CAP Drama
T. Jeral
Welcome to CAP Drama, a creative and challenging course. Your presence, active participation, and preparedness are vital to your success in this class. Much of the class time you will be working “on your feet” to learn and develop performance skills which you will likely use throughout your life. A high level of commitment to the work will enable you to master techniques and enjoy the process. Each course unit will culminate in a performance, written assignment, or presentation. To further your immersion in the theatre world, you will see and review a live piece of theatre per quarter.
Major Units
History of Theatre
Public Speaking
Study of Selected Plays
Monologue and Scene Study
Acting Techniques
Improvisation
Greek Theatre
Shakespearean Theatre
Movement Study
Original Playwriting/Directing
Interpretive Performance
Technical Aspects of Theatre
Interdisciplinary Projects
Materials
A section in your binder for class notes
A folder
Scripts and other sources
Props and costumes
Grade Breakdown
Homework 10%
Formative Activities 50%
Summative Activities 40%
Since Drama is a highly participatory laboratory class, grades will evaluate your processes as well as the final products or performances. The following criteria will determine the process grade:
Focus and commitment to the role or activity
Attitude, awareness, and poise, on and off stage
Active listening and teamwork
Constructive critiquing
Skill application and adherence to the objectives
Absences
If you are absent, you are expected to make up the work promptly (see student handbook) and contact two classmates to find out what you missed in class. Major assignments and rubrics will also appear on Edline, so please check it regularly. Since much of your class work involves team effort, if you are able, please make sure you tell me and your partners in advance of your absence. If an assignment is due and you are not able to come to my class, but you are in the building, you will need to hand it to me that day.
Classroom Conduct
Since a focused and supportive environment is crucial for everyone’s development, you are expected to practice self awareness and respect in class. Enter the studio space quietly, on time, and with the intention of getting the most out of the lesson. Be prepared with the appropriate materials, and treat the costumes and classroom property as you would a family heirloom. Be open to new perspectives, and challenge yourself to take interpretive risks.
I am usually in the CAP office (room 145) during the second part of your lunch period. I can also be reached by email at Tami . It is best to make an appointment to meet with me however, if you know you will need a meeting.
Enjoy your year!
CAP 9 Drama
Curriculum Framework
T. Jeral
Introduction to Dramatics/Oral Interpretation
Rationale: CAP 9 Drama is an academic and laboratory class in which students develop the concepts, skills and experience to engage in every facet of the theater and performance world. The course encourages self confidence and effective communication which contribute to students’ success in any arena, on and off stage. In addition, the course fosters creative interpretation of texts, constructive critiquing, and original playwriting.
Goals: Throughout the year, students will hone their skills as actors, directors, producers, playwrights and informed audience members. They will become critical viewers and conscious presenters/performers. They will see five or more live performances and critique them with a heightened awareness of the ways in which themes in life and literature are interpreted and executed.
Course Enduring Understandings: Students will consider ways in which the performance world is impacted by societal trends and values. They will learn to be critical thinkers as they evaluate old and new styles and performances. They will learn to value their perspective as one of many, and respect the challenges and responsibilities of an artist. They will also develop their own aesthetic as they learn about theatre throughout the ages.
Course Instructional Approach: The course is highly participatory. It involves full group discussion, exercises, presentations/performances, as well as small group rehearsal and preparation. Students are responsible for researching, collaborating, co-directing, performing, and presenting, while the instructor directs and facilitates. Students are often invited to think and create across the arts and disciplines, and use all appropriate means of bringing a performance and subject matter to life.
Connections to other CAP Courses: This course works in conjunction with the American History, English and Photography 9th grade CAP courses. It prepares CAP 9 students to perform and present their interdisciplinary projects illustrating the zeitgeist of The Gilded Age, the 1920’s, the 1940’s and the1960’s in American History. The course requires students to write critiques of live performances using writing techniques they learn in English class. In addition, they study Theatre History and explore the impact of social/political events on the theatre. Finally, students view eight to ten period films, and review them for their historic, cinematographic, literary and dramatic import.
Semester I:
Improvisation and “Instrumental” Activities
Acting Training
Scene Study/Performance
The Gilded Age Interdisciplinary Project
Live Play Review #1
Monologue Study/Performance
Dada Scenes
Theatre History Presentations and Performances
The 1920’s Interdisciplinary Project
Mentor Sage Project
Voice Projection and Enunciation
Technical Theater
Greek Theatre Scene Analysis and Performance
Live Play Review #2
Semester II:
Shakespearean Theatre and Study of Romeo and Juliet
Movement Study Part II
Monologue Study Part II
Field Trip to a Local Theatre
The 1940’s Interdisciplinary Project
Live Play Review #3
Scene Study/Performance Part II
Public Speaking
Playback Theatre/Storytelling
The 1960’s Interdisciplinary Project
Live Play Review #4
Contemporary/Modern Scenes
Original Playwriting and Directing
Community Performance
Semester I
Improvisation- ongoing
Objectives: 1) To incorporate external and internal “available stimuli” into performances. 2) To perform with increased confidence, awareness and flexibility. 3) To engage more fully into character and scene work. 4) To produce theatre pieces with authentic dialogue and emotional subtext.
Sources: Improvisation for the Theater, by Viola Spolin; the Second City Almanac of Improvisation, by Anne Libera
Instrumental Work- ongoing
Objective: To prepare the body/voice/mind such that the student actor is ready to fulfill a role with utmost commitment.
Sources: Being and Doing, by Eric Morris; No Acting Please, by Eric Morris
Acting Training- ongoing
Objectives: To analyze, practice, and embody the elements that comprise effective performance.
