Theatre Arts Curriculum PDF

ROCKWOOD
SCHOOL
DISTRICT
THEATRE ARTS
CURRICULUM 6-12
We do whatever it takes to ensure all students realize their potential
May, 2002 Theatre Arts 6-12 Approved by Board of Education

May, 2003, Annual Review with Changes to Curriculum Advisory Committee
May, 2004, Revised Theatre Design & Technology to qualify for Fine Arts Elective
Winter, 2006-2007 Program Evaluation
November, 2007, In-Depth Review Draft to CAC
February, 2008, In-Depth Review Draft to the Board of Education
Approved by the Board of Education on March 11, 2008
Review 1-14-09
Index
Rockwood School District Mission Statement ..............................................................4
Rockwood School District Learner Expectations ..........................................................5
Differentiation and Acceleration in Theatre Arts ..........................................................6
Basic and Essential Skills .............................................................................................6
Equity in Theatre Arts ....................................................................................................7
Data Driven Teaching Learning Model .........................................................................8
Rationale ........................................................................................................................9
Theatre Arts Goals for Graduates ..................................................................................9
Implementation Guidelines .........................................................................................10
Expectations for Audience Etiquette ..........................................................................11
Careers in Theatre Arts. ...............................................................................................12
Core Conceptual Objectives for Theatre Arts Grades 6-12 .13
Scope and Sequence .....................................................................................................14
Core Conceptual Objectives for Dance & Performance Movement ............................24
Overview of Dance Learning Targets ..........................................................................26
Middle School Theatre Arts Curriculum .....................................................................27
Middle School Theatre Arts Course Map ....................................................................28
Middle School Theatre Arts Course Description Guide ..............................................29
Grade Six: Introduction to Theatre & Speech.............................................................30
Grade Seven: Acting & Communication Lab .............................................................62
Grade Eight: Theatre Arts ...........................................................................................94
High School Theatre Arts ..........................................................................................127
High School Theatre Arts Course Map ......................................................................128
Theatre Arts Course Description Guide .....................................................................129
Theatre Arts I: Actors Studio...................................................................................131
Theatre Arts II: Theatre Performance & Production ................................................165
Theatre Arts III: Directors Studio ............................................................................200
Theatre Arts IV: Studio Theatre ...............................................................................236
Theatre Design and Technology ................................................................................292
Dance & Performance Movement .............................................................................327
Appendices .................................................................................................................369
Fine Arts Resource Selection Evaluation Checklist ..................................................370
Rockwood Writing Guidelines ..................................................................................372
Missouri Show-Me Standards ....................................................................................376
Integrated Fine Arts Vocabulary ................................................................................384
Graphic Organizers ....................................................................................................393
ACKNOWLEDGEMENTS
The writing team gratefully acknowledges those parents, patrons, students, teachers,
and administrators who provided direction and feedback to the document at every stage
of its development.
Middle School Writing Committee Theatre Arts Teachers

Kim Anderson, Becky Kranz, Jeanna Muench, Troy Schnider
High School Writing Committee Theatre Arts Teachers
Susie Allmendinger, Judi Greene, Keaton Treece
Consultants
Marti Fowler, Theatre Arts, Retired Fine Arts Coordinator Hazelwood School District
Lorilee Richardson, Dance Teacher, Parkway School District
Lee Mitchell, Librarian
Administrator Review Committee
Lisa Kaczmarczyk, Mitch Lefkowitz, Dan Thoman, Renee Trotier
Parent and Student Review Committee
Megan, Robert, and Linda Bedenikovic, Ryan Buell, Anne and Elizabeth Doing,
Betsy and Lisa Farrar, Heather Haberberger, Miranda Hoffman, Tom and Will Mason,
Ryan Neal, Judy, Phil, and Shannon Nicholson, Ariel Ellie and Karel Worley
Department of Curriculum and School Leadership
Dr. Kathy Peckron Deputy Superintendent
Dr. Cheryl Venet Coordinator of Fine Arts
Support Staff
Mary Hunt Fine Arts Department Secretary
ROCKWOOD SCHOOL DISTRICT MISSION STATEMENT
All students, with support from the community, parents, and staff, will be provided a
dynamic curriculum within a safe and caring environment so they will develop the skills,
abilities, and attitudes to be lifelong learners and citizens of good character who are
prepared to contribute to an ever-changing, global society.
ROCKWOOD SCHOOL DISTRICT LEARNER EXPECTATIONS

ROCKWOOD STUDENTS
ARE LEARNERS:
With positive self-worth
Who demonstrate critical thinking and

problem-solving skills in all areas.
Who demonstrate verbal,

quantitative, cultural, and
technical literacy.
Who demonstrate the

adaptability necessary for
life in a changing world.
Who can utilize community

resources to foster continual
growth and development.
Who think and express

themselves creatively and
appreciate the creativity of
others.
With skills and attitudes

necessary to become selfdirected, life-long learners.
Who have a broad

familiarity with the world
of work to develop and
enhance their career
potentials and opportunities.
Who understand the value of

effort in realizing their full
educational, vocational, civic,
and personal potential.
Who understand and

appreciate the elements
and principles of the arts
and their influence on all areas
of life.
Who understand the principles

of physical and emotional
health and the importance of
maintaining them.
Who understand and

demonstrate individual, social,
and civic responsibility, including
a global concern, tolerance, and
respect for others.
With effective skills in written

and oral communication.
Who demonstrate individual

and social ethics.
DIFFERENTIATION AND THEATRE ARTS

The Theatre Arts Department in the Rockwood School District differentiates instruction
through a variety of facilitating activities that address students unique abilities. Teachers
should consider differences in learning styles, skill levels, and student interest when
planning instruction. Differentiation strategies are listed for each CCO.
ACCELERATION AND THEATRE ARTS

Advanced students are accelerated in Theatre Arts in a variety of ways. They perform
more challenging parts, have opportunities for solo performances, and are provided
opportunities for participation in extra-curricular theatre productions.
BASIC AND ESSENTIAL SKILLS

All content and skills of a curriculum document are classified as either
BASIC or ESSENTIAL according to the definitions set forth by the Rockwood
Curriculum and Instruction Department.
BASIC SKILLS
Those skills which lay the basis/foundation for all future learning:
Reading
Writing
Math
Problem solving
Working with others
Analytical skills
Effective communication
ESSENTIAL SKILLS
Those skills which are vital to future learning (specific to each content area):
Specific skills listed by grade level/course
Scope/sequence
Critical to mastery of the course
EQUITY IN TEACHING THEATRE ARTS

Theatre Arts teachers create a positive classroom environment in which all students are
accepted and taught mutual respect. Teachers model sensitivity to differences in race,
gender, ethnicity, and ability/disability. Teachers address individual and group needs of
students in Theatre Arts classes.
Racial/Ethnic Equity
Teachers use a variety of teaching styles consistent with the learning styles of racial,
cultural, and ethnic groups represented in their classrooms. Racial/ethnic equity is taught
in Theatre Arts through analysis and discussion of scripts that reflect historical and
contemporary racial/ethnic issues.
Gender Equity
Gender equity is taught in Theatre Arts through analysis of scripts and characters.
Students compare and contrast the roles available to male and female actors in various
historical eras and cultures. Teachers select plays that have roles proportionate to the
number of interested male and female students.
Technology Skills
In Theatre Arts, students learn to demonstrate skills in a variety of types of technology
including lighting systems, sound systems, recording equipment, and computer software.
Technology integration is listed for each CCO.
Research/Information Processing
Students use research and information processing skills in Theatre Arts as part of
character and script analysis. Students use text, Computer-based resources, and media
sources to research the time period, culture, characters, environment, social/historical
context and use of technology. This information is essential to performing or producing a
dramatic work. Research is listed for each CCO under Facilitating Activities, Extended
Level Depth of Knowledge.
Department of Curriculum and School Leadership

Rockwood School District 2004
ROCKWOOD THEATRE ARTS RATIONALE

The Rockwood Theatre Arts program teaches theatre analysis, performance, and
production. Students apply critical and creative thinking skills to solve problems.
Theatre Arts courses teach the role that theatre plays in history and culture. Students
learn to make knowledgeable and discriminating judgments about the professional
theatre, films, television, web-based media and advertising that they see and hear in daily
life. Discussions of aesthetics in theatre help students recognize and appreciate diverse
backgrounds and points of view.
The Rockwood Theatre Arts program will enable students to become effective
communicators who can confidently speak in front of an audience in either a theatrical
production or other environment. Students will be able to participate in community
theatre as amateur performers. Should students choose theatre as a career, they will be
prepared to enter a professional training program in a college or university.
ROCKWOOD THEATRE ARTS GOALS FOR GRADUATES

Graduates of the Rockwood Theatre Arts Program will:
Acquire skills necessary for life-long theatre skills learning and application.
Feel comfortable speaking to audiences.
Prepare and present a proficient performance, alone or in an ensemble.
Make knowledgeable and discriminating judgments about theatre in all media formats.
Understand the relationship of theatre to other arts and to non-arts disciplines.
Enjoy and appreciate theatrical performances within their historical and cultural contexts.
IMPLEMENTATION GUIDELINES AND EXPECTATIONS

This document is externally aligned with the Missouri Show-Me Standards and Grade
Level Expectations for Theatre Arts. Content standards, process standards, and GLEs are
coded for each course and grade level. There is internal alignment between the
objectives, facilitating activities, and assessments. Teachers develop, implement, and
assess the curriculum by following the Rockwood Data-Driven Teaching and Learning
Model.
The Theatre Arts curriculum presents broad, recurring Core Conceptual Objectives
(CCOs) along with the specific, essential content and process skills taught at each grade
or course level. Teachers pre-assess to determine students prior knowledge, and then
differentiate instruction to provide appropriate challenge for each student. The essential
content and skills are presented in student-friendly language as daily Learning Targets.
Essential Understandings place student learning in the context of life beyond schooling.
Facilitating Activities and Differentiation Suggestions offer teachers various models for
teaching the knowledge and skills. Teachers are expected to give students specific
formative feedback during the learning process. Students and teachers use Scoring
Guides to describe and improve student achievement. Required Application Level
Assessments (ALAs) provide evidence of student learning.
This is a living, changing, document that will be reviewed and revised annually. Teacher
feedback is essential to this process. Therefore, teachers are encouraged to record
observations and comments about the curriculum as well as ideas for additions and
deletions. Throughout the course of the year, teachers should document demonstrations
of each ALA to be used in the refinement of scoring guides and the development of
consistent scoring.
Expectations for Audience Etiquette, Grades 6-12

(Missouri GLE PP1E grades 6-12)
Audience Etiquette is the way individuals are expected to behave when attending a live
theatrical performance or presentation.
All students are expected to understand and adhere to the following guidelines:
Arrive early, having taken care of personal needs.
Dress appropriately.
Turn off all electronic devices.
Bring no food, candy, or beverages into theatre spaces.
Stay seated and still during the performance. Exit and enter only during scene
changes or during intermission.
Be considerate of those around you.
Focus on the performance.
React and applaud respectfully with the rest of the audience during and after the
performance.
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Careers in Theatre Arts

(Missouri GLE HC2B grades 6-12)
The study of Theatre Arts can lead to a variety of occupations that are listed below.
Playwright .....................Author of plays
Librettist ........................Author of the book for a musical
Composer ......................Person who writes music
Lyricist ..........................Person who writes the words in songs for a musical
Actor .............................Performer in plays
Dancer ...........................Performer in dance productions and musical theatre
Producer ........................Person who manages financial backing for a theatrical
production
Director .........................Person who coordinates and facilitates all technical and
performance aspects of a production.
Set Designer ..................Designer of the sets for a production
Lighting Designer .........Designer of the lighting for a production
Costume Designer .........Designer of the costumes for a production
Make-up Designer .........Designer of the make-up for a production
Sound Designer .............Designer of the sound for a production
Stage Manager ..............Person who coordinates a shows design aspects calls all
technical cues during a performance
Properties Master ..........Person who researches, collects and creates props for a
production
Box Office .....................Handles ticket sales for a production
Choreographer...............Designer of dance pieces in a production
Stage Crew ....................People who work in the booth and back stage on technical
aspects in preparation and performances of a production
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CORE CONCEPTUAL OBJECTIVES FOR GRADES 6-12 THEATRE ARTS

Core Conceptual Objectives (CCOs) in the Theatre Arts curriculum are aligned with
Missouri Fine Arts Standards and grade level expectations. Codes after each CCO
indicate this alignment. The CCOs remain constant for grades 6-12 while content
knowledge and techniques spiral to provide continuous refinement of basic theatre skills.
Scoring Guides following each CCO indicate the level of proficiency.
Core Conceptual Objectives:
I. Students will create theatrical productions/performances. FA1, G2.5, GLE: HC1A,
HC1B, HC2A, IC1B
II. Students will apply knowledge of theatrical elements. FA1, FA2, GLE: PP1A, EP1A,
PP1C, EP1C, PP1D, EP1D, IC1B, HC2B
A. Script Writing
B. Acting
C. Design and Technical Theatre
D. Directing
III. Students will explain aesthetics of theatre and evaluate theatrical performances. FA2,
FA3, GLE: AP1A, AP1B, IC1B
A. Theatre Criticism
B. Aesthetics
IV. Interdisciplinary Connections - Students will make connections among the arts and
between theatre and non-arts disciplines. FA4, GLE: IC1A, UC1B, IC2A
A. Connections among the Arts
B. Connections between Theatre and Non-Arts Disciplines
V. History and Culture - Students will demonstrate knowledge of theatre in historical and
cultural contexts. FA5, G1.9, GLE: HC1A, HC1B, HC2A
The Scope and Sequence Chart illustrates the way in which knowledge and technical
skills build within each CCO. Teachers select theatre literature that is matched to levels
of proficiency in reading skills and performance skills.
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Scope and Sequence of

Theatre Arts
Content and Skills
13
THEATRE ARTS SCOPE AND SEQUENCE FOR CCOI

Content is listed where it is first assessed. It may be introduced earlier and will be reviewed and
reinforced in subsequent courses.
CCO I. Students will create theatrical productions/performances.

Middle School
Grade Six - Introduction to
Theatre and Speech
Learning Target
Act in a scene for an audience demonstrating: physicalization,
vocalization, blocking, mental focus, objective, and tactics.
Grade Seven-Acting and

Communication Lab
Act as a character different from self in a performance for an

audience.
Grade Eight-Theatre Arts

High School
Perform an acting/technical role in an ensemble performance for an

audience.
Learning Target
Theatre Arts I - Actor's Studio
Memorize and perform a character for a scene.
Theatre Arts II Theatre

Performance & Production
Perform a script for an audience.

Create a promotional plan for a production.
Theatre Arts III - Director's

Studio
Studio Theatre
(May be taken for repeatable
elective credit)
Theatre Design and Technology

elective credit)
Direct other students in a performance.

Perform a repertoire of audition monologues.
Students who take this course for repeatable credit will select one of
the following as an area of emphasis:
Research and perform Childrens Theatre.
Research and perform Improvisational Theatre.
Research and perform Musical Theatre.
Direct a theatrical production.
Create and use sets, props, costumes, hair, make-up, lights, and
sound plans for a performance/production.
Students who take this course for repeatable credit will prepare a
technical theatre production book.
14
THEATRE ARTS SCOPE AND SEQUENCE FOR CCOII

CCO II. Students will apply knowledge of theatrical elements.

A. Script Writing
Middle School
Theatre and Speech
Communication Lab
High School
Studio
Studio Theatre
elective credit)
elective credit)
Learning Target
Write an outline of a story for performance including a beginning,
middle, climax, conflict resolution, and end.
Write a description of a character.
Write a script for a scene including dialogue, setting and character
description.
Learning Target
Write a script for a scene including plot and dialogue.
Write a script that includes the basic dramatic structure, stage
directions, and dialogue where characters interact with each other to
tell a story.
Write a scene with two or more characters that includes dialogue,
stage directions, character relationships, and plot.
Write two contrasting monologues that demonstrate dimensions of
character: psychological, sociological, and physiological.
Write a Childrens Theatre script.
Write prompts for Improvisational Theatre.
Write a Musical Theatre script.
Write and direct a script.
Write a scene with technical plots for each element.
15

B. Acting
Middle School
Learning Target
Grade Six Introduction to

Theatre and Speech
Develop and perform a pantomime communicating information

non-verbally through gestures, posture, facial expression,
movement, and imaginary props.
Grade Seven - Acting and

Communication Lab
Perform a memorized script creating a character based on given

circumstances.
Grade Eight -Theatre Arts

High School
Perform a scene using blocking.

Learning Target
Analyze a script for given circumstances.
Develop a character.
Demonstrate stage movement.
Demonstrate stage geography.
Perform a character using physical and vocal expression.
Analyze a script for character analysis, plot structure, character
motivation and development, and time period.
Audition for, memorize, rehearse, and perform assigned part.
Apply student-directors vision to character development in a
performance.
Theatre Arts I Actors Studio

Theatre Arts III Directors
Studio
Demonstrate acting techniques developed by Stanislavski, Meisner,

and Strasburg.
Studio Theatre
elective credit)
Research and demonstrate acting skills needed for Childrens
Theatre.
Research and demonstrate acting skills needed for Improvisational
Theatre.
Research and demonstrate acting skills needed for Musical Theatre.
Direct actors in acting skills appropriate to genres.
16

Middle School
Learning Target
Theatre and Speech
Select and use props in a scene.
Communication Lab
Design a scene using set pieces.
Design and justify the use of lighting and costumes for a scripted
scene.
High School
Learning Target
Analyze a script for its technical aspects related to props and
costumes.
Develop a plan for using props and costume pieces in a scene.
Develop a ground plan for set design.
Analyze a script for its technical aspects.
Develop a plan for using script-appropriate props, costumes, and set
pieces in a scene.
Studio
Studio Theatre
elective credit)

elective credit)
Design a set and stage diagram for a production.

Design costumes, props and make-up plots.
Students who take this course for repeatable credit will research and
develop a make-up morgue.
Analyze scripts to determine technical needs.
Create technical plots for a production.
Operate light and sound boards.
Build and dress a set.
Safely use power tools.
Create costumes, props and make-up plots.
Design and create a set model and stage diagram for a production.
Students who take this course for repeatable credit will develop a
technical portfolio.
17

D. Directing
Middle School
Theatre and Speech
Communication Lab
Grade Eight - Theatre Arts
High School
Not addressed in this course..

Learning Target
Block a scripted scene.


Studio
Studio Theatre
elective credit)
Learning Target
Direct actors in a performance.

Select a published work.
Analyze the script.
Develop and present a production book.
Audition actors.
Determine technical needs, interview and select technical personnel.
Communicate directors vision.
Rehearse the script.
Produce a final performance of the work.
Self-direct monologues and direct scenes.
Students will research and direct Childrens Theatre.
Students will research and direct Improvisational Theatre.
Students will research and direct Musical Theatre.
18
THEATRE ARTS SCOPE AND SEQUENCE FOR CCO III

CCO III. Students will explain the aesthetics of theatre and evaluate theatrical
performances.
Middle School
Learning Target

Theatre and Speech
Using theatre terminology, give constructive criticism of theatrical

performances.

Communication Lab
Using theatre terminology, critique a scripted scene.

High School
Using theatre terminology, critique a scripted scene on acting and

technical elements.
Learning Target
Analyze and write a peer evaluation of a performance addressing

actors choices.

Using theatre terminology, evaluate a theatrical production.

Studio
Studio Theatre
elective credit)

elective credit)
Using theatre terminology critique and provide feedback to actors

and technical crew to improve the performance.
Analyze and write comprehensive reviews of theatrical productions.

Using theatre terminology, evaluate a production on the selection
and application of make-up, costumes, props, set, lighting, and
sound.
Students who take this course for repeatable credit will:
Evaluate the technical aspects of a performance and suggest changes
that would improve the production.
19
CCO III. Students will explain the aesthetics of theatre and evaluate theatrical
performances.
B. Aesthetics (personal and group responses)
Middle School
Learning Target
Theatre and Speech
Communication Lab
Respond to a live theatre performance considering physiological,

cultural and personal points of view.
Compare personal responses to a performance.

High School
Explain how personal responses can vary based upon age, gender,
ethnicity, nationality, race and/or cultural group.
Learning Target
Analyze a theatrical performance addressing the aesthetic elements.
Theatre Arts II- Theatre

Studio
Studio Theatre
elective credit)

elective credit)
Analyze a theatrical production addressing aesthetic elements.

Compare and contrast audience aesthetic responses to various
theatrical genres.
Analyze a theatrical performance addressing how actors choices
influence the audiences aesthetic responses.
Explain how technical aspects of a theatre production affect
personal and audience responses.
Students who take this course for repeatable credit will compare
responses to two different technical interpretations of the same
work.
20
THEATRE ARTS SCOPE AND SEQUENCE FOR CCO IV

CCO IV. Students will make connections among the arts and between theatre
and non-arts disciplines.
CCO IV A. Connections among the arts
Middle School
Learning Target
Theatre and Speech
Connect physicalization in theatre to figures in artworks.
Communication Lab
Relate the expression of movement in theatre to music.
High School
Compare and contrast stage pictures to paintings or photographs.

Learning Target
Compare costume design in theatre to fashion design in art.
Theatre Arts II - Theatre

Compare and contrast the ways that music is used in theatre.

Studio
Connect the director's role in theatre to the choreographer's role in

dance.
Create a stage movement piece to music.
Studio Theatre
elective credit)
Research and use music in Childrens Theatre.
Research and use music in Improvisational Theatre.
Research and use music in Musical Theatre.
Direct a theatrical production using music.
Connect math skills to the design and construction of sets.
Connect scientific knowledge to the application of lighting and
sound in theatre.

elective credit)
Students who take this course for repeatable credit will use art and
music skills to modify lighting and sound to reflect the mood of a
performance.
21
CCO IV. Students will make connections among the arts and between theatre
B. Connections between theatre and non-arts disciplines
Middle School
Learning Target
Theatre and Speech
Draw a set floor plan for a play using a 1/12 scale.
Communication Lab
Compare how given circumstances are expressed in theatre and

literature.

High School
Relate how mathematics is used to create a show budget.

Learning Target
Relate vocalization in theatre to vocal health.

Studio
Studio Theatre
elective credit)

elective credit)
Compare a script to a similar literary work.

Apply Communication Arts skills to the directing process.
Choose a character from a historical literary piece to develop a
character for performance.
Research and select a historic literary piece to adapt for Childrens
Theatre.
Research Commedia Dell'Arte and then compare and contrast it to
Improvisational Theatre.
Research and select a historic literary piece to adapt for Musical
Theatre.
Research and select a historic literary piece; adapt it to a one-act and
direct it.
Apply and incorporate mathematical and scientific elements to
theatre technology.
Students who take this course for repeatable credit will design a set
model to scale.
22
THEATRE ARTS SCOPE AND SEQUENCE FOR CCO V

CCO V. Students will demonstrate knowledge of theatre in historical and cultural

contexts.
Middle School
Learning Target

Theatre and Speech
Compare and contrast television and live theatre.

Communication Lab
Compare and contrast Commedia dellArte to contemporary

American/European drama.

High School
Compare and contrast the use of theatrical elements in Ancient

Greek, Commedia DellArte, Elizabethan, and Romantic time
periods to contemporary American/European drama.
Learning Target
Theatre Arts I - Beginning

Acting
Compare and contrast Greek/Roman theatre with Elizabethan

theatre.

Theatre Arts III - Directing
Studio Theatre
elective credit)

elective credit)
Compare and contrast American Theatre from different eras.

Compare and contrast Renaissance Theatre in continental Europe
and Restoration Theatre in England.
.
Compare and contrast monologues from classical and contemporary
periods.
Students who take this course for repeatable credit will compare and
contrast theatre in historical periods related to their choice of
emphasis: Childrens Theatre, Improvisational Theatre, Musical
Theatre, or drama based upon literature.
Compare and contrast technical aspects of Medieval and
Contemporary theatre.
Students who take this course for repeatable credit will design a set
for one production using two different time periods.
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CORE CONCEPTUAL OBJECTIVES FOR DANCE & PERFORMANCE

MOVEMENT GRADES 9, 10, 11, OR 12
Dance is being offered for the first time as a semester course in Fine Arts under the
Theatre Arts Curriculum. Core Conceptual Objectives (CCOs) in the Dance &
Performance Movement course are aligned with Missouri Fine Arts Standards and are
indicated by codes after each CCO. Grade level expectations for dance have not been
written at this time. Scoring Guides following each CCO indicate the level of
proficiency.
Core Conceptual Objectives:
I. Students will perform dance. FA1, FA2, G2.5,
A. Body Skills, Movement Skills and Performance Values
B. Elements of Dance
II. Students will express ideas, experiences, feelings, and images in original and artistic
choreography. FA1, FA2, G2.5
A. Choreographic Principles, Structures, and Processes
B. Create and Communicate Meaning in Dance
III. Students will explain perceptions about and evaluations of dancers and choreography
using dance vocabulary. FA2, FA3
IV. Students will make connections between dance and another discipline. FA4
V. Students will demonstrate knowledge of dance in historical and cultural contexts.
FA5, G1.9
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DANCE & PERFORMANCE MOVEMENT CHART
CCO I. Students will perform dance.
A. Body Skills, Movement Skills, and Performance Values

Rehearse, revise, and perform original or existing dances or dance studies that demonstrate beginning level
body and movement skills and performance values for dance.
Perform an original or existing dance or dance study that demonstrates understanding of dance elements:
space, time, and energy.
CCO II. Students will express ideas, experiences, feelings and images in original and artistic
choreography.

Choreograph a dance or dance study that demonstrates understanding of choreographic principles, structures
and processes, and revise and refine this composition, working collaboratively with other dancers.
Create a dance or dance study that communicates meaning using the language of dance.
CCO IV. Students will make connections between dance and another discipline.
Relate and transfer meanings, ideas, and processes from language literacy to dance.
CCO IV. Students will make connections among the arts and between dance and non-arts disciplines.
Relate and transfer meanings, ideas, and processes from language to dance and from dance experiences to
language, other disciplines or other art forms.
CCO V. Students will demonstrate knowledge of dance in historical and cultural contexts.
Compare and contrast social dance and concert dance in historical contexts.
25
Middle School Theatre Arts Curriculum
26
MIDDLE SCHOOL
THEATRE ARTS COURSE MAP
Grade 6
Grade 7
Grade 8
Introduction to
Theatre and
Speech
Acting and
Communication
Lab
Theatre Arts
27
Middle School Theatre Arts Course Descriptions

Grade Six: Introduction to Theatre and Speech (one quarter)
Introduction to Theatre and Speech, a beginning course, is designed to familiarize students with acting and
speaking skills. Students will participate in various activities that may include puppetry, plays, pantomime,
improvisation, readers theatre, storytelling, and impromptu, and/or informative speeches. Through these
activities, they will learn physical and vocal presentation skills and develop basic knowledge of theatre arts
and public speaking.
Grade Seven: Acting and Communication Lab (one semester)
Acting and Communication Lab students develop acting skills and speaking skills. Acting activities focus
on developing character, vocal expression, stage movement, memorization skills, and improvisations.
Students use costumes, props, and scenery to add to their performances. Communication activities involve
levels of communication. Students will build self-confidence in speaking to small groups as well as larger
audiences. Activities will include interviewing, story-telling, using visual aides, and formal speaking.
Evaluation will be based primarily on in-class performances.
Grade Eight: Theatre Arts (one semester)
In Theatre Arts, students explore all aspects of theatre including acting, design, and stagecraft. Students
learn basic acting skills through activities such as improvisation, monologue, and scene work. All students
participate in class performances. Students have the opportunity to explore technical theatre and design
through projects and demonstrations.
28
Grade Six: Introduction to Theatre & Speech
29
Overview of Learning Targets for Grade Six: Introduction to Theatre & Speech
Content is listed where it is first assessed. It may be introduced earlier and will be reviewed and reinforced
in subsequent courses.
Act in a scene for an audience demonstrating: physicalization, vocalization, blocking, mental focus,
objective and tactics.
A. Script Writing
Write an outline of a story for performance including a beginning, middle, climax, conflict resolution, and
end.
B. Acting
Develop and perform a pantomime communicating information non-verbally through gestures, posture, facial
expression, movement, and imaginary props.

CCO III. Students will explain aesthetics of theatre and evaluate theatrical performances.
Using theatre terminology, give constructive criticism of theatrical performances.

Respond to a live theatre performance considering physiological, cultural and personal points of view.
CCO IV. Students will make connections among the arts and between theatre and non-arts disciplines.
A. Connections between Theatre and Non-Arts Disciplines

Draw a set floor plan for a play using a 1/12 scale.
CCO V. Students will demonstrate knowledge of theatre in historical and cultural contexts.
Compare and contrast television and live theatre.
30
Grade Six Introduction to Theatre & Speech

Core Conceptual Objective I: Students will create theatrical productions/performances.
Essential Question
What is acting and how is it done?
Content and Skills:

By the end of this grade/course students
should know:
How to perform an acting scene for an
audience demonstrating: physicalization,
vocalization, blocking, mental focus,
objective, tactics
Missouri State Standards

FA 1, G 2.5, GLE: PP1B
Grade 6, PP1F Grade 6
Learning Target
By the end of this grade/course students should be able to do:
Act in a scene for an audience demonstrating:
physicalization, vocalization, blocking, mental focus, objective,
and tactics.
Unit Vocabulary: character, volume, rate, blocking, scene, cue, lines, break character, objective, tactics,
situation, conflict
Pre-Assessment:
Students perform improvisations.
Facilitating Activities at Depth of Knowledge levels:
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Practice matching
Discuss how external
Develop, rehearse and
definitions of
attributes reflect
perform a scene for peer
vocabulary with the
character.
critique. Improve
correct terms through
performance based on
theatre games,
feedback.
worksheets, and
improvisation.
Strategy:
Lectures with common
examples
Strategy:
Modeling, lecture,
critique, video clips
Assessment:
Identify components of
acting in a given story.
Assessment:
Develop a scene for
performance.
Strategy:
Modeling, conducting
rehearsal, guiding peer
critique
Assessment:
Perform an acting scene.
Technology Integration:
Students could videotape performances for review.
Students research and find video clips using the computer.
31
Level 4
Extended Thinking
Activity:
Research and analyze
scenes from a Greek
play and compare it to a
current movie or
television program.
Rewrite the scene for
todays audiences.
Rehearse and perform
for peer critique.
Improve the
feedback and selfevaluation.
Strategy:
critique
Assessment:
Perform a scene based
upon a contemporary
interpretation of a Greek
play.
Differentiation Suggestions:
Based upon readiness/experience students will be given performance tasks for simple versus complex
actions, movements, emotions, and/or activities/storyline.
Advanced students will communicate ideas through increasingly refined gestures, emotions, movements,
and/or facial expressions.
Students will be able to choose to work alone, with a partner, or with a group.
Students could be assigned to homogenous groups so that advanced students can work at a higher level and
beginning students could get more help from the teacher.
Students could be assigned to heterogeneous groups so that advanced students can coach beginners.
Application Level Assessment for CCO I
Student Task:
Act in a scene for an audience demonstrating: physicalization, vocalization, blocking, mental focus,
objective, and tactics.
How will students demonstrate transfer of skills to a new context?
Students will communicate ideas more clearly by using verbal, vocal and non-verbal skills.
Students will build upon their performance and/or presentation skills.
Students will gain a greater appreciation of theatrical performances.
32
Scoring Guide for Grade Six Introduction to Theatre & Speech CCO I
Learning
Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Vocalization
With prompting, the

following were mostly
consistent during of the
scene:
Volume appropriate to
the room size
Rate not too fast or
slow
Enunciation/Articulation
easily understood
With prompting, the following

were sometimes consistent
during of the scene:
Volume appropriate to the
room size
Rate not too fast or slow
easily understood

were infrequently consistent
throughout of the scene:
room size
easily understood
Even with prompting, the

following were inconsistent
throughout most of the scene:
Volume too soft or too loud
Rate too fast or slow
difficult to understand
Objective
With prompting, objectives

of the character throughout
most the scene were:
Consistent
Clear
Suited to the character
Suited to the situation
With prompting, objectives of

the character through some of
the scene were:
Consistent
Clear

the character during the scene
were infrequently:
Consistent
Clear
Even with prompting, objectives of

the character throughout the scene
were:
Inconsistent
Unclear
Unsuited to the character
Unsuited to the situation
Tactics
With prompting, tactics of

the character included most
of the following:
Various physical
strategies
Various vocal strategies
Character consistency
Growth in intensity
With prompting, tactics of the

character sometimes included:
Various physical strategies

character infrequently included:
Physical strategies
Vocal strategies
Even with prompting, tactics of the

character included:
Few or no physical strategies
Few or no vocal strategies
Character inconsistency
33
Acting /
Reacting
With prompting, the acting

throughout the scene was
mostly:
Believable
Genuine, not
manufactured
Unique

somewhat:
Believable
Genuine, not manufactured
34

infrequently:
Believable
Even with prompting, the acting

throughout the scene was:
Unbelievable
Manufactured

Core Conceptual Objective II: Students will apply knowledge of theatrical elements.
A. Script Writing
Essential Question
How is a story made into a script?

FA 1, G 2.5, GLE: PP1A
Grade 6, EP1A Grade 6
Content and Skills:

By the end of this grade/course students should
know:
Learning Target
By the end of this grade/course students should be
able to do:
Write an outline of a story for performance
including a beginning, middle, climax, conflict
resolution, and end.
The parts of a story:

beginning, middle, climax, conflict resolution, end
Unit Vocabulary:
Synopsis, beginning, middle, end, rising action, falling action, conflict resolution
Pre-Assessment:
Students improvise a short situation scene.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity
Activity:
Activity:
Take notes while teacher Groups of students
Develop an original
lectures. Practice by
perform different parts
story incorporating all
using the terminology to of the same scene. After story parts. Rehearse
describe performances
the performances,
and perform for peer
in class or on video.
students decide how to
critique. Improve
best order the scenes.
performance based upon
feedback.
Strategy:
Lecture with examples
from fairy tales
Assessment:
Match vocabulary terms
with a list of definitions.
Strategy:
Worksheet, think-pairshare, individual work
Assessment:
Develop and perform
scene. Complete a story
timeline.
Strategy:
Conducting rehearsal,
guiding peer critique
Assessment:
Perform an original
story using proper story
structure. Write a
synopsis for your story.
35
Level 4
Extended Thinking
Activity:
Study various story
forms. Consider how
they alter structure,
emphasizing different
elements of character or
theme. Develop an
original story, but
rearrange the story parts
in the same order as a
story you studied.
for peer critique.
Improve performance
based upon feedback.
Strategy:
guiding peer critique
Assessment:
Perform an original
story using proper story
structure, but altering
the chronological order
of events. Write a
synopsis for your story.
Students could research movie clips and DVD performances for presentation in class.
Students could find movie clips on using computer-based resources and DVD performances.
Students could find scripted scenes using computer-based resources.
Students could type their scenes on the computer.
Students could use library resources to research technical elements to enhance their performance.
Based upon readiness/experience, students will be given performance tasks for simple versus complex
Application Level Assessment for CCO II A: Elements - Scriptwriting
Student Task:
Write an outline of a story for performance including a beginning, middle, climax, conflict resolution, and
end.
Students will communicate ideas more clearly by using enhanced presentation skills.
Students who continue in Theatre Arts and literature will build upon their script-writing skills.
Students will better understand the structure of stories in a variety of genres and subject areas.
36
Scoring Guide for Grade Six Introduction to Theatre & Speech, CCO II A: Elements - Scriptwriting
Learning
Target
Write an outline
of a story for
performance.
4
Advanced
Included all elements of a
story:
Beginning
Middle
End
Conflict Resolution
Rising Action
Falling Action
3
Proficient
2
Basic

story except one of the
following:
Beginning
Middle
End
Conflict Resolution
Rising Action
Falling Action
37

story except two of the
following:
Beginning
Middle
End
Conflict Resolution
Rising Action
Falling Action
1
Below Basic
At least four of the following
elements were incomplete:
Beginning
Middle
End
Conflict Resolution
Rising Action
Falling Action

B. Acting
Essential Question
How do actors tell a story to an audience through performance?
Content and Skills:

should know:
How to communicate information nonverbally through gestures, posture, facial
expression, and movement, and
imaginary props.

Grade 6, PP1F Grade 6,
EP1B Grade 6
Learning Target
Develop and perform a pantomime communicating information
non-verbally through gestures, posture, facial expression,
movement, and imaginary props.
Unit Vocabulary: pantomime, imaginary space, imaginary object, cross, blocking, enter, exit, upstage,
downstage, facial expressions, gestures, posture
Pre-Assessment:
Students perform a silent improvisation.
Level 1
Level 2
Recall
Skill/Concept
Activity:
Activity:
Take notes while teacher Act out an activity nonlectures. Practice using
verbally. In-class critique
terminology during and of students pantomimes.
following acting
exercises.
Level 3
Strategic Thinking
Activity:
Analyze an original
story line to determine
the dramatic sequence.
Develop a series of
movements that will
communicate the story
line non-verbally in one
minute. Rehearse and
perform for peer
critique. Improve
feedback.
Strategy:
of pantomime
Strategy:
critique
Strategy:
Modeling and showing
video clip examples
38
Level 4
Extended Thinking
Activity:
Use library resources to
research and analyze the
use of non-verbal
communication in
Commedia dellArte.
Relate this style to
contemporary theatre
(such as TV sitcoms)
and develop an original
script for non-verbal
communication.
Develop a series of
movements that will
communicate the story
line non-verbally in one
minute. Rehearse and
perform for peer
critique. Improve
feedback and self
evaluation.
Strategy:
critique
Level 1
Recall
Assessment:
with a list of definitions.
Level 2
Skill/Concept
Assessment:
Develop and perform a
pantomime based upon a
given activity.
Level 3
Strategic Thinking
Assessment:
Perform an original
pantomime that
communicates a story
line in one minute.
Level 4
Extended Thinking
Assessment:
Perform an original
pantomime based upon a
contemporary
interpretation of
Commedia dellArte.
Students use library resources to research pantomime on the Internet.
Students find pantomime video clips using the computer.
Application Level Assessment for CCO II B: Elements - Acting
Student Task:
Develop and perform a pantomime communicating information non-verbally through gestures, posture,
facial expression, and movement, and imaginary props.
Students will communicate ideas more clearly by using non-verbal skills.
Students who continue in Theatre Arts will build upon non-verbal skills.
39
Scoring Guide for Grade Six Introduction to Theatre & Speech CCOII B: Elements - Acting
Learning
Target
4
Advanced
3
Proficient
2
Basic
Physicalization
With prompting, movement

and body language mostly:
Fit the character
Fit the situation
Has purpose
Communicates clearly
Focused energy

and body language sometimes:
Fit the character
Fit the situation
Has purpose
Focused energy
With prompting, movement and

body language infrequently:
Fit the character
Fit the situation
Has purpose
Focused energy
Even with prompting, movement

and body language are:
Inconsistent with the character
Inconsistent with the situation
Unclear or inconsistent in
purpose
Difficult to follow
Lacks energy
Mental Focus
With prompting, focus

consistently demonstrated:
Timely cues
Blocking is not repeated
Stayed open to audience
Stayed in character
With prompting, focus mostly

demonstrated:
Timely cues
Stayed in character

sometimes demonstrated:
Timely cues
Stayed in character
Even with prompting, focus was

inconsistent due to:
Missed cues
Repeated blocking
Closing off to audience
Breaking character
40
1
Below Basic

Essential Question
How can props be used to enhance a performance?
Content and Skills:

should know:
How to utilize props to enhance
performance.

FA 1, G 2.5, GLE Grade 6:
PP1C Grade 6, EP1C Grade 6
Learning Target
Unit Vocabulary: properties, props, properties master/mistress, props table, realistic/abstract props,
costume pieces
Pre-Assessment:
Students perform improvisations.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
List props used in a
Improvise the use of
scene.
props, and discuss how
research a character.
props can be used to
Choose props to
express character.
enhance the character.
Use the props to
perform a scene.
Strategy:
Lecture, improvisation,
guided peer critique
Assessment:
Match props to
characters who would
use them.
Strategy:
Modeling, lecture,
guided peer critique,
video clips
Assessment:
Demonstrate a character
using props.
Strategy:
rehearsal, guided peer
critique
Assessment:
Perform a scene using a
prop.
Students use library resources to research props on the Internet.
Students find video clips using the computer.
41
Level 4
Extended Thinking
Activity:
French art form
Chapeaugraphy.
Compare chapeaugraphy
with our improvised
props activities. Create a
scene where a single
prop is used seven or
more ways. Rehearse
critique. Improve the
Strategy:
critique
Assessment:
single prop in seven
different ways.
Based upon readiness/experience students can perform simple versus complex tasks when using imaginary
props.
Application Level Assessment for CCO II C: Elements Design and Technical Theatre
Student Task:
Students who continue in Theatre Arts will build upon their ability to incorporate props.
42
Scoring Guide for Grade Six Introduction to Theatre & Speech, CCO II C: Elements Design & Technical Theatre
Learning
Target
Technical
Elements
Props
4
Advanced
Improved the telling of the
story:
Appropriate
Effective
3
Proficient
2
Basic
Helped tell the story:

Appropriate
Effective
Help during parts of the

performance:
Appropriate
Utilized
43
1
Below Basic
Use of the technical element
was:
Inappropriate
Ineffective

Core Conceptual Objective III: Students will explain aesthetics of theatre and evaluate theatrical
performance.
Essential Question
How do we evaluate performing arts?
Content and Skills:

should know:
How to constructively critique theatrical
performances.

FA 3, G 1.5, GLE: AP1A
Grade 6
Learning Target
Using theatre terminology, give constructive criticism of
theatrical performances.
Unit Vocabulary: etiquette, constructive criticism, performance appreciation, ovation, encore, reflection,
technical theatre, and aesthetics
Pre-Assessment:
Peer review critiques of an in-class performance.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Students rehearse and
Practice using
Have students perform
perform an
theatre
an improvisation or
improvisational
terminology when watch a movie or play
scene. Students
watching peer
clip. Toss a ball in a
critique themselves
improvisations.
circle and have each
and take note of peer
student give one
critiques. Students
positive comment and
improve the
one suggestion for
performance based
improvement for a
on the criticism.
performance.
Strategy:
Lecture,
discussion, and
modeling
Strategy:
Modeling, guided
practice
Strategy:
Peer and teacher
feedback, self
critique
Assessment:
Describe how to
give constructive
criticism on stage
movement and
vocalization.
Explain audience
etiquette for a
variety of
performances.
Assessment:
Watch a performance
and give one positive
and one negative
criticism on stage
movement and
vocalization.
Assessment:
Write a critique for a
class performance
including at least two
positive statements
and two suggestions
for improvement.
Justify comments
with reference to
performances.
Students can videotape and view their own performances.
44
Level 4
Extended Thinking
Activity:
Students use library resources to
research professional critiques of
performances they have seen.
They compare their reflections of
the movie to the professional
critiques on how they are the
same or different. Or, students
could compare the video Miracle
Worker to the play version
recognizing similarities or
differences.
Strategy:
Teacher feedback
Assessment:
View a professional performance.
Take the role of a theatre critic
and write an in-depth review that
addresses acting and technical
aspects. Justify comments with
reference to their work.
Students can use word processing to prepare criticisms.

Some students evaluate on concrete aspects of the performance such as projection, blocking, use of set
pieces, costumes.
Some students connect how choices communicate character, situation and message.
Application Level Assessment for CCO III A: Theatre Criticism
Student Task:
Give constructive criticism of theatrical performances.
Students will use constructive criticism to improve all aspects of life.
Students will gain a greater appreciation for theatrical performances.
Students will build upon their critiquing skills.
45
Scoring Guide for Grade Six Introduction to Theatre & Speech, CCO III A: Theatre Criticism
Learning Target
4
Advanced
3
Proficient
Critique Acting
Evaluate an acting
performance on
1. Physicalization
2. Vocalization
3. Blocking
4. Mental Focus
5. Acting
(Objective/Tactics)
Uses descriptions
Supports statements
Repeatedly references
performance
Uses appropriate theatre
terminology with
descriptive adjectives
Uses some descriptions

Supports some
statements
References performance
terminology
Uses few descriptions

Infrequently supports
statements
Infrequently references
performance
Descriptions are
disorganized
Needs to reference
performance
Needs to use theatre
terminology
Critique Technical
Aspects of
Performance:
1. Set
2. Costumes
3. Props
4. Lighting
5. Sound
Uses descriptions
Supports statements
performance
terminology with

Supports some
statements
terminology
Uses few descriptions

statements
performance
Descriptions are
disorganized
Needs to reference
performance
terminology
46
2
Basic
1
Below Basic

performance.
B. Aesthetics
Essential Question
How do I express my reactions to a theatrical performance?
Content and Skills:

By the end of this grade/course students should know:
Types of aesthetic responses to theatre:

Physiological (unconscious physical reactions to what is
seen/heard such as blinking at a bright light)

FA 3, G 2.4, GLE, AP1A
Grade 6, AP1B Grade 6
Learning Target
should be able to do:
Respond to a live theatre performance
considering physiological, cultural and
personal points of view.
Cultural (responses that can vary among different people based

on age, gender, races, nationality, religion, or social groups)
Personal (responses that are based upon an individuals
experiences)
Unit Vocabulary: physiological aesthetic, cultural aesthetic, personal aesthetic, physicalization,

vocalization, blocking, mental focus, acting, reacting, objective, tactics
Pre-Assessment:
Explain the types of aesthetic responses to a theatrical performance.
Level 1
Recall
Activity:
Take notes while the
teacher lectures after a
performance.
Level 2
Skill/Concept
Activity:
Watch a performance
and discuss responses in
groups using theatre
terminology.
Demonstrate examples
of terminology for
clarification.
Level 3
Strategic Thinking
Activity:
Watch a performance
and respond using cards
that recognize different
character,
societal/cultural and
personal values such as:
Are the characters
true to life?
How do the
characters reflect
your life?
To which character
values did you not
agree
Was the culture
correctly identified
through props and
costumes?
47
Level 4
Extended Thinking
Activity:
research a review of a
current Broadway
production in the New
York Times or New
Yorker Magazine.
Compare this to your
written critique of a
performance of the same
work. Justify your
theatrical and personal
perceptions with
references to the work
and to the professional
critique.
Level 1
Recall
Strategy:
Lecture, modeling
Assessment:
Write a definition for
each type of aesthetic
response.
Level 2
Skill/Concept
Strategy:
Modeling, guided
practice
Assessment:
Write a response to a
student performance.
Level 3
Strategic Thinking
Strategy:
Modeling, guided peer
critique
Assessment:
Compare and contrast
personal responses to a
work with those of other
audience members.
Level 4
Extended Thinking
Strategy:
critique
Assessment:
Improve your critique
based on that done by a
professional critic.
Students can videotape and view their own performances to use as a basis for a critique.
Students can type critiques on a computer.
pieces, costumes.
Advanced students can write essays while remedial students can write a series of separate sentences.
Application Level Assessment for CCO III B: Aesthetics
Student Task:
Respond to a live theatre performance considering physiological, cultural and personal points of view.
48
Scoring Guide for Grade Six Introduction to Theatre & Speech, CCO III B: Aesthetics
Learning Target
4
Advanced
3
Proficient
Aesthetics
Response to a live theatre
performance addressing:
1. Physiology (see/hear)
2. Society/Culture
3. The Individual (you)
Uses descriptions
Supports statements
performance
Used theatre terminology

Supports some
statements
49
2
Basic
Used infrequent
descriptions
statements
performance
1
Below Basic
Descriptions are
disorganized
Needs to reference
performance
terminology

Core Conceptual Objective IV: Students will make connections among the arts and between theatre
Essential Question
How do theatre performances reflect the arts?
Content and Skills:
should know:
Relationship between stage pictures and
art images.

FA: 4, GLE: IC1A Grade 6
Learning Target
Physicalization characteristics
facial expression
body position
gestures
Figures in artworks
facial expression
poses body position
space (positive-figure / negativearea around the figure)
balance
Unit Vocabulary: stage picture, body language, sight lines, color, balance, levels, dominant characters,
angles, proximity
Pre-Assessment:
Students identify similarities in body language and figure sculpture.
Level 1
Recall
Activity:
Recognize use
of space in a
scene and in a
painting.
Level 2
Skill/Concept
Activity:
Observe how colors,
angles, levels and
proximity communicate
meaning in both a scene
and a figure sculpture.
Level 3
Strategic Thinking
Activity:
Create and rehearse
an ensemble
improvisational scene
based on a figure
sculpture.
50
Level 4
Extended Thinking
Activity:
Use library resources to research a
figure sculpture from a famous artist
incorporating a minimum of three
human figures.
Write a script based on the use of
space and visual elements in the
painting. Include blocking cues to
establish change in stage pictures
throughout the script. Rehearse the
story and improve it based on peer
critiques.
Level 1
Recall
Strategy:
Lecture with
artwork and
scene examples
Assessment:
Identify use of
composition and
space in both a
stage picture
and figure
sculpture.
Level 2
Skill/Concept
Strategy:
Modeling, lecture,
critique
Level 3
Strategic Thinking
Strategy:
guiding, peer critique
Level 4
Extended Thinking
Strategy:
Conduct rehearsal, guiding peer
critique
Assessment:
Develop and explain a
stage picture using
visual elements.
Assessment:
Perform an ensemble
scene using stage
pictures, angles,
levels, balance, and
proximity. Compare
and contrast the stage
picture with a visual
artwork.
Assessment:
Perform an original story based on a
figure sculpture.
Videotape performance for evaluation.
Students could find movie clips and paintings on the Internet and DVD performances.
Based upon readiness/experience, students will be given performance tasks for comparing stage pictures
and visual arts.
Students could be assigned to heterogeneous groups so that advanced students can coach beginning
students.
Application Level Assessment for CCO IV A: Connections among the arts
Student Task:
Students who continue in Theater Arts and Visual Arts will refine their perceptions of the world.
Students will gain a greater appreciation for the visual picture of theatrical performances.
51
Scoring Guide for Grade Six Introduction to Theatre & Speech, CCO IV A: Connections among the Arts
Learning
Target
Connect
physicalization
in theatre to
figures in
artworks.
4
Advanced
Compares and contrasts

body position, gesture,
and facial expression in
theatre to figures in
artworks
Uses art and theatre terms
References specific works
Supports statements
3
Proficient
2
Basic

body position, gesture,
and facial expression in
artworks
Uses art and theatre terms
Refers to specific works
52
Compares and
contrasts body
position, gesture, and
facial expression in
artworks
Uses some art and theatre
terms
1
Below Basic
Lists information about either

body position, gesture, and
facial expression in theatre or
about figures in artworks

B. Connections between theatre and non-arts disciplines
Essential Question
How does theatre relate to core subject areas?
Content and Skills:
should know:
How set design uses the mathematical
concept of scale relationship.

