Rapid City Area Schools

High SchoolDrama Curriculum

Approved by the Board of EducationNovember 11, 2003

Update approved, May 7, 2009

RAPID CITY AREA SCHOOLS300 6TH Street

Rapid City, South Dakota

BOARD OF EDUCATION:Mrs. Sheryl Kirkeby................................................................PresidentMrs. Leah Lutheran...................................................1st Vice PresidentMr. Doug Kinniburgh.................................................2nd Vice PresidentMrs. Daphne Richards-Cook.........................................Board MemberMr. Arnie Laubach.........................................................Board MemberMr. West Storm..............................................................Board MemberMr. Bret Swanson..........................................................Board Member

ADMINISTRATION:Dr. Peter M. Wharton..................................Superintendent of SchoolsDr. James F. Ghents.....................Director of Curriculum, Assessment

Instruction and Gifted Education Services

9–12 DRAMA CURRICULUM COMMITTEE – 2009:William Lytle.........................................................Stevens High SchoolJustin Speck..........................................................Central High School

9–12 DRAMA CURRICULUM COMMITTEE – 2003:Pam Gough..........................................................Stevens High SchoolCarol Saunders.....................................................Central High School

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9–12 DRAMA COMMUNITY ADVISORY COMMITTEE – 2003:Eric Johnson..............Artistic Director; Black Hills Community TheatreJustin Speck.............................................Director and ChoreographerIrene Seals..........................................................Costumer and ParentPeg Seljeskog.............................................................................ParentJohn and Linda Van Vlack........................................................ParentsRick and Ronda Rylance..........................................................ParentsDon and Lorraine Martinez.......................................................Parents

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TABLE OF CONTENTS

Acknowledgements.................................................................................ii

Introduction.............................................................................................1

Philosophy..............................................................................................1

Benefits...................................................................................................2

Drama Class Descriptions......................................................................3

Standards/Rationale/BenchmarksStandard One..................................................................................4Standard Two..................................................................................6Standard Three................................................................................7Standard Four..................................................................................8

Assessment Approaches........................................................................9

Stagecraft Scale Model Project............................................................10

Drama TermsTerms #1 – Breaking the Ice..........................................................12Terms #2 – Stage and Body Positions...........................................14Terms #3 – The Play......................................................................15Terms #4 – The Voice....................................................................16Terms #5 – Fine Tuning.................................................................17Terms #6 – Rehearsal...................................................................18Terms #7 – Production...................................................................19Terms #8 – Theatre Structures......................................................20Terms #9 – Types of Drama and Theatrical Styles........................21Terms #10 – Theatre / Dramatic Arts.............................................22

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DRAMA CURRICULUMThis curriculum has been designed in alignment with the National Standards for Arts Education and the South Dakota Content Standards from the South Dakota Department of Education and Cultural Affairs.

Drama Curriculum Committee:Justin Speck, Central High SchoolWilliam A. Lytle, Stevens High School

INTRODUCTION

The study of Theater Arts (Drama) is a collaborative, integrated, lifetime endeavor. Drama is an active, living, universal teaching tool which compels students to take a participatory role in developing life skills while engaging in more effective dialogue with others. Through the dramatic arts students become active initiators rather than passive receivers of information and theatre serves as the universal denominator for making connections between history and technology.

Dramatic Arts provide students an immediate picture of the time and of the people in it. Performance engages the individual in recalling past experience to define the present and to build toward the future. It is important for students of theatre to recognize their dual roles of being active participants in life as well as being performers who represent life. Ultimately students must not be restricted in developing their potential, but rather, recognize the theatre standards as targets which assist in goal setting and in helping to reach personal fulfillment. (From SD Fine Arts Standards, p. FA 17)

PHILOSOPHY

The arts convey knowledge and meaning not gained through the study of other subjects. They represent a form of thinking and a way of learning that is based in human imagination.

