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TITLE Theatre: A Maryland Curricular Framework.INSTITUTION Maryland State Dept. of Education, Baltimore.PUB DATE 89

NOTE 42p.

PUB TYPE Guides Non-Classroom Use (055) GuidesClassroom Use Teaching Guides (For Teacher) (052)

EDRS PRICE MF01/PCO2 Plus Postage.DESCRIPTORS *Curriculum Development; *Curriculum Evaluation;

Educational Objectives; Elementary SecondaryEducation; *Program Implementation; *Theater Arts

IDENTIFIERS Drama in Education; *Maryland

ABSTRACTThis booklet is designed to assist administrators and

teachers in planning, developing, and implementing K-12 theaterinstruction. The materials presented in the booklet are intended toaid local school systems in planning local curricula, developing alocal philosophy, defining local goals, evaluating the extent towhich the goals are contained in current curricular offerings,identifying needed curricular content, and defining selected theaterterms with important curricular implications. The booklet isorganized in five major sections: (1) Philosophy; (2) Goals andSubgoals (broad statements of desired outcomes derived from thephilosophy); (3) Expectancies (behavioral statements); (4)

Illustrative Objectives (sample objectives which show how goals andsubgoals may be treated at particular learning levels); and (5)Curriculum Development Process (describing how to develop and usegoals, subgoals, expectancies, and objectives in the preparation oftheater scopes and sequences and instructional units). Six appendixescontain a sample set of illustrative objectives, a note on requiredMaryland competency objectives, a theater curricular frameworkglossary, and lists of the Maryland Theatre Curricular Framework taskforce, review panel, and national review panel. (SR)

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EA- EA MARYLANDCURRICULARFRAMEWORK

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CONTENTS

Acknowledgements IVForeword VPreface VIIntroduction: A Statement of Purpose 1Philosophy 2Theatre Education Goals and Subgoals 3Expectancy Levels 12Illustrative Objectives 15Curriculum Assessment and Development 16

PhilosophyGoalsScope and SequenceInstructional Units

Appendices 25

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ACKNOWLEDGEMENTS

The Maryland State Department of Education is gratefulto all who contributed to the development of this publi-cation. Special appreciation is accorded to the following:The Maryland Theatre Curricular Framework Task ForceMaryland English language arts coordinatorsMaryland theatre teachersMaryland institutions of higher learningThe Maryland Theatre Curricular Framework Review

PanelThe National Review Panel for the Maryland Theatre

Curricular Framework

The development of this document was coordinated by:James L. Tucker, Jr.

Section Chief for Arts and Humanities ProgramsMaryland State Department of Education

Ruth A. KlineSpecialist in the Fine ArtsMaryland State Department of Education

John C. CarrProfessor of EducationUniversity of Maryland-College Park

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Maryland State Board of EducationLawrence A. Shulman

President, Rockville 1989May B. Bolt, Frostburg 1989Herbert Fincher, Salisbury 1993Priscilla Hilliard, Upper Marlboro 1990Rosetta G. Kerr, Baltimore 1991

Joan C. Maynard, Linthicum Heights 1992Wilson H. Parran, Huntington 1991

Frederick K. Schoenbrodt, Ellicott City 1990Benjamin Swinson, Temple Hills 1992Shirley Leung, Bel Air 1989

.Joseph L. ShillingState Superintendent of Schools

Claud E. KitchensDeputy State Superintendent of Schools

Martha J. FieldsAssistant Deputy State SuperintendentBureau of Educational Development

Nicholas HobarAssistant State Superintendent, Division of Instruction

James W. Latham, Jr.Director, Division of Instruction

Maurice B. HowardChief, General Curriculum Branch

The Maryland State Department of Education does notdiscriminate on the basis of race, color, sex, age, nationalorigin, religion, or handicapping condition in mattersaffecting employment or in providing access toprograms.

William Donald SchaeferGovernor of Maryland

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FOREWORD

Through observation and artistic imitation, theatre hasstudied and commented on human behavior for cen-turies. Theatre continues to flourish in its pure formwhile film and television have adapted its presentationalqualities, making theatrical experience an integral partof daily life. An amalgam of the other arts, theatre hasunusual power to inform and to instruct at the sametime that it entertains.

