Theater, Overview and Lesson Plans

8/6/2019 Theater, Overview and Lesson Plans

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Getting to WOW – Theater Apprenticeship (Arts in Progress)

Middle School Apprenticeship Program Guide 2002

Theater Apprenticeship

Project DescriptionThis apprenticeship is an opportunity for students to become experts in theaterproduction, set design, character development, play writing, and acting while

developing public speaking and creative writing skills. In addition, while workingtowards the WOW performance, apprentices will focus on developing strongteamwork and leadership skills.

Objectives: To work collaboratively to create a high-quality performance for an

authentic audience. To expose apprentices to excellence in the fields of acting, set design

and play writing. To heighten enthusiasm for creative writing and performing, and boost

confidence in these areas. To build writing and public speaking skills.

WOW: Create and perform a play.

Hint: It is essential to arrange the WOW venue at the beginning of the apprenticeship because knowing that an audience is expecting a performance will help motivate apprentices. In addition,understanding the needs of the audience will be critical in developing the content of the play. Venues for the performance could include: A hospital A nursing home A local school A children’s theater Another after-school program

Tips for Success: Use Your Contacts

Use your networking skills to recruit guest speakers, find costumes, provideprops, and secure a WOW venue.

Plan Ahead We have provided this lesson plan as a guide, but you may want to adjust it tomeet your needs and time restrictions (each lesson plan here is approximately90-120 min). In addition, your resources, ideas, and enthusiasm are needed tobreathe life and creativity into this lesson plan.

Give Apprentices Ownership

Remember, the final product may not be perfect, but the apprentices will feelmost proud if it is completely their work.

Week by Week OverviewSession One: Wow ‘Em

• Build excitement and enthusiasm

• Display schedule for the semester

• Set behavior expectations





• Discuss what it will take to get to a powerful WOW

• Familiarize with basic components of performing arts

• Begin to build script

Session Two: Speak Up, Speak Out

• Continue to build investment in WOW

• Develop awareness of voice and body movements

• Begin to solidify script

• Introduce apprentice roles

• Review behavior expectations

Session Three: Create Creativity

• Solidify script and roles

• Begin to memorize lines

• Work on body movement and voice in character development

• Introduce set design and blocking

Session Four: Get In Character• Practice blocking and deepen understanding of set design

• Continue work on character development

• Continue to memorize lines

Session Five: Half Way There

• Continue to develop body movement and vocal skills

• Deepen character development

• Keep WOW in mind

Session Six: The Real Work Begins

• Increase comfort with memorized lines

• Combine acting and blocking skills

• Incorporate props and costumes

Session Seven: Expert Acting

• Rehearse scene-by-scene

• Assess strengths and challenges

• Push to incorporate all voice, body and performance skills into acting

• Gain comfort with blocking and lines

Session Eight: Put it All Together

• Increase comfort with blocking and lines

• Practice sound and lighting effects• Run-through with feedback.

Nine: Dress Rehearsal

• Synthesize production and performance elements in complete run-through

• Build excitement about WOW

• Confirm all details regarding transportation, location, logistics, and expectations.





Session Ten: WOW

• Perform play for audience

• Build pride, give feedback, provide opportunities to teach back

Appendixes:Appendix A: Vocal Diagram Appendix B: Script Suggestions

Appendix C: Casting ConundrumAppendix D: Sample Expectations





Lesson 1: Wow ‘Em

OverviewThis is your chance to “WOW” your apprentices with your experience and enthusiasm,and to introduce them to the concepts you will cover in the next 10 weeks. In thislesson, apprentices will be introduced to the basic components of theater arts:performer, script, and audience. They will participate in actor training exercises todevelop a performer’s body and voice, and in team-building games to fostercollaboration and a sense of community. They will also work together to create aperformance script from a narrative source (e.g. fairy tale or children’s story).

Objectives

• Create a positive classroom culture by setting clear expectations

• Build excitement and enthusiasm

• Set behavior expectations

• Discuss what it will take to get to a powerful WOW

• Introduce roles for apprentices

• Familiarize with basic components of performing arts

• Begin to build script from story

Length: 90-120 minutes

Materials and Equipment

• A story or a selection of stories upon which you are going to base your play.This could be a children’s book, a fairy tale, a folk tale, a movie, or a play.

• Blank flip chart paper for script work

• List of Expectations

• Vocal Process Diagrams

• Pens/markers

Handouts

• Vocal Process Diagram (See Appendix A)

Roles for Apprentices

• Clean-up captain (takes a mental photo of the room at the beginning of thelesson and makes sure that apprentices return the room to its original statebefore leaving)

• Scribe for “play writing” activity

Vocabulary:

• Power Source : the part of the body that provides the energy to produce a sound

(the diaphragmatic breathing) • Vibrators : the parts of the body that move to create voiced sound

• Resonators: the parts of the body that amplify vocal sound; open spaces in thevocal mechanism that amplify sound

• Articulators : the parts of the body that modify and shape vocal sound

• Voiced Sound : sound that is created by the vibrators of the vocal folds

• Unvoiced Sound : sound that is created by air passing through the vocal foldswithout vibrations of the folds





• Pitch : how high or low a vocal sound is

• Power : how loud or soft a vocal sound is

• Pace : how fast or slow a vocal sound is

• Production : the quality of a vocal sound (e.g. raspy, smooth, airy)

• Diaphragm : the muscle between the chest and abdomen that contracts andexpands, allowing one to inhale and exhale air

Lesson Plan

I. Introduction and Expectations 10 minutes Discuss your background or interest in theater, and tell the apprentices that thisclass will be similar to a professional theater class, and that you expect them toperform like professional actors, directors, and stage managers. Let them know thatyou will go over expectations and review the schedule for the semester before theend of this lesson, but first you’re going to jump right in with acting warm up. Afterthat, you’ll spend some time getting to know each other, reviewing expectations, and

answering questions.

Choice Point:You may want to ask each apprentice to introduce him/herself or play a quick “name game” at the beginning of this lesson. If you decide not to do this, you should ask each apprentice to introduce him/herself when they volunteer to participate or ask a question.