Sources: Respect for Acting, by Uta Hagen; video: “Uta Hagen’s Acting Class”
A Passion for Acting, by Allan Miller
Scene Study/Performance- ongoing
Objective: To analyze and perform selected scenes incorporating effective performance criteria.
Sources: The Glass Menagerie, by Tennessee Williams; All My Sons, by Arthur Miller; student selected scenes
The Gilded Age Interdisciplinary Project
Objective: To perform original scenes contrasting the lives of the immigrant/ lower class of society with the upper class in the turn- of -the -century America.
Sources: Student generated research and the photographs of Jacob Riis from How the Other Half Lives
Live Play Reviews- ongoing
Objective: To critique one live performance per quarter analyzing the production, direction, acting, costuming, sound/music, staging, lighting and themes.
Monologue Study/Performance
Objective: To analyze and perform selected monologues using effective performance
criteria and instrumental activities.
Sources: Student chosen monologues from plays and other literary works.
Technical Theater
Objective: To gain an overview of basic lighting and scenic design for the stage.
Sources: The Perfect Stage Crew, by John Kaluta; Workshop with John Kaluta
Dada Scenes
Objectives: To examine the art/theatre created in response to WWI. To create and perform Dadaesque scenes on contemporary and historical events. To track a theatrical genre and movement throughout history.
Sources: Dada, by Leah Dickerman; National Gallery of Art Dada Guide, February 2006
Theater History and Performance
Objectives: To examine trends in theatre history and their relation to historical events.
To research and present a genre/time period in theatre history. To perform an example of the genre studied.
Sources: Student generated research.
The 1920’s Interdisciplinary Project
Objective: To depict the zeitgeist of the 1920’s through scene enactment and musical performance.
Sources: Selected plays and songs from the Harlem Renaissance and the 1920’s.
Movement Study- ongoing
Objective: To establish realistic and compelling settings for a play. To develop an awareness of body language and movement on stage. To expand ones repertoire of movement and expression.
Sources: Teacher generated exercises from Movement Research Studio, Michael Howard Studio, Movement Improvisation workshops and Freestyle Repertory Theater in New York City.
Mentor/Sage Project-
Objective: To communicate values and character physicality of a 50+year old mentor or inspirational figure through interview and performance.
Voice Work-ongoing
Objective: To develop the ability to project ones voice and to enunciate ones lines. To effectively portray character and emotional subtext using vocal techniques.
Sources: Make Your Voice Heard: An Actor’s Guide to Increased Dramatic Range Through Vocal Training, by Chuck Jones
Greek Theater Scene Work
Objective: To analyze and depict the characteristics of Ancient Greek Theatre.
To incorporate voice and movement work into scene performances. To perform scenes utilizing effective performance criteria. To utilize mask and makeup design to emphasize emotional subtext and character.
Sources: Eight Great Comedies, edited by Barnet, Berman, and Burton
Student selected plays.
Semester II
Shakespearean Theatre and the study of Romeo and Juliet
Objective: To compare/contrast several interpretations of Romeo and Juliet. To study the life and times of Shakespeare as well as the play’s allusions. To collaborate on modern and creative interpretation of selected scenes.
Sources: Romeo and Juliet, Folgers edition; films: “West Side Story,” by Wise and Robbins, “William Shakespeare’s Romeo and Juliet,” by Baz Luhrmann, “Romeo and Juliet,” by Franco Zephirelli, and Theater Tsvete’s Puppet Theatre performance
Movement Study Part II
Objectives: To articulate selected themes in movement and dance. To develop a dance and movement vocabulary. To enact scenes using the movement theme study.
Sources: Workshop with The Liz Lerman Dance Exchange
Monologue Study Part II
Objectives: To continue to adopt effective performance techniques in presenting a contemporary monologue. To explore character and emotional obligations via the “Externals Method.”
Sources: Irreverent Acting, by Eric Morris; student selected monologues
Field Trip to a Local Theater
Objectives: Students will research the themes and relevance of the field trip play to their studies. They will evaluate the success and impact of the performance, and may use the style and skills demonstrated in the performance for their original plays.
The 1940’s Interdisciplinary Project
Objectives: Students will create a WWII USO show by performing the roles of famous actors, dancers, singers and comedians before an audience of students, teachers and parents. They will research the historical details of the USO show in order to capture the atmosphere and tone.
Sources: Student generated research.
Scene Study/Performance Part II
Objectives: Students will read a contemporary play of choice. They will rehearse and perform a scene using effective performance criteria.
Public Speaking- ongoing
Objectives: To present a range of material before a live audience using public speaking skills.
Source: Public Speaking, by Beebe and Beebe
Playback Theater, Storytelling
Objective: Students will develop confidence and skill in the art of storytelling.
Source: Improvising Real Life, by Jo Salas
The 1960’s Interdisciplinary Project
Objective: To dramatically depict the political, social and theatrical zeitgeist of the 1960’s in the United States. To research and perform Broadway scenes/musicals as well as the experimental and Off –Off Broadway Theatre.
Source: Alice in Wonderland, by Andre Gregory and student selected plays.
Original Playwriting and Directing/Community Performance: The Inspirations Project
Objective: As the culmination of the year’s work, students will create and perform a 10 minute play which purports to inspire, entertain and raise awareness about a social, political, philosophical, psychological or environmental issue. They will collaborate in the researching, writing, improvising, rewriting, peer-critiquing and performance of the piece. They may adapt a scene/chapter from a novel or they may create from scratch.
Sources: Student generated research.
Other Sources: Selected articles from The New York Times Arts Section and The Washington Post Style/Arts Sections
The Stage and the School, by Ommanney and Schanker