Theatrical history claims the names of writers whoseworks are essential to the study of civilization; other the-atrical collaboratorsperformers, directors, techni-cians, and managershave contributed to civilizationthrough this lively art. As an index to human imaginationand invention, theatre invites close attention.

This curricular framework provides guidelines for thedevelopment and assessment of comprehensive K-12theatre education programs in the schools of Marylandand indicates ways in which citizens in an increasinglycomplex society can learn in and through the study oftheatre.

Joseph L. ShillingState Superintendent of Schools

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PREFACE

In response to a statewide mandate for more com-prehensive programs in the arts, the Maryland StateBoard of Education, through the State Superintendent ofSchools, formed a theatre task force charged with de-veloping goals for a comprehensive K -12 theatre pro-gram. The task force was made up of elementary andsecondary school teachers of theatre, a public schoolspecialist in aesthetic education, the director of a the-atre company that performs and provides consultingservices for schools, a university specialist in theatreeducation, and a state specialist in the fine arts. The taskforce functioned under the aegis of the Chief of the Artsand Humanities Section of the Maryland State Depart-ment of Education.

The group reviewed curricular materials related totheatre education from many sources and numerousstates. Background material from respected theatre edu-cators was also considered as the task force developedits philosophy and the four goals of the program. Mem-bers of the task force developed and refined subgoals foreach goal and listed expectancies that delineate the pos-sible scope of the subgoals. Illustrative objectives werethen developed as examples of ways to incorporate sub-goals into local theatre curricula.

Reviews of the final document were made by na-tionally recognized experts in theatre education andteachers, supervisors, and theatre practitioners fromMaryland. A formal review panel, chaired by the StateAssistant Superintendent, Division of Instruction, wasconvened to consider the completed work.

Finally, the State Department of Education fundedprojects for local systems to examine their current pro-grams and outline and compare their desired theatrecurriculum with the new goals for theatre education.

This document summarizes the work directed by thetask force and includes a section to assist local schoolsystems in their curriculum development efforts.

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INTRODUCTION

A Statement of PurposeTheatre: A Maryland Curricular Framework is de-signed to assist administrators and teachers in planning,developing, and implementing K-12 theatre instruction.It includes a philosophical statement and guidelines forformal, systematic, and comprehensive study of the dis-cipline. Theatrical activities are an essential componentof theatre study; they also can be integrated with generalcurriculum. The materials presented will aid local schoolsystems in:

Planning local curricula,Developing a local philosophy,Defining a local set of goals and subgoals,Evaluating the extent to which the goals and subgoals

are contained in current curricular offerings,Identifying needed curricular content and instruc-

tional strategies, andDefining selected theatre terms having important cur-

ricular implications.This document is organized in five major sections:The PhilosophyThis section defines the nature of

theatre and describes its relationship with society, thelearner, and the school curriculum.

Goals and SubgoalsThese broad statements of de-sired outcomes derive from the philosophy and providedirection and clarity for the program.

ExpectanciesThese behavioral statements providefurther definition for each subgoal.

Illustrative ObjectivesThese sample objectivesshow how goals and subgoals may be treated at particu-lar learning levels.

Curriculum Development ProcessThis section de-scribes how to develop and use goals, subgoals, expec-tancies, and objectives in the preparation of theatrescopes and sequences and instructional units.

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he Nature of TheatreTheatre is an art with roots that extend deeply intohuman experience. In a time-honored tradition thatstretches back to the first enacting storytellers, theatri-cal expression has enriched religious rite, enhanced therituals that mark the passages of private and public life,voiced the concerns of individuals and society, and ex-plored the frontiers of curiosity and creativity.

Theatre is the empathetic examination of human expe-rience by actors before an audience. While it may takemany shapes and serve many purposes, theatre is a dis-ciplined, collaborative activity that requires the ability tothink critically, to create imaginatively, to call upon emo-tional resources, and to share verbally and non-verbally.

