Theater, Overview and Lesson Plans

Theater Apprenticeship Project Description This apprenticeship is an opportunity for students to become experts in theater production, set design,
character development, play writing, and acting while developing public speaking and creative writing skills. In addition, while working towards the WOW performance, apprentices will focus on developing strong teamwork 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 childrens theater Another after-school program Tips for Success: Use Your Contacts Use your networking skills to recruit guest speakers, find costumes, provide props, and secure a WOW venue. Plan Ahead We have provided this lesson plan as a guide, but you may want to adjust it to meet your needs and time restrictions (each lesson plan here is approximately 90-120 min). In addition, your resources, ideas, and enthusiasm are needed to breathe life and creativity into this lesson plan. Give Apprentices Ownership Remember, the final product may not be perfect, but the apprentices will feel most proud if it is completely their work. Week by Week Overview Session One: Wow Em Build excitement and enthusiasm Display schedule for the semester Set behavior expectations
Getting to WOW Theater Apprenticeship (Arts in Progress) Middle School Apprenticeship Program Guide 2002
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 Conundrum Appendix D: Sample Expectations
Lesson 1: Wow Em Overview This 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 this lesson, apprentices will be introduced to the basic components of theater arts: performer, script, and audience. They will participate in actor training exercises to develop a performers body and voice, and in team-building games to foster collaboration and a sense of community. They will also work together to create a performance script from a narrative source (e.g. fairy tale or childrens 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 childrens 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 the lesson and makes sure that apprentices return the room to its original state before 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 the vocal 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 folds without 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 and expands, 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 this class will be similar to a professional theater class, and that you expect them to perform like professional actors, directors, and stage managers. Let them know that you will go over expectations and review the schedule for the semester before the end of this lesson, but first youre going to jump right in with acting warm up. After that, youll 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. Actors Workshop Ritual 20 minutes Let the apprentices know that each week youll be doing exercises and learning games that will help them become better performers. Sometimes the exercises and games will be easy and other times theyll be challenging, but they are all important in developing acting and performing skills. Well call this portion of our class the actors workshop. In the first half of the semester, well spend a lot of class time on these exercises, and at the end of the semester, well spend more time rehearsing our play. Hint: Each week, work new vocabulary words into the Actors Workshop section of the lesson. You can post the words around the room and refer to them as you go through the exercises. A quick informal quiz at the end of the Actors 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 Actors 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 Actors Workshop, and plan out which activities you are going to do and in what orderyou may have to adjust the activities offered in this
curriculum to meet the time constraints and abilities of your class. Physical Warm Ups Playing Puppet a. 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. Their bodies are completely relaxed and controlled by the master. c. Slowly two imaginary strings are attached to the shoulders, raising them as high as they can go. The imaginary string then moves to the elbows, wrists, and fingertips. d. Once the apprentice is fully suspended, the master cuts the imaginary strings and the apprentices fall to the floor like a puppet without its strings. e. Apprentices then visualize one string attached to the small of their backs, lifting them up. The imaginary string moves up their spine, one vertebra at a time, until it reaches the center of their heads in the starting position. Explain the importance of visualization for the exercises since we must allow the body 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 to work very slowly in this exercise at first to gain a full stretch and control over their bodies. Puppet Isolations (Circular movement of isolated body parts.) 5 minutes a. 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 the shoulders, 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 circular motion b. The Cobra: apprentices lie down on their stomachs and let the imaginary string lift their heads c. The Rattlesnake: apprentices pull back from the Cobra, sit on their calves, place their faces to the ground with arms extended in front d. Picking Apples: apprentices imagine there is a tree with apples just out of reach; apprentices get on tiptoes and try picking three times with their right hand and three times with their right; apprentices squat and swing up and repeat two times with the right and left, then repeat one time with the right and left Voice Warm-Ups These exercises are designed to teach apprentices to use their breathing correctly,