FA: 4, GLE: IC2A Grade 6
Learning Target
Draw a set floor plan for a play to scale.
Unit Vocabulary: set, sight lines, balance, use of space, platform, flat, masking, free-standing set pieces,
scenery, backstage, wings, birds-eye view, scale
Pre-Assessment:
Students will draw a floor plan to scale.
Level 1
Recall
Activity:
Practice memorizing
definitions using theatre
games, worksheets and
vocabulary exercises.
Level 2
Skill/Concept
Activity:
Draw objects in the
classroom to scale.
Level 3
Strategic Thinking
Activity:
Look at examples of
play floor plans and
discuss how stage
pictures, sight lines, and
scale of set pieces can
be shown to scale.
Strategy:
Lecture, discussion,
modeling
Strategy:
Worksheet, think-pairshare, modeling
Strategy:
Lecture and examples,
guided practice
Assessment:
Match a list of
vocabulary terms with
definitions or pictures.
Students will identify
vocabulary definitions
and identify the scale on
various floor plans.
Assessment:
Sketch a birds-eye view
of their room to scale.
Assessment:
From a scripted scene,
draw a set floor plan to
scale using balance and
composition.
Level 4
Extended Thinking
Activity:
Write an original scene
set in a particular era.
research furniture and
interior design used in
that time period.
Look at examples of
play floor plans and
discuss how stage
pictures, sight lines, and
scale of set pieces can
be shown to scale.
Strategy:
Lecture and examples,
guided practice
Assessment:
From an original scene
set in a particular time
period, draw a set floor
plan to scale using
balance and
composition.
Make a set floor plan on the computer.
Make a virtual model of a setting in Vectorworks / MiniCAD or a similar CAD program.
53
Advanced students can make a 3D model to scale in addition to a floor plan.
Pair mathematically challenged students with others who understand the concepts of scale.
Students can choose to work alone, with a partner, or with a group.
Application Level Assessment for CCO IV B: Connections between theatre and non-arts disciplines
Student Task:
Draw a set floor plan for a play to scale.
Students will apply the concept of scale relationships to their math classes.
Students will be able to apply these concepts to future careers in design, architecture, and/or theatre.
Students will be able to understand floor plans.
Students will be able to apply scale concepts to the design of their living spaces.
54
Scoring Guide for Grade Six Introduction to Theatre & Speech, CCO IV B: Connections between Theatre and Non-Arts Disciplines
Learning
Target
Set Floor Plan
4
Advanced
3
Proficient
2
Basic
Floor plan is:

to scale
balanced
functional
minimal
clear and accurate labeling
inspired/unique
Floor plan is mostly:

to scale
balanced
functional
minimal
clear or accurate labeling
55
Floor plan is sometimes:

to scale
balanced
functional
minimal
includes labeling
1
Below Basic
Floor plan is:
out of scale
unbalanced
impractical
cluttered
illegible or missing labeling

Core Conceptual Objective V: Students will demonstrate knowledge of theatre in historical and
cultural contexts.
Essential Question
How are live theatre and television alike and
different?

FA 5, G 1.9, GLE: HC1A Grade 6, HC1B Grade 6,
HC2A Grade 6
Content and Skills: By the end of this grade/course, students should know:
Style/Period
Style Characteristics
Types of
Context
Time/Place
Plays
Television
1990s-present
United States
Entertainment
Realistic acting style
Violence graphically portrayed
(enhanced)
Successful programs run for
years, reruns
All imaginable uses of
technology/computers special
effects
Music
Costume/make-up
Comedy
Drama
Musicals
Reality T.V.
Live Theatre
1990s-present
United States
Comedy
Drama
Musicals
Improvisation
Narrator or no chorus / Music

Realistic Costuming
Entertainment/Social Change
All theatre types, generally
proscenium
Violence portrayed
Approximately two hour
performances
Successful plays are performed
for months and years at a time,
six days (eight performances) a
week
All imaginable uses of
technology, lighting, sound
effects, fly systems,
pyrotechnics, backdrops,
scenery, set pieces and props
Stories based on any topic

including those of all times
and places
Entertainment
Competitive ratings
Financial backing
Commercial interruptions
Shooting schedule
Trained actors
Fall new season
Disconnect between majority
of audience/performer
including those of all times
and places
Entertainment/Social
commentary
Reviews
Financial backing/Social
commentary
Intermission
Trained actors
Two month rehearsal period
Year-round
Direct connection between
audience/performer
By the end of this course/grade, students should be able to do:

Compare and contrast television to live theatre.
Unit Vocabulary: theatre, television, broadcast, performance, movie, play, sitcom, intermission
Pre-Assessment:
Complete a pre-test on contemporary theatre.
56

Level 1
Recall
Activity:
Take notes while the
teacher lectures.
Level 2
Skill/Concept
Activity:
Work to complete a
VENN diagram
comparing television
and live theatre.
Strategy:
Lecture, show examples
Strategy:
Small group discussion,
examples
Assessment:
television and live
theatre using VENN
diagram.
Assessment:
Identify characteristics
of television and live
theatre.
Level 3
Strategic Thinking
Activity:
Work to complete the
worksheet using detailed
examples to compare
and contrast aspects of
television and live
theatre.
Strategy:
Modeling, rehearsal,
peer critique
Assessment:
worksheet including
details of both styles of
performance.
Level 4
Extended Thinking
Activity:
Find a problem in
society. Consider how it
would be represented on
television. Write the
script. Justify the
choices in the script.
Strategy:
Modeling, rehearsal,
peer critique
Assessment:
Perform the scene.
Write compare/contrast on the computer.
Use library resources to research live theatre on the Internet.
Pair challenged students with others who understand the concepts.
Advanced students can use library resources to research classical theatre and compare/contrast it with
contemporary theatre.
Application Level Assessment for CCO V: Theatre History
Student Task:
Compare and contrast television to live theatre.
Students will understand media references to live theatre.
Students will appreciate the role of theatre in history.
Students might be able to relate the style of clothing, artwork, and performances to that of Greek theatre.
57
Consider the similarities and differences between live theatre and television. Compare the following elements using the VENN diagram below: Actors, Audience, Lighting,
Sound, Make-up, Costumes, Props, Theme, Performance Space, Length of Performance, Genre, Time of Day, Music, Narrator, Song, Set, Scenery, Location, Editing, Movement
TELEVISION
LIVE THEATRE
58
Introduction to Theatre and Speech Reflective Writing Worksheet

Name: _____________________________
Class: _____________________________
Considering the two plays, complete the chart to compare/contrast the works.
Which style is each work?
Work A
Work B
Choose one technical element (costumes, lighting, sound, make-up, stage, etc). Explain how and why
it is representative of a particular time in theatre history.
Technical element:
Work A
Using detailed examples from the performance
Explain how this element demonstrates television.
Work B
Explain how this element demonstrates live theatre.
Explain why technology is used in this way for

broadcast television.
Explain why technology was used in this way for

live theatre.
Choose one performance element (movement, staging, character, etc). Explain how and why it is
representative of a particular time in theatre history.
Performance element:
Work A
Explain how this element demonstrates television.
Work A
Explain how this element demonstrates live theatre.
Explain why technology is used in this way for

broadcast television.
Explain why technology was used in this way for

live theatre.
59
Scoring Guide for Grade Six Introduction to Theatre & Speech, CCO V: Theatre History
Learning Target

television and live
theatre on:
Theatre Space
Construction
Size
Audience
Economics
Education
4
Advanced
Compares, contrasts, and

evaluates both art forms.
Uses theatre terms.
Discusses the most
important similarities and
differences.
Supports statements.
All information is correct
and complete.
3
Proficient

Uses theatre terms.
Discusses important
similarities and
differences.
Most information is
correct and specific.
Playwrights and Plays

Genre/style
Production length
Actors
Technical Aspects
Lights
Sound
Set
Costume
Make-up
60
2
Basic
Compares and
contrasts, both art
forms.
Uses some theatre
terms.
Some information is
1
Below Basic
Lists characteristics of
one art form.
Uses few theatre terms.
Information is
incomplete or incorrect.
Grade Seven: Acting & Communication Lab
61
Overview of Learning Targets for Grade Seven: Acting & Communication Lab
Act as a character different from self in a performance for an audience.
A. Script Writing
B. Acting
Perform a memorized script creating a character based on given circumstances.

Design blocking for a scene using set pieces.


Compare how given circumstances are expressed in theatre and literature.
Compare and contrast Commedia DellArte to contemporary American/European drama.
62

Essential Question
How do actors tell a story to an audience through performance?
Content and Skills:

should know:
How to develop and perform a scripted
scene.

FA 1, G 2.5, GLE PP1B,
Grade 7, PP1F, Grade 7
Learning Target
Act as a character different from self in a performance for an
audience.
Unit Vocabulary: cross, enter, exit, stage areas, character, movement, volume, rate, enunciation, blocking,
scene, cue, lines, delivery, break character, fourth wall, objective, tactics, given circumstances, conflict
Pre-Assessment:
Students perform an improvisation.
Level 1
Recall
Activity:
Take notes while teacher
lectures. Use
terminology to discuss
improvised
performances.
Level 2
Skill/Concept
Activity:
Students will improvise
a short scene.
Level 3
Strategic Thinking
Activity:
Analyze a script to
determine given
circumstances,
characterization,
blocking and
motivation. Rehearse
critique. Improve
feedback.
Strategy:
of improvisations
Strategy:
Modeling, lecture,
Assessment:
with list of definitions.
Assessment:
Develop and perform a
scene based upon given
circumstances.
Strategy:
critique
Assessment:
Perform an original
scene that
line.
Students use library resources to research and find video clips using the computer.
63
Level 4
Extended Thinking
Activity:
research plays adapted
from non-fiction works.
Relate how real life
events are
communicated in
dramatic forms.
Research a news event
and use it as the basis
for an original scene.
for peer critique.
Improve performance
Strategy:
critique
Assessment:
Perform an original
scene based upon a real
life situation that
line.
Application Level Assessment for CCO I: Product/Performance
Student Task:
Act as a character different from self in a performance for an audience.
Students will communicate ideas more clearly by using verbal, vocal and non-verbal skills.
64
Scoring Guide for Introduction to Theatre & Speech CCOI: Performance/Production

Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Vocalization

were consistent throughout the
scene:
the room size
easily understood
With prompting, the

following were consistent
throughout most of the
scene:
the room size
slow
easily understood
With prompting, the

following were consistent
throughout some of the
scene:
the room size
slow
easily understood

following were inconsistent
throughout most of the
scene:
Volume too soft or too
loud
Objective

the character throughout the
scene were:
Consistent
Clear

of the character through
most of the scene were:
Consistent
Clear

of the character throughout
some of the scene were:
Consistent
Clear
Even with prompting,

objectives of the character
throughout the scene were:
Inconsistent
Unclear
Tactics

character included all of the
following:
Growth in intensity

the character included most
of the following:
Various physical
strategies

the character included some
of the following:
Physical strategies
Vocal strategies

tactics of the character
included:
Few or no physical
strategies
Few or no vocal
strategies
65
Acting/Reacting

Believable
Unique

Believable
Genuine, not
manufactured
66

Believable
Genuine, not
manufactured

acting throughout the scene
was:
Unbelievable
Manufactured

C. Script Writing
Essential Question
How do you write a character in a script?
Content and Skills:

should know:
How to analyze a character.

FA 1, G 2.5, GLE, PP1A
Learning Target
Unit Vocabulary:
Given circumstances, background, physical traits, social profile, emotional state, motivation
Pre-Assessment:
Students will improvise as their favorite character from a story.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity
Activity:
Activity:
Take notes while
Look at a script to
Read and analyze a
teacher lectures.
consider character
character in a story.
terms.
Describe the characters
physical traits, social
background and
emotional state.
Strategy:
Strategy:
Worksheet, think-pairshare, individual work
Assessment:
Match vocabulary
terms with a list of
meanings.
Assessment:
VENN diagram
comparison of two
characters.
Strategy:
Instructor input, peer
critique, individual
work
Assessment:
Complete a character
analysis worksheet with
complete descriptions
of the characters
physical appearance,
social background and
emotional state.
Level 4
Extended Thinking
Activity:
research a character. Using
what you learn about this
character, completely alter
one aspect
(physical/social/emotional)
attribute of this individual.
Write a journal entry
stating how this would
impact his/her actions and
change the course of their
story.
Strategy:
Instructor input, peer
critique, individual work
Assessment:
Write a journal entry and
two character analysis
worksheets along with
compiled research
materials.
Students could type the scripts on the computer.
Students could use library resources to research scripted scenes on the Internet.
Students could use library resources to research technical elements on the Internet such as sound effects to
add to their scripts and to enhance their performance.
67
Based upon readiness/experience students can include simple versus complex content, format, stage
directions when writing scripts.
Student Task:
Students who continue in Theatre Arts and literature will build upon their script-writing skills.
Students will better understand the structure of stories in a variety of genres and subject areas.
.
68
Scoring Guide for Grade Seven: Acting & Communication Lab, CCO II A: Elements - Scriptwriting
Learning Target
STORY STRUCTURE
4
Advanced
Included most elements of a

story:
Exposition
Conflict
Climax
Conflict Resolution
3
Proficient
Included some elements of a

story:
Exposition
Conflict
Climax
Conflict Resolution
69
2
Basic
Though incomplete, these

elements of story
demonstrated a general
understanding of:
Exposition
Conflict
Climax
Conflict Resolution
1
Below Basic
Lacks these elements of a

story:
Exposition
Conflict
Climax
Conflict Resolution

C. Acting
Essential Question
Content and Skills:

should know:
How to create a character for
performance based on given
circumstances.

FA 1, G 2.5, GLE, PP1B Grade 7, PP1F
Grade 7, EP1B Grade 7
Learning Target
Perform a memorized script creating a character based on given
circumstances.
Unit Vocabulary: cross, enter, exit, stage areas, character, movement, volume, rate, enunciation, blocking,
scene, cue, lines, delivery, break character, fourth wall, objective, tactics, given circumstances, conflict
Pre-Assessment:
Students act in an improvisational scene with specific givens.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Take notes while teacher Recognize the cause and Develop character
lectures. Use
effect relationship
analysis and rehearse
between character
script for a performance
improvised
givens and character
using vocal, physical,
performances.
behavior.
and mental focus.
Strategy:
of improvisations
Strategy:
Modeling, guided
practice
Strategy:
Level 4
Extended Thinking
Activity:
research a character
from a different play or
movie and complete a
character analysis.
Using your script
storyline, change your
character to one from
the play or movie you
chose.
Strategy:
Guided practice,
rehearsal
Assessment:
Assessment:
Character analysis based
on a script.
Assessment:
Perform script using
vocal, physical, and
mental focus.
Assessment:
Perform the script again
acting as the new
character.
Students can videotape performance for revisions.
Student can use the Internet to research scripts.
Students can use computer-based resources such as video clips from movies.
70
Application Level Assessment for CCO II B: Elements Acting
Student Task:
Perform a memorized script creating a character based on given circumstances.
Students will understand what motivates people to act as they do.
Students will communicate ideas more clearly by using verbal and non-verbal skills.
Students who continue in Theatre Arts will build upon verbal and non-verbal skills.
.
71
Scoring Guide for Grade Seven: Acting & Communication Lab, CCO II B: Elements - Acting
Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Physicalization

and body language
consistently:
Fits the character
Fits the situation
Has purpose
Focuses energy

and body language mostly:
Fits the character
Fits the situation
Has purpose
Focuses energy
With prompting,
movement and body
language sometimes:
Fits the character
Fits the situation
Has purpose
Focuses energy

movement and body
language are:
Inconsistent with the
character
situation
Unclear or inconsistent
in purpose
Difficult to follow
Lacks energy
Blocking
With prompting, blocking

always:
Helps build the scene
Is not repeated
Uses most of the space

mostly:
Is not repeated

sometimes:
Is not repeated

blocking:
Stalls the scene
Is repeated
Uses little of the space
Mental Focus

consistently demonstrated:
Timely cues
Line delivery
Blocking
Staying in character
With prompting, focus mostly

demonstrated:
Timely cues
Line delivery
Blocking

sometimes demonstrate:
Timely cues
Line delivery
Blocking
Even with prompting, focus

was inconsistent due to:
Missed cues
Repeated blocking
Breaking character
72
CHARACTER
Objectives
Objectives of the character

Consistent

through most of the scene
were:
Consistent

scene were:
Consistent

Inconsistent
CHARACTER
Tactics
Tactics of the character

included all of the following:
Growth in intensity

included most of the
following:
Various physical
strategies
Growth in intensity

included some of the
following:
Physical strategies
Vocal strategies
Growth in intensity

included:
Few or no physical
strategies
Few or no vocal
strategies
Little or no growth in
intensity
73

Essential Question
How can set pieces be used to enhance a performance?
Content and Skills:

should know:
How to utilize set pieces to enhance
performance.

Learning Target
Unit Vocabulary: set pieces, scenery, flow, set design, acting areas
Pre-Assessment:
Students perform improvisations using simple set pieces.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
List set pieces used in a
Improvise the use of set
Choose a story. Choose
scene.
pieces, and discuss how
set pieces to enhance the
the use of set pieces to
telling of the story. Use
establish setting.
the set pieces to design
and rehearse the scene
for performance.
Strategy:
Lecture, improvisation,
Assessment:
Match set pieces to time
and place.
Strategy:
Modeling, lecture,
guided peer critique,
video clips
Assessment:
Set up an acting space
that clearly defines a
specific setting.
Strategy:
critique
Assessment:
Perform the scene on the
set.
Students use library resources to research props on the Internet.
74
Level 4
Extended Thinking
Activity:
comedic form called
farce. Study how a static
set is used as a basis for
any number of comedic
plotlines. Create a scene
where this basic set is
used to define three
different locations.
for peer critique.
Improve the
Strategy:
critique
Assessment:
single set design
incorporating three
different settings.
Based upon readiness/experience students can perform simple versus complex tasks when using a greater
variety of set pieces.
Student Task:
Students who continue in Theatre Arts will build upon their ability to incorporate technical elements.
.
75
Scoring Guide for Grade Seven: Acting & Communication Lab, CCOIIC: Design and Technical Theatre
Learning Target
Technical
Elements
Set pieces
4
Advanced
Improves the telling of the

story:
Appropriate
Effective
Supported by text
3
Proficient
Helps tell the story:

Appropriate
Effective
Supported by text
76
2
Basic
Helps during parts of the

story:
Appropriate
Utilized
Supported by text
1
Below Basic
Use of the technical element is:

Inappropriate
Ineffective
Inconsistent with the text
Grade Seven: Acting and Communication Lab

performance.
Essential Question
How do I evaluate theatre performances?
Content and Skills:

should know:
Theatre Criticism

Learning Target
Unit Vocabulary: etiquette, feedback, constructive criticism, performance appreciation, ovation, encore,
reflection, technical theatre, aesthetics
Pre-Assessment:
Peer review critiques of an in class performance.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Practice using theatre
terminology when
an improvisation or
perform a scripted
watching scenes.
watch a movie or play
scene. Students critique
clip. Students are to
themselves and take
offer one positive
note of peer critiques.
comment and one
Students improve the
suggestion for
improvement for a
the criticism.
performance.
Strategy:
Lecture, discussion, and
modeling
Strategy:
Modeling, guided
practice
Strategy:
Peer and teacher
feedback, self critique
Assessment:
Describe how to give
constructive criticism on
stage movement and
vocalization. Explain
audience etiquette for a
variety of performances.
Assessment:
Watch a performance
and one negative
criticism on stage
movement and
vocalization.
Assessment:
class performance
positive statements and
two suggestions for
improvement. Justify
comments with
Level 4
Extended Thinking
Activity:
Students use library
resources to research
professional critiques of
Broadway
performances. View a
professional production
and write a critique for
the New York Times in
the same format as
researched reviews.
Strategy:
Teacher feedback
Assessment:
View a professional
performance. Take the
role of a theatre critic
and write an in-depth
review that addresses
acting and technical
aspects. Justify
comments with
pieces, costumes.
77

Student Task:
Using theatre terminology, the student will critique a scripted scene.
.
78
Scoring Guide for Grade Seven: Acting & Communication Lab, CCO III A: Theatre Criticism
Learning Target
4
Advanced
3
Proficient
2
Basic
Critique a performance
1. Physicalization
2. Vocalization
3. Blocking
4. Mental Focus
5. Acting
(Objective/Tactics)
Uses detailed description

Supports statements with
reference to the
performance
Uses theatre terminology to
analyze the performance
Uses descriptions
Supports some statements
with reference to the
performance
Uses some theatre
terminology to analyze the
performance
Uses some
descriptions
Rarely references the
performance
Rarely uses theatre
terminology to analyze
the performance
Descriptions are
disorganized
Needs to reference
performance
terminology
Critique technical
aspects of performance
1. Set
2. Costumes
3. Props
4. Lighting
5. Sound

reference to the
performance
Uses descriptions
performance
Uses some theatre
performance
Uses some
descriptions
performance
Rarely uses theatre
the performance
Descriptions are
disorganized
Needs to reference
performance
terminology
79
1
Below Basic

performance.
B. Aesthetics
Essential Question
What makes a theatre piece true art?
Content and Skills:

should know:
How to express their response and
compare varying audience responses to a
performance.

Learning Target
Unit Vocabulary: physiological aesthetic, societal/cultural aesthetic, personal aesthetic, physicalization,

vocalization, blocking, mental focus, acting, reacting, objective, tactics
Pre-Assessment:
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Take notes while
Watch a performance Watch a performance and
the teacher
and discuss responses respond using cards that
lectures after a
in groups using
recognize different character,
societal/cultural and personal
performance.
theatre terminology.
values such as:
Demonstrate
examples of
Are the characters true to life?
terminology for
How do the characters reflect
clarification.
your life?
To which character values did
you not agree?
Was the culture correctly
identified through props and
costumes?
Strategy:
Lecture, modeling
Assessment:
Write a definition
for each type of
aesthetic response.
Strategy:
Modeling, guided
practice
Assessment:
Write a response to a
Strategy:
Modeling, guided peer critique
Assessment:
Compare and contrast personal
responses to a work with those of
other audience members.
Level 4
Extended Thinking
Activity:
research a review of a
current Broadway
production in the New
York Times or New
Yorker Magazine.
Compare this to your
written critique of a
performance of the same
work. Justify your
theatrical and personal
perceptions with
references to the work
and to the professional
critique.
Strategy:
critique
Assessment:
Improve your critique
based on that done by a
professional critic.
pieces, costumes.
80

Student Task:
Students will better understand what motivates people to act.
Students will have a greater understanding of the human condition.
Students will learn how symbols and actions represent greater concepts.
.
81
Scoring Guide for Grade Seven: Acting & Communication Lab, CCOIII B: Aesthetics
Learning Target
4
Advanced
3
Proficient
Aesthetics
Response to a live
theatre performance
addressing:
2. Society/Culture

reference to the
performance
Uses descriptions
performance
Uses some theatre
performance
82
2
Basic

performance
Rarely uses theatre
the performance
1
Below Basic
Descriptions are
disorganized
Needs to reference
performance
terminology

Essential Question
How do theatre performances reflect the arts?
Content and Skills:
should know:
How the rhythm or flow of a scene
relates to a musical piece.

FA: 4, GLE: IC, 1A Grade 7
Learning Target
Unit Vocabulary: beat, tempo, rhythm, flow, structural elements of a play: exposition, rising action,
climax, falling action
Pre-Assessment:
Students will perform a pantomime to music.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Identify flow of a
Listen to a piece of Create and rehearse a
play as related to
music and infer
pantomimed story
the rhythm of an
what type of
related to the tone
instrumental
storyline could be
and flow of a piece of
piece.
developed.
music.
Strategy:
Modeling, lecture
with examples
Strategy:
Modeling, lecture,
Assessment:
Identify
components of a
song and a story
Assessment:
Select a song and
develop a scene for
performance
Strategy:
Group work, guided
practice,
performance, peer
critique
Assessment:
Perform a
pantomimed story
related to the tone
and flow of a piece of
music.
Level 4
Extended Thinking
Activity:
Use library resources to research folk
tales from eastern cultures. Select one
that will suit your music. Add
dialogue to your pantomime to help
tell the story to include intensity of
mood, tone, volume, action that
correlates to that which is expressed in
the music. Perform scene. Peer and
self evaluation.
Strategy:
Rehearsal, guided practice,
performance, peer critique
Assessment:
Perform a pantomimed story related to
the tone and flow of a piece of music.
Use audio player devices for music.
Students could find music and movie clips on the Internet and DVD performances.
83
Based upon readiness/experience, students will be given performance tasks for comparing musical pieces
and performances.
students.
Application Level Assessment for CCO IV A: Connections among the Arts
Student Task:
Students who continue in Theater Arts and Musical Arts will refine their perceptions of the world.
Students will gain a greater appreciation for the music of theatrical performances.
.
84
Scoring Guide for Grade Seven: Acting & Communication Lab, CCO IVA: Connections among the Arts
Learning Target
Music Connection to the

Story
4
Advanced
Performance elements are

consistently suited to the
music:
Tone
Tempo
Flow/Rhythm
3
Proficient

mostly suited to the music:
Tone
Tempo
Flow/Rhythm
85
2
Basic
1
Below Basic

sometimes suited to the
music:
Tone
Tempo
Flow/Rhythm
These performance elements

are inconsistent with the
music:
Tone
Tempo
Flow/Rhythm

B. Connections between Theatre and Non-Arts Subjects
Essential Question
Content and Skills:
should know:
How given circumstances are
communicated in literature and theatre.

Learning Target
Compare how given circumstances are expressed in theatre and
literature.
Unit Vocabulary: given circumstances, stage directions, subtext, time, place, action, dialogue,
monologue, character
Pre-Assessment:
Underline given circumstances in a script and a story.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Discussion of short
Students are to create a
Rewrite a prose story or
story performances
short scene based on a
scene in script form.
using new
piece of prose. They are Include stage directions
terminology.
to find ways to
and dialogue that clearly
establish given
express the given
circumstances through
elements in the story.
action.
Strategy:
Lecture with
examples, guided
practice
Assessment:
Match a list of
vocabulary terms
with a list of
definitions.
Level 4
Extended Thinking
Activity:
research and read a short
play. Rewrite the play in
prose format. Be sure to
express all elements
presented as action in the
play through the writing.
Strategy:
Modeling, lecture,
guided practice
Strategy:
Modeling, guided
practice, peer critique
Strategy:
Modeling, guided practice,
peer critique
Assessment:
Develop a scene for a
performance based on a
particular culture.
Assessment:
Perform a scripted scene.
Assessment:
Adapt a play to prose.
Students may use computer-based resources such as the Internet to find short plays.
Based upon readiness/experience students can perform simple versus complex tasks when selecting stories
and writing scenes.
86
Application Level Assessment for CCO IV B: Connections between Theatre and Non-Arts
Disciplines
Student Task:
Compare how given circumstances are expressed in theatre and literature.
Students will communicate ideas more clearly by expanding vocabulary.
Students will increase their command of descriptive terminology.
Students who continue in Theatre Arts will build upon their ability to grasp given circumstances.
87
Scoring Guide for Grade Seven: Acting & Communication Lab, CCO IV B: Connections between Theatre and Non-Arts Disciplines
Learning Target
Compare how given

circumstances are
expressed in theatre and
literature
4
Advanced
Both a script and a short

piece of literature are
analyzed, compared and
contrasted on:
time
place
character
situation
relationships
Statements are supported
works
Conclusions are drawn
about the effectiveness of
each type of writing for
communicating given
circumstances
3
Proficient
Both a script and a short

piece of literature are
analyzed, compared and
contrasted on:
time
place
character
situation
relationships
Statements are supported
works
88
2
Basic
Both a script and a

short piece of
literature are
analyzed, compared
and contrasted on:
time
place
character
situation
relationships
1
Below Basic
A script or a short piece

of literature is read. The
following are listed:
time
place
character
situation
relationship

Core Conceptual Objective V: Students will demonstrate knowledge of theatre in historical and cultural
contexts.
Essential Question
How do theatre arts reflect and influence society in which they live?
Content and Skills:

Style/Period Style Characteristics
Time/Place
Types of Plays/
Performances
Missouri State
Standards
FA5, G1.9, GLE HC1B;
Grade 7, HC2A, Grade 7
Context
(Period or
Style)
Commedia
DellArte
1400-1700
Improvisational
Stock Characters
Improvisation
Comedy
Stock Characters:
o Pantalonerich - foolish old man
o Harlequin clever prankster
o Dottore rich, yammering doctor
o Captain boastful and
adventuresome
o Puchinello malicious servant
o Zanni valet/jester servant (often
to Pantalone)
o The Lovers generally central to
the simple plot
Short performances
Topical jokes
Physical Humor/slapstick
Beginning of stage placement
Half masks/colorful geometric
shapes on costumes
Comedy,
slapstick,
puppetry,
acrobatics,
improvisation
Performances held outdoors,

held on streets and traveling
wagons/ portable staging
(minimal set)
Men and women actors
Audience was the general
public passing through
Plays based on lives of
hero/heroine
Disgraceful love intrigues
Clever ways to get money
Events occurred during the
day
Dialect/language was not
changed
General admission cost a
sixpence in playhouses, or a
penny for outdoor theatre
performances
Contemporary
American
/European
Theatre
Scripted
All genres
Unique characters
Inside
Generally 90 minutes
References all time periods and
materials depending on genre
Physical Humor/slapstick in some
comedies
References all periods
Drama,
Comedy,
Historical,
Suspense,
Murder
Mystery,
Musical
Generally interior theatres,

2,000 or fewer seats
Spectacle can be quite
extravagant based on needs of
play
including those of all times and
places
Rarely audience participation
Entertainment, not competitive
Everyone attends
All gender/races, trained
actors, two month rehearsal
period
89

Compare and contrast Commedia dellArte to contemporary American/European drama.
Unit Vocabulary: stock characters, prankster, improvisation, malicious servant, slapstick, jester, valet, heckler
Pre-Assessment:
Complete a VENN diagram comparing and contrasting Commedia DellArte and contemporary drama.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Identify
Make observations and
Create and rehearse a
characteristics of
compare Commedia
short improvisation skit
Commedia dell
dell arte to
using stock characters
arte and
contemporary television based on Commedia
contemporary
shows.
dell arte.
theatre.
Strategy:
Discussion,
examples
Assessment:
Identify
terminology.
Strategy:
Small group discussion
with examples
Assessment:
Commedia dell arte to
contemporary television
shows.
Strategy:
Rehearsal, performance
Level 4
Extended Thinking
Activity:
Use library based resources to
find a famous Commedia dell
arte actor. Using your research,
determine why he was popular.
Using this information, critique
the skits to compare their work
with that of the famous actor.
Strategy:
Guided instruction, discussion
Assessment:
Perform skit.
Assessment:
Written and/or verbal critiques
Use library resources to research Commedia Dell-Arte and contemporary American/European theatre on the
Internet.
Advanced students can use library resources to research Commedia Dell-Arte theatre and compare/contrast it
with contemporary American/European drama.
Student Task:
Compare and contrast Commedia Dell Arte to contemporary American/European drama.
Students will understand media references to Commedia Dell Arte and contemporary American/European
drama.
Students might be able to relate the style of clothing, artwork, and performances to that of periods in the history
of theatre.
90
Consider the similarities and differences in Commedia DellArte and Contemporary American/European Theatre. Compare the following elements using the
VENN diagram below: Stage, Actors, Character Types, Audience, Lighting, Sound, Make-up, Costumes, Props, Theme, Performance Space, Genre, Time of Day, Set,
Scenery, etc.
COMMEDIA
DELL ARTE
TODAY
91
Theatre History Reflective Writing Worksheet

Name: _____________________________
Class: _____________________________
Work A
Work B
Choose one technical element (costumes, lighting, sound, make-up, stage, etc). Explain how and why
Technical Elements:
Work A
Explain how this element demonstrates the time and
place.
Work B
place.
Explain why technology was used in this way

during this time in theatre history.

Choose one performance elements (movement, staging, character, etc). Explain how and why it is
Performance Element:
Work A
place.
Work A
place.


92
Scoring Guide for Grade Seven: Acting & Communication Lab, CCOV: Theatre History
Learning Target
Compares Commedia
DellArte and
contemporary American
/ European drama on:
Theatre Space
Construction
Size
Audience
Economics
Education
4
Advanced

Uses theatre terms.
Discusses the most
important similarities and
differences.
and complete.
3
Proficient

Uses theatre terms.
Discusses important
similarities and
differences.
Most information is
Playwrights and Plays

Genre/style
Production length
Actors
Technical
Lights
Sound
Set
Costume
Make-up
93
2
Basic
Compares and
contrasts both art
forms.
Uses some theatre
terms.
Some information is
1
Below Basic
one art form.
Uses few theatre terms.
Information is
incomplete or incorrect.
Grade Eight: Theatre Arts
94
Overview of Learning Targets for Grade Eight: Theatre Arts

Perform an acting/technical role in an ensemble performance for an audience.
A. Script Writing
Write a short scene including dialogue, setting, and character description.
B. Acting

Design and justify the use of lighting and costumes for a scripted scene.
Using theatre terminology, critique a scripted scene on acting and technical elements.

Explain how personal responses can vary based upon age, gender, ethnicity, nationality, race, and/or cultural
group.

Compare and contrast the use of theatrical elements in Ancient Greek, Commedia DellArte, Elizabethan,
and Romantic time periods to contemporary American/European drama.
95

Essential Question
How do I create and portray a character for performance?
Content and Skills:

should know:
How to create a character based on given
circumstances.

Grade 6, PP1F, Grade 6
Learning Target
Perform an acting/technical role in an ensemble performance for
an audience.
Unit Vocabulary: cross, enter, exit, stage positions, stage areas, sight lines, character, movement, volume,
rate, pitch, enunciation, blocking, scene, cue, lines, delivery, break character, fourth wall, objective, tactics,
given circumstances, conflict
Pre-Assessment:
Students will perform and critique improvisations.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Acting students will
Take notes while teacher Acting students will be
analyze a story to
lectures. Practice
asked to react to an
explore character. Using
quizzing each other on
improvised situation
this study as an
vocabulary.
based on the given
example, fully develop
circumstances that
motivate their character. your character and be
prepared to defend
his/her actions in your
Technical students will
scene. Rehearse and
brainstorm different
perform for peer
improvised situations
critique. Improve
and determine how to
portray them through
feedback.
costume, sound,
scenery, lighting.
analyze a story to
explore one technical
area. Using this study as
an example, fully
develop your design and
be prepared to defend
his/her choices. Build
and implement your
design, improving based
upon feedback.
Strategy:
of improvisations.
Strategy:
video clip examples.
Strategy:
critique.
96
Level 4
Extended Thinking
Activity:
Acting students will use
library resources to
research a famous
dramatic character and
the landmark acting
performances of this
character. Analyze the
similarities and
differences in each of
these performances and
how each may be
supported by the same
given circumstances.
use library resources to
research a famous
production and the
landmark technical
design. Consider how
elements of this design
could be used to
improve your current
design. Build and
implement your revised
design.
Strategy:
critique.
Level 1
Recall
Assessment:
Level 2
Skill/Concept
Assessment:
Acting students develop
and perform as a
character in a scene
based upon given
circumstances.
Level 3
Strategic Thinking
Assessment:
Acting students perform
a scene accurately
portraying all physical,
vocal an emotional
aspects of character.
Technical students
develop and design a set
based on given
circumstances.
Technical students build

and implement your
upon feedback.
Level 4
Extended Thinking
Assessment:
Acting students perform
an original scene on two
different emotional
levels, both supported
by the given
circumstances.
Technical students build
and implement your
revised design.
Students could research character performances on the Internet and in movies for presentation in class.
Students could find reviews of characterizations on the Internet.
Students could use library resources to research specific character traits on the Internet.
Application Level Assessment for CCO I: Product/Performance
Student Task:
Perform an acting/technical role in an ensemble performance for an audience.
Students who continue in Theatre Arts will build upon their character analysis skills.
.
97
Scoring Guide for Grade Eight, CCO I Performance/Production

Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Vocalization
Consistent throughout the

scene:
the room size
easily understood
Consistent throughout most

of the scene:
room size
easily understood
Consistent throughout
some of the scene:
the room size
easily understood
Inconsistent throughout
most of the scene:
Volume too soft or too
loud
Objective

Consistent
Clear

were:
Consistent
Clear

scene were:
Consistent
Clear

Inconsistent
Unclear
Unsuited to the
character
Unsuited to the
situation
Tactics

included all of the
following:
Various physical
strategies
Growth in intensity

following:
Growth in intensity

following:
Physical strategies
Vocal strategies
Growth in intensity

included:
Few or no physical
strategies
Few or no vocal
strategies
intensity
98
Acting/Reacting
Throughout all of the scene

the acting was:
Believable
Genuine, not
manufactured
Unique
Throughout most of the scene

the acting was:
Believable
Unique
99
Throughout some of the

scene the acting was:
Believable
Genuine, not
manufactured
Unique
Throughout the scene the

acting was:
Unbelievable
Manufactured
Typical

A. Script Writing
Essential Question
How do I write a scene?

FA 1, G 2.5, GLE, PP1A
Content and Skills:

should know:
Students will be able to write a scene.
Learning Target
Write a script for a scene including dialogue, setting and
character description.
Unit Vocabulary: acts, scenes, setting, scenery, character, stage directions, plot, lines, cues, props, set,
beat, synopsis, dramatic structure, conflict, objectives, tactics
Pre-Assessment:
Consider common stories to identify elements of a story.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity
Activity:
Activity:
Identify types of
Brainstorm story ideas,
Develop and compose a
characters and settings.
considering their
script for a scene
strengths and
including dialogue,
weaknesses based on
setting and character
story structure.
description.
Strategy:
Lecture with common
examples
Strategy:
Examples, lecture,
guided practice
Assessment:
Identify components of
a story.
Assessment:
Submit a story synopsis.
Strategy:
Guided practice, peer
critique, instructor
editing
Assessment:
Write a script for a
scene including
dialogue, setting and
character description.
Level 4
Extended Thinking
Activity:
research and analyze
critiques of plays in the
New York times.
Determine where in the
structure of a story most
problems occur. Write a
review of your story in
the same format as those
youve read focusing on
what youve found to be
the weakest point of
your scene.
Strategy:
Instructor and peer
critique, guided practice
Assessment:
Write a critique of your
script in the format of a
professional Broadway
critique.
Students could use library resources to research movie clips and DVD performances for presentation in
class.
Students could find movie clips on the Internet and DVD performances.
Students could find scripted scenes on the Internet.
Students could use library resources to research technical elements to enhance their performance on the
Internet.
100
Based upon readiness/experience students will be given concepts for simple versus complex storylines.
Advanced students will communicate ideas through increasingly metaphorical elements.
Student Task:
Write a script for a scene including dialogue, setting and character description.
Students are to relate the conflict in their scene to real life situations in life.
Students who continue in Theatre Arts will build upon their character analysis skills.
.
101
Scoring Guide for Grade Eight, CCO II A: Elements Scriptwriting

Learning Target
STORY STRUCTURE
4
Advanced

story:
Exposition
Conflict
Climax
Conflict Resolution
3
Proficient
Included most elements of a

story:
Exposition
Conflict
Climax
Conflict Resolution
102
2
Basic
1
Below Basic
Included some elements of a

story:
Exposition
Conflict
Climax
Conflict Resolution
Lacks these elements of a

story:
Exposition
Conflict
Climax
Conflict Resolution
Grade Eight Theatre Arts

B. Acting
Essential Question
Content and Skills:

should know:
How to block a scene.
Character Objective
Character Tactic

FA 1, G 2.5, GLE, PP1B Grade 8, PP1F
Grade 8, EP1B Grade 8
Learning Target
Unit Vocabulary: Character objective and tactics, cross, enter, exit, stage positions, stage areas, sight
lines, character, movement, blocking, scene, cue, lines, break character, fourth wall, objective, tactics,
given circumstances, conflict
Pre-Assessment:
Students act in an improvised scene with specific givens.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Take notes while teacher Discuss the relationship
Block a scene
lectures. Use
between actions and
communicating surface
meaning in small
and abstract scene
improvised
groups.
elements.
performances.
Level 4
Extended Thinking
Activity:
Read, analyze, and
rehearse a scene from a
published script.
Strategy:
of improvisations.
Strategy:
Observe silent movie
clips and scenes
Strategy:
Perform a scene silently
for peer feedback
Strategy:
Guided practice,
rehearsal
Assessment:
Assessment:
Explain the relationship
between actions and
meaning in a scene.
Assessment:
Perform the scene using
blocking design.
Assessment:
Perform the scene from
a published script using
blocking design.
Students can videotape performance for revisions.
Student can use computer-based resources to research scripts.
Students can use library resources to research video clips from movies.
Use physicalization to show meaning or emotion.
103

Student Task:
Students will understand what motivates people to act as they do.
Students will communicate ideas more clearly by using verbal and non-verbal skills.
Students who continue in Theatre Arts will build upon verbal and non-verbal skills.
.
104
Scoring Guide for Grade Eight, CCO II B: Elements Acting

Learning
Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Physicalization
Movement and body language

consistently:
Fits the character
Fits the situation
Has purpose
Focused energy

mostly:
Fits the character
Fits the situation
Has purpose
Focused energy

sometimes:
Fits the character
Fits the situation
Has purpose
Focused energy

are:
character
situation
Unclear or inconsistent in
purpose
Difficult to follow
Lacks energy
Blocking
Blocking always:
Is not repeated
Blocking mostly:
Is not repeated
Blocking sometimes:
Is not repeated
Blocking:
Stalls the scene
Is repeated
Uses little of the space
Mental Focus
Focus consistently
demonstrated:
Timely cues
Line delivery
Blocking
Stayed in character
Focus mostly demonstrated:

Timely cues
Line delivery
Blocking
Stayed in character
Focus sometimes
demonstrate:
Timely cues
Line delivery
Blocking
Stayed in character
Focus was inconsistent due to:

Missed cues
Repeated blocking
Breaking character
105
CHARACTER
Objectives

Consistent
Clear

were:
Consistent
Clear

scene were:
Consistent
Clear

Inconsistent
Unclear
Unsuited to the
character
Unsuited to the
situation
CHARACTER
Tactics

included all of the following:
Growth in intensity

following:
Growth in intensity

following:
Physical strategies
Vocal strategies
Growth in intensity

included:
Few or no physical
strategies
Few or no vocal
strategies
intensity
106
Grade Eight Theatre Arts

Essential Question
How can technical elements be utilized to enhance a performance?
Content and Skills:

should know:
How to utilize lighting and costumes

Learning Target
Design and justify the use of lighting and costumes for a
scripted scene.
Unit Vocabulary: props, costumes, set design, lighting, sound, stage direction
Pre-Assessment:
Students will perform and critique improvisations.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Take notes while teacher Students will brainstorm Students will analyze a
lectures. Practice
different improvised
story to explore one
quizzing each other on
situations and determine technical area. Using
vocabulary.
how to portray them
this study as an
through costume, sound, example, fully develop
scenery, lighting.
your design and be
prepared to defend
his/her choices. Build
and implement your
upon feedback.
Strategy:
of improvisations.
Strategy:
video clip examples.
Assessment:
Assessment:
Students develop and
design a set based on
Strategy:
critique.
Assessment:
Students build and
implement your design,
improving based upon
feedback.
Level 4
Extended Thinking
Activity:
Students will use library
resources to research a
famous production and
the landmark technical
design. Consider how
elements of this design
could be used to
improve your current
design. Build and
design.
Strategy:
critique.
Assessment:
Students build and
design.
Students could use computer-based resources to research character performances in movies for presentation
in class.
Students could find reviews of characterizations on the Internet.
Students could use library resources to research specific character traits on the Internet.
107
Student Task:
Design and justify the use of lighting and costumes for a scripted scene.
Students who continue in Theatre Arts will build upon their script analysis skills.
.
108
Scoring Guide for Grade Eight, CCO II C: Elements Design and Technical Theatre
Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Technical Element:
Costume
The costume design improved

the telling of the story:
Appropriately
Effectively
By conveying symbolic
meaning
By supporting by text
The costume design mostly

improved the telling of the
story:
Appropriately
Effectively
The costume design

somewhat improved the
telling of the story:
Appropriately
Effectively
The costume design was:

Inappropriate
Ineffective
Unsupported by text
Technical Element:
Lighting
The lighting improved the

telling of the story:
Appropriately
Effectively
By conveying meaning
The lighting mostly improved

the telling of the story:
Appropriately
Effectively
The lighting somewhat

improved the telling of
the story:
Appropriately
Effectively
Use of lighting was:

Inappropriate
Ineffective
Unclear meaning
Unsupported by text
109

performance.
Essential Question
What makes a piece of theater good art?
Content and Skills:

should know:
How to critique theatre performances.

Learning Target
Using theatre terminology, critique a scripted scene on acting
and technical elements.
Unit Vocabulary: etiquette, feedback, constructive criticism, performance appreciation, ovation, encore,
reflection, technical theatre, and aesthetics, director, direction, props, costumes, lights, sound and set
Pre-Assessment:
Peer review critiques of an in class performance.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Practice using theatre
perform a scripted
terminology when
an improvisation or
scene. Students critique
watching scenes.
watch a movie or play
themselves and take
clip. Students are to
note of peer critiques.
offer one positive
Students improve the
comment and one
suggestion for
the criticisms of their
improvement in
representation of given
presenting the given
circumstances.
circumstances.
Strategy:
Lecture, discussion, and
modeling
Strategy:
Modeling, guided
practice
Strategy:
Peer and teacher
feedback, self critique
Assessment:
Describe how to give
constructive criticism on
stage movement and
vocalization. Explain
audience etiquette for a
variety of performances.
Assessment:
Watch a performance
and one negative
criticism on the
presentation of given
circumstances.
Assessment:
class performance
positive statements and
two suggestions for
improvement the
representation of given
circumstances. Justify
comments with
110
Level 4
Extended Thinking
Activity:
Students use library
professional
productions, paying
particular attention to
the different ways the
setting is represented
visually. Select a play
where there were two
contrasting sets. Write
two critiques, one
positive for one
performance and one
negative to the other
performance.
Strategy:
Teacher feedback
Assessment:
Take the role of a
theatre critic and write
an in-depth review that
addresses technical
aspects of two
productions. Justify
support for one and
dislike of the other.
pieces, costumes.
Student Task:
Using theatre terminology, students will critique a scripted scene on acting and technical elements.
.
111
Scoring Guide for Grade Eight: Theatre Arts. CCO III A: Theatre Criticism
Learning Target
4
Advanced
3
Proficient
2
Basic
Critique Performance
1. Physicalization
2. Vocalization
3. Blocking
4. Mental Focus
5. Acting
(Objective/Tactics)
Uses detailed descriptions

with adjectives
specific reference to the
performance
Uses extensive theatre
performance
Uses descriptions with

adjectives
reference to the
performance
performance
Descriptions are
disorganized and/or
lack adjectives
Reference to the
performance
Uses theatre
the performance
Descriptions are
disorganized and needs
adjectives
Needs to reference
performance
terminology
Critique Technical
Aspects
1. Set
2. Costumes
3. Props
4. Lighting
5. Sound

with adjectives
specific reference to the
performance
performance

adjectives
reference to the
performance
performance
Descriptions are
disorganized and/or
lack adjectives
Reference to the
performance
Uses theatre
the performance
Descriptions are
adjectives
Needs to reference
performance
terminology
112
1
Below Basic

performance.
B. Aesthetics
Essential Question
How does perception affect my evaluation of a theatrical performance?
Content and Skills:

should know:
How cultural experiences affect
responses to theatre.

Learning Target
Explain how personal responses can vary based upon age,
gender, ethnicity, nationality, race and/or cultural group.
Unit Vocabulary: physiological aesthetic, societal/cultural aesthetic, personal aesthetic, perception, bias,
ethnicity, nationality, culture
Pre-Assessment:
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Take notes while
Watch a performance Watch a performance and
the teacher
and discuss responses respond using chart recognize
lectures after a
in groups using
different character,
performance.
theatre terminology.
societal/cultural and personal
Demonstrate
values such as:
examples of
Are the characters true to life?
terminology for
How do the characters reflect
clarification.
your life?
To which character values did
you not agree?
Was the culture correctly
identified through props and
costumes?
Strategy:
Strategy:
Strategy:
Lecture, modeling Modeling, guided
Modeling, guided peer critique
practice
Assessment:
Assessment:
Assessment:
Write a definition
Write a response to a Write a response from the
for each type of
student performance. viewpoint of someone from a
aesthetic response.
different age, gender, race, ethnic
or social background.
Level 4
Extended Thinking
Activity:
research responses to the
original productions of
West Side Story, A
Raisin in the Sun or A
Dolls House on the
Internet and in books.
Read or watch a
production of the play.
Compare your response
to those of the original
audiences.
Strategy:
Guided instruction
Assessment:
Write a reflection of
how time has altered the
social impact of the
production.
pieces, costumes.
113

Student Task:
Respond to a live theatrical performance from physiological, societal/cultural and personal points of view.
114
Scoring Guide for Grade Eight: Theatre Arts. CCO III B: Aesthetics
Learning Target
Aesthetics
Response to a live theatre
performance addressing:
2. Society/Culture
4
Advanced
with adjectives
specific reactions to the
performance
terminology
3
Proficient
adjectives
reactions to the
performance
terminology
115
2
Basic
Descriptions are
disorganized and/or
lack adjectives
Reacts to the
performance
Uses theatre
terminology
1
Below Basic
Descriptions are
adjectives
Needs to reference
performance
terminology

Core Conceptual Objective IV: Make connections among the arts and between theatre and non-arts
disciplines.
Essential Question
How does perception affect my evaluation of a theatrical performance?

