AZ+Standards+(Shannon)

** I copied the entire document below - will put comments in red. Fairly New - Adopted 2006 - Revisions 2007. ** Rigor - appropriate for most programs - most rigorous level would be appropriate for for IB, honors or magnet schools achievement.

Coherence - good progression among 4 levels from beginning to distinction

Focus - content should be achievable by most students by graduation if they are able to take a theatre class.

Specificity - consistent level of precision in standards - not vague - a beginning level teacher could use this document to plan curriculum

Clarity/Accessibility - Original document easy to read - in clear color-coded columns; easy to read and without lots of excess language to muddle the idea; vocabulary words in bold and defined at the back of the document.

Measurability - concepts are measurable although it may be more task specific vocabulary. Typical words used: denomstrate, collaborate, implement, describe... 

Arizona Theatre Standards **Theatre Standards – Introduction and Rationale**

• Theatre is an art of synthesis.

• Theatre allows students in a collaborative and individual manner to explore varied cultural experiences and universal themes of humankind within a safe context.

• Students develop theatre literacy in learning to see the created world of theatre through the eyes of the actor, playwright, designer, and director.

• Students develop skills to understand dramatic structure, which is fundamental to the literacy of all great world literature.

• Students develop a deeper understanding of personal issues and a broader worldview that includes global concerns by using the dramatic process (creating, performing, analyzing) and critiquing the various stages of dramatic works.

• Theatre provides for a student’s self-discovery, self-definition, and self-esteem.

This addresses what we talked about on 5/26/10 __The goal of the committee was to restructure the original standards so that they were organized in such a way as to accommodate the varied entry points of students into the discipline. Hence, the standards are not organized by grade level.__ District curriculums will provide an opportunity for students to fulfill Beginning through Advanced Performance Objectives by the twelfth grade. The committee structured the standards in a way so that any grade level/content area could pursue a goal of proficiency for their students. The idea being that students in the fourth grade could reach a level of proficiency in acting appropriate to their grade level, while students in the ninth grade could reach proficiency in acting appropriate to their grade level. Additionally, __theatre standards are written and organized in a way that both theatre and non-theatre educators can access, integrate, and utilize them in a variety of instructional settings.__ This is important in FL because many/most of our theatre educators are non-theatre educators. PO 204. Communicate sensory images through movement, vocal, visual, or written expression. Collaborate to create a scene using mime techniques. Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 1 of 33 Arizona Theatre Standards The processes and experiences developed related to theatre. || **Strand 2 – Relate** How the human experience influences and is influenced by theatre. || **Strand 3 – Evaluate** The informal and formal reflection and critical analysis to address and assess the qualities of theatre. ||
 * These are standards and not curriculum**. For example, **this is a standard:**
 * Strand 1**: Create
 * Concept 2**: Acting
 * Level**: Intermediate
 * This is curriculum that your district might create to attend to the standard:**
 * The understanding of the Theatre Standards by the committee looks like this:**
 * Beginning** = Foundation Skills
 * Intermediate** = Essential Skills
 * Advanced** = Proficiency
 * Distinction** = Honors
 * Bolded words** in the Performance Objectives are defined in the Glossary of Terms.
 * Theatre Strands and Concepts I really like the use of these three strands - our framework has 8 Big Ideas that sometimes seem to overlap. They then break down the strands into 6 concepts (EUs?) this seems to be very clear and easy for teachers to follow. **
 * **Strand 1 – Create**
 * **Concept 1:**
 * Collaboration** || **Collaboration includes working jointly, cooperating, negotiating,**
 * and articulating ideas to reach consensus that forms theatrical art** **.** ||
 * **Concept 2:**
 * Acting** || **Acting is the process and art of representing a character**
 * in the classroom, on stage, or in other media.** ||
 * **Concept 3:**
 * Theatre Technology and Design** || **Theatre technology uses craft skills, knowledge of design, equipment, and**
 * materials to construct the elements necessary for the visual and aural aspects of**
 * production that serve the script and the action.** ||
 * **Concept 4:**
 * Playwriting** || **Playwriting is the process of conceptualizing, devising, improvising, developing,**
 * writing, and revising original written work for the stage and other media.** ||
 * **Concept 5:**
 * Directing** || **Directing is the process of conceptualizing, organizing, and**
 * leading a collaborative process with the intent of performance.** ||

Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 2 of 33 Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 3 of 33//

