SAMPLER

NEW 2015 edition

 Basic Drama Projects, 9th Edition
Technical Theatre Consultant
The Editors are indebted to Dana Taylor, director
Elaine Malone
Drama Teacher
of technical theatre and vocal music at Mt. Vernon Durham Academy
High School Fine Arts Academy in Mt. Vernon, Durham, North Carolina
Indiana, and Technical Editor for Dramatics and
The pages in this sampler
are taken from the
Sampler Table of Contents
Teaching Theatre magazines. Mr. Taylor is also a
recipient of the Distinguished Achievement Award
Carmen McElwain
Drama Teacher
Basic Drama Projectsin Education from the United States Institute for
Introduction—Welcome to Drama
Plano, Texas Class!...................................... v
Theatre
Annotated Teacher’s Edition Technology. Mr. Taylor provided expert con-
sultation and writing for the expanded Technical
to illustrate the features Student
Theatre unit in the 9th Edition Edition
of Basic DramaTable ofKim Rubinstein
Contents.......................................... vi–xv
Professor of Theatre Arts
of the Student Edition
Projects. The Student Edition moves logically from the basics of theatre
University of California San Diego to a comprehensive collection
of monologues and scenes for practice and application of fundamental theatre skills.
as well as the extensive La Jolla, California
Review Board
teaching supportThe Editors also thank the Unit Opener
following Sampler—Unit
teachers who- Nan One:
ZabriskiBegin with the Basics............. 2–3
that makes helped create this book and who give tirelessly on
Each “Unit Opener” gives a preview of the
Professor of chapter
Theatreconcepts
Arts and projects and a dazzling
Basic Drama Projectsbehalf of theatre students around the captures
image that country. students’ interest.
De Paul University
a winner for teachers and Averill
Jeanne Chicago, Illinois
Drama
students alike. Teacher Chapter Sampler—Chapter 1: The Theatre and You................. 4–13
Lawrence High School Students start each chapter with objectives and an explanation of the hands-on project
Student Actors
Lawrence, Kansas they will complete. The features
We would also1 like
in Chapter are typical
to thankof the
mostfollowing
chapters in the book.
• Project: Create and perform
student actors for their help in makingbased
a one- to three-minute presentation on three
the photo-
Tracy Boylan powerful personal memories.
graphic images in this book lively
Drama Teacher • On Your Feet Activity and instructive.
La Salle-Peru Township High
• School
Visual Cue
LaSalle, Illinois • The Language of TheatreEmmett Adler Lauren Gray
• From the Field Max Adler Yasmeen Kheshgi
Deborah Clark • Career Focus Stephon Albert Christa Koskosky
Drama Teacher • Additional Projects Gail Amornpongchai Lizzie Laundy
Hollywood Hills High School
• Theatre Journal Paige Azuma Henry Marcus
• Substitute Teacher Calvin Baptiste, Jr.
Activities Mghnon Martin
Hollywood, Florida
Bryan D. Blaney Tatyana Pramatarova
Peter Bloom Alex Rosenfield
Robert Kallos ADDITIONAL CHAPTER FEATURES Elaine Coladarci Isaac Simpson
Drama Teacher
Theatre Then and Now.....................................................
Amanda Georgantas Eileen Spangler264–265
The Galloway School
Alex Goode Hilary
Cultural Heritage............................................................. Ubando 332–333
Atlanta, Georgia
Master of the Craft..........................................................
Additional thanks go to Lost Era Costumes, 406–407
Andrea Kidd Historical Timeline........................................................... 426–427
Chicago, Illinois, for their generous help in costum-
Drama Teacher ing; Joe Silvestri of Lake Forest Academy for allow-
Pembroke Pines Charter High School ing use of theatre space and student models;
Pembroke Pines, Florida
Scenes.............................................................................490-491
Shauna Thieman of Western Michigan University
An extensive collection of scenes representing
Theatre Department,a wideLeevariety of genresfrom
Ann Bakros and the
styles
Desoffers
choice and flexibility in interpreting and experimenting with scripted
Moines Community Playhouse, and Christina Faisonproductions.
of North High in Des Moines, Iowa, for the use of
Technical Theatre—Unitphotographs Five...........................................
from their productions. 228–229
Provides an overview of all the technical elements that go into the making of a successful
iv production including a new chapter dedicated to Set Construction and updated by
Dana Taylor, an award-winning technical theatre educator and the Technical Editor
for Dramatics and Teaching Theatre magazines.

w: perfectionlearning.com Student Handbook Sampler—Unit Nine.....................................556

A Student Handbook at the end of the text extends and adds detail to the skills and concepts
ph: (800) 831-4190
in the chapters.
f: (800) 543-2745
 Welcome to We think you’re going to enjoy your stay!
Basic Drama Projects offers you just what the name sug-
Drama Class! gests: engaging, challenging, creative, and fun projects
that provide an introduction to theatre basics. Here are
hands-on, action-packed assignments—from improv and
character development to writing and directing to creating
props and planning and building sets. Basic Drama
Projects also provides a collection of monologues and
scenes for performance as well as a handbook for all
aspects of theatrical production.

Success in this class will not necessarily lead to a starring

role on Broadway or a career in costume design or sound
engineering. Instead, it is a place where you can tap
into your own creativity, gain self-confidence, and
experience working collaboratively with others. You
will discover that working in the theatre almost
always means being part of a team.

This is a class where teamwork and dependability aren’t

just words—they are tools of the trade. And speaking of
words, whether your first language is English or another
language, the feature in this book called "The Language of
Theatre" will help you develop a working vocabulary for
the world of theatre. As you gain a broader theatre
background, you will also develop other skills that have
application to college and careers in and beyond the theatre.
You will learn to become a critical listener and viewer and a
creative problem solver—qualities that will serve you well
no matter where your future takes you.

v
 Contents
Contents
Introduction:
Introduction: Welcome
Welcometo
toDrama Class!. . . . . . . . . . . . . . . . . . . . . . . . .
DramaClass! vv

Unit
Unit Begin
Beginwith
withthe
theBasics
Basics. . . . . . . . . . . . . . . . . . . . . . . . 22

One
One Chapter
Chapter11 The
TheTheatre
Project:Create
Project:
Theatreand
Createand
You. . . . . . . . . . . . . . . . .
andYou
andPerform
Performa aPresentation
PresentationofofMemories Memories
44

Career Focus:Overview.
CareerFocus: Overview.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1010
Chapter
Chapter22 Warm Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
WarmUp 14
Project:Create
Project: Createand
andPerform
Performa aWarm-up
Warm-upRoutine Routine
Spotlight on:Stage
Spotlighton: StageFright
Fright. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2020
Chapter Observation. . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Chapter33 Observation 22
Project:Give
Project: Givea aDetailed
DetailedDescription
DescriptionofofananObject Object
Spotlight on:Peer
Spotlighton: PeerEvaluation.
Evaluation.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2626
Theatre
TheatreThen
Thenand Now:Stanislavski’s
andNow: Stanislavski’sSystem/The
System/TheActors ActorsStudio.
Studio.. . . 2828
Chapter Pantomime. . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Chapter44 Pantomime 30
Project:Plan
Project: PlanandandPresent
Presenta aPantomime
PantomimeofofananActivity
Activity
Master
Masterofofthe Craft:Marcel
theCraft: MarcelMarceau
Marceau. . . . . . . . . . . . . . . . . . . . . . . . . 3939
Cultural
CulturalHeritage:
Heritage:
Japanese
JapaneseKabuki
KabukiTheatre/Asian
Theatre/AsianAmerican
AmericanTheatre Theatre. . . . . . . . . . . . 4040
Chapter Improvisation.. . . . . . . . . . . . . . . . . . . . . . . . . 42
Chapter55 Improvisation
Improvisation.
Improvisation 42
Project:Improvise
Project: Improvisea aScene
Scenewith
witha aPartner
Partner
Career Focus:The
CareerFocus: TheImprov
ImprovGroup.
Group.. . . . . . . . . . . . . . . . . . . . . . . . . . . 4444
Spotlight on:Experimentation
Spotlighton: Experimentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4646
Theatre
TheatreThen
Thenand
andNow:
Now:
Improvisation
Improvisationininthe
the1500s/Improvisation
1500s/ImprovisationToday Today. . . . . . . . . . . . . . . 4848
Unit
UnitOne Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
OneReview 50

vivi

vi
 Unit
Unit Elements
Elementsof
ofActing
Acting. . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
52

Two
Two Chapter
Project:
Movement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Chapter66 Movement
Project:Plan
Planand
andPresent
PresentStage
StageMovement
Movementfor
fora aScene
Scene
54

Spotlight on:The
Spotlighton: TheRules
RulesofofStage
StageMovement
Movement. . . . . . . . . . . . . . . . . . . 5959
Theatre
TheatreThen
Thenand Now:Ritual
andNow: RitualDance
DanceMovement/Modern
Movement/ModernMovement Movement. . 6262
Chapter
Chapter77 Stage Directions. . . . . . . . . . . . . . . . . . . . . . 64
StageDirections 64
Project:Plot
Project: Plotand
andExecute
ExecuteThree
ThreeStage StageCrosses
Crosses
Spotlight on:Taking
Spotlighton: TakingYour
YourBows
Bows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7070
Theatre
TheatreThen
Thenand Now:The
andNow: TheActor
ActorOnstage—Ancient
Onstage—AncientArenas/ Arenas/
Today’s
Today’sIntimate
IntimateSpaces
Spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7272
Chapter
Chapter88 Voice
VoiceProduction
Productionand Articulation. . . . 74
andArticulation 74
Project:Perform
Project: Performa aVocal
VocalExercise
Exercise
Career Focus:Voice-over
CareerFocus: Voice-overActor
Actor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8181
Master
Masterofofthe Craft:John
theCraft: JohnLeguizamo:
Leguizamo:Man ManofofMany ManyVoicesVoices. . . . . . . 8383
Theatre
TheatreThen
ThenandandNow:
Now:
Storytellers
StorytellersAcross
AcrossTime—The
Time—TheGriot/The
Griot/TheMoth Moth. . . . . . . . . . . . . . 8484
Chapter
Chapter99 Ensemble Work.. . . . . . . . . . . . . . . . . . . . . . . 86
EnsembleWork. 86
Project:Perform
Project: PerformananImprovised
ImprovisedScene SceneasasananEnsembleEnsembleMember Member
Career Focus:Stage
CareerFocus: StageActor.
Actor.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9090
Spotlight
Spotlighton:
on:Roles,
Roles,Responsibilities,
Responsibilities,and andProduction
ProductionEtiquetteEtiquette. . . 9191
Cultural Heritage:English
CulturalHeritage: EnglishandandEuropean
EuropeanEnsembles/
Ensembles/
Diverse
DiverseU.S.
U.S.Ensembles.
Ensembles.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9494

Unit
UnitTwo Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
TwoReview 96

Unit
Unit Creating
CreatingaaCharacter
Character. . . . . . . . . . . . . . . . . . . . . . . . . . 98
98

Three
Three Chapter
Chapter10
10 Character
Project:Create
Project:
Analysis. . . . . . . . . . . . . . . . . . 100
CharacterAnalysis
CreateCharacters
Charactersand andImprovise
Improvisea aScene
100
Scenewith witha aPartner
Partner
Theatre
TheatreThen
Thenand Now:Ibsen
andNow: Ibsenand andMiller—Appointment
Miller—Appointment
with
withHumanity.
Humanity.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
110
Chapter
Chapter11
11 Character Development.. . . . . . . . . . . . 112
CharacterDevelopment. 112
Project:Use
Project: UseCharacterizations
Characterizationsinina aGroup
GroupScene
Scene
Spotlight on:Cues,
Spotlighton: Cues,Cue
CuePickup,
Pickup,andandMemorization
Memorization. . . . . . . . . . . . . 118
118
Theatre
TheatreThen
Thenand Now:Elizabethan
andNow: ElizabethanDrama
DramatotoEpic
EpicTheatre
Theatre. . . . . . 122 122

viivii

vii
 Contents
Contents
Chapter
Chapter12
12 Dramatic Roles. . . . . . . . . . . . . . . . . . . . . . 124
DramaticRoles 124
Project:Write
Project: WriteandandPerform
Performa aDramatic DramaticScene Scenewith witha aPartner Partner
Spotlight on:The
Spotlighton: TheWorst
WorstRomeo
RomeoEver. Ever.. . . . . . . . . . . . . . . . . . . . . . . . 131 131
Master
Masterofofthe Craft:Kenneth
theCraft: KennethBranagh. Branagh.. . . . . . . . . . . . . . . . . . . . . . . 133 133
Theatre
TheatreThen
Thenand Now:A ARole
andNow: Rolefor forAll AllEras—Hamlet,
Eras—Hamlet,
Prince
PrinceofofDenmark.
Denmark.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 134
134
Chapter
Chapter13
13 Comic Roles. . . . . . . . . . . . . . . . . . . . . . . . . 136
ComicRoles 136
Project:Write
Project: WriteandandPerform
Performa aComic
ComicMonologue
Monologue
Master
Masterofofthe Craft:Lily
theCraft: LilyTomlin
Tomlin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
143
Cultural Heritage:Comic
CulturalHeritage: ComicPlaywrights—Comedy
Playwrights—Comedyand andFrance's
France's
ClassicalAge/Yiddish
ClassicalAge/YiddishTheatre
Theatreand
andItsItsHeirs
Heirs. . . . . . . . . . . . . . . . . . 144 144

Unit
UnitThree Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
ThreeReview 146

Unit
Unit Chapter
The
ThePlay:
Play:From
FromVision
Visionto toReality
Reality. . . . . . . . . . . 148 148

Four
Four Chapter14
14 The
ThePlaywright
Playwright
Project:Write
Project: Writeand
. . . . . . . . . . . . . . . . . . . . . . . 150
andPresent
Presenta aScenario
Scenariofor fora aPlay
Play
150

Spotlight on:Collaboration.
Spotlighton: Collaboration.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
159
Master
Masterofofthe Craft:August
theCraft: AugustWilson—Master
Wilson—MasterPlaywright Playwright. . . . . . . . . 161 161
Cultural Heritage:Early
CulturalHeritage: EarlyPlaywrights:
Playwrights:West Westand andEast/Contemporary
East/Contemporary
U.S.
U.S.Playwrights
Playwrightsfrom
fromDiverse
DiverseCultures.
Cultures.. . . . . . . . . . . . . . . . . . . . 162 162
Chapter
Chapter15
15 The
TheDirector
Directorand Producer.. . . . . . . . . . 164
andProducer. 164
Project:Analyze
Project: Analyzea aPlay
Playand
andGive
Givea aPresentation
Presentation
Spotlight on:The
Spotlighton: TheDramaturg
Dramaturg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169169
Career Focus:Stage
CareerFocus: StageDirector
Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
174
Master
Masterofofthe Craft:Peter
theCraft: PeterBrook
Brook. . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 177
Theatre
TheatreThen
Thenand Now:The
andNow: TheEvolution
Evolutionofofthe the“Director”—
“Director”—
Pioneering
PioneeringDirectors/Hal
Directors/HalPrince:
Prince:Broadway
BroadwayInnovatorInnovator . . . . . . . . 178 178
Chapter
Chapter16
16 The Cast. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
TheCast 180
Project:Create
Project: Createand
andDiscuss
Discussa aRehearsal
RehearsalScheduleSchedule
Spotlight on:The
Spotlighton: TheAudition
Audition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
183
Career Focus:Casting
CareerFocus: CastingDirector
Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 189
Theatre
TheatreThen
Thenand Now:A ALeading
andNow: LeadingLady LadyofofHis HisTime—Edward
Time—Edward
Kynaston/A
Kynaston/ALeading
LeadingLady
LadyofofOur OurTime:Time:Cherry
CherryJones. Jones.. . . . . . . . . 180 180

viii
viii

viii
 Chapter
Chapter17 Blocking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
17 Blocking 196
Project:Block
Project: Blocka aScene
SceneInvolving
InvolvingMoreMorethan thanOne OneActorActor
Spotlight on:Stage
Spotlighton: StageCombat
Combat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
207
Master
Masterofofthe Craft:Anne
theCraft: AnneBogart
Bogart. . . . . . . . . . . . . . . . . . . . . . . . . . . . 209209
Theatre
TheatreThen
Thenand Now:The
andNow: TheAncient
AncientGreek GreekChorus/A
Chorus/AChorus ChorusLine Line. .. .210
210
Chapter
Chapter18
18 Review Play.. . . . . . . . . . . . . . . . . . . . . . . 212
ReviewaaPlay. 212
Project:Give
Project: Givea aTalk
TalkShow
ShowPresentation
PresentationAbout Abouta aTheatre
TheatreProduction
Production
Spotlight on:Audience
Spotlighton: AudienceParticipation
Participation. . . . . . . . . . . . . . . . . . . . . . . . . 215 215
Career Focus:Theatre
CareerFocus: TheatreCritic.
Critic.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
219
Theatre
TheatreThen
Thenand Now:The
andNow: TheRoman
RomanAudienceAudienceinin200 200A.AD../D./
AnAnOff-Broadway
Off-BroadwayAudience
AudienceToday
Today. . . . . . . . . . . . . . . . . . . . . . . . . . 224 224

Unit
UnitFour Review.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
FourReview. 226

Unit
Unit Technical
TechnicalTheatre
Theatre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
228

Five
Five Chapter
Chapter19
19 Set Design. . . . . . . . . . . . . . . . . . . . . . . . . . . 230
SetDesign
Project:Create
Project: Createand
andPresent
Presenta aSet
SetDesign
Design
230

