Theater ElEmEntAry
A teacher’s guide for the
thEAtrE ExpEriEncE
A teacher’s guide for the
thEAtEr ExpEriEncE
mondAvi cEntEr Arts EducAtion progrAm for tEAchErs
IntroductIon the heart of the art
The origins of modern theater can be found
Dear Educator, throughout the world in the traditions of ritual,
religion, storytelling, and dance. Theater reflects
As you make plans for your students to attend an upcoming presentation of the Wells the human experience. Through the use of body,
Fargo School Matinee Series at the Robert and Margrit Mondavi Center for the voice, mind, and script, theater allows us to
Performing Arts at UC Davis, we invite you to prepare your students by using this express and explore history, culture, and our-
curriculum guide to assure that from beginning to end, the experience is an educationally selves.
enriching and memorable one.
Theater is most concerned with the study of
The material in this guide is for you. We believe that an understanding of some basic humanity. The process of preparing for a perfor-
vocabulary and background information on the performance art form will help to mance requires the ability to step outside oneself
prepare your students to better understand and enjoy what they are about to see. We and value the perspective of another human
also encourage you to discuss important aspects of the artistic experience, including being. Theater exposes us to new ideas or rein-
audience etiquette. forces time-tested values.
We hope that your students find their imaginations come alive as lights shine, curtains Theater is a creative, collaborative, and coopera-
open, and applause rings through Mondavi Center. As importantly, we hope that this tive art form. Taking part in theater either as a
curriculum guide helps you to bring the arts alive in your classroom. performer, audience member, director, designer,
writer, or technician can be an invaluable expe-
Thank you for helping us to make a difference in the lives of our children. rience because through theater we have the
opportunity to change our world.
Mondavi Center Arts Education Program
Sierra North Arts Project, UC Davis Theater depends on the audience. As the per-
formers endeavor to entertain audiences with
the art and craft of theater, they are also inform-
ing them. Each performance is a unique experi-
ence created by the performer and the personal
experience of each audience member.
What’s InsIde:
2 Introduction
The Heart of the Art
3 What’s Important to Know Before You Go
Genres or Kinds of Theater
4 Styles of Theater You Might Attend
6 Acting Essentials
Plot Diagram
7 Behind the Scenes: Elements of Production
Stage Areas
8 Theater Etiquette
Active Viewing of a Performance
Words to Know
9 Overview of the Visual and Performing Arts Content Standards
10 Theater Learning Experiences
Resources
11 Arts Education at UC Davis
12 Credits
Mondavi Center curriculum guides are produced in partnership with:
ArtSmarts is the title for K–12 educational programs at Mondavi Center.
2 Theater
Genres
What's Important to KnoW before you Go
1. Theater refers to a live performance before a live audience. Theater is different from televi-
sion or film productions because the direct interaction between the audience and performer
creates a mutual energy upon which an actor builds. The minimal essentials for production
are an actor and an audience. Theater can take place in huge halls seating thousands of peo-
ple or in simplistic “black box” theaters seating fewer than one hundred. Genres of some
Well-known plays
2. There are many styles of theater, which impact how the same script may appear
differently on stage. The director’s interpretation of the script and the time period of the play
will also affect how the play is staged.
3. Theater has multiple purposes, a few of which are: to entertain, to display a particular
Comedy
culture and to affect social change. All’s Well That Ends Well
by William Shakespeare
4. Conflict between characters contributes to plot element. The audience should develop
empathy with the characters during a performance, which leads to a catharsis, an emotional
The Importance of Being Earnest
release, at the end of the performance. by oscar Wilde
Tragedy
“The most basic definition of Romeo and Juliet
by William Shakespeare
theater is someone performing
Antigone
something for someone else.” by Sophocles
—Oscar Brockett
drama
A Raisin in the Sun
by Lorraine Hansberry
Long Day’s Journey into Night
by eugene o’Neill
FarCe
Noises Off
by michael Frayn
What the Butler Saw
by Joe orton
Genres or KInds of theater
generally, plays are categorized according to type or genre. PerFormaNCe arT
Swimming to Cambodia
comEdy: A play which presents the subject matter in a comical or humorous manner, by Spalding gray
and typically has a happy ending.