Content and Skills:

should know:
Learning Target
Relationship between stage pictures and

art images.
Compare and contrast stage pictures to paintings or

photographs.
Stage Pictures:
sight lines
color
balance
levels
angles
proximity
dominant characters
Paintings and Photographs:
composition
form
color
positive space (people, objects)
negative space (area around object)
illusion of depth
balance
emphasis
Unit Vocabulary: stage picture, sight lines, color, balance, levels, dominant characters, angles, proximity
Pre-Assessment:
Students identify similarities in stage pictures and paintings/photographs.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Recognize use
Observe how colors,
Create and rehearse
of space in a
angles, levels and
an ensemble
scene and in a
proximity communicate improvisational scene
painting.
meaning in both a scene using stage pictures,
and a painting.
angles, levels,
balance and
proximity.
116
Level 4
Extended Thinking
Activity:
Use library resources to research a
painting from a famous artist
incorporating a minimum of three
human figures.
Write a script based on the use of
space and visual elements in the
painting. Include blocking cues to
establish change in stage pictures
throughout the script. Rehearse the
story and improve it based on peer
critiques.
Level 1
Recall
Strategy:
Lecture with
artwork and
scene examples
Assessment:
Identify use of
composition and
space in both a
stage picture
and painting.
Level 2
Skill/Concept
Strategy:
Modeling, lecture,
critique
Level 3
Strategic Thinking
Strategy:
guiding, peer critique
Level 4
Extended Thinking
Strategy:
Conduct rehearsal, guiding peer
critique
Assessment:
Develop and explain a
stage picture using
visual elements.
Assessment:
Perform an ensemble
scene using stage
pictures, angles,
levels, balance, and
proximity. Compare
and contrast the stage
picture with a visual
artwork.
Assessment:
Perform an original story based on a
painting incorporating use of stage
picture.
Students could find movie clips and paintings on the Internet and DVD performances.
Based upon readiness/experience, students will be given performance tasks for comparing stage pictures
and visual arts.
students.
Student Task:
Students who continue in Theater Arts and Visual Arts will refine their perceptions of the world.
.
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Scoring Guide for Grade Eight: Theatre Arts. CCO IV A: Connections among the Arts
Learning Target
Connects stage pictures

in theatre with paintings
or photographs in art
4
Advanced
Creates stage picture

stage pictures with
paintings or photographs.
Uses art and theatre
terms.
Reference specific works.
Stage picture communicated a

story using all of the
following:
Balance
Position
Levels
Directing audience focus
Inspired ideas
3
Proficient

stage pictures with
paintings or photographs.
Uses art and theatre
terms.
Reference specific works.
Stage picture communicated a

story using most of the
following:
Balance
Position
Levels
118
2
Basic
Compares and
contrasts stage
pictures with
paintings or
photographs.
Uses some art and
theatre terms.
Stage picture
communicated a story
using some of the
following:
Balance
Position
Levels
Directing audience
focus
1
Below Basic
Lists information about

either stage pictures in
theatre or about a
painting or photograph.
Stage picture was confusing

due to the following:
Balance
Position
Levels

Essential Question
Content and Skills:
should know:
How to construct a budget for a show
including costs for the following:
box office
concessions
advertising revenue
technical costs
royalty and script fees
salaries

Learning Target
Unit Vocabulary: marketing, publicity, box office, seating, pricing, concessions, cost assessment, royalty
fees, copyright, attendance, producer
Pre-Assessment:
Complete a cost assessment estimate for a one act play.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Use cost
Discuss how external
Participate in an
assessment
elements that impact
activity to produce a
estimate
the costs of producing a mock production
worksheet to
play. Use library
including elements of
discuss
box office, marketing
terminology.
and discuss the average and production costs.
run length of a
Broadway production.
Strategy:
Strategy:
Strategy:
Lecture, examples Lecture, examples
Guided production
activity, discussion
Assessment:
Assessment:
Assessment:
Identify
Gathered information
Accurate completion of
components of a
about Broadway plays.
all related worksheets.
production budget.
Level 4
Extended Thinking
Activity:
Research all Broadway
productions from the past five
years. Figure the percentage of
comedies, dramas and musicals
and their success rates.
Determine which productions
are most successful and
consider why others are not.
Strategy:
Guided instruction, discussion
Assessment:
Chart of results and essay
discussing findings.
Students may research production costs on the Internet.
Students could create spreadsheets in order to calculate their budget.
119
Disciplines
Student Task:
Students will have a greater understanding of cause and effect relationships.
Students will have a greater understanding of financial decisions.
Students who continue in Theatre Arts will build upon their ability to grasp production costs
Students will appreciate the cost of producing a theatrical production..
120
Scoring Guide for Grade Eight: Theatre Arts. CCO IV B: Connections between Theatre and Non-Arts Disciplines
Learning Target
Production Budget
box office
concessions
advertising revenue
technical costs
royalty and script fees
salaries
4
Advanced
The budget is:

Included all costs
Correctly computed
Costs are realistic for the
particular production
Alternative solutions have
been researched and are
presented showing how
costs could be reduced
3
Proficient
The budget is:

Included all costs
Correctly computed
Costs are realistic for the
particular production
121
2
Basic
The budget is:

Included most costs
Contains some
mathematical errors
1
Below Basic
The budget is:

Included few costs
Contains many
mathematical errors

Core Conceptual Objective V: Students will demonstrate knowledge of theatre in historical and cultural
contexts.
Essential Question
How do theatre arts reflect and influence society in which they live?

FA 5, G 1.9, GLE: HC1A Grade 8,
HC1B Grade 8, HC2A Grade 8
Content and Skills:

Style/Period
Time/Place
Greek Theatre
5th Century B.C.
Greece
Commedia
DellArte
1400-1700
Italy
Improvisational
Stock Characters
(WHAT)
Chorus/Song (up to 51
people) in verse
accompanied by music
Masks/Togas
Elaborate
speaking/gesturing
Violence off stage
Single performance
Single static set (skene)
used for all performances
Technical aspects: crane to
fly actors, wagon for
wheeling in the dead, trap
doors, some painted
scenery hung on the skene
Improvisation
Comedy
Stock Characters:
o Pantalone rich, foolish
old man
o Harlequin clever
prankster
o Dottore, rich, yammering
doctor
o Captain boastful and
adventuresome
o Puchinello malicious
servant
o Zanni valet/jester
servant (often to
Pantalone)
o The Lovers generally
central to the simple plot
Short performances
Topical jokes
Physical Humor/slapstick
Beginning of stage
placement
Half masks/colorful
geometric shapes on
costumes
Types of
Plays/Performances
Tragedy
Comedy
Oedipus the King

Antigone
Medea
Agamemnon
Comedy,
slapstick,
puppetry,
acrobatics,
improvisation
122
Context (Related to Life & Times),

tech, social, politics, (WHY)
Hillsides/Amphitheatre, seating for
20,000+
Little to no spectacle
Stories based on myth (religion)
and history, political propaganda
Audience participation
Competitive/Days-long
events/festivals
Audience includes everyone,
traveled from all around
All men, often untrained chorus,
11 month rehearsal period
Tragic Authors: Aeschylus:
Euripides, Sophocles
Performances held outdoors, held
on streets and traveling wagons/
portable staging (minimal set)
Men and women actors
Audience was the general public
passing through
Plays based on lives of
hero/heroine
o Disgraceful love intrigues
o Clever ways to get money
Events occurred during the day
Dialect/language was not changed
General admission cost a sixpence
in playhouses, or a penny for
outdoor theatre performances
Style/Period
Time/Place
Elizabethan
Theatre
1500-1600
England
Shakespeare
Romanticism
1800s/19th Century
Europe, United
States
Contemporary
Theatre
1980-present
Europe, United States
(WHAT)
Prose and poetic meters
Hear plays vs. see
Simple scenery
Modern dress,
representative, but
inaccurate foreign/historical
dress
Usually longer plays with
many acts (two to four
hours, 5 acts - running
without intermission)
All male actors
Presentational acting style,
exaggerated gesturing and
vocal tone
Often violent, gruesome
subject matter
Mythical elements
Grimm Brothers
Good vs. Evil
Gas lights/industrial
revolution
Sara Bernhardt
Unified stage picture
Elaborate fashion and sets
reflecting the time
Narrator or no chorus /
Music
Realistic Costuming
Entertainment/Social/90
min. average
All genres/theatrical
history
All theatre types, generally
proscenium
Violence portrayed
Approximately two hour
performances
Successful plays are
performed for months toyears, six days (eight
performances) a week
Imaginative uses of
technology, lighting, sound
effects, fly systems,
pyrotechnics, backdrops,
scenery, set pieces, props
Types of Plays,
Performances
Tragedy
Comedy
(romantic)
History
Romantic
Melodrama
Comedy of
Manners
Context (Related to Life & Times),

tech, social, politics, (WHY)
Indoor theatres with natural
lighting (no roof) made out of
wood and thatch The Rose, The
Swan, The Globe, the Hope
London
Shakespeare, Christopher
Marlowe, Ben Johnson prominent
playwrights
Women werent allowed to
perform
Theatres were moved outside the
city
Well-to-do people attended
~1,500 seats
For adults and later redone for

children
Bloody, gory
Trust in natures goodness
Making children abide to
rules/elders
Middle and wealthy classes
attended
Takes note of physical inabilities
Self-directed, actors as directors
All Genres:
Generally interior theatres, 2,000
Tragedy, Comedy,
or less
Historical,
Spectacle can be quite extravagant
Suspense, Murder
based on needs of play
Mystery, Musical, Stories based on any topic
Fantasy
including those of all times and
places
Rarely audience participation
Entertainment, not competitive
Attendance limited by cost of
professional theatre
All gender/races, trained actors,
two month rehearsal period
123

Unit Vocabulary: theatre space, proscenium, amphitheatre, spectacle, tragedy, comedy, genre, playwright,
lighting, sound, costumes, performance space, set, scenery
Pre-Assessment:
List theatrical elements used in Greek, Elizabethan, Romantic, and contemporary American Theatre.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Activity:
Activity:
Activity:
Work in groups to create Use library resources to
Create a mural piece for
and quiz each other on
research theatre space,
your period of theatre
characteristics of theatre audience, playwrights,
history incorporating
theatre space, audience,
history eras and
technical elements, and
playwrights, technical
actors from a specific
elements, and actors.
time period, making
observations and
comparisons to
Strategy:
Strategy:
Strategy:
Lecture, show examples Small group discussion, Examples, rehearsal,
examples, guided
peer critique, guided
practice
practice
Assessment:
Assessment:
Assessment:
Identify characteristics
Compare and contrast a
Give an oral
of a specific theatre
specific time period to
presentation to the class
history eras.
American/European
explaining historical
theatre.
theatre information on
the mural piece. Add
your piece to the history
of theatre timeline.
Level 4
Extended Thinking
Activity:
Read a play from a
historical time period.
Consider what problems
it reflects in society.
Strategy:
Guided instruction
Assessment:
Create a drawing of the
stage including
characters in costume.
Use computer-based resources to research historical and contemporary theatre.
Advanced students can study more than one historical time period and compare/contrast with their original
time period.
Application Level Assessment for CCO V:
Student Task:
Students will understand media references to theatrical time periods.
Students might be able to relate the style of clothing, artwork, and performances to theatrical time periods.
124
Consider the similarities and differences in your theatrical time period and contemporary theatre. Compare the following elements using the
VENN diagram below: Stage, Actors, Audience, Lighting, Sound, Amplification, Make-up, Costumes, Props, Theme, Performance Space, Length of
Performance, Genre, Time of Day, Tickets, Music, Narration, Song, Set, Scenery, et
TODAY
TIME PERIOD:
125
Theatre History Reflective Writing Worksheet

Name: _____________________________
Class: _____________________________
Work A
Work B
Choose one technical element (costumes, lighting, sound, make-up, stage, etc) to explain how and why
Technical Trait:
Work A
place.
Work B
place.


Choose one performance element (movement, staging, character, etc) to explain how and why it is
Performance Trait:
Work A
place.
Work A
place.


126
.
Scoring Guide for Grade Eight: Theatre Arts. CCOV: Theatre History
Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic

the use of theatrical
elements in historical
eras:
Ancient Greece
Commedia DellArte
Elizabethan
Romantic
Contemporary
American/Europe
Compares and contrasts the

most significant
characteristics of both eras.
Defends statements with
detailed reference to the
era.
and specific.

important characteristics of
the work.
reference to the era.
All information is correct.
Compares and
contrasts less
important
characteristics of the
work.
Supports some
statements with
reference to the work.
Some information is
missing.
Some information is
incorrect.
Information is
incomplete.
Information lacks
support.
Many pieces of
information are missing.
Many pieces of
information are incorrect.
127
High School Theatre Arts Curriculum
128
Course Map for High School Theatre Arts

Theatre Arts I:
Actor's Studio
(9-12)
Theatre Arts II:
Theatre Performance
and Production
(9-12)
Theatre Design and

Technology
(9-12)
Theatre Arts III:

Director's Studio
(10-12)
Studio Theatre
(10-12)
129
Dance &
Performance
Movement
(9-12)
____________FINE ARTS THEATRE ARTS____________
THEATRE ARTS I: ACTORS STUDIO

(formerly Theatre Arts I: Beginning Acting)
This course is offered as Standard only.
Course Number(s):
DR010S (1st or 2nd Sem.)
Prerequisite:
(9, 10, 11, 12)
1/2 Unit
None.
Actors Studio content is appropriate for the beginning actor. Through the studio atmosphere, students will
learn acting skills, perform in class, and evaluate theatrical works. The relationship between theatre and
culture will focus on Ancient Greek/Roman and Elizabethan theatre. Theatre experiences outside of class
are required during the semester (I.E., attending theatrical performances, participating in theatre
productions).
THEATRE ARTS II: THEATRE PERFORMANCE AND PRODUCTION*

*Pending approval of Board of Education
This course is offered as Blocked only.
Course Number(s):
DR011B (1st or 2nd Sem.)
Prerequisite:
(9, 10, 11, 12)
Passing grade in Theatre Arts I: Actors Studio
NOTE: This is a new course replacing Theatre Arts II: World Theatre Performance. Students who took
Theatre Arts II: World Theatre Performance may take this course for additional credit.
Theatre Performance and Production is an intermediate level course that builds upon acting skills learned in
Actors Studio. The class, as an artistic ensemble, will apply those and new skills to the creation of a
theatrical production which will be performed for out-of-class audiences. The relationship between theatre
and culture will focus on eras in American theatre. Theatre experiences outside of class are required during
the semester (I.E., performing or serving on a production crew, attending theatrical performances,
participating in theatre productions).
THEATRE DESIGN AND TECHNOLOGY

This course is offered as Standard or Blocked.
Course Number(s):
DR005S or DR005B (1st or 2nd Sem.)
Prerequisite:
(9, 10, 11, 12)
Passing grade in Theatre Arts I: Actors Studio.
Theatre Design and Technology emphasizes the design and implementation of theatre productions.
Students will participate in the analysis, design, production, and critique of the theatre process that includes
set, costume, lighting, sound, makeup, and props. Collaboration and problem-solving are fundamental
aspects of the course. Students will explore the relationship between culture and theatre by contrasting the
technology used in medieval and contemporary theatrical productions. Students who take this course for
repeatable credit will create a portfolio of work that can be used in college and/or professional theatre
auditions. Class size is limited due to safety concerns. This course may be repeated for elective credit.
130
1/2 Unit
1/2 U
DANCE AND PERFORMANCE MOVEMENT*

*Pending approval of Board of Education
This course is offered as Blocked only.
Course Number(s):
DR013B (1st or 2nd Sem.)
Prerequisite:
(9, 10, 11, 12)
1/2 Unit
Passing grade in Theatre Arts I: Actors Studio.
Dance & Performance Movement builds upon stage movement, stage geography, and physicalization
concepts learned in Theatre Arts I: Actors Studio. It teaches artistic thinking, performance, and
choreography to beginning dance students. Students will perform dances demonstrating body skills,
movement skills, performance values, and elements of dance. They will communicate meaning through the
creation of dance using choreographic principles, structures, and processes. Students will respond to and
evaluate dance performances, make connections between dance and other subjects, and relate social and
concert dance to history and culture.
THEATRE ARTS III: DIRECTORS STUDIO

(formerly Theatre Arts III: Directing)
Course Number(s):
Prerequisite:
(10, 11, 12)
1/2 Unit
Passing grade in Theatre Arts II: Theatre Performance and Production.
Directors studio is an advanced theatre course which focuses on directing skills and the interrelationship
between director and actor. Students will experience the roles of director and actor in script analysis,
auditions, rehearsals, and performances of scenes. The relationship between theatre and culture will focus
on French Renaissance and Restoration theatre. Theatre experiences outside of class are required during the
semester (I.E., attending theatrical performances, participating in theatre productions). This course may be
taken for college credit through UMSL*.
STUDIO THEATRE
Course Number(s):
Prerequisite:
(10, 11, 12)
Instructors permission after audition and Theatre Arts III: Directors Studio.
Studio Theatre is an advanced course for the serious performer or director. Students who take the course
for the first time will create a portfolio of work that can be used in college and/or professional theatre
auditions. The relationship between theatre and culture will be explored through classical and
contemporary monologues. Those who take the course for repeatable credit will have the option of
selecting an area of emphasis in Childrens Theatre, Improvisational Theatre, Musical Theatre, or
Directing. The class, as an artistic ensemble, will develop and perform for outside audiences. Productions
will vary each semester. Theatre experiences outside of class are required during the semester (I.E.,
performing or serving on a production crew, directing a one-act play, attending theatrical performances,
participating in theatre productions). This course may be repeated for elective credit. This course may be
taken for college credit through UMSL*.
*UMSL offers college credit for one upper level theatre course, either Theatre Arts III: Directors Studio or
Studio Theatre. College credit must be arranged through the theatre instructor.
131
1/2 Unit
Theatre Arts I: Actors Studio
132
Overview of Learning Targets for Theatre Arts I: Actors Studio

Memorize and perform a character in a scene.
A. Script Writing
B. Acting
Analyze a script for given circumstances.

Analyze a script for its technical aspects related to props and costumes.
Develop a plan for using props and costumes in a scene.
D. Directing
Analyze and write a peer evaluation of a performance addressing actors choices.

Analyze a theatrical performance addressing aesthetic elements.

Compare and contrast Greek/Roman theatre with Elizabethan theatre.
133
Actors Studio
Essential Question
How do actors utilize a script to initiate character development?
Content and Skills:
should know:
Memorization
Characterization
Given circumstances (who, what, when,
where, why)

FA1, G2.5,GLE PP1B Grade
9 - 12
Learning Target
Theatre Arts I Vocabulary for all Core Conceptual Objectives:

actors choices, articulation, character, characterization, costume, critique, cutting, dialogue, delivery,
directing, directors vision, feedback, focus, fourth wall, given circumstances, lines, physical choices, plot,
prompting, props (properties), sight lines, stock characters, subtext, time period, upstaging
Pre-Assessment:
Students perform as a character in a short scene.
Level 1
Recall
Activity:
Learn vocabulary, script
analysis, and
memorization
techniques such as
repetition, outlining, key
words, phrasing.
Level 2
Skill/Concept
Activity:
Small groups select
from teachers script
cuttings, analyze the
cutting, and then
memorize, and perform
in character.
Level 3
Strategic Thinking
Activity:
Take stock characters
and apply them to a
given situation.
Try out alternative
interpretations, get
feedback from others,
and improve
communication of
character.
Strategy:
Lectures and provides
examples while students
take notes
Strategy:
Use a video clip to
demonstrate technique.
Strategy:
various actors choices
using the same script.
Modeling
Giving individual
feedback.
134
Level 4
Extended Thinking
Activity:
Analyze a published
work.
Act in full character
before a student
audience.
Justify actor choices
during post-performance
discussion and critique.
Use self-reflection and
external feedback to
modify performances.
Strategy:
Teacher offers choices
from classic theatrical
works.
Develop characters
based upon the
playwrights intent
and/or directors vision.
Level 1
Recall
Assessment:
Identify: plot, given
circumstances (internal
and external character
traits), character
relationships, time
period and technical
aspects of a cutting.
Memorize lines from a
short script.
Level 2
Skill/Concept
Assessment:
Analyze cutting to
determine plot, given
circumstances (internal
and external character
traits), character
relationships, time
period and technical
aspects of a cutting.
Perform a memorized
cutting/scene of a script.
Level 3
Strategic Thinking
Assessment:
Individual students
apply their character
analysis by making
actors choices in a
performance.
Level 4
Extended Thinking
Assessment:
Participate in a fulllength theatrical
production which
requires:
Extensive character
research
Given circumstances
Character
Development
Technical choices of
costumes, props, hair,
and make-up
Rehearsals: which
include taking
direction and selfevaluation
Performing before an
audience
Students use library resources to research characters, scripts, and time periods using the Internet.
Viewing and critiquing established performances from video, film, and Internet resources.
Use the extras on DVD performances such as interviews, documentaries, commentaries, and behind-thescenes footage.
Students can be given scripts of appropriate difficulty for their experience. Scripts might vary in length,
complexity of language, dialect, and modern versus historical periods.
Students can be assigned either simple or complex character roles based upon their readiness.
Students may be given choices of scripts that meet their interests.
Application Level Assessment for CCO I Theatre Production/Performance
Student Tasks:
Students will be able to analyze and interpret scripts, and demonstrate acting skills if they continue to study
theatre.
Students will be able to understand and appreciate theatrical performance as an audience member.
Students will acquire the skills to speak or perform in front of others in their daily lives.
135
Scoring Guide for Actors Studio, CCO I, Theatre Production/Performance

Learning Target
Memorize and perform a

character in a scene.
4
Advanced
Actor maintains focus

throughout performance
handling mistakes
without breaking focus
All lines are memorized
Actor choices based in
given circumstances
Awareness of fourth wall
and sight lines
Well defined beginning,
middle, and end
Effective use of technical
elements: props,
costumes
Physical choices
demonstrate character
analysis
Clear, articulate delivery
Line delivery
communicates emotion,
region, age, and subtext
3
Proficient
Actor maintains focus

overcoming mistakes to
continue the scene
Actor choices based on 4
of 5 given circumstances
and sight lines
Clear beginning, middle,
and end
Use of props and
costume pieces
Most physical choices
analysis
Clear and articulate
delivery
Line delivery
communicates emotion,
age and subtext
2
Basic
136
Actor briefly breaks

focus by laughing or
smiling, but regains
focus and continues
performing
Most lines are
memorized needs
minimal prompting
Some awareness of sight
lines: audience
periodically loses sight
of some key action due
to actor turning his/her
back or upstaging
Beginning, middle, or
end apparent
Uses some props and
costume pieces
Few physical choices
analysis
Articulation and delivery
are unclear with words
hard to hear or
understand
Line delivery
communicates emotion
or age
1
Below Basic
Actor breaks focus by

laughing or smiling
Needs frequent
prompting of lines
interfering with delivery
of performance
Little awareness of sight
lines: audience
frequently loses sight of
key action due to actor
turning his/her back or
upstaging
Beginning apparent
Uses few props or
costume pieces
Physical choices based
on character analysis
rarely apparent
Articulation and delivery
are unclear with most
words hard to hear and
understand
Line delivery rarely
communicates emotion
Actors Studio
A. Script Writing
Essential Question
How do students communicate their ideas to an audience through
scriptwriting?

FA 5, G 2.5, GLE PP1A,
EP1A Grade 9 - 12
Content and Skills:

should know:
Learning Target
Elements of a script: plot and dialogue.
Unit Vocabulary: actors choices, articulation, character, costume pieces, costumes, delivery, focus,
fourth wall, given circumstances, lines, physical choices, prompting, props, sight lines, subtext, upstaging
Pre-Assessment: Define plot and dialogue.
Level 1
Recall
Activity: Students will
read scenes and discuss
script elements in each.
Level 2
Skill/Concept
Activity: Read
childrens stories and
discuss how they could
be adapted into a script
format.
Level 3
Strategic Thinking
Activity: Students work
in small groups to:
brainstorm story ideas
for various genres.
Select and develop the
best storyline into a
scripted scene.
Strategy: Direct
instruction of script
elements. Provide
examples from various
scripts.
Strategy: Model how to

adapt a childrens story
into a script.
Strategy: Model story

ideas in various genres
and show how they can
be developed into a
scripted scene.
Assessment: Identify
plot, dialogue, given
circumstances, and time
period in a script.
Assessment: Students
will adapt a childrens
story into a scripted
scene incorporating all
script elements.
Assessment: Develop
an original story line.
Outline it as a script
diagram. Write a scene
including dialogue and
stage directions which is
based on the outline.
137
Level 4
Extended Thinking
Activity: Use library
issues that affect
children in
contemporary society.
Select a message that
can be conveyed to
children. Write a first
draft and conduct a
Table Reading to get
feedback from class
members. (R)
Strategy: Provide
examples of scripted
scenes based upon
contemporary issues.
Assessment:
Fictionalize the concept
and write it as a scripted
scene. Present the final
draft of the script in a
puppet show to children.
Students review existing scripts using the Internet.
View and critique established productions from video, film, and Internet resources.
Use the extras on DVD performances such as interviews, and documentaries, commentaries, and
behind-the-scenes footage.
Students can be given scripts of appropriate difficulty for their experience.
Scripts might vary in length, complexity of language, dialect, and modern versus historical periods.
Students can be assigned either simple or complex plot concepts for their script proposal based upon their
readiness.
Students can be given choices of scripts that meet their interests.
Application Level Assessment for CCO II A:
Student Task:
Students will be able to analyze and interpret scripts if they continue to study theatre.
Students will be able to understand and appreciate theatrical performances (stage and screen) as an
audience member.
Students will further develop their writing skills for use in their daily lives.
138
Scoring Guide for Actors Studio, CCO IIA, Elements - Scriptwriting

Learning Target
4
Advanced
Write a script for a scene

including plot and dialogue
Script includes:
Clear and well-developed
beginning, middle, and
end with clear conflict
and resolution
Script includes:
Clear and beginning,
middle, and end with
conflict and clear
resolution
Script includes:
Clear and beginning,
middle, and end with
unclear conflict or
resolution
Dialogue communicates
all Given circumstances:
who, what, when, where,
why
4 of 5 Given
circumstances: who,
what, when, where, why
3 of 5 Given
circumstances: who,
4 or more characters
3 characters
2 characters
Written in script format

using clear, concise
language
Written in script format

using clear language
Written in script format ,

some unclear language
Correct grammar and

correct spelling
Correct grammar and

correct spelling
Some errors in grammar

or spelling
Incorporates technical
aspects
3
Proficient
139
2
Basic
1
Below Basic
Script includes:
Missing beginning,
middle, and/or end
2 of 5 Given
circumstances: who,
2 characters
Written in a story format,

frequently unclear
Multiple errors in
grammar and/or spelling
which make it difficult to
understand the script
Actors Studio
B. Acting
Essential Question
How does an actor apply theatrical elements to create a character?
Content and Skills:

should know:
Given circumstances facts about the
character that are found in the script
Character Analysis internal and
external character traits
Stage Movement cheating out, cross,
counter-crossing, upstaging
Stage Geography upstage, downstage,
stage right, stage left, center stage
Basic Acting Skills- Physicalization,
Vocalization, Characterization,
Memorization

FA1, G2.5, PP1B, PP1F,
GLE EP1D, Grades 9 - 12
Learning Target
Analyze a script for given circumstances
Vocabulary: acting games, character, character analysis, characterization, cheating out, counter crossing,
cross (crossing), dialect, downstage, center stage, given circumstances, imaginary circumstances, physical
expression, physicalization, prompting, stage geography, stage business, stage directions, stage left, stage
movement, stage right, upstage, upstaging, vocal expression, vocalization
Pre-Assessment: Students complete acting game exercises to evaluate existing acting skills.
Level 1
Recall
Activity: Write and/or
select a poem to
memorize.
Level 2
Skill/Concept
Activity: Memorize and
perform the Hamlets
Speech to the Players.
Level 3
Strategic Thinking
Activity: Develop a
character analysis from
a provided script.
Memorize script for an
audition.
Strategy: Provide
selection of published
poems or have students
write their own. Teach
memorization
techniques.
Strategy: Provide
Hamlets Speech to the
Players. Lecture and
discussion.
Strategy: Provide a
script, teach audition
techniques and character
analysis through lecture
and class discussion.
140
Level 4
Extended Thinking
Activity: Choose a scene
and research the
character from a
provided script, develop
a character analysis,
memorize the script and
perform for the class.
.
Strategy: Provide a
script, allow time for
character research and
provide guided rehearsal
time.
Level 1
Recall
Assessment: Perform a
memorized poem of at
least 16 lines for the
class and teacher
feedback.
Level 2
Skill/Concept
Assessment: Have
students write a
translation of a scene
from Hamlet into their
own words for teacher
feedback and class
discussion.
Level 3
Strategic Thinking
memorized scene with a
partner for teacher
feedback and class
discussion.
Level 4
Extended Thinking
scene for teacher
feedback and classroom
discussion. Improve
teacher feedback.
Utilize library resources for research of poems and scripts.
View video clips.
Type their character analysis on the computer.
Advanced students can analyze a script for a characters physiology, sociology, and psychology.
Choose a poem of their interest or write their own.
Students may memorize and perform more than 16 lines.
Select a character of their choosing.
Choose a scene from a teacher provided published script.
Application Level Assessment for CCO II B: Elements-Acting
Student Tasks:
Analyze a script for given circumstances
Students will be able to memorize, audition and develop a character should they continue to study theatre.
Students will understand and appreciate theatrical performances as an audience member.
Students will be able to utilize memorization skills in their professional/daily lives.
141
Scoring Guide for Actors Studio, CCO IIB Elements-Acting

4
Advanced
Learning Target
Analyze a script for given

circumstances
Develop a character
Memorization
3
Proficient
2
Basic
1
Below Basic
Research the
circumstances
surrounding the
character
Analyze a script to
determine all given
circumstances: who,
Analyze a script to
determine 4 of 5 given
circumstances: who,
Analyze a script to
circumstances: who,
Analyze a script to
circumstances: who,
Create a character
analysis that includes
both internal and
external traits
Choose and apply acting
skills to bring this
character to life as
he/she reacts to events
in a script
Develop and
communicate a personal
vision of the character
including both the
Given and Imaginary
Circumstances
Create a character
both internal and
external traits
Choose and apply acting
skills to bring this
character to life as
he/she reacts to events
in a script
Create a character
both internal and
external traits
Apply acting skills to
communicate some
apparent aspects of the
character
Create a character
internal or external traits
Use acting skills to
communicate a few
apparent aspects of the
character
142
Needs minimal
prompting to remember
memorized lines
Actor needs frequent

prompts or holds script
during performance
Stage Geography
Perform a Character using

Physical Expression
(posture, movement,
gestures, facial expression)
Perform a Character using

Vocal Expression
(projection, enunciation)
Develops stage directions

incorporating logical and
interesting stage
movement/business for a
scene
Moves upstage,
downstage, stage right,
stage left, and/or center
stage as suggested by the
script and director
Integrates all physical
aspects of the character
Physical expression is
seamless and natural
Speaks all words clearly
Voice is heard by all
audience members
Variations in pitch fit
characters dialogue
Variations in volume fit
characters dialogue
Variations in
speed/pacing fit
characters dialogue
Characters intentions
and emotions are
communicated
Dialect, speech patterns,
etc., are appropriate and
consistent throughout
performance
Develops stage directions

for a scene
Moves upstage,
stage as suggested by the
director
Needs some prompting

to move upstage,
stage
Needs extensive
prompting and direction
to be at correct location
on the stage
Integrates most physical

seamless and natural
Uses some physical

sometimes natural
Uses one physical aspect

of the character
rarely natural
Speaks all words clearly

Voice is heard by all
audience members
Variations in pitch fit
characters dialogue
Variations in volume fit
characters dialogue
Variations in
speed/pacing fit
characters dialogue
Characters emotions are
communicated
143
Speaks most words

clearly
Voice is usually loud
enough but some lines
are spoken too quietly for
audience to hearers
Little variation in pitch
Little variation in speed
Attempts to
communicate emotions
Audience has difficulty

understanding words
which may be mumbled
or garbled
Actors voice is too soft
to be heard
Words spoken in a
monotone
Speech may be rushed or
too slow
Actors Studio
Essential Question
How will students apply technical theatre elements to a character?
Content and Skills:

should know:
Technical Aspects of props and
costumes
Ground plan for set design

FA1, FA2, G2.5, GLE PP1C,
EP1C Grades 9 - 12
Learning Target
Analyze a script for its technical aspects related to props and
costumes.
Unit Vocabulary: character, costumes, costume pieces, ground plan, hand prop, light plot, props, set
design, sound plot, time period
Pre-Assessment: Outline the technical elements that would enhance a given characters performance.
Level 1
Recall
Activity: Develop a
character using a
costume piece.
Level 2
Skill/Concept
Activity: Develop a
character incorporating
lights and sound to
create mood.
Level 3
Strategic Thinking
Activity: Choose a
character from a
provided script that
requires a hand prop and
costume piece. Create
or find the prop and
costume piece.
Strategy: Provide a
script, lecture and
discuss costuming
choices.
Strategy: Model by
showing video clips,
discuss light and sound
techniques using a light
and sound plot.
Strategy: Model by
class discussion of how
to build a costume piece
and hand prop.
memorized scene
utilizing an appropriate
costume piece.
character from a
memorized scene using
lights and sound to
reflect the mood.
character from a
memorized scene using
a costume piece and
hand prop.
144
Level 4
Extended Thinking
Activity: Develop a
character using props,
costumes, hair makeup, set elements for a
scene of their choice
from a given play.
Design set, choose
appropriate music (if
applicable), design a
light and sound plot for
the performance.
.
Strategy: Model by
showing video clips.
Teacher will lecture and
lead a class discussion
of how to incorporate
several theatrical
elements. Allow
research time.
scene from a memorized
script using theatrical
elements. Teacher
feedback.
Students will research using various library resources.
View various film and video clips.
Utilize music and sound effects CDs.
Students may choose or build their own prop and/or costume piece.
Students may choose their own character and/or scene based on their personal interest.
Students may create their own musical selections and/or sound effects.
Application Level Assessment for CCO II C: Elements-Design and Technical Theatre
Student Tasks:
Analyze a script for its technical aspects related to props and costumes.
Students will apply their knowledge and understanding of the technical elements of theatre should they
continue to study the theatre arts.
Students will apply their knowledge and skills of building hand props and/or costume pieces for a possible
career and or life skill.
Students will have a better understanding and appreciation of the technical elements of theatre as an
audience member.
145
Scoring Guide for Actors Studio, CCO IIC, Elements-Design and Technical Theatre
Learning Target
4
Advanced
3
Proficient
2
Basic
Analyze a script for its

technical aspects related to
props and costumes.
Research time period

Determine all prop and
costume needs
Develop a plan for using

props and costumes in a
scene
Create plot for all props

and costumes
Create plot for light,
sound, or special needs
Create plot for all props

and costumes
Create plot for some

props and costumes
Create plot for either prop or

costumes
Develop a ground plan for

set design
Create a birds eye view

sketch in scale

sketch
Create a sketch with

most but not all
necessary elements: set
pieces, furniture
placement, doors,
windows, stairs, etc.
Create an incomplete sketch

which lacks many necessary
elements: set pieces, furniture
placement, doors, windows,
stairs, etc.
Determine all prop and

costume needs
146
1
Below Basic
Determine some prop

and costume needs
Determine either prop or

costume needs
Actors Studio
D. Directing
Essential Question
How is a scene blocked?

FA1, FA2, G2.5, GLE PP1D,
EP1D Grades 9 - 12
Content and Skills:

should know:
Blocking
Stage Movement
Stage Geography
Learning Target
Unit Vocabulary: blocking, fourth wall, levels, sight lines, stage business, stage geography, stage
movement, stage space, upstaging
Pre-Assessment: Explain how you would block a short scene from a familiar story or fairy tale.
Level 1
Recall
Activity: Using a stage
diagram, indicate
movement for your
character in a scene.
Level 2
Skill/Concept
Activity: Using a stage
diagram indicate
movement for two
characters in a given
scene.
Level 3
Strategic Thinking
Activity: Block a scene
using more than two
characters to create two
stage pictures indicating
the movement needed to
complete both pictures.
Strategy: Lecture,
guided practice on stage
movement and stage
directions. Provide a
birds eye view of a
stage template.
Class discussion.
Strategy: Lecture and

demonstrate through
guided practice stage
movements. Provide
clips and photographs of
successful stage
pictures.

lead the class in
movement exercises to
create stage pictures.
Provide rehearsal time
with teacher feedback.
Assessment:
Create a stage diagram
noting at least five
movements on stage.
Assessment: Create a
multiple character stage
diagram indicating the
motivated movement for
each.
scene using more than
two characters
demonstrating effective
stage movement to
complete two stage
pictures.
147
Level 4
Extended Thinking
Activity: Block a scene
with multiple characters,
providing an extensive
stage diagram depicting
stage movement for
each character,
indicating motivation
and intent.
Strategy: Provide
rehearsal time and
teacher feedback.
Assessment: Provide a
stage diagram depicting
stage movement and the
directors stage notes for
the given scene.
Accurately perform the
scene based on the
directors plans.
Utilize video clips and digital photographs.
Videotape/photograph students as they create stage pictures for class discussion.
Utilize directors software to illustrate movement.
Students may choose a scene based on their own interest.
Students may select a simple or complex scene.
Students may incorporate simple set pieces to enhance their scene.
Application Level Assessment for CCO II D: Elements-Directing
Student Task:
Students will be able to better communicate ideas and vision to others should they continue to study
directing.
Students will be able to appreciate stage productions and the importance of motivated movement as an
audience member.
Students will be able to effectively communicate direction in a professional context.
Students will use body language and body position to better communicate non-verbal messages.
148
Scoring Guide for Actors Studio, CCO II D: Elements - Directing

Learning Target
Block a scripted scene
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Block a scene using:

Levels
Stage geography
Movement with purpose
Variety in use of stage
space
and sight lines
Interesting and
appropriate stage
business

Levels
Stage geography
Movement with purpose
Awareness of sight lines:
audience can see all
relevant action

Levels
Stage geography
Some awareness of sight
lines: audience
periodically loses sight
of some key action due
to actor turning his/her
back or upstaging

Stage geography
Limited awareness of
sight lines: audience
misses key action due to
ineffective blocking, e.g.
actor's turning his/her
back to audience
frequently
149
Actors Studio
performances.
Essential Question
How do students express their understanding of theatre and theatrical
performances?

FA 2, FA 3, GLE: AP 1A,
Grades 9 - 12
Content and Skills:

should know:
Learning Target
How to analyze actors choices

Theatre terminology
Analyze and write a peer evaluation of a performance

addressing actors choices.
Unit Vocabulary: acting objective, acting tactics, actors choices, blocking, mental focus, physicalization,
vocalization
Pre-Assessment: Critique one aspect of a performance.
Level 1
Recall
Activity: Students
discuss appropriate
criticism techniques.
Level 2
Skill/Concept
Activity: Have students
write peer evaluations.
Level 3
Strategic Thinking
Activity: Write an essay
on who has improved
the most in class based
on collected peer
evaluations.
Strategy: Lecture,
discussion, model
writing a critique
Strategy: Model and

lecture.
Strategy: Guided
practice.
Assessment: List
critique techniques
using the appropriate
terminology.
Assessment: Write a
critique of a
performance and give
positive feedback.
Assessment: Write a
critique of a
positive and negative
feedback.
Level 4
Extended Thinking
play being performed by
a professional company.
Attend the performance.
Read published reviews
of the performance.
Strategy: Teacher
feedback and class
discussion.
Assessment: Write a
critique of a professional
production and submit it
to a local publication..
Students will view a theatrical production on video/DVD.
Students will use a computer to type evaluations.
Students will research professional reviews of theatrical productions using computer-based resources.
Students will use a numerical system for critiquing peers.
Students will use critique rubric for student performances and evaluation.
Students will write a formal critique/review of a performance.
150

Student Task:
Analyze and write a peer evaluation of a performance addressing actors choices.
Students will be able to demonstrate evaluation skills should they continue to study theatre.
Students will be able to understand and appreciate theatrical performances as an audience member.
Students will be able to identify strengths and weaknesses in an evaluation in their daily lives and future
careers.
151
Scoring Guide for Actors Studio, CCO III A Theatre Criticism

Learning Target
Evaluate and write peer

evaluation addressing
Actors Choices
4
Advanced
Clear use of theatre
vocabulary with descriptive
adjectives
Clear, complete writing
free of grammatical and
spelling errors
Addresses all components
of acting (Physicalization,
Vocalization, Blocking,
Mental Focus, Acting
Objective/Tactics)
specific, detailed reference
to the performance
3
Proficient
Clear use of theatre
vocabulary with descriptive
adjectives
Clear, complete writing
with few grammatical or
spelling errors which do
not interfere with reader
comprehension
Addresses 4 of the 5
components of acting
(Physicalization,
Objective/Tactics)
reference to specific facts
in the performance
152
2
Basic
Use of theatre
vocabulary with few
Several grammatical and
spelling errors which
interfere with reader
comprehension
Addresses 3 of the five
(Physicalization,
Objective/Tactics)
Supports some
statements with reference
to specific facts in the
performance
1
Below Basic
Use of general vocabulary
Frequent grammatical and
spelling errors making the
piece difficult to
comprehend
Addresses 2 of the five
(Physicalization,
Objective/Tactics)
Few statements are
supported with facts from
the performance
Actors Studio
performances.
C. Aesthetics
Essential Question
How do students express their understanding of the aesthetics of theatre?
Content and Skills:


Grades 9 12
Learning Target
able to do:
Analyze a theatrical performance addressing
aesthetic elements.
Aesthetic elements of theatre:

Physiological (unconscious physical reactions to what
is seen/heard such as blinking at a bright light)
Cultural (responses that can vary among different
people based on age, gender, races, nationality,
religion, or social groups)
Personal (responses that are based upon an
individuals experiences)
Unit Vocabulary: aesthetics, cultural elements/responses, personal elements/responses, physiological

elements/responses
Pre-Assessment: Theatre terminology Pre-Test.
Level 1
Recall
Activity: Define the
various theatrical
aesthetics.
Level 2
Skill/Concept
Activity: Compare the
various cultural
aesthetics.
Level 3
Strategic Thinking
Activity: Assess and
hypothesize personal
aesthetics.

model the definitions of
various theatrical
aesthetics.
Assessment: Write the
definitions of theatrical
aesthetics.
Strategy: Lecture,
discuss and provide
examples of various
cultural aesthetics.
definitions and explain
the cultural aesthetics.
Strategy: Discuss and

identify various personal
aesthetics.
Assessment: Write a
critique based on
personal aesthetics.
Level 4
Extended Thinking
Activity: Connect the
physiological, cultural
and personal aesthetic
responses to theatre.
Strategy: Teacher
feedback and class
discussion.
Assessment: Write a
critique analyzing all
three areas of theatrical
aesthetics.
Students will use library resources to research professional reviews of theatrical productions using Internet
resources identifying all three areas of theatrical aesthetics.
153
Students may select a production based on their personal interest.
Students may select a production based upon the level of complexity.
Students may choose to work alone or with a partner.
Student Task:
Analyze a theatrical performance addressing aesthetic elements.
Students will be able to demonstrate knowledge and understanding of theatrical aesthetics as they apply to
theatre and the world around them.
154
Scoring Guide for Actors Studio, CCO III B: Aesthetics

Learning Target
Analyze a theatre
performance addressing
aesthetic elements:
4
Advanced
Physiological (unconscious
physical reactions to what is
seen/heard such as blinking at
a bright light)
Cultural (responses that can
vary among different people
based on age, gender, races,
nationality, religion, or social
groups)
Personal (responses that are

based upon an individuals
experiences)
Clear and complete use

of extensive theatre
terminology
responses of diverse
audience members
Addresses Physiological,
Cultural, and Personal
responses
Infers subtle as well as
obvious symbolic or
other meanings in the
work
specific references to
parts of the performance
that caused each
response
Evaluates the
effectiveness of the work
from various aesthetic
points of view
3
Proficient
Clear and complete use

of theatre terminology
own responses to another
audience member
Addresses Physiological,
Cultural, and Personal
responses
Explains symbolic or
other meanings in the
work
specific references to
parts of the performance
that caused each
response.
155
2
Basic
Some incomplete or
erroneous use of theatre
terminology
Explains own responses
Addresses Cultural, and
Personal responses
Explains general
meaning of the work
general references to the
performance
1
Below Basic
Incomplete and
erroneous use of theatre
terminology
Uses general vocabulary
instead of theatre terms
Explains own personal
responses
Actors Studio
Essential Question
How will students make connections between theatre and other arts and
theatre and other subject areas?
Content and Skills:
should know:
Costume design in theatre is similar to
fashion design in art.

Grades 9 - 12
Learning Target
Costume Design
Replicates fashions specific to a
time and place
Communicates information about
the character (social status,
profession, nationality, age)
Adapts to meet the actors needs IE.,
stage movement, quick changes
Driven by script choice and the
directors vision
Uses elements & principles of art
such as line, color, texture, shape,
balance, proportion, emphasis, unity
Fashion Design
Uses new materials and technology
to construct clothes
Reflects values of culture, region,
nation, gender, age, social/economic
status, job/role in society, religion...
Reflects the designers vision
Driven by market seasonal and
annual changes create a constant
need for new clothes
Uses elements & principles of art
such as line, color, texture, shape,
balance, proportion, emphasis, unity
Unit Vocabulary: costume design, fashion design, time period
Pre-Assessment: Students will complete a Venn diagram showing the relationship of theatre to fashion
design.
156

Level 1
Recall
Activity: Look at
fashion magazines and
costumes and discuss
similarities.
Level 2
Skill/Concept
Activity: Work in small
groups to make a poster
of costumes for a
specific production.
Level 3
Strategic Thinking
Activity: Given
household items, like
duct tape; create a
costume piece based on
a fashion design, for a
scene.
Strategy: Lecture,
discuss and model.
Strategy: Discuss,
model, and provide
examples of visual and
performing arts
elements.
Strategy: Guided
Practice
Assessment: List
common characteristics
of costumes and fashion
design.
Assessment: Present the

poster to the class.
Justify choices citing the
relationship between the
costumes and the
everyday fashions of the
time.
Assessment: Utilize the

created costume in the
performance for a scene.
Level 4
Extended Thinking
period production to see
what the fashions were
at that time and place.
Then shop for fabric
swatches to illustrate a
period costume.
Strategy: Teacher
feedback and class
discussion.
Assessment: Create and

present a costume plot
to the class.
Students will use computer-based resources to research movie clips for presentation in class.
Students will use computer-based resources to research fashion designers.
Students can create a Power Point presentation of a costume plan or plot.
Students can select the period they are most interested in.
Students can build the costume.
Application Level Assessment for CCO IVA: Connections among the arts
Student Task:
Students will have the knowledge and skills to assist in costumes should they choose to continue studying
theatre.
Students who continue in theatre arts and visual arts will refine their perceptions of the world.
157
Scoring Guide for Actors Studio CCO IV A: Connections among the Arts
Learning Target
Compare costume design in

theatre to fashion design in
art.
4
Advanced
Research clothing worn

at a particular time and
place in history
Compare the clothing
styles of men, women,
and/or children from
different social and
economic classes,
different places, and
different times in history
Compare the jobs of
fashion designer and
costume designer
Design costumes for a
play based upon the
fashions of its time
period and place
3
Proficient

different social and
economic classes,
different places, and
different times in history
Compare the jobs of
costume designer
158
2
Basic

times and places
Compare the jobs of
costume designer
1
Below Basic
Compare the jobs of

costume designer
Actors Studio
Core Conceptual Objective CCO IV: Students will make connections among the arts and between
theatre and non-arts disciplines.
Essential Question
How do students make connections between theatre arts and non-arts
subjects?
Content and Skills:
should know:
Parts of human vocal anatomy.
Actor Vocalization

FA 4, GLE: IC2A Grades 912
Learning Target
Unit Vocabulary: accents, dialects, vocal anatomy, vocal health, vocalization

Pre-Assessment: Complete a Venn diagram showing the relationship of vocalization in theatre and vocal
health.
Level 1
Recall
Activity: Discuss the
various parts of the
vocal anatomy.
Level 2
Skill/Concept
Activity: Students form
a circle and conduct
vocal exercises.
Level 3
Strategic Thinking
Activity: Students must
create a character voice
demonstrating good
vocal health and write a
line of dialogue.
Strategy: Lecture,
classroom discussion.

guided practice.
Assessment: Label the

parts of vocal anatomy
on a diagram..
Assessment:
Demonstrate proper
vocal technique.
Strategy: Model various

accents for student
review.
Assessment: Perform
and justify their
character voice with
reference to vocal
anatomy.
Level 4
Extended Thinking
Activity: Select a
character whose
accent/dialect is
different youre your
own. Research the
accent/dialect. Write
monologue that supports
the characters voice.
Strategy: Provide a list
of common
accents/dialects.
Assessment: Perform
the monologue using the
accent/dialect for an
audience. Justify the
character voice with
reference to vocal
anatomy.
View a film/video that demonstrates specific characters with accents/dialects.
Utilize library resources to research various accents/dialects.
Utilize various forms of software to analyze the vocal qualities of the chosen accent/dialect.
Students may work with familiar or unfamiliar accents/dialects based upon their skill/experience.
Students may relate hearing to vocalization.
Students may choose a character voice based on interest.
Students may choose to write a detailed research paper.
159
Application Level Assessment for CCO IV A: Connections between Theatre and Non-Arts
Disciplines
Student Task:
Students will be able to make a connection between vocal production and vocal health.
Students will be able to use a wide repertoire of character voices should they continue to study acting.
Students will be able to control the quality, pitch and projection of their voices in a public speaking forum.
160
Scoring Guide for Actors Studio CCO IV B: Connections between Theatre and Non-Arts Disciplines
Learning Target
Relate vocalization in
theatre to vocal health
4
Advanced
Identify parts of the body

used to create speech
Develop a plan for actors
that teaches them how to
maintain vocal health
Analyze the way an actor
is using his/her voice and
suggest changes that will
improve his/her vocal
health
3
Proficient

Develop a plan for actors
that teaches them how to
maintain vocal health
161
2
Basic

Explain how an actor
might damage his/her
vocal anatomy
1
Below Basic

Actors Studio
cultural contexts.
Essential Question
How does theatre influence society?
FA 5, G1.9, GLE HC1A Grade 9 12, GLE HC1B Grade 9
How does society influence theatre?
12, GLE HC2A Grade 9 - 12
Content and Skills:
Style/Period
Time/Place
Greek/Roman
Theatre (500
B.C. 475
A.D.) Europe:
Greece, Italy
Elizabethan
Theatre (14001660)
England
Actor troupes, pay (actor

salaries and box office),
Theater Architecture, Set
Design, Subject Matter
Masks, Greek Chorus,

Number of Actors,
Costumes, Props, Theater
Architecture
Types of Plays,
Performances
Tragedies
Comedies
Context
Controlled by gods/fates
Tragic lives
Coliseum (limited)
Festival of Dionysus
Playwrights also acted
Romans adopted aspects of
Greek theatre
Set design (archways)
Roman comedy
Spectacles
Theatre for masses
Tragedies
Renaissance period in England
Comedies
Royalty Ruled (Queen
Histories
Elizabeth)
Shakespeare and
Theaters Architecture
his contemporaries Theatre for the masses and for
the aristocracy

Compare and contrast Greek/Roman Theatre to Elizabethan Theatre.
Unit Vocabulary: actor troupes, comedy, costumes, Elizabethan, Festival of Dionysus, Greek chorus,
histories, masks, props, set design, spectacles, theatre architecture, tragedy
Pre-Assessment: Complete a Venn diagram comparing and contrasting Greek/Roman Theatre with
Elizabethan Theatre.
Level 1
Recall
Activity: Work in
groups to read and study
theatrical characteristics
of Greek /Roman and
Level 2
Skill/Concept
Activity: Work in
groups to create and
quiz each other on
Greek/Roman and
Level 3
Strategic Thinking
Activity: Work in
groups to compare and
contrast Greek/Roman
to Elizabethan Theatre
162
Level 4
Extended Thinking
Greek/Roman and
Elizabethan theatre.
Perform scenes from
both eras for the class
using costumes and
props.
Level 1
Recall
Strategy: Provide
examples, view plays
from the Greek/Roman
eras.
Assessment: Produce a
poster listing
characteristics of
Greek/Roman and
Level 2
Skill/Concept
Strategy: Lecture,
provide examples of
Level 3
Strategic Thinking
Strategy: Modeling,
rehearsing and peer
evaluations.
Level 4
Extended Thinking
Strategy: Teacher
feedback and class
discussion.
characteristics of Greek/
Roman Theatre to
Elizabethan Theatre
Assessment: Compare
and Contrast
characteristics of
Greek/Roman Theatre to
Assessment: Write an
analysis of a chosen
scene from each era,
discussing the
characteristics of each
era. Compare and
Contrast characteristics
of Greek/Roman
Theatre to Elizabethan
Theatre.
Students will view films and videos of classic performances from both eras.
Students will use computer-based resources to research Greek/Roman and Elizabethan Theatre.
Students can choose to work alone, with a partner or with a group.
Advance students can write their own Greek/Roman play.
Application Level Assessment for CCO V: Theatre in Historical and Cultural Context
Student Task:
Compare and contrast Greek/Roman Theatre to Elizabethan Theatre.
Students will understand media references to Greek/Roman and Elizabethan theatre.
Students will have the knowledge of Greek/Roman and Elizabethan Theatre should they choose to continue
their theatre education.
163
Theatre History Reflective Writing Worksheet Name:
Class:
Look at excerpts of theatrical works presented by your teacher that are labeled A and B. Complete the chart below to compare/contrast the works.
What is the historical style of Work A?
What is the historical style of Work B
Which characteristics did you use to determine the style of Work A?
Which characteristics did you use to determine the style of Work B?
When and where do you think Work A was first written?
When and where do you think Work B was first written?
Time Period:
Time Period:
Place:
Place:
What was life like at that time and place?
How did the life and times influence the playwright who wrote Work A?
How did the life and times influence the playwright who wrote Work B?
On the back of this page, explain the importance and influence of Works A and B on contemporary live theatre/TV/film/culture.
Support your opinions by referring to specific details in Works A and B and to current theatre and culture.
164
Scoring Guide for Actors Studio, CCI V, Theatre History

Learning Target

Ancient Greek/Roman and
Elizabethan Theatre
4
Advanced

evaluates both eras.
Addresses the most
significant characteristics
of the work.
work.
All historical information
is correct and specific.
3
Proficient

Addresses important
work.
is correct.
2
Basic
165

both eras.
Addresses less important
work.
Supports some
to the work.
Some important
comparisons are missing.
Some historical
information may be
incorrect.
1
Below Basic
both eras.
Information may be
incomplete.
Many pieces of historical
information may be
incorrect.
Theatre Arts II: Theatre Performance & Production
166
Theatre Arts II: Theatre Performance & Production

Overview of Learning Targets for Theatre Arts II: Theatre Performance & Production
Develop a promotional plan for a production.
A. Script Writing
Write a script that includes the basic dramatic structure, stage directions, and dialogue where characters
interact with each other to tell a story.
B. Acting
Analyze a script for character analysis, plot structure, character analysis and motivation, and time period.
Audition for, memorize, rehearse and perform an assigned part.

