A teacher’s guide for the ElEmEntAry thEAtrE ExpEriEncE

A teacher’s guide for the thEAtEr ExpEriEncE Th

eate

r

m o n d A v i c E n t E r A r t s E d u c A t i o n p r o g r A m f o r t E A c h E r s

™

™

™

ArtSmarts is the title for K–12 educational programs at Mondavi Center.

IntroductIon

Dear Educator,

As you make plans for your students to attend an upcoming presentation of the Wells Fargo School Matinee Series at the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis, we invite you to prepare your students by using thiscurriculum guide to assure that from beginning to end, the experience is an educationally enriching and memorable one.

The material in this guide is for you. We believe that an understanding of some basic vocabulary and background information on the performance art form will help to prepare your students to better understand and enjoy what they are about to see. We also encourage you to discuss important aspects of the artistic experience, including audience etiquette.

We hope that your students find their imaginations come alive as lights shine, curtains open, and applause rings through Mondavi Center. As importantly, we hope that thiscurriculum guide helps you to bring the arts alive in your classroom.

Thank you for helping us to make a difference in the lives of our children.

Mondavi Center Arts Education ProgramSierra North Arts Project, UC Davis

What’s InsIde:

2 Introduction The Heart of the Art

3 What’s Important to Know Before You Go Genres or Kinds of Theater

4 Styles of Theater You Might Attend 6 Acting Essentials Plot Diagram

7 Behind the Scenes: Elements of Production Stage Areas

8 Theater Etiquette Active Viewing of a Performance Words to Know

9 Overview of the Visual and Performing Arts Content Standards

10 Theater Learning Experiences Resources

11 Arts Education at UC Davis

12 Credits

Mondavi Center curriculum guides are produced in partnership with:

the heart of the artThe origins of modern theater can be found throughout the world in the traditions of ritual, religion, storytelling, and dance. Theater reflects the human experience. Through the use of body, voice, mind, and script, theater allows us to express and explore history, culture, and our-selves.

Theater is most concerned with the study of humanity. The process of preparing for a perfor-mance requires the ability to step outside oneself and value the perspective of another human being. Theater exposes us to new ideas or rein-forces time-tested values.

Theater is a creative, collaborative, and coopera-tive art form. Taking part in theater either as a performer, audience member, director, designer, writer, or technician can be an invaluable expe-rience because through theater we have the opportunity to change our world.

Theater depends on the audience. As the per-formers endeavor to entertain audiences with the art and craft of theater, they are also inform-ing them. Each performance is a unique experi-ence created by the performer and the personal experience of each audience member.

Theater 3Theater2 3

Theater 3Theater

1. Theater refers to a live performance before a live audience. Theater is different from televi-sion or film productions because the direct interaction between the audience and performer creates a mutual energy upon which an actor builds. The minimal essentials for production are an actor and an audience. Theater can take place in huge halls seating thousands of peo-ple or in simplistic “black box” theaters seating fewer than one hundred.

2. There are many styles of theater, which impact how the same script may appeardifferently on stage. The director’s interpretation of the script and the time period of the play will also affect how the play is staged.

3. Theater has multiple purposes, a few of which are: to entertain, to display a particularculture and to affect social change.

4. Conflict between characters contributes to plot element. The audience should develop empathy with the characters during a performance, which leads to a catharsis, an emotional release, at the end of the performance.

Genres or KInds of theater

generally, plays are categorized according to type or genre.

comEdy: A play which presents the subject matter in a comical or humorous manner,and typically has a happy ending.

trAgEdy: A play which deals with a serious theme in a serious manner. Often the protago-nist is defeated or dies at the ending.

drAmA: A play that deals with a serious theme in a serious manner, but the protagonist is not defeated at the end. Dramas often offer hope.

fArcE: A fast-paced comedy with exaggerated characterizations, often containing physical humor or visual humor, and an improbable plot.

pErformAncE Art: A nontraditional theatrical genre that incorporates a wide spectrum ofperformers and uses a variety of art forms, including music, dance, and multimedia. Often performed in nontraditional spaces, the emphasis of performance art is not on plot andcharacterizations, but on making a statement and self-expression. It is often called “interacts” or “new theater.”

“The most basic definition of

theater is someone performing

something for someone else.”

