D.C. Study Guide Draft #1

Dear Charlotte STUDY GUIDE

University of Houston School of Theatre & Dance The UH School of Theatre & Dance produces pre-professional plays, dance concerts, studio productions, and Theatre for Young Audiences. Performances are delivered in in the Wortham and Quintero Theatres. The UH School of Theatre & Dance offers bachelor’s degrees in playwriting and dramaturgy, acting, design and technology, stage management and theatre education. Its graduate programs consist of a Master of Arts in theatre studies, a summer Master of Arts in theatre education, and Master of Fine Arts degrees in acting, and design and technology. Noted alums include actors Jim Parsons, Dennis Quaid, Brett Cullen and Robert Wuhl. Faculty includes award-winning playwright, television writer, and novelist, Theresa Rebeck, Tony Award-winning producer Stuart Ostrow and Tony-nominated designer Kevin Rigdon. Past-distinguished faculty are Edward Albee, Lanford Wilson, Sir Peter Hall, Jose Quintero, Patsy Swayze and Cecil Pickett. In 2012 and 2013, the school was named “Best College Theater” in the Houston Press Theater Awards.

T H E A T R E . U H . E D U

Contents

Main Table of Contents

Audience Etiquette Please be Quite

What is Audience

Many Artist such as the Director, Technicians, and actors have put a lot of hard work and time into the performance you are about to see.

Please, do not talk to your friends during the show. It might disrupt the performance.

Etiquette?

We are so pleased that you have come to see Luchadora! To insure every audience member has the best possible experience, please review the following guidelines for watching live theatre...

Theatre is a live experience. The actors onstage and the audience share a common bond. The actors and audience have a responsibility to each other. Each night’s performance is a little different, this is for a number of reasons, but the main reason is that no two audiences are the same. Each audience has a different energy and reacts differently to a play's scenes. If the actors find that their audience is engaged and listening the performance quality is higher. If they find that the audience is disinterested and not listening it will bring the energy down in the theatre.

Be a supportive audience member, pay attention and engage in the story.

Arrive on time

Be sure to get to the theatre at least 15 minutes before the start of the show. It’s always a good idea to arrive early to allow time to use the restroom and find your seat.

No Cell Phones

Please turn off all Cell Phones and other devices that can make noise, like watches.

Remember, no one likes someone using their phone while talking. Please be respectful

Meet The Director What new challenges has this play presented you? And what have you done to overcome these challenges?

CO: An interesting challenge is having much of the cast playing multiple characters throughout the show, and sometimes in very short snapshots. In terms of design we looked into subtle accents to a scene or character, or sometimes both, that could help us moving on from one scene to another. The show, also, has a lot of timing and rhythmic elements that need to be very precise. This is a show; however, where I didn't know any of the actors or any of the designers and that isn't normally the case. I'm usually pretty comfortable with my casting pool and who I'm going to be working with so that was something new.

What's your inspiration for the direction of the story?

CO: We are focusing mainly on plot. In most plays the audience is interested in the story; what's going to happen next? But in the first two minutes the actors stand up onstage and give away the whole plot for the show, thus eliminating the suspense. So, the story has to function differently in that we have to interest the audience in how it happened and how it felt. How did it feel for a woman in the 19th century trying to break into literature?

How did it feel as a 9 year old to discover the magic of words for the first time? We (the design team) decided to pick out seminal moments of the show and see if we could find imagery that was evocative of what this felt like. Furthermore, we want the audience to be able to take visual and audio snapshots that are hopefully stunning. In essence, the concept of the show is to make the audience feel the show rather than follow it.

When starting a show, what steps do you take to prepare? And how does this translate to the rehearsal room?

CO: The first step I take in preparing for a show, even before speaking to designers, is that I storyboard the show; meaning, I break the show up into sections where each portion of the show has got some key element of the story that needs to be accomplished. I've broken down this show into 12 scenes per act, some of which is thinking of the best ways to segment rehearsal time for myself and the actors. However; more so than that, within each of those scenes are 5 other units for me that have to do with what I think is the essence of this story. Often times I give these scene's titles such as "Branwell's Hell." After casting the show, I have to go back to the drawing board; in that I have to look at whether I'm utilizing the characters in the best way. Walking into the rehearsal room I begin to look at what I'm building to and what is the climax based off my preparation. The climax is certainly the moment between Heger and Charlotte and so I have to remember that I am building to that moment and can't peak before that. This is my 200th show as a director and so I don't run into too many moments that completely catch me off guard; I've made a lot of mistakes and learned from them and so I can come into something pretty well prepared.

What do you hope audiences will take away from Dear Charlotte?

CO: Breathless moments. Moments where you just go, "Wow! That's an image I'm going to remember for a long time." The sense that people can be on a boat one second, and then on a street the next and then on a cathedral after that; so that imagination is spurred to places that the audience hadn't thought of before. I think that stories, on the whole, have tremendous value. The most powerful theatre is one where we can evoke and imagine rather than one where we simply create a museum. That's what I like about Dear Charlotte, it gets us to do those things.

Meet the Drsmaturgs - What is "dramaturgy" to you?

- How does it help the process of the play?

Sam Marchiony M.A in Theatre studies - Dramaturgy brings a lot more to the world of the play. Why is that important to you?

- What was your dramaturgy process for Dear Charlotte?

- What is your favorite thing you have learned through this process?

About the Playwright

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Design Renderings Set Design Set Designers will often build scale models of their set design to show the director and the actors what the set will look like in 3-D instead of just on the page.

Set designers will have multiple models for the multiple scenes in a play, to show the whole range of the set, as well as how the lighting in each scene changes.

Meet the Stage Manager Can you say a few words about yourself and your role in the show?

MH: My name is Madison Hottman and I am a junior/senior in the stage management program.

What is a stage manager and what does the job entail?

MH: A stage manager is what we call “a gladiator of the collaboration process”.

The job entails pre-production which starts a week before rehearsals start.

During pre-production we create all the paperwork that would benefit us during the rehearsal process. We also tape out our rehearsal space during this week. We move into the rehearsal process which is my absolute favorite. That comes with running the room, being the right hand to the director and the voice for the production team. Also, being an advocate for the actors. Then, into tech and performances.

What do you think has been your biggest challenge throughout the rehearsal process?

MH: The biggest challenge throughout the rehearsal process was adapting to the pacing. We only have three weeks of rehearsal to work a two hour show that involves 14 actors. The director, Christopher Owens, came in with everything already mapped out. The first night we blocked the first two scenes…that does not normally happen. He also does three rounds of rehearsal: blocking, working, and detailing. Everything is quick paced.

The first night we understood how the process was going to run from there on and we adapted. It has been such a blast working at a quick pace! It makes the team be on their toes!

Madison Hottman BFA Stage Management University of Houston Katherine G. McGovern College of the Arts School of Theatre and Dance

What has been your favorite part?

MH: I absolutely enjoy the rehearsal process. It has pushed me to use the stage management team in a different way. Our normal rehearsal style would not work with this fast-paced process. It has challenged me to better my communication skills so, that we can be efficient and effective in the room.

Meet the Stage Manager Finally, why did you choose to stage manage and what do you like about it?

MH: I have only been in theatre for two years. I started out as an actor but then, I tried stage management at my community college. I chose to stage management because I love the organization behind it. It felt like I was made for it. I love having the opportunity to watch creativity grow and excel. I also love calling a show. The adrenaline you get while calling a show is something I cannot describe.

The BrontĂŤ Family Tree

Production Tree Producer Technical Director

Director

Designers

Actors

Master Electrician

Master Carpenter

Stage Electricians Board Operation

Carpenters Welders Riggers

Prop Master

Props Artisan

Why Are They Important?

Who Are They?

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Reading Timeline The Count of Monte Cristo

by Alexandre Dumas - 1844

Jane Eyre

by Charlotte Bronte October 19 1847

The Tenant of Wildfell Hall by Anne Bronte June 1848

Poems

by Currer, Ellis and Acton Bell - May 1846 Agnes Grey

by Anne Bronte December 1847 Wuthering Heights

by Emily Bronte December 4 1847

Shirley

by Charlotte Bronte 1849 David Copperfield

by Charles Dickens November 1850 Villette

by Charlotte Bronte 1853

Moby Dick

by Hermen Melvin October 1851

The Professor

by Charlotte Bronte 1857

Contents

Pre-Show Table of Contents

A Bronte Family Portrait OBJECTIVE The student will be able to analyze the various family structures of the Bronte family and their significance..

Recommended Grade Level: 9th Grade Time Required: 50 minutes

TEKS OBJECTIVE

CORE TEKS §113.46. Sociology (One-Half Credit), Beginning with School Year 2011-2012.

(13) Social institutions. The student identifies the basic social institution of the family and explains its influences on society. The student is expected to: (A) define the functions and rituals of the family and how the family has changed over time; (B) define family systems and patterns; §115.32. Health 1, Grades 9-10 (One-Half Credit).

(10) Influencing factors. The student differentiates between positive and negative family influences. The student is expected to: (A) describe the roles of parents, grandparents, and other family members in promoting a healthy family; and (B) analyze the dynamics of family roles and responsibilities relating to health behavior.

THEATRE TEKS §117.315. Theatre, Level I (1) Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre. The student is expected to: (A) understand the value and purpose of using listening, observation, concentration, cooperation, and emotional and sensory recall (1) Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre. The student is expected to: (J) identify the principles of improvisation;

MATERIALS NEEDED -Family Structure video https://www.youtube.com/watch?v=yHvaKv9N0VE -Bronte Family Handout -Family Structure Activity sheet (attached to lesson)

A Bronte Family Portrait

INSTRUCTIONS

Hook: (13 Minutes) Ask the students “What is a family?” and “What components make up a family?”

Show them the Family Structure Video and pass out the activity sheet and the handout (Since the video is really short tell the students not to worry about memorizing each structure because they only need to focus on the 5 listed on the activity sheet.) (3 minutes) After the video, have the students popcorn read the handout about the Bronte Family. (7 minutes)

Step by Step Activity Details: (30 minutes) 1) After reading the handout, divide the class into groups of 4 or 5.

2) As a group, have the students go over the multiple family structure definitions on the activity sheet.

3) Within their groups have them provide an example of an iconic family for each structure. (For example: The Kardashian’s would be an example of a Blended family, The Simpson’s would be a Nuclear family, The Proud Family is Extended etc.) (5 minutes) 4) Afterwards each group comes up one at a time at the teacher’s discretion in front of the rest of the class.

5) The teacher privately tells the group one of the family structures to the recreate.

7) Groups then have ten seconds to form a portrait based on the title. (Remind the students to think about the characters involved in the picture and to talk to each other so that there are no repeat characters. They have to tell a story.)

8) Count down and at the end of 10 seconds yell out “Freeze!”

9) The students then freeze in a Tableau (A frozen picture), of what their family portrait would look like. (Make sure each group gets a turn).

10) The rest of the students now have to guess what structure the main group is trying to make.

11) As the game continues start changing up the family portraits by taking away family members or adding two groups together to change the family structures.

See how the students adapt to the change.

A Bronte Family Portrait

INSTRUCTIONS CONTINUED

 Assessment: The students will create different family structures by making tableau's and adapted accordingly when asked to add onto them to create even new tableau's/structures.Â

Closure: After the game have a group discussion with the students on whether they fully understood the activity. Ask them if they were able to understand what makes up each family structure? (5 minutes)

The Importance of Choosing Words OBJECTIVE

The student will be able to identify words using synonyms, specific diction and word choice as well as use diction and inflection to describe words in a variety of ways.

