experience.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify dramatic elements of I can discuss dramatic elements of I can analyze dramatic elements of I can assess dramatic elements of an observed drama/theatre work an observed drama/theatre work an observed drama/theatre work an observed drama/theatre work using basic theatre terminology . using theatre terminology . using theatre terminology . using theatre terminology .

For example, students might For example, students might For example, students might For example, students might • research to create a list of • participate in a discussion • after watching a video of Death • lead discussions using student- dramatic elements including but following a live or recorded of a Salesman, participate in created assessment rubrics not limited to timing, rhythm, multimedia performance of a a roundtable discussion of following peer performances, contrast, mood, space, monologue, scene, one-act, or treatment of the dramatic using theatre terminology . or language . full play or movie, using elements in the production, using correct terminology . theatre terminology . • develop a checklist or other tool that focuses on key dramatic elements and apply as a group to a peer’s original script using theatre terminology .

THEATRE I-IV: RESPONDING 60 SUPPORTING RE.7.4 STANDARD Assess: Students will assess the effectiveness of technical elements.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify the contribution I can discuss the contribution I can analyze the contribution I can assess the contribution of technical elements to the of technical elements to the of technical elements to the of technical elements to the effectiveness of a production . effectiveness of a production . effectiveness of a production . effectiveness of a production .

For example, students might For example, students might For example, students might For example, students might • examine a significant theatrical • participate in a Socratic circle or a • compare scripts to live • present a written or verbal review work that illustrates the roundtable discussion of technical productions of the scripts to of a theatrical production in which importance of the technical elements of a production . analyze the effectiveness of the technical elements and their aspects of the theatre • analyze scripts though roundtable the technical elements of effectiveness are justified . production as a whole . discussion or rubric regarding the a production . • write a summary of the potential contribution of technical • predict the consequences of technical elements of a elements to a planned production . poorly planned technical student-created work . elements of a production .

THEATRE I-IV: RESPONDING 61 SUPPORTING RE.7.5 STANDARD Observe: Students will exhibit appropriate audience behavior.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify appropriate etiquette I can discuss appropriate etiquette I can analyze appropriate etiquette I can model appropriate etiquette during a theatrical experience as an during a theatrical experience as an during a theatrical experience as an during a theatrical experience as an audience member . audience member . audience member . audience member .

For example, students might For example, students might For example, students might For example, students might • collaborate with peers to • discuss audience responses • working in pairs, create a list • demonstrate appropriate brainstorm a list of appropriate to a live or recorded of behaviors that allow an audience participation and behavior as an audience member . multimedia performance of audience member to get the conventions at a performance . a monologue, scene, one-act, most benefit or appreciation or full play or movie . from a performance .

THEATRE I-IV: RESPONDING 62 ARTISTIC THEATRE I-IV PROCESS Responding

ANCHOR STANDARD Students will interpret intent and meaning in artistic work.

RE.8 ESSENTIAL QUESTION How can the same work of art communicate different messages to different people?

SUPPORTING RE.8.1 STANDARD Interpret: Students will explore the emotional responses evoked by a theatrical experience.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify emotional responses I can compare and contrast emotional I can interpret emotional responses I can analyze emotional responses experienced by an audience . responses intended by playwrights intended by the playwright across intended by the playwright across across a variety of cultures or genres . a variety of cultures or genres . a variety of cultures or genres .

For example, students might For example, students might For example, students might For example, students might • read or watch a variety of plays • read plays from a variety of • analyze a script to find an • watch scenes from Hamlet or and then discuss the emotional genres such as Shakespearean author’s intent and compare it On Your Feet! and analyze the responses intended by the tragedy, Theatre of the Absurd, to emotional responses from the director’s intent and how his playwright in each work . or drawing room comedy and class or other audiences . or her cultural perspective is • create a chart of students’ identify the emotional responses • write personal reviews of a reflected in the work . individual emotional responses generated by each . production, considering his or her to a work of theatre . • use digital media to research the own cultural perspective . overall reaction to plays from a variety of genres or cultures .

THEATRE I-IV: RESPONDING 63 ARTISTIC THEATRE I-IV PROCESS Responding

ANCHOR STANDARD Students will apply criteria to evaluate artistic work.

RE.9 ESSENTIAL How are the theatre artists’ processes and the audience’s perspectives impacted by QUESTION analysis and synthesis?

SUPPORTING RE.9.1 STANDARD Evaluate: Students will develop and apply criteria for theatrical work.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can develop criteria using basic I can apply criteria using I can develop and implement a I can refine performances and/or theatre terminology to evaluate theatre terminology to evaluate plan to evaluate performances and/or designs to increase audience performances and/or designs . performances and/or designs . designs using theatre terminology . impact by using peer- and self-created evaluation plans .

For example, students might For example, students might For example, students might For example, students might • create evaluation tools for • self-critique their own performances • working with peers, create a rubric • use peer reviews to refine student assessing their own performances or critique those of peers . from evaluation criteria, watch performances and designs . or those of peers . • discuss with peers the perceived a live or recorded performance, • use a student-created rubric • create evaluation tools for quality of technical elements and decide how best to complete, to critique the authenticity of assessing technical elements in the areas of stage, film, review, and discuss the rubric . character interactions in peer in the areas of stage, film, or television . • compare and contrast a performances or in his or her or television . professional review to the own performance . student’s own critique .

THEATRE I-IV: RESPONDING 64 SUPPORTING RE.9.2 STANDARD Justify: Students will apply the concept of artistic merit.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can distinguish between personal I can discuss the manner in which I can make choices based I can justify a position taken on the preferences and artistic merit . society determines artistic merit . on artistic merit . artistic merit of a drama/theatre work .

For example, students might For example, students might For example, students might For example, students might • create a statement regarding the • participate in a roundtable • select multiple classical pieces • draft a critical reaction to artistic merit of a performance or discussion or Socratic circle for potential performance such a polarizing work such as production that the student does regarding society’s definition as Oedipus or contemporary The Laramie Project, Rent, not personally enjoy or prefer . of artistic merit as identified pieces such as Fences based on or Carousel . by research . perceived artistic merit .

THEATRE I-IV: RESPONDING 65 Responding Notes: Favorite Resources:

THEATRE I-IV: RESPONDING 66 ARTISTIC THEATRE I-IV PROCESS Connecting

ANCHOR STANDARD Students will synthesize and relate knowledge and personal experiences to make art.

CN.10 ESSENTIAL What happens when theatre artists foster understanding between self and others through critical QUESTION awareness, social responsibility, and the exploration of empathy?

SUPPORTING CN.10.1 STANDARD Relate: Students will incorporate personal experience in theatrical tasks.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can discuss the impact of an I can analyze the impact of I can evaluate the impact of I can synthesize personal artist’s personal experience on an personal experience on the creation personal experience on the creation experience and theatrical existing drama/theatre work . of a drama/theatre work . of a drama/theatre work . knowledge to direct theatre .

For example, students might For example, students might For example, students might For example, students might • read about multiple theatre artists • read about theatre artists who • write a script about a personal • direct a scene that holds and discuss recurring themes, have similar backgrounds as experience that includes personal significance . ideas, and cultural influences on himself or herself, compare dialogue, characterization, • direct an original monologue the artists, their writing, or personal experiences, and analyze and staging directions . for a small audience and hold their performances . how the artist’s work was affected . • after performing a short scene a talkback about how personal • maintain a journal of the lives and • conduct a short biographical and watching a professional experience influenced choices . works of selected performers . study of a selected playwright performance of the same scene, • participate in group discussion and perform a piece from his compare and contrast personal on the implications of the artist’s or her work . performance choices with personal experience on performance choices of the existing works . selected artist .

THEATRE I-IV: CONNECTING 67 SUPPORTING CN.10.2 STANDARD Explore: Students will explore careers in theatre.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can explore careers in theatre . I can discuss the opportunities I can identify necessary tools to I can organize professional tools available for careers in theatre . prepare for a career in theatre . used in the theatre industry .

For example, students might For example, students might For example, students might For example, students might • research the responsibilities of • research the salaries, geographic • list elements of a digital resume • develop a professional portfolio, theatre-related careers and share demand, and higher education for presentation to potential including resume and headshot . findings with peers . requirements of theatrical careers . college programs or employers . • create a biography to be used in • job shadow a theatre professional . audition or press packets .

THEATRE I-IV: CONNECTING 68 ARTISTIC THEATRE I-IV PROCESS Connecting

ANCHOR Relate: Students will relate artistic ideas and works with societal, cultural, and historical CN.11 STANDARD context to deepen understanding. ESSENTIAL What happens when theatre artists allow an understanding of themselves and the world to QUESTION inform perceptions about theatre and the purpose of their work?

SUPPORTING Incorporate: Students will incorporate social, cultural, and historical knowledge into CN.11.1 STANDARD artistic choices.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can use digital media to research I can compare historical and cultural I can make personal artistic I can justify personal artistic periods of theatre history . perspectives to modern cultural choices based on societal, cultural, choices based on societal, cultural, perspectives related to theatre . and historical contexts . and historical contexts .

For example, students might For example, students might For example, students might For example, students might • use digital media to compare • discuss or present research on • relate his or her personal • deliver an oral or written critique and contrast Greek/ ancient Roman theatre and the interpretation of a scene from a regarding personal choices made Roman, Elizabethan, or current season of performances contemporary drama to the social in the performance of a culturally Renaissance scripts . in Rome . issue on which the story is based . or historically significant play such • examine social issues dealt with in as Antigone . the theatrical literature of different societies .

THEATRE I-IV: CONNECTING 69 SUPPORTING CN.11.2 STANDARD Research: Students will connect theatrical conventions and cultural perspectives.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify the influence of I can research the influence of I can analyze the influence I can evaluate the influence cultural perspectives on theatrical cultural perspectives on theatrical of cultural perspectives and of cultural perspectives and conventions and practices . conventions and practices . theatrical conventions and practices theatrical conventions and practices on design and acting choices . on design, acting, and directing choices in the creation of a specific drama/theatre work .

For example, students might For example, students might For example, students might For example, students might • identify that a blackout represents • research the origin and • after viewing a school production, • deliver an oral or written the passing of time, a set with evolution of a theatrical write an explanation of the justification examining the three walls represents an entire convention (e g. ., when blackouts choices connecting the set influence of the conventions of room, and a soliloquy represents were first employed and design and the acting style Kabuki Theatre on a current a character’s internal monologue . how they have evolved) . of the production . class project . • research the use of the raked stage at the Globe Theatre .

THEATRE I-IV: CONNECTING 70 SUPPORTING CN.11.3 STANDARD Understand: Students will demonstrate cultural sensitivity to the artistic work of others.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can define cultural sensitivity I can discuss cultural sensitivity I can develop cultural sensitivity I can demonstrate cultural sensitivity related to artistic work . related to artistic work . to the artistic work of others . through appropriate response to the artistic work of others .

For example, students might For example, students might For example, students might For example, students might • use roundtable or Socratic • attend a performance or read • select a culturally relevant scene • revise works with diversity in discussion circles to a script to investigate another to perform or review . mind and tailor the work to a identify characteristics culture’s theatrical works . • design a set that is fully accessible specific audience . of cultural sensitivity . by a variety of cast members with • consult with students or adults differing mobilities . of backgrounds scripted in the production for accuracy and sensitivity of portrayal .

THEATRE I-IV: CONNECTING 71 SUPPORTING Connect: Students will connect community values, beliefs, and cultural differences to the CN.11.4 STANDARD theatrical experience.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can recognize the effect of the I can analyze the effect of the beliefs, I can explore the intention of I can communicate through beliefs, attitudes, and actions of attitudes, and actions of people of the playwright and/or director to performance or production process people of various ages, cultures, various ages, cultures, influence the beliefs, attitudes, and the intention of the playwright to and communities on theatre . and communities on theatre . actions of people of various ages, influence the beliefs, attitudes, and cultures, and communities . actions of people of various ages, cultures, and communities .

For example, students might For example, students might For example, students might For example, students might • attend or watch a performance • research case studies such • create an original drama/theatre • direct an original drama/theatre of Les Miserable or To Kill a as the War of the Worlds radio work that reflects the values of his work that reflects the values of his Mockingbird and discuss its drama on Halloween 1938 and or her community . or her community . cultural significance . discuss the reasons for public perceptions of it .

THEATRE I-IV: CONNECTING 72 SUPPORTING CN.11.5 STANDARD Connect: Students will connect other fine arts and digital media to the theatrical experience.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify elements of the I can compare theatre I can create a theatrical I can use other art forms and theatrical experience in other art experiences using various art forms experience using other art forms digital media to create a directorial forms and digital media . and digital media as options . and digital media . vision for a production .

For example, students might For example, students might For example, students might For example, students might • create presentations and • discuss live and recorded • create a podcast, an • create a director’s look-book . discussions, both student and multimedia productions . advertisement, or a film • create a cohesive production instructor-led, that first identify • find onnectionsc between works that features dance, music, concept containing elements and then build upon conventions of visual art and theatre such as or visual art . of visual art, music, dance, film, found in theatre and carried over those in Sunday in the Park and media . into visual art, music, dance, with George . film, media .

THEATRE I-IV: CONNECTING 73 Connecting Notes: Favorite Resources:

THEATRE I-IV: CONNECTING 74 MUSICAL THEATRE I-II STANDARDS AND TEACHER GUIDANCE

MUSICAL THEATRE I-II 75 Standards for Accreditation Information

Course Title: Musical Theatre I-II Musical Theatre I fulfills the 0 5. credit fine Course/Unit Credit: 1 unit per course arts graduation requirement . Course Number: Musical Theatre I: 459600, Musical Theatre II: 459610 Division of Elementary and Secondary Teacher Licensure: Please refer to the Course Code Education approval is not required for Management System for the most current Musical Theatre I or II . licensure codes . Grades: 9-12 Prerequisites: The prerequisite for Musical Theatre I is Theatre I or an audition process . The student entering Musical Theatre II should successfully complete Musical Theatre I .

Course Description: Musical Theatre I-II

Musical Theatre I-II are two-semester approach and representative literature . school day to support, extend, and assess courses that articulate the most fundamental Musical theatre students explore the unique learning in the classroom . elements of theatre . Course work focuses staging and technical demands of musicals on, but is not limited to, acting, vocal in contrast to non-musical plays . Public NOTE: Musical Theatre I and II are not performance, dance, non-dance movement, performances may serve as a culmination of recommended for large group instruction . and staging . Students survey the evolution specific instructional goals . Students may Recommended class size is thirty students of music in theatre from ancient Greece to be required to attend and/or participate in per class . modern Broadway through a humanities rehearsals and performances outside the

MUSICAL THEATRE I-II 76 ARTISTIC MUSICAL THEATRE I-II PROCESS Creating

ANCHOR STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when theatre artists use their imaginations and/or learned theatre skills while QUESTION engaging in creative exploration and inquiry?

SUPPORTING CR.1.1 STANDARD Imagine: Students will use imaginary environments to create diverse characters.

I: PROFICIENT II: ACCOMPLISHED

I can explore given I can create imaginary imaginary environments . environments to develop diverse characters to elicit a I can explore with specific audience response . guidance the creation of diverse characters . I can use a variety of sources to generate ideas about diverse characters who elicit a specific audience response .

For example, students might For example, students might • share fairy tales, cartoon characters, or favorite stories using pantomime, • participate in a series of improvisations based on a given scenario and mime, or improvisation to create imaginary environments . compare and contrast the varied responses from observers . • look through Instagram for pictures of people who seem to represent • adapt a children’s song into a short scene for the stage, creating dialogue musical character types; share and discuss with peers . and adding music as appropriate . • watch a scene from a musical and list clues about a character’s behavior or motivation .

MUSICAL THEATRE I-II: CREATING 77 ARTISTIC MUSICAL THEATRE I-II PROCESS Creating

ANCHOR STANDARD Students will organize and develop artistic ideas and work.

CR.2 ESSENTIAL QUESTION How, when, and why do theatre artists’ choices change?

SUPPORTING CR.2.1 STANDARD Develop: Students will explore narrative elements in devised or scripted musical works.

I: PROFICIENT II: ADVANCED

I can develop characters, environments, and actions I can justify choices made in the development of characters, environments, individually in a devised or scripted musical work . and actions to create a desired effect in a devised or scripted musical work .

For example, students might For example, students might • identify the components of the plot of a musical and create a plot diagram for an • compare and contrast the motivations and objectives of multiple characters in original story . a musical work and apply to choices made in his or her original work . • explore a musical arrangement from a Broadway musical number (e g. ., “Defying • write an alternate ending to a well-known musical theatre work and discuss its Gravity” from Wicked, “I Dreamed a Dream” from Les Miserables) and discuss its alignment to the original story and its effect on a potential audience . role in the development of the character who sings it .

SUPPORTING CR.2.2 STANDARD Collaborate: Students will collaborate with a creative team to prepare for a musical theatre work.

I: PROFICIENT II: ADVANCED

I can explore the collaborative nature of musical theatre . I can collaborate to develop ideas for an informal or formal performance for a specific audience or specific purpose . I can identify different onstage and offstage theatrical roles and their responsibilities . I can accomplish the duties of one onstage or offstage theatrical role .

For example, students might For example, students might • work with the class to create a list of their favorite musical numbers to serve as • work in small groups to adapt a children’s story such as A Violin for Elva by Mary the basis of group movement exercises . Lyn Ray into a musical presentation intended for an elementary music class • research various theatrical roles (e g. ,. actor, choreographer, vocal director, music to present . director, playwright) using digital media and share results with peers . • contribute ideas in a production staff meeting in the role of stage manager . • shadow a leader in a realized musical production .

MUSICAL THEATRE I-II: CREATING 78 SUPPORTING CR.2.3 STANDARD Organize: Students will use a variety of methods to organize artistic ideas.

I: PROFICIENT II: ACCOMPLISHED

I can use appropriate I can apply strong stage terminology to identify positions and blocking techniques stage directions and to express artistic ideas when blocking techniques . planning movement for the stage .

I can identify different I can compare and contrast types of theatrical the functionality of various spaces including theatrical spaces and types types of stages . of stages for the production of a musical theatre work . I can use a variety of musical I can create theatre paperwork . selected musical theatrical paperwork .

For example, students might For example, students might • identify stage directions (e g. ., center stage, downstage, stage left, stage • block a scene given specific parameters and justify choices regarding right, upstage, profile) using movement exercises or scene work . the relationship of stage directions and blocking choices . • explain the relevance of stage directions and setting elements to the flow • in a group discussion, examine the advantages or disadvantages of and comprehensibility of a script . different types of stages for specific musical theatre works . • draw floor plans of specific stage types (e g. ., thrust, proscenium, black • create a personal theatrical resume . box, arena) . • research various forms of musical theatrical paperwork (e g. ., resume, audition forms, headshot, rehearsal schedule) .

MUSICAL THEATRE I-II: CREATING 79 ARTISTIC MUSICAL THEATRE I-II PROCESS Creating

ANCHOR STANDARD Students will refine and complete artistic work.

CR.3 ESSENTIAL QUESTION How do musical theatre artists transform and edit their initial ideas?

SUPPORTING CR.3.1 STANDARD Refine: Students will apply self-reflection and feedback to refine musical theatre work.

I: PROFICIENT II: ACCOMPLISHED

I can apply self-reflection and peer I can revise musical theatre work based feedback to musical theatre work . upon self-reflection and peer feedback .