—Oscar Brockett

What's Important to KnoW before you Go

Comedy

All’s Well That Ends Well byWilliamShakespeare

The Importance of Being Earnest byoscarWilde

Tragedy

Romeo and Juliet byWilliamShakespeare

Antigone bySophocles

drama

A Raisin in the Sun byLorraineHansberry

Long Day’s Journey into Night byeugeneo’Neill

FarCe

Noises Off bymichaelFrayn

What the Butler Saw byJoeorton

PerFormaNCearT

Swimming to Cambodia bySpaldinggray

Mambo Mouth byJohnLeguizamo

Fires in the Mirror byannadeavereSmith

2 3

Gen

res

Genres of someWell-known plays

styles of theater you mIGht attend

a few plays and the styles they represent:

Beijing opera:The dominant style of theater in China, which first appeared in 1790, when per-formers came from all over China to Beijing to celebrate the eighteenth birthday of Emperor Ch’ien-lung. This gathering of performers created a highly stylized form of theater that emphasized the performer rather than a text. In the Beijing Opera, a stage drum sets the rhythm of the per-formance. costumes are ornate and use symbolism to communicate character traits to the audience.

Bunraku: A style of Japanese puppet/doll theater that can be traced to 780 A.D. and is performed by wandering entertainers. The puppets are usu-ally three to four feet tall and are operated by three puppeteers dressed in black.

commedia dell’arte: A comic theater developed during the Italian Renaissance. Traveling troupes of masked actors portray stock characters and use plot outlines called lazzi to improvise skits. Many of the characters and plots of commedia dell’arte serve as a foundation for restoration comedies.

Elizabethan theater: The popular theater in England in the late 1500s and early 1600s. During this period, Queen Elizabeth I banned all religious plays resulting in the secularization of theater. playwrights such as William Shakespeare, Ben Jonson, and Christopher Marlowe, created an entirely new style of composition and perfor-mance, which presented a range of social classes and philosophical doctrine.

English restoration theater: After the Restorationof the English monarchy in 1660, theater that had been banned under the Puritan Commonwealth again flourished in London. Especially popular was the restoration comedyof manners, which dealt with the vices andfollies of the upper class and was often charac-terized by humorous, lewd dialogue. During this time, women worked as professional actors and playwright Aphra Behn became the first English woman to earn her living as a writer.

In addition to genre, plays may be categorized according to the style in which they were written. In gen-eral, a play’s style reflects the prevailing cultural and philosophical viewpoint of the time period in which it was written.

sty

les

BuNraku:The Love Suicides at Sonezaki byChikamatsumonzaemonChushingurabyTakedoIzumo

eNgLISHreSToraTIoNTHeaTer:The Way of the World byWilliamCongreveAll for LovebyJohndryden

eLIzaBeTHaNTHeaTer:The Tragical History of Doctor Faustus byChristophermarloweThe Duchess of MalfibyJohnWebsterTroilus and Cressida byWilliamShakespeare

ePICTHeaTer:Toller’s Hurrah, We Live! byerwinPiscatorThreepenny OperabyBertoltBrecht withmusicbykurtWeill

ITaLIaNreNaISSaNCe:La Cassaria byLudovicoariostoSofonisbabygiangiorgioTrissino

HISPaNIC-amerICaNTHeaTer:Zoot SuitbyLuisValdezFefu and Her Friends bymariaIreneFornes

muSICaLTHeaTer:Oklahoma! byrichardrodgersandoscarHammersteinIIInto the WoodsbyStephenSondheim

meLodrama:Uncle Tom’s CabinbygeorgeLaiken,based onthenovelbyHarrietBeecherStoweUnder the Gaslightbyaugustindaly

oPera:AidabygiuseppeVerdiCarmenbygeorgesBizetDon GiovannibyWolfgangamadeusmozart

reaLISm:A Doll’s HousebyHenrikIbsenDeath of a Salesmanbyarthurmiller

THeaTeroFCrueLTy:Marat/SadebyPeterWeiss

THeaTeroFTHeaBSurd:Waiting for GodotbySamuelBeckett

Epic theater (theater of Alienation): A theatrical movement of the 1920s and 1930s characterized by the use of such artificial devices as cartoons, posters, and film sequences in order to distance the audience from theatrical illusions and allow them to focus on the play’s message.