Mambo Mouth
trAgEdy: A play which deals with a serious theme in a serious manner. Often the protago- by John Leguizamo
nist is defeated or dies at the ending. Fires in the Mirror
by anna deavere Smith
drAmA: A play that deals with a serious theme in a serious manner, but the protagonist is not
defeated at the end. Dramas often offer hope.
fArcE: A fast-paced comedy with exaggerated characterizations, often containing physical
humor or visual humor, and an improbable plot.
pErformAncE Art: A nontraditional theatrical genre that incorporates a wide spectrum of
performers and uses a variety of art forms, including music, dance, and multimedia. Often
performed in nontraditional spaces, the emphasis of performance art is not on plot and
characterizations, but on making a statement and self-expression. It is often called “interacts”
3
or “new theater.”
Theater
styles
a few plays and
the styles they
represent:
BuNraku:
The Love Suicides at Sonezaki
by Chikamatsu monzaemon styles of theater you mIGht attend
Chushingura by Takedo Izumo
eNgLISH reSToraTIoN THeaTer: In addition to genre, plays may be categorized according to the style in which they were written. In gen-
The Way of the World by William Congreve eral, a play’s style reflects the prevailing cultural and philosophical viewpoint of the time period in which
All for Love by John dryden it was written.
eLIzaBeTHaN THeaTer:
The Tragical History of Doctor Faustus Beijing opera: The dominant style of theater in Epic theater (theater of Alienation): A theatrical
by Christopher marlowe China, which first appeared in 1790, when per- movement of the 1920s and 1930s characterized
The Duchess of Malfi by John Webster formers came from all over China to Beijing to by the use of such artificial devices as cartoons,
Troilus and Cressida by William Shakespeare celebrate the eighteenth birthday of Emperor posters, and film sequences in order to distance
Ch’ien-lung. This gathering of performers created the audience from theatrical illusions and allow
ePIC THeaTer: a highly stylized form of theater that emphasized them to focus on the play’s message.
Toller’s Hurrah, We Live! by erwin Piscator the performer rather than a text. In the Beijing
Threepenny Opera by Bertolt Brecht Opera, a stage drum sets the rhythm of the per- Kabuki: A form of Japanese theater developed in
with music by kurt Weill formance. costumes are ornate and use symbolism the early seventeenth century. Most Kabuki plays
to communicate character traits to the audience. are based upon historical events or folktales.
ITaLIaN reNaISSaNCe: Actors train from childhood in singing, dancing,
La Cassaria by Ludovico ariosto Bunraku: A style of Japanese puppet/doll theater acting, and acrobatics. The movement, costumes,
Sofonisba by giangiorgio Trissino that can be traced to 780 A.D. and is performed and make up are highly stylized. Male actors, the
by wandering entertainers. The puppets are usu- onagata, specialize in playing the female roles.
HISPaNIC-amerICaN THeaTer: ally three to four feet tall and are operated by
Zoot Suit by Luis Valdez three puppeteers dressed in black. italian renaissance: From the late 1300s through
Fefu and Her Friends by maria Irene Fornes the early 1600s, Italy was the cultural center of
commedia dell’arte: A comic theater developed Europe. During this time of great advancement
muSICaL THeaTer: during the Italian Renaissance. Traveling troupes for theater, Italian playwrights used neoclassi-
Oklahoma! of masked actors portray stock characters and use cal ideals to construct plays that tried to be “real
by richard rodgers and oscar Hammerstein II plot outlines called lazzi to improvise skits. Many to life.” All plays had to conform to the unities.
Into the Woods by Stephen Sondheim of the characters and plots of commedia dell’arte During the Italian Renaissance, the use of perspec-
serve as a foundation for restoration comedies. tive in visual art influenced theater and set design.
meLodrama:
Uncle Tom’s Cabin by george L aiken, based Elizabethan theater: The popular theater in melodrama: A form of theater popular in the
on the novel by Harriet Beecher Stowe England in the late 1500s and early 1600s. United States in the 1800s, which is a mixture
Under the Gaslight by augustin daly During this period, Queen Elizabeth I banned all of both comedy and tragedy and includes music.
religious plays resulting in the secularization of Melodrama is characterized by strongly moralistic
oPera: theater. playwrights such as William Shakespeare, and cliff-hanging plots. The stereotyped characters
Aida by giuseppe Verdi Ben Jonson, and Christopher Marlowe, created often consist of a villain, a victim, and a hero.