Theatre is a creative idea expressed in performance. It is the only art form that involves all of the other art disciplines. Music, dance, graphic art, media, literature and history – are all components of a theatre production. The expression requires effort by an ensemble, and through an artistic process of rehearsal and creative problem solving culminates with the satisfaction of a successful performance.

The individual growth begins with basic self-confidence and acceptance by a unique group of people all working toward the same goal. Self expression is increased as collaboration is experienced, and students learn as they communicate to process and problem solve toward the goal.

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BENEFITS

The purpose of Theatre Education is to stimulate the student’s search for his/her identity as a creative individual. This is done through the curriculum objectives.

1. To expose students to the appreciation and disciplines of theatre literature, historical background, skills and tools of acting, directing, and the craft of design, execution of play production, and the overall aspects of presenting a play.

2. To enable students to be life-long supportive and discerning patrons and/or participants of the theatre.

3. Theatre skills demand specific and difficult disciplined decision-making in regards to time management, production planning, performing one’s duties during production, learning to use theatre tools (both human and practical) and pacing energies and commitments for the ultimate achievement of a polished performance. Performance demands the unified efforts of actors, technicians, and designers working as a team to create the best performance possible. Pride in accomplishment and an understanding of how the theatrical skills are applied in performance is the climax of learning.

4. Students learn to work cooperatively with their peers.

5. Theatre disciplines are valuable throughout life, and they carry over into other areas of interest.

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DRAMA CLASSES NOW OFFEREDDRAMA I: (Introduction to Theatre) Semester

An introduction to theatre arts and performance through the topics of stage fright, pantomime, vocal production, improvisation, basic stage movement, the origins of theatre, script analysis, monologues, scenes, and playwriting.

DRAMA II: (Acting and Theatre History) SemesterFurther study of the topics covered in Drama I, with advanced movement, memorization skills, scene work, audition techniques, advanced script study, theatre history, and the development of play production.

DRAMA III: (Advanced Acting and Theatre History) SemesterThis course emphasizes advanced theatre history with play study. Further exploration in character development and analysis, acting styles and theories, introduction to directing, and original script writing. Scenes and monologues are memorized and performed.

STAGECRAFT: (Theatre Technology and Design) SemesterBasic backstage training for production. Basic stagecraft, safety, publicity, drafting, design, stage makeup, costuming, properties, stage lighting, sound and painting are covered. Practicum.

Drama IV: (Advanced Theatre Production – ATP) Year-longA devoted to advanced study, production and performance of theatre arts. These students have shown great interest and aptitude in the art, and are eager to learn advanced skills, literature and history. Development of a professional portfolio of audition repertoire, resumes, and design work. Participation in community outreach, service or projects related to theatre arts.

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STANDARDS/RATIONALE/BENCHMARKS

STANDARD ONEStudents will use theatre as a means for creative self-expression and interpersonal communication.

RATIONALETheatre provides the basis for actively joining the intellectual, physical, and vocal talents of the individual. Through theatre, students can form personal interpretations of feelings or emotions and use their own creativity to communicate ideas and opinions to others. Creative self-expression builds character, confidence, and individual esteem.

BENCHMARKSStudents will:

1. Analyze and interpret the artistic meaning in various formal or informal productions.

2. Express ideas, feelings, and emotions through personal interpretation

Drama I – PantomimeImprovisationCharacterization

Drama II – MovementStagecraft – Scene DesignATP – All aspects of the class

3. Create a script based on literature, history, imagination, or personal experience.

Drama I – Writing short playsImprovisation

Drama II – ScenesRadio Plays

Drama III – Scripts based on historical theatre genre ATP – Constant creative endeavors in this area

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4. Create or use dramatic presentations to communicate an understanding of themes and concepts from other disciplines

Drama I – Reading/EvaluationDuet ActingMemorization

Drama II – One Act PlaysDrama III – Theatre HistoryATP – Comparative AnalysisStagecraft – Study of history and period art forms

5. Demonstrate the basic skills of the art discipline including vocabulary, techniques, process, and protocol.

Drama I – Warm-upsPantomimeVocal ProductionBlocking

Drama II – One Act Play DirectingScene Work

Drama III – Play Reading and analysisStagecraft – Vocabulary

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STANDARD TWOStudents will understand the technical and dramatic aspects used in the production and performance of theatre.