Develop a plan for using script-appropriate props, costumes, and set pieces in a scene.
D. Directing
Select and analyze a script in order to develop a director's vision.
CCO III. Students will explain the aesthetics of theatre and evaluate theatrical performances.
B. Aesthetics (personal and group responses to theatre)


Compare and contrast American Theatre from different eras.
167
Theatre Performance & Production

Essential Question
How do actors and technicians produce and perform a theatrical
production?

FA1, G2.5, GLE HCIA,
HC1B, HC2A, Grade 9 - 12
Content and Skills:

should know:
Learning Target
How to put a production together.

Develop a Promotional Plan

Unit Vocabulary: audience appropriate, collaborative theatre, diction, dress rehearsal, ensemble, fill light,
focus, key light, lamp, life mask, lobby, lyricist, master cue sheet, mezzanine, mixer, monologue, minimal
setting, motivation, scrim, proscenium arch, proscenium stage, projection, prompt book, show flyer, stage
blocking, theatre genre, theatrical conventions, strike, subtext, tech rehearsal, throw (lighting), thrust stage,
Pre-Assessment:
Explain the performance and production process.
Level 1
Recall
Activity:
analysis, and
memorization
techniques such as
repetition, outlining, key
words, phrasing.
Read a script.
Level 2
Skill/Concept
Activity:
Read a script, select a
monologue, analyze the
character, and perform it
at an audition.
Interview for technical
positions.
Level 3
Strategic Thinking
Activity:
Develop a costume plot,
light plot, sound plot,
prop plot, set plot, and
promotional plan.
Submit a character
analysis and then use it
to develop the assigned
role. Improve
peer and teacher
feedback. Perform
before an audience.
Strategy:
Lecture and provide
take notes
Strategy:
Present and discuss a
script as an example for
the process of staging a
theatrical production.
Strategy:
Model comparing and
contrasting various
production choices.
Give individual
feedback.
168
Level 4
Extended Thinking
Activity:
Analyze and research
the published work.
Design and implement a
costume plot, light plot,
sound plot, prop plot, set
plot, and promotional
plan.
Submit a character
role. Improve
peer and teacher
feedback. Perform
before an audience.
Strategy:
Through direct
instruction, present the
playwrights intent, and
then justify the
directors vision.
Level 1
Recall
Assessment:
Identify plot, given
circumstances, character
traits (internal and
external), character
relationships, period and
technical aspects of a
script, audition process,
and rehearsal etiquette.
Memorize lines.
Level 2
Skill/Concept
Assessment:
Students audition for an
acting role and present a
technical plot for a crew
position.
Level 3
Strategic Thinking
Assessment:
promotional plot.
Submit a character
role. Improve
peer and teacher
feedback. Perform
before an audience.
Critique final
performance.
Level 4
Extended Thinking
Assessment:
production which
requires:
Extensive character
research
In-depth script
analysis
Technical choices of
and make-up
Perform before an
audience
Post-production
analysis
Students use computer-based resources to research characters, scripts, and time periods.
Students appropriately use theatrical equipment including lights and sound systems.
Scripts might vary in length, complexity of language, dialect, and modern versus historical periods.
Students can assigned either simple or complex character roles based upon their readiness.
Student Tasks:
Plan a production for an audience.
Students will be able to analyze and interpret scripts, demonstrate acting and technical skills if they
continue to study theatre.
Students will acquire the skills to speak or perform in front of others in their daily lives.
169
Scoring Guide for Theatre Performance & Production CCO I

Learning Target
Perform a script for an

audience.
4
Advanced
Create a promotional plan

for a production
3
Proficient
Select and read a script.

Hold Auditions for the
production.
Make Lighting and
Sound Plots.
Select costumes for the
production.
Design a hair & make-up
plot.
Provide Props.
Make a Prompt Book for
the production.
Perform the production.
Read a script and

determine the best
promotional elements for
the production.
Develop a promotional
plan.
Produce two promotional
elements (I.E., a poster,
program or merchandise
item) and write a script
for a radio or television
to promote the
production..
Produce a promotional
item such as a radio or
television spot.
2
Basic

production.
Make Lighting and
Sound Plots.
production.
plot.
Provide Props.
Make a Prompt Book for
the production.
Read a script and

determine the best
promoting the
production.
plan.
Produce two promotional
elements for the
production, i.e. a poster,
program or merchandise
item.
Write a script for a radio
or television spot.
170
1
Below Basic

production.
Make Lighting and
Sound Plots.
production.
plot.
Provide Props.
Read a script and

determine the best
promoting the
production.
plan.
Produce one promotional
element for the
production, i.e. a poster
or program.

production.
Make Lighting and
Sound Plots.
production.
plot.
Read a script and

determine the best
promoting the
production.
plan.

A. Script Writing
Essential Question
scriptwriting?
Content and Skills:
should know:
Plot Structure (also known as

Aristotles Elements of Drama)
Dialogue
Stage Directions
Plot and Sequence
Character Development

FA 5, G 2.5, GLE: HC1A,
HC1B, HC2A, Grade 9-12
Learning Target
Write a script that includes the basic dramatic structure, stage
directions, and dialogue where characters interact with each
other to tell a story.
Unit Vocabulary: character development, climax, conflict, denouement, dialogue, dramatic structure,
exposition, falling action, hook, inciting incident, resolution, rising action, stage directions, table reading,
through line, tragedy
Pre-Assessment: Define plot and dialogue.
Level 1
Recall
read scripted scenes in
pair groups, then match
vocabulary terms with
their definitions.
Level 2
Skill/Concept
Activity: Read short
stories and discuss how
they could be adapted
into a scripted format.
Level 3
Strategic Thinking
Activity: Students work
in small groups to:
brainstorm story ideas
for various genres.
Select and develop the
best storyline into a
scripted scene.
Strategy: Direct
instruction of
vocabulary using
examples.

adapt a story into a
script.

definition of each script
term.
will adapt a story into a
scripted scene
incorporating all script
elements.

be developed into a
scripted scene.
Assessment: Develop an
original story line.
including dialogue and
stage directions which is
Level 4
Extended Thinking
Activity: Choose a topic
or issue from everyday
life. Use library
resources to research the
topic. Write a first draft
and conduct a table
reading to get feedback
from class members.
Strategy: Provide
scenes based upon
Assessment:
scene. Present a final
draft of the script to the
class.
171
Students can be given scripts of appropriate difficulty for their experience. Scripts may vary in length,
readiness.
Student Task:
Write a script that includes the basic dramatic structure, stage directions, and dialogue where characters
interact with each other to tell a story.
audience member.
172
Scoring Guide for Theatre Performance and Production, CCO II A, Elements: Scriptwriting
Learning Target
Write a script that includes:

basic dramatic
structure
stage directions
dialog where characters
interact with each other
to tell a story.
4
Advanced
Write a script with a

beginning, middle and
end.
Characters tell a story
through dialogue.
Script includes plot
structure elements, i.e.
exposition, rising action,
conflict, climax,
resolution, falling action,
and denouement.
Script includes stage
directions.
Conduct a table reading
of the script.
3
Proficient

end.
through dialogue.
Script includes plot
structure elements, i.e.
exposition, rising action,
conflict, climax,
resolution, falling action,
and denouement.
Script includes stage
directions.
173
2
Basic

end.
through dialogue.
Script includes conflict
and resolution.
1
Below Basic

end.
Includes characters and
dialogue.

B. Acting
Essential Question
Content and Skills:

should know:
Character Analysis
Memorization techniques
Rehearsal techniques
Performance skills

Learning Target
Analyze a script for character analysis, plot structure, character
analysis and motivation, and time period.
Unit Vocabulary: being in the moment, emotional memory, given circumstances, imaginary
circumstances, internal/external character traits, pantomime, performance art, phrasing, pitch, posture,
presentational style, psychological, physiological character traits, sense memory, sociological, stage
business, stage combat, stage directions, Stanislavski method, the moment before, objective, obstacle, off
book, tableau, thespian, understudy, upstaging,
Pre-Assessment: Theatre Terminology Pre-Test
Level 1
Recall
Activity: Write and/or
select a scripted scene to
memorize.
Level 2
Skill/Concept
Activity: Memorize and
perform a scripted scene
with a partner.
Level 3
Strategic Thinking
Activity: Develop a
a provided script.
Strategy: Provide a
scripted scene. Teach
memorization
techniques.
Strategy: Provide
scripted scenes. Lecture
and discussion.
Strategy: Provide a
Assessment: Memorize
lines from a scripted
scene.
partner for teacher
feedback and class
discussion.
Assessment: Justify
character analysis in the
performance of a
scripted scene. Improve
teacher and peer
feedback.
Utilize computer resources to research scripts.
View video clips.
Type a scripted scene using script-writing software.
174
Level 4
Extended Thinking
Activity: Research and
write a scripted scene
that includes multiple
characters, a setting,
costumes and props.
Develop a character
analysis, memorize the
script.
Strategy: Provide a
time.
student-written scripted
scene for an audience.
Improve performance
based upon teacher and
peer feedback.
Choose a scripted scene of their interest or write their own.
Select a character of their choosing.
Choose a scene from a teacher provided published script.
Application Level Assessment for CCO II B, Elements - Acting
Student Tasks:
Analyze a script for character analysis, plot structure, character analysis and motivation, and time period.
Students will be able to memorize, audition and develop a character should they continue to study theatre.
Students will be able to utilize memorization skills in their professional/daily lives.
175
Scoring Guide for Theatre Performance and Production, CCO II B, Elements: Acting
Learning Target
4
Advanced
3
Proficient
2
Basic
Analyze a script for:

character analysis
plot structure
character motivation
character development
time period
When analyzing a script:

Read the script
Explain the theme
Justify your choices to
support the playwrights
intent
Determine Character
Motivation and
Development
Research the Time
Period
Research the playwright

Read the script
Explain the theme
intent
Analyze for Character
Motivation and
Development
Determine the Time
Period

Read the script
Explain the theme
intent

Read the script
Explain the theme
Audition for, memorize,

rehearse and perform an
assigned part
Select two contrasting

monologues.
Prepare a resume.
Produce a headshot.
Memorize the part.
Audition for a director.
Improve performance
during the rehearsal
process using peer and
teacher feedback and
self-evaluation.
Apply all acting skills to
a final performance.
Select a monologue.
Prepare a resume.
Produce a headshot.
Memorize the part.
Improve performance
process using peer and
teacher feedback.
Apply most acting skills
to a final performance.
176
Select a monologue as a
cold reading.
Prepare a resume.
Memorizes most of the
part.
Makes some
improvement based on
teachers feedback
process.
Apply some acting skills
to a final performance.
1
Below Basic
Select a monologue as a
cold reading.
Memorizes little of the
part.
Auditions for a director.
Makes little
improvement during the
rehearsal process.
Apply few acting skills
to the final performance.

Essential Question
How will students apply technical theatre elements to a production?
Content and Skills:

should know:
Selection and use of props, costumes,

and set pieces

EP1C Grades 9 12
Learning Target

Develop a plan for using script-appropriate props, costumes, and
set pieces in a scene.
Unit Vocabulary: ambient light, call board, center stage, cyclorama, downstage, drop, flat, gobo, grip,
grand drape, green room, hot spot, keystoning, legs, life mask, mark, pit, prop table, spike tape, spirit gum,
stipple sponge, synthesizer, swag, traveler, upstage, upstaging, voice over, wagon, wings
Pre-Assessment:
Given a scripted scene, students identify appropriate props, costumes, and set pieces.
Level 1
Recall
Activity: Read and
discuss a script.
Level 2
Skill/Concept
Activity: Read a
script. In small
groups discuss
appropriate theatrical
elements.
Level 3
Strategic Thinking
Activity: Read and
discuss a script.
Create or find props,
costume pieces, and set
pieces for a scripted
scene.
Strategy: Provide a
script, lecture and
discuss theatrical
elements.
Strategy: Model by
discuss theatrical
elements
Strategy: Model by
class discussion of how
to build a costume piece
and hand prop.
Assessment:
Identify theatrical
elements in a
scripted scene.
Assessment: Select
and submit a
technical theatre plan
for a given scripted
scene.
technical elements plan.
177
Level 4
Extended Thinking
Activity: Write a scripted scene
incorporating props, costumes,
hair and make-up, and set
pieces. Design a set; choose
appropriate music (if
applicable), design a light and
sound plot for the performance.
Strategy: Model by showing
video clips. Teacher will
lecture and lead a class
discussion of how to
incorporate several theatrical
elements. Allow research time.
comprehensive technical
elements plan for a studentwritten script. Rehearse scene
for teacher and peer feedback.
Then apply feedback to
improve the use of technical
elements in a performance for
an audience.
View various film and video clips.
Utilize music and sound effects CDs.
Use technical theatre software to design a technical plan.
Students may choose or build their own props, set pieces, and/or costume pieces.
Students may choose their own scripted scene based on their personal interest.
Students may create their own musical selections and/or sound effects.
Application Level Assessment for CCO II C, Elements Design and Technical Theatre:
Student Tasks:
Develop a plan for using script-appropriate props, costumes, hair and make-up, lighting, sound and set
pieces in a scene.
Students will apply their knowledge and skills of designing/building technical theatre elements for a
possible career and or life skill.
audience member.
178
Scoring Guide for Theatre Performance and Production, CCO II C, Elements: Design and Technical Theatre
Learning Target
Analyze a script for its

technical aspects.
4
Advanced
Select and use the

appropriate props for a
script
Select and use the

appropriate costumes for a
script
3
Proficient

Analyze the script to
determine the technical
aspects.
Determine the
playwrights intent.
Write a script analysis
outlining the various
technical aspects.
Read the script and make

a prop list.
Find three props on the
list.
Make a Prop Plan for the
entire production.

a costumes list.
Find three costumes on
the list.
Make a costume plan for
the entire production.
2
Basic

Analyze the script to
aspects.
Determine the
playwrights intent.

a prop list.
list.
Make a Prop Plan for one
act.

a costumes list.
the list.
Make a costume plan for
one act.
179
1
Below Basic

Analyze one Act to
aspects.
Determine the
playwrights intent.

a prop list.
list.

a prop list.

a costumes list.
the list.

a costume list.

Analyze a scene to
aspects.
Determine the
playwrights intent.
Select and use the

appropriate set pieces for a
script
Acceleration:
Create a lighting and sound
plot for a script

a set pieces list
Find three set pieces on
the list
Make a set pieces plan
for the entire production
Read a script and make

lighting selections for the
entire script
Make sound selections
for the entire script
Produce a Lighting Plot
for the entire script
Produce a Sound Plot for
the entire script
Research the period to
determine the specific
styles of the time.

a set pieces list
the list
Make a set pieces plan
for one act

lighting selections for
one act
for one act
Produce a Lighting Plot
for one act
Produce a Sound Plot for
one act
180

a set pieces list
the list

a set pieces list

lighting selections for a
chosen scene
Key information is
complete
for a chosen scene

lighting selections for a
chosen scene
for a chosen scene

D. Directing
Essential Question
How do students direct actors in a performance?
Content and Skills:

should know:
Script Analysis
Directing Skills and Techniques

EP1D Grades 9 - 12
Learning Target
Direct actors in a performance
Unit Vocabulary: apron, arena stage, assistant director, center stage, downstage, dry tech, house,
production concept, pacing, pantomime, prompter, props, proscenium stage, raked stage, scenery, stage
manager, technical director, theatre-in-the-round, thrust stage, upstage, wet tech, working rehearsal
Pre-Assessment:
Students choose a theatrical production they have seen and explain how it was directed.
Level 1
Recall
directors role in a
Level 2
Skill/Concept
Activity: Discuss how a
director interprets the
playwrights intention.
Level 3
Strategic Thinking
Activity: Compare and
contrast technical
options to determine
which best support a
directors vision.
Strategy: Lecture,
provide examples of
directors vision for
Strategy: Lecture,
provide examples of
Strategy: Lecture,
provide examples of
Assessment:
Identify directors
responsibilities.
Assessment: Analyze a
script and develop a
directors vision
statement.
Assessment: Analyze a
script and develop a
directors vision with
reference to acting and
technical elements, i.e.
lighting, sound,
costumes, props, sets,
hair and make-up.
Select images from Internet websites for use in a production book.
Utilize theatrical software to illustrate directors vision.
181
Level 4
Extended Thinking
Activity: Write or select
a published script.
Research all aspects of
the given circumstances.
Create and develop a
directors vision.
Strategy: Provide
rehearsal time and
teacher feedback further
illustrating motivation
and intent.
Assessment: Prepare a
production book that
supports a directors
vision. Present the
vision to the class,
justifying choices.
Students may choose a script based on their own vision.
Students may select a simple or complex script.
Students may analyze a film, television program or live theatrical production to determine the directors
vision.
Advanced students could produce two different visions for the same work.
Application Level Assessment for CCO II D, Elements - Directing:
Student Task:
Direct actors in a performance
directing.
Students will be able to appreciate stage productions and the importance of motivated movement as an
audience member.
182
Scoring Guide for Theatre Performance and Production, CCO II D: Elements - Directing
Learning Target
Direct actors in a
performance
4
Advanced
Select a script.
citing the playwrights
intent.
Develop the directors
vision.
Direct students in a
multiple character scene.
Utilize costume pieces,
hand props and simple
scenery, i.e. chair, table,
etc.
3
Proficient
Select a script.
intent.
vision.
multiple character scene.
183
2
Basic
Select a script.
intent.
vision.
Direct a student in a twocharacter scene.
1
Below Basic
Select a script.
intent.
Direct a student in a
monologue.

Core Conceptual Objective III: Students will explain the aesthetics of theatre and evaluate theatrical
performances
Essential Question
productions?

Grades 9 - 12
Content and Skills:

should know:
Learning Target
Critique Production
Unit Vocabulary: catharsis, characterization, choreography, climax, critique, denouement, dramaturge,

fourth wall, genre, plot, setting, theme, style, language, production
Pre-Assessment:
Identify given circumstances in a script.
Evaluate a vignette from a theatrical production.
Level 1
Recall
Activity: Show critiques
and discuss appropriate
Level 2
Skill/Concept
view a theatrical
production.
Level 3
Strategic Thinking
read a script to
determine the given
circumstances and
discuss possible
imaginary circumstances
Strategy: Lecture,
discussion and modeling
Strategy: Show students

a theatrical production
(live or on film).
Strategy: Guided
practice and discussion.
Assessment: List
critique techniques
terminology.
Assessment: Write a
critique of a theatrical
production.
Assessment: Write a
script analysis citing the
given circumstances and
suggesting possible
imaginary circumstances
Level 4
Extended Thinking
play being performed by
a professional company.
of the performance.
.
Strategy: Guided
practice and group
discussion
Assessment: Write a
to a local publication.
Students will use computer-based resources to research professional reviews of theatrical productions.
Students will use a numerical system for critiquing theatrical productions.
Students will use a critique rubric for theatrical productions.
184

Student Task:
careers.
185
Scoring Guide for Theatre Performance and Production, CCO III A, Theatre Criticism
Learning Target
Using theatre terminology,

evaluate a theatrical
production
4
Advanced
Critique classroom
performances.
Attend a live
performance or watch a
filmed version of a live
performance.
Read published
criticisms of that
particular production.
Write a critical essay of
the technical and acting
aspects of the production.
different versions of the
same production.
3
Proficient
Critique classroom
performances.
Attend a live
performance.
Read published
criticisms of that
particular production.
186
2
Basic
Critique classroom
performances.
Attend a live
performance.
1
Below Basic
Critique classroom
performances.

performances.
B. Aesthetics
Essential Question

Grades 9 12
Content and Skills:

should know:
Learning Target
Aesthetic aspects of a production
Unit Vocabulary: catharsis, characterization, choreography, climax, critique, denouement, dramaturge,

fourth wall, genre, plot, setting, theme, style, language, production
Pre-Assessment: Theatre terminology Pre-Test.
Level 1
Recall
various theatrical
aesthetics.
Level 2
Skill/Concept
Activity: Compare your
personal responses to
those of others in the
class.
Level 3
Strategic Thinking
Activity: Discuss how
people from different
cultural and socioeconomic backgrounds
might respond to the
same work.
Level 4
Extended Thinking
Activity: Research
audience reactions to
controversial
productions connecting
the theatrical, cultural
and personal aesthetics.

various theatrical
aesthetics.
Strategy: Lecture,
discuss and provide
examples of various

aesthetics.
Strategy: Teacher
feedback and class
discussion.

aesthetics.
Assessment: Compare
and contrast personal
responses to the same
work.
Assessment: Based on
the classroom
discussion, compare and
contrast your personal
aesthetic response to
class.
Assessment: Write a
aesthetics as they pertain
to various productions.
Students will use computer-based resources to research professional reviews, news articles and video clips,
of theatrical productions, identifying comments related to the aesthetics of theatre.
187

Student Task:
188
Scoring Guide for Theatre Performance and Production, CCO III B, Aesthetics
Learning Target
Analyze a theatrical
production addressing
aesthetic elements.
4
Advanced
Analyze classroom
performances for
aesthetic elements.
Attend a live
performance.
Write an essay
addressing the aesthetic
technical and acting
different versions of the
same production
analyzing the technical
aspects.
3
Proficient
Analyze classroom
performances for
aesthetic elements.
Attend a live
performance.
Write an essay
addressing the aesthetic
189
2
Basic
Analyze classroom
performances for
aesthetic elements.
Attend a live
performance.
1
Below Basic
Analyze classroom
performances for
aesthetic elements.

Essential Question
How is theatre related to other arts?
Content and Skills:

should know:
Music is used to:
Support a scene
Ambient Sound
Sound Effects
Set a mood
As a song/dance number
Pre-show music

Grades 9 - 12
Learning Target
Unit Vocabulary: choreography, theme, musical styles, lyrics, score, sound production
Pre-Assessment: Identify various musical styles in a vignette.
Level 1
Recall
ways that music is used
in theatre.
Level 2
Skill/Concept
Activity: Watch various
theatrical vignettes and
discuss how music was
used in each.
Level 3
Strategic Thinking
Activity: Analyze a
script to determine how
and where music should
be integrated.
Strategy: Lecture,
discuss and model.
Strategy: Discuss,
model, and provide
examples of musical
choices as a theatrical
element.
Strategy: Discuss,
model, and provide
examples of musical
choices as a theatrical
element.
Assessment: List ways

that music is used in
theatre.
Assessment: Make
appropriate musical
selections to enhance a
scene.
Cue Sheet for all
musical selections in a
scene.
Level 4
Extended Thinking
Activity: Analyze a
script. Use library
resources to research the
musical aspects. Make
selections and
incorporate into the
script.
.
Strategy: Teacher
feedback and class
discussion.
scene with musical
selections for teacher
and peer feedback.
Improve production
Students may use Internet websites to obtain royalty-free musical selections.
Students may use library resources to research various versions of the same musical selection on-line.
Students may view theatrical productions in order to analyze the musical choices.
190
Students may create a Power Point presentation of a musical plan for a theatrical scene or production.
Students may make musical selections based on the style of music they are most interested in.
Students can create, perform and record their own music for a scene or theatrical production.
Student Task:
Students will have the knowledge and skills to assist in the musical aspects of theatre should they choose to
continue studying theatre.
Students who continue in the fine arts will refine their perceptions of theatrical productions.
Students will gain a greater appreciation for the use of music in theatrical performances.
191
Scoring Guide for Theatre Performance and Production, CCO IV A, Connections among the Arts
Learning Target
Compare and contrast the

ways that music is used in
theatre.
4
Advanced
Attend a live musical

musical performance.
Write an essay
addressing the way
music is used in the
production.
two versions of the same
production analyzing the
musical styles that are
used in both productions.
Select a script and
determine how the
musical direction reflects
the playwrights intent.
3
Proficient

Write an essay
addressing the way
production.
two versions of the same
production analyzing the
musical styles that are
used in both productions.
192
2
Basic

Write an essay
addressing the way
production.
1
Below Basic


Essential Question
subjects?

Content and Skills:

should know:
Learning Target
Connect Theatrical Scripts to Literature
Unit Vocabulary: author, scriptwriter, catharsis, characterization, climax, denouement, dramaturge, fourth
wall, genre, plot, setting, theme, style, language, production
Pre-Assessment: Theatre Terminology Pre-Test
Level 1
Recall
differences and
similarities between a
script and literary work.
Level 2
Skill/Concept
differences and
similarities between a
script and literary work
of the same story.
Level 3
Strategic Thinking
Activity: Read a chapter
of a story to the class.
Translate it into a script.
Level 4
Extended Thinking
Activity: Write a script
based on a story of
students choice.
Strategy: Lecture,

Strategy: Provide both

the literary work and the
scripted version.
Strategy: Model
parts of a script and
parts of a story.
Assessment: Make a
Venn Diagram of the
two works or a
poster of the two works
showing the differences
and similarities.
Assessment: Perform
the script as readers
theatre to the class.
Assessment: Perform
original script.
View a film/video of the story.
Utilize library resources to research the story and script.
Utilize various forms of software to analyze literary and theatrical works.
Students may choose literary works and scripts of various complexities.
Students may choose literary works and scripts based on interest.
Application Level Assessment for CCO IV B: Connections between theatre and non-arts disciplines:
Student Task:
193

Students will be able to make a connection between the theatrical version of the published work and that of
the literary work.
Students will have a better understanding of the transformation from one medium to the other.
Students will appreciate the adaptation of a literary work to a theatrical performance.
194
Scoring Guide for Theatre Performance and Production, CCO IV B, Connections between Theatre and Non-Arts Disciplines
Learning Target
Compare a script to a
similar literary work.
4
Advanced
Select a literary work and

its theatrical counterpart.
Analyze both works for
their similarities and
differences.
Write an essay
comparing and
contrasting the two
works.
write a script version of
the chosen work.
Perform the scripted
version for an audience.
3
Proficient

differences.
Write an essay
comparing and
contrasting the two
works.
write a script version of
the chosen work.
195
2
Basic

differences.
Write an essay
comparing and
contrasting the two
works.
1
Below Basic

differences.

cultural contexts.
Essential Question
How does theatre reflect society?

FA 5, G1.9, GLE HC1A, GLE HC1B, GLE HC2A Grade 9 12
Content and Skills:

Style/Period
Time/Place
Vaudeville Early 1900s
Origins in
New York
City
19201930:
Rise of the
American
playwright:
Eugene
ONeill,
Lillian
Hellman,
Beginning of
Modernism,
Origins in
New York
City
Mid 20th
Century,
Established
American
Classics, Birth
of the
Broadway
Mid 20th
Century,
Established
American
Musical,
Origins in
New York
City, although
spread
throughout
country
Style of Characteristics
Brief Performances by many
artists
Performers of all ages
Usually Family Oriented
No set plot
Theatrical Experiment and
Innovation
Stream of Consciousness
technique
Skillful Plotting
Characterization
Beginning of the well-madeplay (i.e. three act play)
Plots deal with serious issues,

Realism,
Symbolic Expressionism,
Broadway Musical: Simple

Plots, Memorable Songs,
Large Casts and Choruses,
Lavish Multiple Sets
Types of
Plays/Performances
Comedy, Slapstick,
Musical, i.e. songs,
instrument
Context
Greek classics
updated to an
American setting
Cultural backlash towards

Vaudeville
Poverty Stricken America
Stock Market Crash
Depression
Prohibition
The Hairy Ape,

Mourning Becomes
Electra, The
Childrens Hour,
The Little Foxes
Large influx of immigrants

Theatres divided by nationalities
Purely for entertainment
Controversial Issues
Concern for Social Justice
Controversial Issues
and Social Justice
Skillful Plotting and
Characterization
The Glass
Menagerie, A
Streetcar Named
Desire, Death of a
Salesman, The
Crucible
Personal Relationships
Man vs. Man
Man vs. Society
Showboat,
Oklahoma!, Annie
Get Your Gun,
Guys & Dolls
Optimism,
Pure Entertainment,
Escapism
196
International Politics: Cold War

Personal Wealth vs. Personal
Value
Noted Playwrights: Tennessee
Williams, Arthur Miller,
Style/Period Time/Place
Style of Characteristics
1950-1990
Experimenting in a
variety of styles; i.e.,
absurdist, symbolism,
naturalism and situation
comedy. Beginning of a
Racial Influx
specifically African
American and Hispanic.
Rise of the importance of
Off-Broadway
productions.
Origins in New York City
and Los Angeles,
although productions are
performed around the
country.
1990 to the Present
Controversial themes are
prevalent, Spectacle is
commonplace,
Cater to younger
audiences,
Womens Issues are
explored,
New Wave of Revivals
Everyday life of the

common people
Believable Characters
Links between modern
classics and contemporary
theatre
Comines Lyricism and
Violence
Explored Racial Themes
Productions are
spectacular using special
effects, etc.
Technology used in every
aspect of the production
Complex lighting & sound
equipment
Adaptations of previous
works, i.e. movies to stage,
etc.
Productions are mass
marketed as cultural icons
Types of
Plays/Performances
Whos Afraid of
Virginia Woolf?, A
Raisin in the Sun,
The Odd Couple
The Piano Lesson
Context
Political issues: through
post cold war,
Social issues including
Poverty vs. Wealth,
Substance Abuse,
Racism, Divorce, etc.
Edward Albee,
Lorraine Hansberry,
Neil Simon, August
Wilson, Sam Shepard
Straight Plays:
The Heidi
Chronicles, Coast
of Utopia,
The Pillowman,
Goldas Balcony
Contemporary social
issues:
Womens Rights,
Minority Rights,
Homosexuality, Child
Abuse
Musicals:
Angels in America,
The Lion King
RENT, Phantom
of the Opera, Les
Miserables,
Wicked, Avenue
Q, Legally
Blonde, Spring
Awakening
Remakes of pop culture

classics:
i.e. Disney, Teen
Comedies

Learning Target
should know:
Historical Chronology of American
Compare and contrast eras in American Theatre
Theatre
Unit Vocabulary: antagonist, arena stage, Broadway, Bunraku, comedy, comedy of manners, Commedia
DellArte, dinner theatre, dithyramb, dramaturge, epic theatre, epilogue, exposition, expressionism, farce,
genre, griot, hubris, Kabuki, mask, masque, melodrama, miracle play, morality play, musical theatre,
mystery play, naturalism, neoclassicism, Noh, Peking Opera, performance art, Pit (Globe Theatre),
proskenion, raked stage, rasa, Readers Theatre, realism, Restoration comedy, Romanticism, situation
comedy (sitcom), skene, spectacle, stock characters, theatre of the absurd, well-made plays
Pre-Assessment: Complete a diagram comparing and contrasting eras in American Theatre.
197

Level 1
Recall
Activity: Work in
of eras in American
Theatre.
Level 2
Skill/Concept
Activity: Work in
quiz each other on
characteristics of
American Theatre from
different eras.
Level 3
Strategic Thinking
Activity: Work in
contrast eras in
American Theatre
Strategy: Provide
from the American eras.
Strategy: Lecture,
provide examples of
each era in American
Theatre.
characteristics of
different eras in
American Theatre
Strategy: Modeling,
rehearsing and peer
evaluations.
poster listing
characteristics of
American Theatre.
Assessment: Compare
and Contrast
characteristics of eras in
American Theatre.
Level 4
Extended Thinking
eras in American
Theatre. Perform scenes
from both eras for the
class using costumes
and props.
Strategy: Teacher
feedback and class
discussion.
discussing the
era. Compare and
of eras in American
Theatre.
Students will use computer-based resources to research eras in American theatre.
Advance students can write their own play based upon an era in American Theatre.
Application Level Assessment for CCO V: Theatre History:
Student Task:
Compare and contrast eras in American Theatre.
Students will understand media references to American Theatre.
Students will have the knowledge of American Theatre should they choose to continue their theatre
education.
198
Class:
Time Period:
Time Period:
Place:
Place:
199
Scoring Guide for Theatre Performance and Production CCO V, Theatre History
Learning Target

American Theatre from
different eras
4
Advanced

evaluates works.
Addresses the most
of the work.
work.
and specific.
3
Proficient

evaluates works.
Addresses important
work.
All information is
correct.
2
Basic
200

works.
work.
Supports some
to the work.
Some important
Some information may
be incorrect.
1
Below Basic
works.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Theatre Arts III: Directors Studio
201
Overview of Learning Targets for Theatre Arts III: Directors Studio

A. Script Writing
Write a scene with two or more characters that includes dialogue, stage directions, character relationships,
and plot.
B. Acting
Apply student-directors vision to character development in a performance.

D. Directing
Analyze the script.
Audition actors.
Using theatre terminology, critique and provide feedback to actors and technical crew to improve the
performance.

Compare and contrast audience aesthetic responses to various theatrical genres.
Connect the directors role in theatre to the choreographers role in dance.

Compare and contrast Renaissance Theatre in continental Europe and Restoration Theatre in England.
202
Directors Studio
Core Conceptual Objective I: Students will create theatrical productions/performances
Essential Question
How do directors communicate their vision?
Content and Skills:
should know:
Script Analysis
Production Book
Audition Process
Rehearsal Process
Technical Needs
Communication skills for guiding actors

FA1, G2.5
Learning Target
Unit Vocabulary: Characterization, cold reading, focus, critique, cue, dialogue, diction, electronic media,
emotional memory, gesture, physicalization, genre, improvisation, level, mime, monologue, motivation,
directors vision, objective, verbing, pitch, pacing, stage positions, run-through, read-through, tableau, text
Pre-Assessment:
Students complete a pre-test on stage directions, terminology, and job responsibilities.
Level 1
Recall
Activity:
analysis, audition
process, rehearsal
process, technical needs,
and directors job
responsibilities.
Level 2
Skill/Concept
Activity:
Demonstrate directing
skills:
Analyze and practice the
skills, and get feedback
on the following
directing tasks:
Analyze the script.
Develop and present a
production book.
Audition actors.
Determine technical
needs, interview and
select technical
personnel. Rehearse the
script.
Level 3
Strategic Thinking
Activity:
Plan and follow the
entire directorial
process:
Analyze and practice the
skills, and get feedback
on the following
directing tasks:
Analyze the script.
production book.
Audition actors.
Determine technical
select technical
script. Produce a final
performance of the
work.
203
Level 4
Extended Thinking
Activity:
Plan and follow the
entire directorial
process:
Research and develop a
budget. Analyze and
practice the skills, and
get feedback on the
following directing
tasks:
Analyze the script.
production book.
Audition actors.
Determine technical
select technical
performance of the
work. Justify directing
choices during postperformance discussion
and critique.
Level 1
Recall
Strategy:
take notes
Level 2
Skill/Concept
Strategy:
Models steps in the
directing process.
Level 3
Strategic Thinking
Strategy:
Models the directors
thought processes to
achieve a vision
Assessment:
Students take a test over
terms and processes.
Assessment:
Demonstrate the
following skills:
Analyze the script.
Audition actors.
Determine technical
select technical
script.
Assessment:
Analyze the script.
Audition actors.
Determine technical
select technical
performance of the
work.
Level 4
Extended Thinking
Strategy:
Models the directors
thought processes to
achieve a vision and/or
directors vision.
Assessment:
Plan, direct, and execute
a theatrical production
which requires:
Research and develop a
budget. Select a
published work.
Analyze the script.
production book.
Audition actors.
Determine technical
select technical
performance of the
work. Justify directing
choices during postperformance discussion
and critique.
Students use computer-based resources to research scripts.
Students guide technicians on the use of theatre lighting/sound equipment.
Students videotape student-directed performances for self-evaluation.
Students select scripts of appropriate difficulty for their experience.
Students assign actors to simple or complex character roles based upon their readiness.
Students select scripts that meet their interests.
Student Tasks:
Students will be able to demonstrate directing skills and acting skills if they continue to study theatre.
Students will acquire the skills to communicate with others, learn multi-tasking, organizing, and leading
others in their daily lives and future careers.
204
Scoring Guide for Directors Studio, CCO I: Students will create theatrical productions/performances.
Learning Target
Direct other students in a

performance
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Communicate:
vision to actors through a
thorough script and
character analysis
Give actors feedback
through rehearsal notes
During rehearsals, lead
actors in discussions of
how to communicate
character relationships.
Develop a clear blocking
plot with appropriate
stage movement.
Use blocking to create
interesting stage pictures.
All theatrical elements
evident in final
production.
Communicate:
Vision to actors through
thorough script and
character analysis
how to communicate
stage movement.
Use blocking to create
interesting stage pictures.
Communicate:
thorough script and
character analysis
how to communicate
stage movement.
Communicate:
thorough script and
character analysis
how to communicate
205
Directors Studio
A. Script Writing
Essential Question
scriptwriting?
Content and Skills:
should know:
Script structure
Character development
Given circumstances
Aristotles elements of drama:
exposition, inciting incident, rising
action, climax, falling action and
resolution

FA 5, G 2.5
Learning Target
Write a scene with two or more characters that includes
dialogue, stage directions, character relationships, and plot.
Unit Vocabulary: blocking, conflict, resolution, character development, given circumstances, Aristotles
Elements of Drama: exposition, inciting incident, rising action, climax, falling action, resolution,
motivation, focus
Pre-Assessment:
Students take a vocabulary test and create a stage diagram.
Level 1
Recall
read scripted scenes in
pair groups to practice
finding examples of
vocabulary terms.
Level 2
Skill/Concept
Activity: Each student
writes descriptions of
two characters, a
conflict, and a resolution
on a note card. Students
randomly draw a card to
use as a writing prompt.
Level 3
Strategic Thinking
Activity: Students
construct scenes and
develop a logical
argument for blocking.
Strategy: Direct
instruction of
vocabulary using
examples.

adapt a prompt into a
scripted scene.

term.
Assessment: Given a
prompt, write a scene.

be developed into a
scripted scene.
Assessment: Develop
an original story line.
for two or more
characters including
dialogue and stage
directions which is
Justify blocking
decisions.
206
Level 4
Extended Thinking
Activity: Choose a
topic or issue from
everyday life. Use
research the topic.
Write a first draft and
conduct a Table Reading
to get feedback from
class members.
Strategy: Provide
scenes based upon
Assessment:
scene for two or more
characters. Present a
final draft of the script
to the class.
View video, film, and Internet performances to critique their scripts.
Type their original scripts on a computer. E mails them to the teacher.
readiness.
Student Task:
Write a scene with two or more characters that includes dialogue, stage directions, character relationships,
and plot.
Students could become playwrights.
207
Scoring Guide for Directors Studio, CCO II A: Elements - Scriptwriting

Learning Target
Write a scene with two or

more characters that
includes dialogue, stage
directions, character
relationships, and plot
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Write a scene with four

characters which includes:
Dialogue which
incorporates rich given
circumstances.
Stage directions which
create interesting pictures
Clear character
relationships present
through dialogue.
Plot which clearly
indicates a beginning,
middle, end, conflict and
resolution.
Write a scene with three

Dialogue incorporating
rich given circumstances
Stage directions creating
interesting pictures
Clear character
through dialogue.
Plot which clearly
indicates a beginning,
middle, end, conflict and
resolution.
Write a scene with two

Clear character
through dialogue.
Plot which has a
end with a conflict.
Write a two character scene

which includes:
Character relationships
somewhat evident
through dialogue.
Plot which has a
unclear ending and/or
conflict.
208
Directors Studio
B. Acting
Essential Question
How do actors communicate the directors vision?
Content and Skills:

should know:
Directing and acting process

FA 1, FA2, G2.5, GLE: PP1B, PP1F,
EP1D, grades 9-12
Learning Target
Apply student-director's vision to character development in a
performance.
Unit Vocabulary: Directing process: analysis, character development, blocking, directors vision, cold
readings, monologues, stage movement, establishing a character, creating stage pictures, acting techniques
Pre-Assessment:
Students will complete a vocabulary test and write a summary of the directing process.
Create a poster that shows the responsibilities of a director.
Level 1
Recall
Activity:
Work with a partner to
memorize vocabulary
terms.
Level 2
Skill/Concept
Activity:
Work with actors to
analyze their characters.
Level 3
Strategic Thinking
Activity:
Communicate character
analysis to actors.
Create and communicate
the blocking to actors.
Strategy:
Lecture, class discussion
Strategy:
Modeling, discussion
Strategy:
Modeling, discussion
Assessment:
Vocabulary test
Assessment:
Create a written
character analysis.
Assessment:
The director will be
evaluated on the
effective
characterization and
blocking of actors in a
scene
209
Level 4
Extended Thinking
Activity:
Research the given
circumstances in a script
related to character
development (historical
era, setting, cultural
context).
Communicate character
analysis to actors.
Create and communicate
the blocking to actors.
Polish and refine
performance through
directors notes to
actors.
Strategy:
Modeling
Assessment:
Actors assess the
director.
Teacher assesses the
director.
Students will be shown DVDs about directing.
Students will use directing software.
More advanced student-directors would get scripts with more complex characters.
A less experienced student-director would get a script with less complex characters.
Students could select scripts based upon their interests.
Students can be taught about differentiation so they could assign jobs based upon students learning styles.
Student Task:
Apply student-director's vision to character development in a performance.
Students who continue in theatre will be able to build upon directing skills.
Students will be able to appreciate the directors role.
210
Scoring Guide for Directors Studio, CCO II B: Elements - Acting

Learning Target
Character development
incorporating directors
vision
4
Advanced
Demonstrate a clear
understanding of the
directors vision for a
character
Develop a character that

includes both internal
and external traits.
bring this character to
life as he/she reacts to
events as the director
instructed.
Communicate the
directors vision of the
character through the
Imaginary Circumstances
in the script.
Develop a complete
character analysis.
Keep a rehearsal journal,
noting directors
instructions for character
during each rehearsal.
3
Proficient

instructed.
Communicate the
directors vision of the
character through the
Imaginary Circumstances
in the script.
Develop a complete
character analysis.
211
2
Basic

instructed.
Develop a complete
character analysis..
1
Below Basic

Develop a complete
character analysis.
Directors Studio
C. Design and Technical Theatre.
Essential Question
How does a director integrate technical elements in a production?
Content and Skills:

should know:
How to design a set which incorporates
all necessary theatrical elements.

FA1, FA2, G2.5, GLE: PP1C,
EP1C, grades 9-12
Learning Target
Unit Vocabulary: lighting terms, lighting instruments, stage safety, historical theatre, contemporary
theatrical elements, technological advancements in theatre, sound equipment and usage, properties, set
dressing, set design
Pre-Assessment:
Given a short scene, write a description a set design.
Level 1
Recall
Activity:
Read a script and
highlight the given
circumstances.
Level 2
Skill/Concept
Activity:
Develop a set design for
a character.
Level 3
Strategic Thinking
Activity:
Choose a character from
a provided script that
requires set design.
Create a set design.
Direct actors in the use
of these technical
elements.
Strategy:
Provide a script, lecture
and discuss set design
Strategy:
Model by showing video
clips of. set designs
Strategy:
clips, class discussion of
how to set designs.
Model directing actors
in the use of technical
elements.
Assessment:
Identify the given
circumstances of a
scene.
Assessment:
Create a set design for a
scene.
Assessment:
Effective use of set
design in a studentdirected performance.
Students will view various film and video clips.
212
Level 4
Extended Thinking
Activity:
Research a script.
Develop a plot that
shows set design
elements for a scene of
their choice from a
given play.
Direct students in the
performance of the
scene.
Strategy:
clips. Teacher will
incorporate several
theatrical elements.
Assessment:
Effective use of set
design in a studentdirected performance.
Improved set design
Students may choose or build their sets.
Application Level Assessment for CCO IIC: Elements-Design and Technical Theatre
Student Task:
Students will apply their knowledge and skills of set design for a possible career and or life skill.
audience member.
213
Scoring Guide for Directors Studio, CCO II C: Elements Design and Technical Theatre
Learning Target
Design a set and stage

diagram for a production
4
Advanced
Develop a script analysis,

researching era of script
and identifying that
information in the
analysis
Using the given
circumstances, outline
the basic needs of the set
of the set indicating
entrances, windows,
furniture, including every
item placed on the stage
Indicate the footage and
dimensions of stage
design for the set
Create a computerized,
three dimensional design
of the set
3
Proficient

information in the
analysis
Using the given
entrances, windows,
item placed on the stage
Indicate the footage and
dimensions of stage
design for the set
214
2
Basic

information in the
analysis
Using the given
entrances, windows,
item placed on the stage.
1
Below Basic

information in the
analysis
Using the given
Directors Studio
D. Directing
Essential Question
How does a director audition and direct actors and crew members through
a rehearsal process?
Content and Skills:
should know:
Script Analysis
Audition Techniques
Rehearsal Process
Crew instruction and production
meetings

EP1D Grades 9 - 12
Learning Target
Analyze the script.
Audition actors.
Determine technical needs, interview and select technical
personnel.
Unit Vocabulary: cold reading, monologue, improvisation, pitch, projection, stage directions, subtext,
emotional recall, Company, intention, technical elements of a production: lights, sound, costumes, makeup, props, special effects
Pre-Assessment:
Given a familiar script, students explain how they would audition cast and crew members and how they
would guide them through the rehearsal process.
Level 1
Recall
Activity:
Discuss the directors
role in theatrical
production.
Level 2
Skill/Concept
Activity:
Discuss how a director
interprets the
playwrights intention.
Level 3
Strategic Thinking
Activity:
technical options to
determine which best
support a directors
vision.
Strategy:
Lecture: provide
examples of audition
and rehearsal process
Strategy:
Lecture; provide
examples of audition
and rehearsal processes
for classroom
discussion.
Strategy:
Lecture; provide
examples of directors
vision for classroom
discussion.
215
Level 4
Extended Thinking
Activity:
Write or select a
published script. Use
research all aspects of
the given circumstances.
Create and develop a
directors vision.
Audition and assign cast
and crew.
Direct a one-act play.
Strategy:
and teacher feedback
further illustration
motivation and intent.
Level 1
Recall
Assessment:
Identify directors
responsibilities.
List steps in the audition
and rehearsal processes.
Level 2
Skill/Concept
Assessment:
Analyze a script and
develop a plan for
auditions and rehearsals.
Level 3
Strategic Thinking
Assessment:
develop a directors
vision with reference to
audition and rehearsal
processes.
scene.
Level 4
Extended Thinking
Assessment:
Prepare a production
book that supports a
directors vision.
develop a directors
vision with reference to
audition and rehearsal
processes.
Direct students in a oneact play.
Select images from Internet websites for use in a production book.
Utilize theatrical software to illustrate directors vision.
Students may choose a script based on their own vision.
Students may select a simple or complex script.
Students may analyze a film, television program or live theatrical production to determine the directors
vision.
Advanced students could produce two different visions for the same work.
Application Level Assessment for CCO II D: Elements - Directing
Student Tasks:
Analyze the script.
Audition actors.
directing.
Students will be able to appreciate stage productions and the importance of the directors role.
216
Scoring Guide for Directors Studio, CCO II D: Elements - Directing

Learning Target
Analyze a published
dramatic work.

production book.
4
Advanced
Analyze a script from a
directors perspective,
including
the theme
plot structure
character motivation and
development
location and time period
the set, lighting, props,
sound, and costumes
requirements
Research the playwright
Research the production
history of the play
3
Proficient
including
the theme
plot structure
development
the set, lighting, props,
sound and costumes
requirements
2
Basic
including
the theme
plot structure
development
1
Below Basic
including
the theme
plot structure
Use a scripted play to create a

production book that includes
the script
the directors blocking
notes in the margins of
the script
a ground plan
the directorial concept of
the play
a props list
a costume plot
a lighting plot
a sound plot

the script
the script
a ground plan
the play
a props list
a costume plot

the script
the script
a ground plan
the play

the script
the script
a ground plan
217
Audition actors
Conduct auditions for roles

from a scripted play with five
or more characters, including
establish audition
criterion, e.g. prepared
monologues, cold
readings from the play
set up an audition
schedule
create character
descriptions for each role
create and utilize a rubric
for evaluating students
who audition
post and conduct
callbacks
select the cast

from a scripted play with four
characters, including
establish audition
monologues, cold
set up an audition
schedule
create character
create and utilize a rubric
for evaluating students
who audition
select the cast

from a scripted play with
three characters, including
establish audition
monologues, cold
set up an audition
schedule
create character
select the cast

from a scripted play with two
characters, including
establish audition
monologues, cold
set up an audition
schedule
select the cast
Communicate directors
vision
Establish the directorial

vision
communicate the
directors vision to the
cast
reinforce the vision
during rehearsals
support the vision
through directorial input
convey the vision to
technical personnel

vision
communicate the
cast
reinforce the vision
during rehearsals
technical personnel

vision
communicate the
cast
technical personnel

vision
communicate the
cast
218
Rehearse the script and

produce a final
performance.
Create and follow a

rehearsal schedule.
Conduct a preliminary
read through of the
script.
Conduct blocking
rehearsals.
Conduct character
development rehearsals.
Conduct technical and/or
dress rehearsals.
Give actors performance
notes for improvement.
Create and follow a

rehearsal schedule.
Conduct a preliminary
read through of the
script.
Conduct blocking
rehearsals.
Conduct character
dress rehearsals.
219
Create and follow a

rehearsal schedule.
Conduct blocking
rehearsals.
Conduct character
dress rehearsals.
Create and follow a

rehearsal schedule.
Conduct blocking
rehearsals.
Conduct character
Directors Studio
performances.
Essential Question
How do students critique theatre and theatrical performances?
Content and Skills:

should know:
Standards for quality theatrical
performance
How to use constructive criticism when
critiquing a production

Grades 9 - 12
Learning Target
Using theatre terminology, critique and provide feedback to
actors and technical crew to improve the performance.
Unit Vocabulary: constructive criticism, transitions, blocking, acting techniques, directors vision,
technical aspects
Pre-Assessment: Critique a clip of a theatrical performance.
Level 1
Recall
Activity: Show critiques
and discuss appropriate
Level 2
Skill/Concept
Activity: Have students
write peer evaluations.
Level 3
Strategic Thinking
Activity: Write an essay
on who has improved
the most in class based
on collected peer
evaluations.
Level 4
Extended Thinking
Activity: Research a
play being performed.
of the performance.
Strategy: Lecture,
discuss and modeling
Strategy: Model and

lecture.
Strategy: Guided
practice.
Strategy: Teacher
feedback and class
discussion.
Assessment: List
critique techniques
terminology.
Assessment: Write a
critique of a
positive feedback.
Assessment: Write a
critique of a
positive and negative
feedback.
Assessment: Write a
review of a production
and submit it to a local
publication.
Submit a review to an online publication.
Students will use a critique rubric for performances and evaluation.
220

Student Task:
Using theatre terminology critique and provide feedback to actors and technical crew to improve the
performance.
careers.
221
Scoring Guide for Directors Studio, CCO III A: Theatre Criticism

Learning Target

critique and provide
feedback to actors
4
Advanced
Research an upcoming
production to determine
its history and production
style.
Observe a theatrical
production.
In a class discussion, talk
about the production and
the actors performances.
Write a review of the
production, critiquing the
actors performance and
offering ideas for
improvement.
production identifying
the positive
characterizations of
actors.
3
Proficient
production.
offering ideas for
improvement.
the positive
actors.
222
2
Basic
production.
offering ideas for
improvement.
1
Below Basic
production.
the positive
actors.

critique and provide
feedback on the technical
aspects and how they could
help to improve the
production
Research an upcoming
production to determine
its history and theatrical
style.
Observe a production
about the positive
technical aspects of the
production and the crews
performance.
production from the
technical perspective,
discussing the technical
elements that worked,
and how they affected
the show.
production discussing the
technical areas that were
lacking in the production
and offer ideas for how
those elements would
have improved the
overall production.
about the positive
production and the crews
performance.
production from the
the show.
production discussing the
technical areas that were
lacking in the production
and offer ideas for how
those elements would
have improved the
overall production.
223
about the positive and
negative technical
aspects of the production
and the crews
performance.
production from the
the show.
about the positive and
negative technical
aspects of the production
and the crews
performance.
Directors Studio
Core Conceptual Objective III: Students will explain perceptions of theatre and evaluate theatrical
performance
B. Aesthetics
Essential Question
Content and Skills:

should know:
Aesthetic elements of theatre
Physical
Cultural
Personal
Theatre genres: comedy, tragedy,
thriller, mystery, musical theatre, farce,
etc.