Master
Masterofofthe Craft:G.G.W.W.“Skip”
theCraft: “Skip”Mercier
Mercier. . . . . . . . . . . . . . . . . . . . . 243
243
Theatre
TheatreThen
Thenand Now:Staging
andNow: StagingThrough
Throughthe theAges—
Ages—
Early
EarlyMechanics/Current
Mechanics/CurrentTechnology.
Technology.. . . . . . . . . . . . . . . . 244 244
Chapter
Chapter20
20 Set Construction. . . . . . . . . . . . . . . 246
SetConstruction 246
Project:Create
Project: CreateananInstructional
InstructionalGuide GuideononSet SetConstruction
Construction
Spotlight on:The
Spotlighton: TheImpact
ImpactofofLive
LiveTheatre.
Theatre.. . . . . . . . . . . . . . . 262 262
Theatre
TheatreThen
Thenand Now:Virtual
andNow: VirtualSets—From
Sets—FromMagic MagicLanterns
Lanterns
totoProjected
ProjectedDigital
DigitalSets
Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
264
Chapter
Chapter21 Lighting. . . . . . . . . . . . . . . . . . . . . . . . . 266
21 Lighting 266
Project:Create
Project: Createand
andPresent
Presenta aLighting
LightingPlanPlan
Spotlight on:Color
Spotlighton: ColorTemperature
Temperature. . . . . . . . . . . . . . . . . . . . . . 273
273
Career Focus:Lighting
CareerFocus: LightingDesigner
Designer. . . . . . . . . . . . . . . . . . . . . . 280
280
Theatre
TheatreThen
Thenand Now:Let
andNow: LetThere
ThereBeBeLight—
Light—
From
FromCandles
CandlestotoComputers
Computers. . . . . . . . . . . . . . . . . . . . . . . . 284
284

ixix

ix
 Contents
Contents
Chapter
Chapter22 Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
22 Sound 286
Project:Create
Project: Createa aSound
SoundEffects
EffectsCue
CueSheet
Sheetand andRecording
Recordingwith witha aPartner
Partner
Career Focus:Sound
CareerFocus: SoundTechnician
Technician. . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
294
Theatre
TheatreThen
Thenand Now:Sound
andNow: SoundEffects
EffectsThrough
ThroughTime— Time—
Early
EarlyThunder
Thundertotothe
theSounds
SoundsofofToday.
Today.. . . . . . . . . . . . . . . . . . . . . 296 296
Chapter
Chapter23 Costumes. . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
23 Costumes 298
Project:Prepare
Project: Prepareand
andPresent
PresentCostume
CostumeDesigns Designsfor fora aCharacter
Character
Career Focus:Costume
CareerFocus: CostumeDesigner
Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . 309309
Master
Masterofofthe Craft:Julie
theCraft: JulieTaymor.
Taymor.. . . . . . . . . . . . . . . . . . . . . . . . . . . 311 311
Theatre
TheatreThen
Thenand Now:The
andNow: TheArt
ArtofofCostuming—
Costuming—
The
TheMiddle
MiddleAges/Today
Ages/Today. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
312
Chapter
Chapter24 Makeup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
24 Makeup 314
Project:Apply
Project: ApplyCharacter
CharacterMakeup
Makeupand andDiscuss
Discussthe theProcess
Process
Spotlight on:The
Spotlighton: TheMakeup
MakeupMorgue
Morgue. . . . . . . . . . . . . . . . . . . . . . . . . . . 323 323
Career Focus:Makeup
CareerFocus: MakeupArtist.
Artist.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
330
Cultural Heritage:The
CulturalHeritage: TheActor’s
Actor’sFace—Ancient
Face—AncientAsia/ Asia/
The
TheMany
ManyFaces
FacesofofDiverse
DiverseAmerica
America. . . . . . . . . . . . . . . . . . . . . . . . 332 332
Chapter
Chapter25 Props. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
25 Props 334
Project:Create
Project: Createand
andDescribe
Describea aProp
PropPlot Plotfor fora aPlay
Play
Career Focus:Properties
CareerFocus: PropertiesMaster.
Master.. . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
341
Theatre
TheatreThen
Thenand Now:Symbolic
andNow: SymbolicPropsPropsAcross
AcrossTime/ Time/
Japanese
JapaneseNoh/20th
Noh/20thCentury
Century. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
344

Unit
UnitFive Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
FiveReview 346

Unit
Unit Theatre
Theatreand
andIts
ItsCounterparts
Counterparts. . . . . . . . . . . . . . . 348
348

Six
Six Chapter
Chapter26
26 Musical
Project:Create
Project: Createand
Theatre. . . . . . . . . . . . . . . . . . . . . 350
MusicalTheatre
andPresent
Presenta aProposal
Proposalfor fora aNew
NewMusical
Musical
350

Career Focus:Choreographer.
CareerFocus: Choreographer.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
356
Master
Masterofofthe Craft:Andrew
theCraft: AndrewLloyd
LloydWebber
Webber. . . . . . . . . . . . . . . . . . . . 363 363
Cultural Heritage:The
CulturalHeritage: TheCommon
CommonLanguage
LanguageofofMusic— Music—
Peking
PekingOpera/Diversity
Opera/DiversityininAmerican
AmericanMusical
MusicalTheatreTheatre. . . . . . . . . 364 364

xx

x
Chapter
Chapter27
27 Other
OtherTheatre Forms. . . . . . . . . . . . . . . . 366
TheatreForms 366
Project:Take
Project: TakePart
Partinina aPoetry
PoetrySlam
Slam
Career Focus:Stage
CareerFocus: StageManager
Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
370
Master
Masterofofthe Craft:Marc
theCraft: MarcSmith—The
Smith—The“Slampapi”.
“Slampapi”.. . . . . . . . . . . . . 375 375
Theatre
TheatreThen
Thenand Now:Puppetry
andNow: Puppetryfor forAllAllTime—
Time—
Bunraku/Bread
Bunraku/Bread&&PuppetPuppetTheatre
Theatre. . . . . . . . . . . . . . . . . . . . . . . . . 376 376
Chapter
Chapter28 Film. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
28 Film 378
Project:Write
Project: Writeand
andPresent
Presenta aFilm
FilmReview
Reviewwith witha aGroupGroup
Spotlight on:Changing
Spotlighton: ChangingElements
Elementsand andCommunication
CommunicationininFilm Film. . . 389 389
Master
Masterofofthe Craft:Spike
theCraft: SpikeLee
Lee. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
391
Theatre
TheatreThen
Thenand Now:Poem
andNow: PoemtotoPlayPlaytotoFilm Film . . . . . . . . . . . . . . . . 392 392
Chapter
Chapter29 Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
29 Television 394
Project:Write
Project: Writeand
andDiscuss
DiscussananOutline
Outlinefor fora aTelevision
TelevisionEpisode Episode
Career Focus:Cameraperson
CareerFocus: Cameraperson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 402
Spotlight on:Reality
Spotlighton: RealityTV
TV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
405
Master
Masterofofthe Craft:David
theCraft: DavidSimon.
Simon.. . . . . . . . . . . . . . . . . . . . . . . . . . . 407 407
Theatre
TheatreThen
Thenand Now:Theatre
andNow: Theatreand andTelevision—The
Television—TheOdd OddCouple.
Couple.. .. .408408
Chapter
Chapter30
30 Electronic Media. . . . . . . . . . . . . . . . . . . . 410
ElectronicMedia 410
Project:Create
Project: Createand
andPresent
Presenta aFuturistic
FuturisticScene
SceneUsing UsingTechnology
Technology
Spotlight on:Digital
Spotlighton: DigitalConvergence
Convergence. . . . . . . . . . . . . . . . . . . . . . . . . . . 418
418
Cultural Heritage:The
CulturalHeritage: TheDigital
DigitalDivide
Divide. . . . . . . . . . . . . . . . . . . . . . . . . 420
420

Unit
UnitSix Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
SixReview 422

xixi

xi
 Contents
Unit
Unit Exploring
Exploring Drama
Drama and
and Theatre
Theatre History
History.. .. .. 424
424

Seven PART
PART ONE
Early
ONE The
The Dawn
Dawn of
Early Peoples,
Theatre .................................. 426
of Theatre
Peoples, Egyptian
Egyptian and and Hebrew
Hebrew Theatre
426
Theatre .................................. 428
428
Greek
Greek Theatre
Theatre .................................................................................... 430
430
Roman
Roman Theatre
Theatre .................................................................................. 435
435
Chinese
Chinese Theatre.
Theatre................................................................................. 437
437
Japanese
Japanese Theatre
Theatre................................................................................ 439
439
Hindu
Hindu Theatre
Theatre.................................................................................... 441
441
Suggested
Suggested Projects
Projects ............................................................................ 443
443
PART
PART TWOTWO The The Middle
Middle Ages Ages to 1800 ........................
to 1800 444
444
Medieval
Medieval Theatre
Theatre................................................................................ 446
446
Renaissance
Renaissance Theatre
Theatre .......................................................................... 448
448
Elizabethan
Elizabethan Theatre
Theatre .......................................................................... 451
451
Restoration
Restoration and
and 18th-Century
18th-Century Theatre Theatre ............................................ 457
457
Suggested
Suggested Projects
Projects ............................................................................ 459
459
PART
PART THREE
THREE 1800 1800 to to the Present................................
the Present 460
460
Multicultural
Multicultural Heritage
Heritage of of the
the United
United States.
States..................................... 462
462
Continental
Continental Theatre
Theatre in
in the
the 19th
19th Century
Century ........................................ 464
464
American
American Theatre
Theatre inin the
the 19th
19th Century
Century ............................................ 466
466
Theatre
Theatre in
in the
the 20th
20th Century
Century and and Beyond.
Beyond......................................... 467
467
Suggested
Suggested Projects
Projects ............................................................................ 473
473

xii
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xii
 Unit
Unit The
The Studio:
for
Studio: Monologues
for Study
Study and
Monologues and
and Scenes
and Performance
Scenes
Performance .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 474
474

Eight How
How to
to Use
Use These
These Monologues
Monologues.......................................................... 477
477
Monologues
Monologues for
for a Woman.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 478
a Woman 478
Romeo
Romeo and Juliet by
and Juliet by William
William Shakespeare
Shakespeare ...................................... 478
478
Saint Joan by
Saint Joan by George
George Bernard
Bernard Shaw
Shaw ................................................ 478
478
“Trudy”
“Trudy” from
from The
The Search
Search for
for Signs
Signs of of Intelligent
Intelligent Life Life in in the
the
Universe by
Universe by Jane
Jane Wagner
Wagner .............................................................. 479
479
Clear
Clear Glass Marbles by
Glass Marbles by Jane
Jane Martin
Martin.................................................. 481
481
Real
Real Women
Women Have Curves by
Have Curves by Josefina
Josefina López.
López................................... 483
483
Monologues
Monologues for
for a Man .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 484
a Man 484
Hamlet by
Hamlet by William
William Shakespeare.
Shakespeare....................................................... 484
484
Cyrano
Cyrano de Bergerac by
de Bergerac by Edmond
Edmond Rostand
Rostand ........................................ 484
484
Death
Death of Salesman by
of aa Salesman by Arthur
Arthur Miller
Miller.............................. 485
485
The Drummerby
TheDrummer byAthol
AtholFugard
Fugard.......................................... 486
486
The Janitor by
The Janitor by August
August Wilson
Wilson .................................... 487
487
For
For More
More Practice
Practice ...................................................... 489
489

xiii
xiii

xiii
 Contents
Contents
Scenes
Scenesfor
forOne
OneMan
Manand
andOne Woman. . . . . . . . . . . 490
OneWoman 490
How
HowtotoUse
UseThese
TheseScenes
Scenes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
491
The
TheImaginary InvalidbybyMolière
ImaginaryInvalid Molière. . . . . . . . . . . . . . . . . . . . . . . . . . . 493 493
A ADoll’s HousebybyHenrik
Doll’sHouse HenrikIbsen,
Ibsen,translated
translatedbybyMichael MichaelMeyer Meyer. . . . . 495 495
Blood WeddingbybyFederico
BloodWedding FedericoGarcia
GarciaLorcaLorca. . . . . . . . . . . . . . . . . . . . . 497 497
Driving
DrivingMiss DaisybybyAlfred
MissDaisy AlfredUhry
Uhry. . . . . . . . . . . . . . . . . . . . . . . . . . . 500 500
FOBbybyDavid
FOB DavidHenry
HenryHwang
Hwang. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503503
Scenes
Scenesfor
forTwo Men.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
TwoMen. 506
The
TheImportance
ImportanceofofBeing EarnestbybyOscar
BeingEarnest OscarWildeWilde. . . . . . . . . . . . . . 506 506
You
YouCan’t
Can’tTake TakeItItwithwithYou YoubybyMoss MossHart Hartand andGeorge
GeorgeS.S.KaufmanKaufman. .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
508
“Dead
“DeadParrot”
Parrot”from fromThe TheComplete
CompleteMonty MontyPython’s
Python’s
Flying
FlyingCircusCircusbybyGraham GrahamChapman,Chapman,John JohnCleese,
Cleese,
Terry
TerryGilliam,
Gilliam,Eric EricIdle,
Idle,Terry
TerryJones,
Jones,and andMichael
MichaelPalin Palin. . . . . . . . . . 509509
The
TheGiverGiverbybyEric EricCoble
Coble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512 512
Scenes
Scenesfor
forTwo Women. . . . . . . . . . . . . . . . . . . . . . . . . . . 513
TwoWomen 513
OthellobybyWilliam
Othello WilliamShakespeare
Shakespeare. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 513
The
TheGlass MenageriebybyTennessee
GlassMenagerie TennesseeWilliams Williams. . . . . . . . . . . . . . . . . . . 516 516
The
TheEffect
EffectofofGamma
GammaRays RaysononMan-in-the-Moon
Man-in-the-MoonMarigolds MarigoldsbybyPaul Paul
Zindel
Zindel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
518
Jar
Jarthe FloorbybyCheryl
theFloor CherylL.L.West West. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521 521

xiv
xiv

xiv
 Scenes
Scenesfor
forMixed Groups. . . . . . . . . . . . . . . . . . . . . . . . . 522
MixedGroups 522
MacbethbybyWilliam
Macbeth WilliamShakespeare
Shakespeare. . . . . . . . . . . . . . . . . . . . . . . . . . . . 522 522
Blithe SpiritbybyNoël
BlitheSpirit NoëlCoward
Coward. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524 524
A ARaisin
Raisinininthe SunbybyLorraine
theSun LorraineHansberry.
Hansberry.. . . . . . . . . . . . . . . . . . . 528 528
The
TheActor’s NightmarebybyChristopher
Actor’sNightmare ChristopherDurang. Durang.. . . . . . . . . . . . . . . . 531 531
A AWaitress YellowstonebybyDavid
WaitressininYellowstone DavidMametMamet. . . . . . . . . . . . . . . . . . . . 535 535
A AStar
StarAin’t
Ain’tNothin’
Nothin’ButButa aHoleHoleininHeavenHeavenbybyJudi JudiAnn AnnMasonMason. . . . 539 539
“Baucis
“Baucisand
andPhilemon”
Philemon”from fromMetamorphoses
MetamorphosesbybyMary MaryZimmerman.
Zimmerman. 542 542
PromenadebybyMaria
Promenade MariaIrene
IreneFornes
Fornes. . . . . . . . . . . . . . . . . . . . . . . . . . . 544 544
IcarusbybyEdwin
Icarus EdwinSánchez
Sánchez. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548 548
Does
DoesMyMyHead
HeadLook
LookBig This?bybyJeff
BigininThis? JeffGottesfeld
Gottesfeld
and
andElizabeth
ElizabethWong
Wong. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551 551
For
ForMore
MorePractice
Practice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
554

Unit Student
Unit StudentHandbook
Handbookfor
Performance
Performanceand
for
andProduction
Production. . . . . . . . . . . . . . . 556
556

Nine
Nine PART
PARTONE
PART
PARTTWO
Acting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ONEActing
TWODirecting
Directingand Producing. . . . . . . . . . . . .
andProducing
. 558
558
. 580
580
PART
PARTTHREE Costumes. . . . . . . . . . . . . . . . . . . . . . . . . .
THREECostumes . 587
587
PART
PARTFOUR Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
FOURLighting . 591
591
PART
PARTFIVE Makeup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
FIVEMakeup . 596
596
PART
PARTSIX Props. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SIXProps . 598
598
PART
PARTSEVEN Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SEVENSets . 600
600
PART
PARTEIGHT Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
EIGHTSound . 608
608
PART
PARTNINE
NINEThe
TheBusiness
Businessof Theatre. . . . . . . . . . . .
ofTheatre . 611
611

Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Glossary 614

Acknowledgments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Acknowledgments 624

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Index 628

xv
xv

xv
Unit One
Unit
Unit
Begin with the One
One Begin
Beginwith
withthe
theBasics
Basics
Basics
Unit One offers students experiential CHAPTER
CHAPTER11 The
TheTheatre
Theatreand
andYou
You. . . . . . . . . . . . . . . 44
Explore
Explorethe
theartartand
andrelevance
relevanceofoftheatre
theatreand
andtap
tapinto
into
learning about the basics of per-
your
yourcreativity.
creativity.
formance, including warm-ups, the
use of observation and experience,
CHAPTER
CHAPTER22 Warm
WarmUp
Up. . . . . . . . . . . . . . . . . . . . . . . .1414
the elements of pantomime, and the
Learn
Learnhowhowtotorelax,
relax,warm
warmup,
up,and
andget
getyourself
yourselfininthe
the
principles of improvisation. Projects
right
rightframe
frameofofmind—and
mind—andbody—as
body—asyou youprepare
prepareforfor
in this unit will help students learn to
performing.
performing.
trust themselves and each other as
performers and will introduce stu- CHAPTER
CHAPTER33 Observation
Observation. . . . . . . . . . . . . . . . . . . . . .2222
dents to the kinds of work that under- Learn
Learnhow
howtotouse
useallallyour
yoursenses
sensestototake
takeininthe
the
pin effective performances. world
worldaround
aroundyouyouand
andtotorecall
recallyour
yourexperiences
experienceswhile
while
performing.
performing.