Carmen by georges Bizet an entirely new style of composition and perfor-
Don Giovanni by Wolfgang amadeus mozart mance, which presented a range of social classes mime: A very old and stylized movement often
and philosophical doctrine. with a visual “click” or “pop,” which is used to
reaLISm: tell a story without spoken words. The moonwalk
A Doll’s House by Henrik Ibsen English restoration theater: After the Restoration is an example of a mime walk. Mime uses con-
Death of a Salesman by arthur miller of the English monarchy in 1660, theater ventionalized gestures to express ideas rather than
that had been banned under the Puritan to represent actions. Mime is found in a wide
THeaTer oF CrueLTy: Commonwealth again flourished in London. variety of highly stylized forms including com-
Marat/Sade by Peter Weiss Especially popular was the restoration comedy media dell’arte, French classic mime, Kabuki, and
of manners, which dealt with the vices and silent movies. Mime usually requires more intense
THeaTer oF THe aBSurd: follies of the upper class and was often charac- training than pantomime.
Waiting for Godot by Samuel Beckett terized by humorous, lewd dialogue. During this
time, women worked as professional actors and
playwright Aphra Behn became the first English
woman to earn her living as a writer.
4 Theater
styles
other styles of
theater you may
Wish to research:
aFrICaN-amerICaN THeaTer
musical theater: Theater historians believe that sanskrit: An Indian theatrical tradition, which
aNCIeNT greek THeaTer
musical theater developed from vaudeville and dates from approximately 100 A.D. These
burlesque. In 1866, New York producers added plays are based upon the Mahabharata or the aNCIeNT romaN THeaTer
dancers and music to a play titled “The Black Ramayana, which are derived from myth, history, aSIaN-amerICaN THeaTer
Crook.” American musical theater progressed and legend. All these dramas end happily. The CoNSTruCTIVISm
from simple plots with music to complex plots central goal of Sanskrit is the creation of a mood
exPreSSIoNISm
in which the music is an integral part of the or a rasa. The actors use stylized gestures to
storyline. communicate meaning. FemINIST THeaTer
FreNCH reSToraTIoN
noh: A highly stylized and graceful form of theater of cruelty: A form of theater employing germaN romaNTIC drama
Japanese theater. Noh contains elements of pan- non-verbal communication, developed by the
French avant-garde playwright, actor and direc- HaPPeNINgS
tomime, dance, and opera and was developed in
the early 1400s. Noh actors always wear masks tor Antonin Artaud in the 1920s and 1930s. HISPaNIC-amerICaN THeaTer
and use stylized poses and gestures. Most Noh ImProVISaTIoN
plays are spiritual in nature and have a ghost or theater of the Absurd: A style of experimental or
JaCoBeaN THeaTer
demon. unconventional theater developed after World
War II as a reaction to senseless waste. A com- maSqueS
opera: A style of musical drama, developed dur- mon theme is that life cannot be explained or medIeVaL drama
ing the Italian Renaissance in which the story predicted. moSCoW arT THeaTer
is told through music and acting and is usually
NaTuraLISm
accompanied by an orchestra. puppet theater: A puppet can be almost anything
that is brought to life by human hands to cre- NeoCLaSSICISm
pantomime: Many theater historians believe ate a performance. Puppets come in many sizes, SPaNISH goLdeN age
pantomime dates to primitive humans who shapes, and varieties and are often defined by THeaTer oF THe oPPreSSed
used movements and gestures to tell stories. how they are manipulated: hand, marionette
(strings), rod, or remote. VaudeVILLe
Pantomime is performed without the use of spo-
ken words and often tells a simple story using
imaginary props, gestures, and facial expressions.
peking opera: A tradition of theater established
by acting companies in the Chinese capital in
the 1800s, characterized by an emphasis on the
actors’ performance, minimal sets and props,
elaborate costumes, and stylized movements and
songs.
reader’s theater: A style of theater in which actors
read directly from the script. Other terms for
reader’s theater include, staged reading, chamber
theater, interpreter’s theater and choral reading.
The chanting chorus of ancient Greek theater “Know you how much the
is considered by some to be a type of reader’s
theater. people may be moved by
that which he will utter.”
realism: A style of theater developed in the late
nineteenth and early twentieth centuries in which —William Shakespeare
the characters spoke, dressed, and behaved just
as real people in daily life. Prior to this time, stage
settings and costumes also became more real-
istic. Playwrights such as Henrik Ibsen, August
Strindberg, Anton Chekhov, Arthur Miller, and
Lorraine Hansberry often represent realism.