II. Actor’s Workshop Ritual 20 minutesLet the apprentices know that each week you’ll be doing exercises and learninggames that will help them become better performers. Sometimes the exercises andgames will be easy and other times they’ll be challenging, but they are all important

in developing acting and performing skills. We’ll call this portion of our class the“actor’s workshop.” In the first half of the semester, we’ll spend a lot of class time onthese exercises, and at the end of the semester, we’ll spend more time rehearsingour play.

Hint: Each week, work new vocabulary words into the Actor’s Workshop section of the lesson. You can post the words around the room and refer to them as you go through the exercises. Aquick informal quiz at the end of the Actor’s Workshop session will build enthusiasm and reinforce learning. In addition, it might be fun to select a “word of the week” to focus on, and give apprentices a reward when they use it correctly.

Hint: Spend no more than five minutes on each activity in the Actor’s Workshop, even if the apprentices really enjoy one activity.Stopping an activity while the kids are still engaged will leave them with a feeling of excitement and anticipation for next week.Each week, look over the activities offered in the Actor’s Workshop, and plan out which activities you are going to do and in what order—you may have to adjust the activities offered in this





curriculum to meet the time constraints and abilities of your class.

Physical Warm Ups

Playing Puppeta. Apprentices stand in a circle around you with their feet should width

apart.b. Apprentices close their eyes and imagine that there is a string in the

center of their heads suspended to a puppeteer in the ceiling. Theirbodies are completely relaxed and controlled by the master.

c. Slowly two imaginary strings are attached to the shoulders, raising themas high as they can go. The imaginary string then moves to theelbows, wrists, and fingertips.

d. Once the apprentice is fully suspended, the master cuts the imaginarystrings and the apprentices fall to the floor like a puppet without itsstrings.

e. Apprentices then visualize one string attached to the small of theirbacks, lifting them up. The imaginary string moves up their spine, one

vertebra at a time, until it reaches the center of their heads in thestarting position.

Explain the importance of visualization for the exercises since we must allow thebody to work naturally and not force it into an energized state. In this way,apprentices must work indirectly to achieve results. It is important for apprentices towork very slowly in this exercise at first to gain a full stretch and control over theirbodies.

Puppet Isolations (Circular movement of isolated body parts.) 5 minutesa. Apprentices begin this exercise in the same position as the Puppet

Stretch.b. The puppet master moves the imaginary strings attached to the head in

a controlled circular motion. The imaginary string moves to theshoulders, rib cage, hips, knees, and feet.

c. At all times, the imaginary string, not the actor, moves the body.

Other Stretches (choose one or two)a. The Cat : apprentices lie down on their stomachs and let the imaginary

string lift their bodies from the small of the back and move in a circularmotion

b. The Cobra : apprentices lie down on their stomachs and let theimaginary string lift their heads

c. The Rattlesnake: apprentices pull back from the Cobra , sit on theircalves, place their faces to the ground with arms extended in front

d. Picking Apples: apprentices imagine there is a tree with apples just outof reach; apprentices get on tiptoes and try picking three times withtheir right hand and three times with their right; apprentices squat andswing up and repeat two times with the right and left, then repeat onetime with the right and left

Voice Warm-UpsThese exercises are designed to teach apprentices to use their breathing correctly,





efficiently, and safely for vocal projection and dynamics. Be sure to explain thevocal process---diaphragm, lungs, trachea, vocal folds, resonance, and articulation.See appendix A for diagram.

Breathing Like a Baby Apprentices stand in a circle and take a deep breath, observing others

(What happens? Often, the shoulders rise!). Apprentices speed up from a walk to a run for two minutes in a circle Apprentices are told to fall where they are and lie on their backs. Apprentices observe how their body breathes naturally (use of diaphragm

and stomach rising and falling as when babies sleep). Explain that this type of breathing helps actors because it enables them

to project their voices.

Paint the Ceiling with Sound Apprentices stand in a circle with imaginary strings on their heads. The strings move up the spine and stay there. Apprentices should be

relaxed with knees bent slightly. Apprentices visualize their feet growing roots into the ground like a tree.

The string moves up the spine until it reaches the head and hasapprentices standing up.

Apprentices’ roots soak in a colored energy (e.g. green) that is warm andmoves into apprentices’ feet, then their ankles, knees, hips, and bellywhere it gathers. Apprentices should visualize a constant flow of energyfrom the ground.

As energy collects in the belly, it gets warmer and changes color (orangeto yellow to red) and begins to bubble up into the windpipe. As the colormoves up, it creates a sigh (like smoke) from the voice box. The colorflows continuously and creates a low volume with continuous sound.

As the energy gets hotter, the head tilts back and acts like a chimney, to

let the color out towards the ceiling. The sound should get louder butmust always be supported by the breath and energy from the ground.

Give apprentices a chance to “teach back” by asking what they learnedand how these exercises will help prepare them for the WOWperformance.

III. Set Expectations and Introduce WOW 10 minutes Display and review expectations for your class. See Appendix D for a

sample list of expectations. Display and review calendar for 10 sessions. Point out any key dates for

accomplishments (i.e. must memorize lines by session 5). Preview some of the leadership opportunities apprentices will have, and

let them know that they are “auditioning” for those roles throughout theclass. Apprentices who show consistent leadership and organizationalskills, for example, are more likely to be “hired” as the stage manager,and apprentices who display focus and independence might be hired aslighting and set designers.

Introduce WOW concept, and build excitement.

Hint: Calling apprentices by professional names such as





“actors” and “performers” instead of “apprentices” or “kids” will contribute to a professional and mature environment.For example, “Actors take your places!” is a much more effective method for gathering the apprentices than saying,“Guys, can you please stand up?”

IV. Introduce Script 40 minutesExplain that the first step towards the WOW will be developing an exciting scriptfor the play. All of the apprentices must work together as play-writes in order toproduce a high-quality, exciting play for the audience.

Discuss the difference between narrative stories and drama. Ask theapprentices about the differences between reading a story and acting it out (i.e.when you read a story, the author can tell you what the characters are thinking,but when you act it out, you have to show the emotion, etc.) Brainstorm abouthow to turn a story into an exciting play.

