Drama Production, Focus Course Profile

This course requires students to experiment individually and collaboratively with forms and conventions of both drama and theatre from various cultures and time periods. Students will interpret dramatic literature and other text and media sources while learning about various theories of directing and acting. Students will examine the significance of dramatic arts in various cultures, and will analyse how the knowledge and skills developed in drama are related to their personal skills, social awareness, and goals beyond secondary school.

This focus course takes a practical approach to the production of theatre by allowing students to actively engage in a production company of their own.  

Course Overview

This course is excellent preparation for students interested in the production of theatre. Students will explore skills and concepts required for theatre production.  Students will form a production company in which they will participate at least one time as an actor and one time as a crew member. They will experience acting and production roles through a collaborative process that involves active application of learning. The course culminates in publicly presented theatre using environmentally responsible production practices. This course can be tailored to the school community and the desires of the students.  

Unit 1 Building the Theatre Company (10 hours)

Through co-operative games, ice-breakers, and introductory theatre exercises, students will create a safe nurturing community that honours the diversity of each student. Students will build leadership and team skills necessary to function as a unique theatre company. They will learn the foundational concepts of professional theatre protocol and theatre production hierarchy necessary to theatre production.

Students need to feel ownership over the decisions that their theatre company makes, therefore, it is important that the teacher works with the students regarding the performance project. Students, guided by their teacher, will name their company and make decisions about expectations, production responsibilities and performance details i.e. venue, dates, product, etc. For example, the company may choose to mount a festival of published one act plays to be entered into the Ontario Sears Drama Festival. Or, they may choose to mount smaller productions for school assemblies such as Remembrance Day, Black History Month, etc. Or, they may choose to produce a large-cast, full-length play, an issue-based original play, or a collective creation.

*The production choices made by the company informs the direction of the subsequent units of study.

Unit 2 Theatre Production Training (30 hours)

This hands-on unit will teach students to conceptualize design as well as learn practical skills in theatre production. Students will complete modules on set design, costume design, properties design and construction, lighting design and operation, sound design and operation, and stage management. As well, students will study safe and ethical practices in the theatre. In small groups, students will produce a portfolio containing their production concept and their designs for set, costumes, props, lighting, and sound. The portfolio will also contain a stage manager's prompt book and cue sheets for lighting and sound.  Each group will partner with another group for the opportunity to stage manage and crew a two-minute scene from the play. One group will serve as actors for their partner group's stage management/crew assignment. An outside audience may be invited.

Throughout this unit, reference to potential pathways after high school in the industry or with post-secondary training will be made. Parents or community members who could share their expertise in this area will be invited into the class. Students will learn how to secure the use of theatre space for rehearsals and performances, and how to secure royalties for scripted work.

Unit 3 Audition into Scene Study (20 hours)

This unit will teach students the skills to perform a monologue or a scene to be used in an evaluated audition. Students may be exposed to a variety of different acting techniques i.e. Strasberg, Meisner. Audition pieces will relate to the final production i.e. if producing a full length Canadian play, students may choose scenes or monologues from the same play or another Canadian play. The audition process may determine casting for the final production. Auditions may culminate in an intimate performance (an audience less than 30) or could result in a studio performance for parents and community.

Students are exposed to the directing process and learn how to give, receive and translate director's notes to the performance. Performances are fully memorized and rehearsed with full production elements realized i.e. costume, props, etc. Students will create designs of set, costumes, sound, etc. and add to their portfolio. Professional acting resumes will be examined and students will create their own resumes to present during the audition. Students will continue to build on these foundational concepts through rehearsing and performing in units four and five.

Unit 4 The Rehearsal Process: Rehearsal and Development (40 hours)

In this unit the classroom becomes a rehearsal hall in which students take on acting and production roles. Students will review and understand rehearsal etiquette (see BLM #1 Rehearsal Etiquette). Students have been cast in roles and will be directed by the teacher or student(s). Rehearsals will look at character development, line memorization, subtext, and blocking.  Student directors will be encouraged to stimulate thought and analysis of the script in their actors (see BLM#13 Directors' Questions). Stage managers will record notes and blocking (see BLM#2 Sample Prompt Book, BLM#3 SM Note-taking Page and BLM#4 Blocking Notation).  Costume parades, tech, cue to cue and dress rehearsals will be held. Regular production meetings provide students with the opportunity to report on their production role. Students will be guided by the teacher to take leadership in all aspects of the production i.e. set design and creation; buying, borrowing, making costumes; publicity; programs; etc.