Recommended Grade Level: 10th Time Required: 45 Minutes

TEKS

CORE TEKS § English II (B1C) - infer word meaning through the identification and analysis… and other word relationships

MATERIALS NEEDED

30 Word Game Cards (provided) Timer

THEATRE TEKS § Theatre I (C1D); § Theatre II (C2C) - demonstrate effective voice and diction to express thoughts and feelings § Theatre III (C1C); § Theatre IV (C1C) - distinguish the proper techniques such as diction, inflection, and projection in the use of effective voice

The Importance of Choosing Words HOOK

1) Display/write the sentence: “I never said she read my book.” on the board.

Ask the students to discuss the different meanings of the sentence when a different word is stressed. (i.e. I never said she…; I never said she….; I never said she…) Introduce and discuss the importance of word choice (diction) and emphasis. a) How does emphasis change the meaning of a sentence? b) There are seven words in one sentence, but depending on which word is stressed, there can be seven different meanings.

2) Using the example from above: if “I” is stressed, that implies that someone else said “she read my book.” Or if “read” is stressed, that implies that she did something other than read the book, but what? Did “she” tear it? Steal it? The possibilities are endless, but the reader or audience member wouldn’t know unless the writer/actor stressed that particular word.

3) Note: If the students do not know the definition of diction, define it as: the choice and use of words and phrases in speech or writing.

ACTIVITY INSTRUCTIONS

1) Divide the class into two even groups (i.e. 30 students = two groups of 15), if there is an odd number of students, the single student left may be the score keeper, or act as an additional judge during the activity.

2) Divide the provided Word Cards into two stacks equal to the number of students in each group, face-down (15 students/group = 15 cards/group).

Instruct the students not to look at the words on the card.

3) The activity is similar to the card game Taboo. One group will start, a student will pick up ONE card, and will show it to the rest of the group and does NOT look at it. The other students in the group will describe the word on the card without saying the word itself or the three “taboo” words beneath it. The student holding the card will attempt to guess the word on the card based on the description from their classmates.

The Importance of Choosing Words

ACTIVITY INSTRUCTIONS CONTINUED

4) The student holding the card will attempt to guess the word on the card based on the description from their classmates in 45 seconds (If this proves to be too much time you may change to 30 seconds). If the student does not guess the correct word within that time, they place the card down and the next student begins.

5) Every word guessed within the time limit gains the group one point. If one of the students describing the word uses one of the “taboo” words, the team loses a point.

6) Once the first student has guessed, or failed to guess the word, the first student from the other team picks up a card and repeats the process.

Repeat the process, going back and forth between the two groups, until every student in both groups have attempted to guess a word.

7) Tally the points from each group, the group with the most points wins!

CLOSURE

1) Discuss with the students the additional thought that went into describing each word because of the “taboo” words that they were not allowed to say. a) What was the hardest part of the activity? b) How did you discover new ways to describe each word?

ASSESSMENT

1) Discuss how multiple words and phrases can be used to describe one word or phrase. Discuss the usefulness of this when acting in a scene to express thoughts and emotions; as well as when writing an essay, or in normal conversation. a) How can different word choices change the tone of a scene/essay/conversation? b) “I am happy.” vs. “I am cheerful.”; “The stage was dark.” vs. “The stage was devoid of light.” etc. c) Both sentences can mean the same thing, but can be expressed in different ways, and introduce different emotions depending on the words used. “...devoid of light” has a much colder tone and feeling than “dark.” Both are synonyms of each other, however, one is stronger than the other when invoking a reaction or emotion.

Location, Location, Location

OBJECTIVE

The student will be able to explain how setting affects the tone of a story by performing a scene set in different locations.

Recommended Grade Level: 9th-12th Time Required: 45 minutes

TEKS OBJECTIVE CORE TEKS §110.36. English Language Arts and Reading, English I (D) analyze how the setting influences the theme. §110.37. English Language Arts and Reading, English II (D) analyze how historical and cultural settings influence characterization, plot, and theme across texts. §110.38. English Language Arts and Reading, English III & §110.39. English Language Arts and Reading, English IV (D) analyze how the historical, social, and economic context of setting(s) influences the plot, characterization, and theme.

MATERIALS NEEDED

Script (provided) Setting list (provided)

THEATRE TEKS §117.315. Theatre, Level I & §117.316. Theatre, Level II (F) create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms. §117.317. Theatre, Level III & 117.318. Theatre, Level IV (B) analyze and evaluate dramatic texts as a basis for technical discussions, considering themes, settings, times, literary styles, genres, and characters;

Location, Location, Location

INSTRUCTIONS

Hook: Divide students into groups of 4. Have the students discuss the different settings in their personal day to day life. Ask if they act the same with their parents as they do with their friends, or if their mannerisms change in different social settings. (5 minutes) Step by Step Activity Details: 1) Have the students remain in their discussion groups. Hand each group a copy of the script attached. Each group should only need 1 copy for all their members.

2) Give each group 10 minutes to look over their scene, assign parts, and rehearse the scene.

3) Have each group come and perform their scene once. (10 minutes) 4) After they have performed it once, change only the setting of the scene and have them perform the same scene. Give them 5 minutes to rehearse this change. The characters and the dialogue will remain the same. There are suggestions for different settings attached. Remind them they should be focusing on how the setting changes the way they are delivering their scene.

5) Have the groups perform their scenes again. (10 minutes)

Closure: After each group has performed their scene and changed the setting once, have the class discuss how changing the setting affected the scene. How did your mannerisms change? Were you more comfortable in some settings than others?

Assessment: The assessment will be the students’ performance when the setting changes.

The Game of "British" Life OBJECTIVE

Students will understand how to create characters using body language based on life during the Victorian Era. Recommended Grade: 10th Grade Time Required: 45 minutes

TEKS CORE TEKS

THEATRE TEKS

World History -§113.42. (c)(24)(A) describe the changing roles of women, children, and families during major eras of world history; -§113.42. (c)(30)(C) interpret and create written, oral, and visual presentations of social studies information;

Theatre I - §117.315. (c)(2)(E) employ physical techniques consistently to express thoughts, feelings, and actions non-verbally; - §117.315. (c)(1)(F) demonstrate a working knowledge of the language of theatre such as stage terminology, elements of theatre, or theatrical conventions; - §117.315. (c)(4)(A) portray theatre as a reflection of life in particular times, places, and cultures;

MATERIALS NEEDED Articles: -http://www.angelfire.com/ok/hoddies/rural.html -http://www.victorian-era.org/victorian-era-diseases-illnesses.html -http://www.victorian-era.org/roles-of-women-in-the-victorian-era.html -http://www.victorian-era.org/victorian-age-life.html -http://www.victorian-era.org/childrens-education-in-victorian-era.html

The Game of "British" Life INSTRUCTIONS

Hook: (10 minutes) Divide the class into 5 groups and hand each group the different articles from the 5 articles provided. Have the students read the articles among their group.

Step by Step Activity Details: (30 minutes) 1. Explain to students that tableaus are a frozen picture that doesn’t move or talk. To show an example of a tableau to the class, have 3 students make a tableau of a village. (3 minutes) 2. Explain to students that they will be creating 3 different tableaus that represent the assigned article. Each group must assign a narrator to explain what each tableau represents. (2 minutes) 3. Students will then create and rehearse 3 different tableaus using their assigned article. (10 minutes) 4. Once 10 minutes have passed, have each group come up one by one to present their tableaus to the class. (15 minutes) 5. Once all groups have gone, students will sit down for a discussion.

Closure: (5 minutes) Discuss with the students on the following questions: - What were some struggles that the people in the countryside of England faced?

- What was expected of the women in the family?

- Did families focus more on the girl’s education or the boy’s education and how was the education system?

Assessment: One group at a time will present their tableaus to the whole class.

- Check for different levels during the tableau - Check if their body language gives a clear understanding of a character - Do the character choices make a good representation of their assigned article?

The Difference is X

OBJECTIVE

The student will be able to create a written monologue using their understanding of women’s education in the 1830’s.

Recommended Grade Level: 9th Time Required: 45 Minutes

TEKS OBJECTIVE

CORE TEKS

THEATRE TEKS

§113.42. World History Studies (c) Knowledge and skills.

(24) Culture. The student understands the roles of women, children, and families in different historical cultures.

The student is expected to: (A) describe the changing roles of women, children, and families during major eras of world history

§117.315. Theatre, Level I, Adopted 2013. (c) Knowledge and skills.

(2) Creative expression: performance.

The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (E) write dialogue that reveals character motivation, advances plot, provides exposition, and reveals theme

MATERIALS NEEDED Provided Passages and Venn Diagram Template

The Difference is X INSTRUCTIONS

Provided worksheets are handed out the day before this lesson.

Students should be asked to look over them as homework, keeping in mind the similarities and overarching themes.

Hook: 1) Explain to the class what a venn diagram is and how to use one: Two overlapping circles with a space in the overlap in order to compare and contrast a set of ideas. (5 mins) 2) Ask the students to discuss the worksheets among their neighbors and create a venn diagram of the educational opportunities for women in the 1830’s versus now. (10 mins) 3) As a class, discuss the student’s findings within the passages and talk about the conclusions they may have drawn from them.

(15 mins) Step by Step Activity Details: 1) The students will write a short monologue (30 seconds to a minute) from the perspective of a woman in the 1830’s expressing her thoughts about her education. (15 mins) 2) Students may volunteer to share their monologues in class, although not required (5 mins)

The Difference is X Assessment: The written monologue, which should show an understanding of women’s education during that time, and have some characterization.

Closure: End the class with a discussion of the activity and the differences the students noticed between time periods.

Ask questions such as: What is different about women’s education in Charlotte Bronte’s time versus ours?

What do you think could still be improved today, if anything?

If you lived in the 1830’s, what would you do to encourage a change in this problem?

How does women’s education impact their careers and income?

How has this impact changed between ours and the Bronte’s time?

Finding Your Accent

OBJECTIVE

Students will be able to develop oral language skills by listening to, and speaking, vocal patterns of a character.

Recommended Grade Level: 11th-12th Time Required: 45 Minutes

TEKS OBJECTIVE CORE TEKS §110.38(.39). English III-IV (1) (C) give a presentation that exhibits speaking rate such as pauses for effect, volume, enunciation and conventions of language to communicate ideas effectively

MATERIALS NEEDED

Vocal Warm Up Pages (included) Blindfolds (Optional)

THEATRE TEKS §117.317. Theatre, Level III, (1) (A) apply theatre preparation and warmup techniques effectively §117.318. Theatre, Level IV, (2) (A) model safe, appropriate techniques to allow for physical, vocal, and emotional expression

Finding Your Accent INSTRUCTIONS Hook: Time (~10 Minutes)

Discuss with the students some common elements of a British accent that they noticed during the show. Also touch on elements such as pronunciation and phonetic spelling of words. Write out their observations on a board as well as those listed below if not mentioned. Focus on things such as: · Long “a” i.e. can’t sounding like “cahn’t” · Dropping the “r” after words i.e. far sounding like “fah” · Liquid “u” i.e. think of words such as “cute” and “beautiful” and how the “u” is pronounced in those words, same concept should be used in “assume” (“assyume”) or “new” (“nyew”) Perform vocal warm-ups emphasizing British accent principles. (Handout Included) Step by Step Activity Details: Time (~30 Minutes)

1) Split class into 4 groups; groups can be of even or odd number.

2) Have students create their own British accent inspired sentence, focusing on using more than one element previously discussed and having to do with a theme in Dear Charlotte. (Sentence should be brief but concise.) Example sentences may include: “Charlotte Bronte found freedom through literature.”

“The Bronte family faced immense tragedy.”

“Art is important in creating one’s identity.”

3) Go around the room having each group recite their “British Sentence” in their best accent. Choose two groups to start the game and move into an open space.