Project Preview CHAPTER

CHAPTER44 Pantomime.
Pantomime.. . . . . . . . . . . . . . . . . . . . . 30
. 30
Chapter 1 The Theatre and You Understand
Understandthe
themajor
majorelements
elementsofoftraditional
traditional
Re-creating powerful memories pantomime
pantomimeperformance,
performance,and
andcreate
createa asimple
simple
pantomime.
pantomime.
Chapter 2 Warm Up
Creating a warm-up routine CHAPTER
CHAPTER55 Improvisation.
Improvisation.. . . . . . . . . . . . . . . . . . . .4242
Learn
Learnabout
aboutimprovisation
improvisationand andhow
howtotowork
work
Chapter 3 Observation
with
withother
otheractors,
actors,and
andthen
thenwork
workwith
witha a
Giving a detailed description
partner
partnertotocreate
createananimprovisation.
improvisation.
Chapter 4 Pantomime
Preparing a pantomime UNIT
UNITONE
ONEREVIEW
REVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
. 50
Chapter 5 Improvisation
Performing an improvisation

Note: The Theatre Information

Pack (or TIPack)
In putting together this program, the
editors learned that every teacher
has his or her own idea as to what
material should be included in the
early chapters of the student book. 2 2 Unit
UnitOne
OneBegin
Beginwith
withthe
theBasics
Basics
Teachers’ varied requests demonstrated
the organic nature of theatre and pre-
sented an interesting challenge.
In response to teachers’ concerns, Quotable
a set of fourteen blackline masters
Use the quote below as a journal writing prompt, discussion starter,
has been compiled that provide basic
or for your own enjoyment.
information for theatre students. This
introductory material, which is found
in the Teacher’s Resource Binder, can On the stage you’re exploring the limits of yourself. How loud
be duplicated and taught as a preview and how strong and how big and how wide is the human entity?
chapter at the beginning of the year, or
given to students as a reference tool. How much are we like giants and kings?
In addition, each of the pages in the Ruby Dee, Acto
Theatre Information Pack is refer-
enced in the appropriate chapter as a
TIPack page.

2 Unit One Begin with the Basics


The image above shows a scene from the
New York production of Rent. Based on
the opera La Boheme, Rent was written
by composer Jonathan Larson, who died
at 35 of an aneurysm the night before the
musical made its off-Broadway debut.
Rent won both the Tony Award and the
Pulitzer Prize in 1996. The following
prompts can be used to exercise critical
viewing skills.
33
• Describe the people in the picture. How
do they seem to be interacting?
• Study the picture, then close your eyes
and try to describe three of the people
in it.
Have the students describe
the positioning of the actors on stage.
Then have them work in groups of five to
come up with and demonstrate a unique
and appealing placement of actors
singing together.
Discussion Questions
The following questions are intended
to tap into students’ prior knowledge
and attitudes about the subject matter
of the unit.
• What do people get out of a theatre
experience?
• How would you describe your
unique creativity?
• What do you do to relax? How does
your body feel when it is relaxed?
• Have you ever participated in an
organized sport of any kind? What
did you or your teammates do to
prepare for a game?
• What do you think of when you
hear the term warm-up? How do
you think this phrase can be applied
to theatre?
• Who is your favorite athlete or
dancer? What qualities does that
person display in performance?
• Some people experience the world
primarily through their eyes.
Others are more attuned to smells
or sounds. What sense do you feel
predominates in your experience of
the world?
• What is the most vivid sense
memory you can call up at will?
• Was there a time when someone’s
body language tipped you off to
what they were thinking? Explain.
• What do you think your physical
presence communicates about you?
• What have you experienced as the
advantages and disadvantages of
working with partners?
Gather the students to
pose for a group picture. First, ask
them to pose for a formal shot. Then
have them pose for an informal shot.
You also may want to challenge the
students to pose as a group of
characters from a particular play.
Theatre Journal
Suggest that students choose one of
the characters in the photograph on
this page and write a short biography
of this character. Then have them
compare their biography to those of
their classmates.
3
Chapter 1 Chapter
Chapter

The Theatre 1
1 The
The Theatre
Theatre and
and You
You
Think
Thinkabout
abouta atime
timewhenwhenyou youhad
hada amoment
momentofofpure
pure
and You inspiration—when
inspiration—whena anew newideaideaororsolution
solutionsuddenly
suddenly
This chapter asks students to explore occurred
occurredtotoyou
youout outofofnowhere.
nowhere.TheseThesemoments
momentscan can
the idea of creativity and identify cre-
seem
seemalmost
almostmagical,
magical,yet yetcreativity
creativityisisa anatural
naturalpart
partofof
ative processes in theatre and in their
own lives. every
everyperson’s
person’slife.
life.Creativity
Creativityisisalso
alsoa acornerstone
cornerstoneofof
personal
personalexpression
expressionininthe thearts,
arts,including
includingtheatre.
theatre.
Objectives
1 to recognize creativity in self and
others Project
ProjectSpecs
Specs Theatre
TheatreTerms
Terms
collaborate
collaborate
2 to recognize theatre as a creative Project
ProjectDescription
DescriptionFor
Forthis
thisproject,
project,you
youwill
willcreate
create creativity
creativity
art form and
andperform
performa aone-
one-totothree-minute
three-minutepresentation
presentationbased
based empathy
empathy
ononthree
threepowerful
powerfulpersonal
personalmemories.
memories. ensemble
ensemble
3 to recognize theatre’s social value
ephemeral
ephemeral
and influence on society Purpose
Purposetotorecognize
recognizelinks
linksamong
amongcreativity,
creativity, immediacy
immediacy
4 to use memory in a creative context individuality,
individuality,and
andperformance
performance performing
performingarts
arts
set
set
Materials
Materialsa alist
listofofthree
threememories
memoriesthat
thatserve
serveasasthe
the technical
technicalelements
elements
Project Specs basis
basisofofyour
Activity
yourpresentation;
ActivitySheet
presentation;the
Sheetyour
yourteacher
theTheatre
Theatreand
teacherprovides
provides
andYou
You

This chapter requires students to cre-

ate performances using their own per- On
OnYour
YourFeet
Feet
sonal memories. In the case of highly
sensitive students, this may feel a bit Your
Yourteacher
teacherwill willstart
starta asimple
simplevocal
vocalrhythm
rhythm
invasive. Stress that the choice of what accompanied
accompaniedbybyclapping,clapping,knocking,
knocking,ororstomping.
stomping.
to include is strictly their own and Next,
Next,thethewhole
wholegroupgrouppicks
picksupupthe
therhythm
rhythmand and
that they should share only personal keeps
keepsit itgoing.
going.ThenThenthetheteacher
teacherpoints
pointstotosome-
some-
information they are comfortable with one
onetototake
takea aturn
turncreating
creatinga abrand
brandnew
newbeat,
beat,
others knowing. which
whichthe thewhole
wholegroup groupthenthenpicks
picksup.
up.When
Whenthe the
beat
beatbecomes
becomesfirmly firmlyestablished,
established,the thesecond
secondper- per-
ELL Support son
sonpoints
pointstotosomeone
someoneelse, else,and
andsosoon.
on.BeBeready
ready
The concepts may be complex to com- totochange
changethe thebeat
beatwhenwhenyouryourturn
turncomes.
comes.
municate to some English Language Collaborate
Collaboratewith withyouryourclassmates
classmatestotoworkworkasasanan
Learners. Make time to give these stu- ensemble
ensemblebybylistening,
listening,concentrating
concentratingfully,
fully,and
and
dents a bit more in-depth instruction, moving
movingsmoothly
smoothlyfrom fromone onerhythm
rhythmtotothethenext.
next.
and use The Language of Theatre fea-
ture with them for additional support.

4 4 Unit
On Your Feet
Knock, Knock. Before you begin the
activity, ask students what live sounds
they might use to create an interest-
ing rhythm pattern. Responses might
include finger snapping, knocking,
stomping, toe tapping, drumming, and
more. Then, as you move through the
activity, ask students to use all these
sounds and add different monosyllabic
sounds or words to enhance the per-
cussive elements.
UnitOne
OneBegin
Beginwith
withthe
theBasics
Basics
Theatre Terms
collaborate to work jointly with another ephemeral lasting only a short time
person or group to produce or create immediacy directness
something
performing arts artistic processes that are
creativity ability to discover or invent performed in front of an audience
something
set stage environment
empathy ability to relate to feelings that
technical elements effects in a
are experienced by someone else
performance that are not created by the
ensemble a group that performs together onstage performers, including lighting,
to achieve an overall effect recorded sound, costuming, etc.

4 Unit One Begin with the Basics

 PREVIEW
The Theatre as an Art Form
PREVIEW
PREVIEW
Tell students that an audience enters the
The
TheTheatre
TheatreasasananArt
ArtForm
Form artists
artistswho
whocreated
createdthetheproduction’s
production’s
theatre as a group of individuals. But by
The
Theartartofoftheatre
theatrehas hasbeen
beenaroundaroundsincesincethe
the technical
technicalelements.
elements.For Forexample,
example,the thestage
stage
the end of the show they have all taken
dawn
dawnofofhuman
humanhistory.
history.AtAtfirst,
first,theatre
theatrewaswas environment,ororset—whether
environment, set—whetherit itdepicts
depictsa aliv-liv-
part in a communal experience.
ritual
ritualbased
basedand andhadhadmore
moretotododowith withreligion
religion ing
ingroom,
room,a acornfield,
cornfield,ororthethesurface
surfaceofofthe the
than
thanentertainment.
entertainment.Theatre Theatreasaswewethink thinkofofit itinin moon—is
moon—isthe theresult
resultofofhours
hoursofofwork
workbybythe thesetset They have provided the actors with
Western
Westernculture
culturebeganbeganwithwiththe theGreeks
Greeksabout
about designer.
designer.TheThelighting
lightingdesigner’s
designer’scontribution
contribution their attention and their emotional
2,500
2,500years
yearsagoagowhen
whencivic
civicfestivals
festivalsmademadea a doesn’t
doesn’tsimply
simplymakemakethe thestage
stagevisible;
visible;it italso
also responses. They, this group of
transition
transitionfrom frompublicly
publiclyperformed
performedreligiousreligious provides
providessubtle
subtleinformation
informationaboutaboutthe theplay’s
play’s individual audience members, have
rites
ritestotothe
theform
formwewenow nowidentify
identifyasasplays.
plays.Since
Since time
timeperiod,
period,place,
place,mood,
mood,and andtone.
tone.EachEachtech-tech- bonded with each other and with the
then
thenthetheartartofoftheatre
theatrehashasbounced
bouncedininand andoutoutofof nical
nicalelement—set,
element—set,lights,lights,costumes,
costumes,props,props, performers and formed a small one-
public
publicfavor—sometimes
favor—sometimesrevered reveredasashigh-culture
high-culture special
specialeffects,
effects,sound,
sound,painted
paintedbackdrops,
backdrops,make- make- night-only family.
and
andother
othertimes
timesdeclared
declaredillegal
illegalandandshunned
shunnedbyby up,
up,masks,
masks,and andmore—is
more—isananartartuntountoitself,
itself, Elicit class discussion on students’
“proper”
“proper”society.
society.Even
Eventoday,
today,some somepeople
people carefully
carefullycrafted
craftedtotoblend
blendand andbebeinterdependent
interdependent feelings about the responsibility they
question
questionthe thevalue
valueofoftheatre.
theatre.Defenders
Defendersofofthe the with
withthe
theother
otherproduction
productionelements
elementsand andenrich
enrich have as audience members.
art,
art,however,
however,know knowthatthatit itinspires
inspiresindividuals
individualstoto the
theaudience’s
audience’sunderstanding
understandingofofthe theplay.
play.
heights
heightsofofgreatness
greatnessininallallaspects
aspectsofoftheatre
theatreand and The Performing Arts
allows
allowspeople
peopletotounderstand
understandthemselves,
themselves,othersothers Elements
ElementsininArt
ArtForms
Forms Ask students to discuss the differ-
who
whoare aredifferent
differentfromfromthem,
them,and andsociety
societyinina a ences between what they feel and see
uniquely
uniquelyempathic
empathicway. way. Each
Eachartartform
formrelies
reliesononitsitsown
ownelements
elementstoto
in a theatre setting as opposed to film
communicate.
communicate.You Youcancancompare
compareand andcontrast
contrast
The
ThePerforming
PerformingArts Arts and television. They should compare
them
thembelow.
below.InInmanymanytheatrical
theatricalproductions,
productions,allall
Theatre
Theatreisisoneoneofofthetheperforming
performingarts, arts,along
along and contrast what each has to offer in
the
thearts
artsplay
playa arole
rolein incommunicating
communicatingmeaning.
meaning.
with
withmusic
musicand anddance.
dance.WhatWhatseparates
separatesthese
these terms of immediacy, intimacy, action,
from
fromother
otherartartforms
formsisisthat
thatthey areephemer-
theyare ephemer- • • Visual arts:Color,
Visualarts: Color,shape,
shape,line,
line,texture,
texture,form,
form, spectacle, storytelling, and so on. You
al,al,meaning
meaningthat thatwhat
whatthe theartist
artistcreates
createsininfront
front light,
light,shadow,
shadow,medium
medium(paint,
(paint,chalk,
chalk,photogra-
photogra- might want to create a chart on the
ofofananaudience
audiencedoes doesnotnotexist
existbeyond
beyondthe theperfor-
perfor- phy,
phy,sculpture,
sculpture,forforexample),
example),perspective,
perspective,sub- sub- board and list their observations.
ject
jectmatter
matter
mance.
mance.Unlike
Unlikevisual
visualarts
artssuch
suchasasdrawing,
drawing,
painting,
painting,and andsculpture—or
sculpture—orliterary
literaryarts
artssuch
such Music:Pitch,
• • Music: Pitch,rhythm,
rhythm,melody,
melody,harmony,
harmony,disso-
disso-
asaspoetry
poetryororprose—the
prose—theperforming
performingarts artsleave
leave nance,
nance,instrumentation
instrumentationororvocal
vocalarrangement,
arrangement,
nonophysical
physicaltrace.
trace.Once
Oncea aperformance
performanceisisover, over,it it lyrics,
lyrics,dynamics,
dynamics,structure,
structure,imitation,
imitation,tempo
tempo
lives
livesonononly
onlyininthethehearts
heartsandandminds
mindsofofthose
those
Dance:Movement,
• • Dance: Movement,parts
partsofofthe
thebody,
body,ges-
ges-
who
whoperformed
performedand andthose
thosewhowhoobserved.
observed.
tures,
tures,choreography,
choreography,music,
music,rhythm,
rhythm,story,
story,
Analyzing
Analyzingthe theArtsArtsWithin
WithinananArt
Art direction,
direction,pace,
pace,physicality
physicality
While
Whilewatching
watchinga aplay,play,audiences
audiencesareareusually
usually
Film:Color,
• • Film: Color,camera
cameraangle,
angle,editing,
editing,different
different
focused
focusedononthetheactors
actorsandandstoryline.
storyline.Whether
Whether
kinds
kindsofofshots
shots(long,
(long,close-up,
close-up,establishing),
establishing),
they
theyrealize
realizeit itorornot,
not,however,
however,they
theyare
areatatthe
the
story,
story,acting,
acting,music,
music,structure,
structure,perspective
perspective
same
sametime
timeresponding
respondingtotothe thework
workofofoffstage
offstage

Chapter
Chapter1 1The
TheTheatre
Theatreand You 5 5
andYou

Resource Binder To Have on Hand

• Student Contract, TIPack, p. A • Copies of scenes from Tennessee
• Letter to Parents or Caregivers, TIPack, Williams’s The Glass Menagerie and
p. B Athol Fugard’s Master Harold . . . and
the Boys.
• Dealing with Stage Fright, TIPack, p. C
• Video or DVD versions of one or both
• The Theatre and You Activity Sheet, p. 4
plays.
• Theatre Elements Worksheet, p. 5
• Critique Sheet: Three Powerful
Memories, p. 6
• The Theatre and You Test, p. 7