Unit 5 Theatre Production (10 hours)

Students will perform their final production (one-act play festival, holiday production, or full-length play, etc.) as their culminating activity. They will run the house, do warm ups, perform the show, and strike the production. Students will learn how to give and receive meaningful criticism applying the critical analysis process. Through discussion, journals, and/or blogging, they will reflect on the creative processes they have experienced. Production portfolios will demonstrate the work they did on the production i.e. lighting plot, as well as, the final script with notes, character biographies, etc. 

Brennan, Kit. Ed. Things That Go Bump Volume 1: Plays for young people. Winnipeg: Signature Editions, 2009. ISBN 978-1-897109-36-6

Hill, Lynda. Acting Out: Scenes and Monologues from Theatre Direct Productions for Youth. Toronto: Playwrights Canada Press, 2007.  ISBN 978-0-88754-882-6

Lane, E., & Shengold, N. Under Thirty: Plays for a new generation. New York: Vintage Books, 2004.
ISBN 978-1-4000-7616-1

Nolan, Y., Quan, B., Seremba, G. Beyond the Pale: Dramatic Writing from First Nations Writers & Writers of Colour.  Toronto: Playwrights Canada Press, 1996. ISBN 0-88754-542-4

Peterson, L., & O'Connor, D. Kids Take The Stage: Helping young people discover the creative outlet of theatre. USA: Back Stage Books, 1997. ISBN: 0-8230-7742-X

Theatre Ontario. Eight Short Plays Selected by Theatre Ontario. Toronto: Playwrights Canada Press, 2008.
ISBN 9780887548215

Unit 2 Resources:

Print:

Campbell, Drew.  Technical Theatre for Non-Technical People. New York:  Allworth Press, 1999.  ISBN 978-1581153446.

Fredman, R. & Reade, I. Essential Guide to Making Theatre.  Hodder and Stoughton, 2003.  ISBN 9780340655146.

Gilette, J. Michael.  Theatrical Design and Production: An Introduction to Scene Design and Construction, Lighting, Sound, Costume, and Makeup, 6th Ed.  New York: McGraw-Hill, 2008. ISBN 0-07-351419-5

 Kaluta, J. The Perfect Stage Crew: The complete technical guide for high school, college, and community theater.  New York:  Allworth Press, 2003.  ISBN  978-1581153156.

Ionazzi, Daniel. The Stage Management Handbook. Cincinnati: Betterway Books, 1992. ISBN-13: 978-1-55870-235-6

Parker, W.O., Wolf, R.C., & Block, D. Scene Design and Stage Lighting.  Belmont, CA: Wadsworth Cengage Learning, 2008.  ISBN 978-045-501909.

Reid, F. The Stage Lighting Handbook. New York: Routledge, 2001.  ISBN 9780878300648.

Rodgers, J.W., & Rodgers, W.C. Play Director's Survival Kit: A complete step by step guide to producing theatre in any school or community setting. New York: The Centre for Applied Research in Education, 1995.
ISBN 0-87628-862-X

Audio/Video Resources:

Fowler, Bob and Marty. Practical Technical Theatre. Chesterfield, MO: Interactive Educational Video.

Website Resources:

AlleyCatScratch Fashion Figures: www.alleycatscratch.com/ffashion/Figures.htm (contains base figures for costume drawing)

The Costumer's Manifesto:  www.costumes.org/

The Croquis Family:  https://images.taunton.com/downloads/th/CroquisFamily.pdf (base figures for costume sketches)

Unit 3 Resources:

Bard, M., Messaline, P., & Newhouse, M. Ed. "And what are you going to do for us?" Audition Pieces form Canadian Plays. 2nd ed. Toronto: Simon & Pierre, 1984. ISBN 0-88924-144-9

Bloom, Michael. Thinking like a Director. NY: Faber and Faber Inc., 2001. ISBN 0-571-19994-1

Boal, Augusto. Theatre of the Oppressed. NY: Theatre Communications Group, 1985. ISBN 0-930452-49-6

