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Glencoe Exploring Theatretheatre.glencoe.comtheatre.glencoe.cominteractive student edition
Nancy Prince Jeanie Jackson
Copyright © 2005 by The McGraw-Hill Companies, Inc. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or means, or stored in a database or retrieval system, without the prior written permission of the publisher.
Send all inquiries to: Glencoe/McGraw-Hill 8787 Orion Place Columbus, Ohio 43240
Student Edition: ISBN 0–07–861614–X Teacher’s Annotated Edition: ISBN 0–07–861615–8
PRINTED IN THE UNITED STATES OF AMERICA
1 2 3 4 5 6 7 8 9 10 058/111 09 08 07 06 05 04
v
Nancy Prince ancy Prince, with a bachelor of arts degree in drama, speech, and English from Hendrix College in Conway, Arkansas, has over thirty years of teaching experience, rang- ing from early childhood to high school. She currently
teaches theatre arts in the Nacogdoches Independent School District in Nacogdoches, Texas.
She serves as a discipline-based theatre education facilitator at the Southeast Institute for Education in Theatre, Chattanooga, Tennessee. Her program “Puppets Add Pizazz” has been featured as part of the teacher training programs at the John F. Kennedy Center for the Performing Arts in Washington, D.C.
Presently she serves as a mentor teacher for the Stephen F. Austin University Center for Professional Development and Technology in Nacogdoches, Texas, training interns and student teachers in her class- room. As a professional public speaker, puppeteer, and motivator, Mrs. Prince has traveled and given presentations throughout the nation.
In 1988, for her role in the education of youth and adults, Mrs. Prince received the Texas Educational Theatre Association Secondary School Educator of the Year Award.
Jeanie Jackson eanie Jackson, with a bachelor of science degree from East Texas State University and a master of education degree from Stephen F. Austin University, is certified to teach sec- ondary education in theatre, speech, English, and Spanish,
as well as kindergarten through eighth grade. Jeanie has taught for twenty-eight years, ten of which were spent as Fine Arts Department Middle School Chair in the Lake Travis I.S.D., Austin, Texas. She is presently the Creative Drama Specialist in the Harleton Independent School District, Harleton, Texas.
Mrs. Jackson is a member of numerous associations, including the Association of Texas Professional Educators, Texas Educational Theatre Association (TETA), and the Creative Drama Network. She has taught numerous drama and speech workshops throughout Texas, including TETA summer workshops, TETA conventions, and The Texas Elementary Principals and Supervisors Association State Convention. She has also given presentations at numerous national conferences such as the Educational Theatre Association National Convention in Chicago. She has served as the summer drama clinician for the Tennessee Arts Academy, Nashville, Tennessee.
vi
To George, my friend, husband, and number one encourager; To Mother and Dad, who guided me with unconditional love; To “Sister,” my computer specialist, and Steve, who taught me to
follow my dreams; and To my colleagues and friends who provided ideas and support.
Jeanie Jackson
To my mother and late father, Vera and Frank Olive, who first instilled in me the joy of hard work and the satisfaction of a job well done.
To my family—my husband Phil, my daughters Kelly and Marty, and my sister Debbye—who lovingly supported this work in countless ways;
To my friend and mentor, Kim Wheetley, who has provided unlimited opportunities for me; and
To my friend and colleague, Lou-Ida Marsh, who taught me much about theatre and life.
Nancy Prince
Dear Student,
ou are about to begin a journey into a magical world—the world of theatre! This book, Exploring Theatre, will be your guidebook—and your theatre arts teacher will be your guide—as you investigate the exciting aspects of this fasci-
nating world. As you explore, you will learn not only about theatre but also about yourself. You may find that within you there are hidden talents and creative ideas waiting to burst forth.
In Exploring Theatre, the authors share what they and their network of friends in the theatre community have discovered while teaching and working in theatre. Although the book is about theatre, its focus is on your development as a total student, not just as a theatre student.
Information in Exploring Theatre is organized into four units: Getting Started in Theatre, Building Your Acting Skills, Producing and Appre- ciating Plays, and Special Topics in Theatre. Through the lessons in these units, you will learn to become more aware of your senses, observe people and places more closely, and move expressively. You will also learn to use your talents, reinforce your self-confidence, and improve your ability to work with others.
To prepare for the stage, you will be introduced to basic acting skills such as improvisation, characterization, role preparation, and stage movement. You will be guided through the production process, from selecting a play and its cast to working creatively and safely behind the scenes.
You will learn the specialized vocabulary of the theatre, theatre traditions, audience etiquette, and performance evaluation criteria. You will explore career opportunities in theatre and theatre educa- tion, from playwright to drama teacher. You will read about the history of theatre, from its Ice Age beginnings 30,000 years ago to the changing theatre of today. You will try your hand at special skills such as story- telling, clowning, oral interpretation, readers theatre, and puppetry.