Chapter 1 The Theatre and You 5

Theatre as Mirror
Read aloud Tom’s opening monologue
from The Glass Menagerie. Ask the
class to discuss the information Tom
Theatre
TheatreasasMirror
Mirror Americans
Americansare arestill
stillsuffering
sufferingthe theafter-
after-
doles out to the audience here, as he shocks
shocksofofthe theGreat
GreatDepression.
Depression.The The
Although
Althoughtheatre
theatreshares
sharessome
sometraits
traits
reveals both the particular onstage actor,
actor,playing
playinga acharacter
characternamed namedTom, Tom,
with
withthe theother
otherperforming
performingarts, arts,it itisis
world and the historical backdrop of goes
goesonontototalk talkabout
abouttwo twoofofthetheother
other
unique
uniqueininone oneimportant
importantway. way.ItItisisthe the
the play. For example, only
onlyartartform
formwhere
wherethe themeans
meansofofcom- com-characters
charactersininthis thisplay—his
play—hismother,
mother,
munication
municationand andthethesubject
subjectare areoneoneand Amanda,
Amanda,and
and andhishissister
sisterLaura.
Laura.HeHelets lets
• How does he describe the larger
the
thesame.
same.InInother
otherwords,
words,theatre
theatreisis you
youknowknowthat thatthis
thisstory
storywill
willbebetold
told
world? What has been going on in
about
abouthumanhumanbeings—their
beings—theirfeelingsfeelings from
fromhis hisown
ownpoint
pointofofview,
view,that
thatit itisisinin
American society at the time of
and
andactions—presented
actions—presentedbybyhuman human fact
facta a“memory
“memoryplay.” play.”Eventually
Eventuallyhehe
Tom’s memory?
beings
beingsininthe thepresence
presenceofofother
otherhuman
human steps
stepsintointoananarea
areayou yourealize
realizeisisa aroomroom
• What details does he reveal about beings.
beings.AsAssuch,
such,theatre
theatreisisthethelive
liveper- from
per- fromhis hispast,
past,where
whereyou yousoonsoonmeet
meetthe the
himself, his family, and his deeply formance
formancemediummediumthat thatmost
mostclosely
closely other
otherpeople
peoplehehehas hasdescribed.
described.SoSo
held beliefs about the world? mirrors
mirrorsour ourday-to-day
day-to-daylives.
lives.The The begins
beginsone oneofofthethebest-loved
best-lovedplays playsinin
• What technical elements does he immediacy
immediacyand andintimacy
intimacyofofthe thelive
livethe- American
Americantheatre
the- theatrehistory,
history,Tennessee
Tennessee
mention? atre
atreexperience
experienceallowallowaudiences
audiencestoto Williams’
Williams’The TheGlass Menagerie.ByBythe
GlassMenagerie. the
imagine
imaginethe theworld
worldthrough
throughnew neweyeseyes time
timethe theactor
actorbegins
beginstotointeract
interactwith with
To guide students toward the chapter
and
andtotodevelop
developkinship
kinshipwith
withand andempa-empa- the
theother
othercharacters,
characters,you youandandthetherestrest
project, ask them to think about what
thy
thyforforother
otherpeople
peopleandandplaces.
places. ofofthetheaudience
audienceare arefully
fullyengaged.
engaged.
the opening words of their own mem-
Sitting
Sittingtogether
togetherininthe thedark,
dark,you youhave
have
ory play might consist of. What might Here’s
Here’sananexample.
example.Imagine
Imagineyou’reyou’resit-
sit-
allallbeen
beentaken
takenbackbackinintime,
time,transported
transported
they want to tell an audience right at ting
tinginina adarkened
darkenedauditorium.
auditorium.AsAsthe the
totoanother
anotherplace,
place,another
anotherfamily—
family—
the outset? lights
lightscome
comeupuponstage,
onstage,ananactor actorenters
enters
directly
directlyinto intosomeone
someoneelse’s else’spersonal
personal
and
andbegins
beginstotogive
givea abitbitofofthe
theback-
back-
and
andcultural
culturalmemory,
memory,ininfact—a fact—avery very
ground
groundofofthe theplay
playyou’re
you’rewatching.
watching.InIn
different
differentworldworldfrom fromyouryourown,own,yet yetrec-
rec-
the
theplay,
play,the
thetime
timeisisthethelate
late1930s,
1930s,and
and
ognizable
ognizableand andrelatable.
relatable.

TomTomWingfield
Wingfield
(Hans
(Hans
Fleischmann)
Fleischmann)
andandAmanda
Amanda
Wingfield
Wingfield
(Maggie
(MaggieCain)
Cain)
The
in in The
Glass
Glass
Menagerie
Menagerie at at
Mary-Arrchie
Mary-Arrchie
Theatre
TheatreCo.
Co.
(Chicago,
(Chicago,2013)
2013)
Projection
Projection
Design
Designbyby
Anna
Anna
Henson.
Henson.
6 6 Unit
UnitOne
OneBegin
Beginwith
withthe
theBasics
Basics

Totally Quotable ...

“I regard the theatre as the greatest of all art forms, the most
immediate way in which a human being can share with another
the sense of what it is to be a human being.”
—playwright Oscar Wilde

6 Unit One Begin with the Basics

 The Social Value of Theatre
Explain to students that apartheid
is an Afrikaans word meaning “the
Broadway
Broadwayproduction
production of of
state of being apart” or “aparthood.”
Master
Master
Harold
Harold
. . .. .and
. and
thethe
Boys
Boys In South Africa, apartheid, which is
depicted to dramatic effect in Master
Harold . . . and the Boys, lasted from
1948 until 1994. The laws separating
whites and blacks reached into every
aspect of society. Whites made up the
ruling class, while blacks were consid-
ered and treated as the lowest rung of
the social ladder.

The
TheSocial
SocialValue
ValueofofTheatre
Theatre Theatre’s
Theatre’sInfluence
Influenceand andRole
Role
Theatre
Theatrecan canhelp
helpyouyouunderstand
understand AsAsthe
theexample
exampleofofMaster
MasterHaroldHarold. .. .. .
aspects
aspectsofofyouryourownownlifelifebybytaking
takingyou you and
andthetheBoysBoysdemonstrates,
demonstrates,theatre theatrehas has Ask students to think about the title of
inside
insideother
othercultures
culturesasaswell.well.South
South a arole
roleinininfluencing
influencingour ourvalues.
values.A Athe-
the- Fugard’s play as they study the photo
African
Africanplaywright
playwrightAthol AtholFugard’s
Fugard’splay play atrical
atricalproduction
productiondrawsdrawsaudience
audience on this page. The following prompts
Master
MasterHarold
Harold. .. .. and
. andthe Boys,forfor
theBoys, members
membersinto intothe
thedrama
dramaand andbybysoso can be used to exercise critical view-
example,
example,portrays
portraysananencounter
encounter doing
doingengages
engagesbothboththetheemotions
emotionsand and ing skills.
between
betweentwo twoblack
blackwaiters
waitersand andananenti-
enti- the
theintellect.
intellect.Audiences
Audienceswatching
watchingthe the
tled
tledwhite
whiteteenager
teenagertotorevealrevealsome
someugly ugly musical
musicalLes Misérables,forforexample,
LesMisérables, example, • How would you describe the atti-
truths
truthsabout
aboutSouth
SouthAfrica
Africaduring
duringthe the sympathize
sympathizewith withthethecharacters
charactersfacing facing tude of the two waiters?
time
timeofofinstitutionalized
institutionalizedracism racismknownknown injustice
injusticeand andininsosodoing
doingheighten
heightentheirtheir • How does the photo reflect both
asasapartheid.
apartheid.Fugard’s
Fugard’splay playwas
wasbanned
banned awareness
awarenessofofinjustice
injusticemoremoregenerally.
generally. the play’s title and the idea of apart-
ininhis
hishomeland
homelandwhen whenapartheid
apartheidwas was Live
Livetheatre
theatrealsoalsoinfluences
influencespersonal
personal heid?
still
stillthe
thelaw,
law,sosothe
theplay
playwas wasfirst
firstpro-
pro- values
valuesasasit itdisplays
displaysforforallallthe
theworld
worldtoto • What physical details—facial
duced
ducedatatYaleYaleRepertory
RepertoryininNew NewHaven,
Haven, see
seethe
theglories
gloriesand
andshames
shamesofofhumanshumans expressions, posture, placement,
Connecticut,
Connecticut,inin1982. 1982.SoonSoonafter
afterthat,
that, and
andallallthe
thegray
grayareas
areasininbetween.
between. and gesture—add to this impres-
the
theplay
playmoved
movedtotoBroadway,
Broadway,where whereit it sion?
Live
Livetheatre
theatrealso
alsoplays
playsa arole
roleininevery-
every-
ran
ranforfor344
344performances.
performances.A Abattle battlecry cry
day
daycultural
culturallife.
life.Popular
Popularplaysplaysspawn
spawn Theatre’s Influence and Role
against
againstapartheid,
apartheid,Fugard’s
Fugard’splay playbecame
became
reactions
reactionsfrom
fromother
otherartartforms
formsand andare
are
a global
a global sensation.
sensation. While
WhileMaster
MasterHarold
Harold . .... . Remind students that part of the the-
also
alsoreferred
referredtotoininparodies
parodiesthat thatappear
appear
was
wascertainly
certainlynotnotthethereason
reasonapartheid
apartheid atre’s influence stems from the fact
ininsuch
suchshows
showsasasSaturday
SaturdayNightNightLiveLive
was
wasabolished
abolishedinin1990,
1990,the theplay’s
play’sblunt
blunt that it gives audiences a compressed
ororThe
TheSimpsons.
Simpsons.
discussion
discussionofofthe theloss
lossofofdignity
dignityandand view of life. After all, we go to the
humanity
humanityofofapartheid
apartheiddid didhelp
helptotoopenopen theatre to see ourselves reflected, but
eyes
eyesandandminds
mindsallallover
overthe theworld.
world. we don’t go to see smaller versions of
human behavior. We go to see people
doing big things and taking chances
Chapter
Chapter1 1The
TheTheatre
Theatreand You 7 7
andYou
we ourselves perhaps would not. As
Alfred Hitchcock once put it, “Drama
is life with the dull bits cut out.”

Totally Quotable ...

“The theatre was created to tell people the truth about life and
the social situation.”
—actor and teacher Stella Adler

“The theatre on its own can’t and doesn’t change society, but
plays can define a moment. The Marriage of Figaro did seem to
predict a revolution, but I doubt it sent anybody into the streets.”
—director Nicholas Hytner

Chapter 1 The Theatre and You 7

You as a Creative Being
Remind students that while some of
them might not consider themselves
creative, every person has natural cre-
ative ability. For example, though they You
Youasasa aCreative
CreativeBeing
Being
might not be playwrights, each person Renowned
Renowned20th-century
20th-centuryRussian Russian
sandwich
sandwich
in the room creates an entire day’s theatre
theatredirector
directorKonstantin
KonstantinStanislavski
Stanislavski
variety.
variety.
worth of dialogue every day as a nor- once
oncewrote,
wrote,“Love
“Lovethe theartartininyourself,
yourself,
Creativity
Creativityinin
mal part of living and interacting with not
notyourself
yourselfininart.”art.”His
His
personal
personalexpression
expression
others. Creating flip videos, posting A AFewFewTraits
TraitsofofCreative
Creative words
words encourage
encourage actors
actors
can
canreveal
revealitself
itselfininallallkinds
kindsofofways,
ways,
on social media, and working on new People
People totopursue
pursuetheir theircreative
creative
depending
dependingonona aperson’s
person’stalents,
talents,
projects for school, home, work, or goals
goalsnot notforforthethepraise
praise
• •Deep
Deepcuriosity
curiosity temperament,
temperament,background,
background,and andoutside
outside
they
theymight
mightreceive
receivebutbut
hobby—each of these things requires • •Ability
Abilitytotoconcentrate
concentrateand and interests.
interests.One Oneperson
personmay mayhave
havethethe
out
outofoflove
loveand andrespect
respect
some degree of creativity. problem
problemsolvesolve natural
naturaldisposition
dispositionand andinterpersonal
interpersonal
forfortheir
theirart.
art.InInanother
another
• •Ability
Abilitytotothink
thinkoutside
outsidethe the and
andverbal
verbalskills
skillstotoconnect
connecteasily
easilytoto
sense,
sense,though,
though,lovingloving
box
box the
therole
roleofofananactor.
actor.Another
Anothermay mayhavehave
A Few Traits of Creative People “the
“theartartininyourself”
yourself”
• •Drive
Drivetotosucceed
succeed nonointerest
interestororaptitude
aptitudewhatsoever
whatsoeverforfor
might
mightbebetaken takentotomean
mean
Elicit student discussion of their • •Willingness
Willingnesstototaketakerisks
risks being
beingonstage,
onstage,but butmaymayinstead
insteadhave
have
accessing
accessingyour yourown
own
own experiences in the context of including
includingpossible
possiblefailure
failure the
theskills
skillsneeded
neededforforsetsetdesign
designoror
creativity
creativityininthe thename
nameofof
these traits. Then ask volunteers to maskmaking.ToToanalyze,
maskmaking. analyze,explore,
explore,andand
personal
personalexpression.
expression.
interpret the following quotes from evaluate
evaluateyouryourownowncreativity,
creativity,consider
consider
well-known creative people. your
yourspecial
specialstrengths.
strengths.DoDoyou youtend
tendtoto
SoSowhat
whatisiscreativity?
creativity?Simply
Simplyput,put,it itisis
• “Every child is an artist; the excel
excelininthe
thevisual
visualdimension
dimensionwith with
the
theability
abilitytotodiscover
discoverororinvent
invent
problem is staying an artist when drawings
drawingsand andgraphics?
graphics?OrOrare areyou
you
something
somethingoriginal.
original.A Amoment
momentofof
you grow up.” —Pablo Picasso, more
morecomfortable
comfortablewith withlanguage,
language,
creativity
creativitymight
mightresult
resultininsomething
somethingasas
artist showing
showingyour yourstrength
strengthininwriting,
writing,
significant
significantasasa arevolutionary
revolutionaryscientific
scientific
• “Imagination is the beginning of speaking,
speaking,and andlistening?
listening?Are Areyou
youvery
very
theory
theoryororasasordinary
ordinaryasasa adelicious
deliciousnew new
creation. You imagine what you logical,
logical,depending
dependingononreason reasonandand
desire, you will what you imagine,
and at last, you create what you
will.” —George Bernard Shaw,
playwright
• “Creativity is just connecting things.
When you ask creative people
how they did something, they feel
a little guilty because they didn’t
really do anything—they just saw
something. It seemed obvious to
them after a while.” —Steve Jobs,
entrepreneur and inventor

8 8 Unit
UnitOne
OneBegin
Beginwith
withthe
theBasics
Basics

Historical Note: Masks in Ancient Greece

Refer students to the photo at the bottom
of this page. Tell them that masks have
been part of theatrical tradition since the
earliest days of Greek theatre. At that time,
theatrical performances featured from one
to three actors, and each actor used a
variety of masks to switch back and forth
among multiple characters. Theatre was
performed in enormous outdoor spaces
called amphitheatres, which were similar
to today’s sports stadiums. This meant that
the features of each mask had to be greatly
exaggerated so as to be seen by even
distant audience members. Ask students
to discuss the various uses of masks in
contemporary theatre and culture.

8 Unit One Begin with the Basics

 As a quick creativity exercise, have
calculation
calculationtotosolvesolveproblems?
problems? students to look at the photo for a
Sometimes
Sometimespeople peopleoverlook
overlook few moments. What is the girl in the
the
thetalents
talentstheytheyactually
actuallyhave have photo doing? Why? What does the
because
becausethey theyareareoverly
overly flower in her mouth represent? Based
focused
focusedononthe thethings
thingsthey they on her expression, is she tearing her
don’t
don’tdodowell,
well,ororthey
theyfearfear hair out or simply pushing it back
they
theymight
mightfail.
fail.But
Butsuccessful
successful from her face? What does her expres-
professionals
professionalsfrom fromallallwalks
walksofof sion signify? Ask students to create a
life
lifewill
willtell
tellyou
youthat
thattaking
taking caption for the photo. There are no
any
anytruly
trulycreative
creativestep
stepmeansmeans right or wrong answers here. Student
risking
riskingfailure.
failure.The Thetrick
trickisistoto interpretations can be silly, serious, or
keep
keeptrying
tryingand andnotnotletletfailure
failure a asimilar
similarway,
way,when
whenyou youactactinina aplay,
play, somewhere in between. Ask for volun-
derail
derailyour
yourefforts.
efforts.That
Thatperseverance
perseverance you
youdelve
delveinside
insidethe
thecharacters
charactersand and teers to read their captions aloud.
requires
requiresself-discipline—the
self-discipline—theability abilitytoto learn
learnwhat
whatmakes
makesthemthemtick—again
tick—again
overcome
overcomepersonal
personalweaknesses
weaknessestotododo building
buildingononyour
yourability
abilitytotoempathize.
empathize.
what
whatisisrequired.
required.ItItalsoalsorequires
requires Such
Suchdeep
deepunderstanding
understandingcan caninfluence
influence The Personal Value of Theatre
artistic
artisticdiscipline—the
discipline—thecommitmentcommitmenttoto your
yourownownbehavior
behaviorif ifyou
youfind
findyourself
yourself Challenge students to think about
studying
studyingyour yourartartand
andexpressing
expressingyour
your ininsituations
situationssimilar
similartotothose
thoseportrayed
portrayed characters in plays they have seen or
creativity
creativityininincreasingly
increasinglydeveloped
developed inindrama.
drama. read that have made them feel empa-
ways.
ways.
thy. Remind them that empathy, the
The
ThePersonal
PersonalValue
ValueofofTheatre
Theatre The
TheLanguage
Languageof
of ability to share a specific emotional
Studying
Studyingand andparticipating
participatinginintheatre
theatre state with another person, is different
and
andtheatre-related
theatre-relatedcourses
coursescan
canhelp
help from sympathy, which is simple con-
Work
Workwith
with
a partner
a partner
toto
express
express
ideas
ideas
and
and
feelings
feelings
asas
you
you
prepare
prepare
you
youdevelop
developyour
yourcreativity,
creativity,but
butit itcan
can thethe
chapter
chapter
project.
project.
cern for the well-being of another per-
also
alsoimprove
improveyour youracademic
academicskills.
skills.YouYou • •Use
Usesingle
single
words
words
oror
short
short
phrases
phrases
toto
express
express
ideas
ideas
and
and
feelings
feelings
son without a shared emotional state.
may
mayfind
findthat
thatthe
thetheatre
theatreconnects
connectstoto about
abouta strong
a strongmemory.
memory.
Add
Add
gestures
gesturesand
and
facial
facial
expressions
expressions
toto For example, when you feel sympathy
and
andenhances
enhancesyour yourunderstanding
understandingofof help
help
express
express immediacy
thethe immediacy
of of
thethe
memory.
memory. for someone in pain, you might feel
social
socialstudies,
studies,history,
history,current
currentevents,
events, • •Use
Usecomplete
complete
sentences
sentences
toto
express
express
ideas
ideas
and
and
feelings
feelings
about
about sorry for him or her and wish the pain
psychology,
psychology,and andmany
manyother
othersubjects.
subjects. your
your
chosen
chosenmemories.
memories.Say
Sayhow
how
thethe
memories
memories
spark
spark
your
your would go away; if you feel empathy for
creativity.
creativity. that person, you imagine yourself in
Theatre,
Theatre,like
likeliterature,
literature,can
canalso
alsohelp
help
• •Practice
Practice
a presentation
a presentation
of of
oneone
of of
your
your
chosen
chosen
memories
memories
with
with similar circumstances feeling the same
you
yougain
gaininsights
insightsintointoyourself
yourselfandandbebe
your
your
partner.
partner.
Express
Express
your
your
feelings
feelings
in in
a way
a way
that
that
creates
creates thing he or she does.
sensitive
sensitivetotoother
otherpeople.
people.When
Whenyou you empathy.
empathy.
watch
watcha aplay,
play,youyouidentify
identifywith
withthethe
characters,
characters,vicariously
vicariouslyexperiencing
experiencing • •After
After
choosing
choosing
your
your
three
three
memories,
memories,
have
have
anan
extended
extended
discus-
discus-

what
whatthey
theyexperience
experienceand andininthat
thatway
way
sion
sion
about
about
thethe
ideas
ideas
and
andfeelings
feelings
you
youwant
want
toto
express.
express.
Use
Usethethe The Language of
discussion
discussion
asasa way
a way collaborate
toto collaborateonon
your
your
presentations.
presentations.
stretching
stretchingyour
yourpowers
powersofofempathy.
empathy.InIn