Kabuki: A form of Japanese theater developed in the early seventeenth century. Most Kabuki plays are based upon historical events or folktales. Actors train from childhood in singing, dancing, acting, and acrobatics. The movement, costumes, and make up are highly stylized. Male actors, the onagata, specialize in playing the female roles.

italian renaissance: From the late 1300s through the early 1600s, Italy was the cultural center of Europe. During this time of great advancement for theater, Italian playwrights used neoclassi-cal ideals to construct plays that tried to be “real to life.” All plays had to conform to the unities. During the Italian Renaissance, the use of perspec-tive in visual art influenced theater and set design.

melodrama: A form of theater popular in the United States in the 1800s, which is a mixture of both comedy and tragedy and includes music. Melodrama is characterized by strongly moralistic and cliff-hanging plots. The stereotyped characters often consist of a villain, a victim, and a hero.

mime: A very old and stylized movement often with a visual “click” or “pop,” which is used to tell a story without spoken words. The moonwalk is an example of a mime walk. Mime uses con-ventionalized gestures to express ideas rather than to represent actions. Mime is found in a wide variety of highly stylized forms including com-media dell’arte, French classic mime, Kabuki, and silent movies. Mime usually requires more intense training than pantomime.

Theater4

sty

les

other styles of theater you may Wish to research:

aFrICaN-amerICaNTHeaTer

aNCIeNTgreekTHeaTer

aNCIeNTromaNTHeaTer

aSIaN-amerICaNTHeaTer

CoNSTruCTIVISm

exPreSSIoNISm

FemINISTTHeaTer

FreNCHreSToraTIoN

germaNromaNTICdrama

HaPPeNINgS

HISPaNIC-amerICaNTHeaTer

ImProVISaTIoN

JaCoBeaNTHeaTer

maSqueS

medIeVaLdrama

moSCoWarTTHeaTer

NaTuraLISm

NeoCLaSSICISm

SPaNISHgoLdeNage

THeaTeroFTHeoPPreSSed

VaudeVILLe

musical theater: Theater historians believe that musical theater developed from vaudeville and burlesque. In 1866, New York producers added dancers and music to a play titled “The Black Crook.” American musical theater progressed from simple plots with music to complex plotsin which the music is an integral part of thestoryline.

noh: A highly stylized and graceful form of Japanese theater. Noh contains elements of pan-tomime, dance, and opera and was developed in the early 1400s. Noh actors always wear masks and use stylized poses and gestures. Most Noh plays are spiritual in nature and have a ghost or demon.

opera: A style of musical drama, developed dur-ing the Italian Renaissance in which the story is told through music and acting and is usually accompanied by an orchestra.

pantomime: Many theater historians believe pantomime dates to primitive humans who used movements and gestures to tell stories. Pantomime is performed without the use of spo-ken words and often tells a simple story using imaginary props, gestures, and facial expressions.

peking opera: A tradition of theater established by acting companies in the Chinese capital in the 1800s, characterized by an emphasis on the actors’ performance, minimal sets and props, elaborate costumes, and stylized movements and songs.

reader’s theater: A style of theater in which actors read directly from the script. Other terms for reader’s theater include, staged reading, chamber theater, interpreter’s theater and choral reading. The chanting chorus of ancient Greek theater is considered by some to be a type of reader’s theater.

realism: A style of theater developed in the late nineteenth and early twentieth centuries in which the characters spoke, dressed, and behaved just as real people in daily life. Prior to this time, stage settings and costumes also became more real-istic. Playwrights such as Henrik Ibsen, August Strindberg, Anton Chekhov, Arthur Miller, and Lorraine Hansberry often represent realism.

sanskrit: An Indian theatrical tradition, which dates from approximately 100 A.D. These plays are based upon the Mahabharata or the Ramayana, which are derived from myth, history, and legend. All these dramas end happily. The central goal of Sanskrit is the creation of a mood or a rasa. The actors use stylized gestures to communicate meaning.

theater of cruelty: A form of theater employing non-verbal communication, developed by the French avant-garde playwright, actor and direc-tor Antonin Artaud in the 1920s and 1930s. theater of the Absurd: A style of experimental or unconventional theater developed after World War II as a reaction to senseless waste. A com-mon theme is that life cannot be explained or predicted.

puppet theater: A puppet can be almost anything that is brought to life by human hands to cre-ate a performance. Puppets come in many sizes, shapes, and varieties and are often defined by how they are manipulated: hand, marionette (strings), rod, or remote.