Carra, Dean. Fundamentals of Play Directing. 5th Ed. USA: Holt, Rinehart and Winston, Inc., 1989. ISBN 003014843X

Clurman, Harold. On Directing. NY: Simon and Shuster, 1997. ISBN 0-684-82622-4

Earley, M., & Keil, P. Ed. The Modern Monologue. UK: Random House, 1993. ISBN 0-413-67220-4

Masters, Edgar Lee. Spoon River Anthology. NY: Simon and Schuster Inc., 1997. ISBN 0-684-8385-7

McCaffery, Michael. Directing a Play: A Phaidon Theatre Manual. London: Phaidon Press, 1993. ISBN 07414825131

Meisner, Sanford and Longwell, Dennis. Sanford Meisner on Acting. NY: Random House, 1987. ISBN 0-394-75059-4

Sears, Djanet. Ed. Tellin' It Like It Is: A compendium of African Canadian monologues for actors. Toronto: Playwrights Union of Canada, 2000. ISBN 1-55173-682-9

Shurtleff, Michael. Audition.Toronto: Bantam Books, 1978. ISBN 0-553-27295-0

Audio/Video Resources:

Shurtleff on Acting VHS Video ISBN 1-56552-129-3

Uta Hagen's Acting Class. Applause Theatre & Cinema Books, HB Studio, 2002 ISBN 1-55783-511-X-54995. 

Unit 4 Resources:

For methodology of calling cues:
https://en.wikipedia.org/wiki/Cue_%28theatrical%29

For descriptions of Q-2-Q, dry tech, dress rehearsal, open dress, etc.:
https://en.wikipedia.org/wiki/Rehearsal

Other Resources:

www.theatregroup.com

https://www.studiobinder.com/blog/what-is-method-acting/

Direct Instruction: structured overview, lecture, whole class discussion using chalkboard or Smartboard, didactic questioning

Indirect Instruction: reflective discussion, using feedback from directors, reading for meaning, diagnostic questions

Experiential Learning: theatre games, storytelling, role playing, hot-seating, Michael Shurtleff film, rehearsal, brainstorming, think/pair/share, movement work, tableau work, soundscapes, drawing, building 

Reflective Learning: reflective journal writing, rehearsal log, using three stars and a wish to reflect on a peer's performance in a small group 

Independent Study: visual research, assigned worksheets, self-assessment

Interactive Instruction: large and small group discussion, play study, portfolio building, student creation of designs, brainstorming, body storming, peer assessment

Instructional Skills:  questioning, demonstrating, diagnosing, explaining, designing problems/tasks

Differentiated Instruction:

• Flexible Groupings: option to work alone, in pairs, or groups of 3 for rehearsal
• Choice of Material: student choice from scripts (scenes or monologues) of varying complexity, varying length and varying maturity levels, advanced students may chose 2 contrasting monologues to prepare for theatre school audition and may chose to bring a head shot and resume as an enrichment option.  Students build the design portfolio for the scripts or stories they have chosen. Within each group, students have a choice of category of visual research.
• Tiering: Students can choose to use graphic organizers for script analysis or character chart, memorize the text or use a line reader. Students can choose the representation mode (drawing, "found object" sculpture, movement piece) to express the theme and mood of their chosen script.  As students work in design groups, they can assign the varied tasks according to learning preference.
• Evaluation: Student Choice Board. Students may select according to their multiple intelligence how to demonstrate learning of curriculum expectations about auditioning and activating text e.g. hot-seating or worksheets or oral defense.  In the design portfolio, students can choose to discuss their concept through a concept map or written explanation.  For the group section of the portfolio, students can choose which part of the assignment they will do.  For the individual portfolio reflections, students can respond through their choice of (a) a written reflection, (b) a recorded oral reflection, (c) a photo collage, (d) a drawing or painting, (e) a recorded musical reflection, or (f) a video recorded movement-based reflection.

Audition: a cold or rehearsed reading of a script by an actor for the purpose of casting a play or assessing an actor's theatrical skills.

Casting: the assigning of acting roles to a cast of a theatre production.

Casting call: an event in which many actors audition for a casting director.

Cold reading: an audition in which an actor "reads" for a part with little to no advance preparation or research. An actor would not memorize lines but would focus on activating the script through instinctual feel for the character and the script. 