For example, students might For example, students might • write responses to a peer’s original musical number or scene . • apply direction to change movement or diction within a song or scene after a • hold a one-on-one discussion with another student about the strengths and period of self-reflection and unbiased peer or teacher feedback . weaknesses of his or her ten-minute musical .

Creating Notes: Favorite Resources:

MUSICAL THEATRE I-II: CREATING 80 ARTISTIC MUSICAL THEATRE I-II PROCESS Performing

ANCHOR STANDARD Students will analyze, interpret, and select artistic work for presentation.

PR.4 ESSENTIAL QUESTION Why are strong choices essential to interpreting a musical theatre piece?

SUPPORTING PR.4.1 STANDARD Alalyze: Students will apply script analysis skills.

I: PROFICIENT II: ACCOMPLISHED

I can interpret a I can analyze a musical musical score and libretto score and libretto to to identify and define interpret characters, visual the elements of design elements, cultural drama and music . and historical significance, and other elements I can explore technical of drama and music . elements for a specific script based on research . I can make artistic choices related to technical elements based on research from multiple sources of information .

For example, students might For example, students might • compare and contrast musical themes within a score and libretto . • analyze the score and libretto of Cabaret and the complexity of cultural inclusion • annotate a script or score with markings for character, language, plot, rhythm, and historical accuracy . spectacle, theme, tonality, harmony, texture, timbre, dynamics, and form . • create a mood board for a proposed production, drawing inspiration from print, • research rigging equipment used for flying in Peter Pan or Wicked . web, and other media sources . • compare and contrast the directorial vision of several versions of the same musical theatre work such as the 1982, 1999, and 2014 versions of Annie .

MUSICAL THEATRE I-II: PERFORMING 81 SUPPORTING PR.4.2 STANDARD Determined: Students will apply character analysis skills.

I: PROFICIENT II: ACCOMPLISHED

I can identify the types I can analyze the manner in of characters and their which a character’s unique relationship to the plot of choices make musical a musical theatre work . theatre work believable .

I can explore characters I can analyze characters based on research . based on research from multiple sources of information . I can determine character objectives and tactics . I can interpret the author’s intent for a character’s objectives and tactics .

For example, students might For example, students might • define antagonist, protagonist, foil, objective, motivation, and super objective • discuss the manner in which a character’s objectives must be true to the as they relate to the characters of a play . information provided about the character in the script . • working with a partner, write a character analysis of the antagonist and • discuss character objectives and choices and how each affects the overall protagonist (Oliver and Bill Sikes) in Oliver! considering both their dialogue story of Into the Woods, using research of a variety of directors’ approaches and the music they sing . to making fairy tale characters believable as a guide .

MUSICAL THEATRE I-II: PERFORMING 82 ARTISTIC MUSICAL THEATRE I-II PROCESS Performing

ANCHOR STANDARD Students will develop and refine artistic techniques and work for presentation.

PR.5 ESSENTIAL QUESTION What can I do to fully prepare a musical theatre performance?

SUPPORTING PR.5.1 STANDARD Prepare: Students will develop technical acting and musical skills.

I: PROFICIENT II: ACCOMPLISHED

I can prepare a character I can refine a believable, for a musical theatrel work authentic, and relevant through physical, vocal, musical theatre work and psychological choices . throughphysical, vocal, and psychological choices . I can demonstrate empathy for characters in musical I can investigate diverse theatre literature . methods of creating empathetic characters . I can identify the characteristics of a strong I can cultivate a strong and versatile stage voice . and versatile stage voice .

I can demonstrate proper I can demonstrate breathing technique and correct adequate projection diction to develop my singing voice . while singing .

For example, students might For example, students might • use a character development worksheet to prepare a character physically and • prepare a vocally and physically demanding number from a musical (e g. ., Legally vocally for an original theatre work and explore why the character makes certain Blonde, Thoroughly Modern Millie, Guys and Dolls), incorporating insights gained psychological choices . from refining previous musical theatre presentations . • identify character motivation and objectives during the character • use different acting theories to explore strategies for creating development process . empathetic characters . • experiment with tone, tempo, pitch, projection, articulation, and breath support • practice engaging the diaphragm to support projection . through guided performance around a common text . • participate in breathing and diction warm-ups before a rehearsal .

MUSICAL THEATRE I-II: PERFORMING 83 SUPPORTING PR.5.2 STANDARD Rehearse: Students will participate in the musical theatre rehearsal process.

I: PROFICIENT II: ACCOMPLISHED

I can develop musical I can refine musical theatre skills and techniques theatre skills and by participating in the techniques by contributing rehearsal process . to the rehearsal process .

I can prepare a I can make artistic musical theatre work choices to refine a musical following steps in theatre work using steps the acting process . in the acting process .

I can identify I can apply acting acting theories . theories to increase the impact of musical theatre work .

For example, students might For example, students might • participate in a rehearsal for project work such as ensemble musical numbers to • apply notes from the choreographer or dance captain during a working rehearsal be presented for an audience including table work, blocking, working rehearsals, to refine a number for a production of South Pacific . tech rehearsals, dress rehearsals, and performance . • analyze and research vocal/movement choices, character choices, and rehearsal . • prepare a solo, duet, or ensemble number from a musical theatre piece, working • share short scenes prepared using a variety of different acting methods and through the stages of analysis, research, vocal and movement choices, character discuss the appropriateness of each method for a musical theatre piece . choices, and rehearsal . • read and discuss acting methods created by Stanislavski, Meisner, and/or Strasberg and create graphic organizers to illustrate the elements of each .

MUSICAL THEATRE I-II: PERFORMING 84 ARTISTIC MUSICAL THEATRE I-II PROCESS Performing

ANCHOR STANDARD Students will convey meaning through the presentation of artistic work.

PR.6 ESSENTIAL QUESTION What happens when theatre artists and audiences share a creative experience?

SUPPORTING Imagine: Students will convey a specific interpretation through the performance of a devised or STANDARD PR.6.1 scripted work.

I: PROFICIENT II: ACCOMPLISHED

I can convey a specific interpretation through the I can convey a specific interpretation through a collaborative performance performance of a devised or musical theatre work . of a devised or scripted musical theatre work for a specific audience .

For example, students might For example, students might • participate in a class project of scene or ensemble work, focusing on a topic • collaborate to create a group performance of patriotic music and an original of personal importance and using music from a specific genre or decade as story for a community performance or civic event . the score .

Performing Notes: Favorite Resources:

MUSICAL THEATRE I-II: PERFORMING 85 ARTISTIC MUSICAL THEATRE I-II PROCESS Responding

ANCHOR STANDARD Students will perceive and analyze artistic work.

RE.7 ESSENTIAL QUESTION How do theatre artists comprehend the essence of drama processes and theatre experiences?

SUPPORTING RE.7.1 STANDARD Reflect: Students will explore the consequences of character decisions and actions.

I: PROFICIENT II: ACCOMPLISHED

I can identify the consequences of I can analyze character decisions and actions that a character’s decisions and actions . lead to interesting consequences and outcomes .

For example, students might For example, students might • watch short videos of several musical performances such as those featured in the • analyze character choices and their results in a variety of musical scores . Tony Awards and participate in group discussions to identify character decisions • predict the consequences of character decisions and analyze the similarity or and actions within each musical number . differences in predicted consequences and actual consequences .

SUPPORTING RE.7.2 STANDARD Reflect: Students will explore authentic character interactions.

I: PROFICIENT II: ACCOMPLISHED

I can identify the characteristics of I can analyze the authenticity authentic character interactions . of character interactions .

For example, students might For example, students might • discuss the characteristics of authentic character interactions with examples • analyze character interactions within a scene as it pertains to the plot as a whole . pulled from significant theatrical works or other media forms including • after observing two-page authentic moment scenes between two characters in digital platforms . class, write responses to the scenes’ authenticity . • discuss the authenticity of the interaction of specific characters such as Tevya and his daughters in Fiddler on the Roof .

MUSICAL THEATRE I-II: RESPONDING 86 SUPPORTING RE.7.3 STANDARD Analyze: Students will analyze the dramatic elements in a theatrical experience.

I: PROFICIENT II: ACCOMPLISHED

I can identify dramatic elements I can analyze dramatic elements of an observed drama/theatre work of an observed drama/theatre work using basic theatre terminology . using more complex theatre terminology .

For example, students might For example, students might • research to create a list of dramatic elements including but not limited to • after watching a video of The Secret Garden, participate in a roundtable timing, rhythm, contrast, mood, space, or language . discussion of the treatment of the dramatic elements in the production, using theatre terminology .

SUPPORTING RE.7.4 STANDARD Observe: Students will exhibit appropriate audience behavior.

I: PROFICIENT II: ACCOMPLISHED

I can identify appropriate I can analyze appropriate responses to theatrical experience responses to a theatrical experience as an audience member . as an audience member .

For example, students might For example, students might • demonstrate appropriate audience participation and conventions at a musical • working in pairs, create a list of behaviors that allow an audience member to theatre performance . get the most benefit or appreciation from a performance .

MUSICAL THEATRE I-II: RESPONDING 87 ARTISTIC MUSICAL THEATRE I-II PROCESS Responding

ANCHOR STANDARD Students will interpret intent and meaning in artistic work.

RE.8 ESSENTIAL QUESTION How can the same work of art communicate different messages to different people?

SUPPORTING RE.8.1 STANDARD Interpret: Students will interpret emotional responses across a variety of genres of theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can identify emotional I can interpret emotional responses intended by the responses intended by the composer and playwright composer and playwright in a variety of musical in a variety of musical theatre genres . theatre genres .

For example, students might For example, students might • read or watch multiple works of musical theatre from different genres such as • analyze a script to find the composer and playwright’s intent and compare it to Newsies and Shrek and discuss the artistic intent of the composer and playwright emotional responses from the class or other audiences, using digital media to in each work . find the overall reaction to a work . • write personal reviews of a musical theatre performance, focusing on the success of the production to communicate the composer and playwright’s intent .

MUSICAL THEATRE I-II: RESPONDING 88 ARTISTIC MUSICAL THEATRE I-II PROCESS Responding

ANCHOR STANDARD Students will apply criteria to evaluate artistic work.

RE.9 ESSENTIAL QUESTION How are the theatre artists’ processes and audience perspectives impacted by analysis and synthesis?

SUPPORTING RE.9.1 STANDARD Evaluate: Students will develop and apply criteria for a musical theatre work.

I: PROFICIENT II: ACCOMPLISHED

I can develop criteria using basic theatre and music I can apply criteria using theatre and music terminology terminology to evaluate musical theatre performances . to evaluate musical theatre performances .

For example, students might For example, students might • create evaluation tools for assessing their own performances or those of peers . • work with peers to create a rubric from evaluation criteria, watch a live • create evaluation tools for evaluating technical elements in the areas of stage, or recorded performance, and decide how best to complete, review, and film, or television . discuss the rubric .

SUPPORTING RE.9.2 STANDARD Justify: Students will apply the concept of artistic merit.

I: PROFICIENT II: ACCOMPLISHED

I can distinguish between personal I can justify a position taken on the preferences and artistic merit . artistic merit of a musical theatre work .

For example, students might For example, students might • create a statement regarding the artistic merit of a performance or production • draft a critical reaction to a polarizing work such as Rent, Showboat, Hamilton, that he or she does not personally enjoy or prefer . Dear Evan Hansen, or Carousel .

MUSICAL THEATRE I-II: RESPONDING 89 Responding Notes: Favorite Resources:

MUSICAL THEATRE I-II: RESPONDING 90 ARTISTIC MUSICAL THEATRE I-II PROCESS Connecting

ANCHOR STANDARD Students will synthesize and relate knowledge and personal experiences to make art.

CN.10 ESSENTIAL What happens when theatre artists foster understanding between self and others through critical QUESTION awareness, social responsibility, and the exploration of empathy?

SUPPORTING CN.10.1 STANDARD Relate: Students will incorporate personal experience in musical theatre tasks.

I: PROFICIENT II: ACCOMPLISHED

I can discuss the impact of I can evaluate the impact of an an artist’s personal experience artist’s personal experience on the on a musical theatrical work . creation of a musical theatre work .

For example, students might For example, students might • read biographies and work of multiple musical theatre artists (e g. ., Andrew Lloyd • choose a musical artist whose personal experience is similar to his or her own Weber, Chita Rivera, George Gershwin) and discuss recurring themes, ideas, and and present a short oral explanation of the similarities . cultural influences on the artists, their writing, or their performances . • write a script about a personal experience that includes dialogue and music . • maintain a journal of the lives of selected musical theatre performers and the • compare and contrast personal musical performance choices with musical impact of their experiences on their work . performance choices of a selected artist . • participate in a group discussion on the implications of his or her personal experience on original musical theatre work .

MUSICAL THEATRE I-II: CONNECTING 91 ARTISTIC MUSICAL THEATRE I-II PROCESS Connecting

ANCHOR Relate: Students will relate artistic ideas and works with societal, cultural, and historical context STANDARD to deepen understanding.

CN.11 ESSENTIAL What happens when theatre artists allow an understanding of themselves and the world to QUESTION inform perceptions about theatre and the purpose of their work? In what ways can research into theatre histories, theories, literature, and performances alter the way a drama process or production is understood?

SUPPORTING CN.11.1 STANDARD Incorporate: Students will incorporate social, cultural, and historical knowledge into artistic choices.

I: PROFICIENT II: ACCOMPLISHED

I can use a variety of sources to research periods of musical theatre history . I can make personal artistic choices based on societal, cultural, and historical contexts .

For example, students might For example, students might • use digital media to compare and contrast musical theatre productions • relate his or her personal interpretation of a scene from Hairspray to the social representing different time periods such as Showboat, Pippin, and Hair . issue on which the story is based . • in a roundtable discussion, examine social issues dealt with in musical theatre of different societies .

SUPPORTING CN.11.2 STANDARD Research: Students will connect theatrical conventions and cultural perspectives.

I: PROFICIENT II: ACCOMPLISHED

I can dentify the influence of cultural perspectives I can analyze the influence of cultural perspectives and musical theatre on musical theater conventions or practices . conventions and practices, design choices, acting choices, and directing choices .

For example, students might For example, students might • examine a given musical theatre script for conventions such as a blackout • compare and contrast musical theatre scripts from different cultures and representing the passing of time, a set with three walls representing an entire room, the manner in which the musical theatre convention of breaking into song is a soliloquy representing a character’s internal monologue, and the use of underscoring . addressed in each . • research the use of the chorus in Greek theatre and in contemporary shows such as Little Shop of Horrors .

MUSICAL THEATRE I-II: CONNECTING 92 SUPPORTING Connect: Students will connect community values, beliefs, and cultural differences to the musical STANDARD CN.11.3 theatre experience.

I: PROFICIENT II: ACCOMPLISHED

I can recognize the effect of the beliefs, I can explore with sensitivity the intention attitudes, and actions of people of various of the playwright and/or director to influence ages, cultures, and communities on musical the beliefs, attitudes, and actions of people theatre and demonstrate a sensitivity to it . of various ages, cultures, and communities .

For example, students might For example, students might • use roundtable or Socratic discussion circles to discuss characteristics • independently select a culturally relevant musical such as Rent, Hamilton, of cultural sensitivity . Dear Evan Hansen, and Carousel and write a reflection on its potential effect • discuss the cultural significance of a musical such as Evita or West Side Story . on the attitudes of his or her community . • create an original work of musical theatre that reflects the values of his or her community .

Connecting Notes: Favorite Resources:

MUSICAL THEATRE I-II: CONNECTING 93 THEATRE APPRECIATION STANDARDS AND TEACHER GUIDANCE

THEATRE APPRECIATION 94 Standards for Accreditation Information

Course Title: Theatre Appreciation Theatre Appreciation fulfills the 0 .5 credit Course/Unit Credit: 0 5. unit fine arts graduation requirement . Course Number: 453130 Teacher Licensure: Please refer to the Course Code Division of Elementary and Secondary Management System for the most current Education approval is not required for licensure codes . Theatre Appreciation . Grades: 9-12 Prerequisites: There is no prerequisite for Theatre Appreciation .

Course Description: Theatre Appreciation

Theatre Appreciation is a one-semester societal, cultural, and historical contexts . The traditional conventions of the craft that have course in which students develop fundamental Theatre Appreciation standards address both been developed over the centuries—scripted theatre skills through academic study . Students drama processes and traditional theatre . Drama plays, acting, public performance, and technical will develop an understanding of basic theatre processes encompass envisioned worlds and theatre elements . skills and the history of the theatre, analyze unscripted activities designed to engage and evaluate artistic work, and discover students in a wide range of real and imagined NOTE: Theatre Appreciation is not connections between theatrical works and issues . Theatre includes the broader and more recommended for large group instruction .

THEATRE APPRECIATION 95 ARTISTIC THEATRE APPRECIATION PROCESS Creating

ANCHOR STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when theatre artists use their imaginations and/or learned theatre skills while QUESTION engaging in creative exploration and inquiry?

I can differentiate between theatre as For example, students might an art form and as dramatic play . • pantomime stories about favorite cartoon characters . • improvise a scene based on various pieces of given information . I can explore the concept of • participate in group movement exercises such as Machine . imaginary environments . • research online to find set designs for a school production .

I can collaborate with others to explore sources of inspiration for artistic work .

ARTISTIC THEATRE APPRECIATION PROCESS Creating

ANCHOR STANDARD Students will organize and develop artistic ideas and work.

CR.2 ESSENTIAL QUESTION How, when, and why do theatre artists’ choices change?

I can explore characters, setting, and For example, students might plot in a devised or scripted work . • use diagrams, graphic organizers, and discussion to explore characters, setting, and plot in a given script . • use digital media to research and teach peers about the activities of an actor, director, designer, producer, playwright, I can explore the responsibilities of technician, or stage manager . onstage and offstage theatrical positions . • discuss the responsibilities of one of the theatrical positions in a class project or a realized production . • identify stage directions (e g. ., center, up, down, left, right, up center, down center, up right, down left) and stage types I can examine the impact of different (e g. ., thrust, proscenium, black box, arena) via movement exercises or scene work . types of theatre spaces . • identify examples in plays of the passing of time with a blackout, a set with three walls representing an entire room, and a soliloquy representing a character’s internal monologue . I can identify theatrical conventions in a devised or scripted drama/theatre work .

THEATRE APPRECIATION: CREATING 96 ARTISTIC THEATRE APPRECIATION PROCESS Creating

ANCHOR STANDARD Students will refine and complete artistic ideas and work.

CR.3 ESSENTIAL QUESTION How do theatre artists transform and edit their initial ideas?

I can apply self-reflection For example, students might to theatrical ideas . • in a small group of peers, read a scene aloud and discuss how the characters made them feel and what changes in the reading could have made the characters’ feelings more apparent . • after delivering a monologue, write a self-reflection comparing their personal expectations for the piece to their perception of the actual delivery of it .

Creating Notes: Favorite Resources:

THEATRE APPRECIATION: CREATING 97 ARTISTIC THEATRE APPRECIATION PROCESS Performing

ANCHOR STANDARD Students will select, analyze, and interpret artistic work for presentation.

PR.4 ESSENTIAL QUESTION Why are strong choices essential to interpreting a drama or theatre piece?