5Theater

“Know you how much the

people may be moved by

that which he will utter.”

—William Shakespeare

At a performance, observe the following skills an actor must use to create a character:

vocAl chArActEristicsProjection: conveying the words outward to the audience.

articulation: pronouncing words clearly and precisely.

Inflection: changing the pitch, tempo, and phrasing to add meaning to the lines.

physicAl chArActEristicsFacialexpression: moving parts of the face to express emotion.

gestures: moving body parts to add meaning to lines and express emotion.

PostureandBodyCentering: moving to create the emotions and attitudes of the character.

EnsEmBlE chArActEristics• Listening to and responding to what is said and performed by others on stage.

• How an actor portrays a character on stage when his/her character is not the focus of the scene.

intEllEctuAl chArActEristicsobjective: a character’s goal or intention.

motivation: a character’s reason for doing or saying things.

“An actor can only hope

to be a mirror of human-

ity, a mirror to be looked

into by audiences.” Shirley

MacLaine

plot dIaGram

In Poetics, an essay on writing tragedy from 330 B.C., Aristotle wrote that all stories need a beginning, a middle, and an end. In more modern times, a variety of plot diagrams have emerged. The following diagram is a common example which will help you better understand the plot or sequence of events for the production you are viewing. The order of events is fairly consistent from play to play but the proportion of each event for each play varies. Most plays are written with greater emphasis on the events leading up to the climax.

“A plot is: The king died and

the queen died. A story is: The

king died, and then the queen

died of a broken heart.”

—E. M. Forster

1. initiAl incidEnt/Exposition: the action or force which precipitates the conflict creating a goal or objective for the main character, protagonist.

2. rising Action/complicAtion: obstacles, conflicts, characters, and the resultant situations which impede the protagonist from accomplishing his or her goal.

3. climAx: the highest point of emotional activity, where the action determines what the outcome of the conflict will be.

4. fAlling Action/rEsolution: events which help wrap up unresolved issuesin the rising action.

5. dEnouEmEnt/conclusion: solution or explanation of outcome.

actInG essentIals

Theater6 7Theater

4. falling Action/resolution

1. initial incident/Exposition

2. rising Action/complication

3. climax

4. falling Action/resolution

5. denouement/conclusion

Creating theater requires many theatrical artists working behind

the scenes.

chorEogrAphEr: An artist who designs (choreographs) dances for the stage.

composEr: A musician who writes the music for performance.

dEsignErs (set, costumes, lights, make up, sound, props and graphics): The people who create and plan the designs for a production. The designer must convey the director’s artistic vision to the audience.

dirEctor: The person who is responsible for all the artistic ele-ments of a production. A director must develop and communicate an artistic vision.

musicAl dirEctor: The person who works with the director and is responsible for rehearsal and performance of all music in the play.

plAywright: The person who creates (writes) the script for a play or stage production.

producEr: The person who is responsible for funding and hiring artistic talent to create a stage production.

stAgE mAnAgEr: The person in charge of supervising the backstage and cueing all actors and stage crew members.

puBlic rElAtions/BusinEss dirEctor: The people who advertise and publicize the production and have oversight for royalties, press releases, photos, public service announcements, ticket sales, box office management, house management and even ushering.

staGe areas or actInG areas

The terms that are used to describe the areas on stage in which the actor performs are derived from raked stages which are slanted towards the audience.Up sTage is the area towards the back of the stage and down sTage is the area nearest the audience. It is important to remember that these terms are from the actor’s point of view looking towards the audience, thus sTage lefT will be on the audience’s right hand side.

Backstage

Audience/house

ur uc ul

r c l

dr dc dl

ur = up rightuc = up centerul = up leftr = stage rightc = center stagel = stage leftdr = down rightdc = down centerdl = down left

“The theater demands of its craftsmen that they

know their jobs. The theater is a school. We shall

never be done with studying and learning.”

—Robert Edmond Jones

a proscEnium stAgE (from the greek proskenion or “in front of the scene”) is the most typical stage forma-tion and can be found from high school auditoriums to Broadway stages. The audience sits on one side of the stage and views the action through the prosce-nium which serves as a picture frame or fourth wall.

