A compilation of the best resources for stage managers, both online and in print.
This musical theatre project includes 3 days of detailed research for either an assigned or self-selected musical on Broadway. Students can use IBDB or other search engines to find information for PART ONE of the project. PART TWO is a presentation of this information which can be done in Google Sli...
I have been looking for sets, or scenes which are very bleak and bare which gives an idea of a post apocalyptic landscape. This ties in with my whole concept for Hamlet in the style of Artaud, and …
I have been looking for sets, or scenes which are very bleak and bare which gives an idea of a post apocalyptic landscape. This ties in with my whole concept for Hamlet in the style of Artaud, and …
I have been looking for sets, or scenes which are very bleak and bare which gives an idea of a post apocalyptic landscape. This ties in with my whole concept for Hamlet in the style of Artaud, and …
I have been looking for sets, or scenes which are very bleak and bare which gives an idea of a post apocalyptic landscape. This ties in with my whole concept for Hamlet in the style of Artaud, and …
I have been looking for sets, or scenes which are very bleak and bare which gives an idea of a post apocalyptic landscape. This ties in with my whole concept for Hamlet in the style of Artaud, and …
Site The Elizabethan playhouses in London were (mostly) all built on the outside of the city walls (seen as not politically/socially acceptable). Odeon is now on the fringe of the city frame (within the frame) for different reasons. Historically,.. at the time (1594-1604) were an oversupply of ampitheatre playhouses in London amiptheatre playhouses were all on the periphery of London, outside city walls in an 'entertainment ghetto' alongside animal baiting and brothels - a bustling unfashionable locality many spectators would have felt that in attending the Globe, they were engaging in something slightly risque Design The form: there was no obvious medieval tradition of circular or polygonal structures apart from animal baiting arenas - but hardly likely that such a grand structure would be purely imitating these. Theories below: Stonehenge similarity with Stonehenge dimensions (dressed inner faces form tangents to a circle of just over 97 feet across - Globe was around 99 foot); however, from the centres of the stonehenge stones the same measurement on average is 99 feet just like the posts at the Globe...but no other similarities... Vitruvius & the Roman ampitheatre Vitruvius's theatre plan was round sound rises in orderly concentric circles from its source, so also the theatre ranges its degrees of seats in the cavea of the auditorium in a plan developed from the circle the whole theatre is proportioned in imitation of that harmony which the late Hellensitic Platonists posited as the fundamental tendency of the phenomenal world... while Vitruvius makes these connections between nature and art, acoustics and architecture, he describes the particular way in which a theatre is laid out according to a pattern of 4 equilateral triangles inscribed within a circle, a pattern borrowed from astrologers who used it to describe the harmony of the heavenly spheres the Roman ampitheature uses only half a circle What the Globe and Roman ampitheatres have in common is not so much a design tradition as the natural laws governing the transmission of sound The 'Globe' or world the Elizabethans thought of their theatres as a little world, its stage cover a heaven, its cellar a purgatory The body book III (Vitruvius) describes the body and proportions of the circle within the body - see the homo ad quadratum image Construction built with timber from another theatre building ('The Theatre') deeply influenced the design of the Fortune playhouse 20 sided polygon Alberti and Vitruvius both attest to the fact that round or polygonal theatres were designed this way for their acoustic qualities. Daylight, open air similar to a sports arena, some playhouses (eg. Fortune) had been used for bear baiting 'anti-illusionistic' effect of the daylight auditiorium unomodified by the effects of illusionistic lighting interplay between stage and audience is enhanced (lighting, proximity) daylight - naturalism audience can more clearly see each other as well - more likely to get caught up in the crowd's gestures and emotions orientation of the original Globe was 48degrees East of true North meaning that the stage was always in shade this angle is also very close to the azimuth of the midsummer sunrise on this site intended to use only during the Summer months Shakespeare's Globe Rebuilt edited by JR Mulryne and Margaret Shewring (advisory editor Andrew Gurr) Cambridge University Press, Cambridge, UK: 1997
Costume Research Centre The Costume Research Centre is a state-of-the-art facility that offers visitors and researchers a truly unique opportunity to inspect and study one of […]
During the Georgian period a host of entertainments were available to those seeking relief from their everyday routines.