4) The two chosen groups will close their eyes and be mixed around the room by the two groups not chosen. Try to pair one student with eyes closed to a student without their eyes closed to act as a guide for them.

5) Once students have been mixed throughout the room and have a guide, they should now be instructed to find their group members by pronouncing their “British Sentence” created earlier while keeping their eyes closed.

Finding Your Accent INSTRUCTIONS CONT.

6) The end result of the game should be the group member finding the entirety of their group by only using their previously created sentence. Group member cannot open their eyes until all group members have been found.

7) Repeat the game again for the other two groups.

Assessment: Time (as students perform)

As the students perform their sentences aloud to find their groups, listen for correct pronunciation and utilization of an accent. Offer pointers as necessary.

Closure: Time (~5 minutes)

Gather all the groups together into a circle.

1. What elements of the activity were challenging? Helpful?

2. How do we think accents come about?

3. Why might it be difficult for us to adapt to an accent such as British?

4. Can anyone point out aspects of our speech that may be different from other accents?

Will That Be Cash or Card?

OBJECTIVE

The student will be able to explore budgeting and finances as a character from another time period, with their character’s perspectives in mind.

Grade Level: 9th-10th Time Required: 45 minutes

TEKS

CORE TEKS §127.14. Career Preparation I (4)(B) The student applies academic skills to the workplace. The student is expected to: (B) develop a personal budget based on a career choice; §111.43. Mathematical Models with Applications (c)(2)(A) use rates and linear functions to solve problems involving personal finance and budgeting, including compensations and deductions;

THEATRE TEKS 117.315.Theatre, Level I ©(4)(A) identify the impact of live theatre, film, television, and electronic media on contemporary society; 117.316 Theatre, Level II ©(2)(B) explore creativity as it relates to self and ensemble

MATERIALS NEEDED

Cup of Paper to divide students into groups Stopwatch Station Worksheet for each group (attached) Scratch Paper for each student

Will That be Cash or Card?

INSTRUCTIONS

Hook: (5 minutes) Discuss the idea of the cost of school with your classroom. Ask for input about how they think the amount of money you have can hurt or help someone’s education.

Step by Step Activity Details: 1) After opening discussion, divide students into groups of 7. Have students draw paper from a cup to decide who will go to Group A, Group B, and Group C. Stations should all be clearly set up with station worksheet nearby (one worksheet per group or “family”). They will be in these stations for 5 minutes each. (5 minutes) 2) Once students are situated at their stations, explain all the rules and guidelines of the stations (on the attached handout). Students are all expected to contribute to their group/family. (3 minutes) 3) Give students time to define roles within the family before we start the activity. (Father, Mother, Sister, Dog, etc.) They should also create names for themselves and a last name for the family as a whole. (2 minutes) 4) Students will rotate through stations (5 minutes per station) . Students should be keeping in mind the opening discussion throughout their stations.

Make sure they are recording their work and answering questions in the Station Worksheets. (25 minutes) Closure (5 minutes) For final discussion, have a member from each group share what they spent their money on. Ask the groups different questions regarding the activity (Ex: Do you wish you spent more somewhere else now that everything is over?, etc..) Remember to go back to the beginning questions about how money affects education.

Assessment: Final Discussion in which the students: -Are students able to prioritize budget, manage money in their family?

-Are students able to understand the cost of education and how it is affected by finances?

-Can students correlate how upper class have more access to education, especially higher education?

Will That be Cash or Card?

INSTRUCTIONS

In your stations today, you will each start off with a certain amount of money; this will represent your family’s “income”. You will need to keep track of how much money your family spends at each station and keep in mind you will need money for every station, so you can’t blow it all at one place!! Make sure to choose who is the Mother, Father, Children in your family and keep that in mind while budgeting later!

Group Descriptions!! · Group A- In your family your father works is a farmer and your mom stays home to take care of the children, cook, and clean. There is 2 kids in your family! You are only allotted 500£ for this exercise! · Group B- In your family, your father and your mother both work! The Father is a Reverend and your mother is a seamstress. There are 2 kids, but they are in school all day, so you don’t have to worry about childcare. You are allotted 800£ for this exercise! · Group C- Your family owns most of the land in your city. You have a big home on a big lot of land with horses and cows and lots of things to do and see! There are 2 children in your family! 1 is in school, but one is a toddler and stays home with a nanny. Your family is allotted 1050£ for this exercise.

Here we go!!

Station One: All about the food!

Plan A- 150 £ - The Healthiest and Tastiest option! This meal plan comes with seafood, poultry, steak, and a multitude of fresh vegetables. Full stocked fridge and pantry. Your family can eat out 3 days a week.

Plan B- 100 £ - Lots of chicken and ground beef. Some Fresh Vegetables and plenty of frozen. A lot of snacks and variety. Your family can eat out once a week.

Plan C- 50 £ - A lot of pasta, potatoes, and beans. Frozen Meals. Can eat Fast food meal with family once a week.

Will That be Cash or Card?

INSTRUCTIONS

Station 2: Home Sweet Home! What kind of place are you living?!

A- A cottage in the countryside. There is a lot of space for the kids to play outside, but inside it is quite small. 150£ B- Beautiful,big, new home, right outside of the village close-by. Lots of room inside and outside. Barns and sheds and a small guest house for maids, nanny’s, governess, or whatever you decide. . 400£ C- Medium size home in the countryside. Decent space for the family inside and out. 200£ Station 3: Education! Where are your kids going to school?

A- Private school tutors after-school clubs’ sports programs 200£ B- Public school, still able to afford them to get tutors and go to some afterschool programs 100£ C- Public school. Free 0£ **Daycare fee: If you are in a family where both parents work, add a daycare fee of 50 £

Station 4: Clothing! New school year and, Oh no!!, none of the kids fit into their old school clothes.

A- Each kid gets one new outfit and no new shoes. 50£ B- Each kid gets two outfits and a new pair of shoes. 100£ C- Each kid gets four outfits and two new pairs of shoes. 200£ Station 5: It has been awhile!!! Does your family have the money to go on a Vacation this year?

A- Vacation Time! Take the whole family on a vacation to the Beach for a couple of weeks for the summer. 200£ B- Stay at home, have a family game night. Not in the budget. 0£ C- Visit a family member in a city a couple hours away. 100 £

What the Heck is That?

A Look at Expressionism

OBJECTIVE

The student will be able to identify expressionism in art and theatre and be able to discuss the emotional impact it has on an individual.

Recommended Grade Level: 9th-12th Time Required: 40 minutes

TEKS OBJECTIVE CORE TEKS Art I §117.302 (C)(1)(D) Make judgments about the expressive properties such as content, meaning, message, and metaphor of artwork using art vocabulary accurately.

Art I-VI §117.302 or §117.303 or §117.304 or §117.305 (C)(2)(D) create original artwork to communicate thoughts, feelings, ideas, or impressions;

THEATRE TEKS Theatre I & II §117.315 & §117.316 (C)(2)(E) employ physical techniques consistently to express thoughts, feelings, and actions non-verbally

Theatre III & VI §117.317 & §117.318 (C)(1)(B) experiment with stage movement;

MATERIALS NEEDED

Copies of paintings (provided) Discussion Questions for Teacher (provided) Emotion cards (provided) Timer/phone (optional)

What the Heck is That? Â A Look at Expressionism INSTRUCTIONS

Hook: As students come in, have them sort into even groups (up to six groups) and give each group an art comparison handout (provided). Have students discuss in their group how the different elements that the artist uses in the painting, how they make them feel, and what they think the artist was thinking. (5 minutes) Step by Step Activity Details: 1) Using the discussion questions provided, discuss the painting and elements of expressionism. (5-10 minutes) 2) Give each group an emotion card. Now, explain to the class that each group will be making two tableaus (a frozen stage picture that does not talk or move) that display their emotion.

One of their tableaus should reflect realism and the other one should reflect expressionism. Remind them that every student in the group must be a part of both tableaus.

3) Give students 10 minutes to create their tableus and rehearse them. (10 minutes) 4) Have the groups display their tableaus one at a time and have the class discuss the differences between the realism and the expressionist tableus. (10 minutes) Closure As a class and using the discussion questions on the resource page, discuss how you think expressionism will be used in Dear Charlotte.(5 minutes) Assessment: Â Displaying tableaus and closure discussion.

The Mysterious Letters

OBJECTIVE

The student will be able to demonstrate effective communication among team members and create specific characters through the utilization of theatrical tools in order to solve problems.

Recommended Grade Level: 9th Time Required: 50 Minutes

TEKS

CORE TEKS

THEATRE TEKS 177.315 Theatre, Level I (b) (1) (A) understand the value and purpose of using listening, observation, concentration, cooperation, and emotional and sensory recall (1) (D) develop and practice effective voice and diction to express thoughts and feelings

100.31 English Language Arts and Reading, English I (b) (24) Listening and Speaking/Listening. Students will use comprehension skills to listen attentively to others in formal and informal settings (26) Listening and Speaking/Teamwork. Students work productively with others in teams… Students are expected to participate productively in teams, building on the ideas of others, contributing relevant information, developing a plan for consensus- (2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates building, and setting ground rules for decision-making dramatizations. The student is expected to: (D) use physical, intellectual, emotional, and social awareness to 110.52 Creative Writing (b)(1) (B) demonstrate the distinguishing characteristics of various written portray believable characters and convey a story when applying acting concepts, skills, and techniques forms such as fictional writing, short stories, poetry, and drama in (E) employ physical techniques consistently to express thoughts, his/her own writing feelings, and actions non-verbally (C) elaborate writing when appropriate such as using concrete images, figurative language, sensory observation, dialogue, and other rhetorical devices to enhance meaning (D) employ various points of view to communicate effectively

MATERIALS NEEDED

-Resource sheet (provided) -A cup or hat (to draw names from) -Notebook paper

The Mysterious Letters INSTRUCTIONS Introduce the aliases below.

HOOK - 5 Minutes

Ben Franklin = Mrs. Silence Dogood - a pen name used in order to get his ideas published in the New-England Courant, which he was unable to do before. A total of 14 letters were written, multiple of which went into detail about Silence Dogood’s life.

Theodor Seuss "Ted" Geisel = Dr. Seuss - adopted the name while studying at Oxford before moving on to create children’s illustrated stories that summarized and expressed societal issues in America during WWII. Joanne Rowling = J.K. Rowling - Used two initials as opposed to her first name, Joanne, to take on an air of gender neutrality. Her publishers thought this choice would encourage young boys to read the Harry Potter series if they didn’t perceive the author as a woman.

Charlotte Bronte = Currer Bell - Used in conjunction with her sisters’ aliases, Acton Bell and Ellis Bell for Anne Bronte and Emily Bronte, respectively, as the three published poetry and novels throughout the 1840’s. The pen names were used to both hide gender and preserve their first and last initials.

Questions to ask: What are similarities or differences between these aliases?

What are the different purposes behind these aliases? Are any of them similar?

Do you think any of these aliases were effective in satisfying their purpose?

STEP BY STEP ACTIVITY DETAILS - 35 Minutes 1) Have students stand and “stage” a dinner party. - 15 Minutes It is not required to move desks, but is encouraged. In this dinner party, students should take on unique and visible character traits- examples including playing someone very old, very young, snoody, sleepy, sneaky, etc. (Please take a look at the resource page for different character ideas to share with your students.)

Have students divide into groups of 5-6. Attached is a general script that you, as the instructor, will read as the “host.” Allow your students to react and converse within their groups about the events of the dinner party. (After the line “Tootles!,” have students sit with their group members.)

2) Have students create their own alias. - 5 Minutes The students should make note of their alias, but be sure not to share yet! This alias should somewhat relate to the student’s chosen character trait.