Those involved in the creation of theatre are play-wrights, actors, directors, designers, technicians, and au-diencespresent in varying degrees depending on thepurpose, the nature, and the setting of the theatrical en-terprise. Each is influenced by cultural context, stylisticevolution, and personal inspiration.

By engaging both the intellect and the emotionsthrough imitation of human behavior, theatre results inan exprience that is more than the sum of its parts.Uniquely, theatre permits transcendence of immediatereality and acknowledgement of kinship with the humanfamily across time and space.

In Shakespeare's phrase, theatre holds "the mirror upto nature."

Theatre and SocietyTheatre has always served a social purpose. Springingfrom the need to communicate expressively, theatre hasprovided society with a unique way of examining its con-dition, its fears, hopes, dreams, and aspirations. The con-

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PHILOSOPHY

tent of theatre extends to theatre-derived media (film,television) and is prominent in daily life, politics, com-merce, and leisure. Because theatre in its varied forms isan artistic amalgam of all the arts, it has unusual powerto inform and instruct as it entertains. Understanding itscontent and how that content affects the quality of life isessential to an informed citizenry. Theatre, therefore,challenges the members of society to examine life expe-rience and to share intellectually and emotionally.

In its most frequent form, theatre is a communal ac-tivity requiring the participation of technicians and art-ists and the presence of an audience.

Theatre and the LearnerImitation, which lies at the center of theatrical activity,is learned early in life and practiced thereafter. Throughsequential theatrical experiences that imitate, explore,and respond to human behavior, students have wide op-portunity to develop self-esteem, to communicate, tomaster basic skills, to inquire and discover, to create,and to explore values.

Theatre refers to the study of the artistic discipline. Atthe elementary level, students learn through creative dra-matics and possibly performance experiences having aclear distinction between actors and audience. At thesecondary level, students encounter theatre as both anacademic discipline and as a performing art. Addi-tionally, theatre activities may be used as instructionalstrategies for implementing general curriculum K -12.

While some students demonstrate special talent andshould be assisted in preparing for professional theatrecareers, all students are entitled to share in theatrical ex-periences aimed at achieving four major goals that fosterintellectual, aesthetic, social, and technical proficiency.

Theatre CurriculumA theatre curriculum is the organized means by whichstudents may be assisted in establishing a life-long rela-tionship with theatrical expression. Structured by scopeand sequence, curriculum in theatre reflects the natureof the art form, its societal relationship, and its signifi-cance to both broad and specific needs of learners.

Theatre experiences K-12 are intended to encouragestudents to explore aspects of their development, to ex-press themselves creatively, to develop intellectual andphysical discipline, and to reflect on universal issues. Alltheatre experiences should accommodate the interestsand abilities of students and lead them systematically to-ward an integrated understanding and appreciation ofthe role of theatre in their personal lives andenvironment.

Theatre curriculum lends itself particularly to experi-mentation and to revision on the basis of spectator re-sponse. Theatre, by its nature, is communal and for thatreason places students in the position of developing andusing skills that promote the common good.

Theatre study challenges students to develop theskills of attending, responding, and evaluating. Becauseof the prevailing influence of theatre-derived media,such skill development spreads naturally from the studyof the art form outward to society where the success oftheatre is encouraged by an informed, discriminatingaudience.

Theatre curriculum encompasses the study of theatrehistory and dramatic literature; development of physical,emotional, and interpretive skills; understanding andmastery of language, vocal, and physical technique; ap-preciation and demonstration of technical theatre craft:and the development of critical acumen.

THEATRE EDUCATIONGOALS AND SUBGOALS

These four goals and their respective subgoals representbroad guidelines for K-12 theatre programs in theschool systems of Maryland. The goals and subgoalsamplify different aspects of a program designed for allstudents at all grade levels.

While the goals and subgoals sometimes may be pur-sued separately, they must be interwoven for truestachievement. The goals and subgoals are the drivingforce behind the knowledge, skills, habits, and attitudesto be achieved in a comprehensive program.