I can define the elements of drama . For example, students might • annotate a script with markings for the elements of drama including character, language, plot, rhythm, I can identify the types of characters and their spectacle, and theme . relationship to the plot of a drama/theatre work . • read a given play, choose a character, and write a character analysis identifying the character as the antagonist or protagonist and discuss his or her objective or motivation in the story . I can determine character objectives and tactics . • explore print resources, web resources, film, or video to identify options to satisfy the technical requirements of a play . I can explore characters and technical elements based on research from multiple sources of information .

ARTISTIC THEATRE APPRECIATION PROCESS Performing

ANCHOR STANDARD Students will develop and refine artistic techniques and work for presentation.

PR.5 ESSENTIAL QUESTION What can I do to fully prepare a performance or technical design?

I can discuss choices made by an actor For example, students might in the character development process . • explore the vocal, physical, and psychological choices made by an actor during the preparation of a character for performance . I can demonstrate empathy • discuss character motivation and objectives during the character development process . for characters in literature . • conduct interviews from the viewpoint of a character . • prepare an informal or formal ensemble or individual work including table work, blocking, working I can develop theatrical skills and techniques rehearsals, tech rehearsals, and dress rehearsals which may or may not be performed for an audience by following the steps in the rehearsal process . (i e. ., the rehearsal process) . • develop a character for an informal or formal ensemble or individual work including analysis, research, I can develop theatrical skills and techniques vocal/movement choices, character choices, and rehearsals which may or may not be performed for by following the steps in the acting process . an audience (i e. ., the acting process) . • conduct research of acting theories utilizing digital media . I can research and discuss acting theories . • experiment with elements of vocal performances (e g. ,. tone, tempo, projection, articulation, breath support) through guided performances around a common text . I can identify the characteristics of a strong and versatile stage voice .

THEATRE APPRECIATION: PERFORMING 98 ARTISTIC THEATRE APPRECIATION PROCESS Performing

ANCHOR STANDARD Students will convey meaning through the presentation of artistic work.

PR.6 ESSENTIAL QUESTION What happens when theatre artists and audiences share a creative experience?

I can convey a specific meaning For example, students might through the performance of a • present scene work, ensemble work, or playwriting and performance in a classroom or public setting . devised or scripted work . • present design portfolios . • present an original costume, prop, or model set for one particular character or scene within a given work . I can research and share a theatrical design with peers .

Performing Notes: Favorite Resources:

THEATRE APPRECIATION: PERFORMING 99 ARTISTIC THEATRE APPRECIATION PROCESS Responding

ANCHOR STANDARD Students will perceive and analyze artistic work.

RE.7 ESSENTIAL QUESTION How do theatre artists comprehend the essence of drama processes and theatre experiences?

I can analyze and discuss the For example, students might characteristics of authentic character • write an essay comparing and contrasting the choices that characters make and the results of their decisions in a interaction and the consequences of given short scene or monologue . a character’s decisions and actions . • workshop duet or group scenes, read and discuss scripts, or watch clips of movies, plays, or musicals with the intent of discussing the character interactions . I can discuss the contribution of • analyze scripts though roundtable discussion of the dramatic elements including but not limited to timing, rhythm, technical elements and dramatic elements contrast, mood, space, or language . of an observed drama/theatre work to • participate in a roundtable discussion or Socratic circle concerning the technical elements of a production . the effectiveness of a production . • discuss a live or recorded multimedia performance of a monologue, scene, one-act, full-length play, or movie . • demonstrate appropriate audience participation and conventions at a classroom or public performance . I can identify appropriate responses to a theatrical experience as an audience member .

ARTISTIC THEATRE APPRECIATION PROCESS Responding

ANCHOR STANDARD Students will interpret intent and meaning in artistic work.

RE.8 ESSENTIAL QUESTION How can the same work of art communicate different messages to different people?

I can identify emotional responses For example, students might experienced by an audience . • read or watch a variety of works and then discuss emotional responses to the work . • create a chart of students’ individual emotional responses to a work of theatre . • read a play or watch a performance and discuss the playwright’s ability to evoke empathy for the characters in the story .

THEATRE APPRECIATION: RESPONDING 100 ARTISTIC THEATRE APPRECIATION PROCESS Responding

ANCHOR STANDARD Students will apply criteria to evaluate artistic work.

RE.9 ESSENTIAL How are the theatre artist’s processes and the audience’s perspectives impacted by analysis QUESTION and synthesis?

I can develop criteria to evaluate For example, students might performances and theatrical designs . • develop tools for evaluating their own performance, a performance by peers, and/or a performance on stage, in film, or on television . I can distinguish between personal • write a statement regarding the artistic merit of a performance or production that the student does not personally preferences and artistic merit . enjoy or prefer .

Responding Notes: Favorite Resources:

THEATRE APPRECIATION: RESPONDING 101 ARTISTIC THEATRE APPRECIATION PROCESS Connecting

ANCHOR STANDARD Students will synthesize and relate knowledge and personal experiences to make art.

CN.10 ESSENTIAL What happens when theatre artists foster understanding between self and others through critical QUESTION awareness, social responsibility, and the exploration of empathy?

I can analyze the impact of personal For example, students might experience on the creation of theatre . • conduct a short biographical study of a playwright paired with reading or performing his/her work . • read biographies of theatrical artists with similar experiences as himself or herself and analyze how they affected the artist’s work .

ARTISTIC THEATRE APPRECIATION PROCESS Connecting

ANCHOR Students will relate artistic ideas and work with societal, cultural, and historical context to CN.11 STANDARD deepen understanding. ESSENTIAL What happens when theatre artists allow an understanding of themselves and the world to inform QUESTION perceptions about theatre and the purpose of their work?

I can research significant periods of theatre For example, students might history using multiple sources of information . • research and share findings on Greek, Roman, Elizabethan, Renaissance, and other periods of theatre history using multiple sources of information . I can research the societal, cultural, and historical • participate in a roundtable discussion or Socratic circle focusing on the effects of theatre on people of various ages contexts that lead to personal artistic choices . and cultural perspectives . • attend a performance or read a script to investigate another culture’s theatrical works . I can connect community values and discuss • find onnectionsc between works of visual art and theatre such as those in Sunday in the Park with George . their influence on personal artistic choices in the creation of a drama/theatre work .

I can display cultural sensitivity to the work of others .

I can compare the creative processes used in various art forms to those used in theatre .

THEATRE APPRECIATION: CONNECTING 102 Connecting Notes: Favorite Resources:

THEATRE APPRECIATION: CONNECTING 103 TECHNICAL THEATRE I-IV STANDARDS AND TEACHER GUIDANCE

TECHNICAL THEATRE I-IV 104 Standards for Accreditation Information

Course Title: Technical Theatre I-IV Technical Theatre I fulfills the 0 .5 credit Course/Unit Credit: 1 unit per course fine arts graduation requirement . Course Number: Technical Theatre I: 459240, Technical Theatre II: 459250, Division of Elementary and Secondary Technical Theatre III: 459260, Education approval is not required for Technical Theatre IV: 459270 Technical Theatre I-IV . Teacher Licensure: Please refer to the Course Code Management System for the most current licensure codes . Grades: 9-12 Prerequisites: There is no prerequisite for Technical Theatre I . The student entering Technical Theatre II, III, or IV should successfully complete the preceding year of Technical Theatre .

Course Description: Technical Theatre I-IV

Technical Theatre I is a two-semester design . Technical Theatre III is a two- of Technical Theatre focus on the artistic course which provides students with semester course which allows students to processes of creating, performing, responding, exposure to and/or experience in all elements deepen their understanding and advance and connecting . of technical theatre, including scenery, props, their skills in one specialized area of technical lighting, sound, costume, and makeup . theatre, which could include scenery, props, NOTE: Technical Theatre I-IV are not Technical Theatre II is a two-semester course lighting, sound, costume, and/or makeup . recommended for large group instruction . which allows students to advance their skills Technical Theatre IV focuses on leadership Recommended class size is twenty students in all elements of technical theatre through skills required to provide technical direction per class . practical experience, with new instruction in to a collaborative production staff . All levels

TECHNICAL THEATRE I-IV 105 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Creating

ANCHOR STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when theatre artists use their imaginations and/or learned theatre skills while QUESTION engaging in creative exploration and inquiry?

SUPPORTING Imagine: Students will create imaginary environments to enhance plot, characters, dialogue, and STANDARD CR.1.1 stage movement.

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G H I J

I can explore with guidance ideas I can collaborate with others to explore I can use imaginary environments to I can facilitate conversations related to for imaginary environments to ideas for imaginary environments to enhance the elements of a story to ideas for imaginary environments to support the elements of a story . support the elements of a story . elicit a specific audience response . enhance the elements of a story and to elicit a specific audience response .

For example, students might For example, students might For example, students might For example, students might • sketch fairy tale settings or • participate in small group • suggest multiple scenic ideas for a • after a class improvisation, ask cartoon characters . discussions related to scenic class improvisation and compare questions to elicit ideas for • use watercolors or other media to elements for an improvisation and contrast the varied responses costumes that would aid in the experiment with a color palette observed in class . of the observers . depiction of the characters . for a favorite story .

TECHNICAL THEATRE I-IV: CREATING 106 SUPPORTING CR.1.2 STANDARD Design: Students will explore the use of digital media to generate ideas for drama/theatre work.

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G H I J

I can use a variety of sources to I can explore the impact of I can use digital media to edit and I can use digital media to present conduct research to generate digital media on design for a enhance technical design ideas . technical ideas as the leader of ideas for technical designs . drama/theatre work . a theatrical design team .

For example, students might For example, students might For example, students might For example, students might • compile a digital inspiration • watch a video about the • listen to archives of American folk • research a broad range of board, design morgue, look book, technology used in preparation for music to design sound effects for production concepts for a or collage . a Broadway production . the musical Big River . proposed production . • present research to the class • use museum websites to research • create a digital backdrop for • create and present a digital design comparing and contrasting photos of the Globe Theater to projection and edit as needed to portfolio to a production team . examples of applications of a discuss design considerations for suit a given scene . specific style of makeup . Romeo and Juliet . • share photos of a single play’s • research standard sizes of sheet technical design from various materials such as plywood and theatres’ productions . Masonite and explain how to maximize the use of standard sizes and minimize cuts .

TECHNICAL THEATRE I-IV: CREATING 107 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Creating

ANCHOR STANDARD Students will organize and develop artistic ideas and work.

CR.2 ESSENTIAL QUESTION How, when, and why do theatre artists’ choices change?

SUPPORTING CR.2.1 STANDARD Collaborate: Students will collaborate with a creative team to prepare for a drama/theatre work.

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G H I J

I can recognize the collaborative I can collaborate to prepare a technical I can collaborate to prepare a I can lead a technical crew nature of theatre . design or stagecraft project . technical design or project for a to conceptualize a body of specific drama/theatre work . designs on a given theme . I can identify with the I can appreciate an actor’s actor’s experience . contribution to a production . I can anticipate theatrical needs related to an actor’s role .

For example, students might For example, students might For example, students might For example, students might • present to peers research on • based on his or her interest, • based on his or her interest or • mentor novice students in one of the following theatrical observe an advanced student experience, create a general technical roles . positions: actor, designer, director, performing responsibilities in plan for a crew to complete their • organize a support crew in his house manager, marketing team, a technical role . required responsibilities on time or her area of experience for a playwright, producer, stage • shadow a professional (e g. ., a timeline regarding when proposed production (e g. ., mic manager, or technical director . theatre technician . each phase of lighting design and crew, ushers) . • participate in team • working with others, source ideas execution should be completed) . • lead a crew meeting or rehearsal . building exercises . for an original technical design . • brainstorm possible solutions to a • delegate tasks to members of • listen to guest speakers from a • in a group, create a cut list from design challenge associated with a crew . local community or professional a technical drawing . a particular show . theatre discuss their roles in • stage a “powderpuff one-act” • devise a master list regarding prop a production . in which the techies perform as needs and costume changes for • view a video of an actor preparing actors and the actors perform an actor portraying a major role in for a performance beginning with technical duties . a production of Twelfth Night . arrival at the theatre .

TECHNICAL THEATRE I-IV: CREATING 108 SUPPORTING CR.2.2 STANDARD Apply: Students will apply knowledge of theatrical spaces.

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G H I J

I can identify stage directions . I can use stage directions to I can determine weak and strong I can facilitate the organization explore technical theatre work . stage positions in order to create of artistic work in a variety I can identify types of theatres focus using technical elements . of theatre spaces . and areas of the theatre . I can explore different spaces in the theatre . I can compare and contrast different types of stages .

For example, students might For example, students might For example, students might For example, students might • use a diagram of stage directions • discuss the placement of set • draw and label a ground plan • in blocking a scene for a class (e g. ., center stage, downstage, pieces and set changes using for each of the different types exercise, facilitate actors in stage left, stage right, and upstage) appropriate terminology related of theatrical spaces (e g. ,. the most effective use of the as a connect-the-dots game, to stage directions . proscenium, thrust, arena) . classroom space . asking students to spell their • play stage direction Simon Says, • describe which lights need to be • prepare a blank technical names by connecting the dots . allowing students to rotate in the focused to create emphasis on a director’s book for a • draw and label the following role of Simon . given stage area or scenic element mock production . types of theatre spaces • focus a stage light on each stage and describe the steps in focusing (e g. ., arena, black box, area and ask students to light the lights . proscenium, and thrust) . the appropriate area from the • conduct a tour of a theatre, tech booth . introducing areas such as wings, flyspace, apron, tech booth, lobby, and others .

TECHNICAL THEATRE I-IV: CREATING 109 SUPPORTING CR.2.3 STANDARD Organize: Students will use a variety of documents to organize artistic ideas.

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G H I J

I can describe the use of a variety I can use selected I can create selected I can use digital media to refine of theatrical paperwork . theatrical paperwork . theatrical paperwork . selected theatrical paperwork .

I can describe the types of I can use the documents I can create the documents required I can use digital media to refine documents used specifically for required for development and to present a design, manage a the documents required to present technical design and execution . execution of a technical design . production, or maintain a portfolio . a design, manage a production, or maintain a portfolio .

For example, students might For example, students might For example, students might For example, students might • discuss an example rehearsal • create and regularly update a • create a mic list . • analyze the effectiveness of schedule for a school, community, digital theatrical resume, using • create a prop list . a given form or template and or professional production . professional resumes, digital • create a technical recreate it to make it more • examine theatrical resumes and media, and templates as examples . crew application . effective for use . explain how they assist amateurs • use a mic list to mic actors or use • draw a costume design using a • create a technical drawing and professionals in finding roles a mic plot to operate croquis template . with a drafting program (e g. ., in theatre . the soundboard . • draw a makeup design using a VectorWorks, Google Sketch Up) • identify ground plans, paint • use a prop list to set up a prop face template . and revise as needed . elevations, lighting and sound table for a one-act . • create a ground plan and draw • create a light plot with a drafting plots, measurement charts, sketch • create a costume plot for one to scale . program (e g. ., VectorWorks, templates, costume plots, makeup character’s changes throughout Google Sketch Up) and revise plots, and pull lists . a production . as needed . • compare a ground plan, sketch, • create and maintain a weekly scale rendering, model, and digital portfolio with pictures of finished set for a work in progress and completed single production . projects with descriptions . • explain the difference between a • create a digital form for costume rendering and a paint elevation . measurements (e g. ,. Google Forms, Adobe) that can be adapted for each show’s unique needs .

TECHNICAL THEATRE I-IV: CREATING 110 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Creating

ANCHOR STANDARD Students will refine and complete artistic work.

CR.3 ESSENTIAL QUESTION How do theatre artists transform and edit their initial ideas?

SUPPORTING CR.3.1 STANDARD Refine: Students will apply self-reflection and feedback to refine artistic work.

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G H I J

I can apply self-reflection I can apply self-reflection and I can experiment with design I can refine design choices and to technical theatre work . feedback to technical theatre work . choices and technical solutions based technical solutions based on self- on self-reflection and feedback . reflection and feedback .

For example, students might For example, students might For example, students might For example, students might • write a paragraph describing the • discuss design challenges and • reflect on peer feedback on his • recreate original designs and strengths and weaknesses of a solutions after a peer shares his or or her design and decide which justify the changes . scenic design . her design to the class . aspects of the design they • conduct a team shop inventory • reflect on their own designs after • conduct a class walkabout: lay out will change . and refine a preliminary design sharing them with the class . anonymous paper designs, discuss • retexture practice flats based based on the availability of • assign a letter grade or number the similarities and differences upon glare observed by crew stock pieces and budget for rating to their own participation between them, compile a list members in the booth . new building materials . on a crew and give reasons for of agreed-upon traits to keep their grade . and discard, and revise or redraw designs to fit the workshop’s decisions .

TECHNICAL THEATRE I-IV: CREATING 111 Creating Notes: Favorite Resources:

TECHNICAL THEATRE I-IV: CREATING 112 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Performing

ANCHOR STANDARD Students will analyze, interpret, and select artistic work for presentation.

PR.4 ESSENTIAL QUESTION Why are strong choices essential to interpreting a drama or theatre piece?

SUPPORTING PR.4.1 STANDARD Analyze: Students will analyze scripts to inform technical design.

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G H I J

I can analyze a script of I can analyze a script of literary merit I can analyze a script of literary merit I can analyze a script of literary merit literary merit to identify visual to select appropriate components for in order to make artistic choices for a to create a full design concept for a and aural design elements . a visual and aural design concept . visual and aural design concept . specific theatrical production .

For example, students might For example, students might For example, students might For example, students might • use a script analysis template • compile a list of mood words • develop a class presentation • create a design concept with an during a reading to identify relevant to a script and use a demonstrating the relationship emphasis on lighting appropriate setting, time period, given variety of sources to find five between sound effects and for a play or musical that begins circumstances, plot structure, photos of places that match lighting effects in a play (e g. ., at dawn and ends at midnight and other dramatic elements . each word . Our Town, The Glass Menagerie, to show the changing light (e g. ,. • mark clues related to technical • analyze The Tempest for A Midsummer Night’s Dream) . Three Sisters, A View from a design during the reading of appropriate moments for thunder • participate in a production staff Bridge, Who’s Afraid of Virginia a script . and lightning effects and prepare discussion of the play in which Wolfe, Midsummer Night’s Dream, a storm cue sheet . technical designs are selected for True West, Picnic) . an upcoming production of You Can’t Take It With You .

TECHNICAL THEATRE I-IV: PERFORMING 113 SUPPORTING PR.4.2 STANDARD Determine: Students will examine the effect of character relationships on technical theatre.

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G H I J

I can examine the manner in which I can examine the manner in which I can select designs for technical I can create a design for technical character relationships assist in telling technical design elements can elements to represent elements intended to represent the story of a drama/theatre work . represent character relationships character relationships . character relationships in a in a drama/theatre work . drama/theatre work .

For example, students might For example, students might For example, students might For example, students might • improvise short scenes based • write a character analysis of Lady • after discussing the characters • discuss character relationships on a relationships (e g. ,. Bracknell from The Importance in each vignette, create possible in a specific drama/theatre work mother-child, husband-wife, of Being Earnest and include costume plots for the characters and how each affects the overall co-workers, authority figure and notes from both the script and in Almost, Maine . technical concept, using research follower) and discuss how the from imagination about creating of technical designers’ approaches plots developed differently and her physical appearance with as a guide . technical requirements differ for costumes and makeup . • create a lighting tableau based each scene based on the • create a list of adjectives to on the relationship between character relationships . describe a relationship portrayed Desdemona and Othello at the in a classroom scene (e g. ., a beginning of Shakespeare’s mother-child relationship is loving, Othello and a contrasting tableau a husband-wife relationship is for their relationship at the end contentious); sketch a scenic of the play . design based upon the adjectives .