Theater 5
actInG essentIals
At a performance, observe the following skills an actor must use to create a character:
vocAl chArActEristics
Projection: conveying the words outward to the audience.
articulation: pronouncing words clearly and precisely.
Inflection: changing the pitch, tempo, and phrasing to add meaning to the lines.
physicAl chArActEristics
Facial expression: moving parts of the face to express emotion.
“An actor can only hope gestures: moving body parts to add meaning to lines and express emotion.
to be a mirror of human- Posture and Body Centering: moving to create the emotions and attitudes of the character.
ity, a mirror to be looked
EnsEmBlE chArActEristics
into by audiences.” Shirley • Listening to and responding to what is said and performed by others on stage.
MacLaine • How an actor portrays a character on stage when his/her character is not the focus of the scene.
intEllEctuAl chArActEristics
objective: a character’s goal or intention.
motivation: a character’s reason for doing or saying things.
plot dIaGram
In Poetics, an essay on writing tragedy from 330 B.C., Aristotle wrote that all stories need a beginning, a middle, and an end. In
more modern times, a variety of plot diagrams have emerged. The following diagram is a common example which will help you
better understand the plot or sequence of events for the production you are viewing. The order of events is fairly consistent from
play to play but the proportion of each event for each play varies. Most plays are written with greater emphasis on the events
leading up to the climax.
3. climax
2. rising Action/complication 4. falling Action/resolution
1. initial incident/Exposition 5. denouement/conclusion
1. initiAl incidEnt/Exposition: the action or force which precipitates the conflict
creating a goal or objective for the main character, protagonist.
2. rising Action/complicAtion: obstacles, conflicts, characters, and the resultant
situations which impede the protagonist from accomplishing his or her goal.
3. climAx: the highest point of emotional activity, where the action determines
what the outcome of the conflict will be.
4. fAlling Action/rEsolution: events which help wrap up unresolved issues
in the rising action.
5. dEnouEmEnt/conclusion: solution or explanation of outcome. “A plot is: The king died and
the queen died. A story is: The
king died, and then the queen
died of a broken heart.”
—E. M. Forster
6 Theater
behInd the scenes: elements of productIon
Creating theater requires many theatrical artists working behind
the scenes.
chorEogrAphEr: An artist who designs (choreographs) dances for
the stage.
composEr: A musician who writes the music for performance.
dEsignErs (set, costumes, lights, make up, sound, props and graphics):
The people who create and plan the designs for a production. The
designer must convey the director’s artistic vision to the audience.
dirEctor: The person who is responsible for all the artistic ele-
ments of a production. A director must develop and communicate “The theater demands of its craftsmen that they
an artistic vision.
know their jobs. The theater is a school. We shall
musicAl dirEctor: The person who works with the director and is never be done with studying and learning.”
responsible for rehearsal and performance of all music in the play.
—Robert Edmond Jones
plAywright: The person who creates (writes) the script for a play
or stage production.
tEchniciAns: Skilled theater artists, working prior to the production
producEr: The person who is responsible for funding and hiring to create the sets, costumes, props, special effects, lights, sound, and
artistic talent to create a stage production. make up for a production.
stAgE mAnAgEr: The person in charge of supervising the backstage stAgE crEw: Skilled theater technicians who work during the perfor-
and cueing all actors and stage crew members. mance to ensure that all elements of the production (lights, sound,
costumes, make up, props, and special effects) appear on stage as
puBlic rElAtions/BusinEss dirEctor: The people who advertise planned by the director and designers.
and publicize the production and have oversight for royalties,
press releases, photos, public service announcements, ticket sales,
box office management, house management and even ushering.
staGe areas or actInG areas Backstage ur = up right
uc = up center
ur uc ul
The terms that are used to describe the areas on stage in which the actor performs ul = up left
are derived from raked stages which are slanted towards the audience. r = stage right
Up sTage is the area towards the back of the stage and down sTage is the area r c l c = center stage
l = stage left
nearest the audience. It is important to remember that these terms are from the
dr dc dl dr = down right
actor’s point of view looking towards the audience, thus sTage lefT will be on the dc = down center
audience’s right hand side. dl = down left
Audience/house
types of staGes
a proscEnium stAgE (from the proscenium stage Arena/Black Box stage
greek proskenion or “in front of the In an ArEnA, the audience generally audience
scene”) is the most typical stage forma- Backstage sits on all sides of the acting area.