Each goal addresses a different category of content.Those categories included are:

Goal 1. Aesthetic Education

Goal 2. Historical, Cultural, and Social Context

Goal 3. Creative Expression and Performance

Goal 4. Aesthetic Criticism

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GOAL 1

To develop the ability to per-ceive and respond to theatreas a collaborative imitationof human experience

Traditionally theatre has servedsociety as a reflector of individ-uals and groups in their effortsto know and live with others. Itsmetaphoric representation ofhuman behavior allows partici-pants and observers to confrontshared universal issues, to evalu-ate solutions, and to seek fulfill-ment of human potential.

Goal 1 focuses on how theatrehas depicted the spectrum ofhuman behavior, how that be-havior is manifest in the com-munal effort of making andappreciating theatre, and howexamination of that behaviorcan lead to recognition and un-derstanding of membership inthe human family.

Subgoals

1.1 Develop an understanding of how theatre, as a col-laborative art form, reflects humanity.

1.2 Develop an understanding of how the elements oftheatre are used to enhance perception and aes-thetic response.

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GOAL 2

To develop an understandingof the theories, forms, history,and literature of theatre

Theatre requires of its practi-tioners a close understanding ofits origins, growth, and varia-tions. While students may studytheatre for varied reasons, theyare more proficient when theyunderstand themselves inrelation to the world of theatrepast and present. In the elemen-tary grades, students explorethe content of this goal bestwhen they engage in dramaticplay, creative dramatics, andtheatrical activities integratedwith general curriculum. Sec-ondary school students shouldpursue more formal study ofthis goal.

Goal 2 describes those as-pects of theatrical knowledgeand perspectives which are es-sential to a comprehensive the-atre curriculum. It also includesa study of the purposes of the-atre, the contributions ofvarious cultures and theatricalartists to the art form, and theinterrelationship of theatre andsociety.

Subgoals

2.1 Develop and demonstrate knowledge that diversetheories and forms of theatre satisfy culturalneeds, past and present.

2.2 Develop understanding of the history, traditions,and conventions of theatre.

2.3 Develop and demonstrate knowledge of dramatictexts and other literature of the theatre.

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GOAL 3

To develop knowledge, ideas,and skills for theatricalexpression

Artistic creation presupposescompetency in craft (tech-nique). Close familiarity withthe forms, materials, tools, andvarieties of theatrical practiceenhances creativity within thecollaborative making of theatre.Because craft is essential toartistic accomplishment, its de-velopment undergirds all as-pects of theatre.

Goal 3 indicates the broadrange of technical expertise nec-essary to both theatrical practi-tioners and audiences. Impliedin the goal is individual masterythat contributes to unified artis-tic expression.

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Subgoals

3.1 Develop and explore the creative process throughtheatrical activities.

3.2 Develop and apply theatrical knowledge, princi-ples, and practices to theatrical activity.

3.3 Develop individual responsibility in collaborativetheatre process.

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GOAL 4

To develop the ability to makeaesthetic judgments throughtheatre experience

Theatre is both craft and art.Understanding, appreciating,and responding to both of theseaspects of theatre requires theability to discriminate betweenthem and the ability to recog-nize how they interact. Develop-ing criteria for judging theatricalpresentations enhances artisticeffort and audience reaction.

Goal 4 describes the interplaybetween intellectual compre-hension and the trial-and-errorpractices of theatre in its effortto provide aesthetic satisfactionand to move and persuadeaudiences.

Subgoals

4.1 Develop the knowledge, skills, and sensitivity tomake aesthetic judgments.

4.2 Develop, analyze, and apply criteria for makingaesthetic judgments in evaluating theatricalperformance.

4.3 Develop the ability to use evaluation as a meansfor achieving ensemble effect.

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he expectancy levelsfurther delineate the scope of the goal and subgoal state-ments and provide a flexible format for describing ex-pected student outcomes. This format allows the teacherto target a class or even an individual student accordingto the student's promise and experience, or according toage or grade level. The three levels may be described asfollows:

Level 1Earliest level of exposure, the beginner, pri-

EXPECTANCYSTATEMENTS

marily physical and concrete information and activity,initiating basic concepts.

Level 2Reinforcement and extension of basic skillsand experience, intermediate difficulty, increasingly so-phisticated concepts, broader scope and activity.

