Youth Theater Needs Lessons – not simply games

I've been working in the field of youth theater for the past decade. I find that when it comes to training acting skills and getting specific with young actors about the skills they are learning such as voice, speech, physicality, using objectives, and general analysis of a character plot and given circumstances, Drama games do … Continue reading Youth Theater Needs Lessons – not simply games

Modeling Digital-Age Learning in a Participation Arts Based Classroom (ISTE 3)

ISTE Standard 3 states that teachers should exhibit knowledge, skills, and work processes that are representative of an innovative professional. My content area, theatre arts, is based in human interaction; these interactions must occur in the moment and in person. An actor must learn to act and re-act. Taking the content of theatre arts into … Continue reading Modeling Digital-Age Learning in a Participation Arts Based Classroom (ISTE 3)

Socially Responsible Practices of Theatre Education: Sign Three

David Orace Kelly, MFA, MAT

Journal Entry from October 20, 2014 for Theatre Methods

 What is…

At this point I have a decade of experience under my belt in youth theatre. I have a firm grasp on “what is” in my program. This grasp has been continually transforming over the years and has certainly shifted from a more idealistic to a more realistic perspective on what is possible and achievable. Some of the most cumbersome constraints include administrative oversight and school policy, student interests, and limited instructional time.

In my class, as I often describe, I try to create an atmosphere of respect. One benefit of this is that it serves as a backbone for socially responsible actions. We, society, must respect the identities of the people we interact with. We, each individual, must also respect our own history and identity. Too often in theatre, we take licenses to transgress boundaries that are present…

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THE ALL POWERFUL RUBRIC

Standards Based Education is an essential component to effective teaching practice; teachers must use learning targets that are connected to the standards and effectively measure student progress toward those standards. I have come to embrace the rubric as an essential standards based teaching tool. Used correctly, the rubric can: Guide student learning throughout the lesson. … Continue reading THE ALL POWERFUL RUBRIC

Comprehensive Theatre: Sign Four

Journal Entry from October 27, 2014 for Theatre Methods What is… Lazarus (2012) describes a model of Comprehensive Theatre Education. I strive to create this model in my classroom. I strive to have all students experience all aspects of theatre education. It is through the common experience of acting that I have each of my … Continue reading Comprehensive Theatre: Sign Four

Socially Responsible Practices of Theatre Education: Sign Three

Journal Entry from October 20, 2014 for Theatre Methods  What is… At this point I have a decade of experience under my belt in youth theatre. I have a firm grasp on “what is” in my program. This grasp has been continually transforming over the years and has certainly shifted from a more idealistic to … Continue reading Socially Responsible Practices of Theatre Education: Sign Three

FAIR INSTRUCTION: (Classroom Management)

Classroom centered instruction, including sheltered instruction, must be connected to the communities within the classroom and the school; a teacher must have the knowledge and skills for working with multiple stakeholders within the classroom community. After observing my mentor teacher for the past several years, I have developed an approach to classroom management that is … Continue reading FAIR INSTRUCTION: (Classroom Management)

Student Empowerment: Sign Two

Journal Entry from October 12, 2014 for Theatre Methods When I consider the voices in my classroom – the voices that are shared with the performance space, my first thought is that of the playwright. I believe that the actor, in training or professional, has a duty to the words; the actor must bring the … Continue reading Student Empowerment: Sign Two

Theatre Changes: Sign One

Journal Entry from October 5, 2014 for Theatre Methods On the theme of reflection and change, Lazarus (2012) proposes a series of questions to engage with Appreciative Inquiry. The first question: what is it that has changed in the last year of my teaching; what has stayed the same? The simplest of my answers, I … Continue reading Theatre Changes: Sign One

Essential Theatre Standards in Washington State

Context: In 2002, the arts were identified as a core academic subject in the State of Washington by the Elementary and Secondary Education Act (ESEA); this act defined the arts as consisting of four distinct disciplines: dance, music, theatre, and visual arts (Dorn, Joseph, Vavrus, 2011). ESEA essentially established that the arts were equally important … Continue reading Essential Theatre Standards in Washington State