RATIONALEAs students develop their abilities as directors and performers, they gain a clearer understanding of the technical and dramatic aspects of production and performance. This understanding provides the framework for the effective interpretation and performance of ideas, roles, or scripted dialogue. The uses of technical and dramatic aspects of theatre join music, dance, and visual arts to create a total aesthetic experience.

BENCHMARKSThe Students will:

1. Analyze the technical aspects of designing and directing a variety of theatrical productions

Drama II – Play productionDrama III – The history and development of the art is

Studied in depth in this classDrama IV – all aspects of this classStagecraft – Scene Design

Costuming

2. Demonstrate and explain various classical and contemporary acting techniques and methods.

Drama I – West Side StoryDrama II – A Midsummer Night’s DreamDrama III – After the study of each play the students create

their own performances based in the time period and style studied

3. Analyze the physical, emotional, and social dimensions of characters in dramatic texts from various genres and media.

Drama I, II, III, ATP – character studiesStagecraft – Scene design

CostumingMakeupProperties

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STANDARD THREEStudents will understand the relationship between theatre and history, culture, and society.

RATIONALEA meaningful understanding of the relationships between history, culture, and society and how these are influenced or reflected through theatre begins with a strong knowledge base. Students must be familiar with the core of dramatic literature, study the historical, social, and cultural context of various performances and productions. They must be knowledgeable of the recognized playwrights, performers, and directors who have contributed to and shaped the dramatic arts.

BENCHMARKSThe Students will:

1. Analyze the role and evolution of dramatic art forms in reflecting and influencing society in various cultures throughout history

2. Analyze the role and evolution of dramatic art forms in reflecting and influencing society in various cultures throughout history

3. Evaluate the influence of representative writers and performers from various cultures and historical periods.

Drama II & III – theatre historyATP – theatre historyStagecraft – All aspects of design as it pertains to the specific time period and culture

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STANDARD FOURStudents will demonstrate a capacity for critical and sensitive response to various theatre experiences.

RATIONALEExperiencing various forms of dramatic production and performance provides students the opportunity to observe a variety of similarities, differences, and patterns found in theatre. Students must think critically and make decisions about the effectiveness and quality of theatrical productions. Students must develop the capacity for critical and sensitive response to performance and become skilled at evaluating aesthetic effort according to predetermined criteria. Evaluation allows the individual to more deeply appreciate the work of others and at the same time envision ways of improving personal effort and performance.

BENCHMARKSThe Students will:

1. Analyze and interpret the artistic meaning in various formal and informal productions using the vocabulary of the art.

Outside play reports are required for allDrama classes for this purpose

2. Justify preferences for dramatic works using personal aesthetic criteria.

3. Evaluate the quality and effectiveness of personal dramatic work using specific criteria.

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ASSESSMENT APPROACHESThe activities in Drama classes may be assessed in many different ways, as limiting to one method is not adequate or fair to the students.

ASSESSMENT METHODS (both formative and summative) TO BE EMPLOYED:

SELF-ASSESSMENTStudents react to activities and include them in a Theatre notebook kept for the class.

RUBRICSThese will be based on a five level scale tailored for each activity.

FEEDBACKClass discussion will prompt evaluative input.

GROUP ASSESSMENTReflection or any constructive feedback received from their peers can prompt improvement and learning.

SUCCESSFUL FULFILLMENT OF CLASS ACTIVITIESPerformance based assessment on a point scale.

WRITTEN TESTSIncluded will be pre-tests, chapter tests, unit tests, post-tests, and finals.