Chapter
Chapter1 1The
TheTheatre
Theatreand You 9 9
andYou Let students know that listening
carefully is one key to positive in-
class partner interactions. During the
preparation period for this chapter
From the Field: The Heart of Art project, remind them that if they fail
to understand something a partner
I’ve noticed that there is always a group says, they should politely ask to have
of kids who, while not stellar students the statement repeated or clarified.
in other areas, shine when it comes to
acting, directing, painting, and just plain
creating. Students need theatre, and the
arts in particular, to have this place to
shine, to know that they can make positive
contributions, and to understand how art
impacts not only the brain, but the soul.
Steve Jones, Teacher, Hartford,
Connecticut

Chapter 1 The Theatre and You 9

Career Focus
Go through the items in the Career
Focus feature with students.
Encourage them to think at this point
Career
CareerFocus
Focus • Analyze
• Analyzeand
carefully
andevaluate
carefullyatatthe
evaluatethe
theskills
skillsyou
theskills
skillsneeded.
youalready
alreadyhave
needed.Look
haveand
Look
and
about what area of theatre (acting, Throughout
Throughoutthis thisbook,
book,you’ll
you’llread
readabout
abouthigher
higher those
thoseyou youwill
willneed.
need.What
Whatwill willit ittake
taketotoattain
attain
writing, directing, criticism, design, education
educationopportunities
opportunitiesand andcareers
careersthat
that those
thoseskills?
skills?What
Whatprofessionals
professionalsmight mightbebeable
able
stage crew) is most interesting to theatre
theatreskills
skillscan
canenhance.
enhance.Here Hereare
arejust
justa a totogive
giveyou
youmore
moreinformation
informationabout abouthow howtoto
them. What skills and talents do they few
fewexamples:
examples: attain
attainthese
theseskills?
skills?
already possess that might help them • Reading
• Readingand anddiscussing
discussingplays
playscan
canhelp
helpyou
you • Analyze
• Analyzeandandevaluate
evaluatethetheself-discipline
self-disciplineneed-
need-
excel in this area? For example, a build
buildyouryourpowers
powersofofconcentration,
concentration,analysis,
analysis, ed.
ed.DoDoyou
youhave
havethe
theself-discipline
self-disciplineyou
youneed?
need?
student with skill at drawing, painting, and
andcritical
criticalthinking,
thinking,which
whichcould
couldserve
serveyou
you What
Whatspecific
specificactions
actionscancanyou
youtake
taketotobuild
build
or construction might gravitate to the well
wellin ina acareer
careersuch
suchasaslaw,
law,business,
business,oror your
yourself-discipline?
self-discipline?
technical or design side of theatre. politics.
politics.
If a student has leadership skills and • Analyze
• Analyzeand
and
evaluate
evaluate
thethe
artistic
artistic
discipline
discipline
needed.
needed.
• Performing
• Performingin inplays
playscan
canimprove
improveyour
yourconfi-
confi-
strong interpersonal and interpretive Are
Areyou
you
a person
a person
with
with
strong
strongartistic
artistic
discipline?
discipline?
If If
dence,
dence,memory,
memory,and andcommunication
communicationskills,
skills,allall
skills, directing might turn out to be not,
not,
how
howcan
can
you
you
improve
improve your
yourdiscipline?
discipline?
ofofwhich
whichare
areneeded
neededin inany
anycareer
careerthat
thatrequires
requires
a good path. Make it clear that inter-
public
publicspeaking,
speaking,management,
management,and teamwork. •
andteamwork. Make
• Makejudgments
judgmentsabout abouta acareer
careerafter
afteranalyzing
analyzing
ests are just as important as natural
the
thetraining,
training,skills,
skills,self-discipline,
self-discipline,andandartistic
artistic
talents and skills. Just because a per- • Understanding
• Understandingand andworking
workingononthe
thetechnical
technical discipline
disciplineit itrequires.
requires.Looking
Lookingatateverything
everythingyou you
son has never been in a play before side
sideofoftheatre
theatresuchsuchasasstage
stagescenery,
scenery,cos-cos- love
lovetotodo,
do,is istheatre
theatreatatthethetop
topofofthe
thelist?
list?Is Isa a
doesn’t mean that person lacks the tumes,
tumes,lighting,
lighting,ororsound
soundtechniques
techniquescan can career
careerin intheatre
theatrewhat whatyouyouwant
wanttotobebedoing
doingin in
means to become an actor. strengthen
strengthenvisual
visualandandtheoretical
theoreticalskills
skillsthat
thatare
are ten
tenyears?
years?twenty?
twenty?
key
keytotocareers
careersincluding
includingarchitecture,
architecture,engineer-
engineer-
ing,
ing,and
anddesign.
design. For
Forcareers/avocations
careers/avocationsbeyond
beyondthe
thetheatre
theatre
• What
• Whatskills
skillsand
andexperiences
experiencesgained
gainedin intheatre
theatre
• Directing
• Directingororcoaching
coachingothers
othersbuilds
buildsempathy
empathy
cancanhelp
helpyou
yousucceed
succeedin insuch
suchcareers
careersasaslaw, law,
asaswell
wellasasleadership,
leadership,collaboration,
collaboration,and andteam-
team-
medicine,
medicine,business,
business,politics,
politics,and
anddiplomacy?
diplomacy?
building
buildingskills
skillsthat
thatare
arecentral
centraltotocareers
careersin in
business
businessand andmanagement.
management. For
Forhigher
highereducation
educationbeyondbeyondstudies
studies
inintheatre
theatre
AsAsyou
youread
readabout
aboutpossible
possiblecareer
careeropportunities,
opportunities,
you
youmay
maywant
wanttotouse usea achecklist
checklistlike likethe
theone
one • What
• Whatskills
skillsand
andexperiences
experiencesgained
gainedin intheatre
theatre
below
belowtotoanalyze
analyzeand andevaluate
evaluatethem.them. cancanhelp
helpyou
yousucceed
succeedin incollege
collegeororin inanother
another
post-high
post-highschool
schoollearning
learningenvironment?
environment?
For
Forcareers/avocations
careers/avocationswithin withinthe thetheatre
theatre
AsAsyouyourack
rackupupaccomplishments
accomplishmentsin inthis thistheatre
theatre
• Analyze
• Analyzeand andevaluate
evaluatethethetraining
trainingneeded.
needed.Find
Find
class
classandandany
anyproductions
productionsyou youtake
takepart
partin,in,hold
hold
out
outwhat
whatspecific
specifictraining
trainingis isneeded.
needed.How How
onto
ontoartifacts
artifactsofofyour
yourwork,
work,such
suchasasphotos,
photos,
might
mightyouyougogoabout
aboutgetting
gettingthatthattraining?
training?Have
Have
blueprints,
blueprints,andandscripts.
scripts.Use
Usethem
themtotocompile
compilea a
you
youhad
hadanyanysuchsuchtraining
trainingalready?
already?
résumé
résuméand andportfolio
portfoliothat
thatdemonstrate
demonstrateyour yourwork.
work.

10
10 Unit
UnitOne
OneBegin
Beginwith
withthe
theBasics
Basics

Notes

10 Unit One Begin with the Basics

 PREPARE
PREPARE
PREPARE PRESENT
PRESENT Mine Your Memories
Encourage students to begin writing
Mine
MineYour
YourMemories
Memories Re-Create
Re-Createthe
theTimes
TimesofofYour
YourLife
Life
their lists of memories right away.
This
Thisproject
projectgives
givesyouyoua achance
chancetoto When
Whenyour yourturn turncomes,
comes,calmly
calmlyenter
enter
Reassure them that the three memo-
explore
exploreyour yourcreativity
creativityasasit itrelates
relatestoto the
theplaying
playingarea. area.YouYoucancantake
takeyour
your
ries they end up choosing from the list
personal
personalexpression.
expression.You Youwill
willuse
usewords,
words, notes
noteswith withyou youif ifyou
youlike.
like.Give
Giveyourself
yourself
need be neither the greatest hits nor
gestures,
gestures,and andfacial
facialexpressions
expressionstotocreate
create a amoment
momenttotobreathe breatheand andcenter
centeryour-
your-
a trio of deepest, darkest moments.
a apresentation
presentationofofthree threememories
memoriesthat that self.
self.Stand
Standupupstraight
straightwithwithyour
yourfeet
feet
Often the simplest memories work
have
havemeaning
meaningororimportance
importancetotoyou. you. planted
plantedslightly
slightlyapart.
apart.Try
Trynotnottotohold
hold
best—playing baseball with friends,
First,
First,take
takeseveral
severalminutes
minutestotowritewrite onto
ontotoo toomuchmuchmuscular
musculartension,
tension,but but
making a video for a class, or just
down
downsome somememories.
memories.BeBecreative
creativeandand bear
bearininmindmindthat that
hanging around the house on a hot
don’t
don’tcensor
censoryourself.
yourself.WorkWorkasasquickly
quickly a alittle
littlebitbitofofner-
ner-
asasyou
youcan,can,and
andtrytrynot
nottotospend
spendtoo
too
summer day.
vous
vousenergy
energycan can
much
muchtime timeononanyanysingle
singlememory;
memory;atat actually
actuallyserve servetoto
Tell them to think of this assignment
this
thispoint,
point,youyoushould
shouldonly onlyneed
needa afewfew strengthen
strengthenyour your
as painting three small memory snap-
words
wordsororphrases
phrasestotosolidify
solidifyeach
eachone
oneinin presentation.
presentation.
shots with words. Warn them that
your
yourmind.
mind.Remember:
Remember:these thesedon’t
don’thave
have Introduce
Introducethe the
self-censorship is the single greatest
totobebethethemost
mostimportant
importantmemories
memoriesofof title
titleofofyour
yourpre-pre-
obstacle to success with this project.
your
yourlife.
life.They
Theyarearesimply
simplymoments
momentsyou you sentation,
sentation,pause pausea a
remember
rememberclearly clearlythat
thathave
havesomesomespe-
spe- moment,
moment,and and
cial
cialmeaning.
meaning. begin.
begin.Try Trytoto
enjoy
enjoysharing
sharingthe the
When
Whenthe thetime
timeis isup,
up,select
selectthree
threemem-
mem-
ories
oriesfrom
recall
fromthe
recallvivid
thelist
vividdetails
listyou
youcreated.
detailsabout
created.Try
abouteach.
each.Use
Trytoto
Useyour
your
memories.
memories.They
are
arepersonal
personal
They
PRESENT
expressions
expressionsofof Re-Create the Times of Your Life
five
fivesenses
sensestotocapture
capturespecific
specificdetails
detailsinin
moments
momentsfrom from
your
yourmind.
mind.ThinkThinkaboutabouthowhowyou youwill
will Remind students that their goal is to
your
yourlife,
life,andandthat
that
present
presentthemthemtotothe theclass.
class.You
Youcancansepa-
sepa- re-create their three memories with
makes
makesthem them
rate
ratethe
thethree
threememories
memoriesfrom fromoneone the class in a format of their own
important.
important.
another
anotherininany anywaywayyouyoulike;
like;the
theidea
ideais is choosing. Some students may have
totokeep
keepeach
eachone onevery
veryspecific
specificandanddis-
dis- When Whenyou youhavehave performance anxiety and consequently
tinctive
tinctivefrom
fromthe theothers.
others.YouYoumaymayfindfindit it finished,
finished,take takea abrief
briefpause
pauseand andthen
then need to read directly from their notes;
helpful
helpfultotosketch
sketchout outthetheorder
orderand
and quietly
quietlyleaveleavethe theplaying
playingarea.
area. others may go more fully into the
other
otherdetails
detailsabout
abouthow howyou youplan
plantoto Remember
Rememberthat thatyour
yourpresentation
presentationisisnot not performance aspects of the project,
present
presentyouryourwork.
work.Finally,
Finally,come
comeupup complete
completeuntil untilyouyouhave
havereturned
returnedtoto adding choreographed movements or
with
witha atitle
titleforforyour
yourpresentation.
presentation. your
yourseat.
seat. sound effects to their descriptions.
Any way students choose to depict
their three memories is valid.

Chapter
Chapter1 1The
TheTheatre
Theatreand You 11
andYou 11

Using Sensory Images

A technique that some actors use to Though students are not likely to select
conjure emotional moments is sense highly charged emotional memories for this
memory, which allows them to recall project, tell them that using sensory images
and draw on the physical sensations (those that use sight, hearing, smell, taste,
surrounding a past emotional state or and touch) will help them create more vivid
event, rather than the emotion itself. moments.

Chapter 1 The Theatre and You 11

CRITIQUE
Evaluate a Classmate’s CRITIQUE
CRITIQUE
Presentation
Evaluate
Evaluatea aClassmate’s
Classmate’sPresentation
Presentation • •Were
Werethe
thethree
threememories
memoriesspecific
specific
Hand out the Critique Sheet for this AsAsyouyouwatch
watchyour
yourclassmates’
classmates’presenta-
presenta- and
anddistinct
distinctfrom
fromone
oneanother?
another?WereWere
project or have students use their own tions,
tions,take
takenotes
notesononhowhoweffectively
effectivelythey they the
thetransitions
transitionsbetween
betweenthe
thethree
three
paper. illustrate
illustratetheir
theirselected
selectedmemories.
memories.How How memories
memoriesclear?
clear?
effectively
effectivelywere
werethey
theyable
abletototake
takeyou
you
Discuss with students the rubrics that • •Was
Wasthe
thepresentation
presentationfocused
focusedand
and
inside
insidethose
thosemoments?
moments?Choose Chooseone onepre-pre-
they will use to make their evalua- well
wellpaced?
paced?
sentation
sentationtotoevaluate.
evaluate.Consider
Considerbothboththe the
tions. Let them know that you will • •Did
Didthe
thepresenter
presenterspeak
speakclearly?
clearly?
successful
successfuland andthe
thenot-so-successful
not-so-successful
be assessing them using the same
aspects
aspectsofofthe
theperformance.
performance.Your Yourevalu-
evalu- • •Did
Didthe
themovements
movementsadd addinterest
interestand/
and/
rubric and that you will also be paying
ation
ationshould
shouldbebebased
basedonona ascale
scaleofof1 1toto ororclarity
claritytotothe
thepresentation?
presentation?
attention to how well they assess each
5,5,ininwhich
which1 1means
means“needs
“needsmuchmuch
other’s work. • •Was
Wasthe
thepresentation
presentationthe
thecorrect
correct
improvement”
improvement”and and5 5means
means“outstand-
“outstand-
ing.”
ing.”AsAsyou
youcraft
craftyour
yourevaluation,
evaluation,ask ask length?
length?
As this is the first assignment, pay
yourself
yourselfquestions
questionslikelikethe
thefollowing.
following. Write
Writea aparagraph
paragraphdefending
defendingyour
your
special attention to any students hav-
ing difficulty presenting themselves in scoring.
scoring.
• •Did
Didthethepresentation
presentationhold
holdyour
yourinter-
inter-
front of the class. Speak privately to estestand/or
and/ormake
makeyou
youthink
thinkofofyour
your
these students about techniques they own
ownlife?
life?
might use to make themselves more
comfortable in this area.

12
12 Unit
UnitOne
OneBegin
Beginwith
withthe
theBasics
Basics

Remind the class that critiquing a fellow

student’s presentation depends on both
honesty and empathy. It can be difficult to
negotiate this balance, but fairness is key.
As author Edgar Allan Poe once put it,
“In criticism I will be bold, and as sternly,
absolutely just with friend and foe. From
this purpose nothing shall deter me.”