efficiently, and safely for vocal projection and dynamics. Be sure to explain the vocal 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 has apprentices standing up. Apprentices roots soak in a colored energy (e.g. green) that is warm and moves into apprentices feet, then their ankles, knees, hips, and belly where it gathers. Apprentices should visualize a constant flow of energy from the ground. As energy collects in the belly, it gets warmer and changes color (orange to yellow to red) and begins to bubble up into the windpipe. As the color moves up, it creates a sigh (like smoke) from the voice box. The color flows 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 but must always be supported by the breath and energy from the ground. Give apprentices a chance to teach back by asking what they learned and how these exercises will help prepare them for the WOW performance. 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 the class. Apprentices who show consistent leadership and organizational skills, for example, are more likely to be hired as the stage manager, and apprentices who display focus and independence might be hired as lighting 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 minutes Explain that the first step towards the WOW will be developing an exciting script for the play. All of the apprentices must work together as play-writes in order to produce a high-quality, exciting play for the audience. Discuss the difference between narrative stories and drama. Ask the apprentices 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 about how to turn a story into an exciting play. One way to engage students in this discussion is to read a short childrens 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 a story read, and seeing it acted out. Read the story you have selected to the apprentices, and brainstorm about how you would turn the story into a play. Discuss which characters would be in the play, which scenes would be most important, and which settings would contribute to the audiences 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 that each of these actions will be a unique scene. For example, if you were performing 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. Through these three or four scenes, the actors will bring the story to life. It might be helpful to create a visual storyboard for this activity so that apprentices can separate the action and dialogue scene-by-scene. Use a piece of flip chart paper for each scene, and ask a apprentice to write the title 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 happen during that scene on the first piece of flip chart paper. Let the apprentices know that they can cut and paste dialogue and action from the story or create new lines and events. In addition, apprentices can incorporate a narrator to explain sections that might be difficult or time consuming to act out. Encourage apprentices to brainstorm, be creative and collaborate. Let the apprentices know that this is just a sketch of the script and that they dont need to perfect all of the dialogue or action today. By the end of the session, you should have a flip chart paper for each scene that outlines 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 assign scenes to smaller groups and then report back at the end of the lesson. Hint: Youll need to collect the flipchart paper and create a sketched script before the next class.
VI. Foreshadow Next Week 10 minutes Review why youre excited about this apprenticeship and give the apprentices some hints about what youll be doing next week. You might want to spend a moment quizzing the apprentices on some of the takeaways from todays lesson (i.e. vocabulary words, parts of the script, or some of the class expectations). Also, spend a few moments brainstorming titles for your play. Create a feeling of suspense by telling the apprentices that youll have a secret ballot vote next week to determine the title. VII. Clean Room and Provide Closure 10 minutes Ask the clean up captain to make sure that the apprentices return all the desks to their proper places, remove any trash from the floor and leave the room neater than when they arrived.
Lesson 2 Speak Up, Speak Out Overview In this lesson, apprentices will continue to develop awareness and control of their bodies and voices through games and exercises. In addition, apprentices will evaluate and modify 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 Length: 90-120 minutes Materials and Equipment 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 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 Lesson Plan [check font] I. Review Expectations 5 minutes Take a few moments to remind the apprentices that you are excited to work with them and teach them about theater. Ask them if they remember the expectation of actors from last week. You may want to show them the list of expectations again, and let them know that they will be auditioning during the exercises this weekyoull be on the lookout for great actors, stage managers, set designers etc. II. Actors Workshop Ritual 25 minutes Review what apprentices learned from the puppet stretches from last week, and introduce new games for this week. Sighs and Yawns Ask apprentices to sigh and yawn as a group while playing with pitch changes. 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 expand facial muscles and say, Banana! Use your hands to indicate changes in