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*This section is an example of an assessment tool designed for a specific project

STAGECRAFT SCALE MODEL PROJECT

STANDARD TWOStudents will understand the technical and dramatic aspects used in the production and performance of theatre.

ASSIGNMENT1) Analyze the script for content and design potential

Paper -- Synopsis of script2) Develop a design approach3) Build a scale model

SCENARIOStudents will read a script and design a set based on the script using aspects of aesthetic production, including color, balance, line, and period.

ASSESSMENT INTRODUCTIONThere are many types of plays using various approaches in design.

1) Choose a play that will hold your interest (teacher approved)-- Read the play – at least twice-- Write a synopsis of the play 1-3 pages long. Include characters and plot.

a) Adhere to spelling, grammar, punctuation, clarity, and expression.b) Design and construct a scale model of the set for your play

i) Scale: ¼”= 1 ft.ii) Acceptable materials: Balsa wood, cardboard

SCORING GUIDE4 EXEMPLARY

The student reads the play of their choice and writes a synopsis of the show with all of the information included, along with at least two other points made the student chooses.

The student includes both facts and creative ideas in the paper. The paper is clearly written, organized – free of all grammar and

spelling errors. The student shows they understand the play, and have a creative/

reality based design for the set.

3 PROFICIENT The student reads the play and writes a synopsis All the task points are included in the paper, along with one other

point (student’s choice) The student includes both facts and creative ideas in the paper. The paper is clearly written, organized – free of all grammar and

spelling errors

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2 PROGRESSING The student reads the play and writes a paper with some of the

task points missing. The paper is mostly descriptive, lacking creative insight into the

play. The paper lacks organization, is not clearly written, and contains

errors in grammar and spelling that make it difficult to read. The paper needs more work.

1 NOT MEETING STANDARDS The paper is incomplete, not based on material read, and cannot

be understood. Task should be repeated.

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DRAMA TERMSDrama stresses the importance of being able to “talk the talk” of theatre. Terminology should be introduced and used throughout the courses. The following sets of terms can easily be covered in one semester. Nevertheless, it is not meant to be definitive; terms should be added and deleted as necessary. It is suggested that the first set titled Breaking the Ice be introduced in the beginning of the course because the terms help establish the atmosphere of the class. However, the sets that follow it are easily incorporated anywhere in the semester.

TERMS #1Breaking the Ice

THEATRE: An art form combining drama with movement, music, and visual arts to create a unique performance experience. It is the only art form which combines all other art forms.

THEATER: The place where the plays are performed.

CREATIVITY: Using individual imagination to develop something unique. Essentially it is the opposite of copying. In addition, creativity stretches the mind and is often very hard work.

ENSEMBLE: A group of three or more people working together to achieve a common goal. An ensemble uses trust, cooperation, and support to achieve this goal.

CRITIQUE: Constructive criticism of an art form meant to aid the artist in improving and expanding his or her abilities. A critique does not imply that the artist has no talent, but simply offers suggestions to improve the artist’s work.

ENERGY: The power to do! A performer without energy on stage is boring to watch and difficult for other actors to work with. Energy is being totally involved.

REHEARSAL: Going over and over something to improve and refine it. Sometimes we rehearse the procedures of an activity (like technical elements), and sometimes we rehearse the actual performance.

CONCENTRATION: Focusing all of your attention on one specific activity and maintaining that attention until the activity is finished. Concentration is necessary to create the world of illusion in theatre.

IMPROVISATION: The art of creating something as you go along.

PANTOMIME: Relaying information without using words or props. Pantomime creates a world of illusion for the audience and requires great concentration.

COOPERATION: Using trust and support to work together without hurting each other’s feelings or creating problems for the group.

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SUPPORT: Being there when someone needs you. Basically holding up your end of any activity and doing what the rest of the group depends on you to do.

TRUST: Freely believing that another person will be there when you need them. You must trust other performers to do their jobs so that you can do yours.