TECHNICAL THEATRE I-IV: PERFORMING 114 SUPPORTING PR.4.3 STANDARD Select: Students will select sources of information to inform design choices.

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G H I J

I can explore multiple I can use multiple sources of I can select multiple sources of I can present multiple sources of information . information to inform design choices . information to create designs for a potential sources of information specific drama/theatre work . to a design team for a specific drama/theatre work .

For example, students might For example, students might For example, students might For example, students might • consult print resources, web • create a sketch of a costume for • create a digital morgue for a • compile a digital portfolio of resources, film, and video to The Lion King: The Musical based production of Guys and Dolls, photos, web resources, and collect design details for an on research of Shakespearean including authentic photos of personal designs for a specific upcoming production . costuming techniques . 1930s-50s Cuban dancers, photos show; present the digital • read a scene from Hamlet, of Cuban dancers from other portfolio to a design team view the scene in a classic theatres’ performances, and video for further development . adaptation on film, then view clips of Cuban dancers and use the corresponding scene in these sources to design costumes The Lion King . for the Havana dance scene .

TECHNICAL THEATRE I-IV: PERFORMING 115 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Performing

ANCHOR STANDARD Students will develop and refine artistic techniques and work for presentation.

PR.5 ESSENTIAL QUESTION What can I do to fully prepare a performance or technical design?

SUPPORTING PR.5.1 STANDARD Prepare: Students will execute a technical theatrical design.

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G H I J

I can execute a component I can execute a component I can execute multiple I can lead a production crew of a theatrical design . of a theatrical design for a components of a theatrical design in the research and execution of realized production . for a realized production . an entire theatrical design for a realized production .

For example, students might For example, students might For example, students might For example, students might • build a standard 4’x8’ flat or a • experiment with different • brainstorm ideas for how to turn • using information pulled from miniature model of a standard mediums (e g. ., paper mache, clay, a regular black character heel into the Internet, create a tutorial on stock piece after finding standard foam, wood, fabric), select the Cinderella’s glass slipper, sketch how to produce a clover puff for measurements on retail most appropriate, and create two and create the shoes, altering the Seussical the Musical so other store websites . meat pie props for a production of design as needed to achieve a students can make more to fill • apply old-age makeup after Sweeney Todd, the Demon Barber believable, practical product . the clover field . examining images from a variety of Fleet Street . • research weight limits for casters • create a scenic design and of sources . • make a list of types, brands, and and determine how much the divide aspects for construction • style a wig based on photos of shades of makeup appropriate mobile set pieces for a production by different teams of builders hairstyles from a different for daily wear and a second list weigh based on standard weights for assembly . time period . of types, brands, and shades of construction materials; select for stage wear; apply both and the appropriately rated casters . compare under stage lighting . • identify the relationship of lightning to thunder (e g. ., timing and distance from the storm producing the phenomena) to replicate the mood of an approaching or retreating storm using the light and soundboards .

TECHNICAL THEATRE I-IV: PERFORMING 116 SUPPORTING PR.5.2 STANDARD Design: Students will explore design theories.

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G H I J

I can identify design theories I can examine the relevance I can revise a technical I can synthesize knowledge related to technical theatre . of various design theories for a theatre work by incorporating of multiple design theories to specific drama/theatre work . one design theory . create a design for a specific drama/theatre work .

For example, students might For example, students might For example, students might For example, students might • research and share findings on • discuss how the use of color adds • refocus previously hung lights • design a new lighting plot based color theory, elements of design, to or detracts from the production to better reflect the 45-degree on color theory, the McCandless the McCandless theory, lighting of a play such as The Giver that McCandless theory approach . theory, and the elements of theory, and significant designers . makes use of a given color theory . • recut a costume to adjust its design, hang the fixtures, and • choose an emotion word and silhouette to the time period, an program the light board . create a monotone landscape that important theory in evokes it using color theory . costume design . • observe how M&Ms appear to change color under lighting elements with different gels .

TECHNICAL THEATRE I-IV: PERFORMING 117 SUPPORTING PR.5.3 STANDARD Rehearse: Students will participate in established theatrical processes.

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G H I J F

I can identify the steps I can document the design of a I can document the design of I can synthesize the designs of all of the design process . single technical element following multiple technical elements following technical elements into a unified the steps of the design process . the steps of the design process . technical vision following the steps I can identify the steps in of the design process . the rehearsal process . I can analyze the role of the technician I can address the challenges and designer in the rehearsal process . encountered in rehearsal for a I can contribute as a technician or performance to refine technical production crew leader throughout the designs or elements . rehearsal process for a performance .

For example, students might For example, students might For example, students might For example, students might • share a digital presentation of • keep a journal documenting • keep a journal documenting • create a complete scenic, lighting, the steps of the design process the creation of a design for the creation of a collection of and sound design for a realized (e g. ., analysis, research, an upcoming production with multiple designs for an upcoming production with evidence preliminary sketches, finalized evidence for each step of the production with evidence for each documenting each step of the sketches, renderings or models, design process . step of the design process . design process . related paperwork) . • assume a new technical role and • adapt a lighting cue based on a • guide a production crew through • view and discuss a backstage explain how rehearsals blocking change made a comprehensive design schedule documentary detailing the design are different from a during rehearsal . that includes analysis, research, process of a movie or musical previous experience . • hem a costume based on seeing preliminary sketches, finalized (e g. ., The Lion King, Little Shop • compare rehearsal reports for the an actor struggle to dance at a sketches, renderings or models, of Horrors) . run of a rehearsal schedule to see dress rehearsal . and related paperwork that leads • after attending one rehearsal how changes evolved . to a performance . at each of the following stages • attend multiple rehearsals as a of the rehearsal process (e g. ., student technical director, lighting read-through, blocking, working, designer, or costume designer in technical, dress), list the top order to plan and revise ten things to know for a future technical decisions . theatrical technician . • discuss how each phase of the rehearsal process builds on the previous phase .

TECHNICAL THEATRE I-IV: PERFORMING 118 SUPPORTING PR.5.4 STANDARD Build: Students will construct technical elements for a performance.

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G H I J

I can identify specialized I can use the appropriate tools and I can execute a technical product for I can supervise the construction of tools and equipment used equipment to execute a component the production of a specific drama/ technical products for the production in technical theatre . of a theatrical design in scenery theatre work with proficiency in of a specific drama/theatre work construction, property construction, scenery construction, property in scenery construction, property costume construction, makeup construction, costume construction, construction, costume construction, application, or wig/hairstyling . makeup application, or wig/hairstyling . makeup application, or wig/hairstyling .

For example, students might For example, students might For example, students might For example, students might • assist in organizing construction • build a hard flat using a drill, • build a 4’ legged platform with • supervise peers building a tools in the scene shop (e g. ., saws, screws, and a miter saw; prime cross brace supports for stability . large flat with an embedded, drills, hammers, wrenches, pliers); with appropriate paint and rollers . • sketch a nose design for the Whos hinged door . measurement tools (e g. ., tape • use heat tools to style hair for a in Seussical the Musical; sculpt the • design and supervise the building measure, framing square, production of Hairspray . nose in clay, cast it, and create of a collapsing table for “Spoonful scale ruler) . • use a sewing machine to create a latex prosthetic for use in the of Sugar” from Mary Poppins . • assist in organizing costume matching ascots for the musical production . • apply straight makeup to tools in the costume shop (e g. ., Bye Bye Birdie ensemble or to • create a sewing pattern for a individuals of different genders fasteners, iron, steamer, measuring alter a skirt that is too large for replicable accessory (e g. ., a holly and ethnicities and explain the tape, needles, pins, patterns, the actor wearing it . leaf hairpin for the Rockettes manner in which a makeup sewing machines) . in Annie, fabric carnations for application must change to • assist in organizing the dressing gamblers in Guys & Dolls) . accommodate individuals’ room materials (e g. ,. hair styling physical differences . tools, latex and prosthetics, • supervise the show’s stitchers in makeup, wigs) . using a complex pattern to sew a • unplug a miter saw for safety then costume from scratch . use sticky notes to label parts . • in small groups, use marking and measuring tools to accomplish a set task (e g. ., make a straight mark with a chalk line, create a square cutting mark with a speed square) . • determine which fasteners would be most appropriate for various closures (e g. ., the back of the dress, top of neckline, breakaway quick-change shirt, corseted top) .

TECHNICAL THEATRE I-IV: PERFORMING 119 SUPPORTING PR.5.5 STANDARD Demonstrate: Students will demonstrate appropriate safety practices.

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G H I J

I can discuss safety practices in I can demonstrate safety practices in I can model safety practices in I can supervise safety practices in construction and the use of tools construction and the use of tools . construction and the use of tools . construction and the use of tools .

For example, students might For example, students might For example, students might For example, students might • share prior knowledge of safety • categorize provided safety • serve as the safety policeman in • publish a digital manual of safety rules before formal instruction; rules into groups and create an a shop environment, observing rules and practices for his or compare which rules students acronym and/or mnemonic device and correcting safety procedures her specific theatre space and knew intuitively and which rules for the categories (e g. ., a song, of peers . equipment; share with novice require more direct instruction . skit, graphic) . students before beginning • share safety information gleaned • secure loose clothing or hair to a project . from instruction manuals of avoid dangerous contact various tools and equipment . with equipment . • avoid approaching a peer operating equipment from the rear or making loud, sudden noises around peers operating equipment . • avoid overreaching to make a cut with a circular saw .

TECHNICAL THEATRE I-IV: PERFORMING 120 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Performing

ANCHOR STANDARD Students will convey meaning through the presentation of artistic work.

PR.6 ESSENTIAL QUESTION What happens when theatre artists and audience share a creative experience?

SUPPORTING PR.6.1 STANDARD Share: Students will convey specific meaning through technical theatre work.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can describe the manner in I can present a theatrical design that I can implement a theatrical design I can defend the rationale for personal which theatrical design conveys uses visual and aural elements to that uses visual and aural elements to artistic choices in a theatrical design the author’s intent . convey the author’s intent . convey the author’s intent . that uses visual and aural elements to convey the author’s intent .

For example, students might For example, students might For example, students might For example, students might • discuss the manner in which set • compare original scenic and • produce sound effects for You’re • build costumes for the leads design, lighting design, costume lighting practices in the Globe a Good Man, Charlie Brown and in a production of Romeo and design, and makeup design Theatre to modern productions justify how the use of mottled Juliet in which the characters are can be used to support the of Shakespeare’s plays, and voices for the adult characters dressed referencing personalities author’s intent . present a lighting design based is true to the author’s intent rather than time period (e g. ., • view a class-appropriate scene on this research and considering and meaning . Juliet in a sundress, Romeo in a from Rent; discuss how the Shakespeare’s intent in the play . 1950’s bowling shirt, the fathers costumes, lighting, and scenery in business suits, the mothers in add value to Larson’s message . traditional Elizabethan wear) and defend the mixture of clothing from different eras .

TECHNICAL THEATRE I-IV: PERFORMING 121 Performing Notes: Favorite Resources:

TECHNICAL THEATRE I-IV: PERFORMING 122 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Responding

ANCHOR STANDARD Students will perceive and analyze artistic work.

RE.7 ESSENTIAL QUESTION How do theatre artists comprehend the essence of drama processes and theatre experiences?

SUPPORTING RE.7.1 STANDARD Reflect: Students will analyze the contribution of technical elements to a theatrical production.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify the contribution I can discuss the contribution of I can examine the contribution of I can analyze the contribution of a of technical elements to the general technical elements to the a specific technical element to the specific technical element to the effectiveness of a production effectiveness of a production . effectiveness of a production using effectiveness of a production . using basic theatre terminology . complex theatre terminology .

For example, students might For example, students might For example, students might For example, students might • brainstorm a list of technical • compare the merits of a unit set to • write a paragraph regarding the • interview a technical theatre theatre jargon (e g. ., flat, teaser, a box set for a given production . use of different lighting elements professional about a dress tormenter, unit) and create a • discuss how using different gels in a music video or rock concert rehearsal or performance, writing mnemonic device or game to and gobos affected the mood of referencing specific equipment down technical terms he or she assist with remembering a scene in a live production . and lighting theories . uses and incorporate them into the definitions . • compare stage makeup to • analyze the use of different fabric his or her own experience . • provide his or her own sound everyday makeup and discuss dyeing or painting methods to effects for a scene from a classic, the applications in a show replicate time period or culture- silent horror film like Dracula that required a lot of specific clothing referencing to create different emotional character makeup . specific textiles and pigments . responses (e g. ., make it funny, make it sad) .

TECHNICAL THEATRE I-IV: RESPONDING 123 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Responding

ANCHOR STANDARD Students will interpret intent and meaning in artistic work.

RE.8 ESSENTIAL QUESTION How can the same work of art communicate different messages to different people?

SUPPORTING Interpret: Students will explore the meaning and emotional responses evoked by a STANDARD RE.8.1 theatrical experience.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can identify emotional responses I can distinguish the manner in which I can interpret the manner in which I can analyze the manner in which experienced by an audience . design choices affect the mood and design choices affect the mood and design choices enhance the emotional meaning of a drama/theatre work . meaning of a drama/theatre work . responses intended by the playwright across a variety of cultures or genres .

For example, students might For example, students might For example, students might For example, students might • compare analogous scenes in • collect images of the same • compare and contrast simple • analyze a realized design by The Complete Works of William play from various decades and lighting tableaus which illicit collecting photos in a portfolio Shakespeare Abridged to an geographical locations and different moods or abstract and writing a narrative to original Shakespeare play . discuss how each creates a concepts (e g. ., anger, joy, disgust, accompany it . • compare several Halloween- different mood . sorrow, love, exhaustion, hope) . • view scenes from plays or themed clips of movies intended • view a set under various lighting • examine a script to determine videos and write an essay on for various audiences (e g. ,. styles (e g. ., bright or dim, color or the emotional response intended how the technical elements are Scooby-Doo, Hocus Pocus, white, gobos or open beam) and by the author, view a production representative of different cultural Halloween) and discuss what compare the mood evoked of it, and write a personal review perspectives (e g. ., Greek togas, makes a scene funny versus scary . by each . of a production, focusing on the colorful flamenco costumes, contributions of the gritty and monochromatic technical elements . urban settings) .

TECHNICAL THEATRE I-IV: RESPONDING 124 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Responding

ANCHOR STANDARD Students will apply criteria to evaluate artistic work.

RE.9 ESSENTIAL QUESTION How are the theatre artists’ processes and the audience’s perspectives impacted by analysis and synthesis?

SUPPORTING RE.9.1 STANDARD Evalute: Students will develop and apply criteria for theatrical work.

I: NOVICEII: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

GH I J

I can evaluate performances, designs, I can develop general criteria to I can develop individual criteria I can analyze criteria developed to and execution of designs within a evaluate performances, designs, to evaluate performances, designs, evaluate performances, designs, given set of criteria using basic and execution of designs. or execution of designs. and/or execution of designs. theatre terminology.

For example, students might For example, students might For example, students might For example, students might • use a teacher-provided rubric or • create a T-chart detailing • create a comprehensive rubric • lead a group discussion with the litmus scale to evaluate a live or personal opinion of what addressing each area of technical lighting crew about criteria to fi lmed production. generally constitutes an eff ective design; use the set of rubrics to evaluate the lighting design for a production and what constitutes evaluate a live performance. live performance. an ineff ective production; use the chart to evaluate a live or fi lmed production.

TECHNICAL THEATRE I-IV: RESPONDING 125 SUPPORTING RE.9.2 STANDARD Justify: Students will apply the concept of artistic merit.

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G H I J

I can distinguish between personal I can discuss the manner in which I can make choices I can justify a position taken on the preferences and artistic merit . society determines artistic merit . based on artistic merit . artistic merit of a drama/theatre work .

For example, students might For example, students might For example, students might For example, students might • write a positive press release for • participate in a roundtable • select multiple classical pieces for • present a production proposal a mock production of a show discussion or Socratic circle technical design projects such as for a play that is one of his or her considered to have artistic merit regarding society’s definition Antigone or contemporary pieces favorites, but that peers may not that he or she does not like . of artistic merit as it applies to such as The Crucible based on like; ask the class to support the technical theatre . perceived artistic merit . production based on the pitch .

TECHNICAL THEATRE I-IV: RESPONDING 126 Responding Notes: Favorite Resources:

TECHNICAL THEATRE I-IV: RESPONDING 127 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Connecting

ANCHOR STANDARD Students will synthesize and relate knowledge and personal experiences to make art.

CN.10 ESSENTIAL What happens when theatre artists foster understanding between self and others through QUESTION critical awareness, social responsibility, and the exploration of empathy?

SUPPORTING CN.10.1 STANDARD Relate: Students will incorporate personal experience, beliefs, and biases in technical theatre tasks.

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G H I J

I can discuss the impact of personal I can analyze the impact of personal I can evaluate the impact of I can synthesize personal experience, experience, beliefs, and biases on a experience, beliefs, and biases on personal experience, beliefs, and awareness of beliefs and biases, and drama/theatre work . drama/theatre work . biases on the creation of a design technical theatre knowledge in a for a drama/theatre work . design for a drama/theatre work .

For example, students might For example, students might For example, students might For example, students might • research Lin-Manuel Miranda’s • apply a makeup design that makes • compare the technical designs of • select a play with a personally inspiration for the technical his or her inner self visible and drastically different presentations meaningful theme; write a journal concepts used in Hamilton explain choices . of similar topics (e g. ., Jesus Christ entry about the experiences, and describe what events and Superstar versus traditional beliefs, and biases that inform viewpoints in his life led to the passion plays) and write a your choices before creating a creation of the musical . reflection on how each affects scenic design for the play . audiences differently .

TECHNICAL THEATRE I-IV: CONNECTING 128 ARTISTIC TECHNICAL THEATRE I-IV PROCESS Connecting

ANCHOR Students will relate artistic ideas and work with societal, cultural, and historical context to CN.11 STANDARD deepen understanding. ESSENTIAL What happens when theatre artists allow an understanding of themselves and the world to inform QUESTION perceptions about theatre and the purpose of their work?

SUPPORTING Incorporate: Students will incorporate social, cultural, and historical knowledge into artistic STANDARD CN.11.1 choices and theatrical conventions.

I: NOVICE II: PROFICIENT III: ACCOMPLISHED IV: ADVANCED

G H I J

I can discuss artistic choices I can compare artistic and technical I can make personal technical I can justify technical choices with regard to societal, cultural, choices with regard to societal, choices based on societal, with regard to societal, cultural, and historical context . cultural, and historical context . cultural, and historical context . and historical context .

For example, students might For example, students might For example, students might For example, students might • research the historical and societal • compare the differences in • relate his or her technical design • design an element of technical context of a culturally significant societal, cultural, and historical for the set of In the Heights or theatre to represent his or her play such as A Raisin in the Sun. context in plays written at Once on This Island to the social own culture or heritage for a the beginning and ending of issue or culture on which the community production; defend a playwright’s career (e g. ., story is based . the design choices to a group Sondheim’s music and lyrics for of peers . 1957’s West Side Story and 1990’s Assassins) and their impact on technical production choices .