Within the same groups, have the students write group members’ real names on slips of paper. Fold these up and mix them in a cup or hat. Have each student pull a name. If they pull their own, put it back and try again. This name will be the person to which they will write.

The Mysterious Letters INSTRUCTIONS (CONTINUED) 3) Separate from groups. Time for letter writing! - 15 Minutes Have each student get out a sheet of paper and compose a short letter addressed to their drawn name. The letter should contain (1) a clear objective from the author needing contact with whom they are writing, (2) detailing the events of the dinner party, (3) a place for the reader to meet the author, and (4) be from the student’s character’s point of view.

An example is attached to the resource page- please take five minutes to present and explain if necessary. When finished, have students fold their letters in half and address the letter to their drawn name. Place all the letters at the front of the room (and maybe mix them up a bit to preserve anonymity).

Closure - 5 Minutes -When the entire class has placed their letters at the front, have students pick up the letters addressed to them. Return to the dinner party groups and read the letters. Have students try and guess who is linked to each alias based on the clues of the character traits and the details of the letter.

ASSESSMENT - 5 Minutes Ask students these questions and have them discuss their answers within the dinner party groups: What clues helped you find the person who wrote your letter?

What clues did you use in your letter to hint at who you really were? Do you think your clues were too easy or too hard?

What defining characteristics did you base your clues off of?

Do you think your alias was too easy or too hard to guess? Why? Why do you think real-life historical figures and artists create aliases? Now that you have attempted to hide or change your identity, do you think it is difficult for these figures and artists to do the same?

Rachel's Lesson

OBJECTIVE

The student will be able too.....

TEKS OBJECTIVE

CORE TEKS

MATERIALS NEEDED

THEATRE TEKS

Rachel's Lesson INSTRUCTIONS

Contents

Pre-Show Table of Contents

The Writings of Bronte: How They Created Their Stories

OBJECTIVE

Students will be able to create and tell a story by using different strategies such as brainstorming, discussion, and improv.

Recommended Grade Level: 9th Time Required: 45 minutes

TEKS English 1 (C9A): plan a piece of writing appropriate for various purposes and audiences by generating ideas through a range of strategies such as brainstorming, journaling, reading, or discussing

Theatre 1 (C2B): define creativity as it relates to personal expression Theatre 2 (C2B): explore creativity as it relates to self and ensemble Theatre 3 (C2E): write dialogue that reveals character motivation, advances plot, provides exposition, and reveals theme Theatre 4 (C2E): create individually or devise collaboratively imaginative scripts and scenarios

MATERIALS NEEDED

rSmall objects (students will create backstories for these objects) ex: small ball, expo marker, ruler, key, rubik’s cube, toy soldiers, etc. (students can be told to bring items in advance)

The Writings of Bronte: How They Created Their Stories INSTRUCTIONS

Hook: (for class discussion) Think about the toy soldier scene from the play Dear Charlotte. How do you think this eventually led the Bronte sisters to become writers? (5 min.)

-Use of imagination led them to create interesting stories while playing with objects -What do you remember from the scene? What stuck out?

Step by Step Activity Details: 1) Hand out objects (if students have not brought their own) and separate into groups of three or four. (approx. 2 min.)

2) Students will create stories for the objects given to them through improv (these will not be performed; we are replicating playing with toys and using imagination to create a story). Improv stories do not have to be super long or detailed. (5-10 min.)

-Come up with a backstory or, -Invent a story that revolves around the object (ex: the necklace in Titanic) or, -Give the object an unusual function (ex: a ball becomes an apple)

The Writings of Bronte: How They Created Their Stories INSTRUCTIONS CONTINUED

Assessment: Students use the storytelling tactics they learned during class to write their own short story in groups (stories can be about their improv scene but don’t have to be, and do not have to include the object. The objects replicate the toy soldiers the Brontes played with and do not have to be relevant to the final story created). Story must be 3-5 paragraphs long. (25-28 min.)

Closure: Discuss how the objects helped in creating a story; relate back to toy soldier scene (5 min.)

-Playing with toy soldiers helped Brontes become storytellers -Use of toys (small objects) helped stimulate imagination -Imagination flow led to creating stories text

The Byronic Hero

OBJECTIVE

Students will develop teamwork and creative writing skills by creating a cohesive devised script, while also applying fine arts knowledge to create dialogue and stage directions in their own words.

Recommended Grade Level: 11th-12th Time Required 45 Minutes

TEKS OBJECTIVE

CORE TEKS §110.52. Creative Writing (2) The student selects and uses recursive writing processes for selfinitiated and assigned writing. The student is expected to: (A) select and apply prewriting strategies to generate ideas, develop voice, and plan;

THEATRE TEKS §117.318. Theatre, Level IV (2) Creative expression: performance.

The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (E) create individually or devise collaboratively imaginative scripts and scenarios.

MATERIALS NEEDED

Paper, writing utensils, performance rubric (provided), resource sheet (provided)

The Byronic Hero INSTRUCTIONS

H O O K ( 5 M I N U T E S ) The Byronic Hero has lasted through modern literature, and has manifested in well-known characters such as Frankenstein’s Monster and Severus Snape. The Bronte sisters, too, learned to use this archetype in their novels, with Edward from Jane Eyre and Heathcliff from Wuthering Heights both being examples of Byronic. They are characters that readers love to hate, and your students will have to learn to really understand them. To start with, make sure the students are aware of what makes a character a Byronic Hero and list a few of the examples in pop culture listed below (see resources), and have the students walk around the room emulating the chosen characters.

A C T I V I T Y D E T A I L S ( 3 5 M I N U T E S ) Divide students up evenly into four groups. (If the class doesn’t divide evenly, the groups can be disproportionate.)

Have each group brainstorm a name and simple backstory for their own Byronic Hero. (5 Min) Assign a conflict to each group for their character to overcome from the basic literary conflicts to each group for them to portray. (see resources) Have the students among the groups pass a page (or multiple) around, each student will write one line or stage direction at a time until they have constructed a full 2-3 minute scene. (15 Min) The students will then cast and perform their scenes for each other. (15 Min) C L O S U R E ( 5 M I N U T E S ) Give any available time for discussion and reflection on the project and what was learned.

ASSESSMENT Use a performance rubric to check grammar, quality, and overall understanding of the Byronic Hero. The rubric is not to critique the performer’s acting quality.

It’s not This, it’s This

OBJECTIVE

The students will explore the differences in a child's imagination within the Bronte’s 19th century reality.

Recommended Grade Level: 9th Time Required 55 minutes

TEKS

CORE TEKS §113.45. Psychology Knowledge and skills.

(4) Science of psychology. The student understands how sensations and perceptions influence cognition and behavior. The student is expected to: (A) explain the capabilities and limitations of sensory systems and individual perceptions; and (B) understand the interaction of the individual and the environment in determining sensation and perception.

MATERIALS NEEDED

Box of assorted props

THEATRE TEKS §117.315. Theatre, Level 1 Knowledge and skills.

(2) Creative expression: performance.

The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (F) create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms.

It’s not this, it’s this INSTRUCTIONS

Hook: 5 minutes Discuss what the students remember imagining as a child. Ask the students why was it easy to take something in reality like a playground and imagine it as something different. Tell the students to think back to Dear Charlotte. Ask them how the Bronte’s used their imagination in the play. (https://www.youtube.com/watch?v=m0zCn_yQ3RY) Step by Step Activity Details: 20 minutes 1) The teacher will provide box of props. It can be an assortment of things. For example, the student can select a hair brush, and use it as anything but a hair brush.

The students will say “It’s not a hair brush, it’s a magic wand.” They would have to pretend to use it as the item they imagined it to be. Allow all students to have a turn.

(15 minutes) 2) Once all students have gone, each student will pick a new prop. Divide the students into 5 groups. The students will perform an improvised two-minute scene using the new props they picked in the scene. The students will have five-minutes to discuss and rehearse their scene. (5 minutes) Assessment: 25 minutes The students will improvised a short two-minute scene within their group. After each group has gone, ask audience if they identify what each prop was.

Closure: 5 minutes Then discuss how they felt about doing the activity. What memories did it bring back from your childhood? Discuss how the Bronte children had to imagine an object as another object. (5 minutes)

Death by Charades OBJECTIVE

Students will be able to demonstrate their understanding of symptoms, as well as safe use of their voice and body while by performing the symptoms of common deaths in the 19th century.

Recommended Grade Level: 9th-12th Time Required: 45 Minutes .

TEKS

ENVIRONMENTAL SYSTEMS TEKS

THEATRE LEVEL I TEKS

Students will be able to demonstrate their understanding of the symptoms of common deaths in the 19th Century.

Students will be able to demonstrate safe use of the voice and body while performing the symptoms of common deaths in the 19th Century.

§112.37. Environmental Systems, Beginning with School Year 2010-2011 (One Credit)(c) Knowledge and skills.

(7) Science concepts. The student knows the relationship between carrying capacity and changes in populations and ecosystems. The student is expected to: (D) analyze and make predictions about the impact on populations of geographic locales due to diseases, birth and death rates, urbanization, and natural events such as migration and seasonal changes. . .

MATERIALS NEEDED Provided Handout Victorian Deaths Death Cards

§117.315. Theatre, Level I, Adopted 2013(c) Knowledge and skills.

(1) Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre. The student is expected to: (C) develop and practice stage movement techniques such as stage combat consistently to express thoughts, feelings, and actions non-verbally; (2) Creative expression: performance.

The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (A) demonstrate safe use of the voice and body (E) employ physical techniques consistently to express thoughts, feelings, and actions nonverbally .

Death by Charades INSTRUCTIONS

HOOK (6 MINUTES) Watch How does your immune system work? - Emma Bryce video to have an understanding of how how our Immune system reacts to virus, and bacterial invaders. https://www.youtube.com/watch?v=PSRJfaAYkW4 ACTIVITY DETAILS (30 MINUTES) 1) Pass out Victorian Deaths handout (Provided) paper to class giving them 5 minutes to review over the different diseases, and symptoms that accompany them.

2) Split class into two groups. a) Let the students create their own team names.

3) Have a stack of Death Cards (Provided) at the front of the class.

4) One by one each team member draws a card and acts out the symptoms of their selected death. Alternating teams 5) If the Charade performer needs help they can ask another member to help them as a prop. The team member they choose can not see the illness being portrayed, or act along with them, but they can identify the illness if it comes to them. a) This is helpful if the disease is contagious 6) Team members have 60 seconds to guess what is ailing their team mate 7) If the Charades performers says any word, they do not gain a point and their turn is over.

8) After each turn the drawn card is placed at the bottom of the stack.

9) Team with the most points wins

Death by Charades

INSTRUCTIONS CONTINUED

DO'S AND DON'TS 1) Students are allowed to make noises (Moaning, coughing, wheezing, sneezing, vomiting, flatulence) 2) Students can use all Charades gestures a) Sounds Like - Pointing to their ear b) How many Syllables - Lay number of fingers on arm c) How many words - Holds up number of fingers in the air d) Length of word - make a little or big sign as if you were measuring with your hands 3) Groups are only allowed to guess 4 words.

CHECK FOR UNDERSTANDING/CLOSURE (REMAINING TIME) Hold a question and answer session. Take questions from the class and allow students and yourself to answer the questions. Some questions can be: 1) What made this exercise challenging?

2) What was easy about it?

3) Why is it important to know the causes, and symptoms of someone's illness?

4) How do you think medical professionals diagnose their patients with these illnesses.

5) Was diagnostics hard or easy for medical professionals?

Changing Cultures OBJECTIVE

The student will analyze 18th century British culture to create games and dances that both use voice and movement, as well as a portrayal of a change in cultures..

