Note that the exercise, Roll Call, is designed to demonstrate that character is most effectively and reliably created through a careful selection and execution of actions, not by magically inhabiting a character. Concludes that by the end of this sequence of exercises, students should have a better understanding of how character can be created…

Describes an exercise for a beginning acting class at the outset of a semester that demonstrates, reiterates, and clarifies some of the fundamental points of acting craft. (SR)

Examines the nature of imagination and creativity in the acting process. Argues that successful acting is the ability to extend the imagination into the creative act of developing a role and building a character. Discusses specific ways a theater educator inspires creativity in actors. (RS)

Presents an acting lesson intended to teach students to remain focused on character objectives while retaining the spontaneity that is key to producing believable acting. Suggests that three students act out a set situation while the rest of the class watches, and describes the process of critique after the lesson is complete. (PA)

This collection of 55 original concise monologs for teenage boys and girls to perform require no special settings and minimal props and costumes. The monologs in the collection are intended for use in speech competitions, variety shows, auditions, the classroom, and as discussion starters. The collection is divided into monologs for girls,…

This collection of 60 short dramatic pieces for teenagers to perform can be used in the classroom, in variety shows, in drama competitions, and as discussion starters. The pieces in the collection reflect the interests of teenagers and are designed to explore their actions, problems, attitudes, lifestyles, and humor. The collection is divided by…

Gives instructions for a theater exercise that involves a student lip-synching to a song. Cautions that the presentation must be balanced equally, with attention paid to both realism in the actual lip-synching, and to how the performer gives meaning to the song. States that students generally should not try to emulate well-known performers. (PA)

This collection of monologues describes women's roles in theater in 1994 as being "ripe with possibility." The collection includes work from playwrights Gloria Naylor, Harold Prince, Tony Kushner, Terrence McNally, and Harold Pinter, among others. The collection contains 57 brief audition pieces for women to perform from the 1994…

This book explores the acting theories and teaching methods of great teachers of acting--among them, the Europeans Stanislavski, Meyerhold, Brecht, and Grotowski; the Japanese Suzuki (who trained in Europe); and the contemporary Americans, Stella Adler, Lee Strasberg, and Sanford Meisner. Each chapter of the book includes a sample class, which…

Describes how children can become immersed in the world of fairy tales through activities such as choosing a character and developing a monolog, and creating a pantomime, a prop and a piece of advice, all relevant to their character and story. Includes a list of resources. (AEF)

Uses character analysis borrowed from drama classes to work on literary selections. Gives writing assignments to students based on characters from a story. Conducts interviews with the "characters" in class. (PA)

Dynamic classroom role-playing is an essential ingredient in interpretation and performance if the student actor is to learn the technical skills of believable characterization. One of the first classroom performance principles in playing the role is for the student actor to read the playscript with a critical eye to grasp the creative suggestions…

Developed by classroom teachers during the development phase of Minnesota's Graduation Standards, this performance package is made up of locally designed assignments that, taken together, show whether a student has learned and can apply the knowledge and skills related to dramatizing a story, fable, or folktale. It begins with reference to the…

Discusses creative dramatics as an experiential and interactive play process comprised of three phases: (1) pantomiming action; (2) improvising words; and (3) building plot and characters. Contains teacher information on guiding and encouraging playmaking, creating a developmentally appropriate dramatics program, and the expected benefits of…

Developed by classroom teachers during the development phase of Minnesota's Graduation Standards, this performance package is made up of locally designed assignments that, taken together, show whether a student has learned and can apply the knowledge and skills related to creating, interpreting, and evaluating a variety of artistic expressions. It…