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IB Theatre HL
2008 - 2010
Instructor Information:
Name: Mr. Stephen Coats
Web site:
http://hrsbstaff.ednet.ns.ca/scoats
Email: [email protected]
Office Hours: By appointment
Course Description:
IB theatre students experience the art of theatre by participating in all
aspects of the theatrical experience in very personal ways. Students will
research, read, and analyze plays from a variety of historical and cultural
traditions, develop conceptual interpretations for production, envision
and design the technical elements, and direct actors and action for
actual performance. Students will explore and practice the knowledge
and skills needed to know and appreciate the full theatre experience. This
class meets outside of the regular class day and requires significant
commitment to participation in school productions.
Course Goals/Objectives:
The student will be able to:
1. Use and understand theatre vocabulary.
2. Demonstrate knowledge of the major developments in theatre
history.
3. Demonstrate the ability to interpret, create and illuminate play
scripts and other theatrical texts analytically and imaginatively.
4. Demonstrate an understanding of the principles of set design.
5. Demonstrate an understanding of the principles of costume design.
6. Demonstrate an understanding of the principles of lighting design.
7. Demonstrate an understanding of the principles of sound design.
8. Demonstrate an understanding of the principles of properties
design.
9. Demonstrate an understanding of the art of the stage and criticism
in relation to it.
10. Perform before an audience and demonstrate an understanding of
and skill in specific acting techniques.
11. Demonstrate an ability to direct a theatrical scene.
12. Demonstrate an ability to critically evaluate and judge theatrical
productions.
Instructional Methods:
A variety of instructional methods including, but not limited to:
(1) lecture, (2) workshops, (3) group work and activities, (4) guided
reading, (5) teacher-evaluated class performances, (6) assignment of
individual acting, directing, and design projects, (7) required theatre
attendance, (8) theatrical criticism and post-show discussions
Materials for Course:
 1 flexible 3 ring binder (may be ½” or 1” size)
 1 package of loose leave paper (college ruled)
 1 marble composition notebook
 Plenty of pencils and highlighters
 Teacher-designed handouts
Make-up Work Policy:
It is imperative that students see the teacher the day they return to school.
Do NOT wait until the next class to meet with me. I will not discuss missed
work during class time. If students know of upcoming absences for the
school year, students can request work before leave is taken.
Late homework will not be accepted unless the student has an excused
absence. Quizzes and tests MUST be made up the day the student returns
to school regardless of whether or not the student has Introduction to
Theatre class that day. Papers, projects and other major assignments lose
five points per day for every day they are late for two weeks. After two
weeks these assignments will no longer be accepted.
Classroom Procedures/Policies:
1. Respect others in the classroom. The study of theatre is (somewhat)
subjective and everyone’s ideas are (most definitely) important. When
other students or the teacher are speaking or sharing ideas listen with an
open mind – and never interrupt. Raise your hand and hold your question
or comment.
2. Each student must arrive to class on time, appropriately dressed and
ready for all class activities. Students will receive a detention for using cell
phones in class. Use of a watch is an acceptable method of time telling,
cell phones are not.
3. Homework must be completed before class begins. In order to receive
any credit, the homework must be at least 75% complete and must reflect
thinking and effort that reflects positively on both the student and the
task. Handing in mere writing or typing that fills up space on a page does
not constitute a competed assignment. The quality of a project and of the
student’s investment in the project is defined by the content, not by the
mere expenditure of paper and ink. Students will not be permitted to
leave the room to retrieve materials after the class has started.
4. In order to make all assignments easily accessible, homework will be
posted on the teacher’s website. This website can be accessed through
the Citadel High School general website or directly at the web address
above. Call a friend for homework information if your computer is not
working. Not knowing the homework assignment will not be accepted as
an excuse for failure to complete assignments.
5. The teacher reserves the right to amend this syllabus at any time.
Evaluation Methods:
Description
Total Points (Internal & External
Assessments)
Percentage of Grade
100%
Everyone comes to the course with different interests, abilities, and
backgrounds. Your grades are not assessments of your ideas or character,
but rather a reflection of the quality of your work and your effort in the
course. If you arrive at class regularly without the necessary tools, misuse
class time dedicated to the rehearsal process, or do your written work at
the last minute you will not earn a good class participation grade. I will act
responsibly, respectfully, and compassionately as your teacher. I expect
the same from you, each day we are together.