Recommended Grade Level: 10th Time Required: 45 minutes

TEKS

World History TEKS §113.42 (26) Culture. The student understands the relationship between the arts and the times during which they were created. The student is expected to: §113.42 (C) identify examples of art, music, and literature that transcend the cultures in which they were created and convey universal themes.

Theatre I TEKS Theatre 1 §117.315 (4) (A) Historical and cultural relevance. The student relates theatre to history, society, and culture. The student is expected to portray theatre as a reflection of life in particular times, places, and cultures;

MATERIALS NEEDED

Changing Cultures Handout (There are 2 categories: Dance and Sports/Games. Assign a group to each) Themselves

INSTRUCTIONS

Hook (4 minutes) Have a small discussion with the class after the show. Ask them questions, such as: What did they think about the show?

What influences during 19th century Britain do you think influenced the Brontes?

What did you think about the Bronte siblings’ childhood?

Why do you think they danced or played games the way they did?

Step by Step Activity Details: 1) Divide the class into 4 even groups. There is no specific number of students required per group. The students can either sit at a table or gather in a group. Assign 2 of the groups to the Dance category and the other two to the Games category. (4 minutes) 2) Have the students read their assigned Changing Cultures handout section. (7 minutes) 3) The students will then create either a dance or game based on their assigned category. The students can combine two or more existing games. The game or dance has to be a group presentation. Further instructions are on the Changing cultures sheet. (11 minutes) 4) The students will now present their games or dances, each limited to 3 minutes. The games have to include the use of voice and movement.

The dances can include voice, but they must use theatre principles, such as angling yourself towards the audience. At the end of their performance, the students will state what dances/games they based their creation on.(15 minutes)

INSTRUCTIONS CONTINUED

Closure (4 minutes) Lead a class-wide reflection. If the class is smaller, or time allows, you can go around the class asking everybody to reflect. If the class is larger or time is constricted, then ask for volunteers. The topics of the reflection should include: What did the students feel about the games they created?

How did it feel like to change an existing game into something new?

Do you have a different perspective on the Bronte’s childhood after creating your game or dance?

It's Lit!

OBJECTIVE

The students will be able to Comprehend the meaning of color in lights, and how color can affect a set design.

REQUIRED TIME: 40 Minutes RECOMMENDED GRADE-Level: 10

TEKS OBJECTIVE

CORE TEKS

THEATRE TEKS

§112.38. Integrated Physics and Chemistry, (5) Science concepts. The student recognizes multiple forms of energy and knows the impact of energy transfer and energy conservation in everyday life. The student is expected to: (G) explore the characteristics and behaviors of energy transferred by waves, including acoustic, seismic, light, and waves on water, as they reflect, refract, diffract, interfere with one another, and are absorbed by materials;

§117.324. Technical Theatre, Level II, (2) Creative expression: performance. The student develops and demonstrates technical theatre skills through the pre-production processes from concept (script or original idea) to performance. The student is expected to.

(2) Creative expression: performance. The student develops and demonstrates technical theatre skills through the pre-production processes from concept (script or original idea) to performance. The student is expected to:

MATERIALS NEEDED

light on their phone, Colored tissue paper (Green, Blue, and Red), Action figures/ model toys, and a Color chart (provided).

It's Lit! INSTRUCTIONS

1.) (Before Class) The teacher will set up workstations for the students. This consist of a set of green, red and blue tissue paper, and a toy or model.

Be sure to set up the station for two students.

2.) (10 minutes) The teacher will hand out the color sheets and explain to students the meaning of color in lighting. Ask the students about what red (or any example color) means to them? What emotion can it invoke? Explain what the colors mean on the chart and how that color can affect the feeling of the scene. Red being an angry color ( meaning it means danger or hate), blue being a calming color, and green being full of life.

3.) (3 minutes) The teacher will split the students into groups of two, and sent to a workstation.

4.) (1 minute) The students will be asked to take their phones out and turn the flashlight on, while the teacher turns the lights out.

5.) (5 minutes) Students will then be instructed to set the model toy up and flash their light on it, then discuss what a white light means and what emotion the students look for?

6.) (10 minutes) Then the students will be asked to flash the light with the tissue paper individually in front of it at the model. (this can be any color paper. However, make sure that it is one phone flashlight flashing at the model). Talk to them about what they think that scene looks like in relation to the color. Discuss in a group does it look like war, a party, or a sad monologue?

7.) (10 minutes) After the students use one color, the teacher will ask that the students take both their phones with different color paper and shine it in the same spot on the The teacher will go table by table and discuss what color combination they used, how does it make them feel, and what is the emotion that this color invokes?

It's Lit! CHECK FOR UNDERSTANDING

Are they understanding and using the color chart?

Are the students understanding how the colors help tell a story?

Is the student working with the model and the color together, to help create a picture with emotion?

Project Runway Preparatory Program

OBJECTIVE

The student will be able to create a design for Dear Charolette by analyzing historical research, applying basic design concepts, and becoming familiar with fashion from the 1840's.

Recommended Grade Level: 9th and 10th Time Required: 50 minutes

TEKS OBJECTIVE CORE TEKS THEATRE TEKS §117.302. Art, Level I §117.316. Theatre, Level II, (1) (B) identify and understand the (4) (A) analyze historical and cultural elements of art, including line, shape, influences on theatre; color, texture, form, space, and value, as §117.323. Technical Theatre, Level I the fundamentals of art in personal (4)(A) conduct research to establish artwork historical and cultural accuracy in §113.42. World History Studies theatrical design; (26) (B) analyze examples of how art, §117.324. Technical Theatre, Level II, architecture, literature, music, and drama (4)(A) apply historical or cultural reflect the history of the cultures in which accuracy from research in theatrical they are produced; design;

MATERIALS NEEDED

Copies of Project Runway Preparatory Program Packet (provided) Coloring Utensils Computer Projector

Project Runway Preparatory Program

INSTRUCTIONS

Hook: 1) Play the video ‘How to Illustrate for Costume Design’ on youtube at: https://tinyurl.com/y9xk88lp 2)While video is playing out the Project Runway packets to the students. (2 minutes) Step by Step Activity Details: 1) Read the First Page of the packet out loud to explain the challenge. (3 minutes) 2) Read through the Design Terms with the students. This starts on the second page beginning with “Rendering” and ends on page six with the “Colors and Symbolism” Chart. (12 minutes) 3) Have the students browse through the rest of the packet for inspiration and information about the sources used. (3 minutes) 4) Have students begin their work. (16 mins) Closure: 1) Once finished ask them to find a partner and have them present their designs to one another.

2) When presenting they must justify at least three choices they made in their design. (5 mins) Assessment: Have each partner will write on the back of their rendering what the 3 things that they learned from the person’s choices. (5 minutes) If the students have difficulty in justifying their choices tell them to explain the why. Ask: Why did they implement specific colors?

How does the pattern represent the character?

Were there any examples from the museum that inspired their choices?

What is the importance behind including unique design elements?

New phone, Who Dis?

OBJECTIVE

The students will be able to compare and contrast the differences between modern communication and nineteenth-century communication.

Recommended Grade Level: 9th Time Required: 50 Minutes

TEKS OBJECTIVE

CORE TEKS §110.31. English Language Arts and Reading, English I (14) (A) write an engaging story with a welldeveloped conflict and resolution, interesting and believable characters, and a range of literary strategies (e.g., dialogue, suspense) and devices to enhance the plot; (15) (B) write procedural or work-related documents (e.g., instructions, emails, correspondence, memos, project plans) that include: (i) organized and accurately conveyed information; an (ii) reader-friendly formatting techniques;

MATERIALS NEEDED

Paper Pen/Pencils Powerpoint

THEATRE TEKS §117.315. Theatre, Level I (2) (F) create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms.

New phone, Who Dis? INSTRUCTIONS

Open Powerpoint https://tinyurl.com/newphonepowerpoint - Hook: 10 minutes The students will read a letter written by Charlotte Bronte and discuss the differences between communication now and during the 19th century with the class.

- Step by Step Activity Details: 20 minutes 1. Each student will write a short section of a letter in the style of the nineteenth century and then recreate the section in the style of modern communication (Text, Facebook, Instagram, Email, Etc).

2. Have the students create a reason for them writing. Are they far away from home? Are they in school? Are they writing because someone they know is sick?

3. Have the students create whom they are writing to. It can be a parent, sibling, friend, or even a boss.

- Assessment of learning: 15 minutes 1. Have four students come up and read their letters out loud to the class. The rest of the class should turn in their paper to the teacher.

2. After the students have come up, the students should have a short discussion on the differences between the two forms of communication.

- Closure: 5 minutes Using the same paper the students wrote their letter on, the students should write a short paragraph on how communication has changed over time.

Coffee Shop Time Machine OBJECTIVE

The students will be able to analyze information that they find about historical figures, and create scenes that have given circumstances and characters that are believable.

Recommended Grade Level:10th Time Required: 50 Minutes

TEKS

CORE TEKS

THEATRE TEKS

§113.42. World History Studies (c) (29) Social studies skills. The student applies critical-thinking skills to organize and use information acquired from a variety of valid sources, including electronic technology. The student is expected to: (B) explain how historians, when examining sources, analyze frame of reference, historical context, and point of view to interpret historical events;

§117.316. Theatre, Level II, (c) (2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (D) apply physical, intellectual, emotional, and social interactions to portray believable characters and convey a story when applying acting concepts, skills, and techniques; (F) create, write, devise, and refine original monologues, improvisations, scenes, or vignettes to convey meaning to the audience through live performance or media forms.

§113.42. World History Studies (c) (26) Culture. The student understands the relationship between the arts and the times during which they were created.

The student is expected to: (C) identify examples of art, music, and literature that transcend the cultures in which they were created and convey universal themes.

MATERIALS NEEDED - Internet Access (for each student); Maybe reserve the Computer Lab - A board to write on - Markers - Note cards

Coffee Shop Time Machine INSTRUCTIONS HOOK: (10 MINUTES) 1) The Students will be seated as the lesson starts. Either project, or draw this table on the board (Don’t fill it in yet):

2) Next, have the students start by estimating what they think the sections could have in them. After they have given their estimations, fill out the table row by row starting at the top.

Go through each artist and give about a sentence of background. This is to show the drastic differences that some artists have with luck. People like Charlotte Bronte, Vincent Van Gogh, and Edgar Allan Poe have had significant impact on today’s world with their art, but some never see most of the money for their artwork.

STEP-BY-STEP ACTIVITY DETAILS (15 MINUTES) 1) Now that the students have had the opportunity of seeing the numbers of what these artists actually received, they will be split into groups of 2 (if need be you may double assign). They will be assigned one artist that became wealthy Posthumous, and one that was wealthy Prehumous, however they should not know which one they are. (From the table below)

Coffee Shop Time Machine 2) Once they have received their assignments they should start researching these figures. Find out whether they were wealthy before they died, or after. Also they should find at least 2 facts about their life, and include their most famous piece of work to use for a performance.

3) They will now pretend they are in a coffee shop where these two figures from history will meet. They must write a ten-line scene (example on resource page) in which they meet while trying to get a cup of coffee. They must include the following facts; if their historical person was poor or wealthy at the time, at least 2 facts that can be said about their figures, and each figures most famous piece of work.

Example can be found on the resource page......

ASSESSMENT: (20 MINUTES) 1) The Students will perform a 10 line scene of their characters after they run into each other at a coffee shop.

2) They must at least contain 2 facts about the character in the scene, and we must be able to discern which one is rich Prehumous, and which one Posthumous.

3) Once the students complete their performances they should take a bow and say “I am (Insert figure here)” to close out their performance.

4) Repeat until all the groups have gone.

CLOSURE (5 MINUTES) 1) Once they have all completed, allow them to take their seats.