speed and pitch. Tongue Twisting Challenge (the essential part of this exercise is that apprentices 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 dock In a pestilential prison with a life-long lock Awaiting the sensation of a short, sharp shock From a cheap and chippy chopper with a big, black block Mary Macs mothers making Mary Mac marry me My mothers making me marry Mary Mac Im going to Marry Mary so my Mary can take care of me Well 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 Sheiks sixth sheeps sick Alls 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 As and Bs. Apprentices in Group A walk around the classroom, either strolling naturally or mimicking a character. Bs observe how the As are walking (feet, legs, hips, back, arms, hands, head, etc.) and begin to mimic the walk of the person as completely as possible (remind Group A not to change their walk in the middle of the exercise). After two minutes, apprentices in Group A should freeze and observe the person who is mimicking them. Ask the apprentices what looks familiar about the mimicked walks, and what was challenging about mimicking and being mimicked. Discuss why mimicking skills and close observation are 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 each the leader. The leader should make sure that the movements are challenging and that the follower is focused on all of the details of the movements. 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 any appropriate statue form that can be held for a period of time. Once Clay is set, Blindfold can use only hands (not eyes) to sense the shape 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 more permanent roles next week. Let them know that theyll be auditioning during the read through today and that theyll have an opportunity to indicate which roles appeal to them the most. With assigned parts, apprentices read through the script (Stage Manager should read stage directions if present) Discuss strengths and weaknesses of the script and make necessary changes (both the stage manager and you should take notes on the script, and you should edit it accordingly before the next lesson). The following 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 dont 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, youll have more time to rehearse at the end of the semester. IV. Casting 40 minutes Use the Casting Conundrum sheet (Appendix C) to find out which roles the apprentices 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 the skills of the entire cast into consideration while weighing which actor will be best in each 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 overreacting 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 quick scene (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 run auditions in another room. VI. Foreshadow Next Week 10 minutes Comment on a few things the apprentices did especially well this week, and a few things that they could work on for next week. Let them know that you will finalize the script and the roles in the upcoming weeks, so that you can start rehearsals. Dont forget to remind the apprentices about the WOW and continue to build excitement about the importance of the final product. VI. Clean Room and Provide Closure 5 minutes Ask the clean up captain to make sure that the apprentices return all the desks to their proper places, remove any trash from the floor and leave the room neater than when 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 add their individual flavor to the performance. In addition, apprentices will begin to memorize 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 Length: 90-120 minutes Materials and Equipment 4-5 wooden blocks (2x3, 2x2, 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 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 Lesson Plan I. Review Review material from last two weeks, and revisit expectations. II. Actors Workshop Ritual 5 minutes 15 minutes
Hint: Choose two or three of these games to fill up the 15 minutes of Actors Workshop time today. Remind the apprentices that there is a lot to accomplish for the performance, and they must work efficiently. Amoeba Walk Ask the apprentices to form a circle with joined hands. One apprentice stands in the middle of the group and closes his or her eyes. The apprentice in the middle must take giant steps around the space---eyes closed---while the apprentice in the circle move to protect the apprentice in the middle. The apprentices in the circle must stay connect 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 story from a different point of view from within the story in a character voice or emotional voice. (The leader should encourage playful, uninhibited use of the voices) Happy Birthday to Whomever The 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 Age One apprentice enters the space and begins to perform a repeatable motion or simple action (brushing teeth, e.g.) in silence. One the apprentice has established a rhythm, a second apprentice joins the first apprentice physically and rhythmically in performing a complementary movement. More apprentices are added to the Machine in interesting and creative ways. If done well, apprentices from first to last can add sound to the machine. Giant Charades Apprentices 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 be involved. Object in the Middle Ask the apprentices to stand in a circle. One apprentice enters the circle with an object and begins to use the object in a creative way. For example, the apprentice might use a ruler as a phone. Once someone from the outside realizes the use of the object, he/she enters the circle and interacts with the original performer. The original apprentice leaves the circle and the second apprentice comes up with a new use for the object (e.g. a bed sheet can be used as a bullfighters cape or twirled into a 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 theres a lot of work to do before the performance in seven weeks. III. Casting Call 10 minutes Apprentices will be anxious to know the results of the auditions, but before assigning roles, review the expectations you set last week, and remind apprentices that excitement and disappointment are both part of every actors career. Again, give examples of how professional actors handle excitement and disappointment.