One way to engage students in this discussion is to read a short children’s story

in a bland tone, and then ask a few students to act it out as you read it again.Ask the audience members to take notes on the difference between hearing astory read, and seeing it acted out.

Read the story you have selected to the apprentices, and brainstorm about howyou would turn the story into a play. Discuss which characters would be in theplay, which scenes would be most important, and which settings would contributeto the audience’s understanding of the plot.

Hint: Folk tales, fairy tales, or popular stories are often easily adapted to drama. Before choosing a story, you might want to check with

campus staff or the staff at your WOW venue to see if a particular story connects to the theme of the campus or the WOW venue.For example, if apprentices at the campus or the WOW venue are studying a particular culture, it would be interesting to choose a story from that culture. Also, you might bring in a few stories and let the apprentices vote on which one they wish to perform.

Remember, choosing or creating an interesting an appropriate script is essential in producing a high quality WOW. Here are some guidelines to consider:

The total piece should be about 10-15 minutes long Though the final production will only be 10-15 minutes,

you do not necessarily need to use a script or story meant for small children. Instead use a script or story that you and apprentices find engaging. More difficult sophisticated scripts, in fact, can increase apprentice investment and pride.

See Appendix B for script suggestions.

V. Play Writing 101 20 minutes





Choice Point: Depending on how much time you have and the age of your apprentices, you might want to shorten the amount of time you spend on script writing. One way to do this is to bring in a previously produced script, and dedicate a bit of time to letting apprentices edit it or add to it. If you

decide to use this option, read the script aloud with the apprentices and use flipchart paper to brainstorm ideas for making the plot, characters, or dialogue more interesting.Apprentices often enjoy putting a modern twist on old classics, and updating a well-known tale can be a great way to shorten the play-writing part of this curriculum while maintaining apprentice investment. See Appendix B for script resources.

Choose three or four important pieces of action from the story, and explain thateach of these actions will be a unique scene. For example, if you wereperforming “The Wizard of Oz,” you might choose the tornado scene, the scene

with lion, the scene with the tin man, and the scene with the wizard. Throughthese three or four scenes, the actors will bring the story to life. It might behelpful to create a visual storyboard for this activity so that apprentices canseparate the action and dialogue scene-by-scene.

Use a piece of flip chart paper for each scene, and ask a apprentice to write thetitle of scene and all of the characters in that scene at the top of the paper.

Ask another apprentice to begin to write the dialogue and action that will happenduring that scene on the first piece of flip chart paper. Let the apprentices knowthat they can cut and paste dialogue and action from the story or create newlines and events. In addition, apprentices can incorporate a narrator to explain

sections that might be difficult or time consuming to act out. Encourageapprentices to brainstorm, be creative and collaborate. Let the apprentices knowthat this is just a “sketch” of the script and that they don’t need to perfect all ofthe dialogue or action today.

By the end of the session, you should have a flip chart paper for each scene thatoutlines the setting, dialogue, and action. Depending on the size of your class,you can either work together on each piece of flipchart paper, or you can assignscenes to smaller groups and then report back at the end of the lesson.

Hint: You’ll need to collect the flipchart paper and create a sketched script before the next class.





VI. Foreshadow Next Week 10 minutesReview why you’re excited about this apprenticeship and give the apprentices somehints about what you’ll be doing next week. You might want to spend a momentquizzing the apprentices on some of the “takeaways” from today’s lesson (i.e.vocabulary words, parts of the script, or some of the class expectations). Also, spend afew moments brainstorming titles for your play. Create a feeling of suspense by telling

the apprentices that you’ll have a “secret ballot” vote next week to determine the title.

VII. Clean Room and Provide Closure 10 minutesAsk the “clean up captain” to make sure that the apprentices return all the desks to theirproper places, remove any trash from the floor and leave the room neater than whenthey arrived.





Lesson 2 Speak Up, Speak Out

OverviewIn this lesson, apprentices will continue to develop awareness and control of their bodiesand voices through games and exercises. In addition, apprentices will evaluate andmodify the play script and select their roles for the play.

Objectives

• Continue to build investment in WOW

• Develop awareness of voice and body movements

• Begin to solidify script

• Introduce apprentice roles

• Review behavior expectations



• Flip chart papers from last week• Scripts (typed up from flip chart papers)

• Pens

• Blank flip chart paper

Roles for Apprentices (if applicable)

• Stage Manager : keeps promptbook of script with all notes in it; in charge ofprops and set in performance; assists director

• Set/Prop/Costume Crew : builds and moves set/props

• Actors : perform in play; responsible for their own costumes and props

• Sound/Light Crew : create sound/light effects during performance

Lesson Plan [check font]I. Review Expectations 5 minutes

Take a few moments to remind the apprentices that you are excited to workwith them and teach them about theater. Ask them if they remember theexpectation of actors from last week. You may want to show them the list ofexpectations again, and let them know that they will be “auditioning” duringthe exercises this week—you’ll be on the lookout for great actors, stagemanagers, set designers etc.

II. Actor’s Workshop Ritual 25 minutesReview what apprentices learned from the puppet stretches from last week,

and introduce new games for this week.

Sighs and YawnsAsk apprentices to sigh and yawn as a group while playing with pitchchanges. Use your hands to indicate changes in pitch from low to high.

Prune! Banana!Ask apprentices to tighten their facial muscles and say, “Prune!” and expandfacial muscles and say, “Banana!” Use your hands to indicate changes in





speed and pitch.

Tongue Twisting Challenge (the essential part of this exercise is thatapprentices exaggerate the use of the jaw, lips, teeth, tongue, etc.)

