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AUDITIONSCREATOR: BRIANA SHIPLEYLEARNING LEVEL: BEGINNINGPRIOR EXPERIENCE REQUIRED: NONE

Overview:Unit Objective: Students will be able to demonstrate their knowledge and ability to audition for Timberline Middle School’s higher level drama classes by performing in a mock audition.

National Standards:#2. Acting by developing basic acting skills to portray characters who interact in improvised and scripted scenes #5. Researching by using cultural and historical information to support improvised and scripted scenes #7. Analyzing, evaluating, and constructing meanings from improvised and scripted scenes and from theatre, film, television, and electronic media productions #2. Acting by developing, communicating, and sustaining characters in improvisations and informal or formal productions #5. Researching by evaluating and synthesizing cultural and historical information to support artistic choices#7. Analyzing, critiquing, and constructing meanings from informal and formal theatre, film, television, and electronic media productions

Enduring Understandings: Respect and collaboration Empathy for self and others Theatre artists can reflect on experiences through performance Essential Questions: How does the world around us influence theatre? How does empathy play a part of performance? Big Idea: Hard work, preparation, and taking things step-by-step are the tools needed to succeed in

auditioning, and in life. Key Knowledge and Skills: Students will learn the basic vocabulary and structure associated with a theatre audition Students will be able to present themselves and perform in a manner that is both professional and

personal

Authentic Performance Tasks: Choosing a Good Monologue Worksheet Character Analysis Worksheet Marking up a script for tactics and objectives Two hand-written reflective papers Preview Performance Peer Evaluations (self-reflection) Final Performance Group Oral Reflection and Checking for Understanding Throughout

Unit Pre-Assessment: Students will take a pre-test (standardized across the district) in order to learn which theatrical concepts students are familiar with, and which ones they are not. At the end of the semester, students will re-take the same quiz. The data between the two test scores

Lesson 1: Choosing and Cutting a Script

Educational Objective: Students will demonstrate their understanding of the process of selecting and cutting (if necessary) a monologue. Students will also read-through and time their scene to make sure it is under the 1 minute time limit.

Materials Needed:

Monologues from various plays. Male/Female, comedy/drama, etc. This can be pulled from your collection, but if not, you will need to put together a few options for your students. You will want to give your students as much variation as you can offer. These monologues should be ideally selected to be 30 sec-1 min long, but there may be some selections that your students will need to cut to get them down to around 1 minute.

Four monologues to demonstrate good selection and bad selection. These should be pulled from plays from your collection, or you will need to find scenes that fit your needs. Two should be have one “feeling” or emotion the whole monologue, possibly have an odd character, or a character that wouldn’t work for middle school students, and have little room for objectives and tactics (more story based rather than objectives and tactics based). One of the “bad” scenes should also be extensively long and somewhat repetitive.

Choosing a Good Monologue Worksheet Projector and Computer

Facets of Understanding:

Explanation Interpretation Application

Enduring Understandings:

Theatre reflects real life stories and experiences Theatre teaches critical thinking and analysis of stories

Essential Questions:

How does showcasing your individual talents affect the choosing of a monologue? What are the practicalities of choosing a monologue?

Hook: (10 minutes)

Have four monologues taped to the bottom of student’s chairs. The monologues should be no more than half a page long. Ask students to look under their chairs; the students who have monologues taped to the bottom of their chairs will be reading the monologues out loud to the class. (You may have students read these from their seats, or they may stand at the front of the classroom). It might also be helpful to project the monologues up on the screen as they are being read so the entire class can follow along.

Step 1 - Discussion: (15 minutes)

Pass out the “Choosing a Good Monologue” Worksheet. Have students look over it and make notes as you talk. Once all four monologues have been read, ask students which monologues were the most intriguing? Why? What elements did they have that made them better than the others? If they were to choose a piece to perform themselves, which would they choose, and why? Write the elements of the “good” monologues on the board. Guide student’s thinking towards these basic elements:

Scene is not “storytelling”, it has tactics and objectives The monologue is from an actual published play or musical The characters are playable Length

Once the “good” elements are up on the board, ask students why these elements are important? How can they benefit an actor? Ask students specifically about the length requirement – what do you do, as an actor, if the scene you’ve chosen is too long? The answer is obviously to cut it, but how do you do that?

Step 2 - Instruction: (7 minutes)

Tell students that you will be handing out a monologue and would like a volunteer to read the monologue for the class while everyone else follows along.

After you read through the script together ask the students if they were able to follow the story? What was the story? Decide as a class, and write this on the board as well. Ask students to pair up. Once in their partnerships, instruct them that they are to go through the monologue together and take out any lines that they feel could be marked out of the script and still convey the same story (that was decided on together as a class and is now written on the board). Only allow 2-3 minutes for students to cut their scripts.