BREAK-A-LEG: A theatrical saying that means “Good Luck”. It is considered bad luck by some superstitious people to say “good luck” before a performance.

GREEN ROOM: This is the place where actors wait when they are not performing on stage. This room is equipped with an intercom system so that the actors can hear when their parts are coming up. It is a place that is kept quiet and comfortable so that actors can stay focused. At one point the room was painted green and the name stuck.

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TERMS #2Stage and Body Positions

BLOCKING: The director’s plan of movement for the play. Blocking is very carefully planned to make a play’s action believable and to communicate the characters within the story.

ACTING AREA: The area in front of the scenery where the major action of the play takes place.

CENTER STAGE: The middle of the acting area.

STAGE RIGHT: To the right of the performer as they face the audience.

STAGE LEFT: To the performer’s left as they face the audience.TERMS (cont’d)

UPSTAGE: The area on stage furthest from the audience.

DOWNSTAGE: The area on stage closest to the audience. Generally, playing downstage is preferable.

OPEN POSITION: A body position that allows the audience to see the majority of the actor’s face and upper body. This is the most commonly used body position.Terms (cont’d)

MOTIVATION: The reason behind doing a certain action or interpreting lines a certain way. Knowing why you are doing something is essential to good, believable acting.

GESTURE: A movement of the head, body or limbs used to add meaning to a line. Sometimes the gesture needs no words.

BUSINESS: Any physical action that involves the use of a prop or set piece.

PROFILE: A body position that limits the audience’s view to one side of the actors’ face and body. It is generally used to throw focus or create a dramatic effect.

CROSS: Moving from one place on stage to another.

COUNTER CROSS: Moving in the opposite direction from another actor to clear the way and stay in sight of the audience.

TYPE CASTING: Being cast strictly on your appearance and personality. Always being cast in a certain type of role.

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TERMS #3The Play

EXPOSITION: The part of the play giving the background information; the who, what, where, when, and why of a plot. The exposition is usually found at the beginning of the play.

INITIAL INCIDENT: The first important action of a play. This sets the whole plot in motion. This usually follows the exposition. In addition, this is where the conflict starts to take shape.

RISING ACTION: All of the events that lead up to the climax – starting with the conflict and usually followed by a complication that turns into a crisis.

CLIMAX: The point to which all of the action of the play leads. This is usually the most intense moment in the play.

FALLING ACTION: The ending section of a play in which all past events become clear and loose ends are neatly tied up.

ACTS & SCENES: The major script divisions of a play. These are often used to change time or locale.

PROTAGONIST: The character around whom the action of the play revolves. The protagonist is often thought of as the “good guy”, or hero.

ANTAGONIST: The character that causes the action of a play to occur. We often generalize and call the antagonist the “bad guy”, or villain.

COMEDY: A play made humorous because of plot. Characters, action, dialogue, or a combination of any of the preceding elements can contribute to creating a comedy. Comedy does not endure through time as well as tragedy because so much of comedy is topical.

TRAGEDY: 1. Ancient Greek word for “goat song”. 2. A terribly sad occurrence. 3. A play in which the protagonist comes to a bad end.

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TERMS #4The Voice

PITCH: The relative highness or lowness of a vocal sound. This is determined by the inborn thickness and flexibility of the vocal cords.

QUALITY: The individual uniqueness of a person’s voice. This is determined by a combination of physical, social, and cultural influences.Terms (cont’d)

VOLUME: The relative loudness or softness of a person’s voice. This is determined by the force of the air going over the vocal cords.

DICTION: Enunciation. Basically, the clearness of individual sounds and words. The way a person uses the tongue, teeth, and lips affect the clarity of consonants.

MONOTONE: A lack of variety in a voice. This lack of variety produces a boring computer-like sound that lacks energy and emotion. Ideally, a person’s voice varies all of the time, keeping our interest and attention.