The short lessons in Exploring Theatre are full of interesting informa- tion, skill-building exercises, cooperative activities, and thought- provoking quotes from famous theatre people. More than three hundred full-color photographs and drawings illustrate the concepts presented in the text. As you look through the pages, you will probably find many photographs of subjects that you recognize.
Be sure to look over The Playbook. This special section at the end of the text contains more than thirty excerpts from famous plays. You can use them to practice your skills. There are passages for both male and female monologues; scenes for two females, two males, one female and one male, and various groups; and selections for readers theatre.
Y
viii
Exploring Theatre will give you a solid start in studying theatre arts— a start that the authors hope will encourage you to take more theatre courses. They hope that you will continue to participate in and appre- ciate the magic world of theatre all of your life. But even if you never enter a theatre again, the authors believe that once you have used Exploring Theatre, you will be more assertive and more confident in your daily life, more aware of your surroundings, more expressive in your communications, and more cooperative in your dealings with others.
Sincerely,
ix
he authors would like to thank Lynn Murray, Kim Wheetley, and Krin Brooks Perry, without whom they might not have had the opportunity to write Exploring Theatre; the many members of the Texas Educational Theatre Association
(TETA) who have provided innumerable ideas and suggestions over the years; Judy Matetzschk for the time, effort, and knowledge that she invested in Our Theatre Heritage; Lynda Belt, Rebecca Stockley, and Charles Pascoe for their theatre games ideas; Bob Cassel, Lynda Kessler, Carole Balach, Chrisztina Kowalski, Lee Anne Storey, John Orr, and all the people at West Educational Publishing Company who pro- duced such a beautiful book; and the people at Federal Express who helped us meet the strictest deadlines.
Nancy Prince would also like to thank the 1995 and 1996 TAPS classes, Sandi Elsik, Jean Ferraro, Jennifer Franklin, Gigi Bollinger, and Melissa Bahs.
Jeanie Jackson would also like to thank George Edna Hooten Wallace, Marilyn Swinton, Becky Chenevert, and Becky Kasling.
The authors would also like to thank the following theatre arts teachers for their valuable comments and suggestions during the development of the Exploring Theatre manuscript.
T
Acknowledgments
Mary Bowles Fort Worth I.S.D. Fort Worth, Texas
Diane M. Brewer Eanes I.S.D. Austin, Texas
Beverly Burnside North East I.S.D. San Antonio, Texas
Ann Crofton Carrollton/Farmers I.S.D. Carrollton, Texas
Marla Crowe Klein I.S.D. Spring, Texas
Jean Danna Cypress Fairbanks I.S.D. Houston, Texas
Vicki Dickerson Aldine I.S.D. Houston, Texas
Sandra S. Fitzhugh Ysleta I.S.D. El Paso, Texas
Darla Howard Northside I.S.D. San Antonio, Texas
Professor Judith Kase-Polisini University of South Florida Tampa, Florida
Peter D. Kinser Alvin I.S.D. Alvin, Texas
Donna Lampman Northside I.S.D. San Antonio, Texas
Judy Matetzschk Zachary Scott Theatre Center Project InterAct Austin, Texas
Carol Mize Austin I.S.D. Austin, Texas
Sheila Rinear North East I.S.D. San Antonio, Texas
Mike Storey Corpus Christi I.S.D. Corpus Christi, Texas
Paulette Van Atta Plano I.S.D. Plano, Texas
Cynthia Winters Austin I.S.D. Austin, Texas
Reviewers
Exploring Theatre Time Line 20
You and Theatre 28 Developing Your Personal Resources 50 Creative Drama 66
Building Your Acting Skills 80 Developing Your Voice 82 Improvisation 107 Characterization 121 The Play and Your Part 136 Taking the Stage 149
Producing and Appreciating Plays 168 The Production Process 170 Behind the Scenes 189 Theatre Appreciation 225 Your Future in Theatre 246
Special Topics in Theatre 266 Mime, Pantomime, and Clowning 268 Interpreting Literature 286 Storytelling 315 Readers Theatre and Radio Theatre 329 Puppetry, Shadow Play, and Masks 34518CHAPTER
17CHAPTER 16CHAPTER 15CHAPTER 14CHAPTER
3 9CHAPTER 8CHAPTER 7CHAPTER 6CHAPTER 5CHAPTER
2 4CHAPTER 3CHAPTER 2CHAPTER
Getting Started in Theatre 2
Welcome to Theatre! 4 LESSON 1 Getting to Know You 5 LESSON 2 An Introduction to Theatre 7
Curtain Call! 19
Exploring Theatre Time Line 20
You and Theatre 28 LESSON 1 Believing in Yourself 29 LESSON 2 Working with a Group 34 LESSON 3 Artistic Discipline 42 LESSON 4 Evaluation 45
Curtain Call! 49
Developing Your Personal Resources 50