I have been looking for sets, or scenes which are very bleak and bare which gives an idea of a post apocalyptic landscape. This ties in with my whole concept for Hamlet in the style of Artaud, and …
Hello my lovely intro students. Please watch the following videos, linked AND embedded in this post, on Stage Directions and Composing meaningful stage pictures. You will be assessed on this inform…
Verbatim Theatre Methodologies for Community-Engaged Practice offers a framework for developing original community-engaged productions using a range of verbatim theatre approaches. This book's methodologies offer an approach to community-engaged productions that fosters collaborative artistry, ethically nuanced practice, and social intentionality. Through research-based discussion, case study analysis, and exercises, it provides a historical context for verbatim theatre; outlines the ethics and methods for community immersion that form the foundation of community-engaged best practice; explores the value of interviews and how to go about them; provides clear pathways for translating gathered data into an artistic product; and offers rehearsal room strategies for playwrights, producers, directors, and actors in managing the specific context of the verbatim theatre form. Based on diverse, real-world practice that spans regional, metropolitan, large-scale, micro, independent, commercial, and curriculum-based work, this is a practical and accessible guide for undergraduates, artists, and researchers alike. | Author: Sarah Peters, David Burton | Publisher: Routledge | Publication Date: Aug 01, 2023 | Number of Pages: 210 pages | Language: English | Binding: Paperback | ISBN-10: 0367726394 | ISBN-13: 9780367726393
After his First Symphony flopped, the Russian composer made ends meet with a short-lived and little-known career in vaudeville and the circus.
Stanislavski "REALISM" drama poster to use as a handout or as a poster. This resource also comes as part of a drama poster bundle with the following theatre / theater practitioner posters included: 1. Artaud THEATRE / THEATER OF CRUELTY 2. Stanislavski REALISM 3. Strasberg METHOD ACTING 4. Brecht EPIC THEATRE / THEATER 5. Grotowski POOR THEATRE / THEATER 6. Meyerhold BIOMECHANICS 7. Bogart VIEWPOINTS 8. Boal THEATRE / THEATER OF THE OPPRESSED
10 of The Best Classic Play Adaptations for High School
Built in 1599 by William Shakespeare's theatre company in London, the open-air Globe Theatre seated 3,000 and was three stories high. Made of wood, it burned to the ground in 1613 when a cannon shot during a performance of Shakespeare's Henry VIII...
Julian Eaves reviews Sophie Treadwell's play Machinal now playing at the Almeida Theatre.
A Printable Study Guide and Test assessing Drama or Theater Student Knowledge about the Basics of Technical Theatre, including: Types of Stages (Proscenium, Thrust, Arena, Black Box) Parts of the Stage (UC, DC, DR, DL, apron, etc.) Parts of the House (Orchestra, Mezzanine, Balcony, etc.) Theatre Shops and Rooms (Scene Shop, Costume Shop, Green Room, etc.) Theatre Organization (Producer, Director, Stage Manager, etc.) Stage Facings & Cheating Out Theatre Etiquette This download includes: 55 Question Study Guide 50 Question Multiple Choice Test Study Guide Answer Key Test Answer Key A .pdf file of each document for easy printing A .doc file of each document for editing These resources are the assessments for my Intro to Technical Theatre Powerpoint. ☆ ☆ ☆ This resource is included in my Intro to Technical Theatre *Entire Unit*! ☆ ☆ ☆ Other Great Resources: Click Here to see the my Greek Theatre ItemsClick Here to see my Acting Items!Feedback & Followers: If you enjoy my products, please leave a review! It helps other teachers find these resource more quickly in the future. And I'd just love to hear from you! =) Love Always, The World is Our Stage ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ This download is for one teacher only. Please refer colleagues to my store rather than sharing files of my products. This resource may not be uploaded to the internet in any form, including classroom/personal websites or network/google drives. Thank you for respecting my work. ❤ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Working with Stories is a textbook for people who want to use participatory narrative inquiry (PNI) in their communities and organizations. PNI methods help people discover insights, catch