Portfolio Assessments developed by Margot Herman (GGH),

Charles Kolmann (PRH), and Chris Johnston (BCH)

August, 2007

DRAMA
Contrasting Monologues Unit and Rubric
Individual Performance and Rubric
Duet Scene Unit and Rubric
Solo Mime Unit and Rubric
Solo Musical Theatre Unit and Rubric
Scenic Design Unit and Rubric

COLLIER COUNTY SCHOOLS

PERFORMANCE-BASED
PORTFOLIO ASSESSMENT

Course Descriptions
Drama I 0400310
The purpose of this course is to introduce students to fundamental skills in the multiple elements of theatre
as a collaborative art and to provide a broad overview of the study and practice of dramatic arts. The
content will include background information on acting, blocking, voice, mime, theatre terminology, script
elements, theatre history, technical theatre including set design, lighting costuming and make-up, roles and
careers in theatre and audience etiquette.
The content should include, but not be limited to, the following:
-acting and characterization
-movement and vocal production
-pantomime and improvisation
-theatre terminology
-script elements
-theatre history and influences
-technical theatre
-playwriting
-theatre production
-artistic discipline
-audience etiquette
-roles and careers in theatre arts
-relationships between theatre arts and other subject areas
Drama II 0400320, Drama III 0400330, and Drama IV 0400340
The purpose of this course is to enable students to develop intermediate-level skills in the multiple elements
of theatre as a collaborative art and to further the studies started in Drama I and to provide a broad
overview of the study and practice of the dramatic arts. The content will include acting, blocking, voice,
mime, theatre terminology, script elements, theatre history, technical theatre including set design, lighting,
costuming and directing, the role of the director, theatre production, artistic discipline, roles and careers in
theatre and/or entertainment, relationship to other subject areas, resume and portfolio creation.
The content should include, but not be limited to, the following:
-acting and characterization
-movement and vocal production
-pantomime and improvisation
-theatre terminology
-script selection and evaluation
-theatre history and influences
-technical theatre and design
-playwriting
-role of the director
-theatre production
-artistic discipline
-audience etiquette
-roles and careers in theatre arts
-relationships between theatre arts and other subject areas
-rsum and portfolio creation

All Performances:
An introduction MUST include ONLY the entrant's student number, course title
(i.e.: Drama 1 or 2) and name of the pieces being performed.

Acting Performances
(Contrasting Monologues, Individual Performance, Duet Scene)
Students will be evaluated on their preparation, ability to be creative, and their willingness to
courageously explore characters through the use of physical and vocal choices.
The use of costumes and props should be limited to essential items only.
This should be performed just as if you were doing an audition for a role in community theatre,
a college scholarship audition OR for entrance into a BFA program or a performing arts
school.
Well in advance of the audition, you should select and prepare your audition material (monologue,
contrasting monologues, and scene). When selecting and preparing audition material please keep
the following in mind:
After selection of the scene or monologue, the students should familiarize
themselves with the entire play
Rehearse! Rehearse! Rehearse!
We are looking for bold, creative and honest choices that are supported by the text.
Read the rubric.
Some helpful Websites for ALL RUBRICS:
http://www.playdatabase.com/
http://redbirdstudio.com/AWOL/monologbooks.html
http://www.supermonologues.com/
http://www.shakespeare-monologues.org/
http://www.geocities.com/akatsavou/monologue_en.html
http://www.teach-nology.com/teachers/lesson_plans/arts/drama/
http://www.lessonplans4teachers.com/drama.php

Role analysis in 7 steps

(Contrasting Monologue, Individual Performance, Duet Scene)
1. Read the play for the first time.
2. Do some basic reading and research on the playwright and on the era in which the play was
originally written and produced.
3. Read the play for the second time and focus on your role.
4. Analyze the structure and the content of the play.
5. The 3 W. ask yourself and answer these questions about your role:
Who am I?
Where am I?
What do I want?
6. Visualize your character's physical appearance.
7. Fill in all character activity not provided in the text. (Where does he go when he exits?
What he was doing before entering the stage?)
2

Blocking:
(Contrasting Monologue, Individual Performance, Duet Scene)
When you first start blocking a scene can be
one of the hardest - and most embarrassing - parts of your job.
First do your homework on Script and Character Analysis. Then, get together and read\the scene:
no moving, no "acting" - just reading the scene through. This makes sure everyone is on the "same
page" with Character & Interpretation.
After the actors read the scene, go for it. Take a few moments to discuss the physical lay out of the
room - the door an actor will come through; a window they can walk up to; which desk they can sit
at etc. The actors then begin their first walk through - they read the scene and walk around the set
to get a feel of what they want to do and where they want to be. During this initial blocking, try not
to make any suggestions - it is important to see what everybody has in mind. You need time to
explore. You get a feel for what you want to do, where you want to go and how you are relating
to each other.
On the next blocking meeting, you begin to make your changes. Maybe you want to sit in a chair
by the window instead of on the couch; you make a suggestion to move across the room instead of
standing by the door etc. Once you have discussed the scene, and everyone agrees with the
suggestions, the actors do it again.

Monologues:
(Individual Performance or Contrasting)
For the purposes of acting, a monolog (or monologue) is a performance in which one actor speaks
alone. The performance can last for less than a minute or go as long as several hours (as when one
does a one person play.)
For auditions, a monolog is usually one to three minutes in length. FOR THE PURPOSES OF
THIS EXAM, THE MONOLGUES WILL BE THREE TO FIVE MINUTES IN LENGTH.
Advance students may be performing two "contrasting" monologs. For example:
A comedic monolog & A tragic monolog
A monolog with lots of energy, movement and a highly animated character &
a monolog with low energy, not much movement and a lifeless character.
You might also be requested to present a contemporary monolog (one from the mid to late
20th century) and a classical monolog (ancient Greek up to the early 20th century.)
When preparing to rehearse a monolog, it is best to read the play from which the monolog comes.
This will help you better understand your character, the circumstances that lead up to the point in
the play when the monolog occurs and the relationship(s) between the monolog's character and the
other character(s) in the play to whom the actor might be speaking or speaking about.

Questions to help with Character Development:

(Individual, Contrasting, Duet)
Part 1: The Basics
1. What is your full name?
2. Where and when were you born?
3. Who are/were your parents? (Know their names, occupations, personalities, etc.)
4. Do you have any siblings? What are/were they like?
5. Where do you live now, and with whom? Describe the place and the person/people.
6. What is your occupation?
7. Write a full physical description of yourself. You might want to consider factors such as: height, weight, race,
hair and eye color, style of dress, and any tattoos, scars, or distinguishing marks.
8. To which social class do you belong?
9. Do you have any allergies, diseases, or other physical weaknesses?
10. Are you right- or left-handed?
11. What does your voice sound like?
12. What words and/or phrases do you use very frequently?
13. What do you have in your pockets?
14. Do you have any quirks, strange mannerisms, annoying habits, or other defining characteristics?
Part 2: Growing Up
15. How would you describe your childhood in general?
16. What is your earliest memory?
17. How much schooling have you had?
18. Did you enjoy school?
19. Where did you learn most of your skills and other abilities?
20. While growing up, did you have any role models? If so, describe them.
21. While growing up, how did you get along with the other members of your family?
22. As a child, what did you want to be when you grew up?
23. As a child, what were your favorite activities?
24. As a child, what kinds of personality traits did you display?
25. As a child, were you popular? Who were your friends, and what were they like?
26. When and with whom was your first kiss?
27. Are you a virgin? If not, when and with whom did you lose your virginity?
28. If you are a supernatural being (i.e. mage, werewolf, vampire), tell the story of how you became what you are or
first learned of your own abilities. If you are just a normal human, describe any influences in your past that led you to
do the things you do today.
Part 3: Past Influences
29. What do you consider the most important event of your life so far?
30. Who has had the most influence on you?
31. What do you consider your greatest achievement?
32. What is your greatest regret?
33. What is the most evil thing you have ever done?
34. Do you have a criminal record of any kind?
35. When was the time you were the most frightened?
36. What is the most embarrassing thing ever to happen to you?
37. If you could change one thing from your past, what would it be, and why?
38. What is your best memory?
39. What is your worst memory?
Part 4: Beliefs and Opinions
40. Are you basically optimistic or pessimistic?
41. What is your greatest fear?