Level 3Advanced level, synthesis of ideas, competentapplication of concepts and skills, integration with otheracademic areas, preparation for mature development.

GOAL 1: To develop the ability to perceive and respond to theatre as a collaborative imitation of human experience

SURGOALSLEVEL 1

EXPLORELEVEL 2 LEVEL 3

FOCUS APPLY

1.1 Develop an understand-ing of how theatre, as acollaborative art formreflects humanity.

Become aware of howtheatre depicts univer-sal stories and themes.

Recognize how theatrehas been used to reflectsocial concerns.

Analyze how theatresatisfies the need foraesthetic expressionthrough portrayal of hu-man experience.

1.2 Devebp an understand-ing of how the elementsof theatre are used toenhance perception andaesthetic response.

Identify the elements oftheatre: imitation, lan-guage, action, space,time, and enerv.

Identify the relationshipbetween the elements oftheatre and aesthetic re-sponse.

Analyze the elements oftheatre in all phases oftheatre study.

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GOAL 2: To develop an understanding of the theories, forms, history, and literature of theatre

SUIGOALELEVEL IEXPLORE

LEVEL 2FOCUS

LEVEL 3APPLY

2.1 Develop and demon-strate knowledge thatdiverse theories andforms of theatre satisfycultural needs, past andpresent.

Demonstrate behavioraldiversity through imita-tion.

Demonstrate knowledgeof the different kinds oftheatre in major cul-tures and major histor-ical periods.

Demonstrate knowledgeof the role of theatre incontemporary American1 ife.

2.2 Develop understandingof the history, tradi-tions, and conventionsof theatre.

Demonstrate knowledgeof theatrical conven-tions such as willingsuspension of disbelief,impersonation, attend-ing, applause.

Demonstrate knowledgeof the relationship be-tween theatre activityof the past and the pres-ent.

Demonstrate knowledgeof the contributions ofmajor theatrical practi-tioners.

2.3 Develop and demon-strate knowledge of dra-matic texts and otherliterature of the theatre.

Distinguish among thefeatures of dramatictext, e.g., dialogue, nar-ration, acts and scenes.

Read, perform, and at-tend selected plays.

Read and respond to se-lected material abouttheatre history, crit-icism, commentary, andbiography.

GOAL 3: To develop knowledge, ideas, and skills for theatrical expression

SUIGOALSLEVEL I

DEPLORELEVEL 2FOCUS

LEVEL 3APPLY

3.1 Develop and explore thecreative processthrough theatricalactivities.

Communicate throughtheatrical activities.

Develop a variety oforiginal theatricalactivities.

Rehearse and performvarious theatricalactivities.

3.2 Develop and apply the-atrical knowledge, prin-ciples, and practices totheatrical activity.

Become aware of skillsused in theatricalactivities.

Develop the various per-formance/productionskills required for the-atrical activities.

Refine performance/production skills.

3.3 Develop individual re-sponsibility in collab-orative theatre process.

Become aware that the-atre activity requirs re-liance on self andothers.

Demonstrate awarenessof the various responsi-bilities necessary inplay production.

Practice social responsi-bility in all theatricalactivities.

GOAL 4: To develop the ability to make aesthetic judgments through theatre experience

SUIGOALSLEVEL IEXPLORE

LEVEL 2FOCUS

LEVEL 3APPLY

4.1 Develop the knowledge,skills, and sensitivity tomake aesthetic judg-ments.

Become aware that be-cause all art is a form ofpersonal expression, itshould be treated re-spectfully.

Recognize that knowl-edge and experience in-fluence aestheticjudgment.

Demonstrate a varietyof ways of expressingaesthetic judgment.

4.2 Develop, analyze, andapply criteria for mak-ing aesthetic judgmentsin evaluating theatricalperformance.

Establish basic criteriafor evaluating theatricalresponses.

Apply evaluative criteriato both in- and out-of-school performances.

Expand personal crite-ria by reading and wri-ting theatre criticism.

4.3 Develop the ability touse evaluation as ameans for achieving en-semble effect.

Demonstrate the abilityto respond to personaland peer performancein a positive, con-structive manner.