Grades 9 12
Learning Target
Compare and contrast audience aesthetic responses to various
theatrical genres.
Unit Vocabulary: aesthetic elements of theatre: physical, cultural, personal responses, theatre genres
Pre-Assessment: Identify aesthetic elements in a clip.
Level 1
Recall
various theatrical
aesthetics.
Level 2
Skill/Concept
Activity: Compare your
personal responses to
class.

various theatrical
aesthetics.
aesthetics.
Strategy: Lecture,
discuss and provide
examples of various
Assessment: Compare
and contrast personal
responses to the same
work.
Level 3
Strategic Thinking
Activity: Discuss how
people from different
cultural and socioeconomic backgrounds
might respond to the
same work.
aesthetics.
Level 4
Extended Thinking
Activity: Research
audience reactions to
controversial
productions connecting
the theatrical, cultural
and personal aesthetics.
Strategy: Teacher
feedback and class
discussion.
Assessment: Based on
the classroom
discussion, compare and
contrast your personal
class.
Assessment: Write a
aesthetics as they pertain
to various productions.
Students will use computer-based resources to research professional reviews, news articles and video clips,
of theatrical productions, identifying statements related to theatrical aesthetics.
224
Application Level Assessment for CCO IIIB: Aesthetics
Student Task:
Compare and contrast audience aesthetic responses to various theatrical genres.
225
Scoring Guide for Directors Studio, CCO III B: Aesthetics

Learning Target

audience aesthetic
responses to various
theatrical genres.
4
Advanced
Research and review four

contrasting theatrical
genres.
Read scripts from four
contrasting genres
watch video when
possible.
In a class discussion,
compare and contrast
each of the productions,
including historical
background.
Write a review for each
production, specifically
addressing the possible
aesthetic responses to
each production,
including:
physical response
cultural response
personal response
Choose 3 productions
which would evoke each
of the three areas of
aesthetic responses.
3
Proficient
Read scripts from three

contrasting genres
watch video when
possible.
background.
each production,
including:
physical response
cultural response
personal response
226
2
Basic
Watch three videos of

contrasting genres
background.
each production,
including:
physical response
cultural response
personal response
1
Below Basic
Watch three videos of

contrasting genres
background.
each production,
including:
physical response
cultural response
personal response
Directors Studio
Core Conceptual Objective IV: Students will make connections among the arts and between Theatre
Essential Question
How will students make connections between theatre and other arts?
Content and Skills:

know:

Grades 9 - 12
Learning Target
able to do:
Connect the director's role in theatre to the
choreographer's role in dance.
Directors Role
Script Analysis
Makes interpretive choices
Blocking
Audition Process
Rehearsal Process
Production meetings
Choreographers Role
Script Analysis
Makes interpretive choices
Create dance/movement for specific
songs/scenes
Teach dance/movement to actors
Unit Vocabulary: dance choreography, stunt choreography, choreographer

Pre-Assessment: Explain the roles of director and choreographer
Level 1
Recall
Activity:
Discuss the ways that
choreography is used in
theatre.
Level 2
Skill/Concept
Activity:
Watch various theatrical
vignettes and discuss
how choreography was
used in each.
Level 3
Strategic Thinking
Activity:
Analyze a script to
determine how and
where choreography
should be integrated.
Strategy: Lecture,
discuss and model.
Strategy: Discuss,
model, and provide
examples of
choreography as a
theatrical element.
Assessment: Make
appropriate
choreography selections
to enhance a scene.
Strategy: Discuss,
model, and provide
examples of
choreography as a
theatrical element.
Assessment:
Compare two different
choreographic
interpretations with two
different directors
visions.
Assessment: List ways

that choreography is
used in theatre.
227
Level 4
Extended Thinking
Activity:
Analyze a script.
Research the
choreographic aspects.
Make selections, and
script.
Strategy: Teacher
feedback and class
discussion.
Assessment:
Choreograph a
song/scene based upon
the directors vision.
Improve production
Students may use computer-based resources to research choreographers.
Students may use library resources to research various choreographic visions for one show.
Students may view theatrical productions in order to analyze the choreographic choices.
Students may create a Power Point presentation of a choreographic plan for a theatrical scene or
production.
Students may make choreographic selections based on the style of dance/movement in which they are most
interested.
Students can create, perform and record their own choreography for a scene or theatrical production.
Student Task:
Connect the director's role in theatre to the choreographer's role in dance.
Students will gain a greater appreciation for the use of choreography in theatrical performances.
Students will appreciate how other arts are used in theatre.
228
Scoring Guide for Directors Studio, CCO IV A: Connections among the Arts
Learning Target
Connect the director's role

in theatre to the
choreographer's role in
dance.
4
Advanced
Research, and compare

the role of
choreographers and
directors in a production.
Write a research paper
discussing past
choreographers and their
influence on dance and
musical theatre.
Choreograph a
song/scene based upon
the directors vision.
Improve production
3
Proficient

the role of
choreographers and
discussing past
choreographers and their
influence on dance and
musical theatre.
229
2
Basic

the role of
choreographers and
Discuss and compare the
roles of choreographers
and directors in a
production.
1
Below Basic
Discuss the comparison

of the role of
choreographers and
Directors Studio
Essential Question
subjects?
Content and Skills:
should know:
Communication Arts Skills
Oral Communication
Written Communication

Learning Target
Directing Process
Communicate directors vision
to actors and designers
Write script and character
analyses
Solve problems that arise in the
process
Unit Vocabulary: interpersonal skills, conflict mediation, communication strategies
Pre-Assessment: Explain how a director uses communication skills.
Level 2
Level 3
Level 1
Skill/Concept
Strategic Thinking
Recall
Activity:
Activity:
Activity:
Discuss the differences
Discuss the differences
Brainstorm problems
and similarities between and similarities between that could arise when
Communication Arts
Communication Arts
directing actors and
skills and the directing
skills and the directing
develop an action plan
process.
process.
for resolving them..
Strategy:
Strategy:
Strategy:
Lecture, classroom
Lecture and classroom
Modeling
discussion.
discussion.
Assessment:
Assessment:
Assessment:
List Communication
Make a poster that
Given a scenario in
Arts skills that a director shows how
which the director needs
uses.
Communication Arts
to use communication
skills are used in the
skills to solve a
directing process.
problem, develop an
action plan.
Level 4
Extended Thinking
Activity:
Select and analyze a
one-act. Audition and
rehearse cast.
Strategy:
Modeling
Assessment:
Use communication
skills when directing
students in a one-act
play. Keep a journal
recording the process,
challenges and
solutions.
Use Inside the Actors Studio and other media sources to study how directors use communication skills
to solve problems.
230
Advanced students coach struggling students.
Disciplines
Student Task:
Students will become better communicators.
Students will understand how a leader effectively communicates.
231
Scoring Guide for Directors Studio, CCO IV B: Connections between Theatre and Non-Arts Disciplines
Learning Target
Apply
Communication Arts
skills to the directing
process
4
Advanced
Hold auditions and cast for a

scene.
At the first read-through,
discuss character development
specifics with the cast, using the
script and directors vision as
basis.
Use communication skills to
verbalize to the actors how and
where they should move on
stage.
During rehearsals use skills in
communication, assisting the
actors in discovering their
character on stage.
Direct a scene with more than
two characters for a class
performance and critique.
Cast members critique their
student director both written
and verbally on how the director
communicated with them
throughout the directing
process.
Directors write a self-evaluation
summary of how the directing
process evolved for them and
what they would do differently
the next time.
3
Proficient
Hold auditions and cast

for a scene.
discuss character
development specifics
with the cast, using the
script and directors
vision as basis.
Use communication
skills to verbalize to the
actors how and where
they should move on
stage.
During rehearsals use
skills in communication,
assisting the actors in
discovering their
character on stage.
Direct a scene with more
than two characters for a
class performance and
critique.
Cast members critique
their student director
both written and verbally
on how the director
process.
232
2
Basic

for a scene.
discuss character
vision as basis.
Use communication
actors how and where
they should move on
stage.
assisting the actors in
discovering their
character on stage.
Direct a scene with two
characters for a class
performance and
critique.
Cast members critique
both written and verbally
on how the director
process.
1
Below Basic

for a scene.
discuss character
vision as basis.
Use communication
actor how and where
they should move on
stage.
assisting the actor in
discovering their
character on stage.
Direct a monologue for a
class performance and
critique.
Cast member critiques
verbally on how the
director communicated
with them throughout the
directing process.
Directors Studio
Core Conceptual Objective V: Students demonstrate knowledge of theatre in historical and cultural
contexts.
Essential Question

FA 5, G1.9, GLE HC1A Grade 9 12, GLE HC1B
Grade 9 12, GLE HC2A, Grade 9 - 12
Content and Skills:

Style/Period
Time/Place
Renaissance
1400-1700
Continental
Europe
(France, Spain,
Italy)
Restoration
1660- mid
1700
England
Lavish costumes
Sets that show onepoint perspective
Proscenium theatres
Box sets, interior
Style acting
Servants outwit their
employers
Comedy of Humors
Lavish costumes and
sets
Sexual frankness
Types of Plays,
Performances
French:
Farce, Love story,
Italy:
Commedia
dellArte
Spain:
Action/suspense
Comedy
Context
Gilded theatres
Aristocrats sat on the stage
Satirizes social order
Monarchy rules
Actors and playwrights were
considered lower class
Important playwrights: Moliere,
Jean Racine, Voltaire, Lope de
Vega, Miguel Cervantes,
Niccolo Machiavelli
Playwrights: John Dryden,
David Garrick
Upper class doesnt support
Women are allowed to be actors
Led to licensing act &
censorship of English theaters
(1737)
The student will compare and contrast European Renaissance and English Restoration Theatre.
Unit Vocabulary: Renaissance, Restoration, farce, comedy of humors, proscenium, famous directors of
both eras, theater business of the eras.
Pre-Assessment: Theatre Terminology
Level 1
Recall
Activity: Work in
of European
Renaissance and English
Restoration Theatre.
Level 2
Skill/Concept
Activity: Work in
groups to quiz each
other on European
Level 3
Strategic Thinking
Activity: Work in
contrast European
233
Level 4
Extended Thinking
Activity: Research
European Renaissance
and English Restoration
Theatre. Perform scenes
from both eras for the
class using costumes
and props.
Level 1
Recall
Strategy: Provide
from the European
Restoration Theatre
eras.
poster listing
characteristics of
Theatre.
Level 2
Skill/Concept
Strategy: Lecture,
provide examples of
Theatre.
Level 3
Strategic Thinking
Strategy: Modeling,
rehearsing and peer
evaluations.
Level 4
Extended Thinking
Strategy: Teacher
feedback and class
discussion.
Assessment: Compare
and Contrast
characteristics of
Theatre.
Assessment: Compare
and Contrast acting and
directing styles from
Theatre.
discussing the
era. Compare and
of European
Students will use computer-based resources to research European Renaissance and English Restoration
Theatre.
Advanced students can write their own European Renaissance or English Restoration Theatre play.
Student Task:
The student will compare and contrast European Renaissance and English Restoration Theatre.
Students will understand media references to European Renaissance and English Restoration Theatre.
Students will have the knowledge of European Renaissance and English Restoration Theatre should they
choose to continue their theatre education.
234
Class:
Time Period:
Time Period:
Place:
Place:
235
Scoring Guide for Directors Studio CCO V, Theatre History

Learning Target

Renaissance Theatre in
continental Europe and
Restoration Theatre in
England
4
Advanced

evaluates both eras
Addresses the most
of the work
work
and specific
3
Proficient

evaluates both eras
Addresses important
work
reference to the work
2
Basic
236

both eras.
work
Supports some
to the work
Some important
be incorrect
1
Below Basic
both eras
Information may be
incomplete
Many pieces of
information may be
incorrect
Studio Theatre
237
Overview of Learning Targets for Studio Theatre

Students who take this course for repeatable credit will select one of the following as an area of emphasis:
A. Script Writing
Write two contrasting monologues that demonstrate dimensions of character: psychological, sociological, and
physiological.
Write an Improvisational Theatre script.
B. Acting
Demonstrate acting techniques developed by Stanislavski, Meisner, and Strasburg.
Students who take this course for repeatable credit will select one of the following as an area if emphasis:
Research and demonstrate acting skills needed for Childrens Theatre.
Research and demonstrate acting skills needed for Improvisational Theatre.

Students who take this course for repeatable credit will research and develop a make-up morgue.
D. Directing
Students will research and direct perform Musical Theatre.
238
Theatre Arts IV: Studio Theatre Overview continued


Analyze a theatrical performance addressing how actors choices influence the audiences aesthetic
responses.

Choose a character from a historical literary piece to develop a character for performance.
Research and select a historic literary piece to adapt for Childrens Theatre.
Research Commedia Dell'Arte and then compare and contrast it to Improvisational Theatre.
Research and select a historic literary piece to adapt for Musical Theatre.
Research and select a historic literary piece; adapt it to a one-act and direct it.
Compare and contrast monologues from classical and contemporary periods.
Students who take this course for repeatable credit will compare and contrast theatre in historical periods
related to their choice of emphasis: Childrens Theatre, Improvisational Theatre, Musical Theatre, or drama
based upon literature.
239
Studio Theatre
Essential Question
How do actors and directors communicate ideas through performance?
Content and Skills:

should know:
Script Analysis
Acting Techniques: Meisner,
Stanislovski, Strasberg

FA1, G2.5,GLE HC1A,
HC1B, HC2A, Grade 9 12
Learning Target
Note: Students who take this course for repeatable credit will
select one of the following learning targets:
Theatre Performance and Production
Students will research and perform Childrens Theatre.

Students will research and perform Improvisational Theatre.
Students will research and perform Musical Theatre.
Students will direct a theatrical production.
Unit Vocabulary: Acting Techniques of Meisner, Stanislovski, Strasberg, memory recall, motivation,
script analysis, directing techniques, job descriptions of theatre productions
Pre-Assessment:
Students complete a pre-test on acting techniques.
Level 1
Recall
Activity:
Discuss styles of acting.
Level 2
Skill/Concept
Activity:
Practice each acting
technique.
Level 3
Strategic Thinking
Activity:
Sequence steps in using
three different acting
techniques for
performances of the
same monologue.
Discuss results.
Strategy:
take notes
Assessment:
Students take a test over
acting techniques.
Strategy:
Modeling, showing
examples
Strategy:
Modeling
Assessment:
Apply knowledge of
each acting technique to
various cuttings.
Assessment:
Apply knowledge of
each acting technique to
the same monologue in
performances to the
class. Compare and
contrast the results of
the different techniques.
240
Level 4
Extended Thinking
Activity:
Research and apply
various acting
techniques.
Synthesize aspects of
the acting techniques to
create a personal method
for creating a character.
Strategy:
Modeling
Assessment:
Apply the synthesized
method to the
performance of a
monologue or cutting.
Self-evaluate and
modify the acting
technique in order to
improve the
performance.
Students use computer-based resources to research acting methods.
Students critique performances that illustrate various acting methods using video, film, and Internet
resources.
Students videotape performances for self and peer evaluation.
Differentiation
Students select scenes/cuttings of appropriate difficulty for their experience.
Students use library resources to research alternative acting methods to apply to performance.
Student Tasks:
Note: Students who take this course for repeatable credit will select one of the following Assessments:
Students will be able to demonstrate directing skills and acting skills if they continue to study theatre.
Students will be prepared for college auditions/interviews.
Students will be able to synthesize information into new forms.
241
Scoring Guide for Studio Theatre, CCO I

Learning Target
Perform a repertoire of
audition monologues
4
Advanced
Research monologues
from classical to modern.
Research the eras of the
chosen classical
monologues for
understanding and
interpretation.
Choose 4 contrasting
monologues.
Develop a character
internally and externally
- for each of the
monologues.
Write a character
analysis for each
monologue.
Memorize a 60 second
section of the four
chosen monologues.
Perform the monologues
for class critique.
Write a critique of
classmates monologues
and give suggestions for
improvement.
3
Proficient
Research monologues
Research the eras of the
chosen classical
monologues for
understanding and
interpretation.
monologues.
Develop a character
- for each of the
monologues.
Write a character
analysis for each
monologue.
section of the three
chosen monologues.
for class critique.
Write a critique of
improvement.
242
2
Basic
Research monologues
monologues.
Develop a character
- for each of the
monologues.
Write a character
analysis for each
monologue.
section of the two chosen
monologues.
for class critique.
Write a critique of
improvement.
1
Below Basic
monologues.
Develop a character
- for each of the
monologues.
section of the four
chosen monologues.
for class critique.
Write a critique of
improvement.
Research and perform

Childrens Theatre

Improvisational Theatre
Research Childrens
Theatre scripts for
practicality of
performance.
Complete script log of all
scripts read from class
library for reference at a
later date.
Choose 3 Childrens
Theatre scripts for
various audience ages
and again, complete a
script log for each script.
Analyze one script for an
in class production.
Write a critique on the
class production.
Research Commedia
DellArte and write a
comparison and contrast
paper of commedia and
improve theatre.
Attend a live improve
show.
Write a review on the
improv show.
Form a small improv
troupe in class and
rehearse using improv
games.
Perform an improv show
for the class and/or
school as audience.
Research Childrens
Theatre scripts for
practicality of
performance.
later date.
Choose 2 Childrens
Theatre scripts for
Write a critique on the
class production.
Research Commedia
improve theatre.
Attend a live improve
show.
Form a small improv
troupe in class and
games.
school as audience.
243
Research Childrens
Theatre scripts for
practicality of
performance.
later date.
Choose 2 Childrens
Theatre scripts for
Research Commedia
improve theatre.
Form a small improv
troupe in class and
games.
school as audience.
Research Childrens
Theatre scripts for
practicality of
performance.
later date.
Research Commedia
DellArte and in a class
discussion, compare
commedia and improve
theatre.
Form a small improv
troupe in class and
games.
school as audience.

Musical Theatre
Research musical theatre,

its history and
development.
Research playwrights
and actors of musical
theatre productions down
through the centuries.
Watch 4 musical theatre
videos.
Write a contrasting and
comparison research
paper on the four
musicals including the
technical, music style,
directing, script quality,
choreography and acting
style.
Choose a scene from a
musical theatre
production and rehearse
it in class.
Perform a rehearsed
scene from a musical
theatre.
Write a critique of a
musical theatre scene
performed in class.

its history and
development.
videos.
musical theatre
it in class.
Perform a rehearsed
theatre.
performed in class.
244

its history and
development.
videos.
musical theatre
it in class.
Perform a rehearsed
theatre.
performed in class.
videos.
musical theatre
it in class.
Perform a rehearsed
theatre.
performed in class.
Direct a theatrical
production
Research four theatrical

productions, each from a
different genre.
analyzing four different
genres including the
aspects of the genres.
Choose two scenes from
a theatrical production to
direct.
Hold auditions in class
for casting the
production.
Rehearse students and
give clear directors
notes.
Describe the
environment and society
of the time of the
production.
Perform the scenes in
class.
Evaluate the success of
the scenes.

different genre.
theatrical production to
direct.
for casting the
production.
notes.
Describe the
environment and society
of the time of the
production.
Perform the scene in
class.
the scene.
245

different genre.
direct.
for casting the
production.
notes.
class.
the scene.
Research two theatrical

different genre.
analyzing the two
different genres
including the technical
and acting aspects of the
genres.
direct.
for casting the
production.
notes.
class.
the scene.
Studio Theatre
A. Script Writing
Essential Question
How do actors communicate their ideas to an audience through
scriptwriting?
Content and Skills:
should know:
Three dimensions of character:
psychological, sociological,
physiological

EP1A Grade 9 - 12
Learning Target
Write two contrasting monologues that demonstrate dimensions
of character: psychological, sociological, and physiological.
select one of the following Learning Targets:
Unit Vocabulary: Three dimensions of character: psychological, sociological, physiological, monologues

Pre-Assessment:
Students will write a character analysis.
Level 1
Recall
Activity:
Students will read
monologues and discuss
dimensions of character.
Level 2
Skill/Concept
Activity:
Discuss famous
characters from plays.
Select characters they
admire.
Level 3
Strategic Thinking
Activity:
Students work in a
group to brainstorm
story ideas for various
characters.
Each person writes a
monologue for a
different character in a
scene.
Level 4
Extended Thinking
Activity:
Research plays.
Discuss how
monologues express
dimensions of a
character.
Select a monologue and
write a detailed
backstory for that
character.
Strategy:
Direct instruction of
character dimensions.
Provide examples from
various scripts.
Assessment:
Identify dimensions of
character in
monologues.
Strategy:
Class discussion
Strategy:
Modeling
Strategy:
Model using examples
of backstories
Assessment:
Write an original
monologue for an
existing character.
Assessment:
Write an original script
for a scene that includes
a character monologue.
Assessment:
Research and select a
monologue from an
established work and
write a detailed
backstory for that
character.
246
Monologues might vary in length, complexity of language, dialect, and modern versus historical periods.
Students can be assigned either simple or complex characters for whom they write monologues.
Students can be given choices of scripts and characters which meet their interests.
Student Task:
Write two contrasting monologues that demonstrate dimensions of character: psychological, sociological,
and physiological.
Note: Students who take this course for repeatable credit will select one of the following Learning Targets:
Students will be able to analyze and interpret scripts and characters if they continue to study theatre.
audience member.
247
Scoring Guide for Studio Theatre, CCO II A, Elements - Scriptwriting

Learning Target
Write two contrasting

monologues that
demonstrate dimensions of
character: psychological,
sociological, and
physiological.
4
Advanced
Elements of created
character exceed
expectations: economic,
societal, psychology,
dialect, etc.
Clearly communicated
Elements of character are
clearly visible through
dialogue.
Contrast of monologues
apparent through
combination of comedy
vs. drama; classical vs.
contemporary; character
traits in contrast with one
another.
3
Proficient
Elements of created
character apparent:
economic, societal,
psychology, dialect, etc.
Clearly communicated
Most elements of
character are clearly
visible through dialogue.
apparent through
combination of two of
the following: comedy
vs. drama, classical vs.
contemporary, or
character traits in
contrast with one
another.
248
2
Basic
Some elements of
created character
apparent: economic,
societal, psychology,
dialect, etc.
3 of 5 given
circumstances
communicated clearly.
Most elements of
visible through dialogue;
some may be unclear or
indecipherable.
apparent through either
comedy vs. drama, or
classical vs.
contemporary or
character traits in
contrast with one
another.
1
Below Basic
Few elements of created

character apparent:
economic, societal,
psychology, dialect, etc.
2 of 5 given
circumstances
communicated clearly.
Few elements of
visible through dialogue;
some may be unclear or
indecipherable.
unclear (no clear
difference of either
comedy vs. drama, or
classical vs.
contemporary or
character traits in
contrast with one
another.
Write a Childrens Theatre

script
Research Childrens
Theatre and analyze their
common elements.
Using your research,
write an outline for an
original Childrens
Theatre script
incorporating a specific
place, time, 3-5
characters, a conflict and
resolution.
Discuss your outline with
the class for feedback.
Write a script with five
scenes, breaking it down
to a clear beginning,
middle and end.
Choose students from
within the class to
perform a reading of
your script.
Re-write the script
making appropriate
changes which were
discovered in the
reading.
Workshop your script
with a class reading for a
production.
Research Childrens
Theatre and analyze their
common elements.
Using your research,
write an outline for an
original Childrens
Theatre script
place, time, 3 characters,
a conflict and a
resolution.
Write a script with three
to a clear beginning as
the first scene, middle as
the conflict, and ending
as the resolution.
within the class to
your script.
Re-write the script
making appropriate
changes which were
discovered in the
reading.
production.
249
Write an outline for an

original Childrens
Theatre script
a conflict and a
resolution.
as the resolution.
within the class to
your script.
Re-write the script
making appropriate
changes which were
discovered in the
reading.
production.
Write an outline for an

original Childrens
Theatre script
a conflict and a
resolution.
as the resolution.
within the class to
your script.
Write prompts for

Research commedia del

arte and its comparison
to Improvisational
Theatre
Read Improv Game
books to learn about
various improv games
suitable for high school
students
Lead the class in playing
5 improv games
explaining objective for
each game
Write 6 complex prompts
for Improv games (i.e.,
place, more than 4
characters, conflict)
Evaluate games and
student reactions

to Improvisational
Theatre
Read Improv Game
students
4 improv games
each game
place, more than 4
characters, conflict)
Evaluate games and
student reactions
250

to Improvisational
Theatre
Read Improv Game
students
3 improv games
each game
place, using 3 characters,
conflict)
Evaluate games and
student reactions

to Improvisational
Theatre
Read Improv Game
students
1 improv game
game
Write 3 prompts for
improv games (i.e.,
place, using 2 characters,
conflict)
Evaluate games and
student reactions
Write a Musical Theatre

script
Research Musical
Theatre in American
history exploring
common elements
present in all musicals.
Write an outline of a
musical theatre script
incorporating elements
you discovered in
research.
Discuss/share your
outline with classmates
and talk about
improvements and
additions.
Make changes in your
outline to reflect
improvements.
Write a One Act play
incorporating songs you
know that would work
and reflect the mood of
the script.
Incorporate 3 4 dance
numbers in the script.
Include dialogue for 3 to
5 characters.
Discuss 3 5 musicals
and determine what the
common elements are in
each.
you discovered in
discussion.
Discuss/share your
and talk about
improvements and
additions.
outline to reflect
improvements.
Write a One Act play
incorporating songs you
know that would work
and reflect the mood of
the script.
5 characters.
251
each.
you discovered in
discussion.
Discuss/share your
and talk about
improvements and
additions.
outline to reflect
improvements.
3 characters.
each.
you discovered in
discussion.
Discuss/share your
and talk about
improvements and
additions.
outline to reflect
improvements.
Write and direct a script
Research various theatre

genres.
each genre.
Choose one of the genres
and write an outline of a
story line that could be
adapted into a One Act.
Discuss outline with
class, make adjustments
and improvements to it.
Develop the outline into
a One Act incorporating
dialog for 3 to 5
characters.
Workshop the script.
Have classmates read the
script out loud using
character voices.
Make changes to script
which evolved through
the workshop session.
Make final script
changes.
Hold auditions.
Cast the show and have
appropriate number of
rehearsals, using
rehearsal techniques.
Direct the original script.

genres.
each genre.
dialog for 2 to 4
characters.
character voices.
Make final script
changes.
Hold auditions.
rehearsals, using
252

genres.
each genre.
dialog for 2 to 4
characters.
character voices.
Make final script
changes.
Hold auditions.
rehearsals, using

genres
two genres.
dialog for 2 to 3
characters.
character voices.
Make final script
changes.
Hold auditions.
rehearsals, using
Studio Theatre
B. Acting
Essential Question
Content and Skills:

By the end of this grade/course
students should know:
Acting Techniques:
Stanislavski
Meisner
Strasberg

Learning Target
Demonstrate acting techniques developed by Stanislavski, Meisner, and
Strasberg.
Note: Students who take this course for repeatable credit will select one
of the following Learning Targets:
Research and demonstrate acting skills needed for Improvisational
Theatre.
Research and demonstrate acting skills needed to act for the camera.
Unit Vocabulary: acting techniques of Stanislavski, Meisner, and Strasberg, sense memory, method
acting, emotional recall, physical memory, magic if, moment before, physicalization, movement,
vocalization, characterization, memorization, stage directions, given circumstances, internal and external
character traits, physiology, sociology, psychology, head shot, resume
Pre-Assessment: Explain acting techniques.
Level 1
Recall
Activity:
Discuss components of
various acting
techniques.
Level 2
Skill/Concept
Activity:
Discuss components of
various acting
techniques.
Do method acting
exercises.
Level 3
Strategic Thinking
Activity: Develop a
a provided script.
Memorize script for an
audition.
Strategy:
Lecture
Strategy:
Lecture, demonstration
Strategy: Provide a
Assessment:
Define components of
various acting
techniques.
write a translation of a
scene from Hamlet into
their own words for
teacher feedback and
class discussion.
partner for teacher
feedback and class
discussion.
253
Level 4
Extended Thinking
Activity: Choose a scene
and research the
character from a
provided script, develop
a character analysis,
memorize the script and
perform for the class.
Strategy: Provide a
time.
scene for teacher
feedback and classroom
discussion. Improve
teacher feedback.
Utilize library resources for research on monologues.
View video clips.
Type their monologue script on the computer.
Students may choose a character they like.
Students may be assigned a character.
Application Level Assessment for CCO II B:
Student Tasks:
Demonstrate acting techniques developed by Stanislavski, Meisner, and Strasberg.
Note: Students who take this course for repeatable credit will select one of the following Learning Targets:
Research and demonstrate acting skills needed for Improvisational Theatre.
Students will be able to utilize writing skills in their professional/daily lives.
254
Scoring Guide for Studio Theatre, CCO II B, Elements - Acting

Learning Target
Demonstrate acting
techniques developed
by Stanislavski
4
Advanced
Demonstrate acting
by Meisner
Demonstrate acting
by Strasberg
3
Proficient
Research this theory.

Score a monologue using the
multiple attributes of theory.
Each acting process is
apparent in analysis and
performance.
Synthesize own personal
approach to acting with
theory.

performance.
theory.

performance.
theory.
2
Basic

Score a monologue using
the multiple attributes of
theory.
performance.

theory.
performance.

theory.
performance.
255
1
Below Basic

the attributes of theory.
Two acting processes are
performance.

performance.

performance.

attribute of theory.
One acting process is
performance.

performance.

performance.
Research and demonstrate

acting skills needed for
Childrens Theatre

Research Childrens
Theatre.
Watch/read 7 8
Childrens Theatre
scripts/shows comparing
and contrasting acting
skills needed to
successfully perform
them.
Develop 3 theatre games
appropriate to enhance
childrens theatre.
Research Improvisational
Theatre and Commedia
del Arte.
Watch 7 8 Improv
Theatre Production
videos.
Attend a live
performance of an
Improv Show.
Demonstrate 8 Improv
Games.
Teach classmates all
eight games and rehearse
the games so that every
student understands the
process.
Using the same idea as
Commedia del arte do a
performance in class.
Research Childrens
Theatre.
Watch/read 5 -6
Childrens Theatre
skills needed to
them.
childrens theatre.
del Arte.
Watch 5-6 Improv
Theatre Production
videos.
Attend a live
performance of an
Improv Show.
Games.
eight games and rehearse
the games so that
students understand the
process.
256
Research Childrens
Theatre.
Watch/read 3 - 4
Childrens Theatre
skills needed to
them.
childrens theatre.
del Arte.
Watch 3-4 Improv
Theatre Production
videos.
Attend a live
performance of an
Improv Show.
Games.
Teach classmates all five
games and rehearse them
so that students
understand the process.
Research Childrens
Theatre.
Watch/read 2 Childrens
Theatre scripts/shows
comparing and
contrasting acting skills
needed to successfully
perform them.
childrens theatre.
del Arte.
Watch 2 Improv Theatre
Production videos.
Games.
three games and rehearse
them so that students
understand the process.

Musical Theatre
Research Musical
Theatre.
Watch videos/read
scripts of 5 musical
theatre productions,
comparing and
contrasting their
differences.
Discuss the acting skills
needed to perform
musical theatre.
Research famous actors
of musical theatre
productions noting their
skills, talents and
education.
Research universities and
colleges and their
musical theatre
programs.
Present findings to classmates.
Prepare a monologue and
a song to use at
auditions.
Research Musical
Theatre.
Watch videos/read
comparing and
contrasting their
differences.
needed to perform
musical theatre.
Research famous actors
of musical theatre
productions noting their
skills, talents and
education.
Present findings to classmates.
a song to use at
auditions.
257
Research Musical
Theatre.
Watch videos/read
comparing and
contrasting their
differences.
needed to perform
musical theatre.
a song to use at
auditions.
Watch videos/read
comparing and
contrasting their
differences.
needed to perform
musical theatre.
a song to use at
auditions.
Direct actors in acting skills

appropriate to genres.
Research 5 theatrical
genres comparing and
necessary for each.
Choose two different
genres researching and
choosing a script from
each genre.
Prepare a script analysis
of both scripts in
preparation for directing
a scene from each script.
Have auditions of
classmates and cast the
scenes.
Rehearse scenes for
performance.
Post discussion of
scenes, comparing the
two genres and the acting
skills necessary for each.
necessary for each.
each genre.
of both scripts in
a scene from each script.
Have auditions of
scenes.
Rehearse scenes for
performance.
Post discussion of
scenes, comparing the
two genres and the acting
skills necessary for each.
258
necessary for each.
each genre.
of one script in
a scene.
Have auditions of
scenes.
Rehearse scenes for
performance.
Post discussion of scene,
discussing the acting
skills necessary for a
successful production.
necessary for each.
Choose a script from
each genre.
of one script in
a scene.
Have auditions of
scenes.
Rehearse scenes for
performance.
Post discussion of scene,
discussing the acting
skills necessary for a
successful production.
Studio Theatre
C. Design and Technical Theatre.
Essential Question
How does a director integrate technical elements in a production?

EP1C Grades 9 12
Content and Skills:

should know:
Learning Target
Technical Theatre Elements

Note: Students who take this course for repeatable credit will:
Research and develop a make-up morgue.
Unit Vocabulary: hand props, set dressing, costume piece, make-up styles
Pre-Assessment:
Given a short scene, write a description of costume, make-up, set design, and a props list.
Level 1
Recall
Activity:
Read a script and
highlight the given
circumstances.
Level 2
Skill/Concept
Activity:
Develop a make-up and
costume plot for a
character.
Level 3
Strategic Thinking
Activity:
Choose a character from
a provided script that
requires a hand prop,
make-up and costume.
Create or find the prop
and costume piece.
Direct actors in the use
of these technical
elements.
Strategy:
Provide a script, lecture
and discuss costuming
choices.
Strategy:
clips of costume and
make-up techniques.
Assessment:
Identify the given
circumstances of a
scene.
Assessment:
Create a make-up and
costume plot for a scene.
Strategy:
clips, class discussion of
how to create costumes,
make-up, and hand
props.
Model directing actors
in the use of technical
elements.
Assessment:
Effective use of
costumes, make-up, and
props in a studentdirected performance.
259
Level 4
Extended Thinking
Activity:
Research a script.
Develop a plot that
shows props, costumes,
hair, make-up, and set
elements for a scene of
their choice from a
given play.
Direct students in the
performance of the
scene.
Strategy:
clips. Teacher will
incorporate several
theatrical elements.
Assessment:
Effective use of
costumes, make-up, and
props in a studentdirected performance.
Improve based upon
feedback.
Students will view various film and video clips.
Students may choose or build their own prop and/or costume piece.
Application Level Assessment for CCO IIC: Elements-Design and Technical Theatre
Student Task:
Note: Students who take this course for repeatable credit will:
Research and develop a make-up morgue.
Students will apply their knowledge and skills of building hand props and/or costume pieces for a possible
career and or life skill.
audience member.
260
Scoring Guide for Studio Theatre, CCO II C, Elements Design and Technical Theatre
Learning
Target
Design
costumes
4
Advanced
Research the technical

components required for a
chosen script.
Research Costume Designers,
incorporating their design
drawings into a presentation in
class.
Do a script analysis of a script
with emphasis on the technical
Create costume renderings
appropriate for the script.
Build/compile costumes based
on research, given
circumstances, and renderings.
Research how to take proper
measurements of actors.
Using a costume/cast plot, list all
the costumes for each character
and their sizes.
Research proper use of sewing
machine.
Build/sew one complete costume
to be used in a production.
Research fabrics and understand
the difference between manmade materials and natural
fabrics.
Create a fabric morgue, with
examples of various fabrics.
3
Proficient

components required for a
chosen script.
class.
with emphasis on the
production.
Compile costumes based on
research, given circumstances,
and renderings.
Using a costume/cast plot, list
all the costumes for each
character and their sizes.
Research proper use of sewing
machine.
Build/sew one simple costume
to be used in a production.
Research fabrics and
understand the difference
between man-made materials
and natural fabrics.
261
2
Basic

drawings into a presentation
in class.
with emphasis on the
production.
Compile costumes based on
research, given
circumstances, and
renderings.
Using a costume/cast plot, list
all the costumes for each
character and their sizes.
Research proper use of
sewing machine.
Build/sew one simple
costume to be used in a
production.
understand the difference
between man-made materials
1
Below Basic
Do a script analysis of a
script with emphasis
on the technical aspects
of the production.
Create costume
renderings appropriate
for the script.
Compile costumes
based on research,
given circumstances,
and renderings.
Research how to take
proper measurements of
actors.
Using a costume/cast
plot, list all the
costumes for each
character and their
sizes.
understand the
difference between
man-made materials
Create a fabric morgue,
with examples of
various fabrics.
Design props

components required for
a chosen script.
Research Prop
Designers, incorporating
their design drawings
into a presentation in
class.
script with emphasis on
the technical aspects of
the production
Create props renderings
appropriate for the script
Build/compile props
based on research, given
circumstances, and
renderings.
Using a properties plot
form, list all the props
needed for each character
in the script.
tools, building materials,
and materials specific for
building props.
Build two props to be
used in a production.
Research materials used
to build props
Create a props morgue,
with examples of various
props and catalogs of
props.

a chosen script.
Research Prop
class.
the production
Build/compile props
based on research, given
circumstances, and
renderings.
in the script.
building props.
Build two props to be
props.
262

a chosen script.
Research Prop
class.
the production
in the script.
building props.
Build one prop to be
props.

a chosen script.
in the script.
building props.
Build one prop to be
props.
Design make-up plots

a chosen script.
Research Make-up
class.
Design/draw renderings
of straight make-up, old
age, stylized and fantasy
make-up.
the production
Create make-up
for the script
Using a make-up plot
form, list all the make-up
and provide a drawing of
make-up style needed for
each character in the
script.
Research make-up
companies and the
proper use of make-up
materials.
Apply make-up styles to
students in class one
each of the following:
straight, old age, stylized
and fantasy.
Research Make-up
class.
Design/draw renderings
of straight make-up, old
age, stylized and fantasy
make-up.
the production
Create make-up
for the script
script.
Research make-up
companies and the
materials.
and fantasy.
263
Design and draw

renderings of straight
make-up, old age,
stylized and fantasy
make-up.
the production
Create make-up
for the script
script.
Research make-up
companies and the
materials.
and fantasy.
Design and draw

make-up, old age,
make-up.
the production
Create make-up
for the script
and fantasy.
Research and
develop a make-up
morgue
Research Make-up Designers,

class.
Design/draw renderings of
straight make-up, old age,
stylized and fantasy make-up.
Choose a script to design the
make-up for 5 or more
characters.
Create make-up renderings
Using a make-up plot form,
list all the make-up and
provide a drawing of make-up
style needed for each character
in the script.
Research make-up companies
and the proper use of make-up
materials.
students in class one each of
the following: straight, old
age, stylized and fantasy.
Develop a thorough make-up
morgue, which will
incorporate:
All face shapes, all ages, all
ethnic groups, and all hair
styles (short and long). The
morgue should also display a
number of examples of
middle-age, stylized and
fantasy make-up.
Research Make-up
their design drawings into a
presentation in class.
Design/draw renderings of
stylized and fantasy makeup.
Choose a One Act script and
design the make-up for 3 to 5
characters.
Create make-up renderings
Using a make-up plot form,
list all the make-up and
provide a drawing of makeup style needed for each
character in the script.
students in class one each
of the following: straight, old
age, stylized and fantasy.
Develop a thorough make-up
morgue, which will
incorporate:
All face shapes, all ages, all
ethnic groups, and all hair
styles (short and long). The
morgue should also display a
middle-age, stylized and
fantasy make-up.
264
Design and draw

make-up, old age,
make-up.
play and design the
make-up for 2 characters.
Create make-up
for the script
form, list the make-up
two each character in the
script.
and fantasy.
Develop a thorough
make-up morgue, which
will incorporate:
All face shapes, all ages,
all ethnic groups, and all
hair styles (short and
long). The morgue
should also display a
straight make-up, old
age, middle-age, stylized
and fantasy make-up.
Design and draw

make-up, old age,
make-up.
Create make-up
for a scene from a script
and fantasy.
Develop a thorough
make-up morgue, which
will incorporate:
All face shapes, all ages,
all ethnic groups, and all
hair styles (short and
long). The morgue
should also display a
straight make-up, old
age, middle-age, stylized
and fantasy make-up.
Studio Theatre
D. Directing
Essential Question
How do actors use directing skills to communicate the playwrights intent?

EP1D Grades 9 - 12
Content and Skills:

should know:
Learning Target
Directing skills to create characters

select one of the following learning targets:
Unit Vocabulary: cold reading, monologue, improvisation, pitch, projection, stage directions, subtext,
emotional recall, Company, intention, technical elements of a production: lights, sound, costumes, makeup, props, special effects
Pre-Assessment:
Explain how a director would guide actors in communicating to an audience.
Level 1
Recall
Activity:
Choose a monologue
and develop a character
analysis.
Level 2
Skill/Concept
Activity:
Working in pairs,
choose two contrasting
monologues and direct
partner in developing
their monologue.
Level 3
Strategic Thinking
Activity:
Direct a multiple person
scene focusing on
motivated movement
and stage business.
Strategy:
Guided practice and
class discussion.
Strategy:
Lecture and demonstrate
through guided practice
Provide clips and
photographs of
successful stage
pictures.
Strategy:
Lecture and lead the
class in movement
exercises focusing on
stage business. Provide
rehearsal time with
teacher feedback.
Assessment:
Perform a monologue
and perfect performance
through class with
directors feedback.
Assessment:
Perform monologues in
class and discuss the
directing techniques
used.
Assessment:
Direct a scene with
multiple characters
demonstrating effective
directing skills and
choices.
265
Level 4
Extended Thinking
Activity:
Direct a one-act with
multiple characters,
providing an extensive
blocking plan justifying
their directing choices.
.
Strategy:
and teacher feedback.
Assessment:
Provide a blocking plan
for a one act, and direct
the one act accurately
depicting the stage
movement based on the
directors stage notes.
Utilize video clips and digital photographs.
Videotape/photograph directors and actors as they create stage pictures for class discussion.
Utilize directors software to demonstrate directing skills.
Students may choose a one act based on their own interest.
Students may select a simple or complex one act.
Students may incorporate make-up, costume pieces, props and simple set pieces to enhance their vision.
Application Level Assessment for CCO II D:
Student Task:
Note: Students who take this course for repeatable credit will select one of the following learning targets:
directing.
Students will be able to appreciate the importance of motivated movement as an actor and an audience
member.
266
Scoring Guide for Studio Theatre, CCO II D, Elements - Directing

Learning Target
Self-direct monologues and

scenes.
4
Advanced
Scene structure is readily

apparent with clear
moment before (i.e.
character thought process
and motivation).
Use of beats is strong
and well motivated
reinforcing character
choices and motivation.
Awareness of audience
sight lines so that all
action is visible.
Gestures are strong and
reinforce character
choices based on given
circumstances.
3
Proficient
Scene structure is
apparent with clear
moment before (i.e.
and motivation).
Use of beats is apparent
and fairly strong and well
motivated reinforcing
character choices and
motivation.
Awareness of audience
sight lines so that all
action is visible.
Gestures are strong and
reinforce character
choices based on given
circumstances.
267
2
Basic
Scene structure is
somewhat apparent but
may have inconsistent
moment before (i.e.
and motivation).
Some beats are apparent
with occasional
motivation reinforcing
motivation.
Good awareness of
audience sight lines so
that most action is
visible.
Gestures are used in an
attempt to show
character choices based
on given circumstances.
1
Below Basic
Scene structure is not

apparent with
inconsistent moment
before (i.e. character
thought process and
motivation).
Few beats are apparent
with little apparent
motivation reinforcing
motivation.
Some awareness of
audience sight lines;
frequently action is not
visible.
Gestures are rarely used
in an attempt to show
character choices based
Research and direct

Childrens Theatre
Research Childrens
Theatre scripts and
choose a full-length
script that incorporates
all the students in class.
Do a script analysis on
the script.
Include a rendering of
your ideas for the set
design, costume ideas,
lights and sound design
ideas for production.
Have auditions to cast
the show.
Cast the show and assign
crew positions.
Rehearse the show using
appropriate directorial
techniques.
Perform the Childrens
Show.
Self-evaluate.
Seek and incorporate
feedback from cast
members and use it to
improve direction.
Research Childrens
Theatre scripts and
choose a One Act that
incorporates 7-8 students
in class.
the script.
the show.
crew positions.
techniques.
Show.
Self-evaluate.
Have a post-production
discussion.
268
Research Childrens
Theatre scripts and
incorporates 5 - 6
students in class.
the script.
the show.
crew positions.
some appropriate
directorial techniques.
Show.
discussion.
Research Childrens
Theatre scripts and
incorporates 2 - 4
students in class.
the script.
the show.
crew positions.
few appropriate
Show.
discussion.
Research and direct

Research Improv scripts

and choose a full-length
the script.
the show.
crew positions.
techniques.
Perform Improv Show.
Self-evaluate.
feedback from cast
improve direction.

and choose a One Act
that incorporates all the
students in class.
the script.
the show.
crew positions
techniques.
Self-evaluate.
discussion.
269

that incorporates 5 - 7
students in class.
the script.
the show.
crew positions.
some appropriate
Show.
discussion.

that incorporates 2 - 4
students in class.
the script.
the show.
crew positions.
few appropriate
Show.
discussion.
Research and direct

Musical Theatre
Research Musical
Theatre scripts and
chooses a full-length
the script.
the show.
crew positions.
techniques.
Self-evaluate.
feedback from cast
improve direction.
Research Musical
Theatre scripts and
chooses a One Act that
incorporates all the
students in class.
the script.
the show.
crew positions
techniques.
Self-evaluate.
discussion.
270
Research Musical
Theatre scripts and
incorporates 5 - 7
students in class.
the script.
the show.
crew positions.
some appropriate
Show.
discussion.
Research Musical
Theatre scripts and
incorporates 2 - 4
students in class.
the script.
the show.
crew positions.
few appropriate
Show.
discussion.
Studio Theatre
performances.
Essential Question
performances?

Grades 9 - 12
Content and Skills:

should know:
Learning Target
Standards for Quality Theatrical

Production
Analyze and write comprehensive reviews of theatrical

productions.
Unit Vocabulary: acting objective, acting tactics, actors choices, blocking, mental focus, physicalization,
vocalization, technical elements
Pre-Assessment: Critique a clip.
Level 1
Recall
Activity:
Discuss critiques and
appropriate criticism
techniques.
Level 2
Skill/Concept
Activity:
Discuss and write peer
evaluations.
Level 3
Strategic Thinking
Activity:
Read, discuss, and
evaluate a variety of
reviews of the same
performance.
Strategy:
Lecture, discuss and
modeling
Strategy:
Model and lecture.
Strategy:
Modeling
theatrical elements to be
critiqued.
Assessment: Write a
critique of a
performance.
Assessment:
Read and evaluate a
variety of reviews of the
same performance.
Synthesize the best
aspects of each into an
improved review.
Level 4
Extended Thinking
Activity:
Research a play being
performed by a
professional company.
of the performance.
Strategy: Teacher
feedback and class
discussion.
Assessment: Write a
to a local publication.
Students will research professional reviews of theatrical productions using Internet resources.
Students will use a numerical system for critiquing peers.
Students will use critique rubric for student performances and evaluation.
271
Application Level Assessment for CCO III A:

Student Task:
careers.
272
Scoring Guide for Studio Theatre, CCO III A, Theatre Criticism

Learning Target
Analyze and write

comprehensive reviews of
theatrical productions.
4
Advanced
Analysis is thorough and

well supported.
Elevated sentence
structure with colorful,
descriptive diction.
Format is clear,
organized and well
developed.
No grammatical or
spelling errors which do
not detract from reader
comprehension.
3
Proficient
Analysis is thorough and

well supported.
Good sentence structure
with colorful, descriptive
diction.
Format is overall clear,
organized and well
developed.
Few, if any, grammatical
or spelling errors which
do not detract from
reader comprehension.
273
2
Basic
Analysis is thorough but

may not be well
supported.
Adequate sentence
structure with clear
diction.
Format is overall clear
and organized but may
not be well developed.
Some grammatical or
may detract from reader
comprehension.
1
Below Basic
Analysis is incomplete
with little to no support.
Poor sentence structure
with elementary diction.
Format is not apparent
and unorganized and
lacks development.
Frequent grammatical or
detract from reader
comprehension.
Studio Theatre
performances.
B. Aesthetics
Essential Question
How do actors and directors influence audience responses to their works?