42. What are your religious views?

43. What are your political views?
44. What are your views on sex?
45. Are you able to kill? Under what circumstances do you find killing to be acceptable or unacceptable?
46. In your opinion, what is the most evil thing any human being could do?
47. Do you believe in the existence of soul mates and/or true love?
48. What do you believe makes a successful life?
49. How honest are you about your thoughts and feelings (i.e. do you hide your true self from others, and in what
way)?
50. Do you have any biases or prejudices?
51. Is there anything you absolutely refuse to do under any circumstances? Why do you refuse to do it?
52. Who or what, if anything, would you die for (or otherwise go to extremes for)?
Part 5: Relationships with Others
53. In general, how do you treat others (politely, rudely, by keeping them at a distance, etc.)? Does your treatment of
them change depending on how well you know them, and if so, how?
54. Who is the most important person in your life, and why?
55. Who is the person you respect the most, and why?
56. Who are your friends? Do you have a best friend? Describe these people.
57. Do you have a spouse or significant other? If so, describe this person.
58. Have you ever been in love? If so, describe what happened.
59. What do you look for in a potential lover?
60. How close are you to your family?
61. Have you started your own family? If so, describe them. If not, do you want to? Why or why not?
62. Who would you turn to if you were in desperate need of help?
63. Do you trust anyone to protect you? Who, and why?
64. If you died or went missing, who would miss you?
65. Who is the person you despise the most, and why?
66. Do you tend to argue with people, or avoid conflict?
67. Do you tend to take on leadership roles in social situations?
68. Do you like interacting with large groups of people? Why or why not?
69. Do you care what others think of you?
Part 6: Likes and Dislikes
70. What is/are your favorite hobbies and pastimes?
71. What is your most treasured possession?
72. What is your favorite color?
73. What is your favorite food?
74. What, if anything, do you like to read?
75. What is your idea of good entertainment (consider music, movies, art, etc.)?
76. Do you smoke, drink, or use drugs? If so, why? Do you want to quit?
77. How do you spend a typical Saturday night?
78. What makes you laugh?
79. What, if anything, shocks or offends you?
80. What would you do if you had insomnia and had to find something to do to amuse yourself?
81. How do you deal with stress?
82. Are you spontaneous, or do you always need to have a plan?
83. What are your pet peeves?
Part 7: Self Images and Etc.
84. Describe the routine of a normal day for you. How do you feel when this routine is disrupted?
85. What is your greatest strength as a person?
86. What is your greatest weakness?
87. If you could change one thing about yourself, what would it be?
88. Are you generally introverted or extroverted?
89. Are you generally organized or messy?
90. Name three things you consider yourself to be very good at, and three things you consider yourself to be very bad
at.

91. Do you like yourself?

92. What are your reasons for being an adventurer (or doing the strange and heroic things that RPG characters do)?
Are your real reasons for doing this different than the ones you tell people in public? (If so, detail both sets of
reasons...)
93. What goal do you most want to accomplish in your lifetime?
94. Where do you see yourself in 5 years?
95. If you could choose, how would you want to die?
96. If you knew you were going to die in 24 hours, name three things you would do in the time you had left.
97. What is the one thing for which you would most like to be remembered after your death?
98. What three words best describe your personality?
99. What three words would others probably use to describe you?
If you could, what advice would you, the player, give to your character? (You might even want to speak as if he or she
were sitting right here in front of you, and use proper tone so he or she might heed your advice...)

SEE RUBRICS FOR Contrasting Monologues, Individual Performance & Duet Scene

Contrasting Monologues Rubric

Fully Developed
Excellent
Performance
6

Blocking/
Movement/ Body
Language

Voice/ Diction
(vocal quality,
pitch, pace,
enunciation and
pronunciation)

Characterization/
Believability

Emotional
Commitment/
Energy

Memorization/
Concentration

Skillful
Performance
5

Developed
Pleasing
Performance
4

Developing
Adequate
Performance
3

Inadequate
Performance
2

Movement is very
Movement accents the There is movement, and There is movement, and Movement is awkward,
innovative, accentuates lines, adds to the depth it accents the lines being it accents the lines being
not well-thought out.
the lines, adds greatly to of the character, and is read. Still a bit awkward
read. Movement is
Does not create an
the depth of the
interesting to the
at times/fidgety/lacking inconsistent with scene or interesting picture. Body
character, and supports
audience. Creates
movement in parts.
character; or several
language is often about
plot. Creates wellPictures created are
times movement is
how the actor moves &
interesting pictures. Body
balanced poignant
Language is clear &
most often interesting. lacking. Body language
not really about the
pictures. Body Language conveys the different
Body Language reflects
conveys some
character or each
for each character is
characters created.
different characters.
differences
character is not distinct.
clear & decisive and
conveys character clearly
Voice shows excellent Voice shows expression,
Monotone .Unclear at
Superior vocal control,
Some expressive
differentiation in pace & expression, differentiation differentiation in pace moments; inconsistent in times; too quick/ too slow
in pace, inflection,
several times; too
inflection, resonance,
and inflection, and
quality& pace. Some
high/too low several
quality and very clear & resonance, quality and enunciation. Can hear a
problems with
distinct enunciation.
enunciation. Hear the
unique voice true to the
enunciation. &
times. Lacks consistency.
character's uniqueness. character. Each one can
Voice not representing
Communicates
pronunciation. While
character. Characters
character's uniqueness. Each character is distinct. be distinguished from the unique, may not always
Each character is clearly
other.
reflect character well. Not blend on into the other.
heard and has a distinct
clearly different.
difference in quality, tone,
& pacing .
Performer has
Performer had a fairly Performer did not have a
Has internalized the
Performer has a distinct
internalized to the point character and stayed in
subtext and self-talk &
distinct character, and
distinct character and
the actor is transformed that a distinct character character through almost tried to stay in character broke character several
has developed and
into the character
all of the performance.
through most of the
times. The two
stayed in character
throughout the
Each character is unique. performance. Characters
characters are
throughout the
are somewhat different.
performance. The
indistinguishable.
performance. Very
characters are each alive
and real and different one Credible. Characters are
Brilliant! Well developed Well developed with a
Good variation of with
Good emotional
Weak commitment , onewith a great variety of
variety of different
emotional levels. Very commitment with some
dimensional, very little
emotion and very realistic emotional levels and
few spots that were
variation and some
focus, very little
good realism
lacking focus
levels. A couple spots emotional variety and few
were lacking focus
levels.
The student has
Lines appear to be
achieved an "ownership
memorized, accurate,
of lines" as if they are
and flow is fluent. The
saying their own words to student has achieved an
the point you almost
"ownership of lines" as if
forget there ever was a they are saying their own
script.
words.