2) Give the class note cards and write on the board a simple question. “Do you think that the success of artists during their lifetime has changed from the past to now? Why, or why not?” This should require 2-3 sentences and any answer can be argued.

Contents

Resources Table of Contents

The Family Structure of: The Bronte Family!

When it comes to famous families several come to mind, The Addams Family, The Simpsons and who could forget, the Kardashian's. But a family that many may not have heard of is The Bronte Family.

The Bronte’s were a 19th century family that lived in Haworth, in Yorkshire, England. The family was known for their many accomplish but most notably was the literary works of the three sisters, Emily, Anne, and Charlotte. The sisters published many poems and novels such as Wuthering Heights, The Tenant of Wildfell Hall, and the famous Jane Eyre.

Their literary accomplishments wasn’t the only thing that made them well known, they had a dynamic family structure that was constantly changing throughout their lives.

The Bronte’s began as a nuclear family consisting of Reverend Patrick Bronte, Maria Branwell and their five children; Maria, Elizabeth, Charlotte, Branwell, Emily and Anne.

After the tragic death of their mother and the two eldest siblings Maria and Elizabeth, Patrick was in dire need of help and soon after their aunt Elizabeth Branwell joined the family and helped raise the children. This resulted in the family changing from a nuclear family to an extended family. Soon after however, the family structure is changed once again.

Elizabeth Branwell died from a bowel obstruction leaving Reverend Bronte to care for his children in a single parent family structure.

Despite the history of tragic deaths, the Bronte family adapted within different family structures. No matter what structure they became, they were always still a family.

Name:_______________________ Date:__________________ Group Members:_________________________________________________________

Types of Family Structures!

Nuclear: A mother and father, with one or more shared children.

Example:

Single-Parent: One parent, with one or more children.

Example:

Types of Family Structures!

Page 2

Extended: Includes all of the relatives in a family, such as grandparents, aunts, uncles, and cousins.

Example:Â

Adoptive: A mother and father raising a child who is not biologically theirs.

Example:Â

Types of Family Structures!

Page 3

Blended: A combination of families which may include children from the present union, and children from previous relationships/marriages.

Example:

The Importance of Choosing Words Word Game Cards

AUTHOR

CHARACTER

NOVEL

WRITER

STORY

BOOK

BOOK

BOOK

READ

JOURNALIST

ROLE

STORY

QUILL

CHURCH

PAPER

FEATHER

GOD

SHEEPSKIN

PEN

BIBLE

DIPLOMA

BIRD

JESUS

PARCHMENT

REVEREND

TYPEWRITER

MANOR

CHURCH

KEYBOARD

HOUSE

PASTOR

COMPUTER

MANSION

PRIEST

TYPE

LORD

BOARDING

ENGLAND

COUNTRYSIDE

UNITED KINGDOM

FIELD

SLEEP

LONDON

LAND

LIVE

BRITIAN

COUNTRY

AWAY

GOVERNESS

POEM

PUBLISH

NANNY

RHYME

DISTRIBUTE

TEACHER

SONNET

PRODUCE

TUTOR

SONG

BOOK

SCHOOL

ALIAS

BELGIUM

CEMETERY

NICKNAME

EUROPE

DEAD

OTHERWISE

FRENCH

GRAVE

NAME

BRUSSELS

BURY

HEADSTONE

SHOES

LATIN

DEAD

FEET

DEAD

BURY

WALK

ROME

GRAVE

BOOTS

CLASSIC

LETTERS

MARRIAGE

SCHOOL

MAIL

RINGS

EDUCATION

STAMP

PRIEST

CLASS

ALPHABET

CEREMONY

STUDENT

CARRIAGE

CHILDREN

DISEASE

HORSE

KIDS

SICK

TRAVEL

BIRTH

DOCTOR

CARRY

MINOR

BACTERIA

WRITE

PORTRAIT

FAMILY

PEN

PICTURE

RELATED

PAPER

PAINT

BLOOD

STORY

MODEL

PARENTS

Location, Location, Location Resources

SCRIPT

Person 1: Hey! Person 3: Oh, hey Person 2: We haven’t seen you in such a long time Person 4: Yeah, we’ve been busy Person 1: You could’ve called Person 2: Or sent a message Person 3: I lost the number Person 2: Oh Person 1: Well, do you want it again?

Person 4: Sure Person 3: We have to go now Person 1: So soon?

Person 4: We’ll get in touch soon Person 2: That would be nice Person 3: Yes, it would

Location, Location, Location Resources

SETTINGS

Zoo Coffee shops Gym School hallway Park Movie theatre Grocery store Swimming pool Football game Classroom Museum Amusement park Hospital Nature trail Prom Police station

The Difference is X Assessment: The written monologue, which should show an understanding of women’s education during that time, and have some characterization.

Closure: End the class with a discussion of the activity and the differences the students noticed between time periods.

Ask questions such as: What is different about women’s education in Charlotte Bronte’s time versus ours?

What do you think could still be improved today, if anything?

If you lived in the 1830’s, what would you do to encourage a change in this problem?

How does women’s education impact their careers and income?

How has this impact changed between ours and the Bronte’s time?

The Difference is X Resource Pages

History of the Women’s Rights Movement

With the inclusion of Title IX in the Education Codes of 1972, equal access to higher education and to professional schools became the law. The long-range effect of that one straightforward legal passage beginning “Equal access to education programs…,” has been simply phenomenal. The number of women doctors, lawyers, engineers, architects and other professionals has doubled and doubled again as quotas actually limiting women’s enrollment in graduate schools were outlawed. Athletics has probably been the most hotly contested area of Title IX, and it’s been one of the hottest areas of improvement, too. The rise in girls’ and women’s participation in athletics tells the story: One in twenty-seven high school girls played sports 25 years ago; one in three do today. The whole world saw how much American women athletes could achieve during the last few Olympic Games, measured in their astonishing numbers of gold, silver, and bronze medals. This was another very visible result of Title IX.

Courtesy of http://www.nwhp.org/resources/womens-rightsmovement/history-of-the-womens-rights-movement/

The limits of women’s education

The education of girls and women in early modern Europe varied widely according to social class and geographic locations.

Unquestionably, however, families systematically favoured the education of their sons over that of their daughters. Amongst the rural and urban poor, who constituted the vast majority of the population, school education generally was not an option, so that the poor at best received vocational training which rarely allowed forms of social mobility. Nonetheless, schools for the poor did multiply during the eighteenth and early nineteenth century, thanks in large part to religious associations and orders, and girls were not forgotten in this effort to bring religion to the masses. Wealthy families, on the other hand, saw other reasons to educate their daughters and this translated into forms of home education as well as the development of elite boarding schools mainly within urban areas. Access to learning was not just contingent on access to schools, however. In general, the growth of girls’ education depended on contemporary attitudes about the relationship of the sexes and on women’s place within society. Initiatives that favoured girls’ education were always buttressed by arguments about how this education would serve to create better, more pious families.

Rarely, if ever, was girls’ education seen as a liberal right contributing to the development of the individual. For the entire period, then, girls’ education remained limited both in its scope and its ambitions.

Courtesy of http://www.worldhistory.biz/modern-history/86590-thelimits-of-women-s-education-1700-1830.html

Women's History in America

Traditionally a middle-class girl in Western culture tended to learn from her mother's example that cooking, cleaning, and caring for children was the behavior expected of her when she grew up. Tests made in the 1960s showed that the scholastic achievement of girls was higher in the early grades than in high school. The major reason given was that the girls' own expectations declined because neither their families nor their teachers expected them to prepare for a future other than that of marriage and motherhood. This trend has been changing in recent decades.

Formal education for girls historically has been secondary to that for boys. In colonial America girls learned to read and write at dame schools. They could attend the master's schools for boys when there was room, usually during the summer when most of the boys were working. By the end of the 19th century, however, the number of women students had increased greatly. Higher education particularly was broadened by the rise of women's colleges and the admission of women to regular colleges and universities. In 1870 an estimated one fifth of resident college and university students were women. By 1900 the proportion had increased to more than one third.

Courtesy of http://www.wic.org/misc/history.htm

Venn Diagram Template

Education for Women

During the 1830's

Present Day Similarities

Finding Your Accent RESOURCES Sound Exercise

Repeat these sounds as quickly as you can. Stress the underlined sounds. ba-da-ga-da - ba-da-ga-da - ba-da-ga-da - ba-da-ga-da - ba-da-ga-da - ba-daga-da - ba ga-da-ba-da - ga-da-ba-da - ga-da-ba-da -ga-da-ba-da - ga-da-ba-da - ga-daba-da - ga pa-ta-ka-ta - pa-ta-ka-ta - pa-ta-ka-ta -pa-ta-ka-ta - pa-ta-ka-ta - pa-ta-ka-ta pa-ta-ka-ta - pa ka-ta-pa-ta - ka-ta-pa-ta - ka-ta-pa-ta - ka-ta-pa-ta - ka-ta-pa-ta - ka-ta-pa-ta ka-ta-pa-ta - ka va-la-wa-la - va-la-wa-la - va-la-wa-la -va-la-wa-la - va-la-wa-la - va-la-wa-la va-la-wa-la - va wa-la-va-la - wa-la-va-la - wa-la-va-la -wa-la-va-la - wa-la-va-la - wa-la-va-la wa-la-va-la - wa Tongue Twisters

Repeat each sentence three times as fast as you can.

Walt wondered if Vern valued the wonderful violets in the window.

The leisure ledger was a pleasure to measure.

Lee never laughed a lot like Lou’s nephew.

Shelby the Schnauzer was chastised for chewing the shoe.

Rhythm Exercises

Read the poem. Stress the underlined words/portions and pause at the slashes.

There once was a developer named Bob, / who couldn’t find joy in his job. / He wanted to quit / but he couldn’t admit / that he did / love to hear / himself sob.

Finding Your Accent RESOURCES CONT. Intonation Exercises

Raise the pitch of your voice on each word that’s underlined.

I will make my voice change at this time.

I will make my voice change at this time.

I will make my voice change at this time.

Stretching Exercises

Stretch the word endings at the end of each phrase.

I would have call--------ed, but I wasn’t su------re if it was a good idea-----------.

Stress Exercises to Change Your Focus

Stress each word that is in underlined.

What have you been doing?

What have you been doing?

What have you been doing?

What have you been doing?

What have you been doing?

What the Heck is That?

A Look at Expressionism Resources

Gustave Courbet “The Desperate Man”

David Padwarney “Untitled m976”

What the Heck is That?

A Look at Expressionism Resources

Fransico de Goya “Unknown”

Nick Leppman Untitled

What the Heck is That?

A Look at Expressionism Resources

Dima Dmitriev “Jump for Joy”

Paul Klee “Hungry Girl”

What the Heck is That?

A Look at Expressionism Resources

Cagnaccido di San Pietro “Portrait of Segiarce Vighi”

Nick Leppman “Study of an Angry Man”

What the Heck is That?

A Look at Expressionism Resources

Igor Barkhatkov “Portrait of a Women”

Grant Wood “American Gothic”

What the Heck is That?

A Look at Expressionism Resources

Shekiha Rajaria “The Scream of Joy”

Darwin Leon “The Delusional Confusion”

What the Heck is That?

A Look at Expressionism Resources

What the Heck is That? Â A Look at Expressionism Resources Discussion Guide (For the Teacher) Hook Activity- Comparing Paintings? (5 minutes) It is suggested that you write these on the board so that the students make have a self-paced discussion.

What are the different elements of the paintings? Are they similar or different?

How do the two paintings make you feel? Do they make you feel different things or similar things?

What do you think the artists were thinking when they painted these pictures?

Discussing Hook and Expressionism? (10 minutes) Do both of the pictures make you feel something?

Do they use different strategies to achieve these feelings?

What are the major differences between the pictures styles?