No grade levels are used here - just levels of achievement which can be tailored to each specific theatre program. Also, vocabulary words are in bold under each benchmark which are then defined at the end of the document. negotiating, and articulating ideas to reach consensus that forms theatrical art. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 4 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 5 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 6 of 33// construct the elements necessary for the visual and aural aspects of production that serve the **script** and the **action**. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 7 of 33// construct the elements necessary for the visual and aural aspects of production that serve the **script** and the **action**. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 8 of 33// construct the elements necessary for the visual and aural aspects of production that serve the **script** and the **action**. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 9 of 33// developing, writing, and revising original written work for the **stage** and other media. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 10 of 33// developing, writing, and revising original written work for the **stage** and other media. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 11 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 12 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 13 of 33// negotiating, and articulating ideas to reach consensus that forms theatrical art. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 14 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 15 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 16 of 33// construct the elements necessary for the visual and aural aspects of production that serve the **script** and the **action**. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 17 of 33// construct the elements necessary for the visual and aural aspects of production that serve the **script** and the **action**. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 18 of 33// developing, writing, and revising original written work for the **stage** and other media. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 19 of 33// developing, writing, and revising original written work for the **stage** and other media. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 20 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 21 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 22 of 33// negotiating, and articulating ideas to reach consensus that forms theatrical art. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 23 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 24 of 33// Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 25 of 33// construct the elements necessary for the visual and aural aspects of production that serve the **script** and the **action**. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 26 of 33// construct the elements necessary for the visual and aural aspects of production that serve the **script** and the **action**. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 27 of 33// developing, writing, and revising original written work for the **stage** and other media. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 28 of 33// developing, writing, and revising original written work for the **stage** and other media. || Arizona Theatre Standards //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 29 of 33// **Arizona Theatre Standards** //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 30 of 33// **Arizona Theatre Standards** //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 31 of 33// original. derived from cultural and emotional values and cognitive meaning. interpreting a work of art; the **symbolic** nature of art. and the inquiry processes and human responses associated with those topics. tongue, soft palate, hard palate, throat). to convey meaning. imagined. believable person on **stage**. any culture or historical period. classroom setting where experimentation is emphasized; classmates and teachers are the usual their social and personal significance, selected and organized from the aural, oral, and visual positive and/or comparative judgments. an overall **style** to the production. **Arizona Theatre Standards** //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 32 of 33// information with directors, actors, and production teams. limited to) computers, multimedia, CD-ROM, MIDI, **sound** boards, **light** boards, virtual reality, video, and film; used as tools to create, learn, explain, document, and analyze. each other achieve the group goal. conditions that reflect and affect the emotions, thoughts, and **actions** of **characters** and the attention fixed on the matter at hand. and time/non-realistic use of **character** and time). drama). particular situation. material learned. **posture/stance** – the position of the limbs and the carriage of the body as a whole. **Arizona Theatre Standards** //Arizona Department of Education – Adopted June 26, 2006; Revised 3/2007 Page 33 of 33// resolution of a **conflict**. reception, **balance**, emphasis, contrast, and unity. employer); **role** portrayal is likely to be more predictable and one-dimensional than **character** portrayal (see Character Development/Characterization), and is appropriate for early location of the **play**. else. equipment) used as tools to create, learn, explain, document, analyze, or present artistic work or information. in the production.
 * **Theatre**
 * Strand 1: Create**
 * Concept 1: Collaboration** ||
 * Concept Definition: Collaboration includes working jointly, cooperating,
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Demonstrate respect for others’ opinions by respectfully listening while ideas are articulated. || PO 201. Collaborate to create a scenario/**script** as a team. || PO 301. Collaborate to create a documented **script**. || PO 401. Originate a collaborative theatrical project. ||
 * PO 102. Cooperate in the dramatic process. || PO 202. Collaborate to **design** and choose the **environmental** elements for a scenario/**script**. || PO 302. Collaborate to **design** and choose the **environmental** elements for a scenario/**script**. ||
 * PO 103. Demonstrate the ability to collaborate while coming to consensus in the dramatic process. || PO 203. Collaborate and communicate in the **rehearsal** process. || PO 303. Demonstrate artistic discipline to achieve an **ensemble** in **rehearsal** and **performance**. ||
 * PO 104. Follow established theatre safety rules. || PO 204. Collaborate in informal **performances**. || PO 304. Collaborate in formal **performances**. ||
 * **Theatre**
 * Strand 1: Create**
 * Concept 2: Acting** ||
 * Concept Definition: **Acting** is the process and art of representing a **character** in the classroom, on **stage**, or in other media. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Imagine and describe **characters**, their relationships, what they want and why (e.g., through variations of **movement** and **gesture**, vocal **pitch**, **volume**, and **tempo**). || PO 201. Work individually to create **characters** for theatre and/or other media productions (e.g., for **classical**, contemporary, realistic, and non-realistic **improvisations** and **scripted plays**). || PO 301. Work individually and in an **ensemble** to create **characters** for theatre and/or other media productions (e.g., for **classical**, contemporary, realistic, and non-realistic **improvisations** and **scripted plays**). || PO 401. Develop a repertory of **audition** selections from **classical** and contemporary **plays**. ||
 * PO 102. Sustain a **scene** using appropriate language or **movement** with the teacher **role-**playing or giving clues (e.g., from literature or students’ personal experiences). || PO 202. As a **character**, play out her/his wants by interacting with others, maintaining concentration, and contributing to the **action** of classroom **improvisations** (e.g., **scenes** based on personal experience and heritage, imagination, literature, and history). || PO 302. Demonstrate the use of observation from nature, society, or research as a means to enhance a **performance**. ||