tion and can be found from high school The arena stage in washington, d.C., audience audience
auditoriums to Broadway stages. The Wings Wings as well as the Colosseum in Rome, are
audience sits on one side of the stage stage/performance Area stage/performance Area
well known examples of arena theaters.
and views the action through the prosce-
nium which serves as a picture frame or audience audience
fourth wall. orchestra Pit
audience audience
Theater 7
theater etIquette
Since theater is a live performance, everything you do as an audience member also becomes part of
the performance. For that reason there is a specific etiquette for watching a theatrical performance.
• Be on time. If you arrive after the curtain rises, you may not be seated.
• Use the restroom before the performance.
• Stay seated during the performance.
• Refrain from talking during the performance.
• The use of cameras or recording devices is not allowed.
• Refrain from wearing perfume.
• Turn off cell phones and pagers.
• Show your appreciation for the performance by applauding when the production is over.
active Viewing of
a performance Words to KnoW
Throughout this curriculum guide you have seen certain words in bold print.
While viewing a performance, Below are the definitions of these words.
analyze the integration of the
Actor: A person, male or female, who performs a role motivation: A character’s reason for doing or saying
following elements:
in a play, video, film, or stage entertainment. things in a play.
• THeme Antagonist: A person, a situation, or the protagonist’s objective: A character’s goal or intention.
What do you think is the playwright’s intent for own inner conflict in opposition to his or her goals.
writing this play? How was the author effective playwright: A person who writes plays.
in achieving this desired goal? Blocking: Planning movements and stage business of
props (properties): Items carried onstage by an actor;
actors on stage.
small items on the set used by actors.
• deSIgN eLemeNTS
conventions of theater: The established techniques, role: A part in a play.
How did the set enhance the theme of the play? practices, and devices unique to theatrical produc-
How did the lighting, sound effects, make up, tions (i.e. tableau, proscenium curtain, dialogue, protagonist: The main character of a play, and the
and costuming convey the appropriate time lights out, etc.). character with whom the audience identifies most
period and feeling of the play? strongly.
cast: The group of actors who take the roles in a play
• aCTINg (noun). To be chosen to play a specific role in a play proscenium: The opening through which the audience
(verb). views the action on stage as if through a picture frame.
How did the actors draw the audience into the
performance? How did the actors make you costume: Any clothing an actor wears on stage for a rake: The slope of the stage floor upward from the
suspend your disbelief and feel that what you performance. Costumes may convey important infor- audience. “Raking” the stage was developed dur-
were seeing was real? How did the actors mation about the character, locale, and historical time ing the Italian Renaissance to create perspective and
move you emotionally by the end of the play period as well as ethnic and cultural information to improve sight lines.
or resolution of the conflict? the audience.
royalty: A fee required to produce a play, musical, or
cue: A signal, either verbal or physical, that indicates opera.
• dIreCTINg something else, such as a line of dialogue or an
How did the director arrange the settings, cos- entrance, is to happen. script: The written text of a play.
tumes, lighting, and style to convey the mes-
sage of the play? How did the pace and timing dialogue: The conversation between actors on stage. set: The onstage physical space and its structures in
which the actors perform.
of the play affect the audience? How were the
Ensemble: A group of theatrical artists working togeth-
scenes arranged to convey the focus of interest? er, cooperatively, to create a theatrical production. set pieces: Large, portable piece of the set, such as a
did the director communicate the playwright’s throne or tree.
intent? do you think the director accomplished improvisation: A spontaneous style of theater in which
his or her vision? scenes are created without advance rehearsing or sound: The audio portion of a theatrical production,
scripting. including music, sound effects, and the amplification
of the performer’s voice.
house: The area of the theater containing seating for
the audience. stock character: Established characters, such as young
lovers, neighborhood busybodies, sneaky villains, and
lights: Any illumination of the set and actors during a overprotective fathers, that are immediately recogniz-
performance. able by an audience.
make up: Cosmetics and hairstyles that an actor uses unities: The Neoclassical idea that the action of a play
to emphasize facial features or to add age or other should take place in a twenty-four hour period, in
special qualities called for by a character. one locale, and have only one plotline. The concept
of the unities was derived from Renaissance interpre-
monologue: A long speech delivered by a single charac- tations of Aristotle’s Poetics.