Does anyone know what expressionist means?

When an artist cares more about displaying the feeling of an experience rather than how the experience actually looks or sounds. This can be done in visual art, theatre, and music.

With this in mind, how are the pictures different now?

Discussing Students’ Tableaus Use as few or as many questions as you have time for.

Can you guess their emotion? Why? What does the realism tableau make you think of?

What does the expressionist tableau make you think of?

What are the differences between the tableaus that reflect realism and those that reflect expressionist?

Which one is more powerful? Why? Expressionist Use in Theatre Use as few or as many questions as you have time for.

How do you think expressionism is used in theatre?

Why do you think a playwright would want to use expressionist theatre?

Why do you think a director would want to use expressionist theatre?

What does the audience get from expressionist theatre?

Resources Chart of character ideas. Feel free to use all of these or only some- especially if students would like to create their own!

A cowboy

Sneaky

A surfer

Loves knitting

Loves cats

Has a cold

Has 5 kids

A painter

Clumsy

Hungry

Thirsty

Moviestar

A spy

Grumpy

The drummer in a band

The singer in a band

A salesman for tupperware

Plays ice hockey

A thief

Always taking selfies

A camp counselor

Plays the trumpet

A chef

A model

A sailor

A zookeeper

A truck driver

A weatherman

A librarian

Very old

Very young

Snooty

Plays football

Plays guitar

Lives in the forest

Script for the “host” of the dinner party: “Hello all! Thank you for coming to my dinner party to celebrate my announcement for running for state senator. I’m so happy you’re all here. I know some of you from work, from high school, or you might be my neighbor- either way, I want you guys to get to know each other! Introduce yourselves!”

(Allow students to say their names and tell the others what they do. This should be done with their character traits in mind.)

“Amazing. Now, is anybody hungry? I’m going to come around and bring cheese and crackers.

Please converse and enjoy.”

(Allow students to continue speaking and pretend to come around to each group, serving cheese and crackers.)

“Wonderful. Now that I have you all here- oh. Oh my. The crackers are stale. I’ll come back with more. I’m sure you can keep yourselves entertained!”

(Walk to another part of the room, portraying the “kitchen.” After getting the new crackers, walk around to the groups and serve.)

“Much better. I look forward to speaking with you all about my running. But- oh! Oh my! The dogs have gotten out!”

(Point at the ground, a bit frantically, as if two small dogs have gotten out and are running around sniffing the guests.)

“Oh goodness! Let me put them away. Please, converse among yourselves!” (“Put the dogs away” by walking to another part of the room. Give the students a moment to converse.)

“So sorry about that! This dinner party sure has gotten a bit out of hand. Oh, my. Did you all hear that? It sounded like a big boom! Let me go check.”

(Allow students to react and converse amongst one another. Walk to a corner of the room and “check” the air conditioner.)

“Well, sorry everyone. It seems that our tranformer outside has exploded. The power has gone out! It looks like it’ll be getting pretty warm in here now! Maybe tonight isn’t the best night to have a dinner party. I hate to cut it short, but I’ve got a unit to fix! Tootles!”

Resources (Continued) An example letter; addressed to James from a very sleepy member of the dinner party.

Dear James,

I enjoyed meeting you at the dinner party. I wanted to write you and continue our conversation about pillows. Unfortunately, I can’t let you know who I am.

The authorities are close- they’re looking for me. I can’t explain why. But I need these pillows. After our host left to grab new crackers, you mentioned you worked in a mattress store in high school. But when the dogs got out, you were interrupted during a lovely speech about the best pillow you had ever slept on. Before I had the chance to inquire about this marvelous invention, the air conditioning unit burst! I must learn of this product with which I can lay my head. Please, meet me at the corner of Slumber Rd. and Dusk Ave. at the Cozy Corner. Stay cloaked.

Sincerely, F. Nightingale

The Byronic Hero

RESOURCES

B Y R O N I C H E R O E S I N P O P U L A R C U L T U R E Severus Snape - Harry Potter Series Batman/Bruce Wayne - Batman Comics Darth Vader - Star Wars The Monster - Frankenstein Jay Gatsby - The Great Gatsby Elsa - Frozen Hamlet - Shakespeare’s Hamlet B A S I C L I T E R A R Y C O N F L I C T S Man vs. Man Man vs. Technology Man vs. Self Man vs. The Supernatural Man vs. Nature Man vs. Society I M P O R T A N T B Y R O N I C H E R O Q U A L I T I E S Proud Moody Cynical Societally Defiant Passionate and capable of deep affection

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DEATH CARDS Cholera

Yellow

Bacterium

Fever

Smallpox

Mercury Poisoning

Measles

Endemic Typhus

Famine

Scrub Typhus

DEATH CARDS CONT. Bronchitis

Consumption (Tuberculosis)

Epidemic

Whooping

Typhus

Cough

Lead Poisoning

Chickenpox

Pneumonia

Bubonic Plague

DEATH CARDS CONT. Infection

Influenza (Flu)

Pneumonic Plague

Victorian Deaths CHOLERA BACTERIUM

SMALL POX

SYMPTOMS

INITIAL SYMPTOMS

Dehydration Diarrhea

HOW YOU GET IT Drinking Contaminated water INFECTION

SYMPTOMS Fever Hypothermia (Very low body temperature) Confusion Fast heart rate Trouble breathing Bluish Discoloration on fingers of lips

HOW YOU GET IT Infectious Bacteria entering the body in various ways SCRUB TYPHUS

SYMPTOMS Swollen lymph nodes Weakness Red lesions Cough Rash

HOW YOU GET IT Through chiggers Other infected people through coughing and sneezing

Fever Head and body aches Vomiting

RASH Contagious Sores in the mouth Fluid filled sores covering body

RASH AND SCABS Contagious Bumps become hard Bumps turn to scabs Scabs fall off (Only if body is healing)

HOW YOU GET IT hContact with infectious person Body Fluids Contaminated objects (Bedding/ things they have touched) ENDEMIC TYPHUS

SYMPTOMS Dry cough Nausea and Vomiting Diarrhea

HOW YOU GET IT Through rat and cat fleas Other infected people through coughing and sneezing PNEUMONIC PLAGUE

SYMPTOMS

YELLOW FEVER

Cough with blood

SYMPTOMS (ACUTE PHASE)

Difficulty breathing

Fever Headache Muscle aches (back and knees) Sensitivity to light Nausea and Vomiting Loss of Appetite Dizziness Red eyes, face or tongue

TOXIC PHASE Jaundice (yellowing of eyes and skin) Abdominal pain, Vomiting Blood Decreased urination Bleeding from nose mouth and eyes Slow heart rate Liver and kidney failure Brain dysfunction (Delirium, seizures, and coma)

HOW YOU GET IT Infected Mosquito bite

Nausea and vomiting High fever Headache Weakness

HOW YOU GET IT Infectious droplets MEASLES

SYMPTOMS Fever

Dry Cough Runny Nose Sore Throat Inflamed eyes Red splotches with white spots with bluish white centers

HOW YOU GET IT Other infected people through coughing and sneezing

Victorian Deaths EPIDEMIC TYPHUS

BRONCHITIS

SYMPTOMS

SYMPTOMS

Headache

Cough

High Fever

Excess discolored Mucus

Rash beginning on back or

Fatigue

chest and spreads

Shortness of breath

Confusion

chills

Little grasp on reality

Chest pain

Low blood pressure

Fever

Sensitivity to lights

Wheezing

Muscle pain

HOW YOU GET IT

HOW YOU GET IT Through tick and lice

Polluted air Virus

Other infected people through coughing and sneezing

FAMINE

SYMPTOMS CONSUMPTION

Extreme weight loss Abnormal blood counts

(TUBERCULOSIS)

fatigue

SYMPTOMS

Dizziness and fainting

Cough that last more than three weeks

Seizures

Coughing up blood

Brittle nails

Chest pain

Swelling

Unintentional weight loss

Hallucinations

Fatigue

Convulsions

Fever

HOW YOU GET IT

Night sweats

Not eating enough

Chills Loss of appetite

CHICKENPOX

HOW YOU GET IT

Fever

Micro particles spread through air Continuous contact with someone infected with Tuberculosis

SYMPTOMS Low appetite Headache Painful pink bumps Fluid filled blisters

PNEUMONIA

SYMPTOMS Chest pain Confusion Cough Fatigue Fever, sweating and shaking chills Lower than normal body temperature Nausea, vomiting, diarrhea Shortness of breath

HOW YOU GET IT Virus or bacteria in the air

Body aches Bumps can be internal

HOW YOU GET IT Contact with contaminated surfaces LEAD POISONING

SYMPTOMS Lead Poisoning Symptoms Seizure Neurological problems Coma Anemia

HOW YOU GET IT Continuous contact with lead based materials, or the metal itself

Victorian Deaths WHOOPING COUGH

SYMPTOMS Runny nose Congestion Red watery eyes Fever Cough Vomiting Extreme fatigue Breathing difficulty Red or blue face from difficulty breathing

HOW YOU GET IT

Contact with infected person

INFLUENZA

SYMPTOMS Fever Cough Sore throat Runny nose Body aches Headache Chills Fatigue Diarrhea Vomiting

HOW YOU GET IT Infectious Droplets in the air or on surfaces

MERCURY POISONING

BUBONIC PLAGUE

SYMPTOMS

SYMPTOMS

Mood swings

Buboes (Located in the Groin, armpit, or

Numbness

neck)

Memory problems

Size of a chicken egg (Tender and

Physical tremors

warm to the touch)

Anxiety

Fever and Chills

Metallic taste

Headache

Nausea and vomiting

FatigueÂ

Vision changes

Discomfort

Difficulty breathing

Muscle aches

HOW YOU GET IT Old paint Thermometers Industrial processing seafood

HOW YOU GET IT Infected rodents

Changing Cultures Dear Charlotte takes place in 19th century England, more specifically in the 1840’s.

This century was filled with societal changes in every aspect of life just like our traditions, cultures, and ways of life are changing at this very moment.

The world of the play is heavily influenced by real-life events, but we sometimes do not see the connections. The time period of the Brontes was revolutionary, with every aspect of life in Britain changing. The dances and games in Dear Charlotte resulted from a wide range of influences throughout the 19th century. We will look at the influences and results of the games and dances of the Bronte’s time.

Dancing

Games/Pastimes

The Bronte siblings dance throughout Dear Charlotte. There was a constant change in dance styles in the 19th century that led up to the type of dancing the Bronte children.

While dances in the 19th century were more complex and stiff, such as the French baroque, the Regency Era (1800-1830) brought faster and more fluid dances. The waltz was among these, but it was not widely accepted at first. The beginning of the Romantic Era led to the ‘gallop’ then the famous waltz in the 1840’s. The dances that spawned in that decade were more joyful and broke off from the more structured, organized dances of the past. The Bronte children danced joyfully and freely, extremely similar to the new dances, which could be why Rev. Bronte was opposed to their dancing and playing.

Sports became more organized and popular during the 19th century, with polo being played for the first time in England and volleyball being created. But, parents frowned upon children wasting their time with sports. Card games (that were not gambling) were a popular choice for children. Games for guests like charades or board games were more acceptable by the parents. The Bronte children themselves did not have toys or take part in sports. The children often invented ways to entertain themselves.

Instructions: No dance stays the same for long.

Instructions: Create a game with your group Create a dance with your group using two or more using any other games you know. Share ideas dances. The dance doesn’t have to be accurate, as with your group. Your game must include the long as you are actively changing the dance. The use of your voice and movement! It should dance should be no more than 2 minutes long. also contain multiple parts. The games should Find ways to interact with your group through the be no more than 2 minutes long. After you dances. Be creative, explore, and find ways to perform your game for your class, state what involve different areas such as your voice! Treat games you based yours on. this as if you were on stage and keep theatre concepts, such as facing the audience, in consideration! At the end of your performance, you will state what dances you based yours on.