12 Unit One Begin with the Basics

 The Theatre and You Test
Additional
AdditionalProjects
Projects The test for this chapter is avail-
able in blackline master form in the
Resource Binder, page 7.
1 1InInsmall
smallgroups,
groups,define,
define, 3 3Work
Workwith witha apartner
partnertotocre-
cre- 6 6Analyze
Analyzeand andresearch
researchthe the
identify,
identify,analyze,
analyze,and andevalu-
evalu- ate
atea aPowerPoint
PowerPointpresenta-presenta- impact
impactand andinfluence
influenceofoflive live For More Information
ate
ateyouryourindividual
individualcreativity.
creativity. tion
tionrecognizing,
recognizing,analyzing,
analyzing, theatre
theatreononcontemporary
contemporary
Also
Alsoprovide
providefeedback
feedbacktoto and
anddefending
defendingthe thevalue
valueand and society.
society.Synthesize
Synthesizeyour your Books
your
yourgroupgroupmembers
membersabout about power
powerofoftheatretheatreasasananartart findings
findingsininananessay
essayabout
about Cameron, Julie, The Artist’s Way,
strengths
strengthsyou youseeseeininthem.
them. form.
form.InInyour yourpresentation,
presentation, whether
whetherorornot nottheatre
theatrehas has Tarcher, 2002.
Discuss
Discussways waysininwhich
whicheach each analyze
analyzethe theelements
elementsofofthe the the
theability
abilitytotobring
bringaboutabout Lamott, Anne. Bird by Bird: Some
person
personcould couldexpress
expressand and artartofoftheatre.
theatre.Look Lookforfor social
socialchange.
change.GiveGiveclearclear Instructions on Writing and Life,
explore
explorehis hisororher
hercreativity
creativity examples
examplesofofhow howtheatre
theatremay may reasons
reasonsforforyour
yourview.
view. Anchor Books, 1995.
inintheatre
theatreclassclassand
andinina a have
haveinfluenced
influencedvaluesvaluesand and
7 7Theatre JournalThink
TheatreJournal Thinkofof
theatrical
theatricalproduction.
production.For For behavior
behaviorinineverydayeverydaylife.
life. Other Media
three
threeworks
worksofofartartthatthatyou
you
example,
example,students
studentswho whoexcel
excel 21st Century Skills: Promoting
4 4Using
Usingcomputer
computergraphics
graphicsoror know
knowwellwellinindifferent
differentmedi-medi-
ininvisual
visualartsartscould
couldbring
bring Creativity and Innovation in the
artartsupplies,
supplies,create createa aposter
poster ums.
ums.For Forexample,
example,you you
their
theircreativity
creativitytotothethedesign
design Classroom, DVD, Association
ororchart
chartanalyzing
analyzingand andeval-
eval- might
mightknowknowVincent
VincentVan Van
ofofsets
setsandandprops.
props. for Supervision and Curriculum
uating
uatinghow howtheatre
theatretraining
training Gogh’s
Gogh’spainting
paintingStarry
Starry
2 2Imagine
Imaginea aroom roomininyouryour ininspecific
specificdisciplines
disciplinessuch such Night,the
Night, themovie
movieThe The Development, 2009.
home
homeasasa apossible
possiblesetting
setting asasacting,
acting,directing,
directing,orortech-tech- Hobbit:
Hobbit:The TheDesolation
Desolationofof
Apps
forfora aplay.
play.Think
Thinkaboutaboutele-ele- nical
nicaltheatre
theatremightmightprepare
prepare Smaug,and
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ments
mentsofofthis thisroom
roomthat that a aperson
persontotowork workandandinter-
inter- ballet.
ballet.InInyour
yourjournal,
journal,com- com-
Idea Sketch
reflect
reflectthe theparticular
particulartime,time, act
acteffectively
effectivelyinindifferent
different pare
pareand
andcontrast
contrastthe theele-
ele-
place,
place,culture,
culture,and andrelation-
relation- careers
careersororfields fieldsofofstudy.
study.
lino
ments
mentseacheachwork
workuses usestoto
ships
shipsofofthe thepeople
peopleininyouryour communicate.
communicate.Refer Refertotothethe
Paper by FiftyThree
5 5Read
Readthe thescene
scenebetween
between Popplet
household.
household.Analyze Analyzeaspects
aspects chart
chartononpagepage5 5forforideas.
ideas.
Nora
Noraand andher herhusband
husbandininA A SyncSpace
ofofthetheroom
roomsuch suchasasarchi-
archi-
Doll’s
Doll’sHouseHousebybyHenrik
Henrik
tecture,
tecture,furniture
furniturestyle,
style,
Ibsen
Ibsenfound foundinin
lighting,
lighting,and anddecorations
decorations
Unit
UnitEight.
Eight.
including
includingart, art,photographs,
photographs,
Analyze
Analyzethis this
Theatre Journal
ororknickknacks.
knickknacks.Write Writea a If appropriate, encourage students
scene
sceneininterms terms
brief
briefsummary
summarywith witha acon-
con- to keep their journals digitally. Free
ofofwhat
whatit it
clusion
clusionthat thatportrays
portraystheatre
theatre online journal tools are widely avail-
reveals
revealsabout about
asasa areflection
reflectionofofparticular
particular able, as are a variety of apps for vari-
the
thetime
timeperi-peri-
times,
times,places,
places,andandcultures.
cultures. ous mobile devices. Students can
ododandandculture
culture
ininwhich
whichthe the also check their word-processing
characters
characterslive. live. programs to find out if journal tem-
plates are included.

Chapter
Chapter1 1The
TheTheatre
Theatreand You 13
andYou 13

Substitute Teacher Activities

The suggestions below are intended for
the substitute teacher when you are out of
the classroom for a day or two.
• Assign the Theatre Elements Worksheet
on page 5 of the Resource Binder.
• Assign students one or more of the
Additional Projects on this page.
• Have students work in pairs. Ask them
to use four to six memories (two to
three from each of them) to create a
collaborative memory collage.

Chapter 1 The Theatre and You 13

Theatre Then
and Now Theatre
TheatreThen
Then
Virtual Sets
More on Etienne Gaspard
and
and
Now
Now
Robertson Phantasmagoria show- Virtual
VirtualSets
Sets
man Robertson was an innovator. He
was able to improve the magic lan- From
FromMagic MagicLanterns
Lanterns
tern’s artificial light source by using You
Youknowknowfrom fromthe thehistorical
historicaldevelop-
develop-
a tubular wick, which created a much ment
mentofofstagestagetechnology
technology(see (seepages
pages
more powerful projection. He attached 244–245)
244–245)that thatsetsetconstruction
constructionpro- pro-
wheels to the lantern and called this gressed
gressedfrom fromthe thevery
verysimple
simpleif ifnonexis-
nonexis-
new technology a Phantascope. The tent,
tent,asasininAncient
AncientGreece,
Greece,totothe
theelabo-
elabo-
wheels allowed him to move the pro- rately
ratelycomplex
complextoday.today.UpUpuntil
untilthethe
jector forward or backward at whatever 1600s,
1600s,most mosttheatrical
theatricalevents
eventswere
wereheld
held Images
Imagesshown
shown through
through
rear
rear
projection
projection
were
were
thethe
speed he liked. This created an effect outside,
outside,sososets setswould
wouldhavehavebeen
beensubject
subject secret
secret
toto
thethe
scary
scary
effects
effects
of of
Phantasmagoria.
Phantasmagoria.

in many ways similar to a contem- totothetheelements.

elements.When Whentheatres
theatresmoved
moved
porary zoom lens on a camera. The indoors,
indoors,setsetconstruction
constructionbecame
becamepracti-
practi- highly
highlyrealistic
realisticand
andornate
ornatescene
sceneusing
using
stronger projections and the new abil- calcaland
andwidespread.
widespread. perspective.
perspective.
ity to move at a higher speed paved the Even
Evenbefore
beforethen,
then,ininthe theearly
early1400s,
1400s, InInthe
themid
mid1600s,
1600s,another
anotherdevelopment
development
way for Robertson to bring his act to painters
paintersininthetheItalian
ItalianRenaissance,
Renaissance,nota-nota- that
thatwould
wouldhavehaveananimpact
impactonontheatrical
theatrical
larger and larger venues. bly
blyFilippo
FilippoBrunelleschi,
Brunelleschi,discovered
discoveredthethe sets
setswas
wasininthe
theworks.
works.Christiaan
Christiaan
way
waytotoproduce
produceperspective,
perspective,the therepre-
repre- Huygens—Dutch
Huygens—Dutchastronomer, astronomer,mathe-
mathe-
sentation
sentationonona aflat flatsurface
surfaceofofananimage
imageasas matician,
matician,and andphilosopher—is
philosopher—iscredited
credited
the
theeye
eyesees
seesit.it.ByBythe
thetime
timetheatre
theatre with
withrefining
refiningif ifnot
notinventing
inventinga aprojec-
projec-
moved
movedindoors,
indoors,the thetechnique
techniqueofofpaint-
paint- tion
tiondevice
deviceknown
knownasasthe themagic
magiclantern.
lantern.
ing
ingwith
with This
Thisdevice
deviceused
useda amirror
mirrorbehind
behinda alight
light
perspective
perspective source
sourcethat
thatdirected
directedlight
lightthrough
througha a
was
waswell
well painted
paintedslide
slidetotoproject
projectontoontoa asurface.
surface.
established,
established, Magicians
Magiciansbeganbegantotouse usethese
thesetototrick
trick
and
andthethe people
peopleinto
intobelieving
believingtheytheywere
werewitness-
witness-
painted
painted ing
ingapparitions
apparitionsduring
duringseances.
seances.InInthethe
backdrop
backdrop late
late1800s,
1800s,people
peopleusedusedthem
themtotostage
stage
scenery
sceneryforfor horror
horrorshows
showscalled
calledPhantasmagoria.
Phantasmagoria.
theatrical
theatrical The
TheBeligian
BeligianÉtienne
ÉtienneGaspard
Gaspard
productions
productions Robertson
Robertson(1763–1837)
(1763–1837)hid hidthe
theprojec-
projec-
was
wasoften
oftena a tor
torbehind
behindtransluscent
transluscentcurtains
curtainsatatthe
the
back
backofofthe
thestage
stageand andprojected
projectedimages
images

264
264 Unit
UnitFive
FiveTechnical
TechnicalTheatre
Theatre

Notes

264 Unit Five Technical Theatre

 Welcome to the Tweet Seats The
fast-changing digital world has man-
aged to make its way into live the-
atre both onstage and off. In 2012,
onto
ontosmoke,
smoke,making
makingghosts
ghostsseem
seemtoto Projection
Projectiondesign
designhas hasbecome
becomea aregular
regular Minnesota’s famed Guthrie Theatre
appear
appearand
andmove
movearound.
around. part
partofofproductions
productionstoday.today.A A2008
2008pro-pro- designated a new limited seating area
duction
ductionofofStephen
StephenSondheim’s
Sondheim’sSundaySunday that has become known as the “tweet
ToToProjected
ProjectedDigital
DigitalSets
Sets
ininthe
thePark
Parkwith Georgeused
withGeorge usedprojection
projection seats.” This section—often in the
InInthe
theearly
early1900s,
1900s,the theLinnebach
Linnebachpro- pro-
animation
animationtotopiecepiecetogether
togetherbitbitbybybitbit balcony or the back row of the the-
jector
jectormade
madeit itpossible
possibletotouse
useprojection
projection
the
thefamous
famousimpressionist
impressionistpainting
paintingbyby atre—allows audience members to use
inintheatre
theatremore
moreeasily,
easily,and
andseveral
several
Georges
GeorgesSeurat
Seuratthatthatinspired
inspiredthe theplay.
play. their smartphones during the show to
directors
directorsexperimented
experimentedwith withit itduring
during
Set
Setdesigner
designerRae RaeSmith
Smithwon wona a2011
2011 text or tweet without disrupting other
the
the1920s
1920sand and1930s.
1930s.InIn1947,
1947,JoJo
Tony
TonyAward
Awardforforherherwork
workononthe theWorld
World audience members. The basic idea is to
Mielziner,
Mielziner,a aleading
leadingsetsetandandlighting
lighting
War
WarI drama
I dramaWar Horse,ininwhich
WarHorse, which use audience members’ connectedness
designer,
designer,usedusedprojection
projectioninina aproduc-
produc-
projected
projecteddrawings
drawingschange
changefrom fromthe the to build buzz about the production.
tion
tionofofthe
theRodgers
Rodgersand andHammerstein
Hammerstein
peaceful
peacefulEnglish
Englishcountryside
countrysidetotobarbed barbed Since 2012, many other theatres have
musical
musicalAllegro,
Allegro,totomixed
mixedreviews.
reviews.
wire
wireandandskies
skiesdarkened
darkenedbybywar. war.DoDo implemented tweet seats.
Some
Somethought
thoughtthe theprojections
projectionsgreatly
greatly
these
thesedigital
digitalsets
setsdraw
drawattention
attentionawayaway
added
addedtotothethefluency
fluencyofofthe
theshow,
show,which
which
from
fromwhatwhatisisunique
uniquetototheatre—live
theatre—live
required
requiredmanymanyquickquickscene
scenechanges.
changes.
actors
actorsandandthe
theimagination
imaginationofofthe the
Others
Othersthought
thoughtthey theycalled
calledtootoomuchmuch
audience?
audience?The Thedebate
debatecontinues.
continues.
attention
attentiontotothemselves.
themselves.
Technological
Technologicaladvances
advancesininthe the
1970s
1970smademadeprojection
projectioncheapercheaper
and
andmore
moreeffective.
effective.A Aturning
turning
point
pointininitsitsacceptance
acceptancewas wasthe
the
work
workofofWendall
WendallK.K.Harrington.
Harrington.
Her
Herworkworkononthe the1992
1992musical
musical
The
TheWho’s Tommyinvolved
Who’sTommy involved5454
projectors
projectorsasaswell wellasasvideovideo
sequences,
sequences,and andit itsetsetthe
thestan-
stan-
dard
dardforfortheatrical
theatricalprojection.
projection.
AsAsdigital
digitaltechnology
technologyexploded exploded
ininthe
thelate
late20th
20thcentury,
century,new new
kinds
kindsofofprojectors
projectorsand andnewnew
kinds
kindsofofsoftware
softwarewith withremark-
remark-
able
ablebrightness
brightnessand andcapabili-
capabili-
ties,
ties,including
includinganimation,
animation,were were
available
availablerelatively
relativelycheaply.
cheaply. The
The
darkened
darkened
sky
sky
is is
one
one
of of
a series
a series
of of
projected
projected
drawings
drawings
byby
Rae
RaeSmith
Smiththat
that
gave
gave
thethe
setset War
of of War
Horse
Horse
a changing
a changing
landscape.
landscape.

Chapter
Chapter2020Set Construction 265
SetConstruction 265

From the Field: In the Blink of an Eye

Video projection designer Elaine McCarthy
worked on the 2009 Broadway production
of Michael Jacobs’s play Impressionism,
for which she created an onstage museum
gallery of famous Impressionist artworks.
Recalling her collaboration with the
show’s director, Jack O’Brien, McCarthy
said, “Jack said at one point that it might
be funny if Whistler’s Mother [an iconic
painting featured in the show] could wink.
Three minutes later, she was winking. Jack
. . . couldn’t believe we could make the
change so quickly.”

Chapter 20 Set Construction 265

Cultural
Heritage Cultural
Cultural
Kalidasa’s Sakuntala Heritage
Heritage
Kalidasa is known as the “Shakespeare
of India,” and his famous play The
TheActor’s
Actor’sFace
Face Throughout
ThroughoutIndia Indiaand andSoutheast
SoutheastAsia, Asia,
Sakuntala, from the Mahabharata, the
theinfluence
influenceofofthe thegreat
greatIndian
Indianepics epics
The
TheFacesFacesofofAncient
AncientAsia Asia
is a story of grand proportions. It is Ramayanand
Ramayan andMahabharata,
Mahabharata,whose whose
Sanskrit
Sanskritdrama dramaasasperformed
performedininIndia India stories
storiesappear
appearininthe theform
formofofdance danceand and
known in the West chiefly through the
isisprobably
probablythe theoldest
oldestexisting
existingclassical
classical drama
dramaasaswell wellasaspuppet
puppettheatre,
theatre,are are
Bhagavad Gita, the magnificent dia-
theatre
theatreform formininthe theworld,
world,having
having still
stillperformed.
performed.InInthese thesedramatic
dramatic
logue between Lord Krishna and the
originated
originatedclose closetoto2000
2000years
yearsago.
ago. dances,
dances,gods godssuchsuchasasShiva Shivaand andKrishna
Krishna
hero Arjuna.
ItItisissaid
saidtotohave
havecomecomefromfromthetheancient
ancient areareoften
oftenintegrated
integratedinto intothe thestories.
stories.
The story of Sakuntala has all the custom
customofofreciting
recitingpoetry
poetryatatsocial
socialand and TheThedances
dancesare areveryverystylized
stylizedand and
passion, intrigue, and danger of any religious
religiousgatherings.
gatherings.The TheNatyasastra
Natyasastra exuberant,
exuberant,with witheach eachdancer
dancermade madeupup
classic drama. While hunting one day, bybyBharatha
BharathaMuni Muniisisthetheoldest
oldesttext
textonon and anddressed
dressedasasbefits
befitsthe thecharacter.
character.
King Dushanta arrives at the home of theatre
theatreperformance.
performance.
Sakuntala. Struck by her beauty and The
Theancient
ancienttheatre
theatreofofIndia Indiaand and
kindness, Dushanta asks her to marry Acting
Actingininancient
ancientIndiaIndiawaswasananartartthat
that Southeast
SoutheastAsia Asiais isstill
stillalive,
alive,andanditsitsfaces
faces
him. Sakuntala offers a condition that made
madegreat greatuseuseofofboth
bothcostume
costumeand and are
areasasbeautiful
beautifuland andcolorful
colorfulasasever. ever.
the king must promise to hand over makeup.
makeup.Actors Actorswere wererigorously
rigorouslytrained,
trained,
his kingdom to a son born to them, adhering
adheringtotostrict strictdietary
dietaryand
andexercise
exercise Arunja,Arunja,one
oneof of
thethecharacters
characters in in
thethe
regimens.
regimens.The Thecharacters
characterstheytheydepicted
depicted Mahabharata,
Mahabharata, wears
wears thethegreen
green makeup
makeup typical
typical
and Dushanta agrees. They marry and of of
thethe
heroes
heroesof of
Sanskrit
Sanskrit drama.
drama. This
This
perfor-
perfor-
are happy, but the king must return to included
includedgods, gods,kings,
kings,heroes,
heroes,jesters,
jesters,
mance
mance waswasgiven
givenin in
Kerala,
Kerala, India.
India.
the capital. Sakuntala later gives birth courtiers,
courtiers,and andcommon
commonfolks.folks.Everyone
Everyone
to a son named Sarvadamana. involved
involvedininthe thedrama—actors,
drama—actors,dancers, dancers,
and
andmusicians
musiciansalike—were
alike—werecommitted
committed
Six years pass and Dushanta has not totopresenting
presentingthe theaudience
audiencewith witha a
sent for his wife or son. Sakuntala luscious
lusciousfeast feastforforthe
theeyes
eyesand
andears.
ears.
journeys to Dushanta’s residence, but
he has no memory of her. Sakuntala is Kalidasa
Kalidasaisisgenerally
generallyagreedagreedtotobebethe
the
grief-stricken. Then a heavenly voice greatest
greatestofofIndian
Indianplaywrights.
playwrights.HeHeisis
commands Dushanta, saying, “He thought
thoughttotohavehavelived
livedbetween
betweenabout
about
is your son. Accept him.” The king 375A.DA.Dand
375 . and450450A.DA.DThree
. Threeofofhishisplays
plays
then remembers all that has passed exist
existtoday,
today,including
includingSakuntala,
Sakuntala,the the
and acknowledges his son, who later story
storyofofa ahumble
humblegirl girlloved
lovedbybyKing
King
becomes renowned as Bharata. Dushanta.
Dushanta.The Thecouple
couplemust mustovercome
overcome
the
thecurse
curseofofa asage
sagetotofindfindhappiness
happinessinin
Other Cultures, Other Times the
thefinal
finalact.
act.