TECHNICAL THEATRE I-IV: CONNECTING 129 SUPPORTING Connect: Students will connect community values, beliefs, and cultural differences to the STANDARD CN.11.2 theatrical experience.

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G H I J

I can discuss the influence of I can analyze the influence I can design one or more I can defend the ways in which community values and beliefs on the of community values and beliefs technical elements of a drama/ a technical design reflects my creation of drama/theatre work . on the design and production theatre work that reflects a community’s values and beliefs . of drama/theatre work . community’s values and beliefs .

For example, students might For example, students might For example, students might For example, students might • work in groups to choose a • compare technical elements • research historically accurate • compile a presentation of photos shortlist of one-acts, plays, and/ from productions of the same styles of clothing in 1860’s from programs of past shows in or musicals that would appeal play at schools in two different Thailand to create costume his or her school and discuss how to their community; articulate communities; discuss why the designs for The King and I . community values and beliefs reasons for the selections . technical designs were different • design costumes for the Hot Box influenced the costuming choices in each community . scenes of Guys and Dolls that for each show . are appropriate for wear by high school age actors .

TECHNICAL THEATRE I-IV: CONNECTING 130 SUPPORTING CN.11.3 STANDARD Understand: Students will demonstrate cultural sensitivity to the artistic work of others.

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G H I J

I can define cultural sensitivity I can discuss cultural sensitivity I can develop cultural sensitivity I can demonstrate cultural related to artistic work . related to artistic work . to the artistic work of others . sensitivity through appropriate response to the artistic work of others .

For example, students might For example, students might For example, students might For example, students might • use roundtable or Socratic • attend a performance or read • create a technical design for a • revise designs with diversity in discussion circles to identify a script to investigate another culturally relevant scene . mind and tailor the work to a characteristics of culture’s theatrical works . • design a set that is fully accessible specific audience . cultural sensitivity . by a variety of cast members • consult with students or adults with differing mobilities . of backgrounds scripted in the production for accuracy and sensitivity of technical portrayal .

TECHNICAL THEATRE I-IV: CONNECTING 131 SUPPORTING CN.11.4 STANDARD Connect: Students will connect technical theatre work with theatre history.

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G H I J

I can identify the connections I can apply theatre history to my I can use theatre history to increase I can use theatre history between theatre history and my technical theatre projects . the impact of my technical designs . to refine my designs . technical theatre work .

For example, students might For example, students might For example, students might For example, students might • compare the internal structure • design a set for a production in an • relocate speakers to replicate the • use Chinese or French shadow of a modern ellipsoidal light to outdoor amphitheater, using ideas acoustics of an open-air space . puppetry to create special effect candle-based lighting used in from outdoor Greek theatres . • create more comfortable projections in a technically theatres before electricity . • place footlights in a proscenium prosthetics based upon the advanced show (e g. ., create • calculate the weight needed to theater based on the placement of experiments of Lon Chaney . shadow puppets to suggest counterbalance a batten on a fly footlights in the Globe Theatre . a character flying as in Mary system and discuss the simple Poppins or transforming as in machine system . Beauty and the Beast) .

TECHNICAL THEATRE I-IV: CONNECTING 132 SUPPORTING CN.11.5 STANDARD Enhance: Students will explore the role of technology in enhancing technical theatre.

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G H I J

I can identify technological I can research technological I can apply technological I can apply technological advances advances in theatre . advances in theatre . advances in theatre to increase in theatre to refine my designs . the impact of my designs .

For example, students might For example, students might For example, students might For example, students might • view clips of shows and • research the use of projections in • create a set design for a show • revise a previous lighting design identify the different types of current Broadway shows . utilizing technology in the design . by incorporating moving lights . technology used (e g. ,. projection, • research new technology being • create a lighting design for a song • refine a previous set design by lighting, sound, editing and used in theatre (e g. ., turntables, or musical number using incorporating moving images and design software) . advances in computerized control moving lights . media controlled from a laptop in systems, interactivity with • create a video projection for a the tech booth . social media) . musical mashup .

TECHNICAL THEATRE I-IV: CONNECTING 133 Creating Notes: Favorite Resources:

TECHNICAL THEATRE I-IV: CONNECTING 134 COSTUME DESIGN I-II STANDARDS AND TEACHER GUIDANCE

COSTUME DESIGN I-II 135 Standards for Accreditation Information

Course Title: Costume Design I-II Costume Design I fulfills the 0 5. credit Course/Unit Credit: 1 unit per course fine arts graduation requirement . Course Number: Costume Design I: 459280, Costume Design II: 459290 Division of Elementary and Secondary Teacher Licensure: Please refer to the Course Code Education approval is not required for Management System for the most current Costume Design I or II . licensure codes . Grades: 9-12 Prerequisites: The prerequisite for Costume Design I is Theatre I, Technical Theatre I, or a portfolio selection process . The student entering Costume Design II should successfully complete Costume Design I .

Course Description: Costume Design I-II

Costume Design I-II are two-semester elements of design and construction, to reflect, critique, and connect personal courses that are designed to enable knowing the terminology and historical experience to the theatre . students to master the technical theatre background that is used to comprehend specialty of costuming . Mastery in costume technical theatre, having a clear sense of NOTE: Costume Design I-II are not design means discovering the creative what costuming embodies, and being able recommended for large group instruction .

COSTUME DESIGN I-II 136 ARTISTIC COSTUME DESIGN I-II PROCESS Creating

ANCHOR STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when theatre artists use their imaginations and/or learned theatre skills while QUESTION engaging in creative exploration and inquiry?

SUPPORTING CR.1.1 STANDARD Students will use imaginary characters and environments to inspire costuming ideas.

I: PROFICIENT II: ACCOMPLISHED

I can explore with guidance ideas for costumes inspired by imaginary I can use imaginary environments and characters to conceive environments and characters to support the elements of a story . costumes that elicit a specific audience response .

For example, students might For example, students might • sketch costumes to be worn by fairy tale or cartoon characters . • choose the most interesting character in a class improvisation, discuss the • use colored pencils or other media to experiment with a color palette for character’s personality and tactics, and discuss with peers a series of costume a given character . concepts for accurately depicting the character’s story arc .

SUPPORTING CR.1.2 STANDARD Students will explore the use of digital media to generate costuming ideas.

I: PROFICIENT II: ACCOMPLISHED

I can use a variety of sources to conduct research I can use digital media to edit and enhance costume design ideas . to generate ideas for costume designs .

For example, students might For example, students might • compile from print, web, video, and other sources a digital inspiration board, • maintain a digital portfolio with photos of previous costume design and design morgue, look book, or collage of costume ideas . construction including written statements describing each piece to use as a • conduct a search of visual media to compare photos of Eleanor of Aquitaine’s reference in subsequent costume work . costumes from various theatres’ productions of The Lion in Winter . • use digital drawing software to experiment with variations of costume designs .

COSTUME DESIGN I-II: CREATING 137 ARTISTIC COSTUME DESIGN I-II PROCESS Creating

ANCHOR STANDARD Students will organize and develop artistic ideas and work.

CR.2 ESSENTIAL QUESTION How, when, and why do theatre artists’ choices change?

SUPPORTING CR.2.1 STANDARD Students will collaborate with a creative team to prepare for a theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can understand the I can collaborate to prepare a technical collaborative nature of theatre . design or project for a drama/theatre work .

I can identify the responsibilities of various I can explore the contributions of costuming roles in a theatrical production . various costuming roles in a theatrical production to the overall creative team . I can appreciate an actor’s contribution to a production . I can anticipate costume needs related to an actor’s role .

For example, students might For example, students might • as a class project, work in a group to make a full costume piece out of • create a chart with brief descriptions of individual costuming roles emphasizing unexpected or recycled materials (e g. ,. toilet paper dress, duct tape shirt, the unique contribution and importance of each . cardboard robot) . • listen to a guest director explain his or her costuming vision for a production and • present research to the class on the responsibilities of a costume designer, discuss with the creative team costumes to fit that vision . assistant designer, costume coordinator, costumer, cutter/draper, stitcher, dresser, and wardrobe crew member . • listen to guest speakers, including costumers, from a local community or professional theatre speak on their responsibilities in a production . • view a video of an actor preparing for a performance beginning with arrival at the theatre and including wardrobe organization .

COSTUME DESIGN I-II: CREATING 138 SUPPORTING CR.2.2 STANDARD Students will use a variety of documents to organize costuming work.

I: PROFICIENT II: ACCOMPLISHED

I can use theatrical paperwork I can create theatrical paperwork related to costume organization . that enhances costume organization .

I can describe the types of documents and I can create documents and manage materials materials used for design and execution of costumes . used in the design and execution of costumes .

For example, students might For example, students might • identify information required to complete a costume plot, a costume shop • create a measurement sheet for general use or for a specific production . schedule, a measurement sheet, and a pull list . • view examples of theatrical resumes and explain how they assist amateurs and • discuss an example costume shop schedule for a school, community, or professionals in finding roles in costuming . professional production highlighting dates for publicity photos, costume parades, • work with peers who are each responsible for one character in a script to develop dress rehearsals, and public shows . a costume plot for all characters’ changes for an entire play . • practice using design tools such as a croquis, a rendering, or swatches . • select the appropriate size of a pulled or purchased piece or of a commercial • explain the difference between a sketch and a rendering . pattern based upon measurements from a measurement sheet . • draw a costume using a croquis as a guide .

COSTUME DESIGN I-II: CREATING 139 ARTISTIC COSTUME DESIGN I-II PROCESS Creating

ANCHOR STANDARD Students will refine and complete artistic work.

CR.3 ESSENTIAL QUESTION How do theatre artists transform and edit their initial ideas?

SUPPORTING CR.3.1 STANDARD Students will apply self-reflection and feedback to refine costume work.

I: PROFICIENT II: ACCOMPLISHED

I can apply self-reflection and I can refine costume design choices and technical feedback to costume work . solutions based on self-reflection and feedback .

For example, students might For example, students might • write a paragraph describing the strengths and weaknesses of an original • individually sketch a costume for a major character in a show, compare to costume design . peer’s sketches of the other major characters, and revise sketches to align • assign a letter grade or number rating to personal participation in costume costume concepts . construction and give reasons for his or her choice . • fit a ostumec on an actor, revising the costume piece based on the actor’s feedback and the lighting technician’s comment on how the piece looks under stage lighting .

Creating Notes: Favorite Resources:

COSTUME DESIGN I-II: CREATING 140 ARTISTIC COSTUME DESIGN I-II PROCESS Performing

ANCHOR STANDARD Students will analyze, interpret, and select artistic work for presentation.

PR.4 ESSENTIAL QUESTION Why are strong choices essential to interpreting a drama or theatre piece?

SUPPORTING PR.4.1 STANDARD Students will apply script analysis skills to costume design.

I: PROFICIENT II: ACCOMPLISHED

I can analyze a script of literary merit to I can analyze a script of literary merit in order identify characters and costume design elements . to make artistic choices for a costume concept .

For example, students might For example, students might • use a script analysis template during a read-through to identify costume design • interpret the dynamic changes throughout the plot of Steel Magnolias for elements (e g. ,. setting, time period, plot) . the character of Annelle and address the changes in a costume discussion • relate the time period of a script to authentic period clothing . with the director . • analyze a script for clues about season or weather and consider how it affects costume designs (e g. ,. winter clothing versus summer clothing, rainwear versus no rainwear) .

SUPPORTING PR.4.2 STANDARD Students will apply character analysis skills to costume design.

I: PROFICIENT II: ACCOMPLISHED

I can examine the manner in which costume design elements I can analyze a costume design intended to represent can represent character relationships in a drama/theatre work . character relationships in a drama/theatre work .

For example, students might For example, students might • sort characters into groups for costuming purposes (e g. ., ensemble groups in • select sample costume designs for various ensemble groupings in a musical and related thematic costumes, dance numbers in matching movement-based costumes) . for the featured character or dancer within them, considering how to make the • search a script for costume cues based upon relationship (e g. ., romantic couples featured character stand out and fit in at the same time . have matching color schemes; the protagonist has flowing drapes while the • differentiate between the Capulets and Montagues in Romeo and Juliet with antagonist is stiff and angular) . color-themed costumes .

COSTUME DESIGN I-II: PERFORMING 141 SUPPORTING PR.4.3 STANDARD Students will select sources of information to inform costume design choices.

I: PROFICIENT II: ACCOMPLISHED

I can explore multiple sources of information I can select multiple sources of information to inform costume design choices . to inform design and construction of costume pieces for a specific drama/theatre work .

For example, students might For example, students might • consult print resources, web resources, film, and video to collect design details • compile a digital collection of sources such as Pinterest postings on for an upcoming production . design, YouTube c. om videos of construction techniques, and film of past • gather information about adapting existing costumes from an interview with a productions’ costumes to inspire an overall costume vision for an upcoming costumer or from an internet tutorial . production of Godspell . • research 1950’s fashion in preparation for designing costumes for The Outsiders . • consult YouTube c. om videos for construction tutorials on tie-dying, draping, setting in sleeves, or other construction techniques .

COSTUME DESIGN I-II: PERFORMING 142 ARTISTIC COSTUME DESIGN I-II PROCESS Performing

ANCHOR STANDARD Students will develop and refine artistic techniques and work for presentation.

PR.5 ESSENTIAL QUESTION What can I do to fully prepare a performance or costume design?

SUPPORTING PR.5.1 STANDARD Students will design and execute costume tasks.

I: PROFICIENT II: ACCOMPLISHED

I can research and execute a I can research and execute multiple components component of a costume design . of costume design for a specific drama/theatre work .

I can identify various design theories . I can use design theory to execute costume tasks .

For example, students might For example, students might • share research findings on color theory, elements of design, and the influence of • construct a complete set of chorus costumes including coordinating accessories significant designers on costuming . (e g. ., shoes, dress, hat, handbag, suitcase) for Crazy for You after researching • alter a stock skirt to fit an actor . 1930’s fashion . • build a dress from a commercial pattern . • add coordinating appliques to male dancers’ shirts and female dancers’ skirts to • draw a headdress and build it out of available materials . create a matching set of team costumes for High School Musical . • embellish a set of plain leotards to add spectacle to a dance number . • choose an emotion word; design and create a monotone or limited palette costume that evokes that emotion using color and line theory .

COSTUME DESIGN I-II: PERFORMING 143 SUPPORTING PR.5.2 STANDARD Students will participate in established theatrical processes.

I: PROFICIENT II: ACCOMPLISHED

I can identify the steps of I can apply the design process the costume design process . to design and/or build costume pieces for a production . I can identify the steps in the rehearsal process . I can participate in the rehearsal process as a costume representative .

For example, students might For example, students might • document the creation of a single costume through each step of the design • attend a blocking, tech, and dress rehearsal for a show in progress, taking notes process (e g. ., analysis, research, preliminary sketches, finalized sketches, on how the costumes need to be altered to fit the actors’ and director’s needs . renderings or models, related paperwork) . • serve as a student costume designer throughout the rehearsal process . • schedule costume shop work based on costume due dates determined by the rehearsal schedule . • attend wardrobe crew meetings at each stage of the rehearsal process (e g. ,. table work, blocking rehearsals, working rehearsals, technical rehearsals, dress rehearsals, performances, and brush up rehearsals) .

COSTUME DESIGN I-II: PERFORMING 144 SUPPORTING PR.5.3 STANDARD Students will construct costume elements for a performance.

I: PROFICIENT II: ACCOMPLISHED

I can identify specialized costuming tools . I can use a variety of specialized tools to construct costume pieces .

I can demonstrate a variety of hand stitches and common machine stitches . I can create a costume piece using hand or machine sewing .

For example, students might For example, students might • identify measurement and marking tools (e g. ,. measuring tape, chalk, invisible marker) . • determine which fasteners would be most appropriate for various closures • organize costume construction and maintenance tools (e g. ,. iron, steamer, hot glue (e g. ., the back of the dress, top of neckline, breakaway quick-change shirt, gun, adhesives, patterns, sewing machine, serger) in the costume shop . corseted top) and various time periods . • identify sewing tools (e g. ., fasteners, needles, straight and safety pins, notions) . • use a hot glue gun to add embellishments to shoes for a specific role in • attach fabrics using common adhesives (e g. ., spray glue, fabric glue, hot glue) a production . or fasteners (e g. ,. buttons, snaps, zippers, hook and loop) . • use a straight stitch on a sewing machine to build a pair of simple pants and • read a commercial clothing pattern . finish the seams with a serger . • unplug a sewing machine for safety then use sticky notes to label parts . • build a period dress with a pattern, sewing tools, and a sewing machine; • participate in a sewing notions scavenger hunt (e g. ., trims, appliques, embellishments, finish all seams with a serger; hand stitch embellishments and trim; fit and rivets or eyelets, elastic) or sort notions into categories by types and uses . make necessary alterations . • create a hand sewing sample on scrap fabric with six-inch demonstrations of each stitch (e g. ,. running stitch, backstitch, whip stitch, hem stitch, ladder stitch, button sewing, hook and eye sewing, snap sewing) . • hand sew or machine sew using common stitches (e g. ., straight stitch, zigzag) a ditty bag for actors to store shoes and accessories during a production . • reattach a button to a shirt .

SUPPORTING PR.5.4 STANDARD Students will demonstrate appropriate safety practices.

I: PROFICIENT II: ACCOMPLISHED

I can demonstrate with guidance appropriate safety practices . I can make independent choices regarding safety practices .

For example, students might For example, students might • discuss proper use of a sewing machine and other tools such as scissors and hot • use and store appropriately adhesives and aerosols that require ventilation . glue guns that might cause injury . • develop a safety manual for costume participants . • tour the theatre space to view lighting and rigging systems; discuss situational awareness in the wings .

COSTUME DESIGN I-II: PERFORMING 145 ARTISTIC COSTUME DESIGN I-II PROCESS Performing

ANCHOR STANDARD Students will convey meaning through the presentation of artistic work.

PR.6 ESSENTIAL QUESTION What happens when theatre artists and audiences share a creative experience?

SUPPORTING PR.6.1 STANDARD Students will convey the author’s intent through costume design.

I: PROFICIENT II: ACCOMPLISHED

I can describe the manner in which I can construct a costume that conveys the author’s intent . costume design conveys the author’s intent . I can construct a meaningful costume I can design meaningful costumes based upon a script, prompt, or idea . piece based upon a script, prompt, or idea .

For example, students might For example, students might • write a paragraph analyzing the author’s intent behind each character in a given • build a costume intended to communicate a given emotion (e g. ., anger, sadness), script and then sketch each character’s costume . place (e g. ., swamp, forest, castle), or concept (e g. ,. love, courage, death, • view a play in which costumes create or resolve conflict (e g. ., Tootsie, Mean Girls, good versus evil) . Grease); discuss the impact of the characters’ appearance on other characters or • read The Red Coat by John Patrick Shanley and design and construct the title the audience . costume piece, explaining its importance to the plot .

Performing Notes: Favorite Resources:

COSTUME DESIGN I-II: PERFORMING 146 ARTISTIC COSTUME DESIGN I-II PROCESS Responding

ANCHOR STANDARD Students will perceive and analyze artistic work.

RE.7 ESSENTIAL QUESTION How do theatre artists comprehend the essence of drama processes and theatre experiences?

SUPPORTING RE.7.1 STANDARD Students will design and execute costume tasks.

I: PROFICIENT II: ACCOMPLISHED

I can discuss the contribution of I can analyze costume elements costumes to the effectiveness of a that contribute to the effectiveness of a production using specific terminology . specific production using specific technology .