emerging trends, make decisions, generate ideas, resolve conflicts, and connect people. Participatory narrative inquiry draws on theory and practice in narrative inquiry, participatory action research, oral history, mixed-methods research, participatory theatre, narrative therapy, sensemaking, complexity theory, and decision support. Its focus is on the exploration of values, beliefs, feelings, and perspectives through collaborative sensemaking with stories of lived experience. Contents Introduction Fundamentals of Story Work What Is a Story? What Are Stories For? How Do Stories Work? Stories in Communities and Organizations A Guide to Participatory Narrative Inquiry Introducing Participatory Narrative Inquiry Project Planning Story Collection Group Exercises for Story Collection Narrative Catalysis Narrative Sensemaking Group Exercises for Narrative Sensemaking Narrative Intervention Narrative Return Appendices Example Models and Templates for Group Exercises Further Reading: Your PNI Bookshelf Bibliography Acknowledgements and Biography Glossary Index Reader praise "I wanted to say thanks for making Working with Stories available. It's an amazing piece of work, so simple (not the ideas, but the presentation) and unintimidating." "["Working With Stories"] is very thorough and helpful to me in exploring ways that I might capture the narrative of a project I am involved in." "Your detailed description of [the sensemaking] process is so useful and helpful. It makes seasoned facilitators like me yearn to try out the ideas." "Over the past few months I have been reading, reflecting, and feasting on your experiences working with stories. I am really excited to have found "Working With Stories" because it seems like a rich set of options for our needs." "Your terminology and explanation of participatory narrative inquiry have helped me greatly in understanding what I want from my practice and what I might be capable of achieving in social change." "I have been returning to Working With Stories time and again over the past six months to help support a community project, and my printed copy is underlined, noted and dog-eared." | Author: Cynthia F Kurtz | Publisher: Kurtz-Fernhout Publishing | Publication Date: May 28, 2014 | Number of Pages: 682 pages | Language: English | Binding: Paperback | ISBN-10: 0991369408 | ISBN-13: 9780991369409
You’ve always wanted to teach a theatre history unit, but you’ve never really found a great way to teach it. Students seem uninterested or not invested in learning about theatre history. Look no further than this 3 to 4 week Theatre History Unit! This unit give you the flexibility to complete it in 3 standard weeks or use the 4 week enhanced version to dig even deeper into theatre history with your students. In this unit, you will guide your students through fun and engaging activities to teach your students about 6 different moments in theatre history. This is geared to be a group project with each group focusing on one of the moments in theatre history: Ancient Greek Theatre, Japanese Theatre (including Noh, Kabuki, and Bunraku), Commedia dell’Arte, Restoration Comedy, French Neoclassical Theatre (including Moliere), and Melodrama. Each group will research their moment in theatre history utilizing the BRAND NEW Crash Course Theatre Videos just released! After researching they will create a presentation and perform a short script in the style of their moment in theatre history. Each original performance script is a retelling of the Ugly Duckling tale adapted into all the different genres. Using this kind of performance, students will be able to truly see the differences in each moment of theatre history. Finally, if you would like to dig into theatre history a bit more, there is a 4 week enhanced version of this unit included on the calendar that digs deeper into the Crash Course videos to include Hrotsvitha, Kathakali and Sanskrit drama, Renaissance Theatre (not Shakespeare), Sentimental Theatre, Spanish Golden Age of Drama, and Chekhov and the Moscow Art Theatre. In addition to this, there is an included final written exam prompts to test your student’s knowledge further if you wish and review materials, including a Kahoot game and a presentation. Finally, this unit is filled with fun yet low-risk drama warm-up games to include before rehearsal time along with musical elements for specific performance scripts, actor tips, multiple student