Bell Work:

• Students partnered with a person who has the same eye color as they do
• They worked with their partner to answer four questions

1. What is a rough sketch?
2. What is a ground plan?
3. What is a front elevation?
4. What is a 3D scale model?

Classwork:

• Students began to understand what "drawing in scale" means.

• Students created a google doc or slide
  
• Students found inspiration images for each of their locations (i.e. enchanted forrest, castle, etc.)
• Students will finish this work in class on Wednesday

Homework:

• Finish location list if not done yet. 

Bell work:

• Students opened google classroom and opened up playscript from last week.
• Students found the correct page for their class.
• They talked to a friend to go over what has happened in the plot thus far.

Classwork:

• Students watched the video "How to Read a Play"

• Students will finish reading the play in class. 
• Remember, you will be designing the set for this play. Try to think about what will be required of you in the design.
• Students watched the below video.

• Students may work on their own or with partners to complete a list of locations in the play. They should list every play the play takes us to. 
• If this is finished, students may begin on rough sketches of their set design.

Bell work:

• Those students who have yet to perform have time to rehearse

Classwork:

• Remaining students performed for the class. Audience members took notes on their performances.
• We began reading The Brothers Grimm Spectaulathon. Scripts are in google classroom.

Homework:

• Nothing. Have a great weekend!

Bell work:

• Students rehearsed scenes as they entered the classroom

Class work:

• Students performed scenes for the class
• Audiences members took notes on what things their classmates did well and what to work on. 

Homework:

• Keep working on scenes if you didn't perform today.

Bell work:

• Students wrote down notes from yesterday's performance

Classwork: 

• Students learned other performance techniques including

1. Meisner
2. Tug 'O War
3. Pokey-Strokey

• Students will go over rubric for tomorrow's performance
• Students rehearsed scenes applying rehearsal techniques

Homework:

• Practice scene
• Practice lines!

Bellwork:

• Students should read this article on memorization
• Students should complete this google form about the reading

Classwork:

• Students discussed merits of different kinds of memorization tactics
• Students chose 1 minute of their scenes to perform for the class
• Students rehearsed one minute selection
• Students received feedback on the performances

Homework:

• Keep working on memorizing lines and any feedback given during performance today.

Bellwork:

• Students cleared the area to play a game
• Students played a game of Statues:

1. Students re all statues in a wax museum. I, the teacher, am the curator. 
2. Explained what a curator was, and explained the concept of a museum if there are any that do not know what one is. 
3. Explained that in the beginning, when the curator is in the room the statues do not move or speak. 
4. Once the curator lefts the room, the statues come alive and interact with one another.
5. When the curator re-enters the room, the statues all freeze in their current position arid location. 
6. The curator reacts to these changes and may even begin to correct the obvious problems that have occurred while he/she was out. Some comments: “How could this have happened? “My statues must be melting. “I need to turn up the air condition.’
7.  The statues are now allowed to move while the curator is in the room; but you must not get caught. If at any time the curator sees you move, you are out and must remove yourself from the game. 8. The last statue standing is the winner and becomes the curator for the next round.

Classwork:

• Students watched the below video on blocking, paying special attention to new vocab: obligatory blocking, psychological blocking, and stage business

• We reviewed stage directions (refer to day 5) and basic blocking short hand. 
• Students received a document in google classroom with helpful blocking diagrams. (See below)

• Students learned the purpose of a ground plan
• Students read this document on how to draw a ground plan
• Student drew ground plans for their scenes and handed them in.
• Students used blocking notation to block their scenes making sure it was written in their scripts.
• Students rehearsed their scenes.

Homework:

• Students should rehearse and memorize scripts. 

Bell work:

• Students completed character analysis sheet in google classroom (see Day 15)

Classwork:

Beats break up units. A beat is the smallest structural division of your script. Generally, I notate them as a little tick, like so: /  It can be loosely thought of as an exchange of action and reaction, but I like to think of beats in terms of when they change. Beats can shift when there is a change in subject, which is slightly different than when there is a change of topic, and therefore a unit change. (Although every time there is a unit change, there is also a beat change. The reverse does not necessarily apply). So for example, if a couple is fighting about the possibility of the wife’s father moving in, a shift of subject from the father’s grouchy personality to the lack of available space might signal a beat change. It is still part of the fight about the father, so the topic is still the same. If, however, the argument suddenly exposed the husband’s secret affair, that would probably be a unit change.

An easy way to test if there should be a beat change is to ask whether someone’s tactics have changed (more on tactics below). If the answer is yes, it is probably a beat change. In the example above, the shift in subject could actually be described as a tactic shift: the husband stopped complaining about the father’s personality and appealed to his wife’s practical understanding of living space.

Objectives and Super-objectives

This is, to put it simply, what the character wants. It is important to be clear about these because you will be fighting for them in some way or another every moment you are on stage or film. Objectives generally refer to a character’s desire within the scene. If you are looking for the big picture, a super-objective describes the character’s core desire that carries him or her through the script (and presumably beyond). A super-objective can be structured as “I need _______ by/through ________” When choosing the language of a super-objective, I always think in terms of simplifying fractions, because even math can relate to theatre if you want it hard enough. Keep asking what is underneath until you find the most basic human desire that drives your character (acceptance, control, and safety are common examples). The second half of the equation is your character’s modus operandi. Again, choose strong, active language. “I need control through alienation.”

While a super-objective rarely changes through the script, objectives change all the time. Often, an objective will carry through a scene, unless something drastic happens to change it. Strong objectives relate to the other person in the scene. “I want him to admit he’s wrong” is not as actable as “I want to wring a confession from him.”

Tactics

Tactics are the strategies a character uses to achieve his or her objective. As with objectives, tactics should relate directly to the other person, and be extremely specific. “I want to wring a confession from him by accusing him of murder.” Make a challenge of it. “Accusing” is active and direct, but is there a more evocative word, or one more specific to your action? What about denounce, slander or impeach? Make it personal.

Obstacles

Obstacles are pretty self-explanatory: they are the roadblocks. They get in the way of the character achieving his or her objective. Obstacles can be external or internal. An external obstacle comes from the environment—other characters, circumstances, or material impediments. Internal obstacles stem from the character’s own shortcomings, insecurities and psyche.

• Students marked scripts for beats and objectives.
• For additional help, read this handout on beats. 
• Students got up on their feet and practiced movement with beats and objectives in mind.

Homework:

• Memorize scripts!

Classwork:

• Students received partners for scenes.
• Students selected scenes from here.
• Students read through scenes.
• Students completed character analysis in google classroom. You can view it here.

Homework:

• Students should work on memorizing lines.

Bell work:

• Get out chromebooks
• Get into groups assigned for Greek Chorus project

Classwork:

• Students worked in groups to create performances for their Greek Chorus projects
• Students performed for the class

Homework:

• Nothing, you lucky ducks!