This workshop is an introduction to how actors build characters and relationships, transforming the written words to actions and presence on stage. Students will explore Shakespeare’s use of words, rhythms, and language in Twelfth Night through activities that exercise vocal acting skills. This resource contains a Short Video with the actors discussing this topic, an example in the Full Workshop Video, an Excerpts Video containing examples from the full play, and a walk through in the Lesson Plan.

ePub version of text The Two Gentlemen of Verona by William Shakepeare, 1564-1616.

Case studies from forward-thinking students, educators, content developers, and technologists carrying the banner of Open Education in language learning.

The K–12 Arts Learning Standards for Dance, Media Arts, Music, Theater, and Visual Arts can be downloaded from the OSPI Learning Standards and Instructional Materials webpage at: https://www.k12.wa.us/student-success/learning-standards-instructional-materials.
Depending on the focus of arts education in a given district or school, one or more of the five Arts Learning Standards documents can be used to guide instruction and help students develop competency in the arts.

This document covers Theatre, which may include, but is not limited to, acting, theatre, film acting and film-making, improvisation, mime, puppetry, performed poetry/spoken word, musical theatre, playwriting, technical theatre/stagecraft, and theatre production.

High school students Aiden Phillips and Hannah Schmidt describe what they learned about playwriting through their involvement in the New Voices Young Playwrights Festival at Actors Theatre of Louisville. Teaching artist Keith McGill explains how he coaches young writers in the playwriting process.

William Shakespeare didn’t go to college. If he time-traveled like Dr. Who, he would be stunned to find his words on a university syllabus. However, he would not be surprised at the way we will be using those words in this class, because the study of rhetoric was essential to all education in his day. At Oxford, William Gager argued that drama allowed undergraduates “to try their voices and confirm their memories, and to frame their speech and conform it to convenient action”: in other words, drama was useful. Shakespeare’s fellow playwright Thomas Heywood similarly recalled:
In the time of my residence in Cambridge, I have seen Tragedies, Comedies, Histories, Pastorals and Shows, publicly acted…: this is held necessary for the emboldening of their Junior scholars, to arm them with audacity, against they come to be employed in any public exercise, as in the reading of Dialectic, Rhetoric, Ethic, Mathematic, the Physic, or Metaphysic Lectures.
Such practice made a student able to “frame a sufficient argument to prove his questions, or defend any axioma, to distinguish of any Dilemma and be able to moderate in any Argumentation whatsoever” (Apology for Actors, 1612). In this class, we will use Shakespeare’s own words to arm you “with audacity” and a similar ability to make logical, compelling arguments, in speech and in writing.
Shakespeare used his ears and eyes to learn the craft of telling stories to the public in the popular form of theater. He also published two long narrative poems, which he dedicated to an aristocrat, and wrote sonnets to share “among his private friends” (so wrote Francis Meres in his Palladis Tamia, 1598). Varying his style to suit different audiences and occasions, and borrowing copiously from what he read, Shakespeare nevertheless found a voice all his own–so much so that his words are now, as his fellow playwright Ben Jonson foretold, “not of an age, but for all time.” Reading, listening, analyzing, appreciating, criticizing, remembering: we will engage with these words in many ways, and will see how words can become ideas, habits of thought, indicators of emotion, and a means to transform the world.

This collection contains a selection of ten plays written by Hurston (1891-1960), author, anthropologist, and folklorist. Deposited in the United States Copyright Office between 1925 and 1944, most of the plays remained unpublished and unproduced until they were rediscovered in the Copyright Deposit Drama Collection in 1997. The plays reflect Hurston's life experience, travels, and research, especially her study of folklore in the African-American South.