 * PO 203. Demonstrate mental and physical attributes required to communicate **characters** different from themselves (e.g., concentration, sense recall, ability to remember lines and cues, breath and vocal control, body alignment, flexibility, and coordination). || PO 303. Compare and demonstrate various **acting** techniques and methods (e.g., **stage**, on-camera, film), individually or in an **ensemble**, to create and sustain **characters** that communicate with **audiences** in formal and informal theatre, television, film/video, and other **electronic media** productions. || PO 403. Compare and demonstrate various **acting** techniques and methods (e.g., **stage**, on-camera, film), individually or in an **ensemble**, to create and sustain **characters** that communicate with **audiences** in formal and informal theatre, television, film/video, and other **electronic media** productions. ||
 * **Theatre**
 * Strand 1: Create**
 * Concept 2: Acting (page 2)** ||
 * Concept Definition: **Acting** is the process and art of representing a **character** in the classroom, on **stage**, or in other media. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 104. Describe or illustrate recalled sensory experiences. || PO 204. Communicate sensory images through **movement**, vocal, visual, or written expression || PO 304. Use sensory recall as an actor to portray a production concept in a unified production. ||
 * PO 105. Work cooperatively and follow established safety rules. || PO 205. Implement theatre etiquette in **rehearsal** and production settings. || PO 305. Develop and maintain a portfolio of best personal works that exhibit and reflect growth and knowledge as an actor (e.g., DVD of **performances**, photographs, resume). ||
 * **Theatre**
 * Strand 1: Create**
 * Concept 3: Theatre Technology and Design** ||
 * Concept Definition: Theatre **technology** uses craft skills, knowledge of **design**, equipment, and materials to
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Describe and/or document the **setting**/**environment** of a story to be dramatized (e.g., through words, drawings, technical elements). || PO 201. Develop designs that use visual and aural elements to convey **environments** that clearly support the **text**. || PO 301. Demonstrate the use of observation from nature, society or research as a means to enhance the **script**, **performance** or **design**. ||
 * PO 102. Establish a playing **space** and an **audience space**. || PO 202. Implement technical theatre etiquette in **rehearsal** and production settings. ||
 * PO 103. Illustrate the use of line, shape, texture, color, **space**, and **balance** to represent the **environment** of a story. || PO 203. Use available art materials, tools, and/or stock scenery (e.g., **rehearsal** blocks, puppets, curtains, backdrops) to create and convey **props** and/or **setting**. || PO 303. **Design** original ground plans and **set designs** for a variety of dramatic works. || PO 403. Implement and build from original ground plans the **set designs** for a dramatic work. ||
 * PO 104. Select/document/arrange materials (e.g., **props**, furniture, **costumes**, **sound**) to create the **setting**/**environment** of the story to be dramatized. || PO 204. Create floor plans and **props**. ||
 * PO 205. Construct or locate appropriate **props** to enhance a **scene** or production. ||
 * **Theatre**
 * Strand 1: Create**
 * Concept 3: Theatre Technology and Design (page 2)** ||
 * Concept Definition: Theatre **technology** uses craft skills, knowledge of **design**, equipment, and materials to
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 206. Use available **lighting** sources to enhance formal and informal theatre, film/video, and **electronic media** productions to create **design** elements. || PO 306. **Design** an original **lighting plot** for a variety of dramatic works. || PO 406. Implement lighting designs for a dramatic work in a formal theatre setting. ||
 * PO 207. Create **sound** effects and select music to enhance a **scene** or production. || PO 307. **Design** an original **sound plot** for a variety of dramatic works. || PO 407. Implement sound designs for a dramatic work in a formal setting. ||
 * PO 108. Use available art materials, tools, and resources to convey the **characters** through **costumes**, accessories, and **make-up designs** for a **scene** or production. || PO 208. Create **costume** drawings and/or **make-up** charts. || PO 308. **Design** original **costume** renderings and **make-up** charts for a variety of dramatic works. || PO 408. Implement costume and make-up designs for a dramatic work in a formal setting ||
 * PO 209. Use standard procedures to efficiently and safely operate tools and equipment for technical aspects of formal and informal theatre, film/video, and **electronic media** productions. || PO 309. Execute the duties and responsibilities of a crew head and/or crew member to **stage** a variety of dramatic works. || PO 409. **Design** and implement coherent **stage** management, promotion, and business plans. ||
 * **Theatre**
 * Strand 1: Create**
 * Concept 3: Theatre Technology and Design (page 3)** ||
 * Concept Definition: Theatre **technology** uses craft skills, knowledge of **design**, equipment, and materials to
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 210. Develop **technical designs** based on **design** concepts (musical and visual art principles) that meet the requirements of the dramatic work, film/video, and **electronic media** production. || PO 310. **Design** and/or implement technical elements for theatre, film/video, and **electronic media** productions based on **designs** from a concept and collaboration with a director. || PO 410. Collaborate with directors to develop concepts that convey the metaphorical nature of the drama for theatre, film/video, and **electronic media** productions. ||
 * PO 311. Create and reliably implement production schedules, **stage** management plans, promotional ideas, and business/**front-of-house** procedures for theatre, film/video, and **electronic media** productions. ||
 * PO 312. Incorporate the use of technological advances in theatre and other disciplines in creating formal and informal theatre, film/video, and **electronic media** productions. ||
 * PO 313. Develop and sustain a portfolio of best works that illuminate and reflect growth, knowledge, and skills as a theatrical technician/**designer**. ||
 * **Theatre**
 * Strand 1: Create**
 * Concept 4: Playwriting** ||
 * Concept Definition: Playwriting is the process of conceptualizing, devising, improvising,
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Identify various sources (e.g., books, family stories, nature, imagination, paintings, poetry) for theatrical work. || PO 201. Adapt a short, non-dramatic literary selection (e.g., folktale, poem, life story) into a **scripted** dramatic format. || PO 301. Demonstrate the use of observation from nature, society, or research as a means to enhance an original **script**. ||
 * PO 102. Retell a story including its **theme**, **setting**, storyline, **plot**, physical descriptions of the **characters**, and **theme**. || PO 202. Dramatize and document **scenes** using a variety of **characters** to develop **monologues** and/or **dialogue**. || PO 302. Write and revise a **script** based on real life **characters** and situations that demonstrate an understanding of **play** structure. || PO 402. Write and revise a full-length **script**. ||