Lines appear to be
memorized, accurate,
and lines flow easily. A
few unneeded pauses.

Not Developed
Unsatisfactory
Performance
1
No movement or use of
physical space or so
much movement it is
impossible to watch and
distracting or annoying.
There is no difference in
the characters movement
at all.

Monotone and not

expressive; too quick/ too
slow; too high/too low.
Completely indistinct &
often unclear. Voice is
not true to character. No
differentiation of
character at all.

Performer did not have a

character or has made
choices which are not
understood. Probably
the actor reciting lines
instead of characters
being portrayed.
No emotional
commitment or energy.
Not credible.

Lines appear to be
Lines are there, but
Student does not appear
memorized, but not
student has to ask for
to have lines memorized
accurately. Flow is a bit help or look at script as a
disjointed, unneeded
prompt.
pauses, and awkward
hesitations.

Individual Performance Rubric

Fully Developed
Excellent
Performance
6

Blocking/
Movement

Voice/ Diction
(vocal quality,
pitch, pace,
enunciation and
pronunciation)

Characterization/
Believability

Emotional
Commitment/
Energy

Memorization/
Concentration

Skillful Performance
5

Developed
Pleasing
Performance
4

Movement is very
Movement accents the There is movement, and
innovative, accentuates lines, adds to the depth it accents the lines being
the lines, adds greatly to of the character, and is read. Still a bit awkward
the depth of the
interesting to the
at times/fidgety/lacking
character, and supports
audience. Creates
movement in parts.
plot. Creates wellinteresting pictures. Pictures created are most
balanced poignant
often interesting
pictures.

Developing

Not Developed

Adequate
Performance
3

Inadequate
Performance
2

Unsatisfactory
Performance
1

There is movement,
and it accents the lines
being read. Movement
is inconsistent with
scene or character; or
several times
movement is lacking.

Movement is awkward,
not well-thought out.
Does not create an
interesting picture.

No movement or use of
physical space or so
much movement it is
impossible to watch and
distracting or annoying.

Superior vocal control, Voice shows excellent Voice shows expression,

Some expressive
Monotone and not
Monotone .Unclear at
differentiation in pace &
expression,
differentiation in pace and moments; inconsistent times; too quick/ too slow expressive; too quick/ too
inflection, resonance,
differentiation in pace,
inflection, and
in quality and pace.
slow; too high/too low.
several times; too
quality and very clear & inflection, resonance, enunciation. Can hear a Some problems with
Completely indistinct &
high/too low several
distinct enunciation.
quality and enunciation. unique voice true to the
enunciation. Some times. Lacks consistency. often unclear. Voice is
Communicates
Hear the character's
character.
mispronunciation.
not true to character.
Voice not representing
character's uniqueness.
uniqueness.
While unique, may not
character.
always reflect character
well.
Has internalized the
Performer has a distinct Performer has a distinct Performer had a fairly Performer did not have a Performer did not have a
subtext and self-talk & character and stayed in character and stayed in distinct character, and
distinct character and
character or has made
the actor is transformed character throughout the character through almost
tried to stay in
broke character several
choices which are not
all of the performance. character through most
into the character
performance. Very
times.
understood.
throughout the
Credible.
of the performance.
performance.
Brilliant! Well developed
with a great variety of
emotion and very
realistic

Well developed with a

variety of different
emotional levels and
good realism

The student has

Lines appear to be
achieved an "ownership memorized, accurate,
of lines" as if they are
and flow is fluent. The
saying their own words to student has achieved an
the point you almost "ownership of lines" as if
forget there ever was a
they are saying their
script.
own words.

Good variation of with

emotional levels. Very
few spots that were
lacking focus

Good emotional
Weak commitment , oneNo emotional
commitment with some dimensional, very little
commitment or energy.
focus, very little
Not credible.
variation and some
levels. A couple spots emotional variety and few
levels.
were lacking focus

Lines appear to be
memorized, accurate,
and lines flow easily. A
few unneeded pauses.

Lines appear to be
Lines are there, but
Student does not appear
memorized, but not
to have lines memorized
student has to ask for
accurately. Flow is a bit help or look at script as a
disjointed, unneeded
prompt.
pauses, and awkward
hesitations.

Duet Scene Study Performance Rubric

Fully Developed
Excellent
Performance
6

Blocking/Movement

Voice/ Diction (vocal

quality, pitch, pace,
enunciation and
pronunciation)

Characterization/
Believability

Emotional
Commitment/ Energy

Memorization/
Concentration

Skillful Performance
5

Developed
Pleasing
Performance
4

Developing
Adequate
Performance
3

Inadequate
Performance
2

Not Developed
Unsatisfactory
Performance
1

Movement is very innovative,

accentuates the lines, adds
greatly to the depth of the
characters, and supports
plot. Creates well-balanced
poignant pictures. Are aware
of partner's presence.

Movement accents the lines,

adds to the depth of the
characters, and is interesting
to the audience. Creates
interesting pictures.
Awareness of partner.

There is movement, and it

accents the lines being
read. A bit awkward at
times/fidgety/lacking
movement in parts.
Pictures created are most
often interesting
Awareness of partner.

There is movement, and it

accents the lines being
read. Movement is
inconsistent with scene or
character; or several times
movement is lacking. Not
always aware of partner.

Movement is awkward,
not well-thought out.
Does not create an
interesting picture. Do
not always seem to
know where partner is
or what other is doing.

No movement or use of
physical space or so much
movement it is impossible to
watch and distracting or
annoying. No awareness
that anyone else is on the
stage.

Superior vocal control,

differentiation in pace &
inflection, resonance, quality
and very clear & distinct
enunciation. Communicates
characters' uniqueness.
The two characters are
completely unique & distinct
from one another.

Voice shows excellent

expression, differentiation in
pace, inflection, resonance,
quality and enunciation. Hear
the characters' uniqueness
and variation from one
another.

Voice shows expression,

differentiation in pace and
inflection, and enunciation.
Can hear a unique voice
true for each of the
characters.

Some expressive
moments; inconsistent in
quality and pace. Some
problems with enunciation.
Some mispronunciation.
While unique, may not
always reflect each of the
characters well.

Monotone .Unclear at
times; too quick/ too
slow several times; too
high/too low several
times. Lacks
consistency. Voices of
one or the other do not
represent character.

Monotone and not

expressive; too quick/ too
slow; too high/too low.
Completely indistinct & often
unclear. Voice is not true to
character or character is too
"over the top" to be believed.

Each has internalized the

subtext and self-talk & the
actor is transformed into the
character throughout the
performance. The dynamics
between the 2 characters are
interesting, diverse and
believable.

Each performer has a distinct

character and stayed in
character throughout the
performance and maintains
the relationship of the two.
Very Credible.