LESSON 1 Imagination 53 LESSON 2 Concentration 54 LESSON 3 Observation 56 LESSON 4 Sensory Awareness 59 LESSON 5 Movement 60
Curtain Call! 65
3CHAPTER
2CHAPTER
1CHAPTER
1
xi
Contents
Creative Drama 66 LESSON 1 What Is Creative Drama? 67 LESSON 2 Narrative Pantomime 70 LESSON 3 Story Dramatization 75
Curtain Call! 79
Building Your Acting Skills 80
Developing Your Voice 82 LESSON 1 Relaxation and Breathing 83 LESSON 2 Quality, Pitch, and Flexibility 90 LESSON 3 Articulation and Pronunciation 93 LESSON 4 Volume and Rate 98 LESSON 5 Projection 101
Curtain Call! 106
Improvisation 107 LESSON 1 Improvisation 108 LESSON 2 Role-Playing 117 LESSON 3 Point of View 118
Curtain Call! 120
Characterization 121 LESSON 1 Stock Characters and
Stereotypical Characters 122 LESSON 2 Creating Original Characters 124 LESSON 3 Writing Original Monologues 131
Curtain Call! 135
7CHAPTER
6CHAPTER
5CHAPTER
2
4CHAPTER
xii
The Play and Your Part 136 LESSON 1 The Structure of Plays 137 LESSON 2 Preparing Your Part 141
Curtain Call! 148
Taking the Stage 149 LESSON 1 Types of Stages 150 LESSON 2 Stage Terminology 154 LESSON 3 Acting Technique 157
Curtain Call! 167
Producing and Appreciating Plays 168
The Production Process 170 LESSON 1 Selecting the Play 171 LESSON 2 Selecting the Cast 174 LESSON 3 The Rehearsal Process 177 LESSON 4 The Performance 184
Curtain Call! 188
Behind the Scenes 189 LESSON 1 Theatre Safety 190 LESSON 2 The Production Team 192 LESSON 3 The Stage Crew 194 LESSON 4 The Prop Crew 200 LESSON 5 The Costume Crew 203 LESSON 6 The Makeup Crew 208
11CHAPTER
10CHAPTER
3
xiv
LESSON 7 The Sound Crew 213 LESSON 8 The Light Crew 215 LESSON 9 The Publicity Crew 220 LESSON 10 The House Crew 221
Curtain Call! 224
Theatre Appreciation 225 LESSON 1 Theatre Conventions 226 LESSON 2 Audience Etiquette 230 LESSON 3 Comparing Theatre with Other Media 234 LESSON 4 Evaluating Theatre and Other Media 238
Curtain Call! 245
Your Future in Theatre 246 LESSON 1 The Next Step 247 LESSON 2 Playwrights and Actors 249 LESSON 3 Producers and Directors 254 LESSON 4 Designers 256 LESSON 5 Other Careers 261
Curtain Call! 265
Special Topics in Theatre 266
Mime, Pantomime, and Clowning 268 LESSON 1 Mime and Pantomime 269 LESSON 2 Clowning 279
Curtain Call! 285
14CHAPTER
4
13CHAPTER
12CHAPTER
xv
Interpreting Literature 286 LESSON 1 Selecting and Preparing the Material 288 LESSON 2 Developing and Presenting the Selection 293 LESSON 3 Evaluating the Selection 297
Curtain Call! 314
Storytelling 315 LESSON 1 Storytelling Techniques 317 LESSON 2 Finding Stories to Tell 319 LESSON 3 Preparing to Tell a Story from a Text 323
Curtain Call! 328
LESSON 1 Readers Theatre 331 LESSON 2 Radio Theatre 338
Curtain Call! 344
Puppetry, Shadow Play, and Masks 345
LESSON 1 Making a Puppet 347 LESSON 2 Bringing a Puppet to Life 352 LESSON 3 Writing a Puppet Show 357 LESSON 4 Producing a Puppet Show 359 LESSON 5 Shadow Play 366 LESSON 6 Masks 370
Curtain Call! 373
18CHAPTER
17CHAPTER
16CHAPTER
15CHAPTER
xvi
1
Our Theatre Heritage features in each chapter are interesting summaries of major theatrical developments throughout history. You can find them on the following pages:
The Beginning of Theatre 13 Greek Theatre 35 Roman Theatre 44 Theatre of the Middle Ages 58 Eastern Theatre Traditions 72 The Italian Renaissance 88 Commedia dell’arte 116 The Elizabethan Age 126 Shakespeare 142 The English Restoration: Theatre Returns from Exile 180 Theatre in the 19th Century 206 Modern Theatre and Realism 231 Naturalism 239 Stanislavski and The Moscow Art Theatre 253 Early Theatre in the United States 262 Musical Theatre 276 Symbolism 281 Theatre of the Absurd 295 The Off-Broadway Movement 313 Hispanic-American Theatre: El Teatro Campesino 319 The American Regional Theatre 322 Bertolt Brecht (1898–1956) 336 African American Theatre 340 Contemporary Theatre: A World and a Theatre of Change 354 Puppetry and Masks 364
2
CHAPTER 1 Welcome to Theatre! 4
CHAPTER 2 You and Theatre 28
CHAPTER 3 Developing Your Personal Resources 50
CHAPTER 4 Creative Drama 66
3
acting actor characters dialogue drama dramatic structure filmed play
player-audience relationship
playwright ritual script stage directions theatre theatre arts
elcome to theatre—one of the most exciting classes you will ever take. Why is theatre so exciting? Because it’s entertaining, obviously, but also because it is based on human experience. In a sense, theatre is a class about life. As Roy Scheider, the actor, once said, “Theatre doesn’t exist because it’s entertainment. It exists because it’s a part of the ener- gy of living, of humankind.”