Phrases should be spoken aloud slowly at first and more quickly with each

repetition. The following are samples:

• To Sit in solemn silence on a dull, dark dockIn a pestilential prison with a life-long lockAwaiting the sensation of a short, sharp shockFrom a cheap and chippy chopper with a big, black block

• Mary Mac’s mother’s making Mary Mac marry meMy mother’s making me marry Mary MacI’m going to Marry Mary so my Mary can take care of meWe’ll all be making merry when I marry Mary Mac

• Toy boat, toy boat, toy boat

• A box of biscuits, a box of mixed biscuits, and a biscuit mixer

• The sixth Sheik’s sixth sheep’s sick

• All’s mimsy in the borogroves

Hint: At the end of each activity, give apprentices an opportunity to “teach back” by asking what they learned about acting, and inquiring how they are going to incorporate these new skills into their play,and asking how these skills might be helpful in school.

Walk This Way! Apprentices get into a circle and count off A’s and B’s. Apprentices in Group A walk around the classroom, either strolling

naturally or mimicking a character. B’s observe how the A’s are walking (feet, legs, hips, back, arms, hands,head, etc.) and begin to mimic the walk of the person as completely aspossible (remind Group A not to change their walk in the middle of theexercise).

After two minutes, apprentices in Group A should freeze and observe theperson who is mimicking them. Ask the apprentices what looks familiarabout the mimicked walks, and what was challenging about mimickingand being mimicked. Discuss why mimicking skills and close observationare important in theater.

Mirror Game

Apprentices pair up and stand face-to-face One of the pair is the leader and the other, the follower The leader moves very slowly while the follower mirrors the movements

exactly. Apprentices then switch so each can be the follower and eachthe leader. The leader should make sure that the movements arechallenging and that the follower is focused on all of the details of themovements.

Sculpture Game





Apprentices get into groups of three and choose roles as Sculptor, Clay,and Blindfold.

Blindfold stands with eyes closed, sculpture sculpts the Clay into anyappropriate statue form that can be held for a period of time.

Once Clay is set, Blindfold can use only hands (not eyes) to sense theshape of the clay.

With eyes closed, Blindfold must reshape Sculptor into the form of Clay. Blindfold opens eyes and compares Sculptor to Clay. Apprentices switch roles until all have the opportunity to play each part.

Hint: This game works best with younger apprentices since older apprentices might feel uncomfortable being touched by their peers.

Hint: Again, ask the apprentices what they learned about acting, and how they are going to incorporate these new skills into their play.

III. Read through and Script Editing 30 minutes Show the apprentices the script you typed up from their flip chart outlines last week,

and let them know that you will assign temporary roles this week, and morepermanent roles next week. Let them know that they’ll be auditioning during theread through today and that they’ll have an opportunity to indicate which rolesappeal to them the most.

With assigned parts, apprentices read through the script (Stage Managershould read stage directions if present)

Discuss strengths and weaknesses of the script and make necessarychanges (both the stage manager and you should take notes on thescript, and you should edit it accordingly before the next lesson). Thefollowing questions might guide your discussion:

Does it have a clear beginning, middle, and end?

Are the characters different? Are they interesting? Is there too much action or too much dialogue?

Hint: If you are using a previously produced script, or if you don’t need to spend a lot of time on editing, you can begin to discuss set,blocking, and props in this session. If you get ahead now, you’ll have more time to rehearse at the end of the semester.

IV. Casting 40 minutesUse the Casting Conundrum sheet (Appendix C) to find out which roles theapprentices want. Remind them that there are many reasons (some not related to

talent) that certain people are cast in certain roles. Casting Directors must take theskills of the entire cast into consideration while weighing which actor will be best ineach role.

Hint: Manage expectations and reduce anxiety by sharing casting stories from your own acting career or from celebrities’ careers. For example, let the apprentices know that [fill in with celebrity who did not get dream role in one





movie, but went on to have a fantastic career.] Discuss appropriate expressions of disappointment and excitement and be clear about your expectations (i.e. no gloating or teasing if you get your ideal role, and no swearing or over- reacting if you are disappointed. Also, let apprentices know that some actors will have smaller roles so that they will be

more available to take other leadership roles such as stage manager and lighting manager.

Next have each apprentice audition for their top choice by reading through a quickscene (with you or a apprentice stage manager reading the other parts). If possible,divide the class into a few groups, and ask co-teachers or the team leader to runauditions in another room. VI. Foreshadow Next Week 10 minutesComment on a few things the apprentices did especially well this week, and a fewthings that they could work on for next week. Let them know that you will finalize thescript and the roles in the upcoming weeks, so that you can start rehearsals. Don’t

forget to remind the apprentices about the WOW and continue to build excitementabout the importance of the final product.

VI. Clean Room and Provide Closure 5 minutesAsk the “clean up captain” to make sure that the apprentices return all the desks totheir proper places, remove any trash from the floor and leave the room neater thanwhen they arrived.

Hint: Add edits into the script before next week. Try to balance your desire to edit the script as you see fit, with a commitment to making sure that apprentice input is incorporated. With younger apprentices, you may have to add more material to the script.





Lesson 3 Create Creativity

This lesson provides a chance for apprentices to express their creativity and addtheir individual flavor to the performance. In addition, apprentices will begin tomemorize their lines and discuss set design and blocking.

Objectives

• Solidify script and roles

• Begin to memorize lines

• Work on body movement and voice in character development

• Introduce set design and blocking



• 4-5 wooden blocks (2’x3’, 2’x2’, etc.)

•Script in a 3-ring binder for Stage Manager

• Scripts for apprentices

• King sized bed sheets for back drop

• Fabric paints and art supplies






Lesson Plan

I. Review 5 minutesReview material from last two weeks, and revisit expectations.

II. Actor’s Workshop Ritual 15 minutes

Hint: Choose two or three of these games to fill up the 15 minutes of Actor’s Workshop time today. Remind the apprentices that there is a lot to accomplish for the performance, and they must work efficiently.

Amoeba WalkAsk the apprentices to form a circle with joined hands. One apprentice stands in themiddle of the group and closes his or her eyes. The apprentice in the middle musttake giant steps around the space---eyes closed---while the apprentice in the circlemove to protect the apprentice in the middle. The apprentices in the circle must stayconnect and move as a unit around the apprentice in the middle.