 * PO 103. Improvise by imitating life experiences, knowledge of literature, social issues, and/or historical situations, and create imaginary **scenes** that include **characters**, **setting**, and storyline. || PO 203. Dramatize and document **scenes** based on life experiences using a variety of **conflicts** to create resolution to the story. || PO 303. Create a **script** through **improvisation** and devised **scenes** based on personal experience, heritage, imagination, literature, and/or history. ||
 * PO 104. Create original, brief stories through **improvisation** that include a storyline and **characters**. || PO 204. Dramatize and document, both individually and in groups, scenarios that develop **theme**, **plot**, **conflict**, and **dialogue**. || PO 304. Collaborate as a playwright with a director, actors, and **designers** to develop original **scripts** for formal and informal theatre and **electronic media** productions. || PO 404. Compare and integrate art **forms** by analyzing traditional theatre, dance, music, visual arts, and other art **forms**. ||
 * PO 105. Describe or illustrate recalled sensory experiences to create **characters** and **plot** . || PO 305. Demonstrate an understanding of the duties and responsibilities of a **dramaturg**. || PO 405. Execute the duties and responsibilities of a **dramaturg**. ||
 * **Theatre**
 * Strand 1: Create**
 * Concept 4: Playwriting (page 2)** ||
 * Concept Definition: Playwriting is the process of conceptualizing, devising, improvising,
 * PO 306. Develop and sustain a portfolio of best works that illuminate and reflect growth and knowledge as a playwright. ||
 * **Theatre**
 * Strand 1: Create**
 * Concept 5: Directing** ||
 * Concept Definition: Directing is the process of conceptualizing, organizing, and leading a collaborative process with the intent of **performance**. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Lead peers in **warm-ups** and theatre games. || PO 201. Analyze dramatic **text** (e.g., folktale, myth, poetry, narrative, **monologue**, **scene**, **play**, etc.) to develop an informal **performance** describing **character motivations**, structure of the story, and the **role** of the **environment** in the story. || PO 301. Analyze dramatic **text** to develop a directorial concept. ||
 * PO 102. Demonstrate leadership skills in small group work. || PO 202. Develop an understanding of how actors’ qualities and skills are considered when casting various **characters** or **roles**. || PO 302. Conduct **auditions**, cast actors, discuss **theme**, and rehearse dramatic **text** for presentation/**performance**. || PO 402. Problem-solve independently and collaboratively during the **rehearsal** and production processes. ||
 * PO 103. Lead small groups in planning a **scene** and rehearsing the **scene** for in-class **performance**. || PO 203. Make directorial decisions about group work and informal dramatic presentations (including **movement**, **voice**, etc.). || PO 303. Collaborate, as a director, with **designers** and actors to develop **aesthetically** unified production concepts for **informal productions**. || PO 403. Develop multiple interpretations and production choices and choose those that are most interesting and feasible. ||
 * PO 304. Conduct **rehearsals** demonstrating a variety of directorial methods. || PO 404. Conduct **rehearsals** demonstrating a variety of directorial methods leading to a public or filmed **performance**. ||
 * PO 305. Demonstrate the use of observation from nature, society, or research as a means to enhance the **script**, **performance**, or **design**. ||
 * **Theatre**
 * Strand 1: Create**
 * Concept 5: Directing (page 2)** ||
 * Concept Definition: Directing is the process of conceptualizing, organizing, and leading a collaborative process with the intent of **performance**. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 106. Conduct exercises for actors in sensory recall. || PO 206. Provide actor **warm-ups** that help them develop sensory recall, as needed, or as a means of accessing their **characters**. || PO 306. Use sensory recall as a director to create a production concept. ||
 * PO 107. Develop an understanding and discuss the role of the director in the production process. || PO 207. Implement theatre etiquette as a director in **rehearsal** and production settings. || PO 307. Develop and direct a final theatre production. ||
 * PO 308. Develop and sustain a portfolio of best works that illuminate and reflect growth and knowledge as a director. ||
 * **Theatre**
 * Strand 2: Relate**
 * Concept 1: Collaboration** ||
 * Concept Definition: Collaboration includes working jointly, cooperating,
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Describe, illustrate and/or implement how the use of collaboration affects daily life and different **environments**. || PO 201. Identify social issues and individual attitudes that promote or impede the collaborative process. ||
 * PO 202. Discuss and implement the skills that address social issues in the collaborative process (e.g., accept leader/follower roles, how to negotiate differences of ideas) in an **informal production** and other school-related projects. || PO 302. Apply the skills that address social issues in the collaborative process (e.g., accept leader/follower roles, negotiate differences of concepts) in **formal productions**, and relate to the skills needed in the professional world. || PO 402. Show exceptional leadership skills in the collaborative process. ||
 * PO 203. Discuss how participation in theatre benefits other life skills and other content areas. ||
 * **Theatre**
 * Strand 2: Relate**
 * Concept 2: Acting** ||
 * Concept Definition: **Acting** is the process and art of representing a **character** in the classroom, on **stage**, or in other media. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Describe how the **characters** in a situation might be similar to or different from a real life experience. || PO 201. Using self-evaluation and reflection, determine the influences of creative work on the individual and his/her community. ||
 * PO 102. Describe how place and time affect **characters** and story in class **improvisations**, **scripts**, and productions of theatre and/or other media. || PO 202. Analyze the emotional and social impact (e.g., historical and contemporary) of **performances** in their lives and the lives of others. || PO 302. Analyze the effects of theatre and media on the mores and politics of current and past cultures. ||
 * PO 103. Identify current and historical periods and cultures (e.g., western/eastern traditions) in dramatic **scenes**, **scripts**, and informal and **formal productions**. || PO 203. Analyze the historical, cultural effects on the **characters** and story of a dramatic concept, class **improvisation**, and theatre or other media production. || PO 303. Interpret **characters** representing various historical periods and cultures revealing similar needs and **motivations**, and apply the conditions of their time and place. ||
 * PO 104. Demonstrate how interrelated conditions (time, place, other **characters**, and the situation) influence the **characters** and stories in **informal productions** of theatre, film/video, and **electronic media**. || PO 204. Demonstrate how interrelated conditions (time, place, other **characters**, and the situation) influence the **characters** and stories in **formal productions** of theatre, film/video, and **electronic media**. || PO 304. Analyze the influential effects of theatre and media on contemporary, historic, social, and political life. || PO 404. Analyze context by understanding the role of theatre, film, television, and **electronic media** in the community and in other cultures. ||
 * **Theatre**
 * Strand 2: Relate**
 * Concept 2: Acting (page 2)** ||
 * Concept Definition: **Acting** is the process and art of representing a **character** in the classroom, on **stage**, or in other media. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 105. Infer a **character**’s **motivations** and emotions and predict future **action**. || PO 205. Analyze the effects of their own cultural experiences on their dramatic work. || PO 305. Research, analyze and present acting career options in theatre, film, and/or other media. ||