For example, students might For example, students might • as a group, post a list of specific costuming terminology (e g. ., bolt, yardage, fiber, • compare and contrast the levels of constriction necessary for the costumes of notion, presser foot) and add to it as new terms are encountered . juxtaposed characters (e g. ., Sarah Brown and Miss Adelaide in Guys and Dolls) • discuss Dorothy’s slippers for The Wizard of Oz, considering lighting, blocking, in relation to freedom of movement and characterization . and choreography requirements . • analyze an example of a complex costume such as Audrey II in Little Shop of Horrors and deconstruct the materials and methods used to create them .

COSTUME DESIGN I-II: RESPONDING 147 ARTISTIC COSTUME DESIGN I-II PROCESS Responding

ANCHOR STANDARD Students will interpret intent and meaning in artistic work.

RE.8 ESSENTIAL QUESTION How can the same work of art communicate different messages to different people?

SUPPORTING RE.8.1 STANDARD Students will interpret emotional responses created by costume styles.

I: PROFICIENT II: ACCOMPLISHED

I can discuss the manner in which costume I can interpret the manner in design choices enhance the playwright’s intent . which costume design choices enhance the playwright’s intent .

For example, students might For example, students might • discuss possible nontraditional interpretations of costumes for a well-known • analyze the effect on the audience’s perception of the character as a show (e g. ., Steampunk Little Mermaid, Victorian Little Shop of Horrors, result of a transformation costume (e g. ,. Cinderella’s ball gown in Cinderella, World War II military Macbeth) and how the audience would be affected Elle’s engagement dress in Legally Blonde, the witch’s gown in Into the Woods, by the change in interpretation . Fiona’s ogre wedding gown in Shrek the Musical) .

COSTUME DESIGN I-II: RESPONDING 148 ARTISTIC COSTUME DESIGN I-II PROCESS Responding

ANCHOR STANDARD Students will apply criteria to evaluate artistic work.

RE.9 ESSENTIAL QUESTION How are the theatre artists’ processes and audience perspectives impacted by analysis and synthesis?

SUPPORTING RE.9.1 STANDARD Students will develop and apply criteria for a theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can evaluate designs and the execution I can develop criteria to evaluate of designs within a given set of criteria . designs and the execution of designs .

For example, students might For example, students might • attend a school or community production and use a teacher-provided rubric to • create a rubric for analyzing the functionality of costumes in a dance piece . evaluate costume pieces . • write a critique of the construction quality of costumes produced by the costume • write a costume critique based on a teacher-created outline of required elements . crew for a current show .

SUPPORTING RE.9.2 STANDARD Students will compare personal preference and artistic merit of a drama/theatre work.

I: PROFICIENT II: ACCOMPLISHED

I can distinguish between personal I can justify a position taken on the preference and artistic merit . artistic merit of a drama/theatre work .

For example, students might For example, students might • participate in a Socratic Circle on the characteristics of literary merit after • after watching film clips of Cats, explain how costume design choices can individually researching criteria . enhance or detract from the merit of a script . • share examples of award-winning plays that he or she does not personally find worthwhile .

COSTUME DESIGN I-II: RESPONDING 149 Responding Notes: Favorite Resources:

COSTUME DESIGN I-II: RESPONDING 150 ARTISTIC COSTUME DESIGN I-II PROCESS Connecting

ANCHOR STANDARD Students will synthesize and relate knowledge and personal experiences to make art.

CN.10 ESSENTIAL What happens when theatre artists foster understanding between self and others through critical QUESTION awareness, social responsibility, and the exploration of empathy?

SUPPORTING CN.10.1 STANDARD Students will incorporate personal experiences, beliefs, and biases into costume design.

I: PROFICIENT II: ACCOMPLISHED

I can discuss the impact of I can analyze the impact of personal experiences, beliefs, personal experiences, beliefs, and biases on costume design . and biases on costume design .

For example, students might For example, students might • present a costume design that represents his or her background, explaining to • research culturally significant clothing such as traditional wedding attire around peers how the details of the design reflect personal experiences . the world and articulate the symbolic reasons for differences .

COSTUME DESIGN I-II: CONNECTING 151 ARTISTIC COSTUME DESIGN I-II PROCESS Connecting

ANCHOR Students will relate artistic ideas and works with societal, cultural, and historical context to STANDARD deepen understanding.

What happens when theatre artists allow an understanding of themselves and the world to CN.11 ESSENTIAL inform perceptions about theatre and the purpose of their work? In what ways can research QUESTION into theatre histories, theories, literature, and performances alter the way a drama process or production is understood?

SUPPORTING CN.11.1 STANDARD Students will incorporate personal experiences, beliefs, and biases into costume design.

I: PROFICIENT II: ACCOMPLISHED

I can discuss artistic choices with regard I can analyze artistic choices with regard to societal, cultural, and historical context . to societal, cultural, and historical context .

For example, students might For example, students might • read a culturally significant play such as A Raisin in the Sun, research the • compare modern context to historical context using a play that has become historical and societal context in which it was written, and discuss an authentic politically incorrect or is now perceived as insensitive (e g. ,. Thoroughly Modern African costume for Beneatha . Millie, L’il Abner), articulating the reasons the play was more acceptable in the past and why has it become less so .

COSTUME DESIGN I-II: CONNECTING 152 SUPPORTING Students will connect community values, beliefs, and cultural differences to the CN.11.2 STANDARD theatrical experience.

I: PROFICIENT II: ACCOMPLISHED

I can ddiscuss the influence of community values I can design and/or build a costume piece and beliefs in the creation of drama/theatre work . that reflects community values and beliefs .

For example, students might For example, students might • work in groups to choose a shortlist of one-acts, plays, and musicals that would • research historically accurate styles of clothing in 1860’s Thailand to create appeal to their community; articulate reasons for the selections . costume designs for The King and I . • design costumes for the Hot Box scenes of Guys and Dolls that are appropriate for wear by high school age actors .

SUPPORTING CN.11.3 STANDARD Students will demonstrate sensitivity to the artistic work of others.

I: PROFICIENT II: ACCOMPLISHED

I can define cultural sensitivity I can demonstrate personal in relation to artistic work . sensitivity in relation to artistic work .

For example, students might For example, students might • use roundtable or Socratic discussion circles to identify characteristics of • discuss the importance of body sensitivity and confidentiality in taking cultural sensitivity . measurements, making alterations, and sizing costumes . • attend a performance or read a script to explore costumes in another culture’s • establish rules of conduct for dressing room behavior . theatrical works .

COSTUME DESIGN I-II: CONNECTING 153 SUPPORTING CN.11.4 STANDARD Students will connect costuming with theatre history.

I: PROFICIENT II: ACCOMPLISHED

I can identify the connections between theatre I can use theatre history to increase the history and costume designs and execution . impact of my costume designs and execution .

For example, students might For example, students might • contrast modern fabrics with those available in various periods of history . • create a costume using only tools and materials available at a given period in • research the origin of clothing conventions (e g. ., buttons on men’s jacket history to ensure authenticity in costuming . sleeves, high heels, why men’s and women’s shirts have button plackets on • research the effect that period shoes and undergarments have on the silhouette opposite sides) . of a costume .

Connecting Notes: Favorite Resources:

COSTUME DESIGN I-II: CONNECTING 154 THEATRICAL MAKEUP STANDARDS AND TEACHER GUIDANCE

THEATRICAL MAKEUP 155 Standards for Accreditation Information

Course Title: Theatrical Makeup Division of Elementary and Secondary Course/Unit Credit: 0.5 unit Education approval is not required for Course Number: 459140 Theatrical Makeup. Teacher Licensure: Please refer to the Course Code Management System for the most current licensure codes. Grades: 10-12 Prerequisites: The prerequisite for Theatrical Makeup is Theatre I or Technical Theatre I.

Course Description: Theatrical Makeup

Theatrical Makeup is a one-semester elements of design and application, knowing critique, and connect personal experience to course that is designed to enable students the terminology and historical background the theatre. to master the technical theatre specialty of that is used to comprehend technical theatre, theatrical makeup. Mastery in theatrical having a clear sense of what theatrical NOTE: Theatrical Makeup is not recommended makeup means discovering the expressive makeup embodies, and being able to refl ect, for large group instruction.

THEATRICAL MAKEUP 156 ARTISTIC THEATRICAL MAKEUP PROCESS Creating

ANCHOR STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when theatre artists use their imaginations and theatre skills while engaging in QUESTION theatre exploration and inquiry?

SUPPORTING CR.1.1 STANDARD Students will use imaginary characters and environments to inspire theatrical makeup ideas.

I can explore ideas for theatrical makeup For example, students might inspired by imaginary environments and • sketch makeup to represent abstract ideas or superhero characters . characters to support the elements of a story . • use colored pencils or other media to experiment with a color palette for a given character’s makeup . • choose the most interesting character in a class improvisation, discuss the character’s personality and tactics, and discuss with peers a series of makeup concepts for accurately depicting the character .

SUPPORTING CR.1.2 STANDARD Students will explore the use of digital media and other sources to generate theatrical makeup ideas.

I can use a variety of sources to conduct For example, students might research to generate ideas for makeup designs . • compile from print, web, video, and other sources a digital inspiration board, design morgue, look book, or collage of theatrical makeup ideas . • maintain a digital portfolio with photos of previous makeup designs and applications including written statements describing each look to use as a reference in subsequent makeup work . • consult YouTube c. om videos for application tutorials on old age makeup, mime makeup, prosthetics, or special effects application techniques .

THEATRICAL MAKEUP: CREATING 157 ARTISTIC THEATRICAL MAKEUP PROCESS Creating

ANCHOR STANDARD Students will organize and develop artistic ideas and work.

CR.2 ESSENTIAL QUESTION How, when, and why do theatre artists’ choices change?

SUPPORTING CR.2.1 STANDARD Students will collaborate with a creative team to prepare for a theatrical work.

I can collaborate to prepare a For example, students might theatrical makeup design or project . • present research to the class on the responsibilities of a makeup designer, technician, or crew member . • listen to guest speakers, including makeup artists, from a local community or professional theatre speak on their I can explore the contributions of a makeup responsibilities in a production . designer or technician to the overall creative team . • view a video of a professional actor applying makeup for a performance . • listen to a guest director explain his or her vision for a production and discuss with the creative team makeup ideas I can appreciate an actor’s to fit that vision . contribution to a production . • establish rules of conduct for makeup room behavior . • work with an actor to experiment with hairstyles to avoid the need for a wig onstage .

SUPPORTING CR.2.2 STANDARD Students will use a variety of documents to organize theatrical makeup work.

I can create documents used in the For example, students might design and execution of theatrical makeup . • explain the elements on a makeup plot and compare students’ makeup plots for different characters from the same play . • discuss an example makeup plot for a school, community, or professional production . • complete an inventory chart of makeup items needed for an actor’s personal makeup kit and for a theatre’s makeup stock . • analyze the effectiveness of a given makeup form or template and revise it as needed . • view examples of makeup artists’ resumes and explain how they assist amateurs and professionals in finding roles in makeup design or cosmetology . • complete retail order forms for supplies based on show needs and budget .

THEATRICAL MAKEUP: CREATING 158 ARTISTIC THEATRICAL MAKEUP PROCESS Creating

ANCHOR STANDARD Students will refine and complete artistic work.

CR.3 ESSENTIAL QUESTION How do theatre artists transform and edit their initial ideas?

SUPPORTING CR.3.1 STANDARD Students will apply self-reflection and feedback to refine theatrical makeup.

I can refine makeup design For example, students might choices and application solutions based • write a paragraph describing the strengths and weaknesses of an original makeup design . on self-reflection and feedback . • refine the shade of green used for Elphaba’s skin in a scene from Wicked after seeing the application under stage lights . • revise a makeup design based on the availability of stock supplies and budget for new materials .

Creating Notes: Favorite Resources:

THEATRICAL MAKEUP: CREATING 159 ARTISTIC THEATRICAL MAKEUP PROCESS Performing

ANCHOR STANDARD Students will analyze, interpret, and select artistic work for presentation.

PR.4 ESSENTIAL QUESTION Why are strong choices essential to interpreting a drama or theatre piece?

SUPPORTING PR.4.1 STANDARD Students will apply script analysis skills to makeup design.

I can analyze a script of artistic merit in order For example, students might to make artistic choices for a makeup concept . • use a script analysis template during a read-through to identify makeup design elements (e g. ., age of character, physical attributes, cultural considerations, setting, time period, plot) . • note the passage of time throughout the plot of a play such as The Fourposter and its effect on the aging of the characters .

SUPPORTING PR.4.2 STANDARD Students will apply character analysis skills to makeup design.

I can examine the manner in which makeup For example, students might design elements can represent character • compare and contrast the personalities of Martha Brewster and Abby Brewster for a production of Arsenic and Old relationships in a drama/theatre work . Lace and determine how their old age makeup should differentiate the two characters .

SUPPORTING PR.4.3 STANDARD Students will select sources of information to inform makeup design choices.

I can explore multiple sources of For example, students might information to inform makeup design • compile a digital collection of sources such as Pinterest c. om postings on design, YouTube c. om videos of makeup choices for a drama/theatre work . application techniques, and film of past productions’ makeup designs to support the director’s overall vision for an upcoming production of Peter and the Starcatcher . • gather information about applying fantasy makeup from an interview with a makeup artist or from an internet tutorial . • research the use of base and lipstick in period makeup in preparation for a production of a Shakespearean play .

THEATRICAL MAKEUP: PERFORMING 160 ARTISTIC THEATRICAL MAKEUP PROCESS Performing

ANCHOR STANDARD Students will develop and refine artistic techniques and work for presentation.

PR.5 ESSENTIAL QUESTION What can I do to fully prepare a performance or makeup design?

SUPPORTING PR.5.1 STANDARD Students will design and apply theatrical makeup.

I can research and execute a component For example, students might of a theatrical makeup design . • share research findings on color theory and the elements of design in theatrical makeup . • share research findings on techniques created by award-winning special effects makeup artists . I can identify the design • demonstrate styling of a French twist and a chignon . process and design theories . • style hair with finger waves and apply period-appropriate 1920’s makeup for a production of The Great Gatsby . • utilize prosthetics and makeup to create animal faces for a children’s production . • use highlight and shadow to suggest ethnicity for a production of The King and I or South Pacific .

SUPPORTING PR.5.2 STANDARD Students will identify specialized theatrical makeup tools and materials.

I can use a variety of specialized For example, students might theatrical makeup and hairstyling • compare and contrast the colors and textures of theatrical makeup and regular makeup . tools and materials to execute a design • experiment with a variety of makeup pencils to achieve specific effects . for a specific drama/theatre work . • experiment with latex to sculpt features . • apply a translucent powder or fixing spray to minimize sweat . • use heat tools (e g. ., blow dryer, flat iron, curlers) to create stylized hair designs in Hairspray . • create facial hair for men’s makeup designs in Fiddler on the Roof using crepe hair . • create the appearance of scales on a mermaid or dragon character using fishnet stockings . • apply liquid latex and tissue paper to create old age wrinkles for a production of Driving Miss Daisy .

THEATRICAL MAKEUP: PERFORMING 161 SUPPORTING PR.5.3 STANDARD Students will demonstrate appropriate safety practices.

I can demonstrate For example, students might appropriate safety practices . • discuss appropriate storage and conservation of materials . • be familiar with standard cosmetology hygiene practices . • discuss dressing room behavior to avoid accidents with makeup tools . • use and store adhesives and aerosols that require ventilation appropriately . • check with each actor about his or her allergies, use of contact lenses, or other personal considerations before beginning a makeup application .

ARTISTIC THEATRICAL MAKEUP PROCESS Performing

ANCHOR STANDARD Students will convey meaning through the presentation of artistic work.

PR.6 ESSENTIAL QUESTION What happens when theatre artists and audiences share a creative experience?

SUPPORTING PR.6.1 STANDARD Students will convey the author’s intent through theatrical makeup design.

I can describe the manner For example, students might in which makeup design • write a paragraph analyzing the author’s intent behind each character in a given script and then sketch each conveys the author’s intent . character’s makeup . • compare makeup conventions in Kabuki theatre to those of contemporary theatre, and create a Kabuki makeup design for a contemporary play that conveys the author’s intent .

THEATRICAL MAKEUP: PERFORMING 162 Performing Notes: Favorite Resources:

THEATRICAL MAKEUP: PERFORMING 163 ARTISTIC THEATRICAL MAKEUP PROCESS Responding

ANCHOR STANDARD Students will perceive and analyze artistic work.

RE.7 ESSENTIAL QUESTION How do theatre artists comprehend the essence of drama processes and theatre experiences?

SUPPORTING RE.7.1 STANDARD Students will analyze the contribution of theatrical makeup using appropriate terminology.

I can analyze the contribution of For example, students might theatrical makeup to the effectiveness of • as a group, post a list of makeup terminology (e g. ., foundation, latex, spirit gum, stippling) and add to it as new terms a production using specific terminology . are encountered . • discuss the Munchkins and the flying monkeys in The Wizard of Oz, considering how the production is enhanced by the makeup and hairstyles .

ARTISTIC THEATRICAL MAKEUP PROCESS Responding

ANCHOR STANDARD Students will interpret intent and meaning in artistic work.

RE.8 ESSENTIAL QUESTION How can the same work of art communicate different messages to different people?

SUPPORTING RE.8.1 STANDARD Students will interpret emotional responses created by makeup designs.

I can discuss the manner in which For example, students might makeup design choices affect the mood • compare the effect of makeup designs on analogous scenes in The Complete Works of William Shakespeare and meaning of a drama/theatre work . (Abridged) and the original plays . • view several clips of Halloween-themed movies intended for various audiences (e g. ., Scooby-Doo, Hocus Pocus) and discuss the impact of makeup designs on the mood of the production . • analyze a variety of makeup and hair designs that elicit different moods or abstract concepts .

THEATRICAL MAKEUP: RESPONDING 164 ARTISTIC THEATRICAL MAKEUP PROCESS Responding

ANCHOR STANDARD Students will apply criteria to evaluate artistic work.

RE.9 ESSENTIAL QUESTION How are the theatre artists’ processes and audience perspectives impacted by analysis and synthesis?

SUPPORTING RE.9.1 STANDARD Students will develop and apply criteria to evaluate a drama/theatre work.

I can develop criteria to evaluate For example, students might designs and the execution of designs • attend a school or community production and use a teacher-provided rubric to evaluate makeup and hairstyles . in a drama/theatre work . • work with peers to create an outline of required elements and write a makeup critique for a local production .

SUPPORTING RE.9.2 STANDARD Students will compare personal preference and artistic merit of a drama/theatre work.

I can justify a position taken on the For example, students might artistic merit of a drama/theatre work . • explain how makeup design choices can enhance or detract from the merit of a script after watching film clips of Cats .

THEATRICAL MAKEUP: RESPONDING 165 Responding Notes: Favorite Resources:

THEATRICAL MAKEUP: RESPONDING 166 ARTISTIC THEATRICAL MAKEUP PROCESS Connecting

ANCHOR STANDARD Students will synthesize and relate knowledge and personal experiences to make art.

CN.1O ESSENTIAL What happens when theatre artists foster understanding between self and others through QUESTION critical awareness, social responsibility, and the exploration of empathy?

SUPPORTING CR.10.1 STANDARD Students will incorporate personal experiences, beliefs, and biases into theatrical makeup design.