Costume chart: a visual plot of what each actor wears in each scene in the play; also referred to as the actor's scene chart.

Costume list: a list which specifies every element, including accessories, of each costume worn by every actor.

Costume layout:  a group of small figures that illustrate the costume designs for a number of characters.  Its purpose is to provide an overall view of the costume concept for the entire production.

Costume sketch: a full colour drawing that should give a strong indication of character. It should provide accurate information about the line and detail of the garment.

Decorative props: props used to enhance the setting visually, but not specifically touched by actors.

Fill light: lights used to fill the shadows created by the key light.

Given circumstances: the determining environmental factors provided by the playwright that affect the actors. e.g. in A Streetcar Named Desire, Blanche duBois is in New Orleans in the run-down apartment of her sister Stella. She has lost her job as a teacher for accusations of inappropriate contact with male students, she has buried most of her relatives and she has dropped in socioeconomic standing through the loss of their family property Belle Reve. The play takes place in the 1930's during the Great Depression. These circumstances, given by the playwright, inform the actor of the environmental influences of her character.

Ground plan: a scale mechanical drawing showing the top view of a setting in its proper position on the stage.  It gives the location and measurements for all architectural features of the set, on stage and off.  It can also be referred to as a Floor Plan.

Hand props:  small props that are handled or carried by the actors.

Key light: the brightest light on the scene.

Lighting cue sheet:  a document containing the primary operating instructions (cue number, what specific action the lighting board operator takes, the timing of the cue) for every lighting cue.

Lighting magic sheet: a single piece of paper, divided into squares, each of which represents a visual group of lighting fixtures (acting areas, side lights, cyclorama, specials, etc.). It shows the lighting fixtures, the channel numbers, and the direction of the light.

Light plot: a scale mechanical drawing that indicates where the lighting instruments should be placed.

Neutral script: a short, nondescript text that allows for actors to easily change the dramatic context; also called minimal script. 

Playable objective: what a character wants from his/her scene partner. It must be playable and engage the the other partner(s), even in a monologue. For example, "I want to exist" is not a playable action. "I want my scene partner to show me respect" is. This term is often used interchangeably with motivation.  

Production concept: the creative interpretation of the script which will unify the artistic vision of producer, director, and designers.

Production style: the central stylistic theme on which the world of the production is based.  It is a recognizable pattern of visual, aural, and intellectual elements used to create the production environment for a particular play.

Obstacle: what stands in the way of the character pursuing his or her objective. It may be a person, a political force, a circumstance. For example, in Ibsen's A Doll's House one significant obstacle to Nora's emancipation is the widely held belief that women should find their ultimate fulfillment as domestic mothers caring for children. Also, within the world of the play, she would not have the option for gainful employment outside of the home. 

A reading: when an actor reads for a part in a play so that a director can hear and see how well the actor fits the part.

Set props: larger movable items, not built into the set, that are used in some way by the actors (e.g. furniture, tree stumps, floor lamps).

Sound cue sheet: a document containing the primary operating instructions (cue number, what specific action the sound board operator takes, the timing of the cue) for every sound cue.

Super-objective: what a character wants overall in the play or in the life of the character. A character pursues objectives within a scene that are in line with his or her super-objective. For example, Nora from A Doll's House has the objective in a scene of learning how her friend Christine is supporting herself as an independent woman so that it can help her achieve her super-objective of being a free and fulfilled woman.

Stage manager: right hand person of the director, in charge of all organizational details of the show; in charge of running the show during production.

Stage manager's call: the verbal instruction that tells specific crew members when to perform their cues.

Stage manager's prompt book: a copy of the script with details about each actor's blocking as well as the location of all sets, props, lights, and sound cues.

Stakes: what is at stake for an actor's character, why the pursued outcome of the scene is personally important to a character.

Tactic: the method or strategy a character uses to achieve his/her objective. For example, if a character wants to stay the evening as a guest she might use the tactics of flattery, subjecting her scene partner to guilt, and even threatening her to achieve her objective.

Tech drawing: a scale representation of a set piece, which includes all measurements of the piece.

Through-line: the arc of a character; the many smaller objectives that build toward the super-objective of a character in a play. The term originates from Stanislavsky's work at the Moscow Art Theatre in developing "the Method" as a way of developing a characterization for a naturalistic play.

