Topic: Text Analysis and Dramaturgical Thinking - Visit to a Small Planet

Teacher: Kyle Imbeau

Essential Question(s): Lesson Objectives

How do we develop our own interpretation of By the end of this lesson, students will be able
a text? What do we need to know about a play to: Critically analyze plays and performance
to give the best possible texts through applied criteria, and articulate
performance/production? personal/emotional responses to a text.

Curriculum Framework/Learning Standard(s)

- Perceive and analyze artistic work (Proficient Theatre Course Standards, 7)
- Interpret intent and meaning in artistic work (Proficient Theatre Course Standards, 8)
- Apply criteria to evaluate artistic work (Proficient Theatre Course Standards, 9)
- Relate artistic ideas and works to societal, cultural and historical contexts to deepen
understanding (Proficient Theatre Course Standards, 11)

Materials and Resources: Formative Assessments:

- Copies of Elinor Fuchs: Visit to a - Written response to Fuchs paper
Small Planet - Written analysis of chosen play (see
- PowerPoint/Projector Access homework section)
- Index Cards

Warm-Up/Activator:
Think of a play you love, and write down the title. This should be a play you have read and/or
worked on, and are confident you can explain - plays read for class prior to this lesson would
be ideal.

Procedures/Lesson:

Step 1: PowerPoint Presentation - Intro to Dramaturgy and EF Paper (10 minutes)

Lecture-style presentation introducing dramaturgy - not yet explaining the practical/applied
responsibilities of a dramaturg, but rather, the “why” of dramaturgs as members of a team.
Outline the “world of the play” and “social world of the play” sections of Visit to a Small
Planet. Hand out copies of EF paper - it should be emphasized to students that, while they will
be using criteria from this paper for their assignment, they are not expected to completely
understand the advanced academic writing and terminology that Fuchs sometimes uses. It is
your job as the teacher to help extract what they need for this particular lesson.

Step 2: Visualizing the World of the Play (5 minutes)

Distribute index cards, and ask students to take a moment to imagine, visually, the “world” of
the play they chose in the activator exercise. What do they see? If they have chosen a
particularly popular play, or something they have worked on before themselves, encourage
them to think about what they might do with the original text, and not describe any director or
designer’s interpretation. Ask each student to write down ten words: five things they might see
in the world, and five adjectives they might use to describe the “mood.”

Step 3: Articulating the World of the Play (10 minutes)

One by one, ask each student to describe to the class their play’s “world,” as if the rest of the
room is entirely unfamiliar with their play - and they might be! While they should not read
their index cards verbatim, they should be encouraged to refer to their word choices if
struggling to explain. Their peers should be encouraged to ask follow-up questions, but these
should remain in the aesthetic/interpretive realm, and should not be in regards to text or plot.
End by asking each student something they like about the world, or something they find
particularly interesting. Then, have them share the title of their play with the class.

Step 4: Discussion (10 minutes)

Questions might include: Did this (or, how did this) help you better understand your chosen
play? Did you discover something new you enjoy about it? Did you feel that this is easier or
more difficult than simply answering “right answer” questions about a play? How do we think
an exercise like this is helpful for actors, directors, designers?

Closing/Ticket to Leave:
Collect index cards from students.

Homework:
Read Visit to a Small Planet, and answer the questions in “Part II: The Social World of the
Play” for the same play chosen in class.

Pitfalls and Solutions:

Students may not have encountered enough plays to be prepared with one to analyze. In this
case, ask them to think of a book or story they feel familiar with - maybe something they have
read/are reading for another class. The exercise should work just as well this way. Students
should not, unless all other options are exhausted, use works of film/television - these are very
difficult, since they are highly visual forms and students have likely not read the original
screenplay.

Adaptations/Modifications:
If a student has difficulty with visualizing the “world,” ask if they would be more comfortable
imagining what it might sound like, or some other sensory element. Give them the option to
work with whatever comes most naturally to them - Fuchs’ paper talks about all of these
things.
If students struggle with language or choosing words, give them the option to sketch/draw the
world, and present the visual to their peers. This may be more helpful, in some ways!
 Topic: New Play Dramaturgy and Collaboration
Teacher: Kyle Imbeau

Essential Question(s): Lesson Objectives

What role does feedback and criticism play in
collaboration? How do we distinguish
emotional response from observation? How
do we respond to external feedback without
losing or changing our intent?
By the end of this lesson, students will be able
to: Give constructive and applicable feedback
on dramatic writing through directive
questions, and adapt their own writing to said
feedback from their peers.