Step 3 - Sharing: (5 minutes)

After they cut the scene ask for students to raise their hands for people who feel they have cut 50% of the lines, continue asking for who cut 60%?, 70 %?, 80%?, 90%? Whichever pair still has their hands raised at 90%, ask them if they would be willing to read their script out loud. Once they have done so, ask if another pair thinks they have cut more. If there is another pair that has a shorter scene, ask them to read it. Keep going until the shortest scene is found that is still true to the story (that was agreed upon as a class)

Step 4 - Discussion and Practice: (10 minutes)

After you have found the shortest monologue, ask students how the shortest version is different from when it was first read through? Once students have discussed this for a while, ask the student who has the shortest script to come up and act out their cutting. After letting them perform it once, have them perform it a second time with you directing them in the scene. Help students realize that action can convey the same meaning, often with more power.

Step 5 – Discussion: (3 minutes)

Which version was more compelling? Why? What elements did the second version have that the first version did not? Can these things be incorporated to every monologue?

How? Discuss the importance of length. The importance of making sure a scene doesn’t get too “wordy” and the importance of movement and action.

Step 5 - Instruction: (20 minutes)

As you finish up the discussion, instruct students we are going to begin working on our final for the unit and explain that you have set out scripts and that they need to read through the scripts and choose one that they are going to perform for the final. Remind students to keep the important elements of a scene in mind: objectives and tactics, playable characters, and length. Tell students that they can cut scenes to make it better fit their needs.

Tell students that as they are selecting their scene, they need to answer the questions on their “Choosing a Good Monologue” Worksheet. If they answer “no” to any of the questions on the worksheet, they need to find a new one.

Once they have found a monologue, they need to read through it and time it. If it is over one minute, they need to start cutting. Let students know that they need to give you a running time before leaving the classroom. Tell students that they are welcome to raise their hands if they need help cutting or selecting a scene.

Final Assessment for Lesson 1: (6 Daily Participation Points – informal door check)

Students are to report a running scene time to you as they leave the classroom. You should have a list of names and the piece they will be performing. Write these times down next to student’s names as they leave the room. If they haven’t been able to cut their scene yet, tell students that they will need to have it cut down to the appropriate time length by the end of next class period, or points for the day will be lost.

Students will also be turning in the “Choosing a Good Monologue” Worksheet for fifteen points.

Materials:

Monologue #1: An Ideal Husband by Oscar Wilde

MABEL CHILTERN: Well, Tommy has proposed to me again. Tommy really does nothing but propose to me. He proposed to me last night in the music-room, when I was quite unprotected, as there was an elaborate trio going on. I didn't dare to make the smallest repartee, I need hardly tell you. If I had, it would have stopped the music at once. Musical people are so absurdly unreasonable. They always want one to be perfectly dumb at the very moment when one is longing to be absolutely deaf. Then he proposed to me in broad daylight this morning, in front of that dreadful statue of Achilles. Really, the things that go on in front of that work of art are quite appalling. The police should interfere. At luncheon I saw by the glare in his eye that he was going to propose again, and I just managed to check him in time by assuring him that I was a bimetallist. Fortunately I don't know what bimetallism means. And I don't believe anybody else does either. But the observation crushed Tommy for ten minutes. He looked quite shocked. And then Tommy is so annoying in the way he proposes. If he proposed at the top of hisvoice, I should not mind so much. That might produce some effect on the public. But he does it in a horrid confidential way. When Tommy wants to be romantic he talks to one just like a doctor. I am very fond of Tommy, but his methods of proposing are quite out of date. I wish, Gertrude, you would speak to him, and tell him that once a week is quite often enough to propose to any one, and that it should always be done in a manner that attracts some attention.

Monologue #2: The Crucible by Arthur Miller

ELIZABETH: (upon a heaving sob that always threatens) John, it come to naught that I should forgive you, if you'll not forgive yourself. It is not my soul, John, it is yours. (it is difficult to say, and she is on the verge of tears) Only be sure of this, for I know it now: Whatever you will do, it is a good man does it. I have read my heart this three month, John.(Pause)I have sins of my own to count. It needs a cold wife to prompt lechery. (Now pouring out her heart) Better you should know me! You take my sins upon you, John. John, I counted myself so plain, so poorly made, no honest love could come to me! Suspicion kissed you when I did; I never knew how I should say my love. It were a cold house I kept!