worksheets for exploration and note taking, and answer keys and rubrics to make your job that much easier. In this bundle you will find: * A day to day calendar mapping out the activities for the day (10 pages .pdf) * An introductory presentation to the unit (13 slides) * A Theatre History Exploration Worksheet to coordinate with your intro presentation (2 pages) * A detailed and thorough guide to all classroom activities including suggestions for classroom management. (7 pages .pdf) * An Actor’s Daily Notebook worksheet for daily reflection (2 slides) * 6 multimedia Fact Sheets for each moment in theatre history (2 pages each) * 6 answer keys for each of the facts sheets for easy grading and teacher guidance (3 pages each) * 6 full final performance scripts for students adapting The Ugly Duckling to each theatre style with actor’s tips and hints for a successful performance along with music links if needed. (4 to 7 pages each) * 6 presentation templates for students to use for each topic (15 slides each) * An example final presentation to show your students an A+ project example (15 slides) * A short presentation explaining their scene work requirements (1 slide) * A Peer Preview worksheet for students to give and take notes(2 pages) * A grading rubric for the final performances (1 page) * A note taking worksheet for students during other’s performances. Two versions for the standard or enhanced version. The enhanced version has multiple video links. (3 pages & 7 pages) * Link to a Kahoot review game (28 questions) * Final review presentation for expanded version of the unit (15 slides) * Optional written final exam (1 page) In total, this unit will bring you over 90 PAGES of content, 130 SLIDES of presentation material, and more fun in your drama classroom! In this unit all handouts in Google links. If you need Microsoft files, you can download them from the Google links. For you, the busy drama teacher, all you have to do is print and teach! Everything is now prepped for you! Have fun and enjoy teaching theatre history through this unit. Break a leg!
I have been looking for sets, or scenes which are very bleak and bare which gives an idea of a post apocalyptic landscape. This ties in with my whole concept for Hamlet in the style of Artaud, and …
During stay-at-home orders, it’s been difficult to beat boredom—both for parents and children. Here, Roberta Cullen shares tips for families in quarantine.
This is part of an intro package that I give my high school drama students to help them understand the parts of the stage. This is key info for them to learn right off the bat! The handout covers: -A map of the stage (it uses short forms for the, such as "UL, and we will it out together - "upstage left" and so forth...upstage, downstage, left, right, centre) -The positions to stand on stage (it uses Homer Simpson for this to help as a memory trigger - it works!) ***NEWLY UPDATED WITH A MATCHING POWERPOINT/PDF -This shows them the types of stages, and goes through the map of the stage and the positions to stand in more detail. This is important because the director uses these cues, and they must know it. TIP - we play a game called "stage sardines" for them to practice this, so fun! -they all stand together REALLY close like a group of sardines -I call out stage directions -they all have to move there as ONE UNIT (hilarious and helpful!) Similar resources in my shop: ➼ VOICE unit bundle ➼ MIME unit bundle ➼ PHYSICAL COMEDY unit bundle ➼ TABLEAU unit bundle ➼ SCRIPT WORK unit - complete package (drama final major project) ➼ MONOLOGUES unit - complete package (drama exam) ➼ COMPLETE COURSE bundle - every unit included! "print and go" binder for grades 9 and 10 ◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈◈ ➯ Click HERE to follow my shop and see updates and new products. ➯ Please don't forget to leave feedback on my products! You will receive TPT credits that can be used on future purchases.
A study guide for assessment in Theatre Fundamentals! Covers creative drama, improvisation, theatre space, acting, the production process, playwriting, and theatre appreciation.
If you plan on being a musical theatre performer, your audition book is one of the most important things you’ll own. You need to fill your book with the
This is a research document about transmedia storytelling, made by students of the Utrecht School of the Arts in assignment for the theatre company Tryater.