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 Writers Circle 15 minutes Review the script with the apprentices, and discuss some of the changes that they 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 are all going to be responsible for helping to design the sets for the play.
IV.
Creating the Backdrop 50 minutes Discuss the role of backdrops in plays, and show some examples in photographs, press materials from plays or videos. Ask apprentices which backdrops they like best, and brainstorm what types of backdrops will best contribute 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 most appropriate 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 manager and 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 the play. V. Planning the Space 20 minutes When apprentices finish working on the backdrop, ask them to think about where people should stand in front of the backdrop. Explain that deciding where actors stand and how they move around the stage is called blocking.
Review the following guidelines for blocking with the apprentices, and then ask them to read through the play, and imagine how the characters will move around the stage. 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 movements sake (unless choreographed for effect). Director should use blocking to facilitate actors movements, emphasizing and heightening thought and action, strengthening relationships, and underlining conflicts. 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: X1 X2 Audience X3
VI. Foreshadowing: 5 minutes Discuss a few things that the apprentices have done to impress you, and provide a few examples of things upon which they could improve. Congratulate them on writing a play in only two sessions. Let them know that next week youll be working on finalizing blocking and memorizing linessoon 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 their proper places, remove any trash from the floor and leave the room neater than when they 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 emotion exercises. They will act in character to display their analysis of their character and they will decide on important props/costumes. Apprentices will finish their rough blocking 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 Length: 90-120 minutes Materials and Equipment Set blocks Scripts Flip chart paper 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 Lesson plan I. Actors Workshop Ritual:
Character Walks Ask the apprentices get into a circle and begin walking in one direction. As they walk, ask them to imagine walking on different surfaces such as eggs, marshmallows, snow, nails, or cotton candy. Next ask them to imagine characters such as an old person, a baby, a thief, a teacher, or a surfer as they walk. Finally ask the apprentices to switch from exaggerating the character to really being the character. Discuss the differences between acting and over-acting. Changing Emotion, Changing Character Ask each apprentice to imagine a simple activity such as opening a gift, brushing your teeth, or cooking a meal. Next ask the apprentice to express an emotion such as joy, sadness, frustration, or despair while doing that activity. Push apprentices to change more than their facial expression. Again, discuss the differences between acting, and over-acting. When is over-acting useful? When is it distracting? To make 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 minutes At this point, the apprentices should all be familiar with their roles in the play. Its time for them to really get to know their characters. Ask each actor, one at a time, to sit at the front of the classroom and answer questions 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 minutes Now that each apprentice is familiar with his/her character and has an understanding of how the characters will interact with the backdrop, set and props, its time to begin rehearsals. Make sure to let the apprentices know that it takes a long time to make a play look professional, so they should not get discouraged if they have to start and stop a number of times. Also, remind them to use all of the skills they learned during the games. IV. Run Through the Blocking of the Play with Set Changes 30 minutes Without reciting all of the lines, apprentices move through the scenes of the play in succession. You may want to use simple staging devices such as large blocks to create a more dynamic set (and to prop up shorter apprentices!). V. Foreshadow Next Week 5 minutes Let apprentices know that you are proud of their progress and that you look forward to 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 Memorizerfor apprentices who quickly memorize their lines. Actor of the Week---for apprentices who are most in character. Vocab Masterfor apprentices who display understanding of all new vocabulary words. Game Gurufor apprentices who best use the skills developed in the Actors 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 to their proper places, remove any trash from the floor and leave the room neater than when they arrived.