Hint: Remember to ask the apprentices what they have learned from these exercises and how they will incorporate these new skills into their





performance. In addition, discuss how some of the skills they are learning through acting will help them in school and at work. If possible,explain how your acting skills have contributed to your success in other aspects of your life.

Storytelling with Strange Voices

The leader tells a short story in a straight voice. Each apprentice retells the storyfrom a different point of view from within the story in a character voice or emotionalvoice. (The leader should encourage playful, uninhibited use of the voices)

Happy Birthday to WhomeverThe group speaks or sings “Happy Birthday” using character or emotional voices.For example, you might ask them to sing the song as if they are a joyful new mother,a rock star, or a fish.

Machine AgeOne apprentice enters the space and begins to perform a repeatable motion orsimple action (brushing teeth, e.g.) in silence. One the apprentice has established a

rhythm, a second apprentice joins the first apprentice physically and rhythmically inperforming a complementary movement. More apprentices are added to theMachine in interesting and creative ways. If done well, apprentices from first to lastcan add sound to the “machine.”

Giant CharadesApprentices organize into large groups. Each group is given an object (the stranger,the better) to perform with their bodies and sounds. Sample objects: tornado, snail,sweater, peanut butter & jelly, etc. Apprentices must collaborate and must all beinvolved.

Object in the MiddleAsk the apprentices to stand in a circle. One apprentice enters the circle with anobject and begins to use the object in a creative way. For example, the apprenticemight use a ruler as a phone. Once someone from the outside realizes the use ofthe object, he/she enters the circle and interacts with the original performer. Theoriginal apprentice leaves the circle and the second apprentice comes up with a newuse for the object (e.g. a bed sheet can be used as a bullfighter’s cape or twirled intoa snake).Play continues until everyone has entered the circle

Hint: After playing these exciting games, apprentices might have a hard time returning to their seats to review the script in the next activity. Take some time to remind them that there’s a lot of work to do before the performance in seven weeks.

III. Casting Call 10 minutesApprentices will be anxious to know the results of the auditions, but beforeassigning roles, review the expectations you set last week, and remindapprentices that excitement and disappointment are both part of every actor’scareer. Again, give examples of how professional actors handle excitement anddisappointment.





Hint: Here are some suggestions for methods for assigning roles: Put the roles in envelopes and let the apprentices open them all at

once. Create a trivia game around vocabulary from past lessons, and tell

apprentices their roles as they answer questions correctly. Call apprentices up individually. Give apprentices who might be unhappy with their roles extra

leadership opportunities (i.e. stage managers, prop designers, etc.)

IV. Play Writer’s Circle 15 minutesReview the script with the apprentices, and discuss some of the changes thatthey made last week. Begin to brainstorm about sets and props for each scene.Introduce the concept of “backdrops,” and let the apprentices know that they areall going to be responsible for helping to design the sets for the play.

IV. Creating the Backdrop 50 minutesDiscuss the role of backdrops in plays, and show some examples inphotographs, press materials from plays or videos. Ask apprentices whichbackdrops they like best, and brainstorm what types of backdrops will bestcontribute to your play. Share these guidelines with apprentices:

Some of the best backdrops are the simplest ones. Backdrops can represent a mood or a time rather than the actual

scenery. Actors (especially small ones) get lost in complicated backdrops Backdrops can be symbolic (i.e. shapes and colors, as opposed to

realistic drawings) The backdrop must be appropriate for the entire scene, not just one part.

Once the apprentices understand what kind of backdrops would be mostappropriate for this play, follow these steps:

Divide apprentices into groups and assign one group to each scene. Ask apprentices to read their scene in their group and note the settings

and props needed for each scene. Have the apprentices draw a sketch of a backdrop on a piece of flipchart

paper, and ask them to review this sketch with you, the stage managerand a apprentice from the “set design crew” when they are done.

After the sketch is approved, give the apprentices a king-sized bed sheet,

fabric paints, and help them transfer their sketch onto a backdrop for theplay.

V. Planning the Space 20 minutesWhen apprentices finish working on the backdrop, ask them to think about wherepeople should stand in front of the backdrop. Explain that deciding where actorsstand and how they move around the stage is called “blocking.”





Review the following guidelines for blocking with the apprentices, and then ask themto read through the play, and imagine how the characters will move around thestage.

Blocking Guidelines: Actors should be positioned so the audience can see the front of the actor (i.e. the

actor rarely stands with his/her back to the audience unless it is for effect). Actors should move with purpose, not merely move for movement’s sake (unless

choreographed for effect). Director should use blocking to facilitate actors’ movements, emphasizing and

heightening thought and action, strengthening relationships, and underliningconflicts.

Director uses blocks, etc. for different levels so the stage picture is varied,interesting, and dynamic.

The entire “stage” space should be used. For a three-person, stationary scene, Director should experiment with a triangular

blocking. For example:

X2X1 X3

Audience

VI. Foreshadowing: 5 minutesDiscuss a few things that the apprentices have done to impress you, and provide a fewexamples of things upon which they could improve. Congratulate them on “writing aplay” in only two sessions. Let them know that next week you’ll be working on finalizingblocking and memorizing lines—soon rehearsals will be in full swing.

VII. Clean Room and Provide Closure 5 minutes

Ask the “clean up captain” to make sure that the apprentices return all the desks to theirproper places, remove any trash from the floor and leave the room neater than whenthey arrived.





Lesson 4 Get in Character

Overview

In this lesson, apprentices will continue their physical training through routine exercises.They will also develop their character-building skills through transformation and emotionexercises. They will act “in character” to display their analysis of their character andthey will decide on important props/costumes. Apprentices will finish their roughblocking of the play and review the entire blocking sequence in order.

Objectives

• Practice blocking and deepen understanding of set design

• Continue work on character development

• Continue to memorize lines


Materials and Equipment• Set blocks

• Scripts

• Flip chart paper






Lesson plan

I. Actor’s Workshop Ritual:

Character WalksAsk the apprentices get into a circle and begin walking in one direction. As theywalk, ask them to imagine walking on different surfaces such as eggs,marshmallows, snow, nails, or cotton candy. Next ask them to imagine characterssuch as an old person, a baby, a thief, a teacher, or a surfer as they walk. Finallyask the apprentices to switch from exaggerating the character to really being thecharacter. Discuss the differences between acting and over-acting.