This Introduction - an indispensable 'how to' guide for students and teachers alike - investigates the methods and aims of historical study in the performing arts, from archival research to historical writing. Beginning with case studies on Shakespearean theatre and avant-garde theatre, this study examines fundamental procedures and problems in documentary history and cultural history. It demonstrates how historians not only construct various kinds of performance events but also place them in relation to the historical agents, the political and social conditions, artistic traditions, audience responses, and historical periods. Drawing upon scholarship in classics, literary studies, art history, performance studies, and general history, Postlewait shows how to ask appropriate historical questions, construct evidence, use plays as historical documents, eliminate faulty sources, challenge unreliable witnesses, and develop historical arguments and narratives. The book concludes with a survey of the 'twelve cruxes' of research, analysis, and writing in theatre history.
I have been looking for sets, or scenes which are very bleak and bare which gives an idea of a post apocalyptic landscape. This ties in with my whole concept for Hamlet in the style of Artaud, and …
12 Unbelievably Inspiring TED Talks for Theatre People
To make the performance more than just reciting lines in front of your drama class: Research the play, develop a character, and do enunciation exercises.
How is a director to stage the violent contradiction between a jarringly “unpleasant” plot and a dazzling score? Barrie Kosky turns it into an “existential vaudeville," writes David Savran.
Site The Elizabethan playhouses in London were (mostly) all built on the outside of the city walls (seen as not politically/socially acceptable). Odeon is now on the fringe of the city frame (within the frame) for different reasons. Historically,.. at the time (1594-1604) were an oversupply of ampitheatre playhouses in London amiptheatre playhouses were all on the periphery of London, outside city walls in an 'entertainment ghetto' alongside animal baiting and brothels - a bustling unfashionable locality many spectators would have felt that in attending the Globe, they were engaging in something slightly risque Design The form: there was no obvious medieval tradition of circular or polygonal structures apart from animal baiting arenas - but hardly likely that such a grand structure would be purely imitating these. Theories below: Stonehenge similarity with Stonehenge dimensions (dressed inner faces form tangents to a circle of just over 97 feet across - Globe was around 99 foot); however, from the centres of the stonehenge stones the same measurement on average is 99 feet just like the posts at the Globe...but no other similarities... Vitruvius & the Roman ampitheatre Vitruvius's theatre plan was round sound rises in orderly concentric circles from its source, so also the theatre ranges its degrees of seats in the cavea of the auditorium in a plan developed from the circle the whole theatre is proportioned in imitation of that harmony which the late Hellensitic Platonists posited as the fundamental tendency of the phenomenal world... while Vitruvius makes these connections between nature and art, acoustics and architecture, he describes the particular way in which a theatre is laid out according to a pattern of 4 equilateral triangles inscribed within a circle, a pattern borrowed from astrologers who used it to describe the harmony of the heavenly spheres the Roman ampitheature uses only half a circle What the Globe and Roman ampitheatres have in common is not so much a design tradition as the natural laws governing the transmission of sound The 'Globe' or world the Elizabethans thought of their theatres as a little world, its stage cover a heaven, its cellar a purgatory The body book III (Vitruvius) describes the body and proportions of the circle within the body - see the homo ad quadratum image Construction built with timber from another theatre building ('The Theatre') deeply influenced the design of the Fortune playhouse 20 sided polygon Alberti and Vitruvius both attest to the fact that round or polygonal theatres were designed this way for their acoustic qualities. Daylight, open air similar to a sports arena, some playhouses (eg. Fortune) had been used for bear baiting 'anti-illusionistic' effect of the daylight auditiorium unomodified by the effects of illusionistic lighting interplay between stage and audience is enhanced (lighting, proximity) daylight - naturalism audience can more clearly see each other as well - more likely to get caught up in the crowd's gestures and emotions orientation of the original Globe was 48degrees East of true North meaning that the stage was always in shade this angle is also very close to the azimuth of the midsummer sunrise on this site intended to use only during the Summer months Shakespeare's Globe Rebuilt edited by JR Mulryne and Margaret Shewring (advisory editor Andrew Gurr) Cambridge University Press, Cambridge, UK: 1997