Lesson 5: Half Way There Overview Apprentices will participate in team building games and exercises to develop the ability to 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 and development, while memorizing their lines. Objectives Continue to develop body movement and vocal skills Deepen character development Work on memorizing lines Keep WOW in mind Length: 90-120 minutes Materials and Equipment 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. Actors Workshop Ritual 20 minutes This weeks workshop will help build the teamwork necessary to build motivation and ensure 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 the knot 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 sensory observation). Physical Characterization Apprentices spread out in the performance space to work solo. Apprentices should experiment with different body stances to find their characters body shape and stance. For example, if their character is an old person, the apprentice would work on moving slowly and carefully. Apprentices should begin to 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 their characters voices. While apprentices are repeating their lines, they perform a simple, repeatable activity as their characters. II. Sound and Lighting Design Divide the apprentices into two groupssound and lighting. 20 minutes
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 or objects (e.g. wooden sticks, pots and spoons, etc.) rather than taped or 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 Rehearse one or two scenes, focusing on sound and lighting. 20 minutes
IV. Foreshadow Next Week 5 minutes Remind the apprentices that full rehearsals start next week and let them know that their attendance is essentialthe success of the whole team depends on the hard work of each individual. IV. Provide Closure and Clean Room 5 minutes Ask the clean up captain to make sure that the apprentices return all the desks to their proper places, remove any trash from the floor and leave the room neater than when they arrived. Remind apprentices to review their lines for about 15 minutes each day so they dont forget them!
Lesson 6 The Real Work Begins Overview This 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 Materials and Equipment Set blocks Props Music/sound Roles for Apprentices 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. Actors Workshop Ritual 20 minutes
Pantomime Exercise One apprentice begins silently performing a simple activity such as sewing a button, and the rest of the apprentices should slowly begin to perform activities that are related to the first activity. For example, if the first apprentice is sewing a button, the next apprentices might begin ironing, and then the next apprentice might start shining shoes. The final apprentice in this sequence might get dressed. The rest of the apprentices begin to perform activities that are related to the first apprentices activity so all the activities can become part of a larger purpose for doing 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 of specificity and concentration, they come up with a common purpose for their collective activities. (e.g. being late for an important interview or date; acting as a costumer 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 script as fast as they can. Actors should not attempt to act the lines but simply say them as fast as they are able. The actors should start at the beginning again. The Director should take notes on problems in acting, looking for opportunities to suggest ways to make the characters more believable, creative, interesting, and purposeful. Actors should be broad in their acting styles but still attempting 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 the part with which they are struggling. Actors will invariably have difficulty while they are still unfamiliar with their lines. They can only explore once the lines are second nature. II. Rehearsal 45 minutes Run 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 Actors 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 minutes Remind the apprentices that everyones participation is essential for the WOW, and that you expect perfect attendance at each session. IV. Provide Closure and Clean Room 5 minutes Ask the clean up captain to make sure that the apprentices return all the desks to their proper places, remove any trash from the floor and leave the room neater than when they arrived. Remind apprentices to review their lines for about 15 minutes each day so they dont forget them!
Lesson 7: Expert Acting Overview In this lesson, apprentices will continue their physical training through warm-ups and pantomime. Apprentices will improve their blocking and acting through an intensive work-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 Length: 90-120 minutes Materials and Equipment Set blocks Props
Script Assignments for Be-a-Vehicle game
Roles for Apprentices (if applicable) See previous lessons I. Actors 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 the whole group working together as a unit. For example, four apprentices could 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 out commands (i.e. faster, slower, left, right etc). Ask the apprentices what they learned about performing from this exercise 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 of impressing the audience with the skills they have learned. Use the following directions to guide rehearsals:
Actors go through the scene all the way through without interruption to see what they remember of the blocking. The Director should take notes on their mistakes or on problematic blocking areas. Directors and actors should review and fix blocking problems The actors start the scene over while the Director takes notes on problems in acting, looking for opportunities to suggest ways to make their characters more believable, creative, interesting, and purposeful. Actors should be broad in their acting style but still attempting to achieve their objectives in the scene. The Director starts and stops the scene as needed, backtracking just enough to give actors the chance to work up to the part with which they are struggling. 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 are struggling. 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 minutes Remind the apprentices that everyones participation is essential for the WOW, and that you expect perfect attendance at each session. V. Provide Closure and Clean Room 5 minutes Ask the clean up captain to make sure that the apprentices return all the desks to their proper places, remove any trash from the floor and leave the room neater than 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 so they dont forget them!