8
ter on stage.
Theater wings: Offstage spaces to the sides of the acting area.
oVerVIeW of the VIsual and performInG arts
content standards for calIfornIa publIc schools
The Visual and Performing Arts Content Standards for California Public Schools have five component strands
that cover dance, music, theater, and visual arts. The component strands for theater are:
Artistic perception: Processing, Analyzing, and Responding to Sensory Aesthetic valuing: Responding to, Analyzing, and Critiquing
Information Through the Language and Skills Unique to Theater Theatrical Experiences
Students observe their environment and respond, using the ele- Students critique and derive meaning from works of theater, film/
ments of theater. They also observe formal and informal works of video, electronic media, and theatrical artists on the basis of aes-
theater, film/video, and electronic media and respond, using the thetic qualities.
vocabulary of theater.
critical Assessment of theater
development of the vocabulary of theater 4.1 Develop and apply appropriate criteria or rubrics for critiquing
1.1 Use the vocabulary of theater, such as plot, conflict, climax, performances as to characterization, diction, pacing, gesture, and
resolution, tone, objectives, motivation, and stock characters, to movement. (Gr. 4)
describe theatrical experiences. (Gr. 4) 4.1 Develop and apply appropriate criteria for critiquing the work
1.1 Use the vocabulary of theater, such as sense, memory, script, of actors, directors, writers, and technical artists in theater, film,
cue, monologue, dialogue, protagonist and antagonist, to describe and video. (Gr. 5)
theatrical experiences. (Gr. 5) 4.1 Develop and apply appropriate criteria for evaluating sets, light-
1.1 Use the vocabulary of theater, such as action/reaction, vocal ing, costumes, makeup, and props. (Gr. 6)
projection, subtext, theme, mood, design, production values, and
stage crew, to describe theatrical experiences. (Gr. 6) derivation of meaning from works of theater
4.2 Describe students’ responses to a work of theater and explain
comprehension and Analysis of the Elements of theater what the scriptwriter did to elicit those responses. (Gr. 4)
1.3 Demonstrate how voice (diction, pace, and volume) may be
used to explore multiple possibilities for a live reading. Examples: connections, relationships, Applications: Connecting and Applying
“I want you to go.” “I want you to go.” “I want you to go.” (Gr. 4) What Is Learned in Theater, Film/Video, and Electronic Media to
1.2 Identify the structural elements of plot (exposition, complica- Other Art Forms and Subject Areas and to Careers
tion, crisis, climax, and resolution) in a script or theatrical experi-
ence. (Gr. 5) Students apply what they learn in theater, film/video, and electronic
media across subject areas. They develop competencies and creative
creative Expression: Creating, Performing, and Participating in skills in problem solving, communication, and time management
Theater that contribute to lifelong learning and career skills. They also learn
about careers in and related to theater.
Students apply processes and skills in acting, directing, designing,
and scriptwriting to create formal and informal theater, film/videos, connections and Applications
and electronic media productions and to perform in them. 5.1 Use theatrical skills to dramatize events and concepts from
other curriculum areas, such as reenacting the signing of the
development of theatrical skills Declaration of Independence in history-social science. (Gr. 5)
2.1 Demonstrate the emotional traits of a character through gesture
and action. (Gr. 4) careers and career-related skills
2.2 Demonstrate use of blocking (stage areas, levels, and actor’s posi- 5.2 Exhibit team identity and commitment to purpose when par-
tion, such as full front, quarter, profile, and full back) in dramatiza- ticipating in theatrical experience. (Gr. 4)
tions. (Gr. 5)
creation/invention in theater
2.3 Use effective vocal expression, gesture, facial expression, and
timing to create character. (Gr. 6)
historical and cultural context: Understanding the Historical
Contributions and Cultural Dimensions of Theater “You need three things
in the theater: the
Students analyze the role and development of theater, film/video,
and electronic media in past and present cultures throughout the play, the actors, and
world, noting diversity as it relates to theater.
the audience, and each
history of theater must give something.”