Build performanceskills and positive self-image through self, peer,and directorial evalua-tion.

Demonstrate an under-standing that theatre re-quires unity of effortand effect.

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hese sample objectivesrepresent a way to incorporate a framework subgoal intolocal theatre education curricula.* They are organized togive sample objectives for three qualitatively differentlearning stages. A local school system choosing to usethese illustrative objectives may determine their specificplacement and modify them to meet local needs.

ILLUSTRATIVEOBJECTIVES

GOAL 2 To develop an understanding of the theories,forms, history, and literature of theatre

SUBGOAL 2.1 Develop and demonstrate knowledge thatdiverse theories and forms of theatre satisfy culturalneeds past and present.

EXPECTANCIES

2.1.1 Demonstrate behavioral diver-sity through imitation.

OBJECTIVESLEVEL 1

During the early years, students willbe able to:

Imitate people, animals, andthings from everyday life.

Explore differences amongpeople through dramatic play.

Explore through dramaticplay, behaviors of fictionalcharacters.

2.1.2 Demonstrate knowledge of thedifferent kinds of theatre inmajor cultures and major his-torical periods.

OBJECTIVESLEVEL 2

During the middle years, studentswill be able to:

Identify ways in which peoplein different cultures have usedplaymaking to imitate dailylife.

Identify ways in which peoplein different cultures have de-veloped distinctive forms ofplaymaking.

Identify differences betweentheatre and theatre-derivedmedia and how each presentscharacters in crisis situations.

2.1.3 Demonstrate knowledge of therole of theatre in contempo-rary American life.

OBJECTIVES LEVEL 3

During the high school years,students will be able to:

Demonstrate knowledge ofhow specific playwrights inmajor historical periods haveimitated life through drama.

Demonstrate knowledge ofmajor periods of theatrical his-tory and different cultural the-atrical expressions.

Demonstrate knowledge ofhow Pulitzer Prize winningplays have reflected Americanlife.

'These objectives are representative of a set of sample objectives for each goal and subgoal prepared and validated under thedirection of the Maryland Theatre Curriculum Framework Task Force. The sample set of validated illustrative objectivesmay be found in Appendix A.

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his section will guideaecialists and teachers as they assess exist-and develop new curricula. The material isRind the four essential components of theal curriculum: an underlying philosophy, theof the program, the scope and sequence,room instructional units. Each componentin terms of its purpose, its specific elements,in be assessed and developed. In addition,'rom an existing Maryland curriculum guideach component.

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is an explicit statement of the beliefs thatects of a school system's curriculum. De-filosophy allows educators in a system toisus about the nature of the subject matter.0 the instructional program. A clear state-)sophy, therefore, can aid the school system

goals, specifying instructional strategies,g programs.iensive philosophy should begin by address-,ct matter, its relationship to society, and itsto learners. Based upon a synthesis of thesedear statement should be developed to di-em in structuring its curriculum.

7t Mattershould describe the type of subject mattertaught and the disciplines from which thethould be drawn. It should address the un-mises and values as well as the investigativeid processes inherent in these disciplines.

?ds in relation to the subject matter shouldy importance when planning a program.of the philosophy should describe these

ow they can he met by a comprehensive

The LearnerThe system's set of beliefs about the needs of students isfound here. These needs include those influenced by theexternal demands of society and those that, if met,would lead to personal fulfillment.

The Curricular StatementThe curricular statement is the culminating section ofthe philosophy. It synthesizes the needs of society andthe learner with the subject matter content to produce arationale for the curriculum.

Developing a PhilosophyIn developing a program philosophy it may be useful toreview other philosophies in existence at the local, state,and national levels. Implicit beliefs held by the localcommunity should also be identified and considered.Finally, a systemwide consensus should be reached onthe key beliefs outlined in the final product.

Example of a Local PhilosophyTheatre is a metaphoric representation of human be-havior. A collaborative artistic expression, to whichsome of the world's greatest artists have contributed,theatre has traditionally served society by depicting in-dividuals engaged in the full range of experience. Be-cause it explores the idea "I am human, thereforenothing human is alien to me," theatre encourages us toshare intellectually and emotionally, to explore universalconcerns, and to renew the spirit.