Curriculum Framework/Learning Standard(s)

- Generate and conceptualize artistic ideas and work (Proficient Theatre Course
Standards, 1)
- Refine and complete artistic work (Proficient Theatre Course Standards, 3)
- Perceive and analyze artistic work (Proficient Theatre Course Standards, 7)
- Interpret intent and meaning in artistic work (Proficient Theatre Course Standards, 8)
- Apply criteria to evaluate artistic work (Proficient Theatre Course Standards, 9)

Materials and Resources: Formative Assessments:

- Students’ preferred writing materials: - Checklist for self and written
pen and paper, laptop, etc. feedback/notes on partner’s play.

Warm-Up/Activator:
Ask students to write for five minutes in response to a writing prompt. This should be written
in the format of a play, and should have at least one character. Otherwise, as much room as
possible should be left for creativity/interpretation. This prompt might be prepared in advance
by the teacher, or solicited from a student - which may be more fun!

Procedures/Lesson:

Step 1: Pair Up and Read (10 minutes)

Assign students to pairs, and have them read each other’s work. Give them time to naturally
respond before introducing any questions or criteria. Encourage them to read their peers’ work
over more than once, and ask any clarifying questions.

Step 2: Dramaturgical Questions (10 minutes)

Project or write on the board the following questions, which students should answer about
their peers’ writing.
- What is clear to you about this story: characters, location, conflict, etc.?
- What is not clear? Are there details you are confused about? *this is not a question of
 opinion - discourage students from giving suggestions*
- Imagine you are placing this story onstage. What does an audience need to know in
advance? What details might pose creative or practical challenges in production?
This should not be a solitary activity - they should share their thoughts out loud and in the
moment to their partner, rather than writing them down.

Step 3: Making the Plan (5 minutes)

On their own, ask each student to take into account their partner’s feedback, and create a
“to-do” list for continuing their play or short story. What questions do they want to answer?
How does noting production challenges change/assist in their plan? Remind students that this
should not be a list of edits, but rather, what they will take into account in continuing to write
the story. These will be shared out to the class.

Closing/Ticket to Leave
Students will share their “to-do” lists.

Homework:
Write one additional scene or page (depending on story format) based on their feedback and
“to-do” list.

Pitfalls and Solutions:

If students are having difficulty writing and generating ideas, time limits can be adjusted as
needed.
This model of feedback is different from what students might be used to, and personal feelings
often come into play with creative writing. Be sure to remind students to stick to the
questions/prompts provided if this arises as an issue.

Adaptations/Modifications
Students who are English language learners or who have difficulty writing may not be
comfortable having their work read by others yet. In this case, give them the option to read
their own play/story out loud or verbally tell their story to their partner, or give a synopsis - the
same questions will still likely be applicable.
 Topic: Dramaturg for a Day: Responsibilities, Challenges and Solutions
Teacher: Kyle Imbeau

Essential Question(s): Lesson Objectives

What do we need to know to best engage with By the end of this lesson, students will be able
a work of art or performance? What can be to: Articulate dramaturgical questions and
left unknown? Are we always the correct challenges about plays/projects, and create
candidate for a project or production? plans for production processes.

Curriculum Framework/Learning Standard(s)

- Generate and conceptualize artistic ideas and work (Proficient Theatre Course
Standards, 1)
- Apply criteria to evaluate artistic work (Proficient Theatre Course Standards, 9)
- Synthesize and relate knowledge and personal experiences to make art (Proficient
Theatre Course Standards, 10)
- Relate artistic ideas and works to societal, cultural and historical contexts to deepen
understanding (Proficient Theatre Course Standards, 11)

Materials and Resources: Formative Assessments:

- Handouts on assigned projects - Brief response paper outlining
- Students’ preferred note-taking checklist, creative solution and
materials: pen and paper, laptop, etc. questions remaining

Warm-Up/Activator:
Ask students to write down any questions that still remain about what a dramaturg might do.
Solicit and answer these before beginning the exercise.

Procedures/Lesson:

Step 1: Intro and Handouts (2 minutes)

Explain to students that they will be receiving prompts for a hypothetical production where
they are working as the dramaturg. Distribute handouts with production prompts, and give
students the time to review and ask clarifying questions.