 * PO 206. Explain how one’s own behavior might change in response to a **performance** (e.g., drug or alcohol abuse, criminal behavior, friendship, or family relationships). ||
 * **Theatre**
 * Strand 2: Relate**
 * Concept 3: Theatre Technology and Design** ||
 * Concept Definition: Theatre **technology** uses craft skills, knowledge of **design**, equipment, and materials to
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Compare and contrast the historic setting, culture, and geography of a story, and how they influence and affect the visual/aural representation of it in a classroom, on **stage**, or in media. || PO 201. Research historical and cultural influences from a variety of resources (e.g., **text**, library, artifact, internet) to implement with credible **design** choices. || PO 301. Research and describe appropriate historical and contemporary production **designs** from a variety of dramatic works for formal and informal theatre, film/video, and **electronic media** productions. ||
 * PO 102. Identify and explain the historical and cultural influences on the visual/aural elements from a variety of works (e.g., fairy tales, books, **plays**) for dramatizations. || PO 202. Compare and contrast how nature, social life, and visual art practices and products influence and affect **design** choices for theatre, film/television, and **electronic media** productions in the past and the present. || PO 302. Analyze a variety of dramatic **texts** from cultural and historical perspectives to determine production requirements. ||
 * PO 203. Analyze a variety of dramatic works for artistic (e.g., color, **style**, line, texture) and technical requirements influenced by history and culture. || PO 303. Research, justify, and illustrate historical, cultural, and **symbolic** image/**sound** choices to interpret a variety of dramatic works for productions. || PO 403. Analyze the effects of technical theatre and media on the mores and politics of current and past cultures. ||
 * PO 304. Research, analyze, and present technical career options in theatre, film/video, and **electronic media** productions. ||
 * **Theatre**
 * Strand 2: Relate**
 * Concept 3: Theatre Technology and Design (page 2)** ||
 * Concept Definition: Theatre **technology** uses craft skills, knowledge of **design**, equipment, and materials to
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 305. Identify and explain the effects technological and scientific advances have had on **design** and production in theatre, film/video, and **electronic media** productions || PO 405. Assess available theatre **technology** and **design** careers, and evaluate and reflect on the probability of personal choices and success as a theatre, film, or other media professional. ||
 * **Theatre**
 * Strand 2: Relate**
 * Concept 4: Playwriting** ||
 * Concept Definition: Playwriting is the process of conceptualizing, devising, improvising,
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Read and analyze stories and short **plays** from a variety of cultures and historical periods to identify their essential playwriting elements (e.g., storyline, **conflict**, **characters**, **theme**). || PO 201. Demonstrate and identify a **character**’s wants and needs, and physical, emotional, and social qualities based on historical and cultural influences. || PO 301. Compare how similar ideas and dramatic elements (e.g., the protagonist, **monologue**) are treated in dramas and **styles** from various cultural and historic periods. || PO 401. Justify a **script**’s content by researching, evaluating, and utilizing cultural and historical information to support **artistic choices**. ||
 * PO 102. Determine how place, time, and social and cultural conditions affect **characters** and the storyline in class **improvisations**, **scripts**, and productions of theatre and/or other media. || PO 302. Research a variety of sources to enrich the understanding and development of original **characters**, and analyze how a playwright’s cultural background influences his/her **character** choices. ||
 * PO 103. Describe how a **character**’s **motivation** and emotions can predict future **action** or the resolution to a **conflict** in the story. || PO 203. Research and identify contemporary social issues that can be explored through classroom **improvisation**. || PO 303. Demonstrate and understand the duties and responsibilities of a **dramaturge**. || PO 403. Execute the duties and responsibilities of a **dramaturge**. ||
 * PO 104. Discuss story **themes**, **plot**, **characters**, **dialogue**, and **actions** and how they compare/contrast to real life situations. || PO 204. Discuss a class **improvisation** or **performance**’s storylines, **characters**, **dialogue**, and **actions**, and how they relate to real life situations. || PO 304. Analyze the effect of theatre and media on the mores and politics of current and past cultures. ||
 * **Theatre**
 * Strand 2: Relate**
 * Concept 4: Playwriting (page 2)** ||
 * Concept Definition: Playwriting is the process of conceptualizing, devising, improvising,
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 105. Identify current and historical periods and cultures (e.g. western/eastern traditions) in dramatic **scenes**, **scripts**, and informal and **formal productions**. || PO 205. Compare how similar **themes** are treated in dramas of different **genres** and **styles** from various cultural and historical periods. || PO 305. Read and analyze classic works and a variety of **play scripts** to develop an organized written or oral presentation. ||
 * PO 106. Describe how place and time affect **characters** and story in class **improvisations**, **scripts**, and productions of theatre and/or other media. || PO 206. Analyze the historical and cultural effects on the **characters** and story of a dramatic concept, class **improvisation**, and theatre or other media production. || PO 306. Compare and contrast the **style**, structure, and impact of various playwrights. ||
 * **Theatre**
 * Strand 2: Relate**
 * Concept 5: Directing** ||
 * Concept Definition: Directing is the process of conceptualizing, organizing, and leading a collaborative process with the intent of **performance**. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Identify and explain the influence of time and place (history and **environment**) on the **characters** and the story to be dramatized. || PO 201. Research and use cultural, historical, and **symbolic** clues to develop an interpretation for visual and aural production choices. || PO 301. Research the playwright, past **performances**, and current issues to develop a concept for informal and formal presentations. || PO 401. Analyze the effects of theatre and media on the values and politics of current and past cultures. ||
 * PO 102. Use a variety of sources (e.g., pictures, music, poetry, **texts**, library, artifacts) to research the **characters**, story, and **environment** for a dramatization. || PO 202. Present selected information from research to the **ensemble** to support the production process. || PO 302. Identify and compare the lives, works, and influences of representative theatre artists in several cultures and historical periods (e.g., multicultural/multiethnic, **classical**, modern, contemporary). || PO 402. Incorporate other art **forms** into a production by comparing their usefulness as elements of presentation for theatre. ||
 * PO 103. Evaluate research materials for appropriateness and usefulness to support **character**, story development, and **design**. || PO 203. Analyze the effects of personal and cultural experiences on the dramatic work. || PO 303. Identify and compare various directorial philosophies, methods, and processes. ||