TOPICAL OUTLINE: A POSSIBLE PATH FOR IB Theatre HL
Topic
Performance Objectives
Introduction to Course
1. Recognize, define, and explain the core
components of the course:
a. Theatre in Performance
b. Theatre in the Making
c. Theatre in the World
d. Independent Project
e. Student Journal
2. Recognize, define, and explain
assessments:
a. Internal (50%):
 Independent Project
Portfolio (IPP) 25%
 Theatre Performance &
Production Presentation
(TPPP) 25%
b. External (50%)
 Practical Performance
Proposal (PPP) 25%
 Research Investigation (RI)
25%
3. Distinguish between HL (higher level) and
SL (standard level) requirements
Core Components,
Assessments, and Requirements
Greek Theatre
Poetics, Aristotle
Antigone, Sophocles
Lysistrata, Aristophanes
1. Define, identify, and recognize
components of Aristotle’s dramatic theory
and criticism: elements of writing, and the
unities of time, place, and action
2. Recognize, identify, and explain elements
of Greek drama: staging and
performance, design, tragedy and
comedy, plot, theme, characters, setting,
conflict, and conflict resolution
3. Recognize, identify, and explain the
dramatic structure of simple and complex
plays: stasis, rising action, climax
(anagnoresis, peripetia), falling action, and
new stasis
4. Recognize and explain the cultural,
historical, and political significance of
Greek drama
5. Paraphrase passages from Sophocles’
Antigone
6. Interpret, analyze, and perform scenes
from Sophocles’ Antigone.
7. Record personal growth and
understanding in student journal
8. Use appropriate theatre vocabulary in oral
and written communications
1. Recognize and explain relevant dramatic
theory and criticism
2. Recognize, identify and explain elements
of Spanish and Latin American drama: text
and non-text traditions, staging and
performance, design, plot, theme,
Spanish and Latin American
character, setting, conflict, and conflict
Theatre
resolution
3. Recognize, identify, and explain the
Blood Wedding, Federico
dramatic structure of Spanish and Latin
Garcia Lorca
American text and non-text works: stasis,
rising action, climax, falling action, and
Legislative Theatre, Augusto
new stasis
Boal
4. Recognize and explain the cultural,
historical, and political significance of
Theatre of the Oppressed,
Spanish and Latin American drama
Augusto Boal
5. Paraphrase passages from Federico Garcia
Lorca’s Blood Wedding
Video:
6. Interpret, analyze, and perform scene from
Augusto Boal and Theatre of
Federico Garcia Lorca’s Blood Wedding
the Oppressed in Rio De Janeiro 7. Explain the genesis and principles of
Augusto Boal’s “Legislative Theatre”
8. Explore the relationship between performer
and audience through the creation and
performance of a legislative theatre piece
9. Record personal growth and
understanding in student journal
10. Use appropriate theatre vocabulary in oral
and written communications
1. Recognize and explain relevant dramatic
theory and criticism
2. Recognize, identify, and explain elements
of Commedia Dell Arte: improvisation, lazzi,
gesture, stock characters, masks, costumes,
staging
3. Recognize, identify, and explain the
dramatic structure of text and non-text
Commedia scenarios
Italian Traditions: Commedia
Delle Arte, Puppetry
“Punch and Judy”
Elizabethan Theatre and
Cultural Resonances
Othello, Shakespeare
Goodnight Desdemona (Good
Morning Juliet), Ann-Marie
MacDonald
Desdemona, A Play About A
Handkerchief, Paula Vogel
4. Recognize and explain the cultural,
historical, and political significance of
Commedia Dell Arte, and puppetry
5. Make puppets suitable for Commedia
performance
6. Write and perform a Commedia scenario
7. Improvise and perform a Commedia
scenario
8. Record personal growth and
understanding in student journal
9. Use appropriate theatre vocabulary in oral
and written communications
1. Recognize and explain relevant dramatic
theory and criticism
2. Recognize, identify, and explain the
elements of Elizabethan drama: staging
and performance, design, tragedy (tragic
hero, tragic flaw, downfall), monologue,