I can analyze the impact of personal experiences, For example, students might beliefs, and biases on theatrical makeup design . • present a makeup design that represents his or her personal background, explaining to peers how the details of the design reflect personal experiences (e g. ., an abstract moon to represent an astrology hobby, a latex wound to represent a previous injury, contrasting colors to represent various aspects of his or her personality) .

ARTISTIC THEATRICAL MAKEUP PROCESS Connecting

ANCHOR Students will relate artistic ideas and works with societal, cultural, and historical context STANDARD to deepen understanding.

CN.11 What happens when theatre artists allow an understanding of themselves and the world to ESSENTIAL inform perceptions about theatre and the purpose of their work? In what ways can research QUESTION into theatre histories, theories, literature, and performances alter the way a drama process or production is understood?

SUPPORTING CR.11.1 STANDARD Students will incorporate social, cultural, and historical knowledge into artistic choices.

I can analyze artistic choices with regard For example, students might to societal, cultural, and historical context . • analyze how makeup and hair designs reflect the culture represented in the play (e g. ., Antony and Cleopatra, The Lion King, Once on this Island, Hairspray) .

THEATRICAL MAKEUP: CONNECTING 167 SUPPORTING CR.11.2 STANDARD Students will demonstrate cultural sensitivity to the artistic work of others.

I can demonstrate sensitivity For example, students might in relation to artistic work . • use roundtable or Socratic discussion circles to identify characteristics of cultural sensitivity . • attend a performance or read a script to explore makeup and hairstyles in another culture’s theatrical works .

SUPPORTING CR.11.3 STANDARD Students will connect theatrical makeup with theatre history.

I can identify the connections For example, students might between theatre history and • compare and contrast modern cosmetics with those available in various periods of theatre history such as the ancient makeup designs and application . Egyptians or Elizabethans . • present research distinguishing between makeup styles and materials for each decade beginning with the 1920’s to the present .

Connecting Notes: Favorite Resources:

THEATRICAL MAKEUP: CONNECTING 168 PLAYWRITING I-II STANDARDS AND TEACHER GUIDANCE

PLAYWRITING I-II 169 Standards for Accreditation Information

Course Title: Playwriting I-II Division of Elementary and Secondary Course/Unit Credit: 1 unit per course Education approval is not required for Course Number: Playwriting I: 459500, Playwriting II: 459510 Playwriting I and II . Teacher Licensure: Please refer to the Course Code Management System for the most current licensure codes . Grades: 10-12 Prerequisites: The prerequisite for Playwriting I is Theatre I . The student entering Playwriting II should successfully complete the preceding year of Playwriting .

Course Description: Playwriting I-II

Playwriting I-II are two-semester courses that dramatic structures, historical and cultural may serve as the culmination of specific articulate the most fundamental elements of influences on style and practice, the anatomy of instructional goals . playwriting and are designed to enable students a play, and the mechanics of writing . Playwriting to achieve mastery in playwriting for the stage . students will participate in workshops and NOTE: Playwriting I and II are not recommended Student coursework focuses on, but is not draft and complete plays of various styles and for large group instruction . Suggested class size limited to, the creative process, script analysis, lengths . Public readings or performances is twenty students per class .

PLAYWRITING I-II 170 ARTISTIC PLAYWRITING I-II PROCESS Creating

ANCHOR STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when writers use their imagination and/or theatre skills while engaging in QUESTION theatre exploration and inquiry for playwriting?

SUPPORTING CR.1.1 STANDARD Students will use imaginary environments to conceive characters in playwriting.

I: PROFICIENT II: ACCOMPLISHED

I can explore given imaginary environments I can use imaginary environments to develop to generate ideas for diverse characters . diverse characters to elicit a specific audience response .

For example, students might For example, students might • write character descriptions based on random names and addresses derived from • use scenarios with given resolutions to develop short scenes involving one or a phone book . more original characters and dialogue . • explore the impact of point of view on character creation . • share favorite ghost stories and choose one to draft into a ten-minute play .

SUPPORTING CR.1.2 STANDARD Students will collaborate to generate ideas for playwriting.

I: PROFICIENT II: ACCOMPLISHED

I can explore the collaborative I can collaborate to gather ideas for a script nature of playwriting . for a specific audience or specific purpose .

For example, students might For example, students might • work in small groups to create a short scene incorporating at least one idea • work as a small group or a class to share ideas related to a children’s from each member of the group . story or book for possible development into a script for an audience of elementary students .

PLAYWRITING I-II: CREATING 171 ARTISTIC PLAYWRITING I-II PROCESS Creating

ANCHOR STANDARD Students will organize and develop artistic ideas and work.

CR.2 ESSENTIAL QUESTION How, when, and why does script writing evolve and change while following traditions or trends?

SUPPORTING CR.2.1 STANDARD Students will develop narrative elements in devised or scripted works.

I: PROFICIENT II: ACCOMPLISHED

I can explore characters, environments, I can justify choices made in the and actions in a devised or scripted work . development of characters, environments, and actions to create a desired effect in a devised or scripted theatrical work .

For example, students might For example, students might • draft the plot of an original play with notations identifying exposition, rising • make choices related to characters, setting, and plot for a devised work on a action, climax, falling action, and conclusion . given theme and discuss their choices with peers . • compare classic and modern scriptwriting approaches to characterization • discuss why the playwright made certain choices in the character development such as those of Shakespeare versus Neil Simon . of the antagonist and protagonist of a play such as The Crucible and how those • discuss the manner in which an environment can become a character as in choices determine the resolution of the story . The Wizard of Oz .

PLAYWRITING I-II: CREATING 172 SUPPORTING CR.2.2 STANDARD Students will make choices related to theatrical spaces using appropriate terminology.

I: PROFICIENT II: ACCOMPLISHED

I can use appropriate terminology when I can make choices related to theatrical spaces writing about stage directions and blocking . including stage directions, blocking, and types of stages when drafting an original script . I can use appropriate terminology when considering types of stages .

For example, students might For example, students might • explain the relevance of stage directions and setting elements to the flow and • examine a variety of scripts, including monologues, scenes, one-acts, and comprehensibility of a script using appropriate terminology . full-length plays, and justify the playwright’s choices in stage directions and • discuss the advantages and disadvantages of types of stages (e g. ., proscenium, blocking instructions . thrust, arena) for writing a play about a specific historical event . • draft a script given specific parameters and justify choices regarding stage directions and blocking .

SUPPORTING CR.2.3 STANDARD Students will collaborate as a member of the creative team.

I: PROFICIENT II: ACCOMPLISHED

I can explain the role of a playwright I can collaborate to make as a collaborator in a production . scripting and casting choices .

For example, students might For example, students might • prepare a presentation explaining the role of the playwright in small and • collaborate with a student director to create a “dream cast” of celebrities for large productions . an original script . • create a “to-do” list for a playwright when participating in a production . • revise dialogue as a result of a class read-through of an original script .

PLAYWRITING I-II: CREATING 173 SUPPORTING CR.2.4 STANDARD Students will demonstrate the role of the dramaturg in playwriting.

I: PROFICIENT II: ACCOMPLISHED

I can describe the responsibilities of a I can fulfill the role of a dramaturg in dramaturg during scriptwriting and production . the development of an original script .

For example, students might For example, students might • identify the skills and resources needed by a dramaturg to aid the playwright • work with a peer playwright to identify elements in the peer’s original script that during the scriptwriting process . require research and clarifications by the dramaturg .

ARTISTIC PLAYWRITING I-II PROCESS Creating

ANCHOR STANDARD Students will refine and complete artistic work.

CR.3 ESSENTIAL QUESTION How do playwrights transform and edit their initial ideas?

SUPPORTING CR.3.1 STANDARD Students will refine artistic ideas using self-reflection and feedback.

I: PROFICIENT II: ACCOMPLISHED

I can apply self-reflection and I can revise original theatrical ideas feedback to original theatrical ideas . based on self-reflection and feedback .

For example, students might For example, students might • write a guided reflection paragraph about his or her concept for an original • edit dialogue to create a stronger emotional response in a drafted piece of monologue or scene . original work after a period of self-reflection and peer or teacher feedback . • discuss with another student the strengths and weaknesses of the first draft of his or her ten-minute play .

PLAYWRITING I-II: CREATING 174 Creating Notes: Favorite Resources:

PLAYWRITING I-II: CREATING 175 ARTISTIC PLAYWRITING I-II PROCESS Performing

ANCHOR STANDARD Students will select, analyze, and interpret artistic work for presentation.

PR.4 ESSENTIAL QUESTION Why are strong choices essential to interpreting a play script or theatrical piece?

SUPPORTING PR.4.1 STANDARD Students will apply script analysis skills.

I: PROFICIENT II: ACCOMPLISHED

I can analyze a script for meaning using script I can analyze the development terminology, scene transitions, and blocking suggestions . of characters in a script .

I can explore the elements of drama and I can analyze the cultural and historical writing within a written theatrical work . significance or accuracy of a script .

I can analyze the importance of the elements of drama and writing in a devised or scripted theatrical work .

For example, students might For example, students might • explore a playwright’s use of script terminology, scene transitions, and blocking • after viewing scenes from Les Miserables, participate in a teacher-led discussion suggestions in a script and discuss how they move the plot forward . about the cultural and historical complexity of the plot and characters and how • compare and contrast two works on a similar theme and determine how the the production clarified each . playwrights intended the scenes to be interpreted . • compare and contrast portrayal of characters and time periods in stage • annotate a script with notes on the playwright’s use of the elements of drama productions which they consider believable versus not believable . (e g. ,. character, language, plot, theme, setting, grammar, exposition, rising action, • compare and contrast original pieces in various dramatic styles (e g. ., tragedy, climax, falling action, resolution, tone, and style) to convey meaning or emotion . dark comedy, farce) on a similar topic and discuss the impact of language and theme on the effectiveness of each piece .

PLAYWRITING I-II: PERFORMING 176 SUPPORTING PR.4.2 STANDARD Students will analyze the relationship between characters and plot.

I: PROFICIENT II: ACCOMPLISHED

I can identify the types of characters and the manner in I can analyze the manner in which a character’s unique which their choices advance the plot of a theatrical work . choices make the plot of a scripted theatre work believable .

I can explore the impact of blocking and I can interpret the author’s intent the character’s movement on the plot . for a character’s objectives and tactics .

I can identify character objectives and tactics .

For example, students might For example, students might • identify the antagonist, protagonist, foil, objective, motivation, and/or • analyze the manner in which a character’s actions are true to his objectives super-objective in a theatrical work such as Tartuffe . throughout the plot of an original scene . • develop a worksheet matching characters with types of roles and a plot diagram • share original scenes in class and then pair and share interpretations of each for an original one-act play . other’s characters’ choices . • read multiple scenes and discuss the most effective choices for each in terms of • write a character analysis from the author’s perspective (e g. ., Robert Harling for pace of movement and motivation for blocking . M’Lynne from Steel Magnolias, A .R . Gurney for Sylvia from Sylvia) . • write a character analysis of the fathers of Romeo and Juliet considering their • analyze character objectives and choices and how each affects the overall story objectives and tactics . in Twelve Angry Men . • compose two versions of a monologue based on an important personal event, one with a successful outcome and one with an unsuccessful outcome for himself or herself as the main character .

SUPPORTING PR.4.3 STANDARD Students will research theatrical choices for playwriting.

I: PROFICIENT II: ACCOMPLISHED

I can explore artistic ideas based on research from multiple sources of information . I can make artistic choices based on research from multiple sources of information in writing a drama/theatre work with peers .

For example, students might For example, students might • use a variety of sources (e g. ,. print resources, web resources, film, video, script • create a vision for an entire student-written production on a current social issue transcripts) to explore characters, plot, and setting for an original script . using a variety of sources for research .

PLAYWRITING I-II: PERFORMING 177 ARTISTIC PLAYWRITING I-II PROCESS Performing

ANCHOR STANDARD Students will develop and refine artistic techniques and work for presentation.

PR.5 ESSENTIAL QUESTION What can I do to fully prepare a piece for performance?

SUPPORTING PR.5.1 STANDARD Students will develop a unique writer’s voice.

I: PROFICIENT II: ACCOMPLISHED

I can develop a believable and relevant theatrical I can refine a believable and relevant theatrical work by exploring unique choices for the physical, work by creating unique choices for the physical, vocal, and psychological elements of the story . vocal, and psychological elements of the story .

I can write empathetic characters I can investigate fresh and diverse methods of who make unexpected choices . creating empathetic characters in my original work .

For example, students might For example, students might • use a character development worksheet to create a character vocally and • during rehearsal, discuss with the director and the actors the characters written physically for an original written work and choose from multiple possible for an original theatre work and consider the director’s and actors’ suggestions psychological choices the character might make . and feedback on refining the psychological choices made by the characters . • write a physically demanding performance piece including notes about blocking • incorporate insights gained from refining previous original work into new works . suggestions and psychological expectations . • participate in a class discussion about characters in favorite plays who make unexpected choices that resonate with the audience .

PLAYWRITING I-II: PERFORMING 178 SUPPORTING Students will participate in the established rehearsal process. PR.5.2 STANDARD Students will participate in the established rehearsal process.

I: PROFICIENT II: ACCOMPLISHED

I can develop playwriting skills and I can refine playwriting skills and techniques techniques by observing the rehearsal process . by contributing to the rehearsal process .

For example, students might For example, students might • participate in rehearsals of his or her own original script to be presented for an • following a rehearsal, critique the interpretation of his or her own original script audience including table work, blocking, working rehearsals, tech rehearsals, in preparation for a public performance and revise as necessary . dress rehearsals, and performance .

SUPPORTING PR.5.3 STANDARD Students will consider acting and design processes when writing original theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can identify the manner in which script I can make artistic choices to refine a writing relates to the acting process . written theatrical work using the acting process .

I can identify how script writing relates to theatrical design . I can apply acting and design theories to script writing .

For example, students might For example, students might • draft a short scene or ten-minute play requiring actors to work through the • collaborate with actors to refine his or her original script by analyzing vocal, acting process (e g. ,. analyze; research; make vocal, movement, and character movement, and character choices during rehearsals . choices; and rehearse the original material) . • incorporate details of color or physical symbolism into stage direction . • investigate how different acting styles might affect the interpretation of a peer’s original script . • use imagery related to color or lighting in an original script .

PLAYWRITING I-II: PERFORMING 179 ARTISTIC PLAYWRITING I-II PROCESS Performing

ANCHOR STANDARD Students will convey meaning through the presentation of artistic work.

PR.6 ESSENTIAL QUESTION What happens when theatre artists and audiences share a creative experience?

SUPPORTING PR.6.1 STANDARD Students will convey specific meaning in original scripts.

I: PROFICIENT II: ACCOMPLISHED

I can convey a specific meaning I can convey a specific meaning through the through the style choices of an collaborative performance of an original devised or original devised or scripted work . scripted drama/theatre work for a specific audience .

For example, students might For example, students might • write a scene or short play that is performed for an audience; hold a • host a script-testing roundtable centered around a student-written reader’s talkback following the performance to gauge the audience’s understanding theatre that conveys a specific message (e g. ., anti-bullying, anti-drugs) for a of his or her intent . specific audience, inviting a random pool of participants for a non-biased result . • participate in a script-testing roundtable in which the class gathers to read a • write a full-length play to be produced by a community theatre celebrating a script and give feedback related to clarity and meaning . holiday as part of a festival .

PLAYWRITING I-II: PERFORMING 180 Performing Notes: Favorite Resources:

PLAYWRITING I-II: PERFORMING 181 ARTISTIC PLAYWRITING I-II PROCESS Responding

ANCHOR STANDARD Students will perceive and analyze artistic work.

RE.7 ESSENTIAL QUESTION How do theatre artists comprehend the essence of drama processes and theatre experiences?

SUPPORTING RE.7.1 STANDARD Students will explore the consequences of character decisions and actions.

I: PROFICIENT II: ACCOMPLISHED

I can identify the consequences of a character’s I can analyze the manner in which character decisions decisions and actions in my original theatrical work . and actions lead to interesting consequences and outcomes .

For example, students might For example, students might • compare and contrast character interactions in published monologues and plays • table read several peers’ original scripts in which the characters make decisions to those of the characters in his or her original work . in a variety of settings and circumstances and hold a roundtable discussion • identify the choices that characters make and the results of their decisions in the analyzing the outcomes . original work of peers . • predict the consequences of character decisions and write alternate scenarios . • watch clips of performances to identify character decisions and actions and keep notes in a journal for use in future original work .

PLAYWRITING I-II: RESPONDING 182 SUPPORTING RE.7.2 STANDARD Students will explore authentic character interactions.

I: PROFICIENT II: ACCOMPLISHED

I can identify the characteristics of I can analyze authentic character authentic character interactions . interactions in original scripts .

For example, students might For example, students might • discuss the characteristics of authentic character interactions with examples • analyze character interactions within an original scene, justifying the interaction pulled from significant theatrical works or other media forms . as it pertains to the plot as a whole, and presenting the justification to peers . • discuss the authenticity of the interaction of two specific characters such as • after observing an original two-page scene between two characters, write Walter Lee Younger and Lena Younger in A Raisin in the Sun . individual responses to the authenticity of the characters in the script .

SUPPORTING RE.7.3 STANDARD Students will explore the effectiveness of technical elements in scripts.

I: PROFICIENT II: ACCOMPLISHED

I can discuss the contribution of technical I can analyze stage directions that describe technical elements to the impact of an original script . elements which enhance storytelling in live theatre .

For example, students might For example, students might • annotate a published script with technical requirements or suggestions, • compare scripts to live performances of the scripts to analyze the effectiveness discussing with peers the use of technical elements to create dramatic impact of the technical elements of the production . in the story . • exchange original scripts which contain no stage directions or technical • discuss an original scene that depends on specific technical elements to suggestions with a partner and write technical elements for each others’ scripts . complete the plot .

PLAYWRITING I-II: RESPONDING 183 ARTISTIC PLAYWRITING I-II PROCESS Responding

ANCHOR STANDARD Students will interpret intent and meaning in artistic work.

RE.8 ESSENTIAL QUESTION How can the same work of art communicate different messages to different people?

SUPPORTING RE.8.1 STANDARD Students will interpret emotional responses evoked by original theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can explore emotional I can interpret emotional responses intended by playwrights . responses intended by playwrights .

For example, students might For example, students might • discuss multiple emotionally impactful works of theatre from a variety of genres . • write a paper comparing and contrasting his or her personal response to a • exchange original scripts with peers, read to explore the author’s intent, and theatrical work to that of the overall public, based on published reviews . compare individual emotional response to emotional responses from the class . • hold a Socratic seminar comparing emotional responses evoked by plays from different genres such as tragedies, comedies, farces, or melodramas .

PLAYWRITING I-II: RESPONDING 184 ARTISTIC PLAYWRITING I-II PROCESS Responding

ANCHOR STANDARD Students will apply criteria to evaluate artistic work.

RE.9 ESSENTIAL QUESTION How are the theatre artists’ process and audience perspectives impacted by analysis and synthesis?

SUPPORTING RE.9.1 STANDARD The students will develop and apply criteria for script evaluation.

I: PROFICIENT II: ACCOMPLISHED

I can develop criteria to evaluate original scripts using I can apply complex criteria to evaluate original basic theatre terminology and writing conventions . scripts using theatre terminology and writing conventions .