Step 2: Dramaturg’s Checklist (10 minutes)

Ask students to prepare a checklist of dramaturgical tasks in response to the three steps of the
dramaturg’s process: Pre-Production, In-Production, and Audience-Facing Work.
Use the following guiding questions:
Pre-Production:
- What do you, as the dramaturg, need to know to effectively do your job? What gaps
need to be filled in your own knowledge?
- Is there cultural knowledge or lived experience that the artists working on this
production should have? Are you the “right” candidate for this project?
In-Production:
- What will you need to research for the actors and creative team?
- What is unique about the concept or vision that might require extra attention? What
challenges will you need to help solve?
Audience-Facing Work:
- What does an audience need to know to get the most out of this play?
- What could be different or uncomfortable for your audience? How do you help them
understand?
- Creative Solution: Choose one kind of audience-facing dramaturgy element (program
note, lobby display, website/online resource, talk-back) and identify how you could use
it creatively to inform your audience for this specific project.

Step 3: Share out! (10 minutes)

Ask students to share one or two things on their checklist they find particularly interesting or
relevant, and their creative solution for audience-facing dramaturgy. Allow everyone the space
to give feedback and ask clarifying questions. Explain to students that these are the
considerations that dramaturgs use in their work every day, and that they have successfully just
engaged in an act of dramaturgy!

Closing/Ticket to Leave
Turn in checklists with creative solutions to the teacher.

Homework:
Write a one-page response to the activity, including an outline of your checklist and solution,
things you found compelling or interesting about the project, and questions that still remain
around dramaturgy.

Pitfalls and Solutions:

Students may not have read the plays/literary references in their prompts. Trading or doubling
of prompts could be used, or students could be encouraged to incorporate in their
“pre-production” section how they would read the play and get up to speed.
 Topic: Applied Dramaturgy - Lobby Displays
Teacher: Kyle Imbeau

Essential Question(s): Lesson Objectives

How do visual elements help relay By the end of this lesson, students will be able
information? How do multi-sensory resources to: Effectively translate research and analysis
like lobby displays help us reach wider of a work into a presentational format.
audiences?

Curriculum Framework/Learning Standard(s)

- Generate and conceptualize artistic ideas and work (Proficient Theatre Course
Standards, 1)
- Synthesize and relate knowledge and personal experiences to make art (Proficient
Theatre Course Standards, 10)
- Relate artistic ideas and works to societal, cultural and historical contexts to deepen
understanding (Proficient Theatre Course Standards, 11)

Materials and Resources: Formative Assessments:

- Materials for creation of display: - Final product and presentation of
poster-board, drawing/writing tools, display.
etc.

Warm-Up/Activator:
Ask students to arrive prepared with their play from the first activity, and finished Small Planet
analysis, and to take a moment to review their notes before beginning class.

Procedures/Lesson:

Step 1: Intro and Materials (5 minutes)

Explain to students that their task as dramaturgs today is to prepare an informational lobby
display explaining the “world of the play” that they prepared in the first exercise and their
homework assignments. The display can be designed however the student desires, but should
include the following criteria:
- Title and playwright of the play.
- A brief synopsis, in the student’s words, of the play.
- A “dramaturg’s note”: statement articulating students’ thoughts on the play
- A “vision board” with a minimum of ten photographs, drawings or visual elements that
show the “world” of the play identified in the first exercise.

Step 2: Work Time (1-2 Class Periods)

Allow the students time and materials during class to work on their displays. Supervise and
answer questions as they arise.

Step 3: Presentation! (1 Class Period)

Students will share their lobby displays with the class, reading their dramaturg’s note and
explaining at least two of their visual elements. Encourage students to ask clarifying questions
to the presenters, developing the skills in oral presentation and preparedness that dramaturgs
must have.

Closing/Ticket to Leave
Final presentation.

Homework:
N/A

Pitfalls and Solutions:

Students may not have access to resources to work on these outside of class - that’s why we
provide them!
Students may not have a reference for what a dramaturg’s lobby display “should” look like.
Come prepared with visual references and examples for their reference.

Adaptations/Modifications
Students who might struggle with writing might instead add more visual elements, and focus
on the presentation of their “world” and oral presentation of their ideas. If they also utilized the
modifications for the first exercise, this would be a great starting point!
 PROMPTS FOR “DRAMATURG FOR A DAY” LESSON PLAN

An adaptation of Shakespeare’s As You Like It for young audiences, teaching them

about gender identity and expression.

An inventive new production of Neil Simon’s Laughter on the 23rd Floor with a
cast of all women and non-binary actors.

A new musical about the history of the Benin Empire in Nigeria.

A multimedia production of Sweeney Todd which is performed partially through

projected video.

A devised movement piece without language, based on The Very Hungry

Caterpillar.

A production of The Prom staged in a conservative county currently dealing with

book bans in their schools.