Changing Emotion, Changing CharacterAsk each apprentice to imagine a simple activity such as opening a gift, brushingyour teeth, or cooking a meal. Next ask the apprentice to express an emotion suchas joy, sadness, frustration, or despair while doing that activity. Push apprentices tochange more than their facial expression. Again, discuss the differences betweenacting, and over-acting. When is over-acting useful? When is it distracting? Tomake the game more challenging, call out changes in emotions rapidly.





Hint: This activity can be done as a group, or one at a time, depending on how much time you have.

II. Character Hot Seat 20 minutesAt this point, the apprentices should all be familiar with their roles in the play. It’s timefor them to really “get to know” their characters.

Ask each actor, one at a time, to sit at the front of the classroom and answerquestions about his or her character. Questions can include:

What makes you unique/distinctive? Who in the play are your friends? Enemies? What do you want to happen in the play? What is your favorite piece of clothing? What is your favorite object to use/carry? What is your (brief) life-story before the play? What annoys you the most? What do you love?

III. Begin Rehearsals 40 minutesNow that each apprentice is familiar with his/her character and has an understandingof how the characters will interact with the backdrop, set and props, it’s time to beginrehearsals. Make sure to let the apprentices know that it takes a long time to makea play look professional, so they should not get discouraged if they have to start andstop a number of times. Also, remind them to use all of the skills they learned duringthe games.

IV. Run Through the Blocking of the Play with Set Changes 30 minutesWithout reciting all of the lines, apprentices move through the scenes of the play insuccession. You may want to use simple staging devices such as large blocks tocreate a more dynamic set (and to prop up shorter apprentices!).

V. Foreshadow Next Week 5 minutesLet apprentices know that you are proud of their progress and that you look forwardto seeing even more improvement in rehearsals next week.

Hint: You may want to use weekly awards or prizes to motivate apprentices to do their best. Ideas include:

Model Memorizer—for apprentices who quickly memorize their lines. Actor of the Week---for apprentices who are most “in character.” Vocab Master—for apprentices who display understanding of all new

vocabulary words. Game Guru—for apprentices who best use the skills developed in the

Actor’s Workshop games.

VII. Clean Room and Provide Closure 5 minutes





Ask the “clean up captain” to make sure that the apprentices return all the desks totheir proper places, remove any trash from the floor and leave the room neater thanwhen they arrived.





Lesson 5: Half Way There

OverviewApprentices will participate in team building games and exercises to develop the abilityto use their bodies and voices in a creative ways while working as a group. In addition,apprentices will build a greater understanding of their characters’ motivation anddevelopment, while memorizing their lines.

Objectives

• Continue to develop body movement and vocal skills

• Deepen character development

• Work on memorizing lines

• Keep WOW in mind



•Blocks for set

• Backdrops

• Script

Roles for Apprentices (if applicable) Stage Manager : keeps promptbook of script with all notes in it; in charge of

props and set in performance; assists director Set/Prop/Costume Crew : builds and moves set/props Actors : perform in play; responsible for their own costumes and props Sound/Light Crew : create sound/light effects during performance

I. Actor’s Workshop Ritual 20 minutesThis week’s workshop will help build the teamwork necessary to build motivation andensure success as the WOW approaches.

Group Knot Apprentices get into a circle with hands joined. Apprentices move into the center of the circle and attempt to make the smallest

knot possible without unlocking their hands. They will twist and turn to form theknot and hold it for 10 seconds.

Once the knot is tight, apprentices must “untie” it without unlocking their hands.Repeat the exercise with eyes closed (requires more control and sensoryobservation).

Physical Characterization Apprentices spread out in the performance space to work solo. Apprentices

should experiment with different body stances to find their character’s bodyshape and stance. For example, if their character is an old person, theapprentice would work on moving slowly and carefully. Apprentices should beginto move around the performance space, embodying their character.

While they are walking, ask the actors to repeat one of their lines over and over





aloud, experimenting with different pitch, volume, quality, and pace to find theircharacters’ voices. While apprentices are repeating their lines, they perform asimple, repeatable activity as their characters.

II. Sound and Lighting Design 20 minutes

Divide the apprentices into two groups—sound and lighting.

Sound Design Group Apprentices reread the scene and looks for opportunities for adding

music or sound effects in the script. Apprentices brainstorm sounds for the scene on paper. Ideally, the

sounds will be made by the actors or with simple instruments orobjects (e.g. wooden sticks, pots and spoons, etc.) rather than tapedor recorded sound.

Lighting Design Apprentices reread the scene, looking for opportunities for adding

lighting effects in the script, recording their suggestions on paper. In general, the lighting design for these plays should only be used to

create weird or interesting effects, such as lightning or rainstorms,etc. Sources of light should be simple and portable, e.g. flashlights.

Hint: This would be a great time to bring in a guest speaker such as a professional actor, theater critic, or play-write. The guest could share his or her experience, model excellence or offer feedback, depending on his or her skills.

III. Rehearsal/Run Through 20 minutesRehearse one or two scenes, focusing on sound and lighting.

IV. Foreshadow Next Week 5 minutesRemind the apprentices that full rehearsals start next week and let them know thattheir attendance is essential—the success of the whole team depends on the hardwork of each individual.

IV. Provide Closure and Clean Room 5 minutesAsk the “clean up captain” to make sure that the apprentices return all the desks totheir proper places, remove any trash from the floor and leave the room neater thanwhen they arrived.

Remind apprentices to review their lines for about 15 minutes each day sothey don’t forget them!





Lesson 6 The Real Work Begins

OverviewThis lesson will allow apprentices to experience the performance from beginning to

end, and to begin to imagine how the final production will look.