In an ArEnA, the audience generally sits on all sides of the acting area.The arena stage in washington, d.C.,as well as the Colosseum in Rome, are well known examples of arena theaters.

Arena/Black Box stage

Backstage

orchestraPit

stage/performance AreaWingsWings

proscenium stage

types of staGes

stage/performance Area

audience

audience

audienceaudience

audience audience

tEchniciAns: Skilled theater artists, working prior to the production to create the sets, costumes, props, special effects, lights, sound, and make up for a production.

stAgE crEw: Skilled theater technicians who work during the perfor-mance to ensure that all elements of the production (lights, sound, costumes, make up, props, and special effects) appear on stage as planned by the director and designers.

behInd the scenes: elements of productIon

Theater6 7Theater

audience

active Viewing of a performance

Whileviewingaperformance,analyzetheintegrationofthefollowingelements:

•THemeWhatdoyouthinkistheplaywright’sintentforwritingthisplay?Howwastheauthoreffectiveinachievingthisdesiredgoal?

•deSIgNeLemeNTSHowdidthesetenhancethethemeoftheplay?Howdidthelighting,soundeffects,makeup,andcostumingconveytheappropriatetimeperiodandfeelingoftheplay?

•aCTINgHowdidtheactorsdrawtheaudienceintotheperformance?Howdidtheactorsmakeyoususpendyourdisbeliefandfeelthatwhatyouwereseeingwasreal?Howdidtheactorsmoveyouemotionallybytheendoftheplayorresolutionoftheconflict?

•dIreCTINgHowdidthedirectorarrangethesettings,cos-tumes,lighting,andstyletoconveythemes-sageoftheplay?Howdidthepaceandtimingoftheplayaffecttheaudience?Howwerethescenesarrangedtoconveythefocusofinterest?didthedirectorcommunicatetheplaywright’sintent?doyouthinkthedirectoraccomplishedhisorhervision?

Actor: A person, male or female, who performs a role in a play, video, film, or stage entertainment.

Antagonist: A person, a situation, or the protagonist’s own inner conflict in opposition to his or her goals.

Blocking: Planning movements and stage business of actors on stage.

conventions of theater: The established techniques, practices, and devices unique to theatrical produc-tions (i.e. tableau, proscenium curtain, dialogue, lights out, etc.).

cast: The group of actors who take the roles in a play (noun). To be chosen to play a specific role in a play (verb).

costume: Any clothing an actor wears on stage for a performance. Costumes may convey important infor-mation about the character, locale, and historical time period as well as ethnic and cultural information to the audience.

cue: A signal, either verbal or physical, that indicates something else, such as a line of dialogue or an entrance, is to happen.

dialogue: The conversation between actors on stage.

Ensemble: A group of theatrical artists working togeth-er, cooperatively, to create a theatrical production.

improvisation: A spontaneous style of theater in which scenes are created without advance rehearsing or scripting.

house: The area of the theater containing seating for the audience.

lights: Any illumination of the set and actors during a performance.

make up: Cosmetics and hairstyles that an actor uses to emphasize facial features or to add age or other special qualities called for by a character.

monologue: A long speech delivered by a single charac-ter on stage.

motivation: A character’s reason for doing or saying things in a play.

objective: A character’s goal or intention.

playwright: A person who writes plays.

props (properties): Items carried onstage by an actor; small items on the set used by actors.

role: A part in a play.

protagonist: The main character of a play, and the character with whom the audience identifies most strongly.

proscenium: The opening through which the audience views the action on stage as if through a picture frame.

rake: The slope of the stage floor upward from the audience. “Raking” the stage was developed dur-ing the Italian Renaissance to create perspective and improve sight lines.

royalty: A fee required to produce a play, musical, or opera.

script: The written text of a play.

set: The onstage physical space and its structures in which the actors perform.

set pieces: Large, portable piece of the set, such as a throne or tree.

sound: The audio portion of a theatrical production, including music, sound effects, and the amplification of the performer’s voice.

stock character: Established characters, such as young lovers, neighborhood busybodies, sneaky villains, and overprotective fathers, that are immediately recogniz-able by an audience.

unities: The Neoclassical idea that the action of a play should take place in a twenty-four hour period, in one locale, and have only one plotline. The concept of the unities was derived from Renaissance interpre-tations of Aristotle’s Poetics.

wings: Offstage spaces to the sides of the acting area.Theater8

theater etIquetteSince theater is a live performance, everything you do as an audience member also becomes part of the performance. For that reason there is a specific etiquette for watching a theatrical performance.