 * PO 104. Identify and explain the roles of the different artists in theatre (actor, **designer**/technician, playwright, director). || PO 204. Analyze the historical and cultural effects on the **characters** and story of a dramatic concept, class **improvisation**, and theatre or other media production. || PO 304. Explain the roles and interrelated responsibilities of the various personnel involved in theatre, film/video, television, and **electronic media**. || PO 404. Research, analyze and present career options for directors in theatre, film/video, and **electronic media** productions. ||
 * **Theatre**
 * Strand 2: Relate**
 * Concept 5: Directing (page 2)** ||
 * Concept Definition: Directing is the process of conceptualizing, organizing, and leading a collaborative process with the intent of **performance**. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 105. Identify current and historical periods and cultures (e.g., western/eastern traditions) in dramatic **scenes**, **scripts**, and informal and **formal productions**. || PO 306. Identify and examine the role and duties of the **Dramaturge.** ||
 * **Theatre**
 * Strand 3: Evaluate**
 * Concept 1: Collaboration** ||
 * Concept Definition: Collaboration includes working jointly, cooperating,
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Describe the ways in which the group participated in the collaborative process. || PO 201. Model and use appropriate ways to give, take, and use praise and constructive **criticism**. || PO 301. Evaluate the results of implemented suggestions, ideas, and concepts generated in the collaborative process. || PO 401. Demonstrate exceptional skills in evaluating the collaborative process. ||
 * PO 302. Critique positive and negative outcomes of the collaborative process in a constructive manner. ||
 * **Theatre**
 * Strand 3: Evaluate**
 * Concept 2: Acting** ||
 * Concept Definition: **Acting** is the process and art of representing a **character** in the classroom, on **stage**, or in other media. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Demonstrate respectful **audience** behavior. || PO 201. Describe physical and vocal attributes appropriate to the **characters** in the **play** in class and professional **performances**. || PO 301. Analyze and evaluate critical comments about personal dramatic work, explaining which points are most appropriate and insightful to use for further development of the work. ||
 * PO 102. Describe the believable **actions** and **dialogue** of improvised **characters** in classroom **scenes**. || PO 202. Describe physical concentration and **character** interaction that advance the **plot** in class and professional **performances**. ||
 * PO 103. Identify and describe the **characters**, **environment**, and story elements in a variety of written and performed **events**. || PO 203. Evaluate a **role** by responding and deconstructing deeper meanings of the **text** and **character**. || PO 303. Analyze the development of dramatic **forms** and theatrical traditions across cultures and historical periods (e.g., theatre history). || PO 403. Construct social meanings from classroom and **formal productions** from a variety of cultural and historical periods, and relate to current personal, national, and international issues, and report in an organized oral or written presentation. ||
 * PO 104. Justify the perception of a **performance** and critique its production elements. || PO 204. Develop and articulate criteria to analyze, interpret, and evaluate classroom, informal and formal theatre, or media productions. || PO 304. Develop criteria for evaluating formal and informal theatre, film/video, and **electronic media** productions. ||
 * **Theatre**
 * Strand 3: Evaluate**
 * Concept 2: Acting (page 2)** ||
 * Concept Definition: **Acting** is the process and art of representing a **character** in the classroom, on **stage**, or in other media. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 105. Evaluate and justify, with examples, the meanings constructed from a dramatic **text** or **performance** relating to daily life. || PO 205. Use developed criteria to interpret dramatic **text** and **performances** in an organized oral or written presentation. || PO 305. Using developed criteria, evaluate formal and informal theatre, film/video, and **electronic media** productions. || PO 405. Analyze the development of dramatic **forms** and production practices of theatre, film/video, and **electronic media** productions, and report in an organized oral or written presentation. ||
 * PO 306. Assess available **acting** careers, and evaluate and reflect on the probability of personal choices and success as a theatre, film, or other media professional. || PO 406. Evaluate their own and their peers’ portfolios of best works that illuminate and reflect growth, knowledge and skills as an actor. ||
 * **Theatre**
 * Strand 3: Evaluate**
 * Concept 3: Theatre Technology and Design** ||
 * Concept Definition: Theatre **technology** uses craft skills, knowledge of **design**, equipment, and materials to
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Evaluate the playing **space** and **setting** used for a variety of dramatic works, classroom **scenes**, and informal or **formal productions**. || PO 201. Evaluate how the historical and cultural influences of technical elements affect a variety of performed dramatic works. ||
 * PO 202. Develop criteria to evaluate technical elements for formal and informal theatre, film/video, and **electronic media** productions. || PO 302. Evaluate their own and their peers’ use of theatre etiquette as a technician. ||
 * PO 103. Evaluate how line, shape, texture, color, **space**, **balance**, and/or pattern help illustrate the **environment** of a story. ||
 * PO 104. Evaluate the **environment**, **setting**, **lights**, **sound**, **costumes** and **props** in a variety of performed dramatic works to determine the mood and meaning of the story. || PO 204. Evaluate and interpret technical elements in a variety of performed dramatic works including theatre, film/video, and **electronic media** productions. || PO 304. Evaluate the implementation of production schedules, **stage** management plans, promotional ideas, and business/**front-of-house** procedures for theatre, film/video, and/or **electronic media** productions. || PO 404. Construct social meanings from technical elements from a variety of **productions** of cultural and historical periods, and relate to current personal, national, and international issues, and report in an organized oral or written presentation. ||
 * PO 105. Evaluate the **environment** for safety issues that may effect the production. || PO 205. Evaluate their own and their peers’ execution of duties and responsibilities on a technical crew. || PO 305. Evaluate their own and their peers’ efficiency and effectiveness of safety issues, execution of duties, and responsibilities on a technical crew. ||
 * **Theatre**
 * Strand 3: Evaluate**
 * Concept 3: Theatre Technology and Design (page 2)** ||
 * Concept Definition: Theatre **technology** uses craft skills, knowledge of **design**, equipment, and materials to
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 406. Evaluate the collaboration process with directors to develop concepts that convey the metaphorical nature of the drama for theatre, film/video, and **electronic media** productions. ||
 * PO 307. Evaluate the **technical design** elements for formal and informal theatre, film/video, and **electronic media** productions based on concept and collaboration with the director. || PO 407. Evaluate and revise personal **design** choices based on feedback from a director. ||
 * PO 308. Assess available theatre **technology** and **design** careers, and evaluate and reflect on the probability of personal choices and success as a theatre, film, or other media professional. || PO 408. Evaluate their own and their peers’ portfolios of best works that illuminate and reflect growth, knowledge and skills as a theatrical technician/**designer**. ||
 * **Theatre**