Theatre is an integral part of the academic cu. iculumwhich uniquely integrates major aspects of other fieldsof study into its own. Systematic and continued theatreexperiences in education provide learners with oppor-tunities to master basic skills, to inquire and discover, tocreate, and to explore values.

While some students demonstrate special talent andshould be assisted in preparing for professional theatreand related careers, all students are entitled to share intheatre experiences which encourage them to developtheir internal and external resources, to explore theircreative potential, to investigate the social and historicalcontext in which they live, and to expand their criticalacumen.

CURRICULUMASSESSMENTAND DEVELOPMENT

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THE NATURE OF THEATRERooted in the universal need for expressive communica-tion, theatre imitates and symbolizes human action inorder to explore thought, feeling, and behavior. Of all theart forms, theatre is the most human because its align-ment of purpose and mode of expression allow it toclosely approximate daily life.

Theatre is a collaborative discipline. Its componentsare text, actors, director, designers, technicians, and au-diencepresent in differing degrees according to inten-tion, nature, and setting of the theatrical endeavor. Eachis influenced by time, place, culture, and personalindividuality.

THEATRE AND SOCIETYTheatre is social in nature. It requires collaborationamong artists, technicians, and audiences, thereby en-hancing a community's effort to understand itself and itsindividuals. The concerns of theatre are also the con-cerns of theatre-derived media (film, television), and areprominent in personal life, public life, commerce and lei-sure. Because theatre is an amalgam of all the arts, it hasunusual power to inform and instruct as it entertains.While "playing" with our fears, hopes, dreams, and aspi-rations, theatre allows us to make meaning that en-hances the possibility of our knowing and livingsuccessfully with one another.

THEATRE AND THE LEARNERTheatre actively involves students as observers,organizers, creators, and evaluators. Through multisen-sory experiences, they are assisted in developing knowl-edge, skills, creative expression, and values. Because ofthe interdependency of those involved in the productionof theatre, students develop competencies beneficial toall: self-esteem, social consciousness, and responsibleaction. Each individual is essential to the groupendeavor.

As students engage in dramatic activities as part ofthe curriculum, they are able to integrate both theirintellectual and emotional capacities. As they engagein theatre study, students are able to focus on therequirements of the artistic discipline.

Theatre activities lend themselves particularly to lan-guaging competencies, to interdisciplinary investigationsof history and culture, and to such problem-solving skillsas hypothesis testing and decision making. Theatre isalso an ideal vehicle for perfecting lifelong consumerskills.

THEATRE CURRICULUMA theatre curriculum is developed and structured byscope and sequence. It is the organized means by whichstudents may be assisted in establishing a life-long rela-tionship with theatrical expression. Organized curricu-lum in theatre should meet both the broad and specificneeds of students through the study of theatre as an artform, for its historical and cultural contributions, for itsrelationship to society and for its importance to theindividual.

Theatre experiences K-12 are intended to encouragestudents to explore aspects of their development, to ex-press themselves creatively, to develop intellectual andphysical discipline, and to reflect on universal issues.

GOALS

Goals are broad generalized statements derived from thephilosophy that determine the curriculum. They set thedirection of the program by identifying those learneroutcomes to be achieved through the program.

Since program goals are broad, subgoals may be usedto define the major areas covered by each goal. Addi-tional levels of behavior statements may be written tofurther specify the expected behaviors within eachsubgoal.

Developing GoalsGoals should be developed from and thus reflect the sys-tem's philosophy. The chosen set of goals should at mini-mum incorporate all of the goals and subgoals from thestate while addressing the specific needs of the commu-nity and special populations of children.

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CURRICULUMASSESSMENTA DIVILOPMENT

Example of a Local Set of GoalsThe following comparison shows how a local set of goalshas incorporated the required state theatre goals:

A LOCAL SET OF GOALS

Through the study of theatre, thestudent will:1. Heighten personal enjoyment of

the theatrical arts, developingpersonal aesthetic standardsthrough critical exposure to theefforts of others.

2. Develop an awareness of andconfidence in one's self throughinteracting with others