Each performer has a

distinct character and
stayed in character through
almost all of the
performance. The
relationship is intact.

Each performer had a fairly

distinct character, and tried
to stay in character through
most of the performance.
The relationship is still
viable.

Each performer did not

have a distinct character
and broke character
several times. The
dynamics of the
relationship were
breaking down & not
always present.

The performers did not have

distinct characters or have
made relationship choices
which are not understood.

Brilliant! Well developed with Well developed with a variety

a great variety of emotion
of different emotional levels
and very realistic
and good realism

Good variation of with

emotional levels. Very few
spots that were lacking
focus

Good emotional
commitment with some
variation and some levels.
A couple spots were
lacking focus

Weak commitment , one-No emotional commitment or

dimensional, very little energy. Not credible.
focus, very little
emotional variety and
few levels.

The students have achieved

an "ownership of lines" as if
they are saying their own
words to the point you
almost forget there ever was
a script.

Lines appear to be
memorized, accurate, and
lines flow easily. A few
unneeded pauses.

Lines appear to be
memorized, but not
accurately. Flow is a bit
disjointed, unneeded
pauses, and awkward
hesitations.

Lines are there, but

Students does not appear to
students have to ask for have lines memorized and
help or look at script as loose concentration often.
a prompt.

Lines appear to be
memorized, accurate, & flow .
The students have achieved
an "ownership of lines" as if
they are saying their own
words.

Solo Mime Experience

The mime chosen should comply with the following rules:
No spoken or recorded words.
Special effect sounds and instrumental music can be used, but no music used may contain
lyrics.
The piece is limited to FIVE MINUTES.
The only scenery provided will be eight chairs.

http://www.childdrama.com/mirror.html

Mirror Mirror
This is not really one lesson, but several activities all stemming from the idea of mirroring. I
introduce mirrors with my very youngest students, as a control device--Mirroring is a way of
developing concentration skills, and of honing those skills. It can be the first step toward
pantomime development. It can be used to help cast members bond, and develop that instant
communication so necessary for really fine theatre. It teaches careful observation skills, which
serve students well not only in the Theatre, where it helps them to develop accurate and
believable characterizations, but in all aspects of their increasingly complex life. Plus, it is a lot
of fun! Try the ideas below, or make up your own. Good luck!

Basic Mirrors
You are probably familiar with this activity. I certainly didn't invent it. Everyone takes a partner.
(If there is an odd number, the teacher pairs with someone.) Partners stand facing each other,
about three feet apart. One is the leader, the other, the "mirror." Moving only from the waist up,
the leader begins to make simple gestures or movements. The "mirror" duplicates the leader's
movements exactly--just as a mirror would. (Some students have trouble with the right-left shift.
If the leader raises his right hand, the "mirror" should raise his left, just as the figure in a real
mirror would. When they fail to do this, I tell students they are being a "video" instead of a
mirror.)
Most students will want to make this harder than they should. The goal is to mirror the partner
perfectly. I tell my students that if they are doing a good job, I will not be able to tell who the
leader is and who the mirror is. I coach them to use smooth, continuous movements, because
abrupt movements almost always catch the "mirror" lagging. I coach them to look into each
others' eyes, rather than at their hands, because this facilitates more precise communication. I try
to keep them from using their lower bodies until they have really mastered the arms-and-face
mirroring.
I challenge my students to really focus on the process. I point out that it is the leader's job, as
much as the "mirror's" to see that the exercise works. The leader does not try to trick his partner-on the contrary, he works very hard not to trick him. It is the leader's responsibility to perform
movements that the "mirror" can follow precisely. I remind the leaders that they should be looking
right at their partners, because their partners must look at them, and therefore the only way the
mirror illusion can be perfect is if the leader also looks at the partner. (If the leader looks away,
7

and the "mirror" duplicates this movement, the "mirror" can no longer see the leader to mirror
him.)
Once you've got all the students concentrating on mirroring, have them switch leaders a few times.
At first, every time they switch leaders they'll have to start over, but they should reach the point
where they can switch leaders in mid-stream, without interrupting the smooth flow of movement.
If the group is older and advanced enough, see if they can switch leaders without communicating
ahead of time. (When the "mirror" feels it is time to take over, he simply takes over, and the
original leader is sensitive enough to perceive it and become the "mirror.")
Eventually this exercise can grow to involve the whole body, and even movement in space
(locomotion), but be wary of beginning this too soon. I usually don't do it at all except with my
older students. It is too difficult. I use the metaphor of model building. Some people buy the
biggest, most elaborate model kit they can find, and take pleasure in building something really
complicated. But others take their pleasure out of making a simpler model absolutely perfect in
every detail. The second attitude is the one it is necessary to apply to mirrors if their full value is
to be had.

Mirror Canon
This can be very beautiful when it works. It can also be used as a tie-in with a music curriculum,
because the canon form is very important in music.
Everyone stands in a circle. Everyone turns to the left (or right, as long as everyone turns the same
way) so that they are looking at the back of the next person. One person is chosen to be the leader,
and begins to make simple movements. (The leader must be careful not to bring his arms fully in
front of him.) The person behind the leader mirrors him, but with a "delay" of about a second.
The third person mirrors the second, again with a one-second delay, and so on around the circle.
Eventually the leader will see his own movements recreated in the person in front of him--but
delayed by many seconds. The effect for someone standing in the middle of the circle is of a
"wave" of movement making its way around the circle. For the leader, the reward is seeing that
movement come back to him.
I recommend that the teacher not participate in this exercise, but rather watch closely to make sure
it is working. All it takes is one student not paying attention to put a stop to the "wave," and you
need to be there to light a fire under any such students. You also might like to pull a few students
out of the group at a time and let them watch from inside the circle, because it is so cool.

Variation 1: Once the canon is working in the circle, you can spread the people about the room
randomly. Each person must remember who he is mirroring, and make sure he can see that person,
but other than that they can be anywhere in the room. This is much more difficult, because there is
usually at least one person closer than the one we're supposed to be mirroring, and we have to
concentrate on the person we're supposed to mirror while ignoring the others. But when it works
the students feel a great sense of accomplishment.

Variation 2: For advanced students. Find an actual musical canon--something simple!--and

listen to it a few times. Two-part is probably best. Work in pairs. The leader improvises
movements in time with the music (the first part of the canon). The partner mirrors the movements
in time with the second voice of the canon, so that music and movement work together. SEE
RUBRICS FOR SOLO MIME PERFORMANCE
8

Solo Mime Performance Rubric

Fully Developed
Excellent
Performance

Developed

Skillful
Performance
5

Pleasing
Performance
4

Movement is easy,
accents the lines, adds to
the depth of the
character, and is
interesting to the
audience.

Developing
Adequate
Performance
3

Not Developed

Inadequate
Performance
2

Unsatisfactory
Performance
1

There is movement, and it

accents the lines being
read. Still a bit awkward at
times/fidgety/lacking
movement in parts.

There is movement, and it Movement is

accents the lines being
awkward, not wellread. Movement is
thought out.
inconsistent with scene or
character; or several times
movement is lacking.

No movement or use
of physical space.

Blocking/
Movement

Movement is very innovative,

accentuates the lines, adds
greatly to the depth of the
character, and is interesting
to the audience.