Lesson 8 Put it All Together Overview Its coming down to the wirein this session apprentices will perfect some of the skills theyve developed in the Actors Workshops, and they will have an opportunity to 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. Length: 90-120 minutes Materials and Equipment Set blocks Props Promptbook Sound/lighting effects equipment
Roles for Apprentices See previous lessons Lesson Plan I. Actors Workshop Ritual 15 minutes Select two of your apprentices favorite games from previous weeks, or choose games that will help develop skills that will help them produce a high-quality WOW. II. Sound and Lighting Rehearsal 45 minutes 1. Set the Stage a. The Stage Manager and Set Crew/Actors arrange the blocks into their original positions. b. Actors get their props ready. 1. Scene by Scene Rehearsal for Sound a. Actors go to the point in each scene where theyve 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 the use of sound so it is not unbalanced. When using a sound, actors should be sure the same type of sound is used throughout the entire play at important 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 theyve decided to incorporate lighting effects. b. Actors create the lighting effects, experimenting with color, intensity, and movement of the light. c. Lighting should be used most sparingly and perhaps only for truly fantastic elements in the story. Since he play is simple in concept and design, too much lighting will be distracting. I. Dress Rehearsal 30 minutes Run through entire play. Give feedback and celebrate the successes.
IV. Foreshadow Next Week 5 minutes Remind the apprentices that everyones participation is essential for the WOW, and that you expect perfect attendance at each session. V. Provide Closure and Clean Room 5 minutes Ask the clean up captain to make sure that the apprentices return all the desks to their proper places, remove any trash from the floor and leave the room neater than when they arrived. Remind apprentices to review their lines for about 15 minutes each day so they dont 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 all production 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. Length: 90-120 minutes Materials and Equipment Backdrops Set Blocks Props Promptbook Sound/lighting effects equipment
Costumes
Roles for Apprentices See previous sessions. I. Actors Workshop Ritual 20 minutes Like last week, select two of your apprentices favorite games from previous weeks, or choose games that will help develop skills that will help them produce a high-quality WOW. Dress Rehearsal 40 minutes Run through entire play. Take notes on lighting, blocking and acting. Give feedback and celebrate the successes. Hint: Apprentices might be nervous, and require extra encouragement as the WOW approaches. II. Run Through Challenges 30 minutes Take some time to run through parts of the play that are most challenging to the apprentices.
I.
IV. Foreshadow Next Week 5 minutes The WOW is approaching! Build excitement, and address any fears or questions before the actual event. V. Provide Closure and Clean Room 5 minutes Ask the clean up captain to make sure that the apprentices return all the desks to their proper places, remove any trash from the floor and leave the room neater than when they arrived.
Lesson 10 Final Rehearsal/WOW Overview Depending on your campus schedule, you will either have a final dress rehearsal or the WOW during this session. If you have a dress rehearsal, follow the same format as Lesson 9, and if you have planned the performance for this session, see the tips below: Tips for a high-quality WOW: Remain calm! Your apprentices will respond to your mood. Dont 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. Bakers Plays Collections of stories adapted for the stage including Hispanic Tales, adaptations of Aesops Fables, and more. Write to P.O. Bx 699222 Quincy 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 Teachers Resource Room Activities and scripts for drama teachers. Web page: http://www3.sk.sympatico.ca/erachi/ Other Ideas Adaptations of folk tales, popular childrens 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 actors 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, set and prop designer, [fill in acting roles.] My 1 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 ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________
st
_______________________________________________________________
Appendix D
Sample List of Expectations
1. 1. Youve been hired as performers, play writes, and stage managers, and you 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 and participate 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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Theater, Overview and Lesson Plans

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Theater Apprenticeship Project Description This apprenticeship is an opportunity for students to become experts in theater production, set design,

Appendix C: Casting Conundrum Appendix D: Sample Expectations

Vocal Process Diagram (See Appendix A)

Script Assignments for Be-a-Vehicle game

Sample List of Expectations

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