3.4 Identify types of early American theater, such as melodrama
and musical theater. (Gr. 5) —Kenneth Kaigh
Theater 9
theater learnInG experIences
These activities are designed to enhance the learning experience. Numerical notations refer to the
California Visual and Performing Arts Content Standards.
curriculum strAnd 1: Artistic pErcEption
Before viewing the performance:
• Research background information such as the playwright’s biography, time period and culture
of the play.
• Based on this information predict the theme and style of the play. (1.2)
After viewing the performance:
• Using the plot diagram (p. 6), write a summary of the story line for the production you have just
viewed. (1.1)
• Describe any metaphoric or symbolic elements used in the play. (1.3)
• Analyze the style of the production using the Styles of Theater list (pps. 4-5). (1.2)
curriculum strAnd 2: crEAtivE ExprEssion
Before viewing the performance:
• Create a poster to advertise the play including the title, author, location, dates, time, and ticket prices.
Be sure to include one strong visual image which communicates the mood and theme you have
predicted. (2.1)
After viewing the performance:
• Choose a character from the play and write a monologue to perform for your class revealing this
character’s thoughts five years after the end of the play. (2.2)
• Research the costuming for a particular time period and design costumes appropriate for males and
females. (2.3)
• Choose a scene from the play you just viewed. Memorize the scene and perform this for your class
with appropriate blocking and costuming. (2.1)
resources curriculum strAnd 3: historicAl And culturAl contExt
Before viewing the performance:
Brockett, Oscar G. • Research the art, music, or dance from the time period of the play you are about to see.
The Essential Theatre Bring in a sample to share with the class. (3.3)
Holt Rinehart & Winston,
1966 ISBN 0-15-501598-2 After viewing the performance:
• Research events from the time period of the production that lead to the events shown on stage.
Abel, Lisa, ed. Give an oral report to the class on this background information. (3.3)
Theatre: Art in Action • Research theater of another culture such as Kabuki (Japanese) or water puppets (Vietnamese).
National Textbook Company, Explain how the culture influenced the type of theater performed. (3.1)
1999 ISBN 0-8442-5307-3
curriculum strAnd 4: AEsthEtic vAluing
wEB sitE: Before viewing the performance:
www.Kennedy-Center.org/ • Research either the genre or style of the play you are about to see. Give an oral report to the class
education discussing where, when and why this genre or style became popular. (4.5)
What effect do you think a play of this genre or style will have on a modern audience? (4.1)
wEB sitE:
www.teachingarts.org After viewing the performance:
• Write an evaluation of one actor’s performance using the Acting Essentials (p. 6). (4.3)
• Using the Active Viewing Guide (p. 8) write an evaluation of the production that might appear
in your local newspaper. (4.1)
curriculum strAnd 5: connEctions, rElAtionships, And ApplicAtions
Before viewing the performance:
• Using the script of the play, develop a six-week rehearsal schedule which effectively uses the actor’s
and the director’s time. (5.2)
After viewing the performance:
• Based on your observations of the performance, choose one of the careers from the Elements of
Production List (p. 7) that you find interesting and research it. Report your findings to the class. (5.2)
• Call a local theater company and ask to do a job shadow of one of the theater artists. (5.2)
• Watch a film version of a play you have seen. Compare and contrast the technical elements involved
in the production of each. (5.1)
10 Theater
arts educatIon at uc daVIs
robert and margrit mondavi department of theatre uc davis artsbridge
center for the performing arts and dance In response to educational funding cutbacks
The Robert and Margrit Mondavi Center The Department of Theatre and Dance at and the erosion of formal arts training in the
for the Performing Arts at UC Davis serves UC Davis offers undergraduate and graduate public schools, the University of California
as a resource for the campus and the region, degrees in conjunction with an aggressive and the state of California have joined
reinforcing the university’s status as a and artistically adventurous production forces to expand ArtsBridge, an innovative
comprehensive university of the first order season. Courses and productions provide arts outreach program that began at the
by raising the profile of its arts and students with consistent opportunities to Irvine campus in 1996. ArtsBridge pro-
humanities programs to that of its top-ranked creatively engage with professional direc- vides scholarships for undergraduate and
science programs. Opened in October 2002, tors, designers, and choreographers. The graduate arts students to work with K-12
Mondavi Center features the state-of-the-art, department, in collaboration with the teachers in developing arts activities that
1,800-seat Barbara K. and W. Turrentine Granada Television network, is host of supplement the core curriculum. The suc-
Jackson Hall, and the 250-seat Studio Theatre the Granada Artists-in-Residence program, cess of the program prompted lawmakers
for more intimate productions. Mondavi which brings distinguished theater artists to include a $1.5 million line item in the
Center is the largest presenter of the from the United Kingdom to UC Davis. 1999 state budget to facilitate the expan-
performing arts in the Sacramento region, A stellar faculty, state-of-the-art facilities, sion of ArtsBridge to all of the UC cam-
bringing more than 70 of the world’s and talented students make UC Davis a puses. Presently UC Davis students from
greatest artists and lecturers each season. leader in arts education. the departments of Art, Theatre and Dance,
Music, and Design are active in classrooms
In addition to the artists and speakers theatredance.ucdavis.edu
at several area schools, including school
presented as part of its annual Season of 530.752.0888
districts in Woodland, Winters, and Dixon.