Memorization/
Concentration

Performer's face and

Performer's face and body
body showed excellent
showed superior control of
expression, clearly delineates control of expression,
the use of space and story- mostly delineates the use
line. Audience can visualize of space and story-line.
Audience can visualize
the environment.
the environment pretty
well.

Performer's face and body

showed good control of
expression, somewhat
delineates the use of space
and story-line. Audience
can visualize the
environment at times.

Performer's face and body

showed uneven control of
expression, doesn't always
delineate the use of space
and story-line. Audience
loses perception of
environment.

Performer's face and Performer's face and

body showed little
body showed no
control of expression, control of expression,
rarely delineate the
doesn't delineate the
use of space and story-use of space and storyline. Audience loses line. Audience has no
perception of
perception of
environment.
environment.

Characterization/
Believability

Performer had a definite

distinct character and
showed depth of character
throughout the performance.

Performer had a distinct

character and stayed in
character through almost
all of the performance.

Performer had a fairly

distinct character, and tried
to stay in character through
most of the performance.

Performer did not

have a distinct
character and broke
character several
times.

Emotional
Commitment/
Energy

brilliant! well developed

well developed character
character, with great variety with a variety of different
of emotion and very realistic emotional levels and
good realism

Good character with

emotional levels. Very few
spots that were lacking
focus

Good character with some

emotional levels. a couple
spots that were lacking
focus

Weak character, one- No emotional

dimensional, very little commitment or energy.
focus, very little
Totally unbelievable.
emotional levels and
variety

Memorization/
Concentration

The student has achieved an

"ownership of the piece" and
outstanding use of body
language & facial expression
which helps us "see" the
environment & completely
understand the story line. .

Student is comfortable with

the piece and had good
use of body language &
facial expression to propel
story & help us "see
environment

Student appears
comfortable with the piece
most of the time, but there
are moments when
movement, gesture & facial
expressions are
inconsistent with the story
line or the environment.

Student sometimes
appears
uncomfortable or
awkward & it is
sometimes hard to
see the environment
of understand the
story line.

Performer had a distinct

character and stayed in
character throughout the
performance.

The student has

achieved ownership and
uses body language &
facial expression
extremely well to propel
the story & give us a
sense of the
environment.

Performer did not have

a character.

Student does not

appear comfortable &
the audience is
confused

Solo Musical Theatre

Prepare an up-tempo and/or a ballad from the standard musical theatre repertoire - no pop operas
or rock tunes. Prepare ALL songs in their entirety, however, you will probably sing from only
one... For all singers, the song should show your best vocal range and personality, your "best self."
For belters, the song should show how high you can belt (your money note), and the choice should
reflect your "best self." Same for baritones and tenors, if you have two voices in which you can
sing, you may need you to prepare two songs.
The Musical Theatre Audition is not simply "testing voices" - we are looking at the entire
performance of the selection (remember that acting counts!)
If an accompanist is provided; please bring sheet music. Audition tapes and DVDs must not
contain the words to the song BUT be karaoke style.

See Solo Musical Rubric

Solo Musical Performance Rubric

Fully Developed

Choreography

Developing

Not Developed

Excellent
Performance
6

Skillful
Performance
5

Pleasing
Performance
4

Adequate
Performance
3

Inadequate
Performance
2

Unsatisfactory
Performance
1

Body Language is very

innovative, style of movement is
always reflective of character,
accentuates the lyrics, adds
greatly to the depth of the
character, and is interesting to
the audience.

Body Languages appears

effortless, accents the lyrics,
and is representative of the
character, and is interesting
to the audience.

Body Language &

movement present , and
accent the lyrics . Still a bit
awkward, but good use of
body language most of the
time.

There is movement, and it

accents the lyrics.
Movement is inconsistent
with character; Sometimes
uses body language well.

Movement is awkward,
not well-thought out.
Attempts to use body
language, but often
misses the mark.

No movement or use of
physical space. In
appropriate or negative
body language.

Voice show excellent

expression, differentiation in
pace and inflection,
resonance, quality and
consistent.

Vocals show expression,

differentiation in pace and
inflection, somewhat
consistent, rarely missed a
note.

Off pitch at times; some

expressive moments;
inconsistent in quality and
pace.

Tone & pitch waver.

Not expressive ; too
quick/ too slow several
times; too high/too low
several times. Lacks
consistency.

Tonally challenged and

not expressive; too
quick/ too slow; too
high/too low.
Completely indistinct

Very aware of Audience,

has a distinct character and
stays in character throughout
the performance.

Aware of Audience, has a

distinct character and
stays in character through
almost all of the
performance.

Sometimes aware of
Audience, has a fairly
distinct character,& tried to
stay in character through
most of the performance.

Rarely Aware of
Audience; did not have
a distinct character
and broke character
several times.

Never aware of the

audience & Performer
did not have a
character.

well developed character

with a variety of different
emotional levels and good
realism

Good character with

emotional levels. Very few
spots that were lacking
focus

Good character with some

emotional levels. a couple
spots that were lacking
focus

Weak character, one- No emotional

dimensional, very little commitment or energy.
focus, very little
Totally unbelievable.
emotional levels and
variety

Lyrics appear to be
memorized, accurate, and
flow easily. A few
hesitations or missed
notes.

Lyrics seem to be
memorized, but not
accurately. Flow is a bit
disjointed & there are
some "pitchiness" or offkey moments.

Lyrics are there, but

student does not
appear to have lyrics
and notes completely
memorized.

Vocals show superior control

has excellent enunciation and
Voice/ Diction varied dynamics.
(vocal quality, Differentiation in pace and
pitch, pace,
inflection, resonance, quality
enunciation and and consistent.

pronunciation)
Completely aware of Audience
& and showed depth of
character throughout the
Stage Presence/ performance.

Believability

Emotional
Commitment/
Energy

Memorization/
Concentration

brilliant! well developed

character, with great variety of
emotion and very realistic

The student has achieved an

Lyrics seemed to be
"ownership of the piece" as if
memorized, accurate, and on
they are singing their own words key. The student has
& never miss a note to the point achieved an "ownership of
you almost forget there ever
the piece" as if they are
was a script.
singing their own words.

Student does not

appear to have music &
lyrics memorized & is
lost.

Technical Theatre
An introduction MUST include ONLY the entrant's student number, course title (i.e.:
Drama 1, or 2) and name of the pieces being performed.
http://www.geocities.com/Shalyndria13/enp.htm

Elements and Principles of Design

Length - 50 minutes
Objectives
Students will create abstract drawings utilizing elements and principles of design.
Materials
11 X 17 copy paper
crayons, markers
construction paper
Anticipatory Set
Outline the elements (line, shape, color, texture) and principles (balance, proportion, rhythm,
unity, focus/emphasis) of design.
Elements:
LINE - any of the marks that make up the formal design of a picture. Line can be sharp and
jagged or curved and flowing.
SHAPE - something distinguished from its surroundings by its outline.
COLOR - the appearance of objects or light sources described in terms of the individual's
perception of them. For example, red (love, anger, passion); blue (sorrow, peace); yellow
(happiness, vibrant); green (youth, life, growth); black (power, strength, death); purple (royal, rich)
TEXTURE - the appearance and feel of a surface. The most basic kinds of textures are rough
or smooth.
SPACE (SCALE) - how large or small a particular drawing or model is.
Principles:
BALANCE - in design, harmonious or satisfying arrangement of parts or elements. Weighing
down one side of the stage with too many set pieces creates an imbalance.
PROPORTION - like balance, but related to the size difference between set pieces.
RHYTHM - a regular or harmonious pattern. Created by using balance and proportion.
UNITY - ordering of all elements in a work of art so that each contributes to a unified aesthetic.
FOCUS/EMPHASIS - where a designer want the audience to look.
Abstract Creations
Use available materials to create drawings of abstract concepts using elements and principle of
design. Example concepts: depression, elation, youth, old age, life, death, love, loneliness,
happiness, indifference, etc. Students will do two drawings, identical except for the addition of
color in the second drawing. The first will be done in black and white and the second will have
color added.
Discussion
Students will be asked to present drawings and justify choices using elements and principles
previously discussed.
Offer feedback regarding effective design elements and encourage others to provide feedback as
well.