Grades 9 12
Content and Skills:

should know:
Learning Target
The ways that actor choices affect the

aesthetic responses of the audience
Analyze a theatrical performance addressing how actors

choices influence the audiences aesthetic responses.
Unit Vocabulary: aesthetic elements

Pre-Assessment: Explain how actors choices result in audience responses.
Level 1
Recall
Activity:
Discuss various acting
choices that can affect
an audiences responses.
Strategy:
Lecture and modeling
Assessment:
List various acting
choices that can affect
an audiences responses.
Level 2
Skill/Concept
Activity:
Discuss comedic
choices that influence
the aesthetic response of
the audience.
Strategy:
provide examples of
ways that actors
influence audience
responses
Level 3
Strategic Thinking
Activity:
Discuss acting skills
necessary in a dramatic
production.
Assessment:
Use comedic strategies
to make audience
members laugh.
Assessment:
Choose a dramatic piece
and perform it to make
an audience feel
appropriate aesthetic
responses.
Strategy:
Lecture and model the
difference between
comedic and dramatic
acting skills
Level 4
Extended Thinking
Activity:
research and select two
contrasting monologues.
Prepare for repertoire.
Strategy:
Teacher feedback and
class discussion
Assessment:
Perform contrasting
monologues (comedic
and dramatic) to evoke
appropriate aesthetic
audience responses..
Students will use media resources to find monologues.
Students focus on aesthetic choices they make as actors.
274
Application Level Assessment for CCO III B:

Student Task:
Analyze a theatrical performance addressing how actors choices influence the audiences aesthetic
responses.
275
Scoring Guide for Studio Theatre, CCO III B, Aesthetics

Learning Target
Analyze a theatrical
performance addressing
how actors choices
influence the audiences
4
Advanced
Research 5 genres of
theatrical scripts.
Analyze each
script/performance and
using supporting ideas,
demonstrate how
different
aged/ethnic/gender
groups might respond to
specific actors choices.
Write a Compare and
Contrast essay on each of
the genres and actors
choices might affect
various audiences
responses.
each production and the
aesthetic responses in a
class discussion.
3
Proficient
theatrical scripts.
Analyze each
demonstrate how
different
aged/ethnic/gender
Write a Compare and
various audiences
responses.
class discussion.
276
2
Basic
theatrical scripts.
Analyze each
demonstrate how
different
aged/ethnic/gender
Write a Compare and
various audiences
responses.
class discussion.
1
Below Basic
theatrical scripts.
Analyze each
demonstrate how
different
aged/ethnic/gender
Write a Compare and
various audiences
responses.
class discussion.
Studio Theatre
Essential Question
How will students make connections between theatre and other arts and
theatre and other subject areas?
Content and Skills:
should know:
Music communicates mood to a theatre
audience
Music enhances stage movement

Grades 9 - 12
Learning Target
Students who take this course for repeatable credit will select
one of the following Learning Targets:
Unit Vocabulary: physicalization, timbre, pitch, dynamics, melody, tempo, mood

Pre-Assessment: Match musical excerpts to clips of theatrical performances.
Level 1
Recall
Activity: Memorize
music and stage
movement terminology.
Level 2
Skill/Concept
groups to select
appropriate movement
and music for a scripted
scene.
Level 3
Strategic Thinking
groups to select
alternative musical and
movement selections for
the same scripted scene.
the effectiveness of
each.
Strategy: Lecture using

music and theatre
examples
Strategy: Discuss,
model, and provide
examples of music used
to enhance theatrical
performances
music as background for
movement in a scene.
Justify choices.
Strategy: Discuss,
model, and provide
examples of music used
to enhance theatrical
performances
same scene twice, using
different music and
stage movements.
Engage the class in a
discussion of the relative
effectiveness of each.
Assessment: Match
terms to definitions.
Level 4
Extended Thinking
period production to see
what the music was like
at that time and place.
Select musical and stage
movement that express
the changing moods of a
theatrical work.
Strategy: Discuss,
model, and provide
examples of musical and
movement genres
theatrical performance
in which period music
and movement are used
to enhance the
performance and convey
mood.
Students will use library resources to research movie clips for presentation in class.
Students will use computer-based resources to research fashion designers.
277
Students can create a Power Point presentation of a costume plan or plot.
Students can select the period they are most interested in.
Students can build the costume.
Application Level Assessment for CCO IV A:
Student Task:
Students who take this course for repeatable credit will select one of the following Learning Targets:
Students will have the knowledge and skills to assist in costumes should they choose to continue studying
theatre.
Students who continue in theatre arts and visual arts will refine their perceptions of the world.
278
Scoring Guide for Studio Theatre, CCO IV A, Connections among the Arts
Learning Target
Create a stage movement

piece to music.
4
Advanced
Musical selection is
strong and reinforces
well the emotional
aspects of the
performance piece.
All movement reflects
the musical selection
emotionally and
physically, with creative
connections between the
movement of the music
and the movement of the
actors.
Clear beginning, middle
and end apparent.
Movement of actors
directly reflects
movement of the musical
selection.
Readily apparent
crescendos music and
performance reach
climatic moment both
visually and auditorially.
Synchronized perfectly.
3
Proficient
Musical selection is
strong and reinforcement
of the emotional aspects
of the performance piece
is apparent.
Majority of movement
reflects the musical
selection emotionally and
physically, with good
actors.
and end apparent.
Majority of movement of
actors reflects movement
of the musical selection.
Crescendos apparent
music and performance
attempt to reach climatic
moment both visually
and auditorially.
Synchronized well for
the most part.
279
2
Basic
Musical selection
attempts to reinforce the
emotional aspects of the
performance piece.
Most of the movement
selection emotionally or
physically, with fair
actors.
or end apparent.
Most of movement of
Crescendos not readily
apparent music and
performance attempt to
reach climatic moment
either visually or
auditorially.
Fairly well synchronized
with some movement not
clearly matching musical
selection.
1
Below Basic
Poor musical selection

which does not reinforce
the emotional aspects of
the performance piece.
Some of the movement
selection emotionally or
physically, with
infrequent connections
between the movement
of the music and the
movement of the actors.
Lacking a clear
beginning, middle or end
Some of movement of
Crescendos not readily
apparent music and
performance attempt to
reach climatic moment
but rarely successful or
apparent.
Not well synchronized
with movement not
clearly matching musical
selection.
Research and use music in

Childrens Theatre

Research Childrens
Theatre and choose 4
scripts in which to
incorporate music.
Determine time
period/era of script and
do a script analysis of
each script.
Research various music
genres and choose two
pieces of music for each
script that would be
appropriate for the show.
Music reflects the mood
and era of the show.
Justify musical
selections.
scripts/ideas in which to
incorporate music
Determine time
each script.
Justify choices.
Research Childrens
scripts in which to
incorporate music.
Determine time
each script.
Justify musical
selections.
scripts in which to
incorporate music
Determine time
each script.
Justify choices.
280
Research Childrens
scripts in which to
incorporate music.
Determine time
each script.
Research one music
genre and choose two
Some music reflects the
mood and era of the
show.
scripts in which to
incorporate music
Determine time
each script.
Research one music
mood and era of the
show.
Research Childrens
script in which to
incorporate music.
Determine time
do a script analysis.
Music may be
inappropriate for the
mood and era.
script in which to
incorporate music
Determine time
Music may be
mood and era.

Musical Theatre
Direct a theatrical
production using music
Research Musical
scripts/ideas in which to
incorporate music
Determine time
each script.
Justify choices.
Research and choose a
Dramatic and a Comedic
script which would have
the same number of
characters, as there are
classmates.
Complete a script
analysis on both scripts.
Audition classmates for
each production.
Rehearse the production
using successful
directorial elements.
Perform the productions
in class.
Write a post production
evaluation of the show,
the actors and the
rehearsal process.
Research Musical
scripts in which to
incorporate music
Determine time
each script.
Justify choices.

Dramatic and a Comedic
script which would have
the same number of
characters, as there are
classmates.
Complete a script
analysis on both scripts.
each production.
using successful
Perform the productions
in class.
Evaluate experience in a
class discussion.
281
Research Musical
scripts in which to
incorporate music
Determine time
each script.
Research one music
mood and era of the
show.
Dramatic or Comedic
script which has fewer
parts than students in the
class.
Complete a script
analysis on the script.
the production.
using successful
Perform the production
in class.
Evaluate experience in a
class discussion.
Research Musical
script in which to
incorporate music
Determine time
Music may be
mood and era.

Dramatic or Comedic
script with 2 4
characters.
Complete a script
analysis on the scene.
the scene.
Rehearse the scene.
class.
Studio Theatre
Essential Question
subjects?

Content and Skills:

should know:
Learning Target
Character development in literature

How to conduct research
Choose a character from a historical literary piece to develop a

character for performance.
Students who take this course for repeatable credit will select
one of the following Assessments:
Research and select a historic literary piece to adapt for
Childrens Theatre.
Research Commedia Dell'Arte and then compare and contrast it
to Improvisational Theatre.
Research and select a historic literary piece to adapt for
Musical Theatre.
Research and select a historic literary piece; adapt it to a one-act
and direct it.
Unit Vocabulary: characterization, era, internal traits, external traits

Pre-Assessment: Given a character from a literary work, write a paragraph explaining how you would
develop this character for performance.
Level 1
Recall
Activity: Discuss a
character in a given
literary work.
Level 2
Skill/Concept
Activity: Discuss
diverse characters from
the same literary work.
Level 3
Strategic Thinking
Activity: Develop a
a student-selected
literary work. Write a
monologue for that
character.
Strategy: Provide a
literary work modeling
how to develop it into a
character for the stage
Strategy: Provide
literary works modeling
how to develop
characters for the stage
Strategy: Provide wide

variety of literary works
modeling how to
develop characters for
the stage
282
Level 4
Extended Thinking
Activity: Read and use
research a variety of
literary works. Select
one to use as the basis of
a student-written script.
Write the script
including dialogue for
multiple characters.
Do a one-person
performance in which
you act all roles..
Strategy: Model
research and techniques
for developing a script
from a literary work.
Provide formative
feedback.
Level 1
Recall
traits of a character from
a given literary work.
Level 2
Skill/Concept
as a character from a
literary work.
Level 3
Strategic Thinking
Assessment: Perform as
the student-written
monologue based upon a
character from literature.
Justify character
analysis. p
Level 4
Extended Thinking
student-written scripted
scene for an audience in
which you play multiple
roles in a one-person
show. Improve
teacher and peer
feedback.
View a film/video that demonstrates specific characters with accents/dialects.
Utilize library resources to research various accents/dialects.
Utilize various forms of software to analyze the vocal qualities of the chosen accent/dialect.
Students may work with familiar or unfamiliar accents/dialects based upon their skill/experience.
Students may relate hearing to vocalization.
Students may choose a character voice based on interest.
Application Level Assessment for CCO IV B:
Student Task:
Choose a character from a historical literary piece to develop a character for performance.
Students who take this course for repeatable credit will select one of the following Assessments:
Research and select a historic literary piece to adapt for Childrens Theatre.
Research Commedia Dell'Arte and then compare and contrast it to Improvisational Theatre.
Research and select a historic literary piece to adapt for Musical Theatre.
Research and select a historic literary piece; adapt it to a one-act and direct it.
Students will be able to make a connection between vocal production and vocal health.
Students will be able to use a wide repertoire of character voices should they continue to study acting.
Students will be able to control the quality, pitch and projection of their voices in a public speaking forum.
283
Scoring Guide for Studio Theatre, CCO IV B, Connections between Theatre and Non-Arts Disciplines
Learning Target
Choose a character from a

historical literary piece to
develop a character for
performance.
4
Advanced
Research a literary
characters historical,
sociological, economic
background.
Read works of literature
in which the chosen
literary character
appears.
Analyze appropriate
given circumstances
based on research and
outside reading.
Create a character history
reaching beyond the
literary piece from which
the character came.
Develop costuming, hair
and makeup to support
performance of literary
character.
Analyze character
motivation based on
research, given
circumstances, and
literary works.
Integrate appropriate
gestures, posture,
expressions, etc into
performance.
3
Proficient
Research a literary
characters historical,
sociological, or
economic background.
Read a work of literature
in which the chosen
literary character
appears.
Analyze appropriate
given circumstances
outside reading.
based on the literary
piece from which the
character came.
Develop costuming, hair
or makeup to support
performance of literary
character.
Analyze character
motivation based on
research, given
circumstances, and
literary work.
Integrate appropriate
gestures, posture,
performance.
284
2
Basic
Read a work of literature

in which the chosen
literary character
appears.
Analyze given
circumstances based on
outside reading.
based on the literary
piece from which the
character came.
Develop costuming, or
hair, or makeup to
support performance of
literary character.
Analyze character
motivation based on
given circumstances and
literary work.
Integrates gestures,
posture, expressions, etc
into performance.
1
Below Basic
Analyze given
circumstances based on
personal knowledge of
literary character.
Create a character
history.
Develop costuming to
support performance of
literary character.
Analyze character
motivation based on
Little integration of
gestures, posture,
performance.

historic literary piece to
adapt for Childrens
Theatre
Research historic stories

in literature that could be
adapted to a full-length
Childrens Theatre piece.
Read through the stories
and narrow it down to
three possible
adaptations.
Write an outline adapting
one of the pieces to a
script form.
Discuss outline in class
and incorporate changes,
modifications into an
updated outline.
Using the outline,
develop a clear
end to the adaptation
creating 3 acts.
Develop dialogue of
characters to move the
story line along
Have a read-through of
the final script, in class.

the strongest possibility
for an adaptation.
the piece to a script form.
updated outline.
Using the outline,
develop a clear
creating 3 acts.
Develop dialogue of
story line along.
285

adapted to a One Act
for an adaptation.
updated outline.
Using the outline,
develop a clear
end to the adaptation.
Develop dialogue of
story line along.

adapted to a scene in a
for an adaptation.
updated outline.
Using the outline,
develop a clear
end to the scene.
Develop dialogue of
story line along.
the final scene, in class.
Research Commedia
DellArte and then compare
it to Improvisational
Theatre
Research Commedia
dell Arte.
Theatre.
Compare Commedia
with Improvisational
Theatre.
Watch an Improv Show.
In class, discuss the
comparisons and the
contrasts between the
two theatre genres.
Research a Commedia
script and/or view a
commedia video.
Lead the class in at least
5 Improv games and
discuss the use of these
skills in Commedia
productions.
Research Commedia
dell Arte.
Theatre.
Compare Commedia
Theatre.
Watch an Improv Show.
comparisons and the
two theatre genres.
Research a Commedia
commedia video.
4 Improv games and
skills in Commedia
productions.
286
Research Commedia
dell Arte.
Theatre.
Compare Commedia
Theatre.
comparisons and the
two theatre genres.
Research a Commedia
commedia video.
3 Improv games and
skills in Commedia
productions.
Research Commedia
dell Arte.
Theatre.
comparisons and the
two theatre genres.
Research a Commedia
commedia video.
2 Improv games and
skills in Commedia
productions.

historic literary piece to
adapt for Musical Theatre

Musical Theatre piece.
three possible
adaptations.
one of the pieces to a
script form.
updated outline.
Using the outline,
develop a clear
creating 3 acts.
Develop dialogue of
story line along

Musical Theatre piece.
for an adaptation.
Using the outline,
develop a clear
creating 3 acts.
Develop dialogue of
story line along.
287

adapted to a One Act
for an adaptation.
updated outline.
Using the outline,
develop a clear
end to the adaptation.
Develop dialogue of
story line along.

adapted to a scene in a
for an adaptation.
updated outline.
Using the outline,
develop a clear
end to the scene.
Develop dialogue of
story line along.
the final scene, in class.

historic literary piece, adapt
it to a one act, and direct it
Research short stories in

historic literature which
could be adapted into a
One Act.
Choose two possible
short stories and have a
class read-through of
both.
Vote on which one to
adapt into a One Act,
after discussing the pros
and cons of both stories.
Write an outline
incorporating a clear
end.
Revise the outline based
upon peer feedback.
Develop dialogue
between 5 or more
characters and put the
story into script form.
Create a script analysis.
Hold Auditions.
Cast the show.
Using successful
directorial process, have
rehearsals in class.
Perform the script in
class.
Hold a post-production
discussion.

One Act.
Choose one short story
that could be adapted to a
One Act.
Write an outline
incorporating a clear
end.
Revise the outline based
upon peer feedback.
Develop dialogue
between 4 characters and
put the story into script
form.
Hold Auditions.
Cast the show.
Using successful
directorial process, have
rehearsals in class.
class.
discussion.
288

One Act.
One Act.
Write an outline with a
end.
Develop dialogue
form.
Hold Auditions.
Cast the show.
Using some appropriate
directorial processes
rehearse actors in class.
class.
discussion.

One Act.
One Act.
Write an outline with a
beginning, middle and/or
end.
Develop dialogue
form.
Hold Auditions.
Cast the show.
Selected directing
process was not a good
match for the script and
actors.
class.
discussion.
Studio Theatre
cultural context.
Essential Question

FA 5, G1.9, GLE HC1A,
GLE HC1B, GLE HC2A
Grade 9 - 12
Content and Skills:

Style/Period
Time/Place
Types of
Plays/Performances
Context
Classical Theatre
Greek/Roman
Greece, Italy
(500 BC-100 AD)
Choral
Elevated language
Aristotelian Unities
Tragedy
Comedy
Played to audiences on hillsides

requiring large movement
Beginnings as choral competitions
Catharsis
Comic relief to alleviate the tragedy
Classical Theatre
Renaissance
England, France
(1500-1750)
Acted in style
Elevated language
Farces
Supported by royalty
Acting companies in which
members wrote, acted, and
directed
Shakespeare, Marlowe; Burbage
Moliere
Contemporary
Theatre
1980-present United
States
Vernacular language
Method acting i.e. realism
Comedy
Tragedy
Romantic comedy
Absurdist
Experiential
Revival of musical theater on

Broadway
Social commentary plays dealing
with current topics such as AIDS
Broadway shows influenced by
Disney Studio
Kushner, Weber,

Students who take this course for repeatable credit will compare and contrast historical periods related
to their choice of emphasis: Childrens Theatre, Improvisational Theatre, Music Theatre, or drama
Unit Vocabulary: Commedia Dell Arte, classical, contemporary, monologues, gestures, physicalization,
projection, enunciation, over-act, choreography, Renaissance, contexts
Pre-Assessment: Complete a VENN diagram comparing classical and contemporary monologues.
289

Level 1
Recall
Activity: Work in
of Classical and
Contemporary
monologues.
Level 2
Skill/Concept
Activity: Work in
quiz each other on
Classical and
Contemporary
monologues.
Level 3
Strategic Thinking
Activity: Work in
contrast Classical and
Contemporary
monologues.
Strategy: Provide
from the Classical era.
poster listing
characteristics of
Classical and
Contemporary
monologues.
Strategy: Lecture,
provide examples of
Contemporary theatre.
characteristics of
Classical and
Contemporary
monologues.
Strategy: Modeling,
rehearsing and peer
evaluations.
Assessment: Compare
and Contrast
characteristics of
Classical and
Contemporary
monologues.
Level 4
Extended Thinking
Activity: Research
Classical and
Contemporary
monologues. Perform
scenes from both eras
for the class using
costumes and props.
Strategy: Teacher
feedback and class
discussion.
discussing the
era. Compare and
of Classical and
Contemporary
monologues.
Students will use computer-based resources to research Classical and Contemporary monologues.
Advance students can write their own monologue based upon a Classical or Contemporary work.
Application Level Assessment for CCO V:
Student Task:
Students who take this course for repeatable credit will compare and contrast theatre in historical periods
related to their choice of emphasis: Childrens Theatre, Improvisational Theatre, Musical Theatre, or
drama based upon literature.
Students will understand media references to Classical and Contemporary monologues.
Students will have the knowledge of Classical and Contemporary monologues should they choose to
continue their theatre education.
290
Class:
When and where do you think Work A was first produced?
When and where do you think Work B was first produced?
Time Period:
Time Period:
Place:
Place:
What was life like when and where Work A was first written?
What was life like when and where Work B was first written?
How was science and technology of Work As time period used in

theatrical productions?
How was science and technology of Work Bs time period used in

theatrical productions?
On the back of this page, explain the importance and influence of theatre technology used in Works A and B to current productions of live theatre,
television, and film. Support your opinions by referring to specific details in Works A and B and to current theatre and culture.
291
Scoring Guide for Studio Theatre CCO V, Theatre History

Learning Target
Compares and contrast

monologues from classical
and contemporary periods
4
Advanced
Select two historical works

from Childrens Theatre,
Improvisational Theatre,
Musical Theatre, or Drama
Compare and Contrast:

Time
Place
Characteristics of style
Types of productions
Roles of actors
Technical elements
Performance spaces
Context (how did
theatre reflect the life
and times)

evaluates sets of works.
Addresses the most
of the work.
work.
and specific.
Research two historical

works/periods for the
genre.
Complete a script
analysis one of the
works.
Addresses the most
of the work.
work.
and specific.
3
Proficient

Addresses important
work.
All information is
correct.
2
Basic

genre.
Complete a script
analysis on one of the
works.
Addresses important
work.
All information is
correct.
292

sets of works.
work.
Supports some
to the work.
Some important
be incorrect.
genre.
Complete a script
works.
sets of works.
characteristics.
Supports some
to the work.
Some important
be incorrect.
1
Below Basic
the work.
Information may be
incomplete.
Many pieces of
information may be
incorrect.

genre.
Complete a script
works.
the work.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
293
Overview of Learning Targets for Theatre Design and Technology

Create and use sets, props, costumes, hair, make-up, lights, and sound plans for a performance/production.
Students who take this course for repeatable credit will prepare a technical theatre production book.
A. Script Writing
B. Acting
Not addressed in this class.

Students who take this course for repeatable credit will develop a technical portfolio.
D. Directing
Using theatre terminology, evaluate a production on the selection and application of make-up, costumes,
props, set, lighting, and sound.
Evaluate the technical aspects of a performance and suggest changes that would improve the production.

. Explain how technical aspects of a theatre production affect personal and audience responses.
Students who take this course for repeatable credit will compare responses to two different technical
interpretations of the same work.
294
Theatre Design and Technology Overview continued

Relate art skills to the production of sets.
Students who take this course for repeatable credit will use art and music skills to modify lighting and sound
to reflect the mood of a performance.

Connect scientific knowledge to the application of lighting and sound in theatre.
Students who take this course for repeatable credit will design a set model to scale.
Compare and contrast technical aspects of Medieval and Contemporary theatre.
Students who take this course for repeatable credit will design a set for one production using two different
time periods.
295

Essential Question
How do theatre technicians enhance theatrical productions?
Content and Skills:

should know:
Plan a production:
Design lighting and sound
Design set
Select props, costumes, hair, and
make-up

FA1, G2.5, GLE PP1C,
EP1C, IC1B, Grades 9-12
Learning Target
Create and use sets, props, costumes, hair, make-up, lights, and
sound plans for a performance/production.
Students who take this course for repeatable credit will prepare
a technical theatre production book.
Unit Vocabulary: sketch, model, build, prompt book, warning, cue, sound plot, light plot, costume plot,
property plot
Pre-Assessment:
Given a short scene, the student will list technical needs.
Level 1
Recall
Activity:
Learn vocabulary. Read
a script.
Level 2
Skill/Concept
Activity:
Read a script, analyze
the technical elements,
and create technical
plans.
Level 3
Strategic Thinking
Activity:
promotional plan.
Improve designs based
upon peer and teacher
feedback. Present
portfolio of plots to an
audience.
Strategy:
take notes
Strategy:
Present and discuss a
script as an example for
the process of staging a
Strategy:
Model comparing and
contrasting various
production choices.
Giving individual
feedback.
296
Level 4
Extended Thinking
Activity:
Analyze and research
the published work.
Design and implement a
costume plot, light plot,
sound plot, prop plot, set
plot, and promotional
plan.
Improve portfolio based
feedback.
Present portfolio of plots
to an audience.
Strategy:
Through direct
instruction, presents the
playwrights intent and
directors vision.
Level 1
Recall
Assessment:
Identify technical
elements in the script.
Level 2
Skill/Concept
Assessment:
Students prepare and
present technical plots
for a portfolio to be used
during interviews.
Level 3
Strategic Thinking
Assessment:
promotional plan.
Improve designs based
feedback. Present
portfolio of plots to an
audience. Critique final
portfolio.
Level 4
Extended Thinking
Assessment:
production which
requires:
Extensive technical
research (R)
In-depth script
analysis
Select and justify
technical choices of
make-up, set, lights
and sound
Present portfolio to an
audience
Post-production
analysis
Students use computer-based resources to research technical elements.
Viewing and critiquing established productions from video, film, and Internet resources.
Use the extras on DVD productions such as interviews, and documentaries, commentaries, and behindthe-scenes footage.
Students appropriately use theatrical equipment including lights and sound systems.
Students can be given scripts of appropriate difficulty for their experience. Scripts might vary in length and
time periods.
Students may be assigned either simple or complex technical aspects of a script based upon their readiness.
Student Tasks:
Create and use sets, props, costumes, hair, make-up, lights, and sound plans for a performance/production.
Students who take this course for repeatable credit will prepare a technical theatre production book.
Students will be able to analyze and interpret scripts, demonstrate technical skills if they continue to study
theatre.
Students will be able to understand and appreciate theatrical productions as an audience member.
Students will be able to use carpentry skills in every day life.
297
Scoring Guide for Theatre Design and Technology, CCO I

Learning Target
Create and use sets, props,

costumes, hair, make-up,
lights, and sound plans for a
performance/production.
4
Advanced
Prepare a technical theatre

production book.
Analyze all given

circumstances to
determine all listed
technical needs.
Research historically and
socio-economically
appropriate sets, props,
costuming, hair and
make-up.
Sketch, plot, and build
model of each required
technical element (as
applicable to each design
element).
Build, create, or find all
necessary technical
elements for use in
production/performance.
Assemble prompt book
for chosen class
Incorporates all plots,
sketches, and cues.
All warnings, cues, and
other technical elements
are clearly and correctly
notated.
3
Proficient
2
Basic
Analyze all given

circumstances to
determine all listed
technical needs.
Research historically or
socio-economically
appropriate sets, props,
costuming, hair and
make-up.
Sketch and plot or build
model of each required
technical element (as
applicable to each design
element).
Create or find all
necessary technical
elements for use in

for chosen class
Incorporates all plots,
sketches, and cues.
All warnings and cues
are clearly and correctly
notated.
298
Analyze 3 of 5 given
circumstances to
determine most listed
technical needs.
Sketch and plot each
required technical
element (as applicable to
each design element).
Create or find necessary
technical elements for
use in production/
performance.

for chosen class
Incorporates either plots,
sketches, or cues for the
required technical
elements.
All cues are clearly and
correctly notated.
1
Below Basic
circumstances to
determine one or two
listed technical needs.
Sketch or plot 4 or less
required technical
elements (as applicable
to each design element).
Find adequate technical
elements for use in
production/ performance.
Prompt book for chosen

class production/
performance is present,
but not fully assembled,
Plots, sketches, or cues
for the some of the
required technical
elements are
incorporated,
Some cues are notated.

A. Script Writing
Essential Question
How do technicians communicate a script to an audience through
scriptwriting?
Content and Skills:
should know:
Lighting
Sound
Costumes
Hair and make-up
Special effects
Props
Set design

EP1A, Grades 9-12
Learning Target
Unit Vocabulary: traditional theater, innovative theater

Pre-Assessment: Explain how scripts provide technical information.
Level 1
Recall
read scripted scenes to
find examples of
vocabulary terms.
Level 2
Skill/Concept
Activity: Students write
plots for a given scene.
Strategy: Direct
instruction of
vocabulary using
examples.

adapt a scripted scene
into a prompt book.

term.
Assessment: Given a
scene write all technical
requirements.
Level 3
Strategic Thinking
Activity: Students write
a script including a
diagram of the set, and
lighting and sound plots.
Discuss the work with
others and make
modifications based
upon feedback.
Strategy: Model set
diagrams, sound and
lighting plots, costume,
hair and make-up from
productions.
Assessment: Write and
illustrate technical plots
based upon an original
scene, given inventory,
and budget. Present
production portfolio to
the class.
299
Level 4
Extended Thinking
Activity: Research the
script. Then apply all
technical elements based
on a prescribed budget.
Strategy: Provide a
prescribed budget and
schedule facilities for
research.
will research technical
aspects of a script.
Write and illustrate
technical plots. Present
production portfolio to
the class. Justify
technical decisions.
View video, film, and Internet performances to critique the technical elements.
Create their original technical plots to include in technical portfolio.
modern versus historical periods, and technical difficulty.
Student Task:
Given a script, produce a written portfolio that includes all technical aspects: lighting, sound, costumes,
hair and make-up, props, set design, and special effects.
Students who take this course for repeatable credit will write a script with technical plots for each element.
Students will be able to analyze and interpret scripts for their technical elements should they continue to
study theatre.
Students could become theatre technicians as a career.
Students will further develop their analytical skills for use in their daily lives.
300
Scoring Guide for Theatre Design and Technology, CCO II A: Elements - Scriptwriting
4
Advanced
Learning Target
Write a scene with technical
plots for each element.
Script incorporates
innovative use of set,
props, costume, lighting,
sound, and make-up.
Researched all given
circumstances for
historical, socioeconomic, and technical
accuracy.
All given circumstances
are apparent within script
Create all plots (costume,
prop, light, sound).
Design make-up
Design and build model
of set.
3
Proficient
Script incorporates
traditional use of set,
sound, and make-up.
circumstances for
historical, socioeconomic, and technical
accuracy.
All given circumstances
are apparent within
script.
Create all plots (costume,
prop, light, sound).
Design make-up.
Design and build model
of set.
301
2
Basic
Script incorporates
sound, and make-up.
circumstances for
historical or technical
accuracy.
3 of 5 given
circumstances are
apparent within script.
Create 3 plots (costume,
prop, light, or sound).
Design make-up.
Sketch set.
1
Below Basic
Script incorporates
props, costume, and
lighting or sound.
2 of 5 given
circumstances are
apparent within script.
Create 2 plots (costume,
prop, light, or sound,)
Sketch set.

Essential Question
How will students convey technical aspects of theatre?
Content and Skills:

should know:
Technical Portfolio content
Production Book content
Safe Use of Equipment

FA1, G2.5, GLE PP1C,
EP1C, IC1B, Grades 9-12
Learning Target
Design and create a set model and stage diagram for a
production.
Students who take this course for repeatable credit will develop
a technical portfolio.
Unit Vocabulary: set pieces, set dressing, materials, budget, channel, circuit, slider, cue, program, runs
cue, master, gain, feedback, fade up, fade out, fabric swatches, scale, portfolio
Pre-Assessment: Students take a pre-test on technical theatre terminology and equipment.
Level 1
Recall
Activity: Identify
artistic aspects of a
production.
Level 2
Skill/Concept
Activity: Compare and
Contrast artistic
elements to be used in
set design.
Level 3
Strategic Thinking
Activity: Investigate
artistic concepts to use
in set designs.
Strategy: Provide and

discuss set designs from
various media sources.
Strategy: Provide and

discuss set designs from
various media sources.
Assessment:
Recognize various
artistic aspects of a
provided set design.
Assessment:
Identify contrasting
artistic elements in
various set designs from
a variety of time
periods.
Strategy: Provide works

of art to review and
apply towards set
designs.
Assessment:
Using establish artistic
concepts students will
apply various styles to a
specific set design of
their creation.
302
Level 4
Extended Thinking
Activity: Analyze video
clips from productions.
Apply art concepts to set
designs.
.
Strategy: Provide
Technical Portfolios as
examples.
will design and build a
set model to scale.
Create a comprehensive
portfolio of a production
incorporating: Lighting,
Sound, Costumes, Hair
and Make-Up, Props
and Special Effects.
Illustrate a stage
diagram for each scene
in the production.
Students review existing set designs and technical elements using the Internet.
View video, film, and Internet performances to critique the technical elements.
Create their original technical plots to include in technical portfolio using various technical resources.
Students can be given scripts and/or set designs of appropriate difficulty.
Scripts might vary in length, modern versus historical periods, and technical difficulty.
Student Tasks:
Students who take this course for repeatable credit will develop a technical portfolio.
Students will be able to analyze and interpret scripts for their technical elements should they continue to
study theatre.
Students could become theatre technicians as a career.
Students will further develop their analytical skills for use in their daily lives.
303
Scoring Guide for Theatre Design and Technology, CCO II C, Elements Design and Technical Theatre
Learning Target
Analyze scripts to
determine technical needs.
4
Advanced
Create technical plots for a

production
Analyze all given

circumstances found in
script.
Research all the various
technical elements found
within the script.
List all technical needs
found within the script.
Research all technical
needs found within script
for historical and socioeconomic accuracy.
Plot all technical needs
of production.
3
Proficient
2
Basic
Analyze all given

script.
Research some of
technical elements found
within the script.
Research majority of
technical needs found
within script for
historical accuracy.
Plot majority of technical
needs of production.
304
Analyze 3of 5 given

script.
Research some of the

technical needs found
within script for
Plot some of technical
needs of production.
1
Below Basic
Analyze 2of 5 given

script.
List some technical
needs found within the
script.
Research one or two of

the technical needs found
within script for
Plot one or two of
technical needs of
production
Build and dress a set
Safely use power tools
Based on given
circumstances, research
historical, economical,
sociological, and
seasonal accuracy of set
design.
Design and build set
based on given
circumstances and
research findings.
Choose colors,
decorations, and set
pieces to accurately
portray given
circumstances.
Estimate material
supplies and budget
considerations.
Identify tools and
purpose with 90 %
proficiency; corrects all
errors.
Identify parts of tools
with 90% proficiency;
corrects all errors.
Passes required safety
test with 90%
errors.
Demonstrates proper tool
usage with 100%
accuracy.
Based on given
circumstances, research
historical, economical,
sociological, or seasonal
accuracy of set design.
based on given
circumstances and
research finding.
Choose colors,
decorations, and set
pieces to accurately
portray given
circumstances
Estimate material
supplies and budget
considerations.
Identify tools and

purpose with 80 %
errors.
with 80% proficiency;
corrects all errors.
Passes required safety
test with 80%
errors.
Demonstrates proper tool
usage with 100%
accuracy.
305

based on given
circumstances.
Choose decorations and
set pieces to accurately
portray given
circumstances.
Estimate material
supplies.
Identify tools and

purpose with less than
80% proficiency;
corrects all errors; scores
80% or higher on retest.
with less than 80%
errors; scores 80% or
higher on retest.
Less than 80% on
required safety test;
corrects all errors; scores
80% or higher on retest.

based on given
circumstances.
Choose set pieces.
Estimate material
supplies.
Identify tools and

purpose with less than
80% proficiency;
corrects no errors; fails
or does not take retest.
with less than 80%
proficiency; corrects no
errors; fails or does not
take retest.
Less than 80% on
required safety test;
Fails to demonstrate
proper tool usage.
Operate light board
Operate sound board
Finds power switch with

ease.
Operate proper switches
to warm-up lights.
Uses sliders and keypad
to bring up lights.
Program and run cues.
Practices safety
procedures: no liquids
near board.
Proper labeling of
channel assignments.
ease.
Demonstrates use of
masters versus individual
channels.
Utilizes mute button to
silence channels.
Fades up channel levels
steadily eliminating
sudden sound blasts.
Selects track, volume,
and channel for CD for
clean cue.
Uses gain switch and
sliders to eliminate
feedback or sound
problems.
Runs cues with ease
bringing correct channels
up on time.

relative ease.
Operate proper switches
to warm-up lights.
Uses sliders and keypad
to bring up lights.
Program or run cues.
Practices safety
near board.
Attempt at labeling

relative ease.
Demonstrates use of
channels.
Utilizes mute button to
silence channels.
steadily eliminating
Selects track, volume,
and channel for CD for
clean cue.
Attempts to eliminate
feedback by
manipulating sound
levels.
Runs cues with ease
bringing correct channels
up on time.
306

difficulty.
Fails to warm-up lights.
Uses sliders to bring up
lights.
Runs cues.
Practices safety
near board.
No attempt at labeling

difficulty.
Demonstrates use of
channels.
Utilizes sliders to silence
channels.
too quickly causing
Selects CD track and
channel but cue may be
missed or sloppy.
No attempt to eliminate
feedback by
manipulating sound
levels.
Misses cues by bringing
up incorrect channels.

assistance.
Fails to warm-up lights.
Uses sliders to bring up
lights.
Practices safety
near board.
No attempt at labeling

assistance.
Demonstrates use of
individual channels but
fails to bring up master.
Utilizes sliders to silence
channels.
too quickly causing
Selects wrong CD track
and channel missing cue.
No attempt to eliminate
feedback by
manipulating sound
levels.
Misses cues bringing up
incorrect channels.
Create costumes
Create props
Research historical
accuracy of costumes
based on given
circumstances.
Create color costume
renderings.
Choose color and fabric
swatches.
Design all costumes
Build costumes.
Research historical
accuracy of props based
Design and build all
needed properties.
Research historical
accuracy of costumes
based on given
circumstances.
Compile
photos/renderings of
accurate costumes based
on given circumstances
and research.
Design all costumes
Assemble costumes from
various sources: costume
closet, costume shops,
thrift stores, etc.
Research historical
accuracy of props based
Design and build some of
the needed properties.
Compile remaining props
from prop room, thrift
shops, etc.
307
Analyze given
circumstances for
costume needs.
Compile
photos/renderings of
costumes.
Design some character
costumes based on given
circumstances.
Assemble costumes from
various sources: costume
closet, costume shops,
thrift stores, etc.
Analyze given
circumstances.
Compile props from prop
room, thrift shops, etc.
Analyzes 3 of 5 given
circumstances for
costume needs.
Compile
photos/renderings for one
or two character
costumes.
Design one character
costume based on given
circumstances.
Costume assembled from
pieces brought in by
actors.
circumstances.
Compile props from
pieces brought in by
actors.
Create make-up plots
Design and create a set

model and stage diagram
Research historical
accuracy of make-up
needs based on given
circumstances.
Create make-up morgue
which contains
applicable elements to all
characters make-up
needs.
Design make-up that
meets needs of each
specific character: age,
characterization, skin
tone, etc.
Research historical,
sociological, economical
accuracy of set based on
Sketch set design based
on research and given
circumstances.
Build a fully functional
scale model of set.
Choose paint colors, set
pieces, set dressing.
Build or acquire all
dressing and pieces for
set.
Set model is a full
representation of the
completed set including
paint colors, paint
effects, practicals, set
pieces and dressing.
Research historical
accuracy of make-up
needs based on given
circumstances.
which contains
applicable elements for
the major characters.
Design make-up that
meets needs of each
major character: age,
tone, etc.
Research historical,
sociological, economical
accuracy of set based on
on research and given
circumstances.
Build a scale model of
set.
Choose paint colors, set
pieces, set dressing.
Acquire all dressing and
pieces for set.
Set model is a full
completed set including
paint colors, paint
effects, practicals, set
pieces and dressing.
308
Analyze given
circumstances.
which contains some
one major and minor
character.
Design make-up that
meets needs of major and
minor character: age,
tone, etc..
Analyze given
circumstances.
Build a model of set.
Choose paint colors and
set pieces.
Acquire set pieces.
Set model is a fair
completed set with paint
colors and set pieces.
circumstances.
which contains some
one character.
Design make-up that
meets needs of one
character: age,
tone, etc.
circumstances.
Build a model of set.
Choose set pieces.
Acquire set pieces.
Set model is a fair
completed set with set
pieces.
Develop a technical
portfolio
Research area of
technical interest (i.e.
lights, sound, set design,
costuming, make-up,
etc.).
Collect and organize
related plots, sketches,
renderings, designs.
Take clear, digital
photographs of
personally designed
technical elements (i.e.
set, light effects,
costumes, make-up).
Videotape selections of
performances
showcasing designed
elements in use.
Organize plots, designs,
sketches, photos into a
neat, professional
portfolio (binder).
Create an electronic
version of your portfolio.
Research area of
technical interest (i.e.
lights, sound, set design,
costuming, make-up,
etc.).
related plots, sketches,
renderings, designs.
Take clear photographs
of personally designed
set, light effects,
costumes, make-up).
Videotape selections of
performances
showcasing designed
elements in use.
Organize plots, designs,
neat portfolio (binder).
309

plots, sketches,
renderings, designs
associated with area of
interest.
Include photographs of
personally designed
set, light effects,
costumes, make-up).
Videotape a selection of
a performance
showcasing designed
elements in use.
Arrange plots, designs,
portfolio (binder).
Collect plots, sketches,

renderings, or designs
associated with area of
interest.
Include photographs of
set, light effects,
costumes, make-up).
Arrange plots, designs,
sketches, or photos into a
portfolio (binder).

performances.
Essential Question
How do students critique theatre and theatrical performances?
Content and Skills:

should know:
Standards for quality technical theatre

FA2, FA3, GLE: AP1a,
Grades 9-12
Learning Target
Using theatre terminology, evaluate a production on the
selection and application of make-up, costumes, props, set,
lighting, and sound.
Evaluate the technical aspects of a performance and suggest
changes that would improve the production.
Unit Vocabulary: lighting design, sound design, costume choices

Pre-Assessment: Critique a clip for technical elements.
Level 1
Recall
Activity:
Discuss technical
elements
Level 2
Skill/Concept
Activity:
Compare and Contrast
artistic elements used in
set design.
Level 3
Strategic Thinking
Activity:
technical elements for a
specific show.
Strategy:
Lecture
Strategy:
Provide and discuss set
designs from various
media sources.
Strategy:
Modeling
Assessment:
List and define technical
elements.
Assessment:
on the use of technical
elements.
Assessment:
show the technical
elements of a specific
show.
Level 4
Extended Thinking
Activity:
Research a play being
performed.
of the performance.
Strategy:
Provide Teacher
feedback, class
discussion
Assessment:
Write a review based on
a production.
Submit the review to a
publication.
310
Students will use a critique rubric for performances and evaluation of technical elements.
Application Level Assessment for CCO IIIA: Theatre Criticism
Student Task:
Using theatre terminology, evaluate a production on the selection and application of make-up, costumes,
props, set, lighting, and sound.
Evaluate the technical aspects of a performance and suggest changes that would improve the production.
Students will be able to understand and appreciate the technical elements of a theatre production as an
audience member.
careers.
311
Scoring Guide for Theatre Design and Technology, CCO III A: Theatre Criticism
Learning Target

evaluate a production on
the selection and
application of:
Make-up
Costumes
Props
Set
Lighting
Sound
4
Advanced
Evaluate the technical

aspects of a performance
and suggest changes that
would improve the
production.
Applies theater
terminology to
appropriate aspects of
performance.
Terminology used
correctly.
Evaluates all technical
selections of production
with detailed descriptions
and well supported
examples.
Evaluates application of
all technical elements in
production with insight
and clearly articulated
reasoning.
Supports all technical
changes with detailed
support for improvement.
Connects changes back
to problems in the
production with clearly
articulated observations.
Incorporates examples
from other successful
productions to illustrate
logic for improvements.
3
Proficient
2
Basic
Applies theater
terminology to
appropriate aspects of
performance.
Terminology used
correctly.
Evaluates most technical
selections of production
with some detailed
descriptions and
examples.
Clearly evaluates
application of most
technical elements in
production.
Supports all technical

changes with detailed
to problems in the
production with clearly
312
Applies theater
terminology to various
aspects of performance.
Some terminology used
correctly.
Evaluates two or three
technical selections of
production with some
detailed descriptions and
examples.
two or three technical
elements in production.
Supports two to three

technical changes with
to problems in the
production with fairly
well articulated
observations.
1
Below Basic
Applies theater
terminology to two
aspects of performance.
Terminology used
incorrectly.
Evaluates one to two
technical selections of
production with little
detailed description and
no examples.
one technical element in
production.
Provides one to two

technical changes with
little to no support for
improvement.
Unable to connect
changes back to
problems in the
production without well

performances.
B. Aesthetics
Essential Question
Content and Skills:

should know:
Aesthetic Elements
Physical
Cultural
Personal

FA 2, FA 3, GLE: AP1A,
Grades 9 12
Learning Target
Explain how technical aspects of a theatre production affect
personal and audience responses.
Students who take this course for repeatable credit will compare
responses to two different technical interpretations of the same
work.
Unit Vocabulary: aesthetic elements of theatre: physical, cultural, personal

Pre-Assessment: Identify aesthetic elements in a clip.
Level 1
Recall
Activity:
Define the various
theatrical
aesthetics.
Level 2
Skill/Concept
Activity:
Discuss personal
responses and the
ways in which
technical elements
influence them.
Level 3
Strategic Thinking
Activity:
Discuss how people
from different
cultural and socioeconomic
backgrounds might
respond to the same
work.
Strategy:
Lecture and model
the definitions of
various theatrical
aesthetics.
Strategy:
Lecture, discuss
and provide
examples of
various cultural
aesthetics.
Strategy:
Discuss and identify
various cultural
aesthetics.
313
Level 4
Extended Thinking
Activity:
Research audience reactions to
variations in lighting and sound.
Design light and sound plots
intended to create contrasting
physical, cultural, and/or personal
responses in an audience.
Demonstrate the elements to an
audience for feedback on their
Improve lighting and sound designs
based upon the feedback.
Strategy: Teacher feedback and class
discussion.
Level 1
Recall
Assessment:
Write the
definitions of
theatrical
aesthetics.
Level 2
Skill/Concept
Assessment:
Compare and
contrast personal
responses to the
same work.
Explain how
technical choices
influence aesthetic
responses.
Level 3
Strategic Thinking
Assessment:
Based on the
classroom discussion,
physical, personal,
and cultural, and
class.
Level 4
Extended Thinking
Assessment:
Design and implement lighting and
sound in order to create specific
aesthetic responses in an audience.
Students will use theatre technology (lighting and sound).
Students will research professional reviews, news articles and video clips of theatrical productions using
computer-based resources to identify theatrical aesthetics.
Student Task:
Explain how technical aspects of a theatre production affect personal and audience responses.
Students who take this course for repeatable credit will compare responses to two different technical
interpretations of the same work.
314
Scoring Guide for Theatre Design and Technology, CCO III B: Aesthetics
Learning Target
Explain how technical

aspects of a theatre
production affect personal
and audience responses
4
Advanced
Compare responses to two

different technical
interpretations of the same
work
Analyze how all

technical choices affect
mood and tone of piece
as well as audiences and
own reaction.
Explain the varying
effects of technical
choices on audience and
self with clearly
articulated examples.
View two different live

or taped performances of
the same play.
Analyze all the technical
choices made in both
performances.
Clearly articulate the
impact of the differing
technical choices on the
effectiveness of the
interpretations.
Analyze the differing
interpretations impact
on self and audience
using correct
terminology and clearly
3
Proficient
2
Basic
Analyze how the

majority of technical
choices affect mood or
tone of piece as well as
audiences and own
reaction.
Explain the varying
effects of technical
choices on audience and
self with clearly
View two different taped

performances of the
same play.
Analyze most of the
technical choices made
in both performances.
Clearly articulate the
impact of the differing
interpretations.
on self or audience using
correct terminology and
clearly articulated
examples.
315
Analyze how the 2 to 3

mood or tone of piece as
well as audiences or
own reaction.
Explain two effects of
technical choices on
audience or self with
examples.
View two different taped

performances of the
same play.
Analyze 2 to 3 of the
in both performances.
Explain the impact of 2
interpretations.
on self using terminology
and examples.
1
Below Basic
Analyze how 1 to 2
own reaction.
Explain two effects of
technical choices on self
with an example.
View a taped
performance of a play.
Analyze 2 of the
in the performance.
Explain the impact of 1
technical choice on the
interpretations.
on self.

Essential Question
How will students make connections between theatre and other arts?
Content and Skills:

know:

Grades 9 - 12
Learning Target
able to do:
Art Skills used in the Production of Sets

Painting Techniques
Actual space
Perspective
Color
Color Affects Mood
Reds, oranges, and yellows communicate
warmth
Blues, greens, and violets communicate cool
temperature
Light values lift spirits
Dark values express solemnity, sadness
Monochromatic colors (one color, its tints and
shades) communicate quiet, calm, boredom
Complementary colors (red & green; yellow &
violet, orange & blue) communicate excitement
Consistent light is comfortable
Flashing or sudden light is disturbing
Students who take this course for repeatable credit

will use art and music skills to modify lighting and
sound to reflect the mood of a performance.
Music Affects Mood

Background music tells an audience how to
feel; happy, sad, scared, angry
Fast tempo & loud dynamics communicate
motion, excitement
Slow tempo & soft dynamics communicate
relaxation, calm
Major scales communicate positive feelings
Minor scales communicate sadness
Lyrics communicate messages
Unit Vocabulary: paint techniques: marbling; perspective, color theory

Pre-Assessment: Explain the use of art skills in producing a set.
316

Level 1
Recall
Activity:
Discuss the ways that art
is used in theatre.
Level 2
Skill/Concept
Activity:
how art was used in
each.
Level 3
Strategic Thinking
Activity:
Analyze a script to
determine how and
where art should be
integrated.
Strategy:
model.
Strategy:
Strategy:
Discuss, model, and
provide examples of art
as a theatrical element.
Assessment:
List ways that art is used
in theatre
Discuss, model, and

provide examples of art
used in technical design.
Assessment:
Make appropriate
artistic selections to
enhance a scene.
Assessment:
Compare two different
artistic interpretations
with two different
directors visions.
Level 4
Extended Thinking
Activity:
Analyze a script.
Research the artistic
aspects.
Make selections, and
script.
Strategy:
class discussion.
Assessment:
Design and produce sets
that express the
directors vision.
Improve production
Students may use art software to design scenes.
Students may use computer-based resources to research artists and art techniques.
Students may use library resources to research various artistic visions for one show.
Students may view theatrical productions in order to analyze the artistic choices.
Students may create a Power Point presentation of set designs for a theatrical scene or production.
Students may make artistic selections based on the style in which they are most interested.
Student Task:
Students who take this course for repeatable credit will use art and music skills to modify lighting and
sound to reflect the mood of a performance.
Students will gain a greater appreciation for the use of art in theatrical performances.
Students will appreciate how other arts are used in theatre.
317
Scoring Guide for Theatre Design and Technology, CCO IV A: Connections among the Arts
Learning Target
Relate art skills to the

production of sets.
4
Advanced
Identify different paint

techniques used to
produce various textures
(stone, brick, marble,
etc.).
Analyze how color
choices in set, costumes,
and lighting impact the
overall tone, mood, and
interpretation of a
production.
Research different uses
of color in relaying how
a production can be
altered by using varying
color choices.
Identify the use of
perspective in set design
and how it can be used to
alter different genres of
plays.
3
Proficient
Identify three different

paint techniques used to
etc.).
Analyze how color
and lighting impact the
overall tone, mood, and
interpretation of a
production.
Research uses of 3
different color choices in
relaying how a
production can be altered
by using varying colors.
Identify the use of
alter a genre of a play.
318
2
Basic
Identify two different

paint techniques used to
etc.).
Analyze how color
or lighting impact the
overall tone and mood of
a production.
Research uses of 2
different color choices in
relaying how a
Identify the use of
alter a genre of a play.
1
Below Basic
Identify one paint

technique used to
etc.).
Analyze how color
or lighting impact the
overall mood of a
production.
Research uses of 1
different color choice in
relaying how a
Use art and music skills to

modify lighting and sound
to reflect the mood of a
performance
Analyze a script to
determine moods in each
scene.
Design lighting, sound
effects and musical
selections to
communicate the
emotional content of a
script.
Propose your plan to
peers
Justify choices made to
communicate mood.
Incorporate peer and
teacher feedback to
improve the use of
lighting and sound to
support emotional
content.
Implement the plan for a
performance.
Analyze a script to
scene.
Design lighting, sound
effects and musical
selections to
communicate the
script.
peers
Justify choices made to
communicate mood.
319
Analyze a script to
scene.
Design some lighting,
sound effects and
musical selections to
communicate the
script.
peers.
Analyze a script to
scene.
Design some lighting,
sound effects or musical
selections to
communicate the
script.

Essential Question
How will students make connections between theatre arts and non-art
subjects?
Content and Skills:
know:

FA 4, GLE: IC2A,
Grades 9 - 12
Learning Target
able to do:
Connect math skills to the design and construction of
sets.
Connect scientific knowledge to the application of
lighting and sound in theatre.
Math is used in designing and building sets.