CUES: Signals that indicate that something should happen. Cues can be visual or verbal. For example, a gesture as well as a line of dialogue immediately preceding an actor’s line are considered cues.

EMPHASIS: Emphasis is placing importance on a particular word or phrase by vocal or physical stress. Changing the emphasis point in a sentence can completely change the meaning of a line.

PROJECTION: Projection is getting a character out to an audience. Emanating something strongly enough to carry from the stage to the people watching the performance.

PHRASING: Putting together word groups and sentences in a manner that makes them understandable, meaningful, and pleasant to listen to.

RATE: The relative fastness or slowness of a spoken speech. This is determined largely by habit and thought processes of a person.

DIALECT: A dialect is a regional way of pronouncing a language. For example, we have many dialects based on English in the U.S.; southern, mid-western, New York, etc. Basically, it’s placing the over-tones of one language over another.

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TERMS #5Fine Tuning

COVER: 1. To hide an action from the audience in order to create an effect. 2. To hide a mistake from the audience by ad-libbing or pretending that it didn’t happen.

AD-LIB: To make up action or dialogue on the spot to create believable background noise or hide a mistake.

TIMING: Using pace to achieve an effect. This involves knowing when to pause, or vary speech rate to enhance the drama or comedy of a speech.

SUB-TEXT: The true motivation behind a character’s lines. On the surface, one thing is being said, but the character means something else entirely.

STEREOTYPE: Generalizing traits of a gender, race, or social class. This is occasionally used to make a point, but is generally not a good way to create a character or view people. It may be effective in a farce genre or caricatureapproach.

UPSTAGING: 1. Taking the focus of the audience when you are not supposed to do so. 2. Forcing another actor to face upstage toward you when they are speaking. These are both theatrical “no-nos”.

TAKING FOCUS: Getting the attention of the audience at the appropriate time. You should take focus when it is your turn to do so. This is not upstaging.TERMS #5 (cont’d)

GIVING: Letting another actor take the focus when it is your turn to do so. This is not upstaging.

SHARING: Having the focus of the audience on both yourself and another actor. Many two person scenes call for this arrangement.

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TERMS #6Rehearsal

METHOD ACTING: Method acting involves using past experiences to create a character’s emotions. This is sometimes called internal acting (from the inside out), and is very complex because it requires the actor to spend a great deal of time in research and introspection. It is based on the work of Constantin Stanislovski of the Russian Moskow Art Theatre.

TECHNIQUE ACTING: Technique acting involves using preset rehearsed physical reactions to create the emotions of a character (from the outside in). Stella Adler worked with this approach in New York.

THROW-A-LINE: To forget a line, or in theatrical terms – “Go up on a line”.

“CALL” FOR A LINE: To request assistance from the prompter during rehearsal by saying “line”, while staying in character. The prompter wil give the actor the first few words of the next passage. It is important to stay in character when doing this so you won’t break focus.

FREEZE: 1. To totally forget what you are doing on stage and become unable to cover or ad-lib your way out of the situation. 2. To immediately stop action, find a focal point, and remain motionless until it is time to resume action.

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TERMS #7Production

PRODUCER: The over-all boss. This person (or group) comes up with the financial backing for the play and hire the director.

DIRECTOR: In complete artistic control of a show. Basically creates the production and maintains continuity.

TECHNICAL DIRECTOR: Sees that all of the technical aspects of a show are ready on time and that the director’s concept is being followed.

BUSINESS MANAGER: This person handles the financing of a show: pays bills, salaries, and keeps the show on budget.

STAGE MANAGER: Runs the backstage during dress rehearsals and performances. Keeps the show on schedule, and keeps the actors and technicians organized.

CREW CHIEFS/CREW HEADS: These people are in charge of a specific crew during the building and performing of the play. The crews include but are not limited to properties, costumes, set, lights, and sound.

RUNNING CREW: This is the technical crew that runs the show, onstage and in the light & sound booth.