10

Costume Design

The student may choose any play, but be prepared to give a synopsis of the plot
line and the characters involved in the play so that the examiner can understand
the material being examined.
The student must present five (5) character renderings. These may represent five (5)
different characters and/or may follow a single character through several appropriate
changes.
Each design must be executed in full color on a 10" x 15" white display board. The display
board cannot be mounted on any other surface. All figures must be 10" tall. Children and
unique characters may be varied in size but need to be in proportion to the 10 high
standard. The base of the figure should be 3" from the lower edge of the board. A human
figure may be traced to use as a template upon which a costume creation may then be
placed. Tracing of a costume outline or silhouette is unacceptable.
The board should be labeled in the following manner:
Upper Left hand corner: Name of the show and author.
Upper Right hand corner: Name of the character, act, and scene.
Lower Right hand corner: Student's number
The character renderings may or may not have drawn faces.
The student must attach fabric swatches, measuring a minimum of 2"x2", by the top edge
of the swatch only. Mount the swatch on the right side of the presentation board so that the
swatch may be lifted and felt to evaluate appropriate fabric texture, draping ability, weight,
grain, etc.
The student must present a justification of the designs. Note cards may be used.
All artwork used must be the original work of the entrant.
The student presentation is not to exceed ten (10) minutes.
A bibliography is required documenting all resources used including but not limited to
written and electronic sources. The bibliography must be in MLA style.

http://www.costumedesign.org/
http://www.aact.org/people/costumedesigner.html

See: Costume Design Rubric

11

Costume Design Rubric

Fully Developed

Presentation

Drawing Accuracy

Attention to Detail/
Attractiveness

Developing

Not Developed

Sufficient
Presentation
4

Uneven
Presentation
3

Design is somewhat
"outside the box"&
captures the "flavor" of
the play by including
several details which
accurately reflect the
period, culture or
theme.

The design somewhat

captures the "flavor" of
the play by including a
few details which reflect
the period, culture or
theme.

The design captures the

"flavor" of the play but is
not original, and includes
very few details which
reflect the period, culture
or theme.

The design is based on Historical and cultural

the logical principles of details are missing from
design, but has little or the design.
no 'flavor".

Student turns in a
complete, fascinating
and entirely justified
rationale for their design
concept.

Student turns in a
complete, interesting,
and justified rationale
for their design
concept.

Student turns in a
complete, interesting
design concept and
rationale, but the
rationale needs to be
expanded.

Student turns in a
complete, although
uninteresting design
concept and rationale,
and the rationale needs
to be expanded.

Student turns in a
complete design
concept, but lacks a
rationale.

Student demonstrates
excellent preparation &
research and appears
knowledgeable and
natural in delivery.

Student is well
prepared & researched
and appears
knowledgeable; and
has obviously
rehearsed.

Student is prepared &

researched and is fairly
knowledgeable; but
might need a few more
rehearsals.

The student is somewhat

prepared & researched &
does appear to know the
subject ; but clearly did
not rehearse much.

The student is
Student is not prepared to
somewhat less than
present.
prepared, and the
research is lacking; and
clearly did not
rehearse.

Drawings are innovative

and unique and reflect
design elements and
details of character, &
still maintains play
integrity.

Drawings accurately
reflect design elements
and details of
character, and
maintains play
integrity.

Drawings reflect design

elements and details of
character, & maintains
play integrity.

Drawings somewhat
reflect design elements
and details of character,
yet maintains play
integrity.

Drawings generally do
not reflect design
elements and details of
character.

No drawings OR drawings
are seriously incomplete.
Student made no effort to
take clues from play to
represent the character.

The drawings are

exceptionally attractive
and informative in terms
of design, layout, and
neatness.

The drawings are

attractive and
informative in terms of
design, layout, and
neatness.

The drawings are

somewhat attractive and
informative in terms of
design, layout, and
neatness.

The drawings are not

always attractive and
informative in terms of
design, layout, and
neatness.

The drawings are not

attractive nor
informative in terms of
design, layout, and
neatness.

The drawings are

incomplete, untidy and
lack relevance to the play.

Innovative &t goes

beyond expected
concepts while
maintaining the integrity
Detailed analysis (of play, & the "flavor" of the play
key characters, plot
by including several
overview)
details which accurately
reflect the period,
culture or theme.

Designers concept,
(including use of
symbols, color, textures
and materials)

Developed

Skillful
Presentation
5

Excellent
Presentation
6

Insufficient
Presentation
2

Unsatisfactory
Presentation
1

Student turns in a partial

design concept.

Scenic Design
The student may choose any play, but be prepared to give a synopsis of the plot line and the
characters involved in the play so that the examiner can understand the material being examined.

The student must construct an original, three dimensional model OR perspective rendering
executed to the scale of EITHER 1/4" = 1'0" OR 1/2" = 1'0" showing the set and its
relationship to the theatrical space. Renderings and/or models must be done for at least one
set required in the production.
Computer assisted design is acceptable.
At least one figure must be included in the rendering or model to show proportion and
scale.
The student must draw a floor plan to the same scale which justifies the storage and
shifting for ALL sets in the show.
The set is to be designed for a stage with a proscenium opening of 38' w x 20' h, an apron 6'
deep, and wing space. The stage has a maximum depth of 30' from the proscenium line to
the back wall with a wing measuring 15'x30' on each side. The proscenium arch and wing
space must be represented in the model.
The student must present a justification of the design. Note cards may be used.
All artwork used must be the original work of the entrant.
The student presentation is not to exceed ten (10) minutes.
A bibliography is required documenting all resources used including but not limited to
written and electronic sources. The bibliography must be in MLA style.

http://conceptdesigninc.com/customized_set_rental.htm
http://www.pinkincdesign.com/stageset.html?gclid=CKTalPq-yowCFQGPWAodpioXaA
http://www.sites4teachers.com/links/redirect.php?url=http://artswork.asu.edu/arts/teachers/lesson/d
rama/
Understanding Stage Design: Using Visual Elements to Provide Information to an Audience

Content Standard: Students will learn about theatrical design by developing environments for
improvised and scripted scenes
Achievement Standard: Students will develop focused ideas for an environment using visual elements
(line, space, texture, color) and visual principles (repetition, balance, emphasis, contrast, unity)
Materials: for a collage--magazines with pictures and words, cloth swatches, objects
Preparation: Guide the students to imagine their own room, asking about its shape and size, how it is
furnished, the colors, textures and materials in the room, the mood it evokes. If someone looked inside,
what would they learn about you?
Students construct "inspiration collages," assembling pictures, words, cloth, and objects representing
their ideas. For example a student might include a picture of a TV wall, a metal key and a cheeseburger
wrapper. The collages are titled with the sentence, "My room is my____________ (hangout, studio,
etc.).
Using slides, renderings, and models of one-room sets, show the students how color, materials with
their textures, props, and the use of space provide information about characters. Note examples of how

12

designers use symbols and images to create meaning, e.g. placing a wall map on the room of a
character who loves to travel.
Have the students discuss the symbols they used in their collages.