soliloquy, aside, dramatic foil, theme, plot,
characters, setting, conflict, and conflict
resolution
3. Recognize, identify, and explain the
dramatic structure of Elizabethan drama:
typical 5 Act formula, stasis, rising action,
climax, falling action, and new stasis
4. Recognize and explain the cultural,
historical and political significance of
Elizabethan theatre
5. Paraphrase passages from Shakespeare’s
Othello
6. Explore the cultural resonances and
relevance of two modern plays inspired by
Shakespeare’s Othello: Ann-Marie
MacDonald’s Goodnight Desdemona
(Good Morning Juliet), Paula Vogel’s
Desdemona, A Play About A Handkerchief
7. Interpret, analyze, and perform scenes
from one or more of the following:
Shakespeare’s Othello, Ann-Marie
MacDonald’s Goodnight Desdemona
(Good Morning Juliet), Paula Vogel’s
Desdemona, A Play About A Handkerchief
8. Record personal growth and
understanding in student journal
9. Use appropriate theatre vocabulary in oral
and written communications
1. Recognize and explain relevant dramatic
theory and criticism
2. Recognize, identify, and explain elements
of Asian an Ancient Indian drama: staging
and performance, design, plot, theme,
character, setting, conflict, and conflict
resolution
3. Recognize, identify, and explain the
dramatic structure of Asian and Ancient
Indian drama
4. Recognize and explain the cultural,
historical, and political significance of Asian
and Ancient Indian drama
5. View, interpret, analyze, and criticize Sagi
Musume
6. Interpret, analyze and perform scenes from
King Shudraka’s The Little Clay Cart
7. Record personal growth and
understanding in student journal
8. Use appropriate theatre vocabulary in oral
and written communications
Theatre of Asia and Ancient
India
The Little Clay Cart, King
Shudraka
Videos:
The Theatre of Asia: An
Introduction
Sagi Musume: Kabuki Dance
1. Recognize and explain relevant dramatic
theory and criticism
2. Recognize, identify, and explain elements
of existential drama: staging and
performance, design, plot, theme,
character, setting, conflict, and conflict
resolution
3. Recognize, identify, and explain the
dramatic structure of seminal existentialist
drama (Samuel Beckett’s Waiting for
Godot; Rockaby): stasis, rising action,
climax, falling action, and new stasis
4. Interpret, analyze and perform scenes from
Samuel Beckett’s Waiting for Godot;
Rockaby
5. Record personal growth and
understanding in student journal
6. Use appropriate theatre vocabulary in oral
and written communications
1. Explain the process and principles of a
variety of directors through an
examination of Arthur Bartow’s The
Director’s Voice and In Transit—Hidden
Directions
2. Identify, understand, and incorporate
Existentialism
ideas, strategies and methods that can
be used in a professional and
Waiting for Godot, Samuel
educational context to add physical
Beckett
dimensions to performance—Creating
Physical Theatre—The Body in
Rockaby, Samuel Beckett
Performance
3. Talk and write about the role of theatre
as: a means of exploring identity,
values, and principles; a means of
providing a mediated dialogue between
communities within the context of a
particular culture—Altered
States: Theatre in a World of Social and
Political Change—IRELAND
4. Integrate knowledge and
understanding of how performance
companies from around the world devise
theatre by creating an original piece of
drama—The Great Deviser—Devising Work
5. Articulate connections between past
units of study in oral and/or written form
thereby demonstrating a nuanced
Integrating the Course:
understanding of the core components
Expanding Understanding of
6. Record personal growth and
Core Components, Assessments
understanding in student journal
7. Use appropriate theatre vocabulary in
The Director’s Voice, Arthur
oral and written communications
Bartow
Videos:
The Great Deviser—Devising
Work
Creating Physical Theatre—The
Body in Performance
Altered States: Theatre in a
World of Social and Political
Change—IRELAND
In Transit—Hidden Directions