Monologue #3: Coriolanus by William Shakespeare

CORIOLANUS: My name is Caius Marcius, who hath done

To thee particularly and to all the Volsces

Great hurt and mischief; thereto witness may

My surname, Coriolanus. The painful service,

The extreme dangers, and the drops of blood

Shed for my thankless country are requited

But with that surname -- a good memory,

And witness of the malice and displeasure

Which thou shouldst bear me. Only that name remains.

The cruelty and envy of the people,

Permitted by our dastard nobles, who

Have all forsook me, hath devoured the rest;

And suffered me by th' voice of slaves to be

Whooped out of Rome.

Monologue #4: The Film L.A. Confidential by Curtis Hanson

SID HUDGENS: Come to Los Angeles. The sun shines bright. The beach is white and inviting and the orage groves stretch as far as the eye can see. There are jobs aplenty and land is cheap. Every working man can have his own house and inside every house and happy all-American family. You can have all this and who knows? You could even be discovered…become a movie star…or at least see one…Life is good in Los Angeles. It’s paradise on Earth.

Monologue to Cut: The Star-Spangled Girl by Neil Simon

SOPHIE: Mr. Cornell, Ah have tried to be neighborly, Ah have tried to be friendly, and Ah have tried to be cordial...Ah don't know what it is that you're tryin' to be. That first night Ah was appreciative that you carried mah trunk up the stairs...The fact that it slipped and fell five flights and smashed to pieces was not your fault...Ah didn't even mind that personal message you painted on the stairs. Ah thought it was crazy, but sorta sweet. However, things have now gone too far...Ah cannot accept gifts from a man Ah hardly know...Especially canned goods. And Ah read your little note. Ah can guess the gist of it even though Ah don't speak Italian. This has got to stop, Mr. Cornell. Ah can do very well without you leavin' little chocolate-almond Hershey bars in mah mailbox--they melted yesterday, and now Ah got three gooey letters from home with nuts in 'em--and Ah can do without you sneakin' into mah room after Ah go to work and paintin' mah balcony without tellin' me about it. Ah stepped out there yesterday and mah slippers are still glued to the floor. And Ah can do without you tying big bottles of eau de cologne to mah cat's tail. The poor thing kept swishin' it yesterday and nearly beat herself to death... And most of all, Ah can certainly do without you watchin' me get on the bus every day through that high-powered telescope. You got me so nervous the other day Ah got on the wrong bus. In short, Mr. Cornell, and Ah don't want to have to say this again, leave me ay-lone!

Name:__________________________ Period:________ Date:_________

Choosing a Good Monologue

Answer each question thoroughly and thoughtfully. If your answer is “no” to any of these questions, you need a different monologue! Worth: 20 points (3 points per question, 2 points for name and class period)

1. Is the character in the monologue talking to someone else (NOT themselves or God)? If yes, who? What is the character’s relationship to that person? What is the history between the two characters?

2. Does the character want something from that person? If yes, what? How long have they wanted it? How long and how hard has the character tried to get it?

3. Is the monologue from a published play or musical? If yes, which one? Who is the author? When was it written?

4. Is the character in your age range? If yes, how old is the character?

5. Is the monologue from a genre of plays that shows off your strengths and/or fits the play/musical you are auditioning for? If yes, which genre or which play/musical?

6. Is the monologue “clocking in” at around one minute? If yes, what is your running time? If not, start cutting! Hand-write your monologue below (or use the back):

Lesson 2: Character Analysis

Educational Objective: Students will demonstrate their abilities to analyze a script by completing a Character Analysis Worksheet.

Materials needed:

Anonymous script (see insert) Character info sheets (see insert) Access to a computer lab


Explanation Application


Importance of character history Analysis


How does the larger picture effect the individual moments? How do you use research and analysis to support decisions being made?

Hook: (15 minutes)

Ask for a volunteer to perform an anonymous monologue. The script is below:

ELIZABETH: Okay everybody. This ... is church. This is God's house. If you ever want to talk to Him, you just come in here and sit in one of those long chairs and start talking. But not too loud. Or else you might wake up one of those statues. And they are praying to Jesus. (Bows head) Oh! I forgot to tell you. Whenever you hear the name Jesus (Bows head) you have to bow your head or else you have a sin on your soul. Now, over there is the statue of Jesus' (bows head) mother. Her name is the Blessed Virgin Mary. She is not as important as Jesus (bows head) so you don't have to bow your head when you hear her name. Over there is the statue of Jesus' (bows head) father. Hey, (points at small child) you didn't bow your head. Don't do that cause you'll get a black spot on your soul!

Have the actor perform it once for warm-up and then perhaps a second time. Once actors feel comfortable, give them a character description sheet, and have them study them for a moment while you talk about their performance with the rest of the class. Ask the class who they though the characters were. Have the actors perform it two more times, this time considering their character description sheets (below):

You are an eight year old who is VERY serious about her religion. She is soft spoken until someone doesn’t bow their head for Jesus.