• Be on time. If you arrive after the curtain rises, you may not be seated.• Use the restroom before the performance. • Stay seated during the performance.• Refrain from talking during the performance.• The use of cameras or recording devices is not allowed.• Refrain from wearing perfume.• Turn off cell phones and pagers.• Show your appreciation for the performance by applauding when the production is over.

Words to KnoWThroughout this curriculum guide you have seen certain words in bold print.Below are the definitions of these words.

“You need three things

in the theater: the

play, the actors, and

the audience, and each

must give something.”

—Kenneth Kaigh

9Theater

Artistic perception: Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theater

Students observe their environment and respond, using the ele-ments of theater. They also observe formal and informal works of theater, film/video, and electronic media and respond, using the vocabulary of theater.

development of the vocabulary of theater1.1 Use the vocabulary of theater, such as plot, conflict, climax, resolution, tone, objectives, motivation, and stock characters, to describe theatrical experiences. (Gr. 4)1.1 Use the vocabulary of theater, such as sense, memory, script, cue, monologue, dialogue, protagonist and antagonist, to describe theatrical experiences. (Gr. 5)1.1 Use the vocabulary of theater, such as action/reaction, vocal projection, subtext, theme, mood, design, production values, and stage crew, to describe theatrical experiences. (Gr. 6)

comprehension and Analysis of the Elements of theater1.3 Demonstrate how voice (diction, pace, and volume) may be used to explore multiple possibilities for a live reading. Examples: “I want you to go.” “I want you to go.” “I want you to go.” (Gr. 4)1.2 Identify the structural elements of plot (exposition, complica-tion, crisis, climax, and resolution) in a script or theatrical experi-ence. (Gr. 5)

creative Expression: Creating, Performing, and Participating in Theater

Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theater, film/videos, and electronic media productions and to perform in them.

development of theatrical skills2.1 Demonstrate the emotional traits of a character through gesture and action. (Gr. 4)2.2 Demonstrate use of blocking (stage areas, levels, and actor’s posi-tion, such as full front, quarter, profile, and full back) in dramatiza-tions. (Gr. 5)

creation/invention in theater2.3 Use effective vocal expression, gesture, facial expression, and timing to create character. (Gr. 6)

historical and cultural context: Understanding the Historical Contributions and Cultural Dimensions of Theater

Students analyze the role and development of theater, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theater.

history of theater3.4 Identify types of early American theater, such as melodrama and musical theater. (Gr. 5)

oVerVIeW of the VIsual and performInG arts content standards for calIfornIa publIc schools

The Visual and Performing Arts Content Standards for California Public Schools have five component strands that cover dance, music, theater, and visual arts. The component strands for theater are:

Aesthetic valuing: Responding to, Analyzing, and Critiquing Theatrical Experiences

Students critique and derive meaning from works of theater, film/video, electronic media, and theatrical artists on the basis of aes-thetic qualities.

critical Assessment of theater4.1 Develop and apply appropriate criteria or rubrics for critiquing performances as to characterization, diction, pacing, gesture, and movement. (Gr. 4)4.1 Develop and apply appropriate criteria for critiquing the work of actors, directors, writers, and technical artists in theater, film, and video. (Gr. 5)4.1 Develop and apply appropriate criteria for evaluating sets, light-ing, costumes, makeup, and props. (Gr. 6)

derivation of meaning from works of theater4.2 Describe students’ responses to a work of theater and explain what the scriptwriter did to elicit those responses. (Gr. 4)

connections, relationships, Applications: Connecting and Applying What Is Learned in Theater, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers

Students apply what they learn in theater, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theater.

connections and Applications5.1 Use theatrical skills to dramatize events and concepts from other curriculum areas, such as reenacting the signing of the Declaration of Independence in history-social science. (Gr. 5)

careers and career-related skills5.2 Exhibit team identity and commitment to purpose when par-ticipating in theatrical experience. (Gr. 4)

curriculum strAnd 1: Artistic pErcEptionBefore viewing the performance:• Research background information such as the playwright’s biography, time period and culture of the play.• Based on this information predict the theme and style of the play. (1.2)