Activity: Have the students envision their own room as a set for a play about themselves; create a
written description and a drawing or shoebox model of his or her set, incorporating elements from the
collages.
Create a Designers' Exhibit. Ask the art teacher to help lead the class through the exhibit pointing out
visual elements (color, texture, space, line) and design principles (repetition, balance, emphasis,
contrast, unity) that reinforce the meaning of the settings. Help the students learn the vocabulary of the
designer/artist.
Assign groups of students to collaborate in the role of director and designers to design one-room sets for
assigned scripts.
Assessment: Using class developed criteria that deals with the function of the setting as well as the art
elements and design principles, students write a critique of the setting for their room and for the
collaborative setting. The critique and renderings or pictures of their settings are included in their
portfolios.
Based on a lesson plan by Carole Jones, Atlanta, Georgia.

http://www.sites4teachers.com/links/redirect.php?url=http://artswork.asu.edu/arts/teachers/
lesson/drama/

Creating Stage Designs that Reflect the Culture of the Play

Content Standard: Students will do research to support artistic choices by evaluating and synthesizing
cultural and historical information
Achievement Standard: Students will identify and research cultural, historical, and symbolic clues in
dramatic texts and evaluate the validity and practicality of the information to assist in making artistic
choices for informal and formal productions.
Content Standard (Social Studies): Students will demonstrate knowledge of research sources and
apply appropriate research methods, including framing open-ended questions, gathering pertinent
information, and evaluating the evidence and point of view contained within primary and secondary
sources.

13

Materials: Copies of the NEWCOMER by Jane Thomas, Anchorage Press (The play is about a
Vietnamese refugee in an American high school and features characters of Chinese, Hispanic, Filipino
and Vietnamese descent in contemporary society.) Other scripts could be used; select something that
will challenge students to research other periods and/or cultures.
Preparation: Have students read the play.
Activity: Assuming the role of the director of the play, have the students become the design team.
Divide the class into six small groups: scenery, properties, costumes, makeup, lighting, and sound. Each
design team is responsible for exploring a variety of sources to research the cultural and historical
backgrounds of the characters' lives and, incorporating that knowledge in their group designs, make
thumbnail sketches. For example, the group responsible for scenery might examine visual art,
photographs and old videos for sources of cultural motifs to incorporate in a backdrop design. The
costume designers might explore a variety of sources such as old mail- order catalogues or
advertisements in newspapers and magazines, visit vintage clothing stores. The property crew can visit
world museums online, visit local antique shops, talk with relatives. The make-up designers might look
at cosmetic catalogues and makeup design texts to discover the proper cosmetic palates for Asian and
Hispanic actors. The group responsible for lighting details might contact area lighting houses or theaters
as well as lighting texts to discover how bomb explosions can be simulated on stage. The point is to get
students to think beyond the library for design research.
After several days of work, have each team present its research and preliminary designs at a simulated
production meeting. As director, respond to your design staff on the appropriateness of their artistic
choices. Have the class collectively evaluate these choices for cultural (period) authenticity, production
validity and practicality. Next discuss strategies to unify the six visual and aural design elements for the
productions.
Have the students redesign their portion of the production and make a final presentation.
Assessment: Work with the students to create a criteria for addressing the validity and practicality of
their designs as well as how the designs contribute to the whole and are aesthetically pleasing. Attention
to visual art elements and principles and musical effectiveness should be included. Have the students
include their first and second designs in their portfolios along with their personal assessment of the
improvement of the second design and a plan for further improvement.
Based on a lesson plan by Johnny Saldana, ASU

See: Scenic Design Rubric

14

Scenic Design Rubric

Fully Developed

Developed

Developing

Excellent
Presentation
6

Skillful
Presentation
5

Sufficient
Presentation
4

Uneven
Presentation
3

Truly innovative & goes

beyond the expected
concepts while maintaining
the integrity & "flavor" of
the play by including
several details which
accurately reflect the
period, culture or theme.

The design is somewhat

"outside the box" while
also capturing the "flavor"
of the play by including
several details which
accurately reflect the
period, culture or theme.

The design somewhat

captures the "flavor" of the
play by including a few
details that reflect the
period, culture or theme.

The design captures the

"flavor" of the play but
is not really original,
and includes very few
details which reflect the
period, culture or
theme.

The design is based on Historical and cultural details

the logical principles of are missing from the design.
design, but has little or Unoriginal.
no originality & misses
some of the "flavor" of
the play.

Student turns in a
complete, fascinating and
completely justified
rationale for their design
concept.

Student turns in a
complete, interesting, and
completely justified
rationale for their design
concept.

Student turns in a
complete, interesting
design concept and
rationale, but the rationale
needs to be expanded.

Student turns in a
complete, although
uninteresting design
concept and rationale,
and the rationale needs
to be expanded.

Student turns in a
complete design
concept, but lacks a
rationale.

Student turns in a partial

design concept.

Student demonstrates
excellent preparation &
research and appears
knowledgeable and natural
in delivery.

Student is well prepared &

researched and appears
knowledgeable; and has
obviously rehearsed.

Student has prepared &

researched and is fairly
knowledgeable; but might
need a few more
rehearsals.

The student is
somewhat prepared ,
appears to know the
subject ; but clearly did
not do as much
rehearse as is
necessary.

The student is
somewhat less than
prepared, the research
is lacking; and clearly
did not rehearse.

Student is not prepared to

present.

Plans & models are

innovative & unique in
Floor plans, Elevations concept & design & details
BUT still maintains play
and 3-D Model
integrity.

Plans & models accurately

reflect design elements
and details of the design,
and maintains play
integrity.

Plans & models reflect

design elements and
relevant details which
maintains play integrity.

Plans & models

somewhat reflect
design elements and
details of play.

Plans & models

generally do not reflect
design elements and
details of design.

Plans & models materials are

seriously incomplete. Student
made no effort to take clues
from play to represent in the
design.

The drawings and models

are attractive and
informative in terms of
design, layout, and
neatness.

The drawings and models

are somewhat attractive
and informative in terms of
design, layout, and
neatness.

The drawings and

models are not always
attractive and
informative in terms of
design, layout, and
neatness.

The drawings and

models are not
attractive nor
informative in terms of
design, layout, and
neatness.

The drawings and models are

incomplete, untidy and lack
relevance to the play.

Detailed analysis of
play, key characters,
plot overview

Designers concept,
including use of
symbols, color,
textures and materials

Presentation

Accuracy

Attention to Detail/
Attractiveness

The drawings and models

are exceptionally attractive
and informative in terms of
design, layout, and
neatness.