Thumbnail sketch: Rough drawing, usually in pencil, that shows the general composition of the set with very little detail.

Visual research: research based on images: photos, artworks, the environment, video, internet images, etc.  

Unit 1 Building the Theatre Company

Purpose: To introduce the areas of the stage and stage directions in an active way

Sequencing: To be done before scripts with stage directions are handed out; the choreography of a movement piece is demonstrated; or as a fun warm-up on the day of your auditions

The Activity:

1. Walk the students en masse through the areas of the stage, designating a specific spot for Upstage, Downstage, Centre Stage, Stage Left and Stage Right.
2. Integrate the historical principles such as this area is called Downstage because proscenium arch stages used to be raked. Remind students that stage directions are to be given to the actor, therefore stage areas are called from the actor's perspective.
3. Teach students a few fun poses in advance of the game: "Director's Coming" (Stand at attention because the director is the boss); "Romeo and Juliet" (one person bends on their knee creating a seat for a 'Juliet' of any gender to sit down); "Hamlet" (actor mimes holding Yorick's skull and calls out, "To be or not to be");   "Lady Macbeth" (actor covers face and calls out "Out, Out damn spot");"Dead body onstage" (actor either hits the deck or dangles his/her head and sticks out tongue).
4. Call out the areas of the stage and the phrases above e.g. "Lady Macbeth Upstage Centre". Instruct students to move to those areas.

Unit 2 Theatre Production - Lighting

Purpose: To help students understand lighting as a means of storytelling and communication of theme, mood and setting

The Activity:

1. Students bring in a photograph of a location that conveys the following information through its lighting:
   • Location
   • Time of day or season
   • Mood
2. In small groups, students share their photographs.  Students choose one of the photographs that they feel best conveys location, time, and mood. Students then break down how that information is conveyed using the following elements:
   • Shape of the light (soft/hard)
   • Colour of the light (warm/cool)
   • Direction of the light
3. Students decide how they would replicate this lighting in a theatre using the following lighting tools:
   • Gobos
   • Warm/cool washes
   • Replicating specific direct lighting sources
4. Students use the lighting technology available to them to replicate the lighting of the photograph as best as possible, under the restraints of the existing lighting plot in the drama space (i.e. students may not move lights, but perhaps will be allowed to change gels/gobos).  Students are instructed to convey the feel of the photograph and not just the look.
5. As a whole class, groups will look at each others' lighting compositions and discuss the three pieces of information from instruction number one and how they are conveyed using the elements in instruction number two.  The class can then compare the original photograph, discussing what was changed and what remained the same.

Unit 2 Theatre Production - Stage Management

Purpose:  To give students practice in calling and receiving cues; to demonstrate the standard order of calling standby cues and execution cues

The Activity:

1. Instruct class to sit in a large circle and number off consecutively.
2. Choose one student to begin as the "Stage Manager."
3. Establish a strong 4 beat rhythm e.g. 2 claps and 2 snaps.
4. Instruct the Stage Manager to begin the game with either calling a standby or a "go" cue e.g. "Standby cue 4."
5. The student whose number was called responds appropriately e.g. "Cue 4 standing by" (when receiving a standby cue). The SM then calls again.
6. If the Stage Manager calls a "go" cue. e.g. "Cue 6 (beat) go," the student whose number was called responds by naming another Stage Manager "SM 3 go".
7. Stage Manager #3 now has to call a cue.
8. If a student loses the beat, or calls or responds incorrectly, they must take on the highest number in the circle and move to that spot. All students affected have to reduce their number by one. e.g. If there are 22 students and #10 responds incorrectly, #10 takes the spot of #22 and becomes #22.  Numbers 11 to 22 move a step to fill in the space and become numbers 10 to 21.
9. The cues must be called in the right order.  Stage Managers must say "standby" before the number; they must say the number before saying "go."