Science is used in sound and lighting.
Students who take this course for repeatable credit

will design a set model to scale.
Unit Vocabulary: light throw, light spectrum, pigment, color mixing, acoustics, reverb
Pre-Assessment: Explain the use of art skills in producing a set.
Level 1
Recall
Activity:
Discuss the ways that
math and science are
used in theatrical
productions.
Level 2
Skill/Concept
Activity:
how math and science
were used each.
Level 3
Strategic Thinking
Activity:
Analyze a script to
determine math and
science would be used.
Strategy:
model.
Strategy:
Discuss, model, and
provide examples of
math used in technical
design.
Assessment:
Use math and science to
design technical
elements for a scene.
Strategy:
Discuss, model, and
provide examples of
math and science used
in theatrical elements.
Assessment:
Use math and science to
design technical
elements for a play.
Assessment:
List ways that in
theatrical productions.
320
Level 4
Extended Thinking
Activity:
Analyze a script.
Research the math to be
used in set building.
Research the science
used in designing
lighting and sound.
Design technical aspects
of a theatre production.
Strategy:
class discussion.
Assessment:
Design and produce
sets, sound and lighting
that use math and
science to express the
directors vision.
Improve production
Students may use computers and calculators to design sets.
Students may use computer-based resources to research the science of sound production.
Students may view theatrical productions in order to analyze the science used in lighting..
Students may use math to design and build costumes.
Students may create a Power Point presentation of set designs for a theatrical scene or production
explaining how they used math and science.
Disciplines
Student Tasks:
Connect scientific knowledge to the application of lighting and sound in theatre.
Students who take this course for repeatable credit will design a set model to scale.
Students will gain a greater appreciation for the use of math and science in theatrical productions.
Students will appreciate how CORE subject are integrated into live theatre.
321
Scoring Guide for Theatre Design and Technology, CCO IV B: Connections between Theatre and Non-Arts Disciplines
Learning Target
Connect math skills to the

design and construction of
sets.
4
Advanced
Research geometry,
physics, and algebra as
they relate to set design
and construction.
Identify and give three or
more examples of the
application of
mathematics (i.e.
geometry, physics, and
algebra) in set design..
Analyze the geometric,
physics, and algebraic
properties needed for a
specific set design.
Use mathematics
correctly to construct
sets.
3
Proficient
Research two
mathematical properties
(i.e. geometry, physics,
and algebra) as they
relate to set design and
construction.
Identify and give two
examples of the
application of
mathematics (i.e.
algebra) in set design.
Analyze either the
geometric, physics, or
algebraic properties
needed for a specific set
design.
Use mathematics
correctly to construct
sets.
322
2
Basic
Research one
mathematical properties
(i.e. geometry, physics,
and algebra) as it relates
to set design and
construction.
Identify and give one
example of the
application of
mathematics (i.e.
Use mathematics with
few errors y to construct
sets.
1
Below Basic
Identify one application

of mathematics (i.e.
Several mathematical
errors lowered the
quality of sets.
Connect scientific
knowledge to the
application of lighting and
sound in theatre.
Design a set model to scale
Research many aspects

of the science of theater
lighting (i.e. instruments,
light spectrum, color
properties, light color vs.
pigment, etc).
Research the science of
theater sound (i.e.
reverberation, sound
travel, acoustics, sound
waves, etc).
Analyze how lighting
theories impact theater
lighting design (gels,
color, mixing, throw).
Analyze how sound
sound design (speaker
placement, feedback).
Measure entire theater
Calculate a to 1
scale of the theater space.
Design and build a scale
model of theater space.
Scale model includes all
backstage areas (wings,
shop, rigging, pit),
drapes, battens, and
electrics.
Aspects of the scale
model are operational
(i.e. rigging system,
lights, garage door, etc).
Research one aspect of

the science of theater
lighting (i.e. instruments,
light spectrum, color
properties, light color vs.
pigment, etc).
Research one aspect of
the science of theater
sound (i.e. reverberation,
sound travel, acoustics,
sound waves, etc).
Analyze how sound
Measure all areas of a

theater.
Calculate a to 1
scale of theater space.
model of the theater
space.
Scale model includes all
backstage areas (wings,
shop, rigging, pit),
drapes, battens, and
electrics.
323
Research and analyze

how lighting theories
impact theater lighting
design (gels, color,
mixing, throw).
--OR-Research and analyze
how sound theories
impact theater sound
design (speaker

theater.
Calculate a to 1
space.
Scale model includes
some backstage areas
(wings, shop, rigging,
pit) as well as all drapes,
battens, and electrics).

--OR-Analyze how sound

theater.
Calculate a to 1
space.

cultural contexts.
Essential Question
How does theatre reflect a cultures technology?

FA 5, G1.9, GLE HC1A
Grade 9 12, GLE HC1B Grade 9 12, GLE
HC2A, Grade 9 - 12
Content and Skills:

Style/Period
Time/Place
Medieval
925-1400
Europe
Technology
American
Theatre
1700-present
United States
Context
Church architecture was the set

Performed during day with
natural light
Priests played the parts, led the
singing
Wagons became portable stages
at the end of the medieval
period
Grew out of Catholic liturgy, singing

hymns
All theatre is religious, performed in
churches
Miracle, Morality, Mystery plays
Plays are in Latin instead of the languages
of common people
Toward end of period, plays were
performed in secular language on wagons
outside of churches
Early American theatre took place in
saloons, riverboats
First playhouse in Williamsburg, VA in
1716
Middle class audience
Gas lighting
Electricity
Late 1800s special lighting effects
Fly systems
1927 Showboat combined music and

dance; 1943 Oklahoma was the first
musical play that integrated acting, music,
and dance
Computer assisted technology

Multi-media presentations
Wireless microphones
Sound effects on CDs
Works are direct reflections of

contemporary society

Students who take this course for repeatable credit will design a set for one production using two
different time periods.
.
Unit Vocabulary: Miracle, Morality, Mystery, technologies
324
Pre-Assessment:
List technology found in the medieval period.
List technology found in contemporary American theatre.
Level 1
Recall
Activity:
Work in groups to read
and study technical
characteristics of
Medieval and American
productions.
Level 2
Skill/Concept
Activity:
Work in groups to quiz
each other on technical
characteristics of
productions.
Level 3
Strategic Thinking
Activity:
Work in a group to
create technical plots for
productions.
Strategy: Provide
from the both eras.
poster listing technical
characteristics of both
eras.
Strategy: Lecture,
provide examples of
both eras
Assessment:
one technical aspect of
productions.
Strategy: Modeling,
rehearsing and peer
evaluations.
Assessment:
technical aspects of
productions.
Present technical plots
for each era to the class.
Level 4
Extended Thinking
Activity:
Research Medieval and
American productions.
Produce technical plots
for scenes from both
eras.
Present the plots to the
class.
Improve plot based upon
feedback.
Strategy: Teacher
feedback and class
discussion.
Assessment:
Write an analysis of
technical plots for
scenes in each era
era.
Students will research technical aspects of Medieval and American productions on the Internet.
Advanced students could restage a medieval play using contemporary technology.
Student Task:
Students who take this course for repeatable credit will design a set for one production using two different
time periods.
Students will be able to apply technical knowledge to their everyday lives.
Students will have the knowledge of technical aspects of medieval and American productions should they
choose to continue their theatre education.
325
Class:
Time Period:
Time Period:
Place:
Place:
What was life like when and where Work A was first written?
What was life like when and where Work B was first written?
How did available technology affect the production of works in this era?
How did available technology affect the production of works in this era?
On the back of this page, explain the importance and influence of Works A and B on in the technical production of live theatre. Support your opinions
by referring to specific details in Works A and B.
326
Scoring Guide for Theatre Design and Technology CCO V: Theatre History
Learning Target

technical aspects of
Medieval and
Contemporary theatre
4
Advanced

Addresses the most
of the work.
work.
and specific.
3
Proficient

Addresses important
work.
All information is
correct.
2
Basic
327

both eras.
work.
Supports some
to the work.
Some important
be incorrect.
1
Below Basic
both eras.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Dance & Performance Movement
328
Overview of Learning Targets for Dance & Performance Movement

CCO I. Students will perform dance.
A. Body Skills, Movement Skills, and Performance Values

Rehearse, revise, and perform original or existing dances or dance studies that demonstrate beginning level
body and movement skills and performance values for dance.
Perform an original or existing dance or dance study that demonstrates understanding of dance elements:
space, time, and energy.
CCO II. Students will express ideas, experiences, feelings and images in original and artistic
choreography.

Choreograph a dance or dance study that demonstrates understanding of choreographic principles, structures
and processes, and revise and refine this composition, working collaboratively with other dancers.
Create a dance or dance study that communicates meaning using the language of dance.
CCO III. Students will respond to dance.
Analyze and explain perceptions about and evaluations of dancers and choreography using dance vocabulary.
CCO IV. Students will make connections between dance and another discipline.
Students will relate and transfer meanings, ideas, and processes from language literacy to dance.
CCO V. Students will demonstrate knowledge of dance in historical and cultural contexts.
Compare and contrast social dance and concert dance in historical contexts.
329

Core Conceptual Objective I: Students will perform dance.
A. Body Skills, Movement Skills, Performance Values
Essential Question
How do dance artists synthesize the use of body skills, movement skills
and performance values to communicate in the language of dance?
Content and Skills:

Body Skills:
Anatomy: Isolated & coordinated dance movements for head, neck,
joints, torso, & limbs
Dynamic Alignment: Vertical alignment of the body while still and
moving
Body Patterning:
Lateral and oppositional movement; movement initiated from the core
or distally; coordinated movements of the upper and lower body;
awareness of both the front and back hemispheres of the body
Balance: Ability to balance while standing on two legs or one leg
Strength: Demonstrated in the legs, torso and upper body
Range of motion: Flexibility of the spine, legs and shoulders
Coordination: Agility and coordination when executing simultaneous
and sequential movement patterns
Movement Skills:
Breathing: Maintaining adequate breath support for movement
Non-Locomotor/Axial Movement: Bend, stretch, twist, tip, swing,
shake, kick, rotate (spin, turn), suspend, rise, fall, balance and stillness
Locomotor Movement: Walk, run, jump, slide, gallop, hop, skip, leap
Articulation of Movement: Moving with clarity of motion and
definition of intent
Styles and genres: Demonstrating basic movements of a particular
style or genre of dance
Sequencing: Ability to sequence a series of movements and
remember them in a phrase or phrases
Performance Values:
Focus and Awareness:
Dancing with concentration and focus
Being attentive and responding appropriately to vocal, musical or
observed cues
Dancing with physical and kinesthetic awareness
Dancing with awareness of movement relationships including
proximity, interconnectedness between dancers, modes of change
Replication, Reflection, Refinement and Revision:
Repeating movement, dance phrases and patterns for performance
accuracy
Evaluating performance of movement to assess its execution
Revising movement through reanalysis or practice to fulfill intent
330

FA1, FA2, G2.5, G4.6,
NS I.1, NS I.2, NS I.4
Learning Target
students should be able to do:
Students will rehearse, revise and
perform original or existing dances
or dance studies that demonstrate
beginning level body and
movement skills and performance
values for dance.
Unit Vocabulary: alignment, isolated, lateral, balance, reverse, stretch, repeat, alternate, opposition, axial,
locomotor, articulation, style, sequence, phrase, concentration, focus, cue, kinesthetic, commitment,
technique, correction
Pre-Assessment:
Demonstrate body skills.
Demonstrate movement skills.
Demonstrate performance values.
Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Activity:
Learn and identify dance
vocabulary and
movement & body skills
such as leap, slide,
alignment or swing.
Learn and recall unique
dance etiquette
expectations such as
appropriate dress for
class, how to ask
questions, how to
respond to corrections,
structures for class such
as center floor and
across the floor and
dance etiquette
requirements such as
remaining orderly, quiet,
positive minded and
respectful to others.
Activity:
Participate in dance
technique class activities
such as imitating teacher
or peers, experimenting
with movement or
changing patterns.
Distinguish correct and
incorrect movement in
self, others and/or video.
Identify dance phrases
and sequences and
reverse a given sequence
or phrase.
Observe how movement
appears when performed
axially or moving
through space (using
locomotor movements).
Predict how a movement
sequence might be
developed to increase
movement strength or
range of motion.
Compare movement
done with and without
breath support.
Show movement
performed with clarity
of motion and intent and
without clarity of
motion and intent.
Activity:
Evaluate ones own
performance of specific
movements or skills
such as coordinated
movements of upper and
lower body, ability to
balance on one leg,
spinal flexibility or level
of performance of
swing, stretch, leap or
turn.
Evaluate ones own
level of dance
performance values
including dancing with
concentration and
repeating dance
movements, phrases or
sequences accurately.
Perform a learned dance
sequence or dance study
and complete a selfassessment of dance
technique and
performance, citing
specific examples and
areas of movement or
performance.
Set goals for improving
dance technique.
Activity:
Apply the dance concept
of revising movement
through reanalysis or
practice to fulfill the
intent of the movement.
Dance (perform) with
awareness of movement
relationships, physical
and kinesthetic
awareness.
Synthesize knowledge
of and ability to
remember and perform
dance or dance studies
with increasing skill.
Critique self, peers or
professionals to apply
dance learning, make
physical and kinesthetic
corrections, revise
movement, improve
performance accuracy
and fulfill a performance
commitment. Rehearse
and revise a dance or
dance study to apply
corrections and
revisions and perform
with accuracy while
maintaining
concentration in spite of
any technical challenges
or performance
surprises.
Provide affirmations,
ask neutral questions
and offer opinions to
peers in rehearsal and
after performances.
331
Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Strategy:
Dance technique class
Format (imitate teacher
or peer leaders).
Lecture, model, offer
verbal and physical
corrections and
affirmations.
Select and play music
for class or work with
live accompanist.
Strategy:
verbal and physical
corrections and
affirmations.
live accompanist.
Provide video of
professional dancers or
non-dancers.
Strategy:
Rehearse movement or
dance. Provide verbal
and physical
corrections/affirmations.
Ask neutral questions
aimed at improving
Offer opinions and
observations of
movement and
performance.
Assessment:
Mastery Review
(Repeat and perform in
technique class or small
group presentation.)
Assessment: .
Mastery Review
Strategy:
Choreograph for and
teach movement for
students or select
existing
movement/dance for
students to learn.
dance.
Provide verbal and
physical corrections and
affirmations.
aimed at improving
Assessment:
Perform dance using
student-created goals.
Write self-assessment .
Student created goals.
Assessment:
Rehearsal that includes
taking corrections and
application of selfevaluation.
Critical Response
Process (student critique
of peers)..
Perform before an
audience of peers or
adults.
Written self-assessment
of performance
Students view and critique dances, dancers and movement from print, film, video and Internet resources.
Students perform dance movements, phrases, sequences, studies or pieces to music played through CD or
IPOD.
Students photograph or video themselves, peers or professionals in order to evaluate movement and dance
performance (self-assessment, making observations, citing examples, applying corrections).
Students may be given leadership roles as peer teachers or leaders in technique class and rehearsal.
Students may work in duets or small groups, sharing and taking leadership.
Students may be given choices regarding the subject matter, style or musical accompaniment of the
selected dances or dance studies.
Students may be given more complex or less complex sequences to perform within a dance or dance study.
Students may be offered options for making assigned movement simpler or more complex. This can be
accomplished by providing sequences that repeat with predictable changes or by providing longer, more
complex or unpredictable sequences, depending upon the students level of performance.
Application Level Assessment for CCO IA
Student Tasks:
Students will rehearse, revise and perform an original or existing dance that demonstrates body and
movement skills and performance values.
332

Students will transfer self-awareness, self-assessment and improvement of task skills to other subjects, at
work in their daily lives and in future professions.
Students will apply performing with confidence and awareness of self and others to other performing arts
or to situations where they must present information to an audience, such as public speaking or job
interviews.
Students will understand and transfer skills such as making a commitment and fulfilling ones
responsibility for that commitment. This can apply to other studies and in future occupations.
Students will transfer collaboration and cooperation skills learned in dance rehearsal and performance to
school or job settings that require working creatively with other people.
Students will have a foundation of movement, body and performance skills if they pursue further dance or
theatre study.
Students will be informed audience members at future fine arts events.
333
Scoring Guide for Dance & Performance Movement CCO IA: Body Skills, Movement Skills, Performance Values
Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
BODY SKILLS
Anatomy
Demonstrates a wide
range of movement
possibilities using
isolated and coordinated
dance movements for the
major muscle groups of
the head, neck, joints,
and body parts of the
torso and limbs.
Demonstrates movement
possibilities using
isolated and coordinated
dance movements for the
head, neck, joints, and
body parts of the torso
and limbs.
Demonstrates isolated or
coordinated dance
movements for the head,
neck, joints, and body
parts of the torso and
limbs.
Demonstrates isolated or
coordinated dance
movements for the head,
neck, joints, and body
parts of the torso and
limbs.
BODY SKILLS
Dynamic Alignment
Aligns skeletal bones in

relation to gravity while
still and while moving.
Uses vertical alignment

of the body while still
and while moving.
Demonstrates alignment
of the body while still or
while moving.
May incorrectly
demonstrate alignment of
the body while still
and/or while moving.
BODY SKILLS
Body Patterning
Performs dance
movements that integrate
lateral and oppositional
movement; core and
distal movement with a
variety of initiations;
juxtaposed movement
patterns of both upper
and lower body; and
frontal and dorsal
movements.
Performs dance
movements using lateral
and oppositional
movement; core and
distal initiated
movement; coordinated
movements of both upper
and lower body;
awareness of both front
and back hemispheres of
the body.
Demonstrates lateral and

oppositional movement;
core or distally initiated
movement; ability to
coordinate movements of
both upper and lower
body; and awareness of
both front and back
hemispheres of the body.
Demonstrates lateral
and/or oppositional
movement; core and/or
distally initiated
movement; ability to
coordinate movements of
upper and/or lower body;
and awareness of front
and/or back hemispheres
of the body.
334
BODY SKILLS
Balance
Demonstrates an ability
to maintain balance
while executing
movements that are
vertical, off-vertical, or
while balancing on one
leg.
to perform a variety of
movements while
vertical, off-vertical, or
while balancing on one
leg.
to balance while standing
on one leg or two legs.
May not clearly

demonstrate an ability to
balance while standing
on one leg or two legs.
BODY SKILLS
Strength
Demonstrates strength in
the feet, legs, abdomen,
back, shoulders and arms
while fulfilling the
choreographic intent of
dance movement.
the feet, legs, abdomen,
back, shoulders and
arms.
some but not all of the
following parts: feet,
legs, abdomen, back,
shoulders and arms.
May not have clearly

demonstrated strength.
BODY SKILLS
Range of Motion
Demonstrates flexibility
of the torso, spine, legs
and shoulders that
permits a wide range of
motion while fulfilling
the choreographic intent
of dance movement.
Demonstrates a wide
range of motion of the
torso, spine, legs and
shoulders.
Demonstrates some
flexibility of the spine,
legs and shoulders.
May demonstrate
flexibility of some but
not all of the following:
torso, spine, legs and
shoulders.
BODY SKILLS
Coordination
Demonstrates agility and

coordination in learning
and performing dance
movements sequentially
and using a variety of
patterns.
Demonstrates agility and

coordination in the
ability to learn and
execute dance patterns
and sequential
movements.
Demonstrates agility or
coordination in the
ability to learn or execute
dance patterns or
sequential movements.
May not demonstrate

agility or coordination in
the ability to learn or
execute dance patterns or
sequential movements.
MOVEMENT SKILLS
Breathing
Integrates breath support

with movement phrasing,
endurance or expression.
Maintains breath support

for movement phrasing
or endurance.
Maintains adequate
breath support for
movement.
May not maintain

adequate breath support
for movement.
335
MOVEMENT SKILLS Non

Locomotor/Axial Movement
Performs and identifies

combinations of nonlocomotor/axial
movements.
Demonstrates and
identifies combinations
of non-locomotor/axial
movements.
Demonstrates and/or
identifies nonlocomotor/axial
movements such as bend,
stretch, twist, swing,
kick, turn or balance
May not clearly or

correctly demonstrate or
identify nonlocomotor/axial
movements such as bend,
stretch, twist, swing,
kick, turn or balance
MOVEMENT SKILLS
Locomotor Movement
Identifies and performs

combinations of
locomotor movements.
Identifies and
demonstrates
combinations of
locomotor movements.
Identifies or
demonstrates locomotor
movements such as walk,
run, slide, gallop, hop,
skip or leap.
May not clearly or

correctly demonstrate or
identify locomotor
movements such as walk,
run, slide, gallop, hop,
skip or leap.
MOVEMENT SKILLS
Articulation of Movement
Demonstrates ability to
move with clear intent,
purpose and expression.
move with clear intent,
purpose and control.
move with clarity of
motion and/or definition
of intent.
May not clearly

demonstrate moving with
clarity or definition of
intent.
MOVEMENT SKILLS
Styles and Genres
Demonstrates two or
more styles of dance
using dance movements
and movement
vocabulary appropriate
for each.
Demonstrates in one
style of dance using
appropriate dance
movements and
movement vocabulary of
the selected style.
Demonstrates basic
movements of a
particular style of dance.
May not correctly

demonstrate basic
movements of a
particular style of dance.
MOVEMENT SKILLS
Sequencing
Learns and performs a

short (one to three
minute) dance and
repeats it accurately from
memory.
Learns and performs

several sequential dance
sequences and repeat
these accurately from
memory.
Demonstrates the ability

to perform a sequence of
dance movement and
repeat from memory.

to perform or remember
only movement phrases.
336
PERFORMANCE
VALUES
Focus and Awareness
PERFORMANCE
VALUES
Replication, Reflection,
Refinement and Revision
Maintains concentration
while moving and while
holding a fixed position
in dance.
Is attentive and responds
constructively to vocal,
musical observed or
implied cues.
Dances with physical and
kinesthetic awareness
and artistic fulfills
choreographic intent.
Dances using a variety of
movement relationship,
proximity, and
interconnectedness
between dancers.
Repeats, reflects, refines
and revises movement,
dance phrases and
patterns to increase
performance accuracy
and artistry.
Analyzes and evaluates
performance of
classroom technique to
assess the execution of
choreography in relation
to personal and/or group
performance goals.
Revise movement
through reanalysis,
discussion and practice
to fulfill intent.
Dances with
concentration while
moving and while
holding a fixed position
in dance.
Is attentive and responds
to vocal, musical or
observed cues.
Dances with physical and
kinesthetic awareness.
Demonstrates
understanding of
movement relationship,
proximity, and
interconnectedness
between dancers.
Repeats, reflects, refines

and revises movement,
dance phrases and
patterns to increase
performance accuracy or
artistry.
Analyzes and evaluates
performance of
classroom technique to
assess its execution in
relation to personal
performance goals.
Revise movement
through reanalysis,
discussion or practice to
fulfill intent.
337
Dances with
concentration while
moving or holding a
fixed position in dance.
Is attentive or responds
to vocal, musical or
observed cues.
Dances with physical or
kinesthetic awareness.
Demonstrates awareness
of movement
relationship, proximity,
and interconnectedness
between dancers.
Repeats movement,
dance phrases and
patterns.
Evaluates performance of
movement to assess its
execution.
Revises movement
through reanalysis, or
practice.
May not demonstrate

concentration while
dancing.
May not demonstrate
attentiveness or response
to cues.
May not dance with
physical or kinesthetic
awareness.
May not demonstrate
awareness of movement
relationship. Proximity
or interconnectedness
between dancers.
May not accurately

repeat movement, dance
phrases or patterns.
May not evaluate
performance of
movement or assess its
execution.
Does not revise
movement.
PERFORMANCE
VALUES
Performance Etiquette
Attends classes,
rehearsals and
performance and helps
others to fulfill a
commitment to the
choreographic process
and performance event.
Dresses in dance attire
for all classes and
rehearsals and in
complete costume for
performances.
Works cooperatively and
constructively to perform
to the highest ability.
Helps maintain quiet,
order, positive attitudes
and respect for others in
the studio and/or
backstage.
Fulfills a commitment to
make all performances of
dance or dance studies or
technique class work the
highest quality possible.
Attends classes,
rehearsals and
performance to fulfill a
commitment to the
and performance event.
for classes and rehearsals
and in costume for
performances.
Works cooperatively
and/or constructively to
perform to the highest
ability.
Remains quiet, orderly,
positive minded and
respectful to others in the
studio and/or backstage.
make the performance
the highest quality
possible.
338
Attends classes,
rehearsals and
performance.
for classes or rehearsals
or in costume for
performances.
Works cooperatively
and/or constructively.
Remains quiet, positive
minded and/or respectful
to others in the studio
and/or backstage.
perform.
Attends some but not all

of the following: classes,
rehearsals or
performance.
May not dress in dance
attire for classes or
rehearsals or in costume
for performances.
May not work
cooperatively or
constructively and may
not perform to the
highest ability.
May not remain quiet,
positive minded and/or
respectful to others in the
studio and/or backstage.
May not fulfill
commitment to perform.

Core Conceptual Objective I: Students will perform dance.
Essential Question
How do dance artists use the elements of dance when performing or
creating dances?
Content and Skills:

SPACE
Direction: knowing and moving in the directions of forward,
backwards, sideways, up & down, diagonals and turning
Pathways: Dancing through space in a variety of pathways
performing the spatial design and patterns with accuracy
Levels: Dancing on high, middle and low levels with clear focus
and transitions.
Shape: Forming shapes and creating designs with ones own body
and in relation to other bodies using a variety of spatial directions,
pathways and levels
Personal Space: Dancing with understanding of ones space in
relation to the personal space of other dancers
Relationships: Dancing with a group in a defined and clear spatial
design or pattern in relation to others

FA1, FA2, G1.5, G1.6, G2.5,
NS I.3
Learning Target
Perform an original or existing dance
or dance study that demonstrates
understanding of the dance elements:
space, time and energy.
TIME
Tempo: Dancing while maintaining a steady beat in a variety of
tempos. Demonstrating the ability to double-time or half-time
Dancing in relation to and coordination with changes in rhythm and
meter
Patterns: Repeating a rhythmic pattern of movement
Music: Demonstrating the ability to dance in relation to a musical
phrase
ENERGY
Dance Qualities:
Accenting different qualities or characteristics of movement while
dancing; tension, force, weight and style
Motion and Stillness:
Remaining still in a position or shape while others are moving
Unit Vocabulary:
SPACE: level, shape, direction, pathway, focus, axial, locomotor, personal space
TIME: tempo, rhythmic pattern, pulse, accents, double time, half time, acceleration, deceleration
ENERGY: tension, force, weight, dynamics
Pre-Assessment:
Demonstrate performance of space, time, and energy.
339

Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Activity:
Draw a chart or use a
visual that identifies the
elements of motion and
the aspects of each. For
example, the aspects of
direction, level, etc. fall
under the dance
element, space.
Activity:
Learn a variety of
movement, phrases and
sequences of dance that
emphasize a particular
element of dance such
as Space pathway or
Energy motion and
stillness.
Activity:
Revise a learned phrase
to change first the space,
then the time and finally
the energy of the phrase.
Activity:
Create a dance study or
sequence based on one
of the following:
ordinary (pedestrian),
sports movement, ballet
or vocabulary..
Execute then name the

elements of motion and
the various aspects of
each element in more
than one dance or
movement styles.
Make observations
about and identify
movement elements in
both learned
movements, phrases, &
sequences and in
movement danced by
others or on video.
Repeat movements or
danced phrases while
maintaining a steady
beat in a variety of
tempos.
Repeat movements or
danced phrases
accenting different
movement qualities such
as weight or style.
Repeat movements or
phrases that mirror the
rhythmic pattern heard
in music.
Repeat movements or
phrases while
maintaining
choreographed or
improvised shapes.
Construct a dance
phrase that illustrates the
pathway present in a
doodle or drawing.
Select random aspects of
the pathway phrase such
as shape or style and
investigate ways these
aspects of movement
might be changed.
Modify learned
movement to change
movement elements, for
example change a low
level movement to an air
movement (high level,
jump, leap, etc.) or
change the time of a
phrase by performing it
double time or half time.
Identify or distinguish
rhythm and meter
patterns in music and
movement
Perform dance phrases

or sequences with a
variety of meter and
rhythmic patterns.
Listen to a piece of
music, identify and
explain where the beat is
heard and where the
rhythmic patterns are
heard.
Repeat movements or
phrases while
maintaining
choreographed or
improvised shapes.
Repeat movements or
phrases while
maintaining
choreographed or
improvised shapes.
Change and develop this

sequence in three ways:
change the space,
change the time and
change the energy of the
movement.
Perform the completed
study to several different
styles and selections of
music.
Analyze which musical
selection fits the study
best. Justify your
selection applying dance
vocabulary and
elements.
Apply musical phrasing
in the selected piece of
music to the ordinary
movement student dance
composition.
Analyze a piece of
music to identify pulse
and rhythmic patterns.
Critique the movement
element studies of peers.
Justify choices, apply
corrections and perform
the study.
340
Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Strategy:
Lecture regarding
movement elements in
dance.
Provide charts or other
visuals identifying
movement elements.
Provide movement
experiences that
illustrate movement
elements and aspects.
Provide movement and
music experiences
dancing in relation to a
musical phrase.
Strategy:
verbal and physical
corrections and
affirmations.
live accompanist.
Provide video of
professional dancers and
non-dancers.
Strategy:
Choreograph for and
teach movement for
students or select
existing
movement/dance for
students to learn.
Select music to illustrate
concepts.
dance.
Provide verbal and
physical corrections and
affirmations.
aimed at improving
Strategy:
dance. Provide verbal
and physical
corrections/affirmations.
aimed at improving
Offer opinions and
observations of
movement and
performance
Assessment:
Mastery Review
Assessment:
Mastery review
Assessment:
Written self-assessment.
Mastery review
Explanations of music
Assessment:
Rehearsal that includes
taking corrections and
application of selfevaluation.
Critical Response
Process (student critique
of peers)
Perform before an
audience of peers or
adults.
Written Self Assessment
of Performance
IPOD.
Students may be given choices regarding the subject matter, style and music.
341
Application Level Assessment for CCO I B

Student Task:
Perform an original or existing dance or dance study that demonstrates understanding of the dance
elements: space, time and energy.
interviews.
Students will have a foundation of movement, body and performance skills if they pursue further dance or
theatre study.
342
Scoring Guide for Dance & Performance Movement CCO IB: Elements of Dance
Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
SPACE
Direction
Dances in space in a
variety of directions with
accuracy of spatial
design and clarity of
facing.
Identifies and moves in

the directions of forward,
backward, sideways, up
and down, diagonals and
turning.
Identifies or moves in the

directions of forward,
turning.
Identifies or moves in
directions of forward,
turning.
SPACE
Pathway
Dances through space in

a variety of pathways
performing the spatial
design and patterns with
accuracy.

straight, curved, circular,
diagonal, zigzag and
combinations of
pathways.

following patterns:
straight, curved, circular,
diagonal, zigzag or
combinations of
pathways.
May not dance with

awareness of pathway in
space.
SPACE
Level
Dances on high, middle

and low levels with clear
focus and transitions.

and low levels with focus
and transitions.

and low levels with focus
or transitions.
May dance on high,

middle or low levels with
focus or transitions.
SPACE
Shape
Forms shapes and creates

designs with ones own
body and in relation to
other bodies using a
variety of spatial
directions, pathways and
levels.

body and in relation to
other bodies.

body or in relation to
other bodies.
May not clearly form

shapes or creates designs
with ones own body or
in relation to other
bodies.
343
SPACE
Personal Space
Dances with
understanding of how
ones personal space
relates to the personal
space of other dancers in
a group.
.Dances with
understanding of ones
personal space in relation
to the personal space of
other dancers.
Defines ones personal

space though perhaps not
in relation to the personal
space of other dancers.
May not define or

understand ones
personal space or the
personal space of other
dancers.
SPACE
Relationships
Dances with
understanding of ones
others (beside, far, near,
behind, in front of,
toward, away from,
above, below, over,
under, around, through
and between).
Dances in defined spatial

relationships to others
with awareness of ones
others (beside, far, near,
behind, in front of,
toward, away from,
above, below, over,
under, around, through
and between).
Dances in defined spatial

relationships to others or
personal space.
May not dance in defined

spatial relationships or
personal space.
TIME
Tempo
Dances while
maintaining a steady beat
in a variety of tempos.
to double-time or
half-time.
Dances while
maintaining a steady beat
in several tempos.
to double-time or
half-time.
Dances with a steady

beat and in different
tempos.
May not dance with a

steady beat or dances in a
limited number of
tempos.
TIME
Rhythmic Patterns
Dances in relation to and

in coordination with
changes in rhythm and
meter, and performs
accents in movement.
Dances with changes in

rhythm and meter, and
performs accents in
movement.
Dances with changes in

rhythm and meter, or
performs accents in
movement.
Dancing with changes in

rhythm and meter, and
performing with accents
in movement are not
clear.
344
TIME
Music

to phrase movement
musically.
Performs dance
movement in relation to
musical phrases.
Demonstrates movement
in relation to music.
Relationship of music
and movement is not
clear.
ENERGY
Dance Qualities
Dances accenting
different qualities or
characteristics of
movement: tension,
force, effort, weight and
style.
Identifies and
demonstrates movement
accenting different
qualities or
characteristics of
movement: tension,
style.
Identifies or
demonstrates movement
accenting some but not
all of the following
qualities or
characteristics of
movement: tension,
style.
May not identify or

demonstrate movements
of different qualities or
characteristics.
ENERGY
Motion and Stillness
Maintains a variety of
kinetic qualities while
still.
Maintains kinetic energy

while still.
Remains still in a
position or body shape.
May not demonstrate the

ability to remain still in a
position or body shape.
345

Core Conceptual Objective II: Creating. Students will express ideas, experiences, feelings and
images in original and artistic choreography.
A. Choreographic Principles, Structures and Processes
Essential Question
How do choreographers use dance principles, structures and processes
when creating original and artistic choreography?
Content and Skills:

Problem Solve in Dance to Generate Original Choreography

Improvising to discover and explore new ways of combining
axial and locomotor movements varying the use of the dance
elements of space, time and energy
Discovering and exploring movement solutions to technical or
structural movement problems

FA1, FA2, G1.2, G1.5, G1.6,
G2.5, G2.5, G3.1, G3.2,
G3.4, G3.6, NS II.1
Learning Target
Choreograph a dance or dance study
that demonstrates understanding of
some choreographic principles,
structures and processes, and revise and
refine this composition, working
collaboratively with other dancers.
Choreograph a Structured Composition

Creating and sharing a short (approximately one-minute) dance
composition that:
Has a beginning, middle and end
Demonstrates varied use of the elements of dance
Demonstrates artistic form and structure, (A-B, A-B-A, A-B-AB, variations, canon, call and response, narrative)
Fulfills the intent of the choreographer
Demonstrates an aesthetic experience
Constructive Cooperation
Demonstrating the ability to work cooperatively with a partner or
group of dancers
Demonstrating the ability to apply suggestions to rework, refine ,
and revise choreography based on discussion and reflection
Unit Vocabulary: concentration, choreograph, choreographer, movement elements (space, time, energy,
and their aspects such as level in space), improvisation, transition, revise, refine, variation, canon, call and
response, narrative dance, ABA form, reordering, collaborate
Pre-Assessment:
Demonstrate improvisation skills.
Demonstrate collaborative choreography skills.
Demonstrate problem-solving with dance movement skills.
346

Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Activity:
Use improvisation
structures.
Name movement
elements used in
improvisation structures.
Activity:
Demonstrate
Inventiveness in solving
improvisation problems
by modifying movement
in response to cues
(visual, verbal or
musical).
Activity:
Solve improvisation
problems using
inventive movements
and unexpected
solutions.
Activity:
Apply changes in
movement that vary the
use of dance elements
(space, time and
energy).
Demonstrate
inventiveness and
leadership in solving
and explain choices in a
subsequent discussion.
Synthesize use of
choreographic forms
such as call and
response or ABA form
when creating
movement studies or
dance compositions.
Work cooperatively
with partners or small
groups to reorder a
learned movement
sequence.
Critiqued classmates
compositions and
receive critiques from
classmates.
Strategy:
Teach improvisation
structures
Provide a video clip or
movement example that
clearly illustrates
specific movement
elements such as use of
pathway in Space or
choreographic forms
such as canon.
Strategy:
Provide a video clip that
demonstrates many
solutions for a single
movement problem.
Strategy:
Provide a variety of
musical selections for
improvisation.
Observe, identify and
lead a discussion to
summarize successful
movement choices and
the strategies used by
students in making
these.
347
Rehearse, revise and

refine composition
synthesizing corrections
or critiques and
analyzing this work in
order to perform a
polished composition.
Strategy:
Provide a movement
sequence or theme that
can be used for the
creation of students
reordering sequences.
Make aesthetic choices
regarding the setting of
students work into a
unified group
composition that can be
rehearsed, revised and
performed by the
students.
Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Assessment:
Identify movement
elements or
choreographic forms in
an example of student or
professional dance.
Assessment:
Self evaluation of
improvisation work
Assessment:
Students will compare
musical selections and
assess which best suits
an example of
choreography, citing
how or where the
musical selection
emphasizes, contrasts or
conflicts with the
choreographic intent and
structures.
Assessment:
Apply improvisation
structures and
choreographic forms
such as ABA, call and
response, canon or
reordering to create a
one minute movement
study. Revise and refine
the study based on
reflection and feedback
and perform the
composition in class or
for an audience.
IPOD.
Application Level Assessment for CCO II A
Student Tasks:
Students will create an original dance or dance study that demonstrates the use of choreographic principles,
processes and structures and will revise and refine their compositions based on feedback and reflection.
interviews.
Students will have a foundation in choreographic principles, processes and structures if they pursue further
dance or theatre study.
348
Scoring Guide for Dance & Performance Movement CCO IIA: Choreographic Principles, Processes, and Structures
Learning Target
4
Advanced
Problem Solve in Dance to

Generate Original
Choreography
Collaborative Work
Uses improvisation
structures to modify
movement in response to
cues (visual, verbal and
musical)
Consistently
demonstrates
inventiveness in solving
movement problems by
employing unexpected
solutions and inventive
movement
Plays an active role in

contributing to the
success of the
choreography
Consistently
demonstrates leadership
in solving improvisation
problems. Both takes
and shares leadership
3
Proficient
2
Basic
Uses improvisation
structures. Modifies
movement in response to
some cues (visual, verbal
or musical)
Demonstrates
inventiveness in solving
employing unexpected
solutions or inventive
movement
Contributes to the
choreography
Demonstrates leadership
by both sharing and
taking leadership in
solving improvisation
problems.
349
Uses improvisation
structures. Modifies
movement
Most often uses
previously learned
movements in previously
learned ways or uses
predictable solutions
May not clearly

contribute to the
choreography
Either shares or takes
leadership when solving
improvisation problems.
1
Below Basic
Uses improvisation
structures. May not
modify movement
Copies movement of
others. Chooses
predictable or previously
learned solutions
May not contribute or

contribution may have a
negative impact on the
success of the
choreography
May not follow leaders
or may not take
leadership when
attempting improvisation
problems. Choices may
have a negative effect on
the groups ability to
solve the movement
problem
Choreograph a Structured
Composition
Assigned length or
longer
Beginning, middle and
end are clear and
connected with smooth
transitions
Complex composition
that varies use of dance
elements (space, time
and energy)
Creates dance
composition (s)
inventively using two or
more of the following
forms or structures:
ABA, canon, call and
response, narrative or
reordering
Choreographed sequence
fulfills the choreographic
intent, demonstrating an
aesthetic experience
Energetic and focused work

in rehearsals and class
Performance very clearly
demonstrates evidence of
rehearsal
Performance demonstrates
attention to corrections
(revising and refining based
on specific students and
movement they have chosen)
Rehearsal and
Technique
Assigned length
Beginning, middle and
end are clear, with some
transitions evident
Composition varies use
of dance elements (space,
time and energy)
Creates dance
composition(s) using at
least two of the following
forms or structures:
ABA, canon, call and
response, narrative or
reordering
intent, or demonstrates
an aesthetic experience
Consistent work in
rehearsals or class
Evidence of rehearsal
Performance
demonstrates attention to
some corrections
(revising or refining)
350
Completed in less than

assigned length
Includes beginning,
middle and end
Composition may
employ predictable or
repetitive use of some
dance elements; space,
time or energy.
Uses form and structure
including at least one of
the following forms or
structures: ABA, canon,
call and response,
narrative or reordering
intent.
Inconsistent work in
rehearsals or class
Inconsistent evidence of
rehearsal
Evidence of attention to
corrections is not clearly
evident
Incomplete
Distinct beginning,
middle and end not
evident
Varied use of space, time
or energy not evident in
composition attempt
Use of choreographic
forms or structures may
be attempted but not
evident
may not fulfill the
choreographic intent.
Work in class or
rehearsal appears
unfocused or lax
Evidence of rehearsal is
difficult to determine
Demonstration of
attention to corrections is
not evident
Dance & Movement Performance

Core Conceptual Objective II: Students will express ideas, experiences, feelings and images in
original and artistic choreography.
Essential Question
How do choreographers and dancers create and communicate meaning
through the language of dance?
Content and Skills:

Problem-Solve to Communicate Meaning through Dance

Discovering and exploring expressive movement solutions to
movement problems
Improvising, choreographing and performing dance movement
based on ideas, experiences, feelings, concepts or images

FA1, FA2, G1.2, G1.5, G1.6,
G2.5, G3.1, G3.2, G3.3,
G3.4, G3.6, NS II.1
Learning Target
Students will create a dance or dance
study that communicates meaning using
the language of dance.
Developing an Expressive Composition

Improvising and presenting a short dance to peers with a
beginning, development and end that communicates an idea,
feeling or story
Identifying and analyzing what a dance communicates or
expresses in relation to a personal context
Unit Vocabulary: expression, meaning, purpose projection, transition, revise, refine

Pre-Assessment:
Demonstrate improvisation skills that focus on ideas, experiences, feelings, concepts or images.
Demonstrate problem solving with dance movement skills that focus on expressive movement solutions.
Demonstrate understanding of expressive dance development that includes beginning, development and
end.
351

Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Activity:
Use Improvisation
structures to
communicate meaning
through dance
movement.
Activity:
Demonstrate
Inventiveness in solving
by modifying movement
in response to
expressive cues such as
feeling words, idioms,
character stereotypes,
phrases or concepts.
Activity:
Demonstrate
inventiveness,
leadership and
expressive movement
solutions to movement
and dance problems.
Activity:
Apply communication
of meaning when
creating dance
compositions or solving
movement problems.
Memorize and practice

excerpts from student
created or professionally
choreographed dances
that communicate
characters or meaning
through movement.
Improvise on specific
ideas and relate the
improvisation to other
dancers.
Explain how choices

effectively communicate
meaning.
Investigate movement
solutions that
communicate specific
meaning with personal
significance, such as the
experiences or feelings
in a personal story or a
story from ones cultural
background.
Make observations
about peers
performance of
movement that
communicates meaning.
Modify movement and
performance of
previously memorized
dance excerpt to
improve communication
of meaning.
Synthesize inventive
movements or
unexpected solutions
when creating
movement studies or
dance compositions that
communicate meaning.
Create a brief dance that
tells a personal or
culturally based story.
Critiqued classmates
compositions and
receive critiques from
classmates.
Analyze various musical
options that might
accompany students
compositions.
Rehearse, revise and
refine the dance story
composition,
synthesizing corrections
or critiques and
analyzing this work in
order to perform a piece.
352
Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Strategy:
Teach improvisation
structures emphasizing
communication of
meaning (for example
feelings, ideas, and
images).
Strategy:
Provide cues for
improvisation such as
feeling words, idioms,
character stereotypes or
excerpts from poetry or
other writing.
Provide a movement
example or dance
excerpt that clearly
illustrates expression or
communication through
dance.
Lead critical response

discussion following
student performance or
movement or dance
excerpts.
Strategy:
Observe, and identify
successful student
choices and lead a
discussion to summarize
successful movement
choices that
communicate meaning
and the strategies used
by students in making
these.
Strategy:
Lead (facilitate) Critical
Response process to
assist students in
evaluating, editing and
improving their
compositions using
Lermans four stages of
artist comments,
affirmations, neutral
questions and opinions.
Tell personal or
culturally based stories
that communicate
meaning. Select
contrasting stories that
communicate both a
tragedy and wrong
choice, and a story that
illustrates humorous or
outrageous experiences.
Make aesthetic choices

regarding the setting of
students work into a
collage composition of
stories that can be
rehearsed, revised and
performed by the
students.
musical selections as
options for the final
musical choice for this
composition assignment.
musical selections for
students movement
solutions.
Assessment:
Identify meaning, ideas,
feelings or concepts
expressed in an example
of student or
professional dance.
Self evaluation of
improvisation work
Assessment:
Complete an Explaining
self-assessment
Assessment:
Self evaluation of
improvisation work
Students will distinguish
use of projection and
communication of
meaning when
observing the dance
work of peers or
professionals.
353
Assessment:
Perform student Dance
Stories composition
and complete selfassessments of
performance
(maintaining
concentration and
effectively performing
choreographic work)
and choreographic
quality (solving the
choreographic problem
and doing so in an
inventive or unexpected
manner).
IPOD.
Application Level Assessment for CCO II B
Student Task:
Students will create an original dance or dance study that communicates meaning using the language of
dance.
interviews.
Students will have a foundation in choreographic principles, processes and structures if they pursue further
dance or theatre study.
354
Scoring Guide for Dance & Performance Movement CCO IIB: Communicate Meaning through Dance
Learning Target
Problem-Solve to
Communicate Meaning
Through Dance
4
Advanced
Uses improvisation
structures to discover and
explore expressive
movement solutions.
Consistently
demonstrates
expressiveness in
performing and solving
modifying movement in
response to the following
types of expressive cues:
feeling words, phrases or
idioms, character types
or concepts
3
Proficient
Uses improvisation
structures to discover or
explore expressive
movement solutions
Demonstrates
expressiveness in
performing or solving
modifying movement in
response to some of the
following types of
expressive cues: feeling
words, phrases or idioms,
character types or
concepts
355
2
Basic
Uses improvisation
structures. Solves some
movement problems
expressively
May perform or
improvise movement
accurately but without
modifying for
expressiveness
1
Below Basic
Uses improvisation
structures. May not
solve movement
problems expressively
Copies movement of
others without
performing with
expression
Develop an Expressive
Composition
Rehearse Dance
Composition
Assigned length or
longer
Beginning, development
and end are clear and
connected with smooth
transitions
Complex composition
communicates through
dance movement an idea,
feeling(s) and story
based on a personal or
culturally based story
Identifies and analyzes
what a dance expresses
in relation to a personal
context. Does this for
personal and peers
choreography.
Energetic and focused

work in rehearsals or
class
rehearsal
Performance
corrections (revising and
refining based on
specific students and
movement they have
chosen)
Assigned length
Beginning, development
and end are clear, with
some transitions evident
Composition
dance movement an idea,
feeling(s) or story based
on a personal or
culturally based story
in relation to a personal
context. Does this for
personal or peers
choreography.
Consistent work in
rehearsals or class
Performance
some corrections
356

assigned length
Includes beginning,
development and end
Composition may rely
predominantly on
pedestrian movement to
communicate an idea,
feeling or story
Identifies or analyzes
but does not put this in a
personal context.
rehearsals or class
rehearsal
evident
Incomplete
Distinct beginning,
development and end not
evident
Composition may
include pedestrian
movement only or may
not communicate an idea,
feeling or story
Identifies correctly or
incorrectly what a dance
expresses and makes no
attempt to put into a
personal context.
Work in class or
rehearsal appears
unfocused or lax
Demonstration of
not evident

Core Conceptual Objective III: Students will respond to dance.
Essential Question
How do dancers and choreographers respond to, analyze, explain or
evaluate dances and dancing?
Content and Skills:


FA2, FA3, G1.5, G2.4, G3.1,
G3.4, NS III.1, NS III.2
Learning Target
Observation and Response

Observing or performing a dance and communicating how
the main ideas, theme or feelings of the dance relate to one
personally (personal context)
Students will analyze and explain

perceptions about and evaluations of
dancers and choreography using dance
vocabulary.
Observing or performing a dance and discussing how the

movements and choreographic structures support or do not
support the main ideas, theme or feelings of a dance
Participating as an observant and thoughtful audience
member and responding with constructive comments about
the performance
Unit Vocabulary: analyze, infer, evaluate, describe, support, explain, summarize

Pre-Assessment:
Dance terminology pre-test
Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Activity:
Recognize movement
elements and
communication of
meaning in examples of
dance or movement.
Activity:
Show appropriate
audience behavior while
watching a professional
dance video/DVD.
Activity:
Attend a professional
dance concert in the
community or in the
school. (DVD/video is
possible but presents
more difficulty in
perceiving movement
details and performance
subtlety.)
Activity:
Write a review, create a
visual presentation or
make an oral
presentation reviewing a
dance performance.
Make observations
about a dance
performance.
Formulate a list of
elements a professional
reviewer might include
in a dance concert
review.
357
Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Strategy:
Lecture
Modeling
Strategy:
Provide video examples
of professional dance or
arrange a field trip or inschool performance by
dance professionals
Strategy:
Provide video examples
of professional dance or
arrange a field trip or inschool performance by
dance professionals
Strategy:
Provide sample concert
reviews.
Assessment:
Organize responses to
the dance video or
performance into
categories such as
opinion, supporting
details, meaning,
images, main idea,
costume, lighting or
prop influences.
Model audience
behavior and post
concert discussion.
Assessment:
Participate in discussion
of the dance and explain
how the movement or
other theatrical elements
helped to communicate
the choreographers
intent.
(Discussion scoring
guide or checklist)
Assessment:
Report to peers
movement elements and
meaning discovered in
student or professional
dance examples.
Provide a summary of
important criteria in
creating a dance review.
Assessment:
Dance Concert Review
Scoring guide and
checklist.
Use of DVD or video to view dance performances or choreography
Use of computers to create concert reviews
Use computer-based resources to research professional dance company reviews
Students may work in pairs or small groups to evaluate and review of dance companies or performances.
Students may use a combination of visuals and written work to present their dance concert reviews.
Teachers may use examples of dance from various cultures or employing contrasting styles to engage
various learners.
Application Level Assessment for CCO III
Student Tasks:
Students will communicate in oral, written or visual form their opinions and responses to a dance and will
do so using appropriate dance terminology and displaying thoughtful audience behavior.
Students will transfer observation and evaluation skills to other subjects or tasks.
Students will transfer organization of information skills to other subjects or tasks.
Students will transfer review composition skills to similar writing or presentation tasks.
Students will have important background knowledge for continued dance study.
Students will become informed audiences for future performing or visual arts events.
358
Scoring Guide for Dance & Performance Movement CCO III: Responding to Dance
Learning Target
Mechanics
4
Advanced
Review is assigned
length or longer and
presented neatly or
creatively in the
preferred form
Includes name of dance
company, date & time of
performance, location of
performance integrated
into the review
Review clearly refers by
name to each of the
dances and
choreographers in the
concert
Free of errors
Includes the rough draft.
Rough draft displays
evidence of proofing and
editing, including
corrections or questions
related to grammar and
spelling, opinions and
details about the
performance and
organization of
information
3
Proficient
Assigned length and

presented in the preferred
form.
Includes name of dance
company, date & time of
performance, location of
performance
Review refers by name
to each of the dances or
choreographers in the
concert
Few minor errors in
spelling or grammar
Rough draft displays
evidence of proofing and
editing for some but not
all of the following:
corrections or questions
related to grammar and
spelling, opinions and
details about the
performance and
organization of
information
359
2
Basic

assigned length or may
not be in assigned form
Includes some but not all
of the dance performance
date, time, location and
company name
information
Review refers to some
but not all of the dances
or choreographers in the
concert and may not
accurately include the
dances or
choreographers names
Errors in spelling or
grammar without
affecting the clarity
Rough draft may be
incomplete or may not
include evidence of
editing
1
Below Basic
Incomplete
May not include the
performance date, time,
place and company detail
Review does not include
reference to or accurate
information about the
choreographers or the
dance titles
Multiple grammatical
errors interfere with
content and readability
No rough draft
Opinions and Supporting

Details
Includes clearly stated

opinions or questions
about the performances.
Supports opinions with
detail that is clearly
presented using
appropriate dance
vocabulary
Articulately discusses
how the movements,
performance by the
dancers and
choreographic structures
support or do not support
the main ideas, theme or
feelings of a dance using
appropriate dance
vocabulary
Clearly describes or
discusses how main
ideas, themes or feelings
of the dances relate to
one personally
Someone who has not
seen the concert can
easily visualize the dance
images or performances
from the details and
descriptions provided
Includes opinions or
questions about the
performances.
Supports opinions with
specific detail from the
dance or concert using
some dance vocabulary
Includes descriptions of
the movement or
dancers. Refers to
choreographic structures,
main ideas, themes or
feelings using some
dance vocabulary
Describes or discusses
how main ideas, themes
or feelings of the dances
relate to one personally
Someone who has not
seen the concert can
visualize the dance
images or performances
from the details and
descriptions provided
360
Opinions or questions
about the concert are not
clear
Supports some but not all
opinions with detail or
descriptions
Includes descriptions of
the movement or dancers
or refers to
choreographic structures,
main ideas, themes or
feelings. May not use
dance vocabulary
appropriately or at all
Description of personal
connection to main ideas,
themes or feelings of the
dances may be unclear or
superficial or not
included
Someone who has not
seen the concert may not
be able to easily visualize
the dance images or
performances from the
details and descriptions
provided
May not include opinions

or questions about the
concert
May not support
opinions with detail or
descriptions
May not include
descriptions of the
movement or dancers or
refer to choreographic
structures, main ideas,
themes or feelings. May
not use dance vocabulary
appropriately or at all
Description of personal
connection to main ideas,
themes or feelings of the
dances may be
superficial or not
included
Dances may not be
described using detail
from the performance

Core Conceptual Objective IV: Students will make connections between dance and another
discipline.
Essential Question
How is dance like other disciplines or art forms? How are other
disciplines or art forms similar to dance?
Content and Skills:


FA4, G3.6, G4.1 NS IV.2,
NS IV.3, NS IV.4
Learning Target
Connect Dance and Literacy

Using movement to express images, ideas, situations and feelings
found in literature, poetry, original writing or idiomatic phrases
Students will relate and transfer

meanings, ideas, and processes
from language literacy to dance.
Understanding how the dance composition process is similar to the

writing process
Unit Vocabulary: idiom, analyze, compare/contrast, justify, rough draft, revise, refine, and (Also included
will be selected idioms. For resources contact your ESOL teachers or see English Idioms for Dance
Composition L. Richardson 2005.)
Pre-Assessment:
Writing process pretest
Dance composition process pretest
Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Activity:
Discuss selected
idiomatic phrases.
Activity:
the similarities and
differences between the
meaning of the
individual words in an
idiomatic phrase and the
meaning of the
idiomatic phrases
themselves.
Activity:
Create short dance
sequences to illustrate
the literal or idiomatic
meaning of selected
phrases.
Activity:
Students will analyze
other students
choreography for clues
about which of the
idiomatic phrases they
used to create a small
group dance study.
Discuss the components

of the writing process.
Explain and justify

movement choices or
comments.
361
Students will perform

their dance studies to a
variety of musical
choices.
Students will analyze
and justify which
musical selections work
best with their dance
studies (fit the idea,
dance phrases, accents,
timing, feeling, etc.)
Level 1
Recall
Level 2
Skill/Concept
Level 3
Strategic Thinking
Level 4
Extended Thinking
Strategy:
Provide a list of English
idioms that have
movement possibilities
such as by leaps and
bounds, lose your grip,
make ends meet, etc.
Lead discussions
Lecture
Assessment:
Define selected
idiomatic phrases.
Strategy:
Guided discovery
Lecture or lead
discussion
Strategy:
Guided practice
Discussion
Strategy:
Lead rehearsals
Provide feedback and
answer questions
Assessment:
Visual summary of
idiom and word
comparisons and
contrast
Assessment:
Revise and edit dance
rough draft
Assessment:
Perform refined
composition.
List components of the

writing process.
Evaluate self and others.
IPOD.
Students may be given leadership roles as leaders in rehearsal.
Application Level Assessment for CCO III
Student Tasks:
Students will relate and transfer meanings, ideas, and processes from language literacy to dance
Students will have the experience of connecting learning from different disciplines, an extremely important
strategy for critical thinking and in-depth learning dance as well as other subjects.
Students transfer knowledge of the dance composition process to the writing process.
Students will have a foundation for building future knowledge about the connection between dance and
other disciplines.
362
Scoring Guide for Dance & Performance Movement CCO IV: Connecting Dance to Language Literacy
Learning Target
4
Advanced
Connect Dance and

Literacy
Complex composition
dance the idea, feeling(s)
or meaning of an
idiomatic phrase
the idiomatic phrase
expressed in a dance
composition and explains
how the movements,
music and other
choreographic choices
serve to communicate the
phrase
Analyzes and justifies
musical choices that
work best with specific
dance compositions,
providing detailed
information about how
the music fits the idea,
the dance phrases,
accents, timing, feeling,
etc.
3
Proficient
Composition
dance the idea, feeling(s)
or meaning of an
idiomatic phrase
the idiomatic phrase
expressed in a dance
composition and explains
how the movements,
music or choreographic
choices serve to
communicate the phrase
Analyzes and justifies
musical choices that
work best with specific
dance compositions,
providing information
about how the music fits
the idea, the dance
phrases, accents, timing,
feeling, etc.
363
2
Basic
Composition may rely

predominantly on
pedestrian movement to
communicate the idea,
feeling(s) or meaning of
an idiomatic phrase
Identifies the idiomatic
phrase but does not
explain or identify the
movement or
choreographic choices.
Offers opinions about
musical choices but does
not provide justification
1
Below Basic
Composition may
include pedestrian
movement only or may
not communicate the
idea, feeling(s) or
meaning of an idiomatic
phrase
Identifies the idiomatic
phrase correctly or
incorrectly and does not
explain or identify the
movement or
choreographic choices.
May not offer opinions
about musical choices or
offers opinions but does
not provide justification
Understand how the dance

composition process is
similar to the writing
process
Rehearsal of Dance
Composition
Articulately compares
and contrasts the writing
process and the
steps in each
Addresses the most
of the processes
detailed reference to each
process
and specific
Energetic and focused
work in rehearsals or
class
rehearsal
Performance
corrections (revising and
refining based on
specific students and
movement they have
chosen)

the writing process and
the choreographic
process with reference to
the steps in each
Addresses significant
processes
reference to each process
Consistent work in
rehearsals or class
Performance
some corrections
364
List steps without

explanation
processes
Supports some
to the process
be missing or incorrect
rehearsals or class
rehearsal
evident
May not include all the

important steps
May not support
statements with detail
Information may be
incorrect
Information may be
incomplete
Work in class or
rehearsal appears
unfocused or lax
Demonstration of
not evident

Core Conceptual Objective V: Dance History and Culture
Students will demonstrate knowledge of dance from different cultures and historical periods.
Essential Question
How is concert dance different from social dance?