Makeup is very important in Japanese

Kabuki theatre. The style of makeup 332
332 Unit
UnitFive
FiveTechnical
TechnicalTheatre
Theatre
most associated with Kabuki is called
kumadori. The actor applies a base
coat of white for most characters.
Then heavy, exaggerated lines and
shadows are applied that emphasize Quotable
the emotion and temperament of each
character. Each emotion has its own
Unlike classical masks and those of China and Japan, commedia
color; for example, light blue indicates masks did not express any particular emotion like joy or sorrow.
calmness, while deep red indicates
anger and obstinacy.
Instead, they gave a permanent expression to the characters, such
For more on Kabuki, you may want as cunning or avarice.
to visit www.japan-guide.com/e/ from Theatre: A Way of Seeing by Milly S. Barranger
e2090.html or library.thinkquest.org/
TQ0013420.

332 Unit Five Technical Theatre

 The Many Faces of Diverse America
The Asian American Performers Action
Coalition (AAPAC) was formed in 2011
InInchoosing
choosingworks
workstotoenjoy,
enjoy,the
the practice
practiceplaywright
playwrightAugust
AugustWilson
Wilson(see
(see after an Asian American actor posted
page
page161)
161)strongly
stronglyprotested
protestedinin1996,
1996, on Facebook his frustration about
country
countryiningeneral
generalneeds
needstotosee
see
when
whenArthur
ArthurMiller’s
Miller’sDeath
Deathofofa a limited opportunities to even audition
past
pastthethenotion
notionthat
thata apiece’s
piece’s Salesmanwas
Salesman wascast
castwith
withblack
blackactors.
actors. for many New York theatre companies.
“universality”
“universality”has hasanything
anythingtoto HeHewrote:
wrote:“It“Itisisananinsult
insulttotoour
ourintelli-
intelli- The actor wrote that he had a degree
dodowith
withthe
therace
raceand
andculture
cultureofof gence
gence. .. .. we
. wedodonot
notneed
needcolorblind
colorblind from a prestigious graduate acting
casting;
casting;weweneed needsome
sometheaters
theaterstoto program and had lived in New York
itsitscharacters.
characters. develop
developour our[black]
[black]playwrights.”
playwrights.”
David
DavidHenry
HenryHwang
Hwang for almost a decade. The response
The
Thedebate
debatecontinues
continuestoday,
today,but
butthe
the to the post was so strong that about
The
TheMany ManyFacesFacesofofDiverse
DiverseAmerica
America acceptance
acceptanceofofcolorblind
colorblindcasting
castingmaymaybebe 150 Asian American theatre profes-
What
Whatisisthe theface
faceofofananAmerican
Americanactor?
actor? growing.
growing.NAATCO
NAATCO(National
(NationalAsian
Asian sionals met the following month and
The
Theanswer,
answer,ofofcourse,
course,isisthat
thatthere
thereisis American
AmericanTheatre
TheatreCompany)
Company)has hastwice
twice decided to form the coalition. Their
nonosingle
singleAmerican
Americanface. face.American
American mounted
mounteda aproduction
productionofofWilliam
WilliamFinn’s
Finn’s goal is to call attention to the issue
actors
actorshave havefaces
facesinina awide
widerange
rangeofofskin
skin Falsettoland,a aplay
Falsettoland, playabout
abouta aJewish
Jewish and to increase the amount of non-
colors
colorsand andfeatures.
features.Nonetheless,
Nonetheless,the the family
familyapproaching
approachinga ason’sson’sbar
barmitzvah,
mitzvah, traditional casting. Their research,
American
Americanstage stagehashasbeen
beendominated
dominatedbyby with
withananall-Asian
all-AsianAmerican
Americancast. cast.The
The which relied on online searches to
white
whiteactors.
actors.EvenEvenwhenwhenplays
playsororpro-
pro- production
productionwas wasone
oneofofthe
thecompany’s
company’s learn the background of actors in
ductions
ductionsincluded
includedcharacters
charactersofofcolor,
color, most
mostsuccessful
successfulcommercial
commercialventures.
ventures. more than 400 productions, resulted
white
whiteactors
actorsoften
oftenplayed
playedthemtheminin in the report “Ethnic Representation
ethnic
ethnicmakeup.
makeup.While Whileit itwould
wouldbebeoutout Actors
Actorsfromfromthethe NAATCO
NAATCO (National
(National Asian
Asian on New York City Stages.” Researchers
ofofthe
thequestion
questiontoday todayforfora awhite
whiteactor
actor American
American Theatre
Theatre Company)
Company) portray
portraya Jewish
a Jewish
learned that Asian Americans were the
totoplay
playananAfrican
AfricanAmerican,
American,whites
whitesareare family
family
in in
thethe2007
2007 production
production Falsettoland.
of of Falsettoland.
Critic
Critic
Adam
Adam Feldman
Feldman wrote,
wrote,“NAATCO’s
“NAATCO’s cross-
cross-
only minority group that saw its roles
still
stillfrequently
frequentlyhiredhiredtotoplayplayAsian
Asianchar-
char- decrease since 2007. African American
racial
racial
casting
casting is is
able
able
toto
add
addlayers
layersof of
newnew
acters.
acters.The TheAsian
AsianAmerican
AmericanPerformers
Performers connotations
connotations totothethe
piece
piece
without
without eroding
eroding thethe and Latino actors fought for years to
Action
ActionCoalition
Coalitionresearched
researchedcasting
castingandand integrity
integrityof of
thethestory.
story.
” ” increase their presence on stage and
found
foundthat thatbetween
between2006 2006and and2011,
2011, in films and television programs. The
Asian
AsianAmericans
Americansmade madeupuponly only2%2%ofof members of AAPAC say they are not
the
theactors
actorsononthe theAmerican
Americanstage stage willing to wait another 20 years to
(Broadway
(Broadwayand andnonprofit
nonprofittheatres),
theatres), achieve similar results. The number of
while
whilethey theyrepresent
represent6% 6%ofofthethegeneral
general plays by Asian American playwrights
population
populationand andnearly
nearly12%12%ininthe thecities,
cities, on Asian themes has increased, but
where
wheremost mosttheatrical
theatricalproductions
productionsare are many actors want the opportunity
mounted
mountedand andcast.
cast. to play roles that are not specifically
One
Oneresponse
responsetotothe theunfairness
unfairnesshas has Asian.
been
beentotoadopt
adopta acolorblind
colorblindoror
nontraditional
nontraditionalpractice
practiceofofcasting,
casting,a a

Chapter Makeup 333

Chapter2424Makeup 333

For More Information

Books Transformational Makeup, University
Brandon, James R., editor, The of Texas Press, 2001.
Cambridge Guide to Asian Theatre, Sartor, David, and John Pivovarnick,
Cambridge University Press, 1997. Theatrical FX Makeup, Heinemann,
Kalidasa, W. J. Johnson, editor, The 2001.
Recognition of Sakuntala: A Play in
Seven Acts, Oxford World’s Classics, Other Media
2008. Lars Carlsson of Sweden offers a
portfolio of very interesting makeup
Debreceni, Todd, Special Make-Up and mask techniques on his Web
Effects for Stage and Screen, 2nd ed. site: www.makeup-fx.com.
Focal Press, 2013.
Morawetz, Thomas, Making Faces,
Playing God: Identity and the Art of
Chapter 24 Makeup 333
Television Test
The test for this chapter is available in Additional
AdditionalProjects
Projects
blackline master form in the Resource
Binder, page 144. 1 1 With
Witha apartner,
partner,prepare
preparea a AsAsyouyouprepare
prepareanswers,
answers,bebe Also
Alsoappraise
appraisethe thevalue
valueofof
presentation
presentationusing usingtechnol-
technol- sure
suretotouse usethe
thevocabulary
vocabulary these
theseskills
skillsandandexperiences
experiences
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Block, Bruce, The Visual Story: analyze,
analyze,evaluate,
evaluate,articulate,
articulate, terms
termsasasintent,
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careersoutside
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examplesthat thatmake
makeyour your best
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behavior,
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point.ForForexample,
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Thenimprovise
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dislikeabout
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pursue What
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conventions
sion
sionshow.
show.One Oneperson
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hostandandaskaskthe thequestions.
questions. television,
television,and andother
othermedia.
media.

406
406 Unit
UnitSix
SixTheatre
Theatreand
andItsItsCounterparts
Counterparts

Substitute Teacher Activities

The suggestions below are for one or more
days when you will be out of the classroom.
• Assign the Television Episode Worksheet
on page 142 of the Resource Binder.
• Teach the Television section of the
Student Handbook, pp. 576–577.
• Assign students one or more of the
Additional Projects on this page.
• Assist students as they interview each
other about viewing habits.
• Play a game of TV charades. Divide
the class into teams (either two teams
or small groups of four to five students).
Ask them to write the titles of several
television shows on separate slips of
paper. Check the slips to make sure there
is no duplication, and then begin the
game. A member of one group picks one
of the other team’s titles and has three
minutes to pantomime it for his or her
team.

406 Unit Six Theatre and Its Counterparts

 Master of the Craft
Master
Master of
of the
the Craft
Craft David Simon’s
David
DavidSimon:
Simon:From
FromReporter
Reporter Musical Side
to
toProducer
Producer Music has been a touchstone in
David
DavidSimon
Simonstarted
startedoutoutasasa a work—ideas,
work—ideas,characters,
characters,and
and gone
goneonontotoa arobust
robustlife
lifeonon Simon’s work. The Wire’s theme song,
reporter
reporterforforthe theBaltimore
Baltimore situations
situationshehewould
woulddevelop
develop DVD,
DVD,picking
pickingupupmanymanythou- thou- “Way Down in the Hole,” for example,
Sun,where
Sun, whereheheworked
workedforfor further
furthertotocreate
createperhaps
perhapsthe
the sands
sandsofoffans
fansalong
alongthetheway.
way. opened every episode. Written by Tom
thirteen
thirteenyears,
years,mostly
mostlyononthe the most
mostbrilliantly
brilliantlycomplex
complex Waits, the song was sung by a differ-
After
AfterTheTheWire,Wire,Simon’s
Simon’snext next
crime
crimebeat.beat.InIn1991,
1991,while
while crime
crimeseries
seriesinintelevision
televisionhis-
his- ent singer or band each season. In the
major
majorTVTVventureventurewas wasa a
still
stillononstaff,
staff,hehepublished
publisheda a tory,
tory,The
TheWire.
Wire. series itself, Simon used a number of
drama
dramacalledcalledTreme
Treme(HBO). (HBO).
book
booktitled
titledHomicide:
Homicide:A AYear Year songs by the Irish band The Pogues,
The Wireaired
TheWire airedononHBOHBOfrom from Set SetininNewNewOrleans
Orleansthree three
ononthetheKilling Streets,based
KillingStreets, based and he made no secret of being a big
2002
2002until
until2008.
2008.ItsItsstructure
structure months
monthsafter afterHurricane
Hurricane
ononhishisconnections
connectionswith with fan of the band. In late 2013, five
was
wasa adeparture
departurefrom fromthat thatofof Katrina,
Katrina,TremeTremepremiered
premieredinin
members
membersofofthe thepolice
police years after The Wire went off the air,
earlier
earliercrime
crimedramasdramasininthatthat 2010 2010and andended
endedjust justthree
three
department’s
department’shomicidehomicidedivi-divi- Rolling Stone reported that Simon
each
eachofofthe
theshow’s
show’sfivefivesea-
sea- years
yearslater.
later.“I“Ilove
lovethese
these
sion.
sion.TheThebook
bookwas wasa abrainy
brainy was creating a new musical featuring
sons
sonsfocused
focusedonona adifferent
different (Treme)characters,”
(Treme) characters,”Simon Simon
and
andheartfelt
heartfeltexamination
examinationofof the songs of The Pogues. He had been
area
areaofofurban
urbancrimecrimeorordecay,
decay, said.
said.“They're
“They'rethe themost mostcom-com-
Baltimore’s
Baltimore’slaw lawenforcement
enforcement collaborating on the project with Phil
including
includinghousing
housingprojects,
projects, plex plexhuman
humanbeings beingsI've I'vebeen
been
and
andcriminal
criminalelement.
element.ThatThat Chevron, the band’s guitarist, who
inner-city
inner-cityschools,
schools,and andthethe able
abletotowrite.”
write.”
book
bookled ledtotoa aTVTVshow
showinin died of cancer in October 2013. The
news
newsmedia.
media.The Theshow’s
show’slong-long-
1993
1993which
whichran ranuntil
until1999.
1999. HeHeisissometimes
sometimesfrustrated
frustrated project was in development at Ireland’s
form
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narrativestructure
structurefea- fea-
with
withthethelimitations
limitationsofoftelevi-televi- Druid Theatre.
Simon
Simonleft lefthis
hisjob
jobatatthe
theSun
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tureda anumber
numberofofconcur-concur-
sion.
sion.“I“Ithink
thinkit'sit'stime
timetotolook
look
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1995,butbuthehedidn’t
didn’tslow
slow rent
rentstorylines
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probed
atatthe
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mediumand andsay, say,‘What
‘What
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hispace
pacea abit.
bit.While
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continu- deeply
deeplyinto
intothe thelives
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possible?’.. .. .”. .”Simon
Simonhas has
ing
ingtotowrite
writeforforHomicide,
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actersatatallalldifferent
differentlevels
levelsofof
begun
beguntotofind findsome
someanswers
answers
wrote
wroteanother
anotherbook,book,1997’s
1997’s society.
society.Despite
Despiteenormous
enormous
ininhis
hisclosely
closelyobserved
observedshows. shows.
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Corner:A AYear Yearininthe
the critical
criticalacclaim,
acclaim,
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City The Wiredid
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scorehuge
hugeaudi-audi-
transformed
transformedthat thatbook
bookintointo ences
encesduring
duringitsits
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HBOminiseries
miniseriescalledcalledThe
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fiveyears
yearsononthe the
Corner,which
Corner, whichairedairedinin2000.
2000. air.
air.Since
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final
The Cornercontained
TheCorner containedthe the season
seasonended,
ended,
seeds
seedsofofSimon’s
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future however,
however,it ithas has
David
David
Simon
Simon(left)
(left)
in in
aa
panel
panel
forfor
HBO’s
HBO’s Treme
Treme

Chapter Television 407

Chapter2929Television 407

Totally Quotable
“The trick to making a story matter is that every now and then,
somebody you care about has to go. If it’s somebody that you
don’t care about, then it doesn’t really have—the stakes aren’t
there. But if you do that every now and then, then the story
matters to people. And there are actual stakes involved, emo-
tional stakes.”
—David Simon on writing for television