You are an extremely terse and strict nun. There is NO nonsense when you are around. You take your religion to the extreme and have NO tolerance for those who don’t understand your beliefs.


How did their performance change? What subtext could the audience see played out? How did the actor(s) feel as they were playing? Were their physicalities different? How can character background effect physicality? Which performance was more engaging? Why? Guide students towards an understanding of the importance of character analysis and understanding.

Step 2 – Practice: (30 minutes)

Tell students that you will be going to the computer lab. Tell students that they are to look up the play that their scene is from and to find out all they can about their character in order to answer the questions on the Character Analysis Worksheet. Students will only have a half hour to complete this assignment, so tell them to be sure and stay on task. Take students down to the computer lab and side coach them while they are completing this assignment.

Step 3 – Rehearsal: (20 minutes)

Take students back to the classroom. Tell them they have the rest of class to rehearse their scenes integrating the information they have just learned about their characters. Encourage them to use their character’s backgrounds to inform the way a line is delivered, or even the way a character moves or talks.

Final Assessment for Lesson 2: (20 points – formal paper due in class)

Character analysis paper (see below):

Name:_________________________________ Date:__________ Class Period:_____

Character Analysis Sheet

Please answer the questions below as thoroughly as possible. The more information you can find about your character, the more real and in-depth your performance will be.

1. Demographics of your character

a. Age

b. Race and/or Ethnicity

c. Where they’re from

d. Current location (at the time of your scene or monologue) and WHY

e. Economic Status and WHY

2. Physicality of your character

a. Color of hair and eyes (yes, this might be different from your own)

b. Any physical disabilities? (limps, bad back, etc.) and WHY

c. Clothes and WHY

d. Jewelry and WHY

e. How does your character walk and stand? Confidently? Creepily? Etc. and WHY

f. Voice

3. Your character’s biggest desire and WHY

4. What is stopping your character from acquiring that desire?

5. Your character’s greatest fear and WHY

6. Your character’s occupation (career, or no career?) and WHY

7. Interests/Hobbies and WHY

8. Beliefs (religious or otherwise) and WHY

9. Family – Parents, siblings, raised by grandparents?

10. A few favorites of your character (songs, books, movies, etc.)

11. Items that area associated with your character – something they carry or usually have (an example might be the talking bird cane, if you were Mary Poppins) and WHY

12. Write two paragraphs (that’s ten complete sentences) as your character. You can make it a journal entry, or it can just be a “thought vomit” – whatever you like. Just start to think like your character, then write about it.

Lesson 3: Tactics and Objectives

Educational Objective: Students will demonstrate their knowledge of objectives and tactics by mapping out their tactics to obtain their objective in their monologues.

Materials needed:

3 3x5 cards for each student in your class Tactics hand-out


Interpretation Application Self-Knowledge


Strong objectives and varied tactics make dynamic scenes


How do we use varying tactics in our everyday lives to obtain objectives? How do various objectives and tactics affect performance?

Hook: (15 minutes)

Ask students to start walking around the space. Once they have accumulated themselves to the space, ask them to keep moving, but to listen to instructions. Tell them that in a moment you will call out a situation (such as: Two friends are in a movie theater. One of you wants to leave, and the other one wants to stay and finish it) and then say “Freeze!” When “Freeze!” is called, tell them to turn to someone and start the scene with the scenario you have just called out. Tell them that someone in the scene has to “win” or, get what they want. Once that has happened, they start moving around the space again. Encourage students to just go when a scenario is called out. They are not allowed to discuss who is who, or what will happen. They must simply become the characters and play it out.

Possible scenarios:

Two young siblings late at night in their bedroom. One sibling wants to go to sleep, and the other wants to sneak into the kitchen to get cookies

Standing in line at the coffee shop, the line is not moving, and you’re both late for work. The person behind wants to cut in front because they have a corporate meeting, and they’re supposed to bring the coffee for the CEO. The person in front definitely thinks that isn’t fair

A student with a needed bathroom break, and a teacher who won’t let them leave. A parent and a child in a restaurant – the child wants dessert, and the adult wants the child to eat

their vegetables before dessert. Two friends in a movie theater. One of you wants to leave, and the other one wants to stay and finish

it An elderly person at a Michael Buble concert who wants to simply enjoy Buble’s voice, but the

teenager next to them won’t stop screaming with joy and singing along.

Once students get the hang of it, you may simply call out the scenarios rather than calling out scenarios as well as objectives. If you have more advanced students, you may be able to simply start out with scenarios. Encourage students to try different things to get what they want, but remind them that someone must win eventually.