FA5, G1.9, NSI.4, NS IV.1
Content and Skills:

Style
Time/ Place
Historical or Cultural Context
Social
Dance
US and
worldwide.
Primitive times
to present.
Some
historians
believe dance
was the first
form of
communication
or language
used in social
interactions
and
community
rituals.
Dancing in partners or
individually
Dances can be learned in
advance and can also be
learned as part of the social
interaction
Often social dances are
improvised. An example of
this is dancing freestyle in
the social dance form of hip
hop.
Although some social
dancers have a high degree
of technical expertise others
have little technical expertise
and are still allowed to dance
and experience the
enjoyment of dancing with
other members of the
community.
Mistakes can be part of the
fun or enjoyment
American examples of social
dance include hip hop and
swing dance.
May be performed in clubs, at

parties or alone for personal
enjoyment and/or social interaction.
Some social dances are associated
with rituals or rites of passage (such
as wedding celebrations or proms)
Social dances reflect the culture and
the people who are dancing them
(for example hip hop dance reflects
the strong African American
contribution to the musical culture of
the late 20th and early 21st century).
365
Style
Time/ Place
Concert
Dance
15th century
Italy
1600s/France
today.
Concert Dance
(Ballet)
Concert Dance (Ballet
Training)
Historical or Cultural Context
First developed as entertainment for Italian

royalty
Formal Ballet Training established by French

King Louis XIV at the Royal Academy of
Dance
Ballet terminology rooted in French language
Many original Ballet steps and terms remain
the same today
Late 18th
century to
present
Concert Dance
(Ballet, Modern
Dance, Contemporary
Dance)
1960s to
present
Concert Dance
(Contemporary
Dance/Alvin Ailey
Dance Theater)
Dances performed for entertainment of others.

Concert dance is always performed for an
audience who does not participate in the
dancing.
Dancers are often highly trained and
technically proficient in a particular style or
type of dance such as Ballet or Contemporary
Dance.
Steps or movements are often taught in a
formal fashion in schools or dance studios
before dancers reach the technical level of
proficiency to perform
Dances are most often choreographed (planned
and designed in advance of the performance).
Dancers of different cultural backgrounds may
be seen dancing together in a performance.
For example, the Alvin Ailey American Dance
Theater performs dances choreographed by
African American artists. These dances reflect
the culture and experience of African
Americans, however, dancers in this company
represent many races including African
American, Caucasian and Asian.
Learning Target: By the end of this course/grade, students should be able to do:
Compare and contrast social dance and concert dance in historical or cultural contexts.
Unit Vocabulary: social dance, concert dance, culture, hip hop, swing dance, ritual, ballet
Pre-Assessment:
Demonstrate examples of social and concert dance.
366

Level 1
Recall
Activity:
Observe
student, parent
or
professionally
performed (or
filmed)
examples of
social and
concert dance
from several
cultures or time
periods.
Level 2
Skill/Concept
Activity:
Learn and identify
the movement
patterns in a social
dance forms such as
Hip Hop or Swing
Dance
State when, where
and for what
purposes social
dances are employed.
(For example, at
wedding celebrations,
parties, clubs or to
socialize with friends
and family)
Level 3
Strategic Thinking
Activity:
Observe examples of
concert dance from several
cultures or historical periods
and assess how these
examples are different than
the social dances learned or
viewed.
Construct a series of dance
sequences that use
movements from social
dance forms, but are
performed as concert dance
(not for social purposes)
Share a dance from

ones own heritage or
environment
367
Level 4
Extended Thinking
Activity:
Analyze examples of concert
dance choreography. Concert
dance artists of interest to the
students or teacher or artists
who are currently performing in
the community may also be
analyzed, including artists
brought to St. Louis theatres by
community resources such as
Dance St. Louis or COCA
(Center of Contemporary Arts).
Design a visual or a
presentation (that can include
movement) and that synthesizes
what students have learned
about concert dance movement,
its purpose and the specific
cultural or historical setting.
Focus the students presentation
on a specific concert dance
artist of the students choice
(with options provided by the
teacher).
Level 1
Recall
Strategy:
Provide taped
examples of
social and
concert dance.
Locate
community
examples as
resources.
Level 2
Skill/Concept
Strategy:
Model
Discussion, lecture
Level 3
Strategic Thinking
Strategy:
Coach, Model
Lecture, Provide taped
examples of social and
concert dance.
Level 4
Extended Thinking
Strategy:
Lecture, Provide taped
examples of social and concert
dance
Arrange field trip to view
professional choreography or
dancers.
Provide lists of concert dance
artists from various time
periods and cultural
backgrounds for students to use
in choosing the subject for their
presentations.
Take care to include artists of
the cultural background of the
specific students if possible.
Assessment:
Identify the
social and the
concert dances
in the examples
provided by
students or on
film.
Assessment:
Mastery Review
(Repeat and perform
in technique class or
small group
presentation.)
Assessment:
Dance composition
checklist and scoring guide
Assessment:
Presentation scoring guide or
checklist.
IPOD.
Students may be given leadership roles as peer teachers or leaders.
Students may be given choices regarding the subject matter, style and music.
Students may be given more complex or less complex sequences to perform. Students may be offered
options for making assigned movement simpler or more complex. This can be accomplished by providing
sequences that repeat with predictable changes or by providing longer, more complex or unpredictable
sequences, depending upon the students level of performance.
Application Level Assessment for CCO V
Student Task:
Students will compare and contrast social dance and concert dance in historical contexts.
Students will appreciate the importance of dance in both contemporary culture and in other cultures or
historical settings.
Students will be better able to identify social dance movement in concert dance.
Students will appreciate have an awareness of dance as a universal language.
368
Scoring Guide for Dance & Performance Movement, CCO V, Dance History
Learning Target

social dance and concert
dance with reference to:
Ballet or Alvin Ailey
American Dance
Theater
Hip Hop or Swing
Dance
4
Advanced

evaluate dances for two
styles/artists.
Addresses the most
of the work.
work.
is correct and specific.
3
Proficient

evaluate dances for two
styles/artists.
Addresses important
work.
is correct.
2
Basic
369
May not compare and

contrasts two
styles/artists.
work.
Supports some
to the work.
Some important
Some historical
information may be
incorrect.
1
Below Basic
Lists facts about one

style/artist.
Information may be
incomplete.
Many pieces of historical
information may be
incorrect.
Appendices
370
Fine Arts Resource Selection Evaluation Scoring Guide

Use a value from 1 through 4 to indicate the quality of the text resource on each criterion.
4=highest quality, 1=lowest quality, 0=not included.
Course:______________________________________________
Title of Text:__________________________________________________
Publisher:____________________________________________________
Copyright:____________________________________________________
Student Textbook:
______
Objectives for lessons are clear.
______
Activities address Knowledge/Recall level of thinking
______
Activities address Skill/Concept/Application level of thinking
______
Activities address Strategic/Analysis level of thinking
______
Activities address Extended/Synthesis/Evaluation level of thinking
______
Historical/cultural information matches curriculum content.
______
Emphasizes fine arts process skills and inquiry.
______
Performance assessments include high quality scoring guides.
______
Makes connections among the arts.
______
Makes connections with non-arts disciplines.
______
Incorporates computer technology.
_______
Appropriate reading level.
_______
Addresses equity: gender, racial, disability.
______
Text meets District CCOs (percent covered______%).
_______
Total Textbook Points divided by 14 = _________Overall Rating
371
Use a value from 1 through 4 to indicate the quality of the text resource on each criterion.
4=highest quality, 1=lowest quality, 0=not included.
Teacher Resources:
_______
Contains clearly written, easy-to-use plans.
_______
Includes enough background information for teacher.
_______
Includes differentiation by student readiness, learner profile, and interest.
_______
Integrates writing in lessons.
_______
Incorporates technology in lessons (provides lesson examples, websites).
_______
Provides quality supplemental materials.
_______
Total Teacher Resource Points divided by 6 = _________
Check one
_____This textbook would be a great choice.
_____This textbook should be considered.
_____I would not recommend this textbook.
Other Comments:
372
Rockwood
Writing Guidelines
While the emphasis of the Rockwood drama program is on the elements of performance and production of dramatic works,
formal writing is a portion of the class grade. At least one formal writing assignment from any of the listed categories will
be a part of the grade of each course. Below are the minimum standards for formal writing assignments:
Content:
Critiques should be based on specific criteria supported by observations referenced to the artwork.
Expository Writing should include a thesis backed by supporting details.
Form:
Critiques should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,
usage, and mechanics rules per Rockwood scoring guide.
Analyses should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,
usage, and mechanics rules per Rockwood scoring guide.
Expository Writing should follow multi-paragraph essay format. Students should document sources as necessary. Writing
will follow grade appropriate grammar, usage, and mechanics rules per Rockwood scoring guide.
373
1
EXPERIMENTING
IDEAS
Attempts a story
or to make a point
Meaning of the
general idea is
recognizable
Some ideas clear
but most still fuzzy
Six-Trait Assessment for Middle School Writers*

2
3
4
EMERGING
DEVELOPING
CAPABLE
IDEAS
IDEAS
IDEAS
- Writing tells a story
Writing tells a story
Writing clearly
or makes a point with
or makes a point
tells a story or
some but loses
Idea generally stays
makes a point
control at times
on topic
Idea and focus
- Meaning is
Details are present
stay on topic
recognizable with
but not completely
Concrete details
close read
developed or are not
are important and
- Some ideas clear but
strong
developed
some still fuzzy
Attempts
Commentary,
commentary, where
when present, is
needed
true commentary
ORGANIZATION
Format is
attempted Beginning is
attempted but no
ending (possibly The
End)
Attempts at
sequencing and
transitions
Attempts
transitions
ORGANIZATION
- Format is correct
some of the time
- Attempts
transition from
sentence to sentence
- Beginning works
well and attempt at
ending
- Logical
sequencing
- Key ideas begin to
surface
ORGANIZATION
Format is correct
most of the time
Transitions work to
connect sentences
Strong beginning
with clear ending
Easy to follow most
times
- Commentary is
connected to the
concrete detail
CONVENTIONS
Uses phonetic
spelling
Correctly spells
high frequency words
some of the time
Uses capitals at
the beginning of
sentences
CONVENTIONS
- Transitional
spelling on less
frequent words
- Correctly spells
high frequency
words
- Capitals at
sentences beginnings
CONVENTIONS
Spelling is correct
on most words
Capitals used for
proper nouns and
sentence beginnings
most of the time
Basic grade-level
punctuation, including
ORGANIZATION
Format is
correct
Varied
transitions connect
sentences
Strong
beginning
Ending
summarizes the
paragraph
Easy to follow
In-depth
commentary
CONVENTIONS
Spelling is
correct
Capitals are
used for proper
nouns and sentence
beginnings
Grade-level
punctuation is
5
EXPERIENCED
IDEAS
Topic is narrowed and
focused
Presents a fresh and
original idea or complex
story
Develops the main idea
with critical concrete details
which is fully developed
Uses strong commentary
where needed
ORGANIZATION
Format is not needed for
organization
Transitions connect
sentence to sentence,
though to thought,
paragraph to paragraph
Easy to follow
Important ideas stand
out
CONVENTIONS
Spelling is correct
Capitals are correct
Grade-level punctuation
is corrected
Complex punctuation is
often successful
Sentences are varied in
length, beginning, and
Usually uses end

punctuation correctly
Experiments with
other punctuation
Longer paper is
one long paragraph
with run-ons
Attempts
standard grade-level
grammar; sometimes
must be re-read
and variable use of

commas, is correct
correct and
complexity
other capitals
Indents consistently
complex
No run-ons or fragments
- End punctuation
to show paragraphs
punctuation is
is correct and other
Shows control of
attempted
grade-level
standard grammar
Paragraphing is
punctuation is
most of the time
clear
attempted
Some run-ons but
Shows control of
- Paragraphing
few, if any, fragments
standard grammar
variable but present
Few run-ons but
- Basic
no fragments
noun/pronoun
agreement
- Some run-ons and
fragments
*Used with permission and modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon
375
. Six-Trait
Assessment for High School Writers

Conventions
Word
Sentence
Choice
Fluency
Ideas
Organization
__Strong controlling idea based

on interesting and meaningful
thesis narrows focus
__Clearly addresses topic and
provides specific and relevant
concrete details and/or reasons
__Shows complexity and
freshness of thought
__Effective, insightful commentary
connects concrete detail to thesis
__Effective beginning, middle, and end;

engaging introduction; strong sense of closure
__A clear, strong thesis statement governs
entire essay; the writer skillfully emphasizes
important ideas
__Use paragraphing effectively
__Progresses in a logical order
__Uses effective cohesive devices (transitions,
repetition, pronouns, parallel structure)
between and within paragraphs
Voice
__Contains few errors in

grammar/usage,
punctuation, capitalization,
and/or spelling
__Intentional or clever use of
atypical sentence structure
__Correct pronoun/antecedent
agreement and subject/verb
agreement; consistent verb
tense
__Uses precise and

vivid language
__Effective use of
writing techniques
such as imagery and
figurative language if
appropriate
__Consistently avoids
redundancy
__Contains sentences
that are clear and
varied in length and
structure
__Variety of sentence
beginnings
__Natural rhythm,
cadence and flow
__Successfully follows assigned format
__Controlling idea based on a

meaningful thesis begins to narrow
focus
__Addresses the topic using
relevant details and/or reasons
__Shows some complexity and/or
__Strong commentary relates
concrete detail to thesis
__Clear beginning, middle and end with an

effective introduction and conclusion
__A clear thesis statement governs the entire
essay; important ideas stand out
__Uses paragraphing appropriately
__Generally progresses in a logical order
__Uses cohesive devices between and within
paragraphs
__Accurately follows assigned format
__May contain errors in

grammar/usage,
and/or spelling that are not
distracting to the reader
__Fragments or run-ons are
rare (unless stylistic)
_Very few errors in
agreement and tense
__Uses precise
language
__Uses writing
techniques such as
imagery and/or
appropriate
__Avoids redundancy
that are clear and
show some variety in
length and structure
__Not all sentences
begin with the same
pattern
__Sections of writing
have rhythm and flow
__Contains some sense of

direction, but may lack focus
__Addresses the topic, but relies
on generalities (lists) rather than
specifics (development)
__Limited complexity and/or
__Weak commentary
__Evidence of a beginning, middle and end

__Thesis statement attempted, but may not
govern the entire essay; some important ideas
begin to surface
__Shows evidence of paragraphing
__Inconsistency in logical order
__Inconsistent use of cohesive devices
__Contains errors in
grammar/usage,
and/or spelling that may be
distracting to the reader
__Some run-ons and/or
sentence fragments
__Inconsistent subject/verb
agreement and or verb tense
__May use imprecise

language
__ Attempts to use
some writing
techniques such as
imagery and/or
appropriate
__ Some obvious
redundancy
that are generally
clear, but lack variety
and complexity
__Some sentences begin
the same
__An occasional section
of writing has rhythm
and flow
__Is difficult to follow and lacks

focus
__May address the topic, but
lacks details
__Lacks complexity and
__Attempts commentary
unsuccessfully
__Little or no evidence of a beginning,

middle, and/or end
__Thesis statement unclear
__Little or no evidence of paragraphing
__Does not progress in a logical order and
may digress to unrelated topics
__Lacks cohesion
__No evidence of format
__Contains repeated errors

in grammar/ usage,
and/or spelling that are
distracting
__Numerous run-ons and/or
fragments
__Frequent errors with
agreement and/or tense
__Uses imprecise
language
__Shows little or no
evidence of writing
techniques such as
imagery or figurative
language
__Obvious and/or
distracting redundancy
that lack variety and
clarity
__Most sentences begin
the same way
__Writing is choppy;
needs rereading to
follow the meaning
__Attempts assigned format
Modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon
376
__ Shows individual
perspective; personality comes
through
__Clearly shows an
awareness of audience and
purpose
__Writers enthusiasm for the
topic is evident
__Effectively uses writing
techniques (such as humor,
point of view, tone) that evoke
a strong emotional response
__ Shows some individual
perspective; personality begins
to show
__Shows an awareness of
audience and purpose
__Writer cares about topic
__Uses writing techniques
(such as humor, point of
view, tone) that may evoke an
emotional response
__May lack individual
perspective
__Shows some awareness of
audience and purpose
__Writer shows limited
connection to the topic
__Attempts to use some
writing techniques (humor,
point of view, tone) to evoke a
response
__Lacks individual
perspective
__Shows little or no
awareness of audience or
purpose
__Treatment of topic is
predictable
__Shows little or no evidence
of writing techniques to evoke
a response
Bold descriptor s= MAP criteria
Missouri Show-Me Standards

The Missouri Department of Elementary and Secondary Education has issued a set of standards that are intended to define
what students should learn by the time they graduate from high school. These guidelines are titled The Show-Me
Standards.
The Rockwood School District Theatre Arts Curriculum is referenced to the Missouri Show-Me Standards. You will find
the references explained below. Example from Theatre Arts I: Actors Studio:
Essential Question

FA1, G2.5,GLE PP1B, Grade
9 - 12
How do actors utilize a script to initiate character development?

Content and Skills:
Learning Target
should know:
Memorization
Characterization
Given circumstances (who, what, when,
where, why)
FA I refers to the Content Standard for Fine Arts.

Students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
process and techniques for the production, exhibition, or performance of one or more of the visual or performed arts
2.5 refers to the Process Standard Two.

Students will acquire the knowledge and skills to communicate effectively within and beyond the classroom.
5. perform or produce works in the fine and practical arts
GLE PP1B refers to the DESE Theatre Arts Grade Level Expectation.
Product Performance, 1. Develop and apply skills to communicate ideas through theatrical performances, B. Acting,
Grades 9-12: Apply stage movement and pantomime technique to express thoughts, feelings and actions of a character.
KNOWLEDGE + PERFORMANCE = ACADEMIC SUCCESS

Note to Readers: What should high school graduates in Missouri know and be able to do? The Missourians who
developed these standards wrestled with that question. In the end, they agreed that knowing and doing are actually two
sides of the same coin. To perform well in school or on the job, one must have a good foundation of basic knowledge and
skills. Equally important, though, is the ability to use and apply ones knowledge in real-life situations.
These standards (73 in all) are intended to define what students should learn by the time they graduate from high
school. There are 33 Performance standards, listed under four broad goals. There are also 40 knowledge standards,
listed in six subject areas. Taken together, they are intended to establish higher expectations for students throughout the
Show-Me State. These standards do not represent everything a student will or should learn. However, graduates who meet
these standards should be well-prepared for further education, work, and civic responsibilities.
All Missourians are eager to ensure that graduates of Missouris public schools have the knowledge, skills, and
competencies essential to leading productive, fulfilling and successful lives as they continue their education, enter the
workforce and assume their civic responsibilities. Schools need to establish high expectations that will challenge all
students to reach their maximum potential. To that end, the Outstanding Schools Act of 1993 called together master
teachers, parents, and policy-makers from around the state to create Missouri academic standards. These standards are the
work of that group.
The standards are built around the belief that the success of Missouris students depends on both a solid foundation
of knowledge and skills and the ability of students to apply their knowledge and skills to the kinds of problems and
decisions they will likely encounter after they graduate.
The academic standards incorporate and strongly promote the understanding that active, hands-on learning will
benefit students of all ages. By integrating and applying basic knowledge and skills in practical and challenging ways
across all disciplines, students experience learning that is more engaging and motivating. Such learning stays in the mind
long after the tests are over and acts as a springboard to success beyond the classroom.
These standards for students are not a curriculum. Rather, the standards serve as a blueprint from which local
school districts may write challenging curriculum to help all students achieve their maximum potential. Missouri law
assures local control of education. Each school district will determine how its curriculum will be structured and the best
methods to implement that curriculum in the classroom.
Authority for the Show-Me Standards: Section 160.514, Revised Statutes of Missouri, and the Code of State
Regulations, 5 CSR 50-375.100.
378
GOAL 1
Students in Missouri public schools will acquire the knowledge and skills to gather, analyze, and apply information
and ideas.
Students will demonstrate within and integrate across all content areas the ability to
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
develop questions and ideas to initiate and refine research

conduct research to answer questions and evaluate information and ideas
design and conduct field and laboratory investigations to study nature and society
use technological tools and other resources to locate, select, and organize information
comprehend and evaluate written, visual, and oral presentations and works
discover and evaluate patterns and relationships in information, ideas, and structures
evaluate the accuracy of information and the reliability of its sources
organize data, information, and ideas into useful forms (including charts, graphs, outlines) for analysis or presentation
identify, analyze, and compare the institutions, traditions, and art forms of past and present societies
apply acquired information, ideas, and skills to different contexts as students, workers, citizens, and consumers
GOAL 2
Students in Missouri public schools will acquire the knowledge and skills to communicate effectively within and
beyond the classroom.
1.
2.
3.
4.
5.
6.
7.
plan and make written, oral, and visual presentations for a variety of purposes and audiences
review and revise communications to improve accuracy and clarity
exchange information, questions, and ideas while recognizing the perspectives of others
present perceptions and ideas regarding works of the arts, humanities, and sciences
perform or produce works in the fine and practical arts
apply communication techniques to the job search and to the workplace
use technological tools to exchange information and ideas
379
GOAL 3
Students in Missouri public schools will acquire the knowledge and skills to recognize and solve problems.
1.
2.
3.
4.
5.
6.
7.
8.
identify problems and define their scope and elements

develop and apply strategies based on ways others have prevented or solved problems
develop and apply strategies based on ones own experience in preventing or solving problems
evaluate the processes used in recognizing and solving problems
reason inductively from a set of specific facts and deductively from general premises
examine problems and proposed solutions from multiple perspectives
evaluate the extent to which a strategy addresses the problem
assess costs, benefits, and other consequences of proposed solutions
GOAL 4
Students in Missouri public schools will acquire the knowledge and skills to make decisions and act as responsible
members of society.
1.
2.
3.
4.
5.
6.
7.
8.
explain reasoning and identify information used to support decisions

understand and apply the rights and responsibilities of citizenship in Missouri and the United States
analyze the duties and responsibilities of individuals in societies
recognize and practice honesty and integrity in academic work and in the workplace
develop, monitor, and revise plans of action to meet deadlines and accomplish goals
identify tasks that require a coordinated effort and work with others to complete those tasks
identify and apply practices that preserve and enhance the safety and health of self and others
explore, prepare for, and seek educational and job opportunities
380
Missouri students must build a solid foundation of factual knowledge and basic skills in the traditional content areas. The
statements listed here represent such a foundation in reading, writing, mathematics, world and American history, forms of
government, geography, science, health/physical education, and the fine arts. This foundation of knowledge and skills
should also be incorporated into courses in vocational education and practical arts. Students should acquire this knowledge
base at various grade levels and through various courses of study. Each grade level and each course sequence should build
on the knowledge base that students have previously acquired.
These concepts and areas of study are indeed significant to success in school and in the workplace. However, they
are neither inclusive nor are they likely to remain the same over the years. We live in an age in which knowledge grows
at an ever-increasing rate, and our expectations for students must keep up with that expanding knowledge base.
Combining what students must know and what they must be able to do may require teachers and districts to adapt
their curriculum. To assist districts in this effort, teachers from across the state are developing curriculum frameworks
show how others might balance concepts and abilities for students at the elementary, middle, and secondary levels. These
models, however, are only resources. Missouri law assures local control of education. Each district has the authority to
determine the content of its curriculum, how it will be organized, and how it will be presented.
Communication Arts
In Communication Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of
and proficiency in
1.
2.
3.
4.
5.
6.
7.
speaking and writing standard English (including grammar, usage, punctuation, spelling, capitalization)
reading and evaluating fiction, poetry, and drama
reading and evaluating nonfiction works and material (such as biographies, newspapers, technical manuals)
writing formally (such as reports, narratives, essays)
comprehending and evaluating the content and artistic aspects of oral and visual presentations (such as story-telling,
debates, lectures, multi-media productions)
participating in formal and informal presentations and discussions of issues and ideas
identifying and evaluating relationships between language and culture
381
Mathematics
In Mathematics, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
6.
addition, subtraction, multiplication, and division; other number sense, including numeration and estimation; and the
application of these operations and concepts in the workplace and other situations
geometric and spatial sense involving measurement (including length, area, volume), trigonometry, and similarity and
transformations of shapes
data analysis, probability, and statistics
patterns and relationships within and among functions and algebraic, geometric, and trigonometric concepts
mathematical systems (including real numbers, whole numbers, integers, fractions), geometry, and number theory
(including primes, factors, multiples)
discrete mathematics (such as graph theory, counting techniques, matrices)
Science
In Science, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
6.
7.
8.
properties and principles of matter and energy

properties and principles of force and motion
characteristics and interactions of living organisms
changes in ecosystems and interactions of organisms with their environments
processes (such as plate movement, water cycle, air flow) and interactions of earths biosphere, atmosphere,
lithosphere, and hydrosphere
composition and structure of the universe and the motions of the objects within it
processes of scientific inquiry (such as formulating and testing hypotheses)
impact of science, technology, and human activity on resources and the environment
382
Social Studies
In Social Studies, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
6.
7.
principles expressed in the documents shaping constitutional democracy in the United States
continuity and change in the history of Missouri, the United States, and the world
principles and processes of governance systems
economic concepts (including productivity and the market system) and principles (including the laws of supply and
demand)
the major elements of geographical study and analysis (such as location, place, movement, regions) and their
relationships to changes in society and environment
relationships of the individual and groups to institutions and cultural traditions
the use of tools of social science inquiry (such as surveys, statistics, maps, documents)
Fine Arts
In Fine Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
process and techniques for the production, exhibition, or performance of one or more of the visual or performed
arts
the principles and elements of different art forms
the vocabulary to explain perceptions about and evaluations of works in dance, music, theater, and visual arts
interrelationships of visual and performing arts and the relationships of the arts to other disciplines
visual and performing arts in historical and cultural contexts
383
Health/Physical Education
In Health/Physical Education, students in Missouri public schools will acquire a solid foundation which includes
knowledge of
1.
2.
3.
4.
5.
6.
7.
structures of, functions of, and relationships among human body systems
principles and practices of physical and mental health (such as personal health habits, nutrition, stress management)
diseases and methods for prevention, treatment, and control
principles of movement and physical fitness
methods used to assess health, reduce risk factors, and avoid high-risk behaviors (such as violence, tobacco, alcohol,
and other drug use)
consumer health issues (such as the effects of mass media and technologies on safety and health)
responses to emergency situations
384
Missouri Department of Elementary & Secondary Education

Integrated (Interdisciplinary/Cross Discipline) Fine Arts Vocabulary
HISTORY STRAND
DANCE
STYLES:
Ballet European style of dance;
traditionally performed en pointe by
ladies and having a story line
Folk native dances of different
cultures
Jazz dance with African-American
roots performed with soft sole shoes
Modern style of dance
characterized by freedom of form and
performed barefoot
Tap dance with African-American
roots performed with steel taps on the
dances shoes
Ballroom/Social form of dance
used in social settings
Recreation moving with or without
partners for the sheer enjoyment of
moving through space
Exercise choreographed
movements designed to build up body
and maintain general health and wellbeing
MUSIC
STYLES:
Classical Music in its broadest sense,
refers to a style of art music as
distinguished from folk, jazz, or popular
music
(See Historical Periods for further
definition)
Folk Music music from a specific
culture
Folk Song uncomplicated music that
speaks directly of everyday matters
Jazz a style of American music
originated in the South by AfricanAmericans; it is characterized by strong,
prominent meter, improvisation, and
dotted or syncopated patterns
Long Ago music from the past
Modern music that is current;
generally, 20th century music
Popular Style (Music) American
music that has wide appeal, is
immediately communicative and
relatively short
THEATRE
STYLES:
Comedy a funny or amusing play
with a happy ending
Improvisation short scenes made
up on the spur of the moment
following generated guidelines
Melodrama a serious play with
an unhappy ending; the major
characters are predictable
Musical a play with songs
supporting the plot
Tragedy/Drama a serious play
with an unhappy ending; major
characters are unpredictable
385
VISUAL ARTS
STYLES:
Abstract art that exaggerates,
simplifies, or distorts reality
Fantasy art showing imaginary or
unreal people, places or things
Realistic art showing life as it is
Non-objective based on elements of
art rather than on recognizable people,
places or things
Modern 20th century art with a focus
on abstraction
DANCE
FUNCTIONS:
Education dance intended to teach
Entertainment dance intended for
audience enjoyment
Sacred dance dealing with religious

themes
MUSIC
FUNCTIONS:
Accompaniment music that adds
texture to a melody or melodies
Ceremonial an established custom or
formal actions connected with an
occasion
Functional Music wedding,
graduation, funeral, parade,
entertainment
Lullaby sleep song
March music with a steady beat
suitable for a parade or processional.
Popular Style American music that
has wide appeal, is immediately
communicative and relatively short
Sacred religious music
Secular non-religious music
Spiritual a sacred song that evolved
from the period of slavery in the U. S.
Waltz dance in triple meter
Work Song songs in which the text
describes the task of the worker
THEATRE
FUNCTIONS:
Education theatre intended for
instruction
Entertainment theatre intended
for audience enjoyment
Sacred theatre dealing with
religious themes
VISUAL ARTS
FUNCTIONS:
Ceremonial art serving a symbolic
function in a culture, e.g., flag
Commercial/Popular art used for
business purposes, e.g., advertising,
fashion design, architecture, product
design, cartooning
Expressive art that conveys
emotion or feeling
Formalism art for arts sake
Functional decorated objects for
everyday use, e.g., pottery, jewelry,
fibers
Representational art
showing real life
Sacred art dealing with religious
themes
386
DANCE
MUSIC
THEATRE
VISUAL ARTS
TRADITIONAL CULTURES:
Asian/Chinese usually ceremonial;
used during theatrical productions;
uses mime and head and eye
movements; generally, tells a story or
depicts activities in everyday life
Asian representational, stylized sound
images of people and nature;
identifiable sound characteristics
include artisan-made acoustical bamboo
and string instruments and drums,
pentatonic scales, narrow melodic
range, and a bright and nasal vocal
quality
Asian characters wear white and
elaborately patterned makeup along
with colorful embroidered robes to
perform stylized plays with stories
of long ago, or about family life
Asian superior craftsmanship,
representational, stylized images of
people and nature created to match an
ideal; narrative depiction of history
and culture; may emphasize line and
flat areas of color
African movements generally low

and grounded, using body
contractions, foot stamping,
percussive and swinging head and
arm movements; always rhythmic,
often energetic; ceremonial; religious
and secular events occurring in
everyday life; may use
costumes/masks
African functional music that is

participatory; instruments include a
variety of bells, drums, and rattles;
characterized by percussive and
polyrhythmic sounds that often use
improvisation
African actors wear carved

masks and perform rituals based on
everyday activities
African ceremonial and functional

objects; handmade with natural
materials; masks/sculptures show
exaggerated, stylized features of
people and animals, jewelry and
printed cloth use bright, bold,
geometric designs
387
DANCE
MUSIC
THEATRE
VISUAL ARTS
Native American dances may vary

in movement from tribe to tribe;
generally, dances affecting people in
everyday life use large groups; use
simple, repetitive steps and
music/singing; women dance for
womens activities, e.g., birth,
marriage, planting; men dance for
mens activities, e.g., coming of age,
war, hunting; dances usually tell
stories and can be narrated
simultaneously; solo work can explain
a tribal myth or tradition or carry on a
history of the tribe; solos are usually
performed with costumes and makeup
Native American functional music

that celebrates the cultural heritage of
the Native American; drums and rattles
are the predominant instruments that
accompany the voice; the only pure
instrumental music is for flutes and
whistles; the steady beat of the drum
does not always match the beat of the
song; there is no harmony
Native American story

tellers/dancers may wear traditional
Regalia while performing for an
audience; Regalia may include
beadwork, feathers, and body
painting depending on region or
tribal affiliation
Native American functional art

celebrating the cultural heritage of the
Native American; regional
characteristics: southwest (geometric,
Kachina); plains (narrative symbols);
northwest coast (animal totems)
388
DANCE
HISTORICAL PERIODS:
American/Colonial dances adapted
from European culture to the new
environment; examples of dances
include gavottes, minuets, marches,
jigs, circle group dances, and folk
dances
American/Western Expansion
square and reel dance forms evolved;
the Grand March and the Polonaise
were used at ceremonial balls; the
mazurka and polka were danced in
couples
American/Civil War waltz and
country dances were popular
Classical tap and soft-shoe dances

were developed during the 1750 to
1820 time period
th
Modern 20 century dance

characterized by freedom of
movement and performed barefoot
MUSIC
HISTORICAL PERIODS:
American/Colonialfolk songs adapted
from European cultures
cowboy songs, work songs and folk
songs
American/Civil War spirituals and

work songs
Classical specifically refers to

European music composed from about
1750 to 1820 that borrows from Art
Historys neoclassical period focusing
on unity, balance and ideas of realism
th
Modern 20 century innovative forms

and combinations of sounds
THEATRE
HISTORICAL PERIODS:
American/Colonial Began with
British companies touring the
colonies with English-style plays;
developed into plays written by
Americans with typically American
characters
troupes of actors traveled by
wagons and showboats to perform
for people in the expanding
American West
American/Civil Warmelodramas
became the predominant theatrical
form; American themes and/or
spectacular plays once again
became popular
Classical the first formal theatre
came from ancient Greece; Thespis
was the first actor to step from a
chorus of actors to speak individual
lines
VISUAL ARTS
HISTORICAL PERIODS:
American/Colonial Real looking
paintings/sculptures of portraits and
history based on European art.
Architecture: styles brought by
colonists from European villages
Idealized, symbolic landscapes show
images of American wilderness;
architecture: rebellion against English
styles, Roman domes and columns
symbolize democracy
American/Civil War realistic
painting/ sculpture/ photography
document current history;
architecture: industrial barons base
homes on European castles
Classical realistic figure sculpture
based on ancient Greek and Roman
art; architecture: Greek and Roman,
elements: columns, arch, and dome
Modern the director emerged as

the dominant force; realism is the
predominant style with most theatre
being very lifelike
Modern 20th century abstract and

non-objective styles; the subject
matter is the elements and principles
of art; architecture: reaction against
historical styles, form follows
function
389
DANCE
Composition a grouping of
movements to form a dance
Forms methods of choreography; 2part form (AB), 3-part form (ABA),

Rondo (ABACA), theme and
variations, free sequential forms
Balance ability to remain upright
Criticism and Analysis Strand

MUSIC
THEATRE
Composition an original work or
Book play manuscript; in musical
opus
productions the libretto without the
music
Manuscript (Script) written or
typed play, or the book of a musical
(usually used in rehearsal)
Form overall structure or organization Form structure of a play, e.g.,
scenes and acts
of a musical composition may
incorporate repetition, contrast, unity
and variety
Call and response a song style that
follows a simple question and answer
pattern in which a soloist calls out the
melody and a group responds
Canon composition for two or more
voices in which one voice enters after
another in exact imitation of the first,
similar to a round
Balance sounds adjusted to create
Balance equalization of stage
desired effect
picture including placement of
characters and set pieces on the
stage
390
VISUAL ARTS
Composition arrangement of
elements and principles
Form three-dimensional or illusion

of 3D
Geometric forms with
mathematical names
Organic living things forms
Balance arrangement with equal

visual weight on both sides of a
position
Asymmetrical/Informal two sides
of a composition have the same visual
weight but the lines, shapes and
colors are not the same
DANCE
Space a dancer moves in and
through space
Dynamics movements determined

by the amount of energy, e.g.,
sustained, percussive, vibratory
Contrast the use of different
elements of movement, e.g., high
movement versus low levels; fast
versus slow actions
Tempo speed of the movements
MUSIC
Space
a) relationship between sound and
silence
b) lines and spaces on a staff
THEATRE
Space where the actors are
located on the stage
VISUAL ARTS
Symmetrical/Formal 2 sides of a
composition are identical, mirror
images
Proportion the size

relationships of parts to a whole
and to each other
Dynamics the volume of sound; the

loudness or softness of a musical
passage
Contrast referring to extremes in each
element, e.g., pitch, rhythm, dynamics,
timbre
Dynamics relationship of loud to

soft in the actors speech, intensity
Steady beat a consistent and regular

pulse
Tempo speed of the underlying beat
Ritardando/Ritard a gradual slowing
Pace the timing of lines and stage

business (not to be confused with
speed)
Contrast variation used to

heighten interest in dramatic
construction and acting
391
Space the distance around and

between things; area that can be filled
with an art element
Perspective a way of making a flat
surface look as if it goes back in
space; illusion of depth
Foreground area in twodimensional artwork that appears
closest to the viewer, usually
positioned at the bottom of the
artwork
Background the part of a twodimensional artwork farthest from the
viewer, usually closest to the horizon
line
Positive space the object itself; is
there
Negative space the areas around the
object; is not there
Color Intensity brightness or
dullness of hue
Contrast a difference between
elements in a work of art
DANCE
Rhythm the movement with or
against sound in time
of tempo; abbreviate as rit

Accelerando to gradually accelerate
(get faster) in tempo
MUSIC
Rhythm combinations of long and
short sounds and silences that convey a
sense of movement
Line linear motion, unspoken (sing
the line)
Melody horizontal, linear aspect of
music; organized succession of pitches
Pitch measured and named number of
vibrations per second; heard as a sound
from high to low; wave lengths in sound
Scale the series of steps from one
pitch to another
Timbre unique quality of a voice or
instrument
Tone Quality dark or light quality of
sound
THEATRE
VISUAL ARTS
Beat change of interpretation in a

thought process; the ending of one
thought process and the beginning
of another
Line linear motion, speech to
speeches in a play
Movement stage movement;
blocking; moving from one stage
area to another
Pitch raise or lower the voice
according to the musical scale
Inflection vocal modulation,
variety in pitch
Acoustics the quality of sound
transmission within a theater
Quality unique sound of the
actors voice
Voice projection control of the
voice so that even those in the last
row of the house can hear and
understand every word
Rhythm visual movement created

by repetition
392
Line path of a moving dot

Movement path of viewers eye as
it travels around a composition
Hue - measured and named qualities
of light
Color - reflected quality of a surface
based on pigment or light,
wavelengths in light
Value steps from white through
gray to black; value scales are regular
intervals of values
Tint light value of a color, made by
mixing white with the color
Shade the dark value of a color,
made by mixing black with the color
Color intensity brightness or
dullness of a hue
Color Wheel colors of the rainbow
turned into a circle
Cool Colors colors around blue on
the color wheel; green, blue, violet
Warm colors colors around orange
on the color wheel; red, orange,
yellow
Primary colors the first colors from
which others are mixed; red, yellow,
blue
Secondary colors colors made
DANCE
MUSIC
THEATRE
when two primary colors are mixed;

orange, violet, green
VISUAL ARTS
Texture the density or scarcity of

movement in a dance; it can also be
used to describe movements such as
rough, smooth, etc.
Texture the character of the different

layers of sound in music
Solo one person only plays or sings
Duet two people play or sing
Trio three people play or sing
Quartet a combination of four voices
or instruments; also music written for
such an ensemble
Notation written symbols used to
identify the musical elements
Texture to add depth and tactile

qualities to scenery pieces
Texture the way a surface feels or

looks like it would feel.
Symbols abbreviations for stage

directions, movement and vocal
inflection
Harmony two or more pitches
occurring simultaneously; used in
musical theatre
Shape design of the structure that
is the set for a play
Symbol an image that stands for an

idea
Pattern/Stage Picture the

arrangement of actors on the stage
Repetition repeating a word,
phrase, movement or design
Accent use of a dialect
Emphasis a stressed word in a
line
Pattern repetition of line, shape,

and/or color
Symbols signs for parts of the body

used in dance notation
Harmony the sounding together of

two or more tones
Shape interesting and interrelated
arrangement of body parts of one
dancer; the overall visible appearance
of a group of dancers
Pattern repetition principle of
choreographic form based upon using
movements or phrases again in a work
Shape to perform a phrase musically
Accent an emphasized movement
Accent the emphasis placed on a beat
Ostinato a rhythmic or melodic

passage that is repeated continuously
Product/Performance Strand
Students will demonstrate the application of knowledge (see terms in History and Criticism sections of this document).
393
Harmony/Unity elements work

together in an artwork
Shape two-dimensional or flat
Geometric mathematical
Organic living things
Emphasis/Center of Interest part

of a composition that gets the most
attention
Graphic
Organizers
394
Easy Start Herringbone
1. Who is it about?
2. Where did it happen?
3. When did it happen?
MAIN IDEA
4. What happened?
5. How did it happen?
395
6. Why did it happen?
Compare and Contrast
Transition Words: different from, same as, instead of, on the other hand
396
TOPIC: _____________________________________________________________________
MAIN IDEA: ________________________________________________________________
_____________________________________________________________________________
MAJOR SUPPORTING DETAILS
1.
2.
3.
4.
5.
397
Suggested Graphic Organizer for Cause and Effect
Cause
Effect
Effect
Effect
Effect
Transition Words: because, since, so that, if/then
398
Chronological/Sequence
Event 1
Event 3
Event 2
Transition Words: First, second, then, after, next etc.
399
Event 4
Problem/Solution
Problem
Transition Words: One answer is, the question is, the problem,
400
STORY MAP (CHART)

(Isabel Beck)
The Character:
The setting:
Statement of the Problem:
Event 1:
Event 2:
Event 3:
Event 4:
Event 5:
Event 6:
Event 7:
Statement of the Solution:

Story Theme: (What is this story REALLY about?)
Values brought out in the story:
401
SEQUENCE CHAIN
402
Essay Organizer - Standard Outline

Introductory Paragraph
Thesis Statement:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
(Note: You are NOT limited to only 3 support paragraphs!)
Conclusion
(Emphasize Thesis)
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
403
Paragraph Organizer
Topic Sentence:
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concluding sentence:
404
Essay Organizer Standard Outline

Paragraph 1 Introduction:
Main Idea/ Thesis:
Paragraph 2 Concrete Detail

commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________

commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 5 Conclusion
405

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ROCKWOOD

We do whatever it takes to ensure all students realize their potential

May, 2002 Theatre Arts 6-12 Approved by Board of Education

Middle School Writing Committee Theatre Arts Teachers

ROCKWOOD SCHOOL DISTRICT MISSION STATEMENT

ROCKWOOD SCHOOL DISTRICT LEARNER EXPECTATIONS

With positive self-worth

Who demonstrate critical thinking and

Who demonstrate verbal,

Who demonstrate the

Who can utilize community

Who think and express

With skills and attitudes

Who have a broad

Who understand the value of

Who understand and

Who understand the principles

Who understand and

With effective skills in written

Who demonstrate individual

DIFFERENTIATION AND THEATRE ARTS

ACCELERATION AND THEATRE ARTS

BASIC AND ESSENTIAL SKILLS

EQUITY IN TEACHING THEATRE ARTS

Department of Curriculum and School Leadership

ROCKWOOD THEATRE ARTS RATIONALE

ROCKWOOD THEATRE ARTS GOALS FOR GRADUATES

IMPLEMENTATION GUIDELINES AND EXPECTATIONS

Expectations for Audience Etiquette, Grades 6-12

Arrive early, having taken care of personal needs.

Turn off all electronic devices.

Bring no food, candy, or beverages into theatre spaces.

Be considerate of those around you.

Focus on the performance.

Careers in Theatre Arts

CORE CONCEPTUAL OBJECTIVES FOR GRADES 6-12 THEATRE ARTS

Scope and Sequence of

THEATRE ARTS SCOPE AND SEQUENCE FOR CCOI

CCO I. Students will create theatrical productions/performances.

Grade Seven-Acting and

Act as a character different from self in a performance for an

Grade Eight-Theatre Arts

Perform an acting/technical role in an ensemble performance for an

Theatre Arts I - Actor's Studio

Memorize and perform a character for a scene.

Theatre Arts II Theatre

Perform a script for an audience.

Theatre Arts III - Director's

Theatre Design and Technology

Direct other students in a performance.

THEATRE ARTS SCOPE AND SEQUENCE FOR CCOII

CCO II. Students will apply knowledge of theatrical elements.

Write a scene with technical plots for each element.

CCO II. Students will apply knowledge of theatrical elements.

Grade Six Introduction to

Develop and perform a pantomime communicating information

Grade Seven - Acting and

Perform a memorized script creating a character based on given

Grade Eight -Theatre Arts

Perform a scene using blocking.

Theatre Arts I Actors Studio

Demonstrate acting techniques developed by Stanislavski, Meisner,