In this intriguing article for American Theater magazine, author Rob Weinert-Kendt interviews American actor Bill Pullman and Norwegian director Stein Winge as they launch a completely revisioned version of Shakespeare's for a Norwegian audience.
This is the world's largest site for arts integration and STEAM in K-12 education. Contains standards-aligned lesson plans, free printables, online courses, certification and conferences for professional development credit. They cover arts integration, advocacy, research, assessment, classroom management, curriculum, organization, PBL and the arts and classroom strategies.
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Intensive study of an important topic or period in drama. Close analysis of major plays, enriched by critical readings and attention to historical and theatrical contexts. Instruction and practice in oral and written communication. Topic for Fall: Renaissance Drama.
This collection uses primary sources to explore the golden age of musical theatre on Broadway. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.
This is a short video that nicely shows the history of Western Theatre through to modern film. It starts with Greek Theatre and moves quickly through to the development of film and method acting my famous actors.
" This class explores the creation (and creativity) of the modern scientific and cultural world through study of western Europe in the 17th century, the age of Descartes and Newton, Shakespeare, Milton and Ford. It compares period thinking to present-day debates about the scientific method, art, religion, and society. This team-taught, interdisciplinary subject draws on a wide range of literary, dramatic, historical, and scientific texts and images, and involves theatrical experimentation as well as reading, writing, researching and conversing. The primary theme of the class is to explore how England in the mid-seventeenth century became "a world turned upside down" by the new ideas and upheavals in religion, politics, and philosophy, ideas that would shape our modern world. Paying special attention to the "theatricality" of the new models and perspectives afforded by scientific experimentation, the class will read plays by Shakespeare, Tate, Brecht, Ford, Churchill, and Kushner, as well as primary and secondary texts from a wide range of disciplines. Students will also compose and perform in scenes based on that material."
Examines the field of theatrical lighting design. Students gain an overall technical working knowledge of the tools of the trade and learn how and where to apply them to a final design. Explores artistic, conceptual, and collaborative processes of the craft. Hands-on approach with several classes spent in the theater. Students take advantage of the Boston theater scene by touring several off campus spaces and learning how theater architecture affects design choices. Assignments include: written script analysis, plot and paperwork for theoretical design in MIT theater space, and adaptation of plot to different spatial situations and locations. Oral presentations and in-class critiques. Final project required in which students execute a fully realized production (frequently a dance concert) from start to finish. This class explores the artistry of Lighting Design. Students gain an overall technical working knowledge of the tools of the trade, and learn how, and where to apply them to a final design. However essential technical expertise is, the class stresses the artistic, conceptual, collaborative side of the craft. The class format is a "hands on" approach, with a good portion of class time spent in a theatre.
In this course, the student will attempt to determine why Shakespeare's works have become so widely revered. The student will begin by familiarizing ourselves with Elizabethan theatre, language, and culture, then conduct close readings of Shakespeare's most acclaimed plays, ending with his poetry. By the end of this course, you will have developed a strong understanding of Shakespeare's works and working knowledge of the Elizabethan Period in which he wrote. Upon completion of this course, students will be able to: identify, compare, and contrast the major dramas and poems produced by William Shakespeare; describe Shakespeare's identity as well as provide an account of his life and the legacy of his work; describe Elizabethan England in social and historical context; list the major figures who likely shaped the work of Shakespeare; explain the origins of Shakespearean drama in Greek theater; define a variety of Shakespearean dramatic forms, including Shakespearean tragedy, history, and comedy plays; identify and describe the major themes of Shakespearean tragedy, comedy, and history plays; explain the roots of the Shakespearean sonnet in earlier sonnet traditions; identify and describe the major themes and ideas at work in Shakespearean sonnets. (English Literature 401)
This interactive website leads students through various sections of an animated replica of the Globe Theatre. Students are prompted to click on highlighted cartoon characters stationed in different areas of the theatre; a written section with background information is then provided in which students will read about the time period, performances, and other aspects of life during Shakespeare's time.
In this activity, you and your students will explore Elizabethan stage practices as the rustic yet enthusiastic amateur actors from Shakespeare's A Midsummer Night's Dream. While it's not necessary to teach Shakespeare's biography while studying his plays, sometimes opportunities to explore his world through his own eyes present themselves in his text. Students' new insights into the text will provide them with a deeper appreciation for Shakespeare’s world. This activity will take one or two class periods.
This online exhibition uses primary sources to explore the impact of the Great Depression and the New Deal Works Progress Administration on American theater.
Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course we will study the offending texts, themselves, to find what is really dangerous about them, for ourselves.
Looks at special structural and artistic challenges of theatrical scenery, effects, and construction needs. Explores the technical design process from initial meetings to realization on stage. Emphasizes safety, budgeting, and problem solving. Work includes actual production assignments and paper design projects. Final project required to explore each student's specific interests.
The late Elliot Eisner identified 10 lessons which are clarified through the study of art in schools. This resource was pulled from the NAEA website - https://www.arteducators.org/advocacy/articles/116-10-lessons-the-arts-teach on August 19, 2019.
A study of contemporary North American theater movements and selected individual works that are organized around issues of ethnic and socio-cultural identity. Class lectures and discussions analyze samples of African-American, Chicano, Asian-American, Puerto Rican and Native American theater taking into consideration their historical and political context. Performance exercises help students identify the theatrical context and theatrical forms and techniques used by these theaters.
In this video from Penn State's School of Theatre production of Twelfth Night, Viola, the heroine, is rescued from a shipwreck. She finds she is in a land ruled by an eligible bachelor (Orsino) and disguises herself as a man to protect herself.
In this video from Penn State's School of Theatre production of Twelfth Night, Sir Toby, Sir Andrew Aguecheek, and Maria are introduced and their roles in this play established. Sir Toby wishes for the forever-intoxicated Sir Andrew to woo Olivia.
In this video from Penn State's School of Theatre production of Twelfth Night, Olivia sends a ring to Cesario via Malvolio under the pretext that he (Viola) had dropped it. Viola realizes that Olivia has fallen in love with her (or Cesario).
In this video from Penn State's School of Theatre production of Twelfth Night, Sir Toby, Sir Andrew, and Feste are in a boisterous mood that raises the ire of Malvolio. Incensed at his highhandedness, Maria and the trio hatch a plan to fool him.