After the activity, reflect as a group what it was like and what their experience was. Ask students to share what it was they wanted in different scenarios, and if they ended up getting that thing or not, and how and why they won or lost. Explain to students that these things are tactics and objectives. If students do not know what tactics and objectives are, explain to them that an objective is what a character wants, and a tactic is how a character gets that thing. Make sure that students understand tactics are expressed in a “to _____” format. If students are still confused, or are having a hard time coming up with more than ten different tactics, print off and hand out this sheet:

http://texasartsproject.com/wp-content/uploads/2012/03/TacticList21.pdf

This will be a good acting source for your students, especially if they are beginners.

Step 2 - Directions: (5 minutes)

Pass out 2-3 3x5 cards to each student. Ask them to write a tactic on each card. Ask students to keep the tactics appropriate (nothing sexual in nature, offensive, racist, etc.). If students need clarification on what a tactic is, take a moment to discuss this with them. Once students have written one tactic on each card, gather all of the cards that they have written on.

Step 3 - Modeling: (15 minutes)

Ask for two students to come to the front of the classroom. Ask for the rest of the class to suggest a scenario and two objectives for the students. An example might be a scene between two siblings where one sibling has borrowed something from the other without permission. Once a scenario and objectives have been decided, hand each actor five of the tactic cards, and ask them to choose three of the five. Tell the students to start the scene using one of the three tactics. When they feel that tactic isn’t working, they move to the next card. Each actor goes through their three cards while playing out the scene. When both actors have gone through all three cards, the scene is over and somebody should have “won” at that point. ***This can be more fun if the students don’t look at the tactic cards before the scene starts - they will look at them for the first time when they decide they need to switch tactics.

Step 5 - Application: (15 minutes)

Once each student in every group has had the opportunity to perform a made-up scenario with the tactic cards, ask students to get together with a partner. Tell students they need to identify what their character’s objective is in the scene (this should be fairly simple, since they just completed their character analysis). Ask students to write their character’s objective at the top of the script. Then ask students to go through the script quickly and mark out possible tactics that could be used in the monologue. Ask students to write these tactics next to the lines in the script where these tactics could be used. This all should take no more than five minutes. Let students know that you will be doing a door check to make sure this was done, and that yes, it is worth points. Check for the written objective and at least three tactics written in their script. Make sure students understand this is an assignment.

Step 6 – Independent Practice: (10 minutes)

Tell students to then rehearse their monologues with the tactics written in their scripts. If they realize a tactic doesn’t really work, now that they’ve got it on its feet, that’s okay. They tried something, and that’s part of the acting process.

Final Assessment for Lesson 3: (6 Participation Points – informal door check)

As students leave your classroom, check for the written objective and at least three tactics written in their script. Have a roll or a list of students so you can mark them off as they leave.

http://texasartsproject.com/wp-content/uploads/2012/03/TacticList21.pdf

Lesson 4: Basic Acting Method

Educational Objective: Students will demonstrate their ability to apply basic acting technique to their monologues by performing in front of a peer, and then writing a paragraph about their experience

Materials needed:

Projector and Computer YouTube clip of Coffee Cup exercise http://www.youtube.com/watch?v=z9ofwr4y7H4




Theatre reflects real life stories and experiences Theatre teaches critical thinking and analysis of stories


How does showcasing your individual talents affect the choosing of a monologue? What are the practicalities of choosing a monologue?

Hook: (10 minutes)

Have students write down on a piece of paper what they think about when they perform. This can be any sort of performance (dance, vocal, theater, in class performance, etc.) Let students know that it should be on a piece of paper that they can throw away. You can take roll while this is being done. Once students have finished writing, have students crumple up the piece of paper and throw it at each other (like a snowball fight).


Have students pick up a thrown piece of paper, but it cannot be their own. Have students read what is on the paper they picked up. Some of the answers might be "in character thoughts" or some might be "don't forget my line, what's my next line?!" or a variation of responses.

Talk to students about character thought. As they are portraying a character, they should only ever have two things in their head: Character thought (thinking AS the character, not waiting for their next line or planning how they'll deliver a certain line, etc.) which should be 70% of what is going on in their head, and the other 30% should be the practicalities of acting (make sure you're in the light, projection, diction, etc.). Check for understanding and ask students if they have any questions.

Step 2 - Lecture: (2 minutes)

Tell students that you are going to go over BASIC acting technique today, and that for simplicities sake, there are two main umbrellas that most acting technique falls under: outward-in and inward-out. Tell students that you will be exploring both of those today in a very broad way.