Objectives• Increase comfort with memorized lines

• Combine acting and blocking skills

• Incorporate props and costumes

Length: 90-120 minute


• Set blocks

• Props

• Music/sound






I. Actor’s Workshop Ritual 20 minutes

Pantomime Exercise

One apprentice begins silently performing a simple activity such as sewing abutton, and the rest of the apprentices should slowly begin to perform activitiesthat are related to the first activity. For example, if the first apprentice is sewinga button, the next apprentices might begin ironing, and then the next apprenticemight start shining shoes. The final apprentice in this sequence might getdressed.

The rest of the apprentices begin to perform activities that are related to the firstapprentice’s activity so all the activities can become part of a larger purpose fordoing the individual activities (e.g. the first apprentice begins sewing a button;the others begin ironing, cutting fabric, shining shoes, getting dressed, etc.).The actions should be specific and not involve a lot of movement.

After the apprentices have pantomimed the activity with a good amount ofspecificity and concentration, they come up with a common purpose for theircollective activities. (e.g. being late for an important interview or date; acting as acostumer for a Broadway show that has already started)

Hint: Because this activity can be a bit confusing, you should consider modeling an example without the “silent” rule. Other sample activities include:

Starting to with cracking an egg, and finishing with cooking breakfast.





Starting with taking a shower, and ending with going to school. Starting with stretching, and ending in a football game.

Memorization Exercise 20 minutes Shotgun Line-through

Actors sit in a circle in the playing space.

They start at the beginning of the play and go through the entire scriptas fast as they can.

Actors should not attempt to act the lines but simply say them as fastas they are able.

The actors should start at the beginning again. The Director shouldtake notes on problems in acting, looking for opportunities to suggestways to make the characters more believable, creative, interesting,and purposeful. Actors should be broad in their acting styles but stillattempting to achieve their objectives in the scene.

The Director should start and stop the scenes as necessary,backtracking just enough to give actors a chance to work up to thepart with which they are struggling.

Actors will invariably have difficulty while they are still unfamiliar withtheir lines. They can only explore once the lines are second nature.

II. Rehearsal 45 minutesRun through play, scene by scene, providing feedback along the way.

Hint: The rehearsals are an opportunity for apprentices to work on line memorization while using the skills they developed during the Actor’s Workshops. Your feedback should balance positive comments with constructive criticism.

Remember, your apprentices will only be able to work on one or two skills at

a time. Brief, direct, honest, and clear feedback works best.

III. Foreshadow next week 5 minutesRemind the apprentices that everyone’s participation is essential for the WOW, andthat you expect perfect attendance at each session.

IV. Provide Closure and Clean Room 5 minutesAsk the “clean up captain” to make sure that the apprentices return all the desks totheir proper places, remove any trash from the floor and leave the room neaterthan when they arrived.

Remind apprentices to review their lines for about 15 minutes each day so theydon’t forget them!





Lesson 7: Expert Acting

OverviewIn this lesson, apprentices will continue their physical training through warm-ups andpantomime. Apprentices will improve their blocking and acting through an intensivework-through of half of the play. They will collaborate on final decisions for the design of

the set, props, costumes, and sound/lighting effects.

Objectives

• Rehearse scene-by-scene

• Assess strengths and challenges

• Push to incorporate all voice, body and performance skills into acting

• Gain comfort with blocking and lines



•Set blocks

• Props

• Script

• Assignments for Be-a-Vehicle game


• See previous lessons

I. Actor’s Workshop Ritual 20 minutes

Be-a-Vehicle Group Pantomime Exercise Divide apprentices into small groups Assign a type of vehicle to each group by asking a representative from

each group to draw a slip of paper with the assignment from a hat.Examples include: UFO, monster truck, limo, rocket, garbage truck,cement truck, ferry, etc.

Each of the apprentices should perform one part of the vehicle, with thewhole group working together as a unit. For example, four apprenticescould be the tires while one apprentice acts as the steering wheel.

Ask the apprentices to practice starting the vehicle, moving it forward,backing it up, and shutting it down.

Have the apprentices perform for each other while you call outcommands (i.e. faster, slower, left, right etc).

Ask the apprentices what they learned about performing from thisexercise and brainstorm ways they could use these skills in their play.

II. Rehearsal 60 minutes

Remind apprentices that the WOW is approaching and that they are capable ofimpressing the audience with the skills they have learned. Use the followingdirections to guide rehearsals:





Actors go through the scene all the way through without interruption to seewhat they remember of the blocking.

The Director should take notes on their mistakes or on problematic blockingareas.

Directors and actors should review and fix blocking problems

The actors start the scene over while the Director takes notes on problems inacting, looking for opportunities to suggest ways to make their charactersmore believable, creative, interesting, and purposeful. Actors should bebroad in their acting style but still attempting to achieve their objectives in thescene.

The Director starts and stops the scene as needed, backtracking just enoughto give actors the chance to work up to the part with which they arestruggling.

The Director should start and stop the scenes as necessary, backtracking just enough to give actors a chance to work up to the part with which they arestruggling.

Actors will invariably have difficulty while they are still unfamiliar with their

lines. They can only explore once the lines are second nature.

III. Finishing Design 15 minutes Discuss what remains to be completed for set and props. Discuss costumes to be worn by each character. Remember, costume

changes can be as simple as moving a bandana or changing hats. Director should prepare a list of sound/lighting effects to be incorporated in

the next rehearsal. Actors should discuss any individual problems/concerns.

Hint: Keep things simple! The set can be a minimalist as a few chairs or blocks, and costume changes can consists of switching

hats or adding glasses. One group of theater apprentices chose to wear similar primary colored tee shirt, using simple props to differentiate between characters.

IV. Foreshadow Next Week 5 minutesRemind the apprentices that everyone’s participation is essential for the WOW, andthat you expect perfect attendance at each session.

V. Provide Closure and Clean Room 5 minutesAsk the “clean up captain” to make sure that the apprentices return all the desks totheir proper places, remove any trash from the floor and leave the room neaterthan when they arrived.

Hint: Remind apprentices to bring their costumes to the next session.You may want to call them (or ask your team leader) to remind them to bring their costumes next week.

Remind apprentices to review their lines for about 15 minutes each day sothey don’t forget them!