 * Strand 3: Evaluate**
 * Concept 4: Playwriting** ||
 * Concept Definition: Playwriting is the process of conceptualizing, devising, improvising,
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Recall and evaluate the storyline of a class **improvisation** or **performance**. || PO 201. Develop criteria to analyze, interpret, and evaluate a **play script** (e.g., structure, language, **characters**). || PO 301. Evaluate the overall artistic merit of written dramatic work by oneself and others. ||
 * PO 102. Recall and evaluate the **character**’s **actions** in a class **improvisation** or **performance**. || PO 202. Describe how the **setting**, storyline, and **characters** are interrelated in scenarios and **scripts**. || PO 302. Analyze and evaluate constructive **criticism** about personal work, explaining which points are appropriate for further development of the work. || PO 402. Evaluate their own and their peers’ portfolios of best works that illuminate and reflect growth, knowledge and skills as a playwright. ||
 * PO 103. Describe how **plot**, **character**, and **environment** in **plays**, film/video, and **electronic media** are related to personal life. || PO 203. Use developed criteria to analyze a variety of dramatic works (e.g., formal and informal theatre, film/video, and **electronic media** productions) according to **style**, **genre**, dramatic elements, and **characters**. || PO 303. Analyze and evaluate constructive **criticism** about a **script**, identifying playwriting elements employed by the writer. || PO 403. Analyze and create a written critique of a contemporary **scripted play** or production focusing on the qualities of the **script**. ||
 * PO 104. Identify by **genre** a dramatic concept, **script**, classroom, or **formal production**. || PO 204. Develop and articulate criteria to analyze, interpret, and evaluate classroom, informal and formal theatre, or media productions. || PO 304. Identify and explain **symbols** and deconstruct social and literary allusions in **text** and productions, and report in an organized oral or written presentation. || PO 404. Construct social meanings from classroom and **formal productions** from a variety of cultural and historical periods, and relate to current personal, national, and international issues, and report in an organized oral or written presentation. ||
 * **Theatre**
 * Strand 3: Evaluate**
 * Concept 4: Playwriting (page 2)** ||
 * Concept Definition: Playwriting is the process of conceptualizing, devising, improvising,
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 105. Identify and describe the **characters**, **environment**, and story elements in a variety of written and performed **events**. || PO 205. Use developed criteria to interpret dramatic **text** and **performances** in an organized oral or written presentation. || PO 305. Identify by **genre** a dramatic **script**, classroom **improvisation**, or **formal production** ||
 * PO 206. Justify the perception of a **performance** and critique its production elements. || PO 306. Analyze the development of dramatic **forms** and production practices of theatre, film/video, and **electronic media** productions, and report in an organized oral or written presentation. ||
 * PO 207. Evaluate and justify, with examples, the meanings constructed from a dramatic **text** or **performance** relating to daily life. ||
 * **Theatre**
 * Strand 3: Evaluate**
 * Concept 5: Directing** ||
 * Concept Definition: Directing is the process of conceptualizing, organizing, and leading a collaborative process with the intent of **performance**. ||
 * **Beginning** || **Intermediate** || **Advanced** || **Distinction** ||
 * PO 101. Explain and justify the basic elements of a dramatic **text** (e.g., problem/solution, beginning, middle and end, **characters**, and **environment**) and **performance** essentials (e.g., visibility and audibility of actors, appropriateness of **setting**). || PO 201. Explain and justify personal criteria for evaluating the basic elements of **text**, **acting**, and production values in their work and the work of others. || PO 301. Develop criteria for analyzing and evaluating the **script**, **acting**, **design**, and direction as a unified production based on **artistic choices** in traditional theatre, film/video, and **electronic media** productions. || PO 401. Describe and analyze the effects of publicity, study guides, programs, and physical **environment** on **audience** response and appreciation of dramatic productions. ||
 * PO 102. Explain and justify personal preferences for specific elements and/or moments in dramatizations. || PO 202. Develop and articulate criteria to analyze, interpret, and evaluate classroom, informal and formal theatre, or media productions. || PO 302. Evaluate the directorial process using developed criteria. ||
 * PO 103. Identify and describe the **characters**, **environment**, and story elements in a variety of written and performed **events**. || PO 203. Use criteria to interpret dramatic **text** and **performances** in an organized oral or written presentation. ||
 * PO 204. Evaluate and justify, with examples, the meanings constructed from a dramatic **text** or **performance** relating to daily life. || PO 304. Using self-reflecting practices, determine the influences of directorial work on the individual and his/her community. || PO 404. Construct social meanings from classroom and **formal productions** from a variety of cultural and historical periods, and relate to current personal, national, and international issues, and report in an organized oral or written presentation. ||
 * **Theatre**
 * Strand 3: Evaluate**
 * Concept 5: Directing (page 2)** ||
 * Concept Definition: Directing is the process of conceptualizing, organizing, and leading a collaborative process with the intent of **performance**. ||
 * **mediate** ||
 * PO 205. Justify the director’s concept of a **performance** and critique its production elements. || PO 305. Identify and explain **symbols** and deconstruct social and literary allusions in **text** and productions, and report in an organized oral or written presentation. ||
 * PO 306. Analyze the development of dramatic **forms** and production practices of theatre, film/video, and **electronic media** productions, and report in an organized oral or written presentation. || PO 406. Compare and contrast the directorial **styles** of a minimum of two directors that work in the same media. ||
 * PO 307. Assess available directing careers, and evaluate and reflect on the probability of personal choices and success as a theatre, film, or other media professional. || PO 407. Evaluate their own and their peers’ portfolios of best works that illuminate and reflect growth, knowledge and skills as a director. ||
 * Arizona Theatre Standards**
 * Glossary of Terms**
 * Abstract –** Not representational; removed from the representative, yet retaining the essence of the
 * Acting** – The use of **voice**, **movement**, **focus**, and **characterization**.
 * Action** – **Events**/incidents within the **play**/story that move the **plot** along.
 * Aesthetic Criteria** – Criteria developed about the visual, aural, and oral aspects of the witnessed **event**,
 * Aesthetic Qualities** – The perceptual aspects, emotional values, and cognitive meanings derived from
 * Aesthetics** – A branch of philosophy that focuses on the nature of beauty, the nature and value of art,
 * Articulation** – The clear and precise pronunciation of words using the articulators (e.g., lips, teeth,
 * Artistic Choices** – Selections made by artists about the situation, **action**, direction, and **design** in order
 * Audience** – The spectators of an **event**.
 * Audition** – A tryout for a theatrical position, usually for actors.
 * Balance** – Arrangement of **design** elements and actors to create visual stability on **stage**.
 * Blocking** – The coordination of the actors’ **movements** within the **space** (**stage**).