After viewing the performance: • Using the plot diagram (p. 6), write a summary of the story line for the production you have just viewed. (1.1)• Describe any metaphoric or symbolic elements used in the play. (1.3)• Analyze the style of the production using the Styles of Theater list (pps. 4-5). (1.2)

curriculum strAnd 2: crEAtivE ExprEssionBefore viewing the performance:• Create a poster to advertise the play including the title, author, location, dates, time, and ticket prices. Be sure to include one strong visual image which communicates the mood and theme you have predicted. (2.1)

After viewing the performance:• Choose a character from the play and write a monologue to perform for your class revealing this character’s thoughts five years after the end of the play. (2.2)• Research the costuming for a particular time period and design costumes appropriate for males and females. (2.3)• Choose a scene from the play you just viewed. Memorize the scene and perform this for your class with appropriate blocking and costuming. (2.1)

curriculum strAnd 3: historicAl And culturAl contExtBefore viewing the performance:• Research the art, music, or dance from the time period of the play you are about to see. Bring in a sample to share with the class. (3.3)

After viewing the performance:• Research events from the time period of the production that lead to the events shown on stage. Give an oral report to the class on this background information. (3.3)• Research theater of another culture such as Kabuki (Japanese) or water puppets (Vietnamese). Explain how the culture influenced the type of theater performed. (3.1)

curriculum strAnd 4: AEsthEtic vAluingBefore viewing the performance:• Research either the genre or style of the play you are about to see. Give an oral report to the class discussing where, when and why this genre or style became popular. (4.5) What effect do you think a play of this genre or style will have on a modern audience? (4.1)

After viewing the performance:• Write an evaluation of one actor’s performance using the Acting Essentials (p. 6). (4.3)• Using the Active Viewing Guide (p. 8) write an evaluation of the production that might appear in your local newspaper. (4.1)

curriculum strAnd 5: connEctions, rElAtionships, And ApplicAtionsBefore viewing the performance:• Using the script of the play, develop a six-week rehearsal schedule which effectively uses the actor’s and the director’s time. (5.2)

After viewing the performance:• Based on your observations of the performance, choose one of the careers from the Elements of Production List (p. 7) that you find interesting and research it. Report your findings to the class. (5.2)• Call a local theater company and ask to do a job shadow of one of the theater artists. (5.2)• Watch a film version of a play you have seen. Compare and contrast the technical elements involved in the production of each. (5.1)

Theater10

theater learnInG experIencesThese activities are designed to enhance the learning experience. Numerical notations refer to the California Visual and Performing Arts Content Standards.

resources

Brockett, Oscar G.The Essential TheatreHolt Rinehart & Winston, 1966 ISBN 0-15-501598-2

Abel, Lisa, ed.Theatre: Art in ActionNational Textbook Company, 1999 ISBN 0-8442-5307-3

wEB sitE:www.Kennedy-Center.org/education

wEB sitE:www.teachingarts.org

11Theater

robert and margrit mondavi center for the performing artsThe Robert and Margrit Mondavi Center for the Performing Arts at UC Davis serves as a resource for the campus and the region, reinforcing the university’s status as a comprehensive university of the first order by raising the profile of its arts and humanities programs to that of its top-ranked science programs. Opened in October 2002, Mondavi Center features the state-of-the-art, 1,800-seat Barbara K. and W. Turrentine Jackson Hall, and the 250-seat Studio Theatre for more intimate productions. Mondavi Center is the largest presenter of the performing arts in the Sacramento region, bringing more than 70 of the world’s greatest artists and lecturers each season.