Lesson 8 Put it All Together

Overview

It’s coming down to the wire—in this session apprentices will perfect some of theskills they’ve developed in the Actor’s Workshops, and they will have an opportunityto run through the entire play with sound and lighting effects.

Objectives

• Increase comfort with blocking and lines

• Practice sound and lighting effects

• Run-through with feedback.


Materials and Equipment• Set blocks

• Props

• Promptbook

• Sound/lighting effects equipment


• See previous lessons

Lesson Plan

I. Actor’s Workshop Ritual 15 minutes Select two of your apprentices’ favorite games from previous weeks, or choosegames that will help develop skills that will help them produce a high-qualityWOW.

II. Sound and Lighting Rehearsal 45 minutes 1. Set the Stage

a. The Stage Manager and Set Crew/Actors arrange the blocks into theiroriginal positions.

b. Actors get their props ready.

1. Scene by Scene Rehearsal for Sounda. Actors go to the point in each scene where they’ve decided to incorporate

sound effects.b. Actors create the sound effects, experimenting with volume, length, and

texture of the sound. Actors should make an effort to be consistent in theuse of sound so it is not unbalanced. When using a sound, actors shouldbe sure the same type of sound is used throughout the entire play atimportant points. Specific sounds should not be used only at the





beginning and end of the play.c. Sound can be used to set a mood and to support an action and

incorporated into the play for transitions.1. Scene by Scene Rehearsal for Lighting

a. Actors go to the point in each scene where they’ve decided to incorporatelighting effects.

b. Actors create the lighting effects, experimenting with color, intensity, andmovement of the light.

c. Lighting should be used most sparingly and perhaps only for trulyfantastic elements in the story. Since he play is simple in concept anddesign, too much lighting will be distracting.

I. Dress Rehearsal 30 minutesRun through entire play. Give feedback and celebrate the successes.

IV. Foreshadow Next Week 5 minutesRemind the apprentices that everyone’s participation is essential for the WOW, andthat you expect perfect attendance at each session.

V. Provide Closure and Clean Room 5 minutesAsk the “clean up captain” to make sure that the apprentices return all the desks totheir proper places, remove any trash from the floor and leave the room neaterthan when they arrived.

Remind apprentices to review their lines for about 15 minutes each day so theydon’t forget them!





Lesson 9 Dress Rehearsal Overview

In this lesson, apprentices will continue their physical training through warm-ups.They will work through the play, scene by scene, incorporating and synthesizing allproduction and performance elements into their play.

Objectives• Synthesize production and performance elements in complete run-through

• Build excitement about WOW

• Confirm all details regarding transportation, location, logistics, and expectations.



• Backdrops

• Set Blocks

• Props

• Promptbook• Sound/lighting effects equipment

• Costumes

Roles for ApprenticesSee previous sessions.

I. Actor’s Workshop Ritual 20 minutes Like last week, select two of your apprentices’ favorite games from previousweeks, or choose games that will help develop skills that will help them producea high-quality WOW.

I. Dress Rehearsal 40 minutesRun through entire play. Take notes on lighting, blocking and acting. Givefeedback and celebrate the successes.

Hint: Apprentices might be nervous, and require extra encouragement as the WOW approaches.

II. Run Through Challenges 30 minutesTake some time to run through parts of the play that are most challenging to theapprentices.

IV. Foreshadow Next Week 5 minutesThe WOW is approaching! Build excitement, and address any fears or questionsbefore the actual event.

V. Provide Closure and Clean Room 5 minutesAsk the “clean up captain” to make sure that the apprentices return all the desks totheir proper places, remove any trash from the floor and leave the room neater thanwhen they arrived.





Lesson 10 Final Rehearsal/WOW

Overview

Depending on your campus schedule, you will either have a final dress rehearsal orthe WOW during this session. If you have a dress rehearsal, follow the same formatas Lesson 9, and if you have planned the performance for this session, see the tipsbelow:

Tips for a high-quality WOW:

Remain calm! Your apprentices will respond to your mood. Don’t try to teach new skills or change the play in the final weeks before

production. Arrive early and double check that you have the costumes, props,

backdrops, and supplies. Clarify roles with anyone who is helping to support the final production

(Campus Director, team leader, volunteers, etc.) Plan a “cast party.” Have fun!





Appendix B

The script you use should be challenging and appropriate for apprentices and it should meet the needs of your WOW audience. In addition, the final performance should be 15-20 minutes long.

Baker’s Plays

Collections of stories adapted for the stage including Hispanic Tales, adaptations of Aesop’s Fables, and more.

Write to P.O. Bx 699222Quincy MA 02269

Or check out the web page at: http://bakersplays.com/

America Writes For Kids Internet resource for plays for kids

Web page: http://usawrites4kids.drury.edu/

Kids for Broadway Offers creative scripts for kids for a fee.

Web page: http://www.pacificsites.com/~kidsplay/index.html

Drama Teacher’s Resource Room Activities and scripts for drama teachers.

Web page: http://www3.sk.sympatico.ca/erachi/

Other Ideas

Adaptations of folk tales, popular children’s stories, or scenes from movies can be great ideas for plays.





Appendix C:

Directors take many different factors into account when choosing actors for roles.One of those factors is the actor’s commitment to succeeding in the role. Please write your top three choices for roles in our play here, and explain why you think you would be successful in that role.

Your choices include: stage manager, assistant director, lighting crew, setand prop designer, [fill in acting roles….]

My 1st

Choice: _____________________

I would be successful in that role because… ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________

My 2nd Choice: _____________________

I would be successful in that role because… ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________

My 3rd Choice: _____________________

I would be successful in that role because… ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________





_______________________________________________________________





Appendix D

Sample List of Expectations

1. 1. You’ve been hired as performers, play writes, and stage managers, andyou will be expected to be professional in all that you do.

2. 2. Only one performer may speak at a time.

3. 3. Good actors, performers, and play producers ask lots of questions andparticipate actively.

4. 4. In order to produce a high-quality production, performers, play writes,and stage managers must work together as a team.

5. 5. All members of this team MUST have FUN!

Theater, Overview and Lesson Plans

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Transcript of Theater, Overview and Lesson Plans