Step 3 - Practice: (15 minutes)

Ask students to walk around the room, slowly get into character physically. Have students pay special attention to their shoulders, how heavy their footfall is, where they are carrying tension in their body, if their character holds tension in their body, etc. Tell students to now start BREATHING and MOVING as if they were angry. Continue to move around the room as if they were angry. Let students do this for a while, and once they are actually emotionally angry, to start monologuing as their character about something their character is angry about. Walk students through getting out of their anger phase

(stopping student's monologuing, having them move around the room in neutral). Do this same thing with fear and also with happiness.


Have students get in a circle and discuss that experience. Does working outside-in work for them? Or does it not? Why?

Step 5 – Practice: (15 minutes)

Show students the coffee cup clip. Tell students that this is an example of working inside-out. Sense memory is a technique that actors use on stage to recreate the feeling of whatever they are doing. Have students perform the coffee cup activity with another item they have in their backpack. It can be water or makeup or food or a shoe - really anything. Some things might not have the taste sense associated it, but you can try.


Have students get in a circle and discuss that experience. Does working inside-out work for them? Or does it not? Why?

Final Assessment for Lesson 4: (15 points – formal paper)

Have students get into pairs to work on their monologues. Tell students that they are to perform their monologue four times for their partner. Twice working with the outside-in technique, and twice working inside-out.

Once they have completed this task, ask students to write a response to the following questions. The response is due at the end of class:

1. Do you prefer working outside-in or inside-out? WHY

2. Tell me about three discoveries you made today. This can be about your character, the way you work as an actor/actress, or just about your monologue in general. Give complete answers with complete sentences.

Before students leave, let them know that it would benefit them to be memorized by the 6th lesson day (whichever day this lands on, let them know, i.e. Monday, Tuesday)

Lesson 5: Listening

Educational Objective: Students will practice listening, relationships, and building character by rehearsing their monologue with a partner without movement or props – merely focusing on listening.

Materials needed:

None


Interpretation Perspective Empathy


Theatre teaches how to collaborate and communicate The importance of making strong decisions


How do character relationships affect performance? How can understanding others alter our own perspectives?

Hook: (15 minutes)

Instruct students to find a partner. Once they are all in partners ask for them to decide who will be partner A and who will be partner B and ask for partner A to raise their hands and then partner B to raise their hands to check for understanding. Instruct that partner B in a few moments will be asked to close their eyes. Partner A is going to lead partner B around the room by touching index fingers. Explain that you have to really listen to one another in order to follow. There must be no talking, and the only way partner A can guide B is through the connection of their index fingers. As they lead each other around instruct them to find new ways to move, ask them how they can use levels, etc. Once partner A has lead partner B around have them switch.


Ask the students what their experience was with this activity? How did you listen to one another? Did you have to trust one another, why? Did this trust ever fail? Why is listening and trust important in theatre?


Tell students in acting it is important to listen to our scene partners. But wait, how do we listen to a “partner” in a monologue? Do we have a partner in monologues? What does that mean – listening to our scene partners? We listen to their lines, don’t we? Why is that important? Explain to students that merely hearing the lines as que lines isn’t true acting. You become a parrot rather than a human being on stage. Ask students what that means to them – reciting vs. listening and reacting. Tell students we’re going to do a few more games and exercises to practice listening

30

Step 3 - Instruction/Practice: (15 minutes) Instruct students to sit in two large circles on the floor (if you have a smaller class size, one circle will be fine). Tell them that you are going to state a phrase in a moment and it will be their responsibility to repeat the phrase exactly as I stated it, passing the phrase around the circle. Tell them to listen for specific inflections and tempos and try to exactly mimic the phrase “the lips the teeth the tip of the tongue, articulation can be fun”. After they have gone around the circle tell them we are going to do it again and they are going to use the same phrase again but trying to

mimic the person who said it before them. Tell them they will have to really listen for any variations because their goal is to mimic the person before them exactly. Remind students that the goal is not to make fun of or over-exaggerate what the previous student did, but to copy exactly what the previous student did. After the phrase has gone around tell them that we are going to do it again and this time they need to mimic gestures as well as the exact speech.

Step 4 - Discussion: (5 minutes) Ask the students what was their experience? How did they have to listen differently? How could this experience apply to their scenes?

Step 5 - Practice: (15 minutes) Instruct the students to get into partners and sit across from one another and go through their monologues really listening to one another and applying the principles we discussed today. Tell their partners to say “what?” every time they feel the person delivering their monologue isn’t being honest or “listening”. Give them 10 minutes to work and then bring the class back together in a circle. Ask students to go around the circle and say one sentence that describes a discovery they made while listening, or one sentence describing something they want to try next time they rehearse the scene.