 * Business** – **Movements** made to make use of **props** and **costumes** to strengthen the personality of a
 * character** the actor is portraying.
 * Character** – The “who” in a **scene**, **play**, or story which can be a person, creature, or thing, real or
 * Character Development/Characterization** – Putting together all parts of the **character** to create a
 * Classical** – A dramatic **form** and production technique(s) considered of significance in earlier times in
 * Classroom Production** – The exploration of all aspects (e.g., visual, oral, aural) of a dramatic work in a
 * audience**.
 * Conflict** – A struggle between two or more opposing forces, **events**, ideas, or **characters** in a **scene** or
 * play**.
 * Constructed Meaning** – The personal understanding of dramatic/artistic intentions and **actions** and
 * symbols** of a dramatic production.
 * Costume** – The clothing an actor wears to represent a **character**.
 * Criticism** – Describing and evaluating the media, processes, and meanings of works, and making
 * Design** – A purposeful plan for the spectacle of a **play** (e.g., **costumes**, **set**, **props**, **lighting**, **sound**).
 * Dialogue** – Words spoken by **characters** to express thoughts, emotions, and **actions**.
 * Diction** – A **style** of speech as dependent on choice of words.
 * Director’s Concept** – A vision inspired by the playwright and developed by the director that provides
 * Drama** – A literary composition (a **play**) intended for a **performance** before an **audience**.
 * Dramatization** – The art of composing, writing, **acting**, or producing **plays**.
 * Dramatic Media** – Means of telling stories by way of **stage**, film, television, radio, video discs, or other
 * electronic media**.
 * Dramaturg** – A literary editor on the staff of a theatre who provides analysis, research, and sharing of
 * Dramaturgy** – The theory and practice of dramatic composition.
 * Electronic Media** – Means of communication characterized by the use of **technology** including (but not
 * Elements of Theatre** – **Action**, **character**, **conflict**, **design**, **dialogue**, **plot**, **setting**, and **theme**.
 * Ensemble** – A group of actors working together cooperatively and responsibly to help themselves and
 * Environment** – Physical surroundings that establish place, time, and atmosphere/mood; physical
 * audience**.
 * Event** – Something that happens at a certain place and time.
 * Expression** – The way words are said to show feeling.
 * Facial Expression** – **Movements** of the face that show feelings or ideas.
 * Focus** – (1) the intended point of interest on **stage**; (2) the actor’s ability to concentrate and keep
 * Form** – The structural organization of a drama (e.g., **plot** sequence, logical, realistic use of **character**
 * Formal Production** – The staging of a dramatic work for presentation for an **audience**.
 * Front-of-House** – Box office and lobby (i.e., business services).
 * Genre** – A type or category of dramatic literature (e.g., comedy, tragedy, melodrama, farce, serious
 * Gesture** – The expressive **movement** of the hands that communicates **character**.
 * Given Circumstances** – The information given in the **text** by the playwright concerning **character**,
 * setting**, and relationships.
 * Improvisation** – Spontaneous use of **movement** and speech to create a **character** or an object in a
 * Improvisational Theatre** – A structured yet non-**scripted action** or **play**.
 * Informal Production** – Small **performances** that demonstrate understanding of the specific content or
 * Inflection/Pitch** – The use of high and low **sounds** in speech.
 * Lighting/Lights** – Using a variety of **lights** to illuminate the actors and **sets** on **stage**.
 * Make-Up** – Using cosmetics to the face and body to enhance **character**.
 * Mime** – A **form** of theatre that employs **pantomime**; can include music, **sounds**, **costumes**, and **make-**
 * up**.
 * Monologue** – A speech within a **play** delivered by a single actor alone on **stage**.
 * Motivation** – What a **character** wants and why.
 * Movement** – Physical **action** used to establish meaning and express and create **character** including:
 * facial expression** – **movements** of the face that show feelings or ideas.
 * gestures** – a **movement** of the hands, arms, and/or legs that communicates **character**.
 * blocking** – the coordination of the actors’ **movements** within the **space** (**stage**).
 * whole-body movements** – locomotive and non-locomotive use of the body that is not part of
 * blocking**.
 * Objective** – The **character**’s wants, needs, and desires as found in the **text**.
 * Obstacle** – What stands in the way of the **character** achieving his/her **objectives**.
 * Pantomime** – Communication using **movement** without speech.
 * Performance** – Presenting a **play** for an **audience**.
 * Phrasing** – The use of punctuation, pause, and word or phrase emphasis to create meaning and emotion.
 * Play** – A **form** of writing intended for live **performance**.
 * Plot** – The story behind the **play** that includes exposition, inciting incident, rising **action**, climax, and
 * Props/Properties** – Objects used by an actor on **stage** including furniture.
 * Principles of Design** – Underlying characteristics in the visual arts and theatrical **design**, such as
 * Projection**/**Volume** – Using appropriate loud and soft **sounds** as a **character**.
 * Range** – The scope or extent of one’s abilities in **movement**, technique, etc.
 * Rate** – How slowly or quickly words are spoken.
 * Rehearsal –** The period of time used to prepare a **play** for **performance** for an **audience**.
 * Role** – The characteristic and expected social behavior of an individual in a given position (e.g., mother,
 * improvisation** exercises.
 * Scene** – A small segment of a **play**, usually taking pace in one time and one **setting**.
 * Script** – The written **dialogue**, description, and directions provided by the playwright.
 * Set** – The on-**stage space** and its structures (scenery) in which the actors perform that represents the
 * Setting** – The time and place in which the **scene** occurs.
 * Sound** – The process of using music, audio effects, and reinforcement to enhance **setting** and mood.
 * Space** – The **performance** area used by an individual or **ensemble**.
 * Stage** – The place where the actors perform.
 * Strategy/Tactics** – The possible ways the **character** can overcome **obstacles**.
 * Style** – The distinctive character or technique of an individual artist, group, or period.
 * Style/Genre** – The particular characteristics of a historical period or culture.
 * Symbol/Symbolic** – An image, object, **sound**, or **movement** that stands for or represents something
 * Technology** – **Electronic media** (e.g., video, computers, compact discs, lasers, audio tape, satellite
 * Technical Design** – The plan for **costumes**, **set**, **props**, **lighting**, **sound**, **make-up**, and special effects
 * Tempo** – The **rate** of speed at which a **performance** or elements of a **performance** occur.

beings feel compelled to address. content for **improvisation**. bring the mind into **focus** for the activities to follow.
 * Tension** – The atmosphere created by unresolved, disquieting, or inharmonious situations that human
 * Text** – The basis of dramatic activity and **performance**; a written **script** or an agreed-upon structure and
 * Theatre Literacy** – The ability to create, perform, perceive, analyze, critique, and understand dramatic
 * performances**.
 * Theme** – Central idea of a **play** that is revealed to the **audience**.
 * Voice** – An actor’s use of **articulation**, **projection**, **expression**, **inflection**, and **rate** to create a
 * character**.
 * Warm-Up** – **Movements** and/or **movement** phrases designed to raise the core body temperature and