Unit 3 Audition into Scene Study

Purpose: To actively demonstrate the concept of motivation (objective) and tactic in scenes or monologues

The Activity:

1. Get 2 volunteers from the class to demonstrate the concept of motivation using chairs.
2. Tell "A" that her motivation is to stay in the chair.
3. Tell "B" that his motivation is to get "A" out of the chair without physically touching "A", harassing her, insulting her or revealing any of her secrets. "B" will have 5 minutes to achieve this task.
4. Tell the class that their job is to take note of all the different ways that B uses.
5. Let the scene play itself out for 5 minutes.
6. Record on the chalkboard all the different methods (tactics) that "B" used, such as "to bribe", "to flatter", "to convince", etc.
7. Ask students What does this have to do with the scenes or monologues that we are going to study? Discuss how each actor needs to figure out who s/he is speaking to and what his/her character wants. Every actor needs to explore different tactics in pursuit of what s/he wants.
8. Provide students with a handout on theatre terminology with terms such as objective (motivation), obstacle and tactic, as well as a list of active (playable) verbs.

Unit 3 Audition into Scene Study

Purpose: To develop students' skills in creating the given circumstances and exploring subtext and objective

The Activity

1. Divide students into groups of 4 and hand out minimal (also known as neutral) scripts for 2-3 characters (see BLM #5 Minimal Script).
2. Each pair determines the relationship of the two characters and chooses a playable objective for speaking the text. Each pair presents their scene to the other, who will then try to guess the character's motivation, tactics used, and their relationship.
3. If time, have students present their minimal scripts to the class and see if the audience can guess the relationships and objectives.
4. Encourage discussion: How does a change in relationship affect of the text? For example, how was the neutral script different if the characters were business partners; teenage lovers; an estranged couple? What techniques did the actors use to demonstrate tension? What techniques did they use to show objective?

Unit 4 The Rehearsal Process: Rehearsal and Development

Purpose: To explore the paperwork necessary for a cue-to-cue rehearsal

The Activity

1. Discuss with students why paperwork is necessary for the technical elements of a theatrical production.  Hand out BLM#2 Sample Prompt Book, BLM#6 Lighting Cue Sheet and BLM#7 Sound Cue Sheet. 
2. Have students run through the entire script, and record all of their tech cues on the appropriate cue sheet and in the stage manager's prompt book.  Students should be sure they use "hard cues" i.e. a specific word or action, as opposed to a "soft cue" i.e. "after a moment" or "when he gets angry."
3. Have the actors run the cues while the stage manager calls the cues and the technicians call out the description of their action.

Although the following strategies will be used throughout the course, below is an example of how assessment can be applied to Unit 3: Audition into Scene Study.

Diagnostic Questioning: Teacher Prompt: Who in the class has experience auditioning? For what play were you auditioning? What material did you use? What did it feel like? Have the class share their audition experiences.

Didactic Questioning: Teacher Prompt: When in real life are we "auditioning"? What things might a casting director be looking for when s/he is going to cast a play? i.e. professionalism, punctuality, quality resume, no gum chewing, respectful handshake, appropriate diction, eye contact, etc. This will establish what students already know about auditioning and what they need to know (learning goals for the unit).

Collective Brainstorming and Anchor Chart: Identify effective auditioning skills using brainstorming, think/pair/share and then whole class discussion, record ideas on the chalkboard. Collectively use these ideas to make an audition rubric. Identifying audition criteria together will contribute to the idea of a community theatre company that collectively makes decisions.

Collective Rubric Building (Co-Constructing Criteria): Help the class to review and discuss their brainstorming list of audition criteria and then vote on the five main criteria that will be used for the evaluation rubric for both the process of preparing an audition and then the audition product.

Self, Peer and Whole Group Reflection: Help the class to reflect individually, in small groups and as a class on their ability to achieve the 5 main criteria needed to succeed at an audition. Use their reflective comments to establish the pace of the class and daily learning goals.

Three Stars and a Wish: Have students express 2 positive comments on specific audition skills they demonstrated and why they felt they effective theatrical choices; and one 'wish' for an audition skill that could use more development in rehearsal.

Assessment of Learning:

1. Metacognitive Questioning (oral defense): What is your preferred learning modality in rehearsal? How did you apply this personal strength during this learning process?
2. Teacher Observation using Audition Rubric (see BLM #12 attached) 

3. Self Evaluation using Audition Rubric

4. Portfolio - Rehearsal Log, Journal Reflections

Additional assessment strategies used in Unit Two include:

Observation:  Anecdotal records, checklists, oral feedback, rubrics

Questioning:  Exit slips

Projects:  Design portfolios, written assignments, self- and peer-evaluation, worksheets, stage management and tech crew assignment