In some ways you might think of this class as preparation for living your life to the fullest. This class will provide opportunities for you to get to know yourself, to involve yourself with others, to take safe risks, and to actively participate in activities and projects—all of which will help you respond to the world around you with increased energy and sensitivity. You should begin this class with the eager anticipation of an explorer about to embark on a new adventure.
Getting to Know You LESSON OBJECTIVES
Meet the other members of the class. Develop a feeling of acceptance. Communicate with people your own age.
Seeing old friends and making new friends are important parts of the education process. Today you probably arrived at school hoping that some of your friends would be here waiting for you. That’s a feel- ing that everyone knows; everyone likes to connect with someone fa- miliar. For that very reason, one of the first things you will do in this class is become better acquainted with your classmates.
Getting to know the people you will be working with can help you feel included. Psychologists tell us that feeling included is one of our most important social needs. We need this sense of belonging in order to work, play, and contribute effectively to society.
In theatre, special “getting-to-know-you” activities help students and teachers learn each other’s names and get to know each other in an enjoyable way. These activities will help your class learn to work as a group and will also help you respond to your teacher as the leader. These activities also help you learn to listen and pay attention. These two skills are important both in theatre and everyday life.
In our society, our names are an important part of our identities. One of the nicest sounds in the world is to hear someone call us by name in a pleasant way. It is meaningful to each of us that we be called by name rather than referred to as “her,” “him,” “the red-haired girl,” or “that tall boy.” Think of how good it makes you feel when someone you hardly know calls you by your given name. This courtesy is espe- cially important in theatre class, since you and your classmates will be working together throughout the course.
CHAPTER 1: Welcome to Theatre! 5
W
T he only way to have a friend is to be one.
Ralph Waldo Emerson
1 A t your teacher’s signal,
introduce yourself to the students seated around you. Even if you already know each other, go through the introduction process to encourage participation. Speak your name clearly, and listen carefully when others tell you their names.
In this lesson, you will learn the names of your classmates through fun, non- threatening games. Complete one or more of the following activities.
1. Circle of Friends. This is a game about meeting people. Make two cir- cles, an outer circle and an inner circle, with participants facing each other. When your teacher gives you the signal or begins to play music, the inner circle will move with small steps to the right, and the outer cir- cle will move to the left.
When the music stops or when the teacher calls “Make a friend,” stop moving and introduce yourself to the person you are facing. Use the name you wish to be called. For example, if your name is Mary Ann Jones and you wish to be called Ann, introduce yourself as Ann.
Continue for several rounds. Try to connect each person’s name with his or her face. After the game, decide how many new names you have learned.
2. A-to-Z Name Game. This game helps you recognize the names of others by putting them in alphabetical order. At your teacher’s signal, arrange yourselves in a circle or line from A to Z, using first names or the names you want to be called. Students having the same first names can use second names or birth dates to determine their rank order. When your teacher asks for a roll call, step forward and call out your name in a clear voice. Listen carefully to the names of all the other students.
3. Right/Left. The purpose of this game is to think quickly and correctly call out the name of the person to your right or left. Begin this game by standing in a circle. The game is easier if you are still in first-name al- phabetical order.
6 Unit 1: Getting Started in Theatre
Your theatre experiences will help you and your classmates learn to work together as a group and respond to each other in positive ways.
The leader stands in the center of the circle and points to someone, calling “right 1 2 3 4 5” or “left 1 2 3 4 5.” Before the count is completed, the person to whom the leader is pointing must correctly call out the name of the person specified. The first person who hesitates to call out a name, forgets a name, or calls out the wrong name automatically be- comes the next leader.
If, after several calls, the leader hasn’t been replaced, the teacher can call “Switch places,” and everyone, including the leader, must find a different place in the circle. The person who is left out of the circle be- comes the new leader.
An Introduction to Theatre LESSON OBJECTIVES
Recognize a scene written in script format. Understand the player-audience relationship. Recognize the contribution of theatre to your life.