Performing Arts, Mondavi Center also
hosts productions by the UC Davis Music artsbridge.ucdavis.edu
and Theatre and Dance departments and sierra north arts project 530.754.8477
other campus academic programs, as well as The Sierra North Arts Project (SNAP)
those of regional arts organizations such fosters the professional development of
as the Sacramento Philharmonic Orchestra. kindergarten through post-secondary teachers mondavi center arts education
www.MondaviArts.org by employing the model of teachers teaching Many of the artists appearing during
530.754.5000 teachers. SNAP addresses the priorities of Mondavi Center’s season also participate
The California Arts Project (TCAP) involv- in a range of educational outreach activities
ing direct engagement with the artistic pro- coordinated by the center’s Arts Education
cess, direct applications to classroom teach- Program. These activities include school
department of music
ing, and the development of teacher lead- matinees, master classes, lecture demon-
The Department of Music at UC Davis
ers in arts education. The Sierra North Arts strations, open rehearsals, curriculum
features a distinguished faculty and
Project is one of six California Arts Project development, and teacher training. These
accomplished visiting artists, and provides
regional sites throughout the state, and it outreach activities, which benefit more than
outstanding instruction to students majoring
serves a twelve-county area extending from 25,000 area school children, college stu-
in music as well as more than 1,200 non-
the Central Valley to the Lake Tahoe basin. dents, educators, and community residents
majors each academic year. The program
The goals set forth by SNAP cover four key every season, constitute a major commit-
includes opportunities to study and perform
objectives: (1) to deepen and strengthen ment to arts education in the region and
music of all styles and periods, with students
teachers’ subject matter knowledge; (2) to underscore UC Davis’ commitment to the
majoring in music focusing on a special
provide opportunities for teachers to con- artists and audiences of the future.
interest area such as composition, analysis,
nect with their personal creativity and to
history, performance, or secondary school
develop connections within the arts learn- www.MondaviArts.org/education
teaching. All students may participate in
ing community; (3) to enhance and expand 530.754.5431
a wide array of performance activities,
SNAP within the region and create a wide
including the University Symphony, the
variety of leadership opportunities for SNAP
University Chorus and Chamber Choir,
members; and (4) to develop strategies and
University Concert Band, the Early Music
techniques for translating research experi-
Ensemble, and chamber music ensembles.
ences into classroom practice.
music.ucdavis.edu
education.ucdavis.edu/SNAP/
530.752.5537
530.752.9683
Theater 11
R
obertandMargritMondaviCenter Mondavi Center expresses gratitude to
its partners at the California Arts Council
forthePerformingArts and Sierra North Arts Project, Region III
University of California, Davis of the California Arts Project at UC Davis,
One Shields Avenue for bringing together a team of educators
Davis, CA 95616-8543 to design and develop curriculum guides
for Mondavi Center’s Wells Fargo School
MondaviArts.org Matinee Series. The following individuals
530.754.5000 participated in the development of materi-
als for the guides:
uc davis coordinators
Sarah Anderberg
Director, Sierra North Arts Project
CRESS Center, School of Education
UC Davis
Linda Buettner
Coordinator, Sierra North Arts Project
CRESS Center, School of Education
UC Davis
assessment
Joanne Bookmyer, Ph.D.
Research Analyst
CRESS Center, School of Education
UC Davis
teachers
Carolyn I. Elder
Theater Arts Teacher
Samuel Jackman Middle School
Elk Grove Unified School District
Linda L. Swanson
Theater Director/Teacher
Laguna Creek High School
Elk Grove Unified School District