Insufficient
Presentation
2

Not Developed
Unsatisfactory
Presentation
1

From the Textbooks:

Monologues & scenes (Theater Arts in Action p. 128, 272, 396 or Drama Projects p. 124,
433-456)
Solo musical (Theater Arts in Action p. 415 Drama Projects p. 316)
Pantomime (Theater Arts in Action p. 28 or Drama Projects p. 20)
Costume design (Theater Arts in Action p. 234, 346, 485 or Drama Projects p. 264)
Scenic design. (Theater Arts in Action p. 206, 263, 465 or Drama Projects p. 212)
Theatre Education: A Resource of Practical and Project-Based Warmups/Theatre Games for K-12
Guide to Warm-ups

Each warm-up description includes information on where we first learned the

activity (Northwestern University is abbreviated as NU, Gustavus Adolphus
College is GAC and Arizona State University is ASU), appropriate ages,
necessary materials, procedures and possible variations. Just below the title
of each warm-up is a box containing the skills developed by that activity. The
skills are represented by particular icons. See a key to these icons below. In
addition, on the right side of each warm-up is a second box that lists
applicable units for each activity (however, use whichever warm-up most fits
your lesson at the time). We chose this particular format for the warm-ups to
make it easy to flip through the pages and find what will work for a lesson.
Finally, instead of giving credit to the originator of a warm-up, we decided to
say where we learned it. We made this choice because of our belief in teacher
legacy. In this field, we pass down warm-ups from teacher to student. Over
time the warm-ups might change and split into different variations.
Therefore, it is very difficult to trace back and discover who invented one
warm-up or another. With this in mind, we honor where we learned our
version of a warm-up and in turn honor all theatre educators who have gone
before us.

15

An index listing each game and the skills developed follows.

listed alphabetically.

The games are

Keys to Icons

Warm-up Index K-12 (blue items are hyperlinked)

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.

1,2,3 in Pairs 2nd grade and up: focus, listening, communication, movement
Audience Pantomime 4th grade and up: communication, quick thinking, movement, creativity
Big Booty 6th grade and up: focus, quick thinking, vocal, group building
Big Wind Blows 1st grade and up: movement, group building, listening, energy
Bippity Bippity Bop 4th grade and up: focus, quick thinking, listening, group building
Blob Tag 2nd grade and up: energy, group building, movement, creativity
Bomb and Shield 4th grade and up: focus, movement, group building
Circle Counting 6th grade and up: focus, group building, sensory awareness, trust
Circle Dash 4th grade and up: focus, movement, trust, communication, sensory awareness,
energy
Circle Sit 4th grade and up: focus, trust, group building, movement
Circle Tableaux 6th grade and up: group building, communication, creativity, movement
Circle Walk 6th grade and up: focus, movement, sensory awareness, group building
Colombian Hypnosis 6th grade and up: focus, movement, trust, sensory awareness
Complete the Image 6th grade and up: quick thinking, movement, creativity
Concentration 4th grade and up: focus, quick thinking, listening, group building
Cover the Space 2nd grade and up: focus, movement, creativity, group building
Data Processing 2nd grade and up: quick thinking, group building, vocal
Do You Like Your Neighbor? 2nd grade and up: quick thinking, group building, listening,
energy
Duck, Duck, Whatever Kindergarten and up: focus, movement, creativity, energy

16

20. Fast Shake Down 3rd grade and up: movement, vocal, energy
21. Find Families 1st grade and up: quick thinking, creativity, group building
22. Find Your Mother Like a Little Penguin 2nd grade and up: creativity, listening, vocal,
sensory awareness
23. Fruit Salad Kindergarten and up: listening, energy
24. Giants, Elves, Wizards 4th grade and up: quick thinking, movement, group building, energy
25. Give and Take 4th grades and up: focus, movement, vocal, creativity, group building, sensory
awareness
26. Group Juggling 2nd grade and up focus, group building, vocal, energy
27. Hug Tag Kindergarten and up: movement, group building, energy
28. Keep It In the Air Kindergarten and up: focus, group building, energy
29. Kitty Wants a Corner 2nd grade and up: focus, movement, trust, vocal, sensory awareness,
energy
30. Knot 6th grade and up: focus, group building, trust, vocal
31. Liars Contest 4th grade and up: listening, vocal
32. Link Tag 3rd grade and up: focus, quick thinking, movement, energy
33. Look and Scream 4th grade and up: focus
34. Machine 6th grade and up: movement, vocal, creativity, group building
35. Martha Game 6th grade and up: quick thinking, movement, creativity, group building
36. Minefield 3rd grade and up: focus, listening, vocal, trust, group building
37. Mirrors 4th grade and up: focus, movement, group building, trust
38. Move Around the Space 6th grade and up: focus, movement, creativity
39. Musical Chairs Reinvented 4th grade and up: creativity, group building, trust, quick thinking,
movement
40. Name 10 Kindergarten and up: quick thinking, vocal, creativity
41. Name Game 4th grade and up: focus, group building, listening
42. One up, Two Down 4th grade and up: focus, quick thinking, movement, energy
43. Pantomime Time of Day 4th grade and up: focus, movement
44. Pass the Clap 3rd grade and up: focus, group building, energy
45. Pass the Pulse 6th grade and up: focus, group building, energy
46. Pass the Sound and Movement 4th grade and up: focus, movement, vocal, creativity, group
building, energy
47. People to People Kindergarten and up: movement, group building, listening, trust
48. Question Game 3rd grade and up: quick thinking, creativity, listening
49. Rain 1st grade and up: focus, group building, listening
50. Red Light! Green Light! Kindergarten and up: focus, movement, creativity, listening
51. Roll Call 4th grade and up: movement, vocal, creativity, group building
52. Sculpting 4th grade and up: movement, creativity, trust, communication
53. Shapes and Numbers 6th grade and up: focus, quick thinking, movement, creativity, group
building
54. Sharks and Minnows 4th grade and up: listening, communication, group building, trust
55. Ships and Sailors Kindergarten and up: movement, listening, energy
56. Simon Says 3rd grade and up: focus, movement, listening, energy
57. Stage Directions: 2nd grade and up: movement, listening, energy
58. Status 6th grade and up: creativity, group building, communication
59. Story Circle Kindergarten and up quick thinking, creativity, group building, listening
60. Sun Salutation 6th grade and up: focus, movement, energy
61. This is a. . . 4th grade and up: focus, vocal, group building, listening
62. Trust Circle Fall 6th grade and up: focus, movement, communication, trust, group building
63. Two Truths and an Untruth 2nd grade and up: creativity, group building, listening
64. Values Clarification 4th grade and up: group building, listening, trust, communication
65. Vegetable Game Kindergarten and up: focus, vocal, group building, listening
66. Wax Museum 2nd grade and up: focus, movement, creativity
67. What Are You Doing? 3rd grade and up: quick thinking, movement, creativity, listening
68. Whos the Leader? 4th grade and up: focus, movement, group building, sensory awareness
69. Whoosh 1st grade and up: focus, movement, vocal, group building
70. Yes 3rd grade and up: focus, group building, listening, communication
71. Zip, Zap, Zop 2nd grade and up: focus, quick thinking, energy, vocal, group building
72. Zoom 1st grade and up: focus, group building, listening, energy

17