In addition to the artists and speakers presented as part of its annual Season of Performing Arts, Mondavi Center also hosts productions by the UC Davis Music and Theatre and Dance departments and other campus academic programs, as well as those of regional arts organizations such as the Sacramento Philharmonic Orchestra.

www.MondaviArts.org530.754.5000

department of musicThe Department of Music at UC Davis features a distinguished faculty and accomplished visiting artists, and provides outstanding instruction to students majoring in music as well as more than 1,200 non-majors each academic year. The program includes opportunities to study and perform music of all styles and periods, with students majoring in music focusing on a special interest area such as composition, analysis, history, performance, or secondary school teaching. All students may participate in a wide array of performance activities, including the University Symphony, the University Chorus and Chamber Choir, University Concert Band, the Early Music Ensemble, and chamber music ensembles.

music.ucdavis.edu530.752.5537

uc davis artsbridgeIn response to educational funding cutbacks and the erosion of formal arts training in the public schools, the University of California and the state of California have joined forces to expand ArtsBridge, an innovative arts outreach program that began at the Irvine campus in 1996. ArtsBridge pro-vides scholarships for undergraduate and graduate arts students to work with K-12 teachers in developing arts activities that supplement the core curriculum. The suc-cess of the program prompted lawmakers to include a $1.5 million line item in the 1999 state budget to facilitate the expan-sion of ArtsBridge to all of the UC cam-puses. Presently UC Davis students from the departments of Art, Theatre and Dance, Music, and Design are active in classrooms at several area schools, including school districts in Woodland, Winters, and Dixon.

artsbridge.ucdavis.edu530.754.8477

mondavi center arts educationMany of the artists appearing during Mondavi Center’s season also participate in a range of educational outreach activities coordinated by the center’s Arts Education Program. These activities include school matinees, master classes, lecture demon-strations, open rehearsals, curriculum development, and teacher training. These outreach activities, which benefit more than 25,000 area school children, college stu-dents, educators, and community residents every season, constitute a major commit-ment to arts education in the region and underscore UC Davis’ commitment to the artists and audiences of the future.

www.MondaviArts.org/education530.754.5431

department of theatre and danceThe Department of Theatre and Dance at UC Davis offers undergraduate and graduate degrees in conjunction with an aggressive and artistically adventurous production season. Courses and productions provide students with consistent opportunities to creatively engage with professional direc-tors, designers, and choreographers. The department, in collaboration with the Granada Television network, is host of the Granada Artists-in-Residence program, which brings distinguished theater artists from the United Kingdom to UC Davis. A stellar faculty, state-of-the-art facilities, and talented students make UC Davis a leader in arts education.

theatredance.ucdavis.edu530.752.0888

arts educatIon at uc daVIs

sierra north arts projectThe Sierra North Arts Project (SNAP) fosters the professional development of kindergarten through post-secondary teachers by employing the model of teachers teaching teachers. SNAP addresses the priorities of The California Arts Project (TCAP) involv-ing direct engagement with the artistic pro-cess, direct applications to classroom teach-ing, and the development of teacher lead-ers in arts education. The Sierra North Arts Project is one of six California Arts Project regional sites throughout the state, and it serves a twelve-county area extending from the Central Valley to the Lake Tahoe basin. The goals set forth by SNAP cover four key objectives: (1) to deepen and strengthen teachers’ subject matter knowledge; (2) to provide opportunities for teachers to con-nect with their personal creativity and to develop connections within the arts learn-ing community; (3) to enhance and expand SNAP within the region and create a wide variety of leadership opportunities for SNAP members; and (4) to develop strategies and techniques for translating research experi-ences into classroom practice.

education.ucdavis.edu/SNAP/530.752.9683

­Robert­and­Margrit­Mondavi­Center­­for­the­Performing­ArtsUniversity of California, DavisOne Shields AvenueDavis, CA 95616-8543

MondaviArts.org530.754.5000

Mondavi Center expresses gratitude to its partners at the California Arts Council and Sierra North Arts Project, Region III of the California Arts Project at UC Davis, for bringing together a team of educators to design and develop curriculum guides for Mondavi Center’s Wells Fargo School Matinee Series. The following individuals participated in the development of materi-als for the guides:

uc davis coordinatorsSarah AnderbergDirector, Sierra North Arts ProjectCRESS Center, School of EducationUC Davis

Linda BuettnerCoordinator, Sierra North Arts ProjectCRESS Center, School of EducationUC Davis

assessmentJoanne Bookmyer, Ph.D.Research AnalystCRESS Center, School of EducationUC Davis

teachersCarolyn I. ElderTheater Arts TeacherSamuel Jackman Middle SchoolElk Grove Unified School District

Linda L. SwansonTheater Director/TeacherLaguna Creek High SchoolElk Grove Unified School District