Chapter 29 Television 407

Part One
The Dawn of Theatre
One
This section of the unit will introduce
students to the beginnings of theatre
and its growth and refinement in vari-
ous cultures.
Objectives
1 to learn about the origins of theatre
2 to appreciate the cultural heritages of
world drama and theatre, especially
the contributions of the early Greeks
to the development of theatre
3 to identify key figures, works, and
trends in dramatic literature and
technical theatre of the period
4 to compare and contrast early theatre
in both Western and Eastern cultures
Key Trends in Dramatic Literature
Review the four trends and explain
that students should look for evidence
of these trends as they read Part One.
Engage students in a discussion about
the relationships or tensions between
formal, literary drama and theatrical
spectacle and entertainment. Ask if they
see evidence of these two trends today.
Key Figures and Works in Dramatic
Literature Ask students if they are
familiar with any of these key figures
or works. Invite students with prior
knowledge to share it with the class.
Encourage students to notice how these
key figures and works are connected to
the trends.
426 Unit Seven Exploring Theatre
426 Unit Seven Exploring Theatre History
Part
The Dawn of Theatre
In this section, you will have the oppor- You will read about these key figures and
tunity to understand and appreciate the works that helped shape the trends.
cultural heritage of world drama and • Aeschylus: Oresteia trilogy
theatre from their earliest connections with • Sophocles: Electra, Oedipus Rex,
religious ritual in early peoples and in Antigone
Egyptian and Hebrew theatre to the drama • Euripides: Medea, Alcestis
and theatre of Classical Greece and Rome. • Aristophanes: The Birds, The Frogs, The
You will also explore early theatres of India, Clouds
China, and Japan. • Menander: The Curmudgeon
You will read about these key trends in • Seneca: closet dramas (read rather than
dramatic literature during this period. performed)
• Drama moves beyond religious ritual to • Plautus: Menaechmi, Pot of Gold
• Chinese Emperor Ming Huang
scripted plays.
• Mongolian Chinese: The Chalk Circle,
• Greek literary drama becomes more
The Lute Song
entertaining and sensationally
spectacular in Rome. • Peking Opera
• Chinese dramas become more action- • Japanese Noh Drama
oriented after the Mongol invasion. • Japanese Kabuki
• Japanese drama develops the formal • Indian Sanskrit: Mahabharata
Noh plays and the more popular and
melodramatic Kabuki.
c. 240 BC Rome: 475 AD Fall
Huge wooden amphi- of Rome, A
theatres, first use of dark period of
stage curtain theatre in
Europe follows
500-400 BC Greece:
c. 3000 BC Egypt:
Rituals similar to a play Golden Age period, Outdoor
stone amphitheatres; “deus ex
machine,” crane to raise and
lower gods
Drama and
History
Theatre History
Resource Binder
Lighting Plot, p. 137
Female Figure Outline, p. 143
Male Figure Outline, p. 144
Costume Plot, p. 145

Architects and designers of early the-
atres are unknown. But you will read
about these key trends in technical
theatre as well as the development,
discoveries, and periods in theatre archi-
tecture and stage technology shown in
the timeline below.
• Greek and Roman amphitheatres
include simple painted scenery and
basic stage technology, such as a
crane to raise and lower gods onto
the playing area.
• Theatre in China and Japan uses sym-
bolic props, costumes, and makeup.
• Noh and Kabuki theatres use specific,
distinctive architecture and innovative
stagecraft, including ramps, trap-
doors, and later, revolving stages.
• Greeks use the skene and Hindu
theatre the greenroom as a
place for actors to
change costumes.
1600s AD Japan: Kabuki
stage technology includes
entrance ramp and trapdoors.
1300s AD Japan: Noh
drama uses specific
architecture and stagecraft.
Notes
Here’s How
Here’s How
To Use Technology in Discuss with students the kinds of
technology they currently use to docu-
Learning ment, communicate, and present infor-
Use technology to help you document, communicate, and mation. Invite them to share any tips
present information and findings and demonstrate your about the most effective ways they
knowledge in a clear and coherent way. have found to use technology. Make
them aware of resources available at
To document information, use a notetaking, journaling, or
the school or in the community, for
word processing program. Look for ways to group
example in the media lab or the public
information meaningfully. With theatre history, for example,
library.
you might document information according to geographic
region, or you might group notes into such categories as
key figures, works, and trends, or theatre architecture and
Key Trends in Technical Theatre
technology.
Review the four trends and ask stu-
To communicate information, you may take part in a dents to compare and contrast them
learning management system set up by your school or with the trends in dramatic literature.
teacher. You can often participate in an online Invite students to discuss any exam-
messageboard through these programs and exchange ples of how these trends from ancient
views with classmates and demonstrate your working theatre are still influencing contempo-
knowledge on such topics as the development, rary theatre.
discoveries, and innovations in theatre architecture and
stage technology.
To present information and findings, you can use a
program such as PowerPoint or one of many other
programs that allow you to create, capture, and mix media.
1793 AD Japan:
First Kabuki
revolving stage
Part One The Dawn of Theatre 427
Part One The Dawn of Theatre 427
 Scenes
Scenes
Scenes
Scenesfor
forOne
OneMan
Manand
andOne
OneWoman
Woman
The
TheImaginary
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InvalidbybyMolière
Molière. . . . . . . . . . . . . . . . . . . . . . . . . . 493
493
AADoll’s
Doll’sHouse
HousebybyHenrik
HenrikIbsen,
Ibsen,translated
translatedbybyMichael Meyer. . . . . . . 495
MichaelMeyer 495
Blood
BloodWedding
WeddingbybyFederico
FedericoGarcía Lorca. . . . . . . . . . . . . . . . . . . . 497
GarcíaLorca 497
Driving
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MissDaisy
DaisybybyAlfred Uhry. . . . . . . . . . . . . . . . . . . . . . . . . 500
AlfredUhry 500
FOB
FOBbybyDavid
DavidHenry Hwang. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
HenryHwang 503

Scenes
Scenesfor
forTwo
TwoMen
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The
TheImportance
ImportanceofofBeing
BeingEarnest
EarnestbybyOscar Wilde. . . . . . . . . . . . . 506
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andGeorge Kaufman. . . 508
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andMichael
MichaelPalin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Palin 509
The
TheGiver
GiverbybyEric
EricCoble,
Coble,based
basedononthethebook
bookbybyLois Lowry. . . . . . . . . 512
LoisLowry 512

Scenes
Scenesfor
forTwo
TwoWomen
Women
Othello
OthellobybyWilliam Shakespeare. . . . . . . . . . . . . . . . . . . . . . . . . . . 513
WilliamShakespeare 513
The
TheGlass
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MenageriebybyTennessee
TennesseeWilliams
Williams . . . . . . . . . . . . . . . . . . 516
516
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bybyPaul Zindel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
PaulZindel 518
Jar
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theFloor
FloorbybyCheryl West. . . . . . . . . . . . . . . . . . . . . . . . . . . 521
CherylL.L.West 521

490
490 Unit
UnitEight
EightMonologues
Monologuesand
andScenes
Scenes

490 Unit Eight Monologues and Scenes

Scenes
Scenesfor
forMixed
MixedGroups
Groups
Macbeth
MacbethbybyWilliam Shakespeare. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
WilliamShakespeare 522
Blithe
BlitheSpirit
SpiritbybyNoël Coward. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
NoëlCoward 524
AARaisin
Raisinininthe
theSun
SunbybyLorraine Hansberry. . . . . . . . . . . . . . . . . . . . . . . 528
LorraineHansberry 528
The
TheActor’s
Actor’sNightmare
NightmarebybyChristopher Durang. . . . . . . . . . . . . . . . . . . . 531
ChristopherDurang 531
AAWaitress
WaitressininYellowstone
YellowstonebybyDavid Mamet. . . . . . . . . . . . . . . . . . . . . . 535
DavidMamet 535
AAStar
StarAin’t
Ain’tNothin’
Nothin’ButButaaHole
HoleininHeaven
HeavenbybyJudi JudiAnn Mason. . . . . . . . . 539
AnnMason 539
“Baucis
“BaucisandandPhilemon”
Philemon”from fromMetamorphoses
MetamorphosesbybyMary Zimmerman. . . . . . 542
MaryZimmerman 542
Promenade
PromenadebybyMaria MariaIrene Fornes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
IreneFornes 544
Icarus
IcarusbybyEdwin Sánchez. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
EdwinSánchez 548
Does
DoesMy MyHead
HeadLook
LookBigBigininThis?
This?bybyJeffJeffGottesfeld
Gottesfeld
and
andElizabeth
ElizabethWong,
Wong,based
basedononthethenovel
novelbybyRanda
RandaAbdel-Fattah
Abdel-Fattah . . . . . . . . . . 551
551

How
HowtotoUse
UseThese
TheseScenes
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The
Thecollection
collectionofofscenes
scenesononthe
thefollowing
following
pages
pagesincludes
includesa avariety
varietyofofgenres
genresandandstyles.
styles.
AsAsananactor,
actor,ititprovides
providesyou youananopportunity
opportunitytoto
interpret
interpretandandexperiment
experimentwith withscripted
scripted
scenes
scenesofofvarious
variousstyles
stylestotoportray
portraybelievable
believable
characters.
characters.ItItalso
alsoprovides
providesananopportunity
opportunitytoto
hone
honeyour skillsininanalyzing
yourskills analyzingand andevaluating
evaluating
dramatic
dramatictexts,
texts,whether
whetheryou youare
areacting,
acting,
directing,
directing,designing,
designing,ororcontributing
contributingtoto
another
anotheraspect
aspectofoftechnical
technicaltheatre.
theatre.
The
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scenesalso
alsoafford
affordyou
youananopportunity
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cast
castand
anddirect,
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practiceinin
developing
developingdirectorial
directorialskills.
skills.Begin
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with
casting
castingand
anddirecting
directingthetheduet
duetscenes
scenes(pages
(pages
493–521).
493–521).Apply
Applyeverything
everythingyou youhave
havelearned
learned
about
aboutdramatic
dramatictexts,
texts,characterization,
characterization,and and
technical
technicalconsiderations
considerationstotoconvey
conveymeaning.
meaning.

Scenes 491
Scenes 491

Scenes 491
Unit Five Unit
Unit
Technical Theatre Five
Five Technical
Technical Theatre
Theatre
Unit Five will give the students an over-
view of all the technical elements that CHAPTER
CHAPTER1919 Set
SetDesign
Design. . . . . . . . . . . . . . . . . . .230
230
go into the making of successful pro- Learn
Learnabout
aboutthetheimportance
importanceofofsetsetdesign
designand
and
duction. The students will learn how to present
presenta adesign
designforfora ascene.
scene.
work as part of a team to design, cre-
ate, and build the lighting, the sets, the CHAPTER
CHAPTER2020 Set
SetConstruction
Construction. . . . . . . . . . . . . .246
246
costumes, the sound, the makeup, and Understand
Understandthe thebasics
basicsofofsetsetconstruction
constructionand
and
the props for a play. Students will learn safety
safetyininthe
thescene
sceneshop.
shop.
to create the environment in which a
play resides. CHAPTER
CHAPTER21
21 Lighting
Lighting. . . . . . . . . . . . . . . . . . . . .266
266
Learn
Learnthe
thebasics
basicsofofstage
stagelighting,
lighting,then
then
create
createand
andpresent
presenta alighting
lightingplot
plotforfora ascene.
scene.
Project Preview
Chapter 19 Set Design CHAPTER
CHAPTER2222 Sound
Sound. . . . . . . . . . . . . . . . . . . . . . .286
286
Understand
Understandthe theways
waysofofproducing
producingsound
soundforfor
Creating a set design for a scene or the
thestage,
stage,and
andcreate
createa asound-effects
sound-effectsrecording
recording
a one-act play and
anda acue
cuesheet.
sheet.
Chapter 20 Set Construction
Understand the basics of set construc- CHAPTER
CHAPTER2323 Costumes.
Costumes.. . . . . . . . . . . . . . . . . . .298
298
tion and safety in the scene shop Learn
Learnthe
thebasics
basicsofofcostume
costumedesign,
design,and and
then
thenprepare
preparecostume
costumedesigns
designsforfora aplay.
play.
Chapter 21 Lighting
Creating a light design for a scene
from a play CHAPTER
CHAPTER2424 Makeup
Makeup. . . . . . . . . . . . . . . . . . . . . 314
314
Learn
Learnthe
theprincipals
principalsofofeffective
effectivestage
stagemakeup,
makeup,
Chapter 22 Sound and
anduse
usethese
thesetechniques
techniquestotocreate
createa acharacter.
character.
Making a cue sheet and sound
effects tape CHAPTER
CHAPTER2525 Props
Props. . . . . . . . . . . . . . . . . . . . . . .334
334
Chapter 23 Costumes Understand
Understandprops
propsand
andhow
howtotoacquire
acquirethem,
them,
Preparing three to five costume including
includingusing
usingand
anddiscussing
discussinga aprop
propplot.
plot.
designs for a character in a play
UNIT
UNITFIVE
FIVEREVIEW
REVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . .346
346
Chapter 24 Makeup
Applying character makeup
Chapter 25 Props
Preparing a prop plot for a full-
length play 228
228 Unit
UnitFive
FiveTechnical
TechnicalTheatre
Theatre

Quotables
I am enough of an artist to draw freely upon my imagination.
Imagination is more important than knowledge. Knowledge is
limited. Imagination encircles the world.
Albert Einstein, Physicist

Any smoothly functioning technology will have the appearance

of magic.
Arthur C. Clarke, Science Fiction Author

228 Unit Five Technical Theatre


The image above shows the actress Archana
Ramaswamy in her role as Titania in the
2007 London Roundhouse multilingual
production of A Midsummer Night’s Dream
directed by Tim Supple. The following
prompts can be used to help the students
identify and analyze technical elements.
• Describe the set. What structure is in
the background? What is supporting
the actress? Let students know that the
229
229
actress acrobatically wrapped herself into
a cocoon in the billowing silk, as did other
characters, for their nighttime sleep.
• Would you feel safe on this set? What
does thinking about that question tell you
must be an integral part of all set design
and construction?
• What does Tatiana’s costume suggest
about both the setting of the play and her
character?
• How does the lighting affect your
emotional response to the scene?
Discussion Questions
The following questions should tap
into students’ prior knowledge and
encourage reflection on the topics
discussed in this unit.
• Have you ever designed or built
anything, such as a table, a box to
hold your keepsakes, or a bookcase
to organize your room?
• Have you ever taken an art class?
• Do you enjoy painting, drawing,
or sculpting works of art?
• Is clothes-shopping high on your
list of fun things to do? Do you
enjoy matching garments, fabrics,
and colors?
• Have you wondered how the lighting
effects are created at a concert? Do
you ever look toward the lights as
they shift and change color?
• Are you competent with computers
or other technology?
• What kind of music do you enjoy?
• Have you ever made a “favorites mix”
recording of your favorite songs?
• Are you good at organizing things,
helping others, and working as part
of a team?
• Did you write and perform backyard
or basement plays when you were
younger? What did you use to
create your imaginary play places?
What kind of “sets” did you create?
Theatre Journal
One of the goals of Tim Supple’s mul-
tilingual production of A Midsummer
Night’s Dream was to reflect the
diversity of south Asia. What story
might you chose to reflect the cultural
diversity of the United States? What
technical elements might you use in
such a production to help convey the
message of cultural diversity?
229
 Unit
Nine Student Handbook
for Performance and Production

Taking part in a theatrical production can be one of the most rewarding

experiences of high school. Whether you are playwriting, acting, directing,
designing, working on a technical crew, or working with the stage and theatre
management teams, you will have a chance to develop and apply your expertise
in a specialized area of theatre. This handbook will help you refresh and extend
your knowledge of each main aspect of a theatrical production.

PART ONE Acting. . . . . . . . . . . . . . . . . . . . . 558

PART TWO Directing and Producing . . . . . . 580

PART THREE Costumes. . . . . . . . . . . . . . . . . . 587

PART FOUR Lighting . . . . . . . . . . . . . . . . . . . 591

PART FIVE Makeup . . . . . . . . . . . . . . . . . . . 596

PART SIX Props . . . . . . . . . . . . . . . . . . . . . 598

PART SEVEN Sets . . . . . . . . . . . . . . . . . . . . . . 600

PART EIGHT Sound . . . . . . . . . . . . . . . . . . . . . 608

PART NINE The Business of Theatre . . . . . . 611

556 Unit Nine Student Handbook

556 Student Handbook

Additional Drama Classroom Resources
Drama for Reading & Performance: Collections One and Two
 hese collections of complete one- to three-act plays will revive your drama class.
T
The selections include multiple dramatic formats by award-winning playwrights such as
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Page to Stage: Plays from Classic Literature

Dramatizations of great literary works provide a deep, rich understanding of a text.
This student anthology has 17 plays that are adaptations of short stories, novels,
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Raising the Curtain: Activities for the Theatre Arts Classroom

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Raising the Curtain features hundreds of hands-on, on-your-feet activities for the
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Teacher Resource....................... YDY79846

Readers Theatre Fundamentals, Second Edition

This drama text is a collection of innovative readers theatre productions that students
can prepare and present. Chapter objectives, key terms, pictures, scripts, and examples
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Softcover Student Edition...... YDY3862301

Stages of History: Plays About Unit # Unit Title

America’s Past557
A perfect integration of language arts and social studies that makes learning interactive and
exciting. Eight original, royalty-free plays focus on defining moments in American history.
Flexible casting, adolescent protagonists, and minimal staging make these dramas ideal for
class or school productions as well as drama competitions.
Softcover Student Edition...... YDY3656501
Royalty free! Teacher Guide............................ YDY79798

Chapter 9  Ensemble Work  39

 Basic Drama Projects, 9th Edition
Student Edition
Fran Averett Tanner, Ph.D
The new ninth editon of Basic Drama Projects incorporates a speaking project in every
chapter to get your students actively involved in learning—a must in a drama course.
Perfect for both beginning and advanced theatre and technical theatre courses!
Every chapter includes valuable features such as “On Your Feet” activities to get students
warmed up, “Theatre Then and Now” that focuses on theatre history, and “Master of the
Craft” that highlights significant leaders in theatre. Exciting new features include “Cultural
Heritage,” “The Language of Theatre,” and historical timelines.
The text was extensively revised to reflect dynamic changes in film, television, and electronic
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Student Edition (hardcover)...........................YDY1285806
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Annotated Teacher’s Edition

A wraparound Teacher’s Edition includes a reproduction of the complete Student Edition
surrounded by support materials contributed by drama teachers—including teaching tips,
individual and group activities, writing prompts, and substitute teacher lesson plans.
Annotated Teacher’s Edition (hardcover)............YDY94074
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Teacher’s Resource Binder with ExamView®

This binder is full of activities that extend and assess student learning. More than 150
blackline masters provide introductory activities for the Student Edition, chapter activities
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