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TERMS #8Theatre Structures

WINGS: The areas offstage Backstage to the right and left. Usually out of the audiences sight lines.

ACTING AREA: The area in front of the set where the action of the play takes place.

HOUSE: The area where the audience sits during the play.

BOX SET: A set that represents a specific room with walls.

UNIT SET: A set that represents many locales during one play. If often uses levels made out of platforms.

PROSCENIUM: 1. The opening though which a play is seen. 2. A stage that is framed and set back from the audience.

THEATRE-IN-THE-ROUND: A stage surrounded by the audience.

THRUST STAGE: A stage that is surrounded on three sides by the audience.

AMPHITHEATER: An ancient Greek outdoor theater. This was one of the first structures built as a theater.

FLIES/FLY SPACE: The area above the stage, out of sight of the audience. Backdrops “disappear” into this area – they “fly” up for scene changes.

CATWALKS: These are the technical access walkways above the theater and the stage.

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TERMS #9Types of Drama and Theatrical Styles

SOCIAL DRAMA: A play that deals seriously with current problems of society.

MUSICAL COMEDY: A play that incorporates dramatic dialogue with music and dance to tell a story. The only truly American form of theatre.

OPERA: A drama or comedy with all dialog and story set to music.

OPERETTA: Similar to opera, although there is some brief dialogue spoken, not sung. Operattas are usually comedic.

BLACK COMEDY: A play with humor set in a serious or quirky situation. The setting is not normally associated with comedy.

REALISM: A style of theatre that conforms as closely as possible to true life, but keeps the conventions of theatre in mind.

NATURALISM: A style of theatre that conforms to true life and ignores theatrical conventions.

PRESENTATIONALISM: A theatrical style in which the audience becomes an active part of the play.

THEATRE OF THE ABSURD: A style marked by an obvious lack of reason, common sense, proportion, or accord with accepted ideas. It shows the absurdity of some situations in life.

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TERMS #10Theatre / Dramatic Arts

(as printed in the Fine Arts Content Standards – SD Dept. of Education)

AESTHETIC CRITERIA: Criteria developed about the visual, aural, and oral aspects of the witnessed event, derived from cultural and emotional values and cognitive meaning.

AESTHETIC QUALITIES: The emotional values and cognitive meanings derived from interpreting a work of art; the symbolic nature of art.

AURAL QUALITIES: Includes pitch, rhythm, dynamics, tempo, expression, diction, enunciation, projection of the voice.

CLASSICAL ACTING: Acting techniques and methods considered traditional and were significant in earlier times.

CLASSICAL DRAMA: Dramatic form and production techniques considered of significance in earlier times, in any culture or historical period.

CONTEMPORARY ACTING: Acting techniques and methods which are presently used and are often times impacted by various modern electronic technologies or media forms.

CONTEMPORARY TECHNICAL ASPECTS: Those aspects which may be influenced by modern science, chemistry and technologies.

DRAMATIC MEDIA: Includes film, television, electronic media, virtual reality.

PRETEND PLAY: Children create situations to play and assume roles; children use pretend play as a means of making sense of the world around them, e.g., children learn from their parents, peers, viewing television, etc. and use pretend play as a way to emulate what they see and hear.

ROLE/ROLE PLAYING: The characteristic and expected social behavior of an individual in a given position (such as mother, employer) Role portrayal is likely to be more predictable and one-dimensional than character portrayal.

ROLE: The impact, influence, or reflective nature of theatre in select aspects of a culture, e.g., occupations, politics, societal trends, etc.

SCRIPTED SCENES: Scenes which have written dialogue; scenes which allow very limited alteration of the dialogue.

TECHNICAL ASPECTS OF THEATRE PRODUCTION: Those aspects of theatre pertaining to production, set design, stage use, etc.

VISUAL ELEMENTS: Includes line, texture, color, space, form and function.

VISUAL PRINCIPALS: Includes repetition, balance, emphasis, contrast, unity, etc.

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