Final Assessment for Lesson 5: (informal during step 5)

During the discussion in step 5, there will be an informal assessment of student’s discoveries while truly listening to their scene partner.

Before students leave, remind them to be memorized by the 6th lesson day (whichever day this lands on, let them know, i.e. Monday, Tuesday)

Lesson 6: Resumes and The Moment Before

Educational Objective: Students will demonstrate their ability to create a professional quality resume by turning in a resume for the mock audition. Students will also be able to establish the moment before in their monologue by performing and checking it off with a partner.

Materials needed:

Various Headshots and Resumes. Resources below: http://www.kentescott.com/bio_files/blocks_image_0_1.png http://www.thekingofbroadway.com/headshots-resumes/elli-s-acting-resume-01-17-13.jpg http://brantwjones.files.wordpress.com/2012/06/bwj-acting-resume1.jpg http://www.oberlin.edu/career/students/documents/sample_resumes_10.pdf http://2.bp.blogspot.com/ UidGtelVcow/TctrI1eGf7I/AAAAAAAADgI/4BqZOmW5R5w/s1600/DENISE+3-72.jpg http://dominoartsphotographyandcinematography.files.wordpress.com/2012/08/bad-headshot1.jpg http://www.mercedesmcandrew.com/blog/wp-content/uploads/2010/04/mh-1075.jpg http://www.headshot-photos.com/blog/img/2009/05/20090605_sahra_0037_400.jpg http://www.iangrantphotography.com/headshots/los-angeles-headshots-decker-1.jpg http://davidneuse.com/cms/wp-content/gallery/headshots-acting-pageant-entertainers-etc-new/headshots-002.jpg




How we present ourselves, even on paper, effects us Theater mirrors life, and life never had a starting point


What is the best way to present myself on paper? How do I infuse my character with real-life experience?

Hook: (15 minutes)

When students walk in the room, have several headshots and resumes taped up on the wall, and numbered. Ask students to go around and cast the hypothetical show of Spiderman on Broadway, and you are looking for Spiderman and Mary Jane. Once students have decided who they are going to cast, have them return to their seats.


Ask students who they decided on. Why? What was it about their resume or their headshot that made students want them? Talk to students about the importance of a clear, concise resume, and a eye-catching and versatile headshot.

Step 2 – Group Practice: (15 minutes)

Pull up a word document on your computer and project it onto the screen. Together, as a class, write up a resume for John Smith. Make up heights, weights, shows, etc. Have students call out the shows and demographics of John – let them have fun with it. The point is to get students to see how to put together a resume.

Once students have created this resume, tell students that they will need to bring in their own resumes (with real information) by the next class period. Tell students that you will be reviewing those resumes, and giving them back to students for them to fix by the time they perform.

Step 3 – Modeling: (10 minutes)

Let students know that you will be switching gears a little bit. Hand the following script to two students and have them read it in front of the class.

A: Hi! B: Hello. A: How’s everything? B: Fine. I guess. A: Do you know what time it is? B: No. Not exactly. A: Don’t you have a watch? B: Not on me. A: Well? B: Well what? A: What did you do last night? B: What do you mean? A: What did you do last night? B: Nothing. A: Nothing? B: I said, nothing! A: I’m sorry I asked. B: That’s all right.


Ask the class when the scene started. Was it when the lines began? When the actors entered? When the first gesture was made? Once students have given those answers, ask students, “when does life begin?” Students may answer first breath, when they’re born, conceived even, but explain to students that many religions believe that there was an existence before mortality. If we hypothetically go along with that belief, life has no beginning.

Many theatre artists believe that theatre mirrors or imitates life. If life has no beginning, your monologues have no beginning. Every moment in your character’s life has led up to your monologue. As an actor, you must thing, “where did I just come from?”, “What information have I just learned?”, and “how has my world shifted recently?”. Explain to students that the answers to these questions are called “the moment before”.

Step 5 – Modeling and Discussion: (10 minutes)

Have two more students come up and read the same scene, but this time, have the class decide where each actor has just been, what information each actor has just learned, and how their worlds have shifted recently. The scene should be drastically different. Ask students how the scene changed. What made it more interesting? Were lines delivered differently? Do this same thing a few more times, letting students see that different moments before change the scene.

Final Assessment for Lesson 6: (informal)

Have students pair up, and explain to each other what their character’s moment before is. The have students perform for each other, implementing the moment before into their scene. Have partners coach them through to make the moment before as evident as possible.

Remind students that their resume is due next time.

Lesson 7: The Mechanics of an Audition

Educational Objective: Students will demonstrate their ability to walk into a room, introduce themselves, slate, properly use the fourth wall, and end their monologue by checking these items off with the class.