For example, students might For example, students might • with teacher guidance, create tools for evaluating student-written scripts . • create and apply a rubric containing complex criteria to evaluate • write critiques of student-written scripts . student-written scripts . • write a critique of his or her own original work using given criteria .

SUPPORTING RE.9.2 STANDARD Students will apply the concept of artistic merit.

I: PROFICIENT II: ACCOMPLISHED

I can distinguish between personal I can justify a position taken on the preferences and artistic merit . artistic merit of a drama/theatre work .

For example, students might For example, students might • develop a T-chart in which one column contains characteristics of artistic merit • write a critique of a classical piece such as A Midsummer Night’s Dream and in a script and the other column contains characteristics of personal preference; a contemporary classic such as The Glass Menagerie . compare and contrast the lists . • draft a critical reaction to a polarizing work such as The Laramie Project, Rent, or Carousel .

PLAYWRITING I-II: RESPONDING 185 Responding Notes: Favorite Resources:

PLAYWRITING I-II: RESPONDING 186 ARTISTIC PLAYWRITING I-II PROCESS Connecting

ANCHOR STANDARD Students will synthesize and relate knowledge and personal experiences to make art.

CN.10 ESSENTIAL What happens when theatre artists foster understanding between self and others through critical QUESTION awareness, social responsibility, and the exploration of empathy?

SUPPORTING CN.10.1 STANDARD Students will incorporate personal experience in theatrical writing.

I: PROFICIENT II: ACCOMPLISHED

I can explore the impact of my personal I can use my personal experience to experience on an original theatrical work . heighten the impact of my original theatrical work .

For example, students might For example, students might • draft original monologues, scenes, ten-minute plays, one-act plays or full scripts • workshop scenes with peers to incorporate a personal experience into a story to based on his or her own personal experience including cultural experience, deepen the connection with the audience (e g. ,. insert a scene about his or her gender, or social identity . first day at a new school in an original play about the family’s relocation) .

PLAYWRITING I-II: CONNECTING 187 ARTISTIC PLAYWRITING I-II PROCESS Connecting

ANCHOR Students will relate artistic ideas and works with societal, cultural, and historical context STANDARD to deepen understanding.

CN.11 What happens when theatre artists allow an understanding of themselves and the world to ESSENTIAL inform perceptions about theatre and the purpose of their work? In what ways can research QUESTION into theatre histories, theories, literature, and performances alter the way a drama process or production is understood?

SUPPORTING CR.11.1 STANDARD Students will incorporate social, cultural, and historical knowledge into original theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can relate historical theatre works to I can make personal artistic choices in original theatrical original contemporary theatrical works . work based on societal, cultural, and historical contexts .

For example, students might For example, students might • compare and contrast social issues of different cultures to contemporary social • write an original scene, ten-minute play, or one-act that focuses on a issues portrayed in theatrical work using a variety of research sources . contemporary issue of societal or cultural significance (e g. ,. climate change, • collaborate with peers to present research on the different conventions of Greek, poverty, gun control) . Roman, Elizabethan, and Renaissance theatre .

SUPPORTING CR.11.2 STANDARD Students will connect theatrical conventions and cultural perspectives to original theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can recognize theatrical conventions as applied in various I can relate cultural perspectives and theatrical texts from a wide range of cultural and historical backgrounds . conventions and practices to original theatrical work .

For example, students might For example, students might • identify the passing of time, the use of various stock characters, or the presence • write a critique of an original peer-written work and provide constructive criticism of stage directions in a variety of texts such as Everyman to Almost, Maine . over several drafts, particularly focusing on the use of theatrical conventions .

PLAYWRITING I-II: CONNECTING 188 SUPPORTING CR.11.3 STANDARD Students will demonstrate cultural sensitivity related to original theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can discuss cultural sensitivity related to artistic work . I can exhibit cultural sensitivity related to artistic work .

For example, students might For example, students might • use roundtable or Socratic discussion circles to analyze scripts of cultural • revise original works with diversity in mind and tailor the work to a importance such as Sarafina or Flyin’ West . specific audience .

SUPPORTING CR.11.4 STANDARD Students will connect community values, beliefs, and cultural differences to original theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can explore the beliefs, attitudes, and actions of people of I can influence the beliefs, attitudes, and actions various ages, cultures, and communities in my original scripts . of diverse audiences with my original scripts .

For example, students might For example, students might • devise a work based on their own demographics and cultural backgrounds . • create an original script that reflects the values of his or her own community on a significant topic (e g. ,. respect for civil servants or veterans, economic development) for production by a community theatre group .

SUPPORTING CR.11.5 STANDARD Students will use other fine arts and digital media in original theatrical work.

I: PROFICIENT II: ACCOMPLISHED

I can explore the use of digital arts in an original theatrical work . I can incorporate other art forms and digital media into an original theatrical work .

For example, students might For example, students might • share with peers a presentation illustrating the uses of digital media in • write one-act plays incorporating digital and other art forms to create fantastical contemporary theatre . or historical settings .

PLAYWRITING I-II: CONNECTING 189 Connecting Notes: Favorite Resources:

PLAYWRITING I-II: CONNECTING 190 THEATRE PRODUCTION AND MANAGEMENT STANDARDS AND TEACHER GUIDANCE

THEATRE PRODUCTION AND MANAGEMENT 191 Standards for Accreditation Information

Course Title: Theatre Production and Management Division of Elementary and Secondary Course/Unit Credit: 1 unit Education approval is not required for Course Number: 459400 Theatre Production and Management . Teacher Licensure: Please refer to the Course Code Management System for the most current licensure codes . Grades: 11-12 Prerequisites: The prerequisite for Theatre Production and Management is Theatre II, Technical Theatre II, Costume II, or a portfolio submission process .

Course Description: Theatre Production and Management

Theatre Production and Management is collaborative areas of theatre production . NOTE: Theatre Production and Management a two-semester, advanced theatre course in In this course, students will serve as a is not recommended for large group which students function as a production team production team in performance, directing, instruction . Suggested class size is fifteen for a student-led production . The Theatre technical theatre, promotions, and/or business students per class . Production and Management standards are management, emphasizing collaboration, designed to develop leadership skills within the management, and organization .

THEATRE PRODUCTION AND MANAGEMENT 192 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Creating

ANCHOR STANDARD Students will generate and conceptualize artistic ideas and work.

CR.1 ESSENTIAL What happens when theatre artists use their imaginations and/or learned theatre skills QUESTION while engaging in creative exploration and inquiry?

For example, students might CR.1.1 • create a stage management prompt book with concepts, sketches, rehearsal reports, and blocking sheets for a realized production from conceptualization to strike, including production photos and a written reflection upon closing I can adapt and follow a process that articulates the process of creating the show . to achieve my goals in theatre .

For example, students might CR.1.2 • serve as a director, dance captain, lighting designer, costume designer, crew head, business manager, or stage manager on a production team for a realized production . I can successfully fulfill a specific theatrical leadership role within a larger production team .

For example, students might CR.1.3 • create a living budget spreadsheet on Google Sheets for costs associated with production, digitizing and linking all receipts and invoices, and categorizing into expense type (e g. ., wardrobe, set dressing, building materials, printing) . I can use digital media to enhance processes and products within my area of theatrical expertise .

THEATRE PRODUCTION AND MANAGEMENT: CREATING 193 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Creating

ANCHOR STANDARD Students will organize and develop artistic ideas and work.

ESSENTIAL CR.2 QUESTION How, when, and why do theatre artists’ choices change?

For example, students might CR.2.1 • direct a one-act or full-length play . • design lighting, sound, or costumes for a full-length show . I can accomplish the • organize a crew of technical theatre students to perform a specific role for a production . tasks of a theatrical leader . • accomplish the tasks of a stage manager from conceptualization to reflection of a realized show .

For example, students might CR.2.2 • follow deadlines set by the business manager or promotions crew for submitting changes to a playbill prior to publication . I can respect other leaders’ • establish clear lines of communication between leaders to make timely note of costume issues, lighting problems, or and students’ contributions mic requirements to allow ample time to correct or make changes (e g. ., create a GroupMe, Remind, or group chat; use to our shared productions . Google Docs or another real-time editing and sharing program) . • adapt a costume design to fit an actor’s personal religious beliefs regarding clothing while maintaining the character’s integrity such as lowering the hemline of a dress .

For example, students might CR.2.3 • create a digital rehearsal report with dedicated spaces for each leaders’ notes and tabs for each scheduled rehearsal and edit as needed to make the report more functional for the specific production . I can develop paperwork for • create a standardized audition form . organizing and managing my • create a scale light plot with notes for fixtures and each lighting cue . area of theatrical expertise . • create a swing sheet for running crew scene changes for a unit set musical . • create a digital playbill for publication and edit as the show progresses . • create a digital order form for cast and crew T-shirts or patron advertisement purchases . • create a staggered call sheet for actors based upon which characters have the earliest entrances and the most complicated makeup applications to reduce crowding in the dressing room .

THEATRE PRODUCTION AND MANAGEMENT: CREATING 194 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Creating

ANCHOR STANDARD Students will refine and complete artistic ideas and work.

ESSENTIAL CR.3 QUESTION How do theatre artists transform and edit their initial ideas?

For example, students might CR.3.1 • complete a detailed summative reflection following the closing of a show that thoroughly explains strengths, weaknesses, and direction for future involvement as a theatre leader . I can apply self-reflection • facilitate formative production meetings weekly as a production develops from concept to close by analyzing the to my experiences in direction of each area and making changes to strengthen the production as a team . theatrical leadership .

Creating Notes: Favorite Resources:

THEATRE PRODUCTION AND MANAGEMENT: CREATING 195 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Performing

ANCHOR STANDARD Students will select, analyze, and interpret artistic work for presentation.

ESSENTIAL PR.4 QUESTION Why are strong choices essential to interpreting a drama or theatre piece?

For example, students might PR.4.1 • read a script as a group and break into specialized groups or work individually to annotate the script for each theatrical area (e g. ., mark cues, sketch blocking ideas, highlight props, identify required costuming styles); combine I can analyze a script of annotations into a master prompt book held by the stage manager to establish a coherent vision for the show . literary merit to inform my choices as a theatrical leader .

For example, students might PR.4.2 • collect a body of primary and secondary sources related to the Victorian Age upon selecting The Importance of Being Earnest and refer to sources as needed when making decisions related to the production throughout the process . I can choose, organize, and employ • compile a collection of images, videos, authentic articles, and advertisements of clothing and makeup from the multiple sources of information 1920s and organize into a lookbook to distribute to the wardrobe crew as costumes are developed for Thoroughly including print resources, web Modern Millie . resources, film, and video to • research different accounting methods and software, choosing the most appropriate to keep accurate records of inform production choices . ticket sales in the box office and justifying the choice .

THEATRE PRODUCTION AND MANAGEMENT: PERFORMING 196 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Performing

ANCHOR STANDARD Students will develop and refine artistic techniques and work for presentation.

ESSENTIAL PR.5 QUESTION What can I do to fully prepare a performance or technical design?

For example, students might PR.5.1 • research degree measurements of lighting instruments to determine focal points and create an effective wash . • use web resources to explore and sample multiple playbill software programs in order to select the most effective I can enhance my and justify the choice . decision-making skills • create notes on formal costume renderings identifying the symbolic connections of color choices, historical relevance through research . of style, and philosophical use of line .

For example, students might PR.5.2 • attend multiple rehearsals as a student technical director, lighting designer, or costume designer in order to plan and revise technical decisions . I can perform leadership • organize and document all rehearsals as a stage manager . roles in the rehearsal process . • enforce a rehearsal schedule for the cast as a director .

For example, students might PR.5.3 • demonstrate the proper use of a drill, drafting software, scale ruler, and/or marking tools to a student carpentry team at a set-design workshop following plans he or she designed . I can safely demonstrate • show the members of a light crew how to safely hang, focus, and gel various light fixtures to fulfill a light plot he specialized tools and/or or she developed . methods to others . • create a tutorial for operating the soundboard to share with members of mic crew or a board operator .

THEATRE PRODUCTION AND MANAGEMENT: PERFORMING 197 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Performing

ANCHOR STANDARD Students will convey meaning through the presentation of artistic work.

ESSENTIAL PR.6 QUESTION What happens when theatre artists and audiences share a meaningful, creative experience?

For example, students might PR.6.1 • draft a director’s statement for the playbill that articulates meaning, style, and intention of the show in production . • design a poster for To Kill a Mockingbird that combines visual symbols for the concepts of justice, racism, and I can make artistic or innocence to advertise an actualized production . technical choices to convey • choose prices for tickets based upon a production budget and explain to the production team why tickets are priced meaning in a realized production . at the level they are for different groups of patrons (e g. ., general, senior, child) .

Performing Notes: Favorite Resources:

THEATRE PRODUCTION AND MANAGEMENT: PERFORMING 198 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Responding

ANCHOR STANDARD Students will perceive and analyze artistic work.

ESSENTIAL RE.7 QUESTION How do theatre artists comprehend the essence of drama processes and theatre experiences?

For example, students might RE.7.1 • after attending a professional, community, or school production, discuss how effective his or her specific area of expertise was in the show . I can assess the effectiveness of specific • write a paragraph about how attending a production as an audience member will affect his or her personal theatrical elements in adding value to the overall approach to producing a show . production using specialized terminology .

THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Responding

ANCHOR STANDARD Students will interpret intent and meaning in artistic work.

ESSENTIAL RE.8 QUESTION How can the author’s intent be conveyed to audiences?

For example, students might RE.8.1 • draft a director’s statement for the playbill that articulates meaning, style, and intention of the show in production including quotes from or references to the author or playwright . I can defend my rationale • write a statement to accompany a light plot that explains the overall theme behind the lighting concept based upon for meaningful choices made to the author’s statements regarding the script . convey the author’s intent . • facilitate a production meeting in which all areas of expertise share choices made in reference to the intention of the script, discussing how all elements of the production align to the playwright’s intention and refine elements to better convey meaning .

THEATRE PRODUCTION AND MANAGEMENT: RESPONDING 199 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Responding

ANCHOR STANDARD Students will apply criteria to evaluate artistic work.

RE.9 ESSENTIAL How are the theatre artists’ processes and the audience’s perspectives impacted by analysis QUESTION and synthesis?

For example, students might RE.9.1 • articulate high standards of achievement in a list, rubric, or mission statement at the beginning of the production process and assess each element of production using these criteria as the production develops . I can evaluate performances, • create a checklist of specialized lighting elements (e g. ., intensity, color, direction, focus) and evaluate each scene designs, and execution of designs in an actualized design . using advanced student-selected criteria .

Responding Notes: Favorite Resources:

THEATRE PRODUCTION AND MANAGEMENT: RESPONDING 200 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Connecting

ANCHOR STANDARD Students will synthesize and relate knowledge and personal experiences to make art.

CN.10 ESSENTIAL What happens when theatre artists foster understanding between self and others through QUESTION critical awareness, social responsibility, and the exploration of empathy?

For example, students might CN.10.1 • plan and implement a safe space initiative tailored to the specific needs of a production’s cast, crew, and physical theatre spaces . I can synthesize personal experience, • write a one-act play with a theme of personal importance, complete with stage directions for blocking, scenic awareness of beliefs and biases, and requirements, lighting requirements, and props and allow other specialists in the class to create designs and knowledge of my specialized theatrical promotional materials . area into plans or designs for an • adapt a unique scenic design for his or her theatre space (e g. ., Sunday in the Park with George, Endgame by Beckett, actualized drama/theatre work . Red by Logan) based upon personal experience with how the space functions in production .

For example, students might CN.10.2 • justify color choices in a costume parade using color theory to connect combinations of colors to a desired reaction from the audience . I can enhance my decisions • differentiate a daytime scene from an evening scene by using McCandless’s theory to create an inverse ratio of warm with theories regarding design, and cool light intensity from opposing sides of the stage . perception, or philosophy . • create a sensory plan for audience members in which the temperature of the house is gradually decreased timed to scripted cues as the White Witch gains power in The Lion, the Witch, and the Wardrobe .

THEATRE PRODUCTION AND MANAGEMENT: CONNECTING 201 THEATRE PRODUCTION ARTISTIC AND MANAGEMENT PROCESS Connecting

ANCHOR Students will relate artistic ideas and work with societal, cultural, and historical context CN.11 STANDARD to deepen understanding. ESSENTIAL In what ways can research into theatre histories, theories, literature, and performances alter QUESTION the way a drama process or production is understood?

For example, students might CN.11.1 • draft a statement explaining how his or her particular area of production accurately represents the culture that the script portrays with evidence from that culture . I can justify my choices as a • research the historical context of a playwright’s life or the context of the story being told and summarize costume leader with regard to societal, design choices in a cast meeting to increase the actors’ understanding of the costumes they will wear . cultural, and historical context .

For example, students might CN.11.2 • write a brief curtain speech to deliver to audience members before each show with reference to the production’s relevance or significance in the specific community in which it is being performed . I can defend the ways in • explain costume designs for Fiddler on the Roof in reference to the values and beliefs of Jewish communities which a design or choice reflects in Russia in 1905 . community values and beliefs .

THEATRE PRODUCTION AND MANAGEMENT: CONNECTING 202 For example, students might CN.11.3 • create individualized makeup and hair designs for each actor, taking into account products and tones appropriate for each person’s skin tone and hair texture . I can demonstrate cultural • provide a sign language translator to interpret one public performance and consider other accessibility needs . sensitivity in artistic work . • consult with students or adults of backgrounds scripted in the production for accuracy and sensitivity of portrayal .

For example, students might CN.11.4 • apply knowledge of Chinese or French shadow puppetry to create special effect projections in a technically advanced show such as creating shadow puppets to suggest a character flying as in Mary Poppins or transforming I can use my knowledge as in Beauty and the Beast . of theatre history to increase • design a set for Little Shop of Horrors with specific areas related to the Greek theatre spaces (e g. ., theatron, the impact of our production . orchestra, skene) to accommodate the Greek chorus of Crystal, Ronette, and Chiffon . • after researching the acoustic properties of Greek masks, in collaboration with props director, sound designer, and costume designer, create a mask or headpiece that allows an actor to be seen and heard in an outdoor production without microphones .

For example, students might CN.11.5 • create a marketing plan to be implemented through social media to promote the show . • incorporate moving lights into a light plot and program the cues into a light board . I can use my knowledge • create a growing nose for Pinocchio in Shrek the Musical using an Arduino or hydraulic compress system . of technological advances • select appropriate materials for applying a foam latex prosthetic with attention to hypoallergenic needs . in theatre to increase the • design digital projections to recreate the tornado in The Wizard of Oz and bring it into and around the audience . effectiveness of a production .

THEATRE PRODUCTION AND MANAGEMENT: CONNECTING 203 Connecting Notes: Favorite Resources:

THEATRE PRODUCTION AND MANAGEMENT: CONNECTING 204 GLOSSARY

NATIONAL COALITION FOR CORE ARTS STANDARDS:

• Glossary for National Core Arts: Theatre Standards

RESOURCES

PROFESSIONAL: • Arkansas Educational Theater Association

• American Alliance for Theatre and Education • Educational Theatre Association

• American Theatre and Drama Alliance • More Theatre resources can be found on the DESE website

• Arkansas Communication and Theatre Arts Association

DISCLAIMER: Links to third-party websites do not constitute an endorsement of the content, viewpoint, accuracy, opinions, policies, products, services, or accessibility of the sites .

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