It's Lit!

THE MEANING OF COLOR

In theatre, the color of the lights on stage are helpful in creating the tone of the scene. We as audience members associate different feelings with different colors, and that helps guide the audience through the story, giving clues as to emotions, themes in the scene, and  that a scene has changed.

We look at colors and tend to associate them subconsciously to an emotion, which can help create a tone for the scene. Keep in mind that some of these are similar colors that you saw in Dear Charlotte.

THE COLOR CHART

It's Lit!

THE TEACHER GUIDE

A white light on its own would be cold and clean and can invoke an intense emotion. Color helps convey the emotion of a scene, giving the audience a more immersive experience. For example, when we look at the color Red what do we see?

If this was in a scene what would you feel?

What do these colors mean on the chart?

Can we effectively change the emotion of a picture when changing color?

The colors that the students choose, what does it mean to them?

THE COLOR CHART

PROJECT RUNWAY PREPARATORY PROGRAM Welcome Designers!

YOUR CHALLENGE Your challenge is to create a rendering for an everyday look that is inspired by 1840’s European fashion. Your design choices must be justified and include the use of color, pattern, and historical accuracy to create a costume that communicates a character’s social class, personality, and time period.

Rubric For Design Process

WHAT TO DO

HOW/WHERE IN PACKET

Choose a rendering

Renderings in back of packet

Pick a social class and/or

Social Class Chart

occupation

Color Symbolism/ Social Class

2 Personality traits

Page

Color your rendering

Renderings in back of packet

Identify Research Sources

Background of Sources Used

Design Concepts Rendering: This is the sketch a designer creates before the making of a costume. This is what you will be focused on in your challenge. Since we don’t know the level everyone’s skill set of sketching people we will provide you sketches to color over.

Color Theory: Think about your color choices carefully. Each color can represent an specific personality attribute or even represent their rank in the social hierarchy.

Hierarchy and Clothing Color: Generally the brighter and richer the color and the MORE wealth one had. The less saturated and neutral the colors as such tan, gray, and black signified being of a poorer class.

NOTE: Only occupations of men will be listed in the hierarchy because during this time period they were the only ones allowed to work. If you design for a women character you must create and define her status according to what she was either born or married into.

WHY THIS MATTERS None of these are hard and fast rules. Your character may not be royal, but may be fond of purple, so you adjust by fading it to make a lighter shade that is closer to a neutral tone. You do have some creative license, but to stray too far otherwise you will confuse your audience.

For the challenge, you must justify your choices. In the theatre it’s important to have reasons behind your artistic choices. Costuming is a form of non-verbal communication which is why colors should be purposeful and symbolic. Even if the audience isn’t trained to pick up on color theory they will subconsciously form an opinion of the characters personality and status based on what they wear.

HISTORY OF FASHION FROM THE 1840's

Background of Sources Used The most of the information in this handout comes straight from the Victoria and Albert Museum in London which focuses on the History of Fashion throughout her reign.

The Victorian Age was named after England’s Queen Victoria starting at 19 she ruled from 1837 to 1901 thus the time period is called Victorian Era. Victoria and her husband Albert were the fashion trendsetters of the time.

The Kyoto Institute in Japan also has a museum of costumes specifically created for the 1840’s time period, and some of their pieces are featured in here.

The Metropolitan Museum is New York City and which is another hub of art and fashion used as reference material in this challenge.

Fun Facts You may have heard of the Met Gala which is hosted at the Metropolitan Museum every year with a specific theme aligned with the featured exhibit inside. Many famous celebrities pair up with successful designers for a fashion filled night to remember!

Prince Albert started a trend of men’s clothing being tight at the waist because his was so small! He even started a new trend of coresets for men!

When Albert passed away Queen Victoria dressed in black for the rest of her life mourning the loss of her husband. Every day she routinely laid out his clothes, made his tea, and reminisced on his life until hers ended.

HISTORY OF FASHION FROM THE 1840's Women “1840s fashion is characterized by low and sloping shoulders, a low pointed waist, and bell-shaped skirts that grew increasingly voluminous throughout the decade. Evening dresses were often off the shoulder. Hair was parted in the center with ringlets at the side of the head, or styled with loops around the ears and pulled into a bun at the back of the head. Paisley or crochet shawls were fashionable accessories, as were linen caps with lace frills for indoor wear, and large bonnets for outdoors. Capes with large collars were fashionable.�

Women’s Garments

Crinoline: Â a stiffened or hooped petticoat worn to make a long skirt stand out; a stiff fabric made of horsehair and cotton or linen thread, typically used for stiffening petticoats or as a lining.

Petticoat: or underskirt is an article of clothing, a type of undergarment worn under a skirt or a dress.

Bonnet: Covering one’s head was an essential aspect of etiquette in the 19th century. During the 1840s, women wore caps indoors and bonnets outdoors. The bonnet has wide brim sheltering the face, reflecting the heightened sense of propriety brought in when Queen Victoria ascended the throne in 1837.

Shoes: Most shoes were flats, many had similarities to ballet flats.

HISTORY OF FASHION FROM THE 1840'S Men Very fashionable men sported low, tightly cinched waists, with rounded chests and flared frock-coats that gave them a rather hour-glass figure inspired by Prince Albert.

They also wore tight trousers and waistcoats, with high upstanding collars and neckties tied around them. Hair was worn quite long, but swept to the sides.

Moustaches and side-burns were popular.

Men's Garments

Flared Frock Coats: A frock coat is a man's coat characterized by a knee-length skirt (often cut just above the knee) all around the base, popular during the Victorian and Edwardian periods.

High waisted Trousers: these high waisted pants were worn frequently for different occasions. They provided figure and wear relatively tight.

Waistcoats: the third piece of men’s formal wear. It is worn over a dress shirt with a neck tie and is underneath a coat.

Shoes: (From the Museum of Fine Arts Boston)”Man’s oxonian shoes. Dark brown grained leather upper; latchets with four eyelets tie over round tongue; separate latchets and tongue joined to vamp and quarters by lapped seam; butted back seam.

Woman Rendering #1

Woman Rendering #2

Woman Rendering #3

Man Rendering #1

Man Rendering #2

Coffee Shop Time Machine Resource Page SCENE WITH EDGAR ALLAN POE & GEORGE ORWELL

(Edgar enters and avoids eye contact with George) Edgar: You waiting in line also?

George: Of course I am, I’m standing here aren’t I? Can you even afford to buy coffee here?

Edgar: Barely! Ugh! No need to be mean. I just wanted to know how long I had to wait on my Super Black coffee.

George: It’s so crowded in here, this place is beginning to remind me of one of the books I’ve written, Animal Farm.

Edgar: Oh wow! I love animals, mostly those who are dark. I’ve even written a little something about a Raven- George: Yeah Yeah that’s nice. Hey tell me if you hear them Call “Eric Arthur Blair.” I told them my real name instead of my pen name for some reason.

Edgar: Oh yeah ok. I don’t know what my real name is, cause like I was an orphan so like.

Yeah it’s whatever (swooshes hair) George: Oh wow, sounds like you live a hard life. With the way this world is going everyone will know hard times by at least 1984… hmmm that’s a good idea for a book.

Edgar: Yes I know many hard times, I even married my first cousin because I had no other choice.

George: We rarely do these days, and hopefully big brother didn’t hear you say that.

Faculty and Staff Dr. Robert Shimko Director of the School of Theatre & Dance Production and Design Area Kevin Rigdon (Head of Graduate Design) Moores Professor, Scenic and Lighting Design Rachel R. Bush (Head of Stage Management) Assistant Professor, Stage Management Casey Kearns (Head of Undergraduate Production and Design) Assistant Professor, Production and Design Charles Gary Cooper Assistant Professor, Theatre Education Jonathan Middents Associate Professor, Production and Design

Barbara Niederer Assistant Professor, Costume Technology Kenneth Poston Assistant Professor, Technical Direction Claremarie Verheyen Associate Professor, Makeup and Costume History Steven W. Wallace Professor, Production and Design Paige A. Willson Associate Professor, Costume Design and Technology

Playwriting/Dramaturgy Dr. Robert Shimko (Program Head) Associate Professor, Playwriting/Dramaturgy

Dr. Matthieu Chapman Assistant Professor, Performance Studies

Theresa Rebeck Lyndall Finley Wortham Chair in the Performing Arts

Dance Program Karen Stokes (Director of Dance Program) Professor, Dance

Theresa Lynn Chapman Associate Professor, Dance

John Beasant III Assistant Professor, Dance

Rebecca B. Valls Associate Professor, Dance

Performance Area Adam Noble (Head of Performance Area) Associate Professor, Acting and Movement

Jim Johnson Professor, Voice, Speech and Dialects

Jack Young (Head of M.F.A. Acting) Professor, Acting

Justin Lucero Cynthia Woods Mitchell Directing Fellow

Sara Becker Associate Professor, Voice and Shakespeare

Melissa Noble Instructional Assistant Professor, Movement and Dance

Carolyn Houston Boone Associate Professor, Acting

Stuart Ostrow Distinguished Professor of Musical Theatre

Jessica Ferrarone (Head of Summer M.A. Program) Assistant Professor, Acting

Adjunct Faculty, Dance Lauren Cohen Adjunct Faculty, Dance

Firat Kazbek Özsoy Adjunct Faculty, Dance

Jeanne Doornbos Adjunct Faculty, Dance

Leslie Scates Adjunct Faculty, Dance

Jacqueline Anne Nalet Adjunct Faculty, Dance

Jhon Stronks Adjunct Faculty, Dance

Sophia L. Torres Adjunct Faculty, Dance Toni Valle Adjunct Faculty, Dance

Adjunct Faculty, Theatre Alan Brincks Adjunct Faculty, Theatre

Heidi Hinkel Adjunct Faculty, Theatre

Shelley Calene-Black Adjunct Faculty, Theatre

Elizabeth M. Keel Adjunct Faculty, Theatre

Jon L. Egging Adjunct Faculty, Theatre

Courtney Young Adjunct Faculty, Theatre

Faculty Emeritus Joanna Friesen Professor Emeritus Dance

Professional Staff Isaac Davis Department Business Administrator

Julian Waneck Administrative Coordinator

Lauren Davis Scenic Artist/Properties Supervisor

Laura Whittenton Costume Shop Supervisor

UH School of Theatre and Dance Audition Information

Programs in UH School of Theatre and Dance Playwriting/Dramaturgy Theatre Education Technical Theatre Stage Management Acting

Freshman/Transfer initial audition/presentation dates: November 15 & 16 | North Texas Drama Auditions - Plano November 15-17 | Texas Thespians - Grapevine November 18 | Greater Houston Area Auditions - Houston November 19 | Greater San Antonio Area Auditions - San Antonio February 28 | SETC Auditions- Knoxville, Tennesee June 24-29 | ITS National Fesitval- Lincoln, Nebraska (Juniors)

Required On-Campus Auditions/Portfolio Review Prospective high school senior or transfer theatre students who meet requirements to enter the University are invited to visit our program, audition for a panel of faculty members, and tour the University. Parents/Guardians are welcome to attend. Lunch is provided. REGISTRATION is limited to 40 student participants per day based on advance reservation. This is a fun and exciting day to get acquainted with our faculty, our program and our University.

Check School of Theatre and Dance webiste or email Gary Cooper for more information about audition dates.

For more information about audition materials and applications, please visit app.getacceptd..com/houston Gary Cooper, M.Ed Program Head: BFA for Theatre Educators Coordinator of Theatre Ambassadors cgcooper@central.uh.edu