Materials needed:

White board


Application Self Knowledge


Theatre is dependent on the relationship between audience and performers Theatre teaches self knowledge and awareness


What is the best way to present myself? How can I use my stage fright?

*Note: Collect Resumes on this day. Give students feedback. Students receive 10 points for this turned in rough draft.

Hook: (5 minutes)

Tell students to walk around the room and introduce themselves to five people. Say hello, their name, have a brief conversation, and say goodbye.


Once students have done this, ask them about their experience. Were some of the introductions awkward? Were they pleasant? How did they go in general? Ask students if they would be friends with certain people if that introduction was their first impression. Most likely, the answer will be no. Tell students that from the moment they walk in the door of an audition, they have six seconds before a director realizes if they want them or not. Six measly seconds. The length of a vine. That’s all they’ve got. Since the walk-in is the first thing a director sees, that is what we will work on today.

Step 2 – Group Practice: (20 minutes)

Have students line up. Tell students that they are to walk onto the stage. Not to worry about slating, or introducing their pieces, but merely to walk on. “Score” the first student(s) who do this on a scale of 1-10. If they got less than a 10, have them do it again. Once a few students have gone through, have students who have already walked in start scoring, so students remain engaged. Remind students to be kind to each other and fair.

Step 3 – Discussion/Group Practice: (20 minutes)

Tell students that now that they have nailed the first six seconds of their audition, they need to nail the rest of it. Discuss with students how to slate and how to say their name in a way that will be remembered. Have them do the same activity as the walk-in, but this time adding a slate.

Step 4 – Discussion/Group Practice: (20 minutes)

Great, now we’ve gotten to the meat. What are the mechanics while your acting? First, to relax. Just think as your character, and you’re good! The ONE thing you need to remember is how to find a spot on the wall and use that fourth wall. You also then need to learn how to end a monologue. Remember to

stay in character for a few seconds, let us see if you got your objective, step out of character, and say thank you. Have the students file through again, doing the last two lines of their monologue and ending it. Again, score students, have them score each other, and make sure every student feels that they got it right.

Final Assessment for Lesson 7: (informal)

During steps 2-4, make sure students are grasping the concept of the mechanics of an audition.

Lesson 8 – Previews

Educational Objective: Students will practice performance and performance analysis by performing their monologues in front of the class and evaluating each other.

Materials needed:

Paper to give feedback on Audition clip 1: http://www.youtube.com/watch?v=AyyQGUQXpnw (show first thirty seconds, skip

to the last ten) Audition clip 2: http://www.youtube.com/watch?v=Zb9gzLU3hvQ (show first 43 seconds, skip to

1:40) Peer Evaluation Sheet


Application Perspective Empathy Self Knowledge


Theatre is dependent on the relationship between audience and performers Theatre teaches empathy for self and others


How/Why is respect of others important? How are we able to vary our objectives and tactics in the moment of our performance?

Hook: (20 minutes)

Show the audition clip and once it is over, ask students to explain what objectives and tactics they saw. Were they listening or just reciting lines? Why? How? What was the moment before? Did they slate well? Was there a moment before? Did they use the fourth wall? How did they end the scene?

Step 1 - Performance (50 minutes)

Once you have discussed the clip as a class, hand out the peer evaluation sheet (below). Tell students that they need to evaluate at least six of their peers.

Critic:____________________________ Performer:___________________________

Things to work on: (“I wonder if…”) Things done well:

Tactics (three or more) and Objective (clear and fought for)

________________________________ ____________________________________

________________________________ ____________________________________

________________________________ ____________________________________

Listening (not just reciting lines, but really communicating)

________________________________ ____________________________________

________________________________ ____________________________________

________________________________ ____________________________________

Walk-in and slate

________________________________ ____________________________________

________________________________ ____________________________________

________________________________ ____________________________________

4th wall, ending the monologue

________________________________ ____________________________________

________________________________ ____________________________________

________________________________ ____________________________________

Moment before

________________________________ ____________________________________

________________________________ ____________________________________

________________________________ ____________________________________

Miscellaneous

________________________________ ____________________________________

________________________________ ____________________________________

________________________________ ____________________________________

Ask students to be kind in their feedback, and helpful. Ask them to think about the kind of feedback they want to receive. Use complete sentences and fully flesh out thoughts and ideas. Explain to students that after their preview for their peers or from you, to collect the written feedback from you and their peers. Remind them to not lose those notes!

Final Assessment for Lesson 8: (50 points - formal feedback on scene)

Have a review form for each student yourself, be sure and score students (10 points per section). Remember to not grade students too harshly as it is a preview.

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