D ,…
Nancy Prince Jeanie Jackson
Copyright © 2005 by The McGraw-Hill Companies, Inc. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or means, or stored in a database or retrieval system, without the prior written permission of the publisher.
Send all inquiries to: Glencoe/McGraw-Hill 8787 Orion Place Columbus, Ohio 43240
Student Edition: ISBN 0–07–861614–X Teacher’s Annotated Edition: ISBN 0–07–861615–8
PRINTED IN THE UNITED STATES OF AMERICA
1 2 3 4 5 6 7 8 9 10 058/111 09 08 07 06 05 04
v
Nancy Prince ancy Prince, with a bachelor of arts degree in drama, speech, and English from Hendrix College in Conway, Arkansas, has over thirty years of teaching experience, rang- ing from early childhood to high school. She currently
teaches theatre arts in the Nacogdoches Independent School District in Nacogdoches, Texas.
She serves as a discipline-based theatre education facilitator at the Southeast Institute for Education in Theatre, Chattanooga, Tennessee. Her program “Puppets Add Pizazz” has been featured as part of the teacher training programs at the John F. Kennedy Center for the Performing Arts in Washington, D.C.
Presently she serves as a mentor teacher for the Stephen F. Austin University Center for Professional Development and Technology in Nacogdoches, Texas, training interns and student teachers in her class- room. As a professional public speaker, puppeteer, and motivator, Mrs. Prince has traveled and given presentations throughout the nation.
In 1988, for her role in the education of youth and adults, Mrs. Prince received the Texas Educational Theatre Association Secondary School Educator of the Year Award.
Jeanie Jackson eanie Jackson, with a bachelor of science degree from East Texas State University and a master of education degree from Stephen F. Austin University, is certified to teach sec- ondary education in theatre, speech, English, and Spanish,
as well as kindergarten through eighth grade. Jeanie has taught for twenty-eight years, ten of which were spent as Fine Arts Department Middle School Chair in the Lake Travis I.S.D., Austin, Texas. She is presently the Creative Drama Specialist in the Harleton Independent School District, Harleton, Texas.
Mrs. Jackson is a member of numerous associations, including the Association of Texas Professional Educators, Texas Educational Theatre Association (TETA), and the Creative Drama Network. She has taught numerous drama and speech workshops throughout Texas, including TETA summer workshops, TETA conventions, and The Texas Elementary Principals and Supervisors Association State Convention. She has also given presentations at numerous national conferences such as the Educational Theatre Association National Convention in Chicago. She has served as the summer drama clinician for the Tennessee Arts Academy, Nashville, Tennessee.
vi
To George, my friend, husband, and number one encourager; To Mother and Dad, who guided me with unconditional love; To “Sister,” my computer specialist, and Steve, who taught me to
follow my dreams; and To my colleagues and friends who provided ideas and support.
Jeanie Jackson
To my mother and late father, Vera and Frank Olive, who first instilled in me the joy of hard work and the satisfaction of a job well done.
To my family—my husband Phil, my daughters Kelly and Marty, and my sister Debbye—who lovingly supported this work in countless ways;
To my friend and mentor, Kim Wheetley, who has provided unlimited opportunities for me; and
To my friend and colleague, Lou-Ida Marsh, who taught me much about theatre and life.
Nancy Prince
Dear Student,
ou are about to begin a journey into a magical world—the world of theatre! This book, Exploring Theatre, will be your guidebook—and your theatre arts teacher will be your guide—as you investigate the exciting aspects of this fasci-
nating world. As you explore, you will learn not only about theatre but also about yourself. You may find that within you there are hidden talents and creative ideas waiting to burst forth.
In Exploring Theatre, the authors share what they and their network of friends in the theatre community have discovered while teaching and working in theatre. Although the book is about theatre, its focus is on your development as a total student, not just as a theatre student.
Information in Exploring Theatre is organized into four units: Getting Started in Theatre, Building Your Acting Skills, Producing and Appre- ciating Plays, and Special Topics in Theatre. Through the lessons in these units, you will learn to become more aware of your senses, observe people and places more closely, and move expressively. You will also learn to use your talents, reinforce your self-confidence, and improve your ability to work with others.
To prepare for the stage, you will be introduced to basic acting skills such as improvisation, characterization, role preparation, and stage movement. You will be guided through the production process, from selecting a play and its cast to working creatively and safely behind the scenes.
You will learn the specialized vocabulary of the theatre, theatre traditions, audience etiquette, and performance evaluation criteria. You will explore career opportunities in theatre and theatre educa- tion, from playwright to drama teacher. You will read about the history of theatre, from its Ice Age beginnings 30,000 years ago to the changing theatre of today. You will try your hand at special skills such as story- telling, clowning, oral interpretation, readers theatre, and puppetry.
The short lessons in Exploring Theatre are full of interesting informa- tion, skill-building exercises, cooperative activities, and thought- provoking quotes from famous theatre people. More than three hundred full-color photographs and drawings illustrate the concepts presented in the text. As you look through the pages, you will probably find many photographs of subjects that you recognize.
Be sure to look over The Playbook. This special section at the end of the text contains more than thirty excerpts from famous plays. You can use them to practice your skills. There are passages for both male and female monologues; scenes for two females, two males, one female and one male, and various groups; and selections for readers theatre.
Y
viii
Exploring Theatre will give you a solid start in studying theatre arts— a start that the authors hope will encourage you to take more theatre courses. They hope that you will continue to participate in and appre- ciate the magic world of theatre all of your life. But even if you never enter a theatre again, the authors believe that once you have used Exploring Theatre, you will be more assertive and more confident in your daily life, more aware of your surroundings, more expressive in your communications, and more cooperative in your dealings with others.
Sincerely,
ix
he authors would like to thank Lynn Murray, Kim Wheetley, and Krin Brooks Perry, without whom they might not have had the opportunity to write Exploring Theatre; the many members of the Texas Educational Theatre Association
(TETA) who have provided innumerable ideas and suggestions over the years; Judy Matetzschk for the time, effort, and knowledge that she invested in Our Theatre Heritage; Lynda Belt, Rebecca Stockley, and Charles Pascoe for their theatre games ideas; Bob Cassel, Lynda Kessler, Carole Balach, Chrisztina Kowalski, Lee Anne Storey, John Orr, and all the people at West Educational Publishing Company who pro- duced such a beautiful book; and the people at Federal Express who helped us meet the strictest deadlines.
Nancy Prince would also like to thank the 1995 and 1996 TAPS classes, Sandi Elsik, Jean Ferraro, Jennifer Franklin, Gigi Bollinger, and Melissa Bahs.
Jeanie Jackson would also like to thank George Edna Hooten Wallace, Marilyn Swinton, Becky Chenevert, and Becky Kasling.
The authors would also like to thank the following theatre arts teachers for their valuable comments and suggestions during the development of the Exploring Theatre manuscript.
T
Acknowledgments
Mary Bowles Fort Worth I.S.D. Fort Worth, Texas
Diane M. Brewer Eanes I.S.D. Austin, Texas
Beverly Burnside North East I.S.D. San Antonio, Texas
Ann Crofton Carrollton/Farmers I.S.D. Carrollton, Texas
Marla Crowe Klein I.S.D. Spring, Texas
Jean Danna Cypress Fairbanks I.S.D. Houston, Texas
Vicki Dickerson Aldine I.S.D. Houston, Texas
Sandra S. Fitzhugh Ysleta I.S.D. El Paso, Texas
Darla Howard Northside I.S.D. San Antonio, Texas
Professor Judith Kase-Polisini University of South Florida Tampa, Florida
Peter D. Kinser Alvin I.S.D. Alvin, Texas
Donna Lampman Northside I.S.D. San Antonio, Texas
Judy Matetzschk Zachary Scott Theatre Center Project InterAct Austin, Texas
Carol Mize Austin I.S.D. Austin, Texas
Sheila Rinear North East I.S.D. San Antonio, Texas
Mike Storey Corpus Christi I.S.D. Corpus Christi, Texas
Paulette Van Atta Plano I.S.D. Plano, Texas
Cynthia Winters Austin I.S.D. Austin, Texas
Reviewers
Exploring Theatre Time Line 20
You and Theatre 28 Developing Your Personal Resources 50 Creative Drama 66
Building Your Acting Skills 80 Developing Your Voice 82 Improvisation 107 Characterization 121 The Play and Your Part 136 Taking the Stage 149
Producing and Appreciating Plays 168 The Production Process 170 Behind the Scenes 189 Theatre Appreciation 225 Your Future in Theatre 246
Special Topics in Theatre 266 Mime, Pantomime, and Clowning 268 Interpreting Literature 286 Storytelling 315 Readers Theatre and Radio Theatre 329 Puppetry, Shadow Play, and Masks 34518CHAPTER
17CHAPTER 16CHAPTER 15CHAPTER 14CHAPTER
3 9CHAPTER 8CHAPTER 7CHAPTER 6CHAPTER 5CHAPTER
2 4CHAPTER 3CHAPTER 2CHAPTER
Getting Started in Theatre 2
Welcome to Theatre! 4 LESSON 1 Getting to Know You 5 LESSON 2 An Introduction to Theatre 7
Curtain Call! 19
Exploring Theatre Time Line 20
You and Theatre 28 LESSON 1 Believing in Yourself 29 LESSON 2 Working with a Group 34 LESSON 3 Artistic Discipline 42 LESSON 4 Evaluation 45
Curtain Call! 49
Developing Your Personal Resources 50
LESSON 1 Imagination 53 LESSON 2 Concentration 54 LESSON 3 Observation 56 LESSON 4 Sensory Awareness 59 LESSON 5 Movement 60
Curtain Call! 65
3CHAPTER
2CHAPTER
1CHAPTER
1
xi
Contents
Creative Drama 66 LESSON 1 What Is Creative Drama? 67 LESSON 2 Narrative Pantomime 70 LESSON 3 Story Dramatization 75
Curtain Call! 79
Building Your Acting Skills 80
Developing Your Voice 82 LESSON 1 Relaxation and Breathing 83 LESSON 2 Quality, Pitch, and Flexibility 90 LESSON 3 Articulation and Pronunciation 93 LESSON 4 Volume and Rate 98 LESSON 5 Projection 101
Curtain Call! 106
Improvisation 107 LESSON 1 Improvisation 108 LESSON 2 Role-Playing 117 LESSON 3 Point of View 118
Curtain Call! 120
Characterization 121 LESSON 1 Stock Characters and
Stereotypical Characters 122 LESSON 2 Creating Original Characters 124 LESSON 3 Writing Original Monologues 131
Curtain Call! 135
7CHAPTER
6CHAPTER
5CHAPTER
2
4CHAPTER
xii
The Play and Your Part 136 LESSON 1 The Structure of Plays 137 LESSON 2 Preparing Your Part 141
Curtain Call! 148
Taking the Stage 149 LESSON 1 Types of Stages 150 LESSON 2 Stage Terminology 154 LESSON 3 Acting Technique 157
Curtain Call! 167
Producing and Appreciating Plays 168
The Production Process 170 LESSON 1 Selecting the Play 171 LESSON 2 Selecting the Cast 174 LESSON 3 The Rehearsal Process 177 LESSON 4 The Performance 184
Curtain Call! 188
Behind the Scenes 189 LESSON 1 Theatre Safety 190 LESSON 2 The Production Team 192 LESSON 3 The Stage Crew 194 LESSON 4 The Prop Crew 200 LESSON 5 The Costume Crew 203 LESSON 6 The Makeup Crew 208
11CHAPTER
10CHAPTER
3
xiv
LESSON 7 The Sound Crew 213 LESSON 8 The Light Crew 215 LESSON 9 The Publicity Crew 220 LESSON 10 The House Crew 221
Curtain Call! 224
Theatre Appreciation 225 LESSON 1 Theatre Conventions 226 LESSON 2 Audience Etiquette 230 LESSON 3 Comparing Theatre with Other Media 234 LESSON 4 Evaluating Theatre and Other Media 238
Curtain Call! 245
Your Future in Theatre 246 LESSON 1 The Next Step 247 LESSON 2 Playwrights and Actors 249 LESSON 3 Producers and Directors 254 LESSON 4 Designers 256 LESSON 5 Other Careers 261
Curtain Call! 265
Special Topics in Theatre 266
Mime, Pantomime, and Clowning 268 LESSON 1 Mime and Pantomime 269 LESSON 2 Clowning 279
Curtain Call! 285
14CHAPTER
4
13CHAPTER
12CHAPTER
xv
Interpreting Literature 286 LESSON 1 Selecting and Preparing the Material 288 LESSON 2 Developing and Presenting the Selection 293 LESSON 3 Evaluating the Selection 297
Curtain Call! 314
Storytelling 315 LESSON 1 Storytelling Techniques 317 LESSON 2 Finding Stories to Tell 319 LESSON 3 Preparing to Tell a Story from a Text 323
Curtain Call! 328
LESSON 1 Readers Theatre 331 LESSON 2 Radio Theatre 338
Curtain Call! 344
Puppetry, Shadow Play, and Masks 345
LESSON 1 Making a Puppet 347 LESSON 2 Bringing a Puppet to Life 352 LESSON 3 Writing a Puppet Show 357 LESSON 4 Producing a Puppet Show 359 LESSON 5 Shadow Play 366 LESSON 6 Masks 370
Curtain Call! 373
18CHAPTER
17CHAPTER
16CHAPTER
15CHAPTER
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Our Theatre Heritage features in each chapter are interesting summaries of major theatrical developments throughout history. You can find them on the following pages:
The Beginning of Theatre 13 Greek Theatre 35 Roman Theatre 44 Theatre of the Middle Ages 58 Eastern Theatre Traditions 72 The Italian Renaissance 88 Commedia dell’arte 116 The Elizabethan Age 126 Shakespeare 142 The English Restoration: Theatre Returns from Exile 180 Theatre in the 19th Century 206 Modern Theatre and Realism 231 Naturalism 239 Stanislavski and The Moscow Art Theatre 253 Early Theatre in the United States 262 Musical Theatre 276 Symbolism 281 Theatre of the Absurd 295 The Off-Broadway Movement 313 Hispanic-American Theatre: El Teatro Campesino 319 The American Regional Theatre 322 Bertolt Brecht (1898–1956) 336 African American Theatre 340 Contemporary Theatre: A World and a Theatre of Change 354 Puppetry and Masks 364
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CHAPTER 1 Welcome to Theatre! 4
CHAPTER 2 You and Theatre 28
CHAPTER 3 Developing Your Personal Resources 50
CHAPTER 4 Creative Drama 66
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acting actor characters dialogue drama dramatic structure filmed play
player-audience relationship
playwright ritual script stage directions theatre theatre arts
elcome to theatre—one of the most exciting classes you will ever take. Why is theatre so exciting? Because it’s entertaining, obviously, but also because it is based on human experience. In a sense, theatre is a class about life. As Roy Scheider, the actor, once said, “Theatre doesn’t exist because it’s entertainment. It exists because it’s a part of the ener- gy of living, of humankind.”
In some ways you might think of this class as preparation for living your life to the fullest. This class will provide opportunities for you to get to know yourself, to involve yourself with others, to take safe risks, and to actively participate in activities and projects—all of which will help you respond to the world around you with increased energy and sensitivity. You should begin this class with the eager anticipation of an explorer about to embark on a new adventure.
Getting to Know You LESSON OBJECTIVES
Meet the other members of the class. Develop a feeling of acceptance. Communicate with people your own age.
Seeing old friends and making new friends are important parts of the education process. Today you probably arrived at school hoping that some of your friends would be here waiting for you. That’s a feel- ing that everyone knows; everyone likes to connect with someone fa- miliar. For that very reason, one of the first things you will do in this class is become better acquainted with your classmates.
Getting to know the people you will be working with can help you feel included. Psychologists tell us that feeling included is one of our most important social needs. We need this sense of belonging in order to work, play, and contribute effectively to society.
In theatre, special “getting-to-know-you” activities help students and teachers learn each other’s names and get to know each other in an enjoyable way. These activities will help your class learn to work as a group and will also help you respond to your teacher as the leader. These activities also help you learn to listen and pay attention. These two skills are important both in theatre and everyday life.
In our society, our names are an important part of our identities. One of the nicest sounds in the world is to hear someone call us by name in a pleasant way. It is meaningful to each of us that we be called by name rather than referred to as “her,” “him,” “the red-haired girl,” or “that tall boy.” Think of how good it makes you feel when someone you hardly know calls you by your given name. This courtesy is espe- cially important in theatre class, since you and your classmates will be working together throughout the course.
CHAPTER 1: Welcome to Theatre! 5
W
T he only way to have a friend is to be one.
Ralph Waldo Emerson
1 A t your teacher’s signal,
introduce yourself to the students seated around you. Even if you already know each other, go through the introduction process to encourage participation. Speak your name clearly, and listen carefully when others tell you their names.
In this lesson, you will learn the names of your classmates through fun, non- threatening games. Complete one or more of the following activities.
1. Circle of Friends. This is a game about meeting people. Make two cir- cles, an outer circle and an inner circle, with participants facing each other. When your teacher gives you the signal or begins to play music, the inner circle will move with small steps to the right, and the outer cir- cle will move to the left.
When the music stops or when the teacher calls “Make a friend,” stop moving and introduce yourself to the person you are facing. Use the name you wish to be called. For example, if your name is Mary Ann Jones and you wish to be called Ann, introduce yourself as Ann.
Continue for several rounds. Try to connect each person’s name with his or her face. After the game, decide how many new names you have learned.
2. A-to-Z Name Game. This game helps you recognize the names of others by putting them in alphabetical order. At your teacher’s signal, arrange yourselves in a circle or line from A to Z, using first names or the names you want to be called. Students having the same first names can use second names or birth dates to determine their rank order. When your teacher asks for a roll call, step forward and call out your name in a clear voice. Listen carefully to the names of all the other students.
3. Right/Left. The purpose of this game is to think quickly and correctly call out the name of the person to your right or left. Begin this game by standing in a circle. The game is easier if you are still in first-name al- phabetical order.
6 Unit 1: Getting Started in Theatre
Your theatre experiences will help you and your classmates learn to work together as a group and respond to each other in positive ways.
The leader stands in the center of the circle and points to someone, calling “right 1 2 3 4 5” or “left 1 2 3 4 5.” Before the count is completed, the person to whom the leader is pointing must correctly call out the name of the person specified. The first person who hesitates to call out a name, forgets a name, or calls out the wrong name automatically be- comes the next leader.
If, after several calls, the leader hasn’t been replaced, the teacher can call “Switch places,” and everyone, including the leader, must find a different place in the circle. The person who is left out of the circle be- comes the new leader.
An Introduction to Theatre LESSON OBJECTIVES
Recognize a scene written in script format. Understand the player-audience relationship. Recognize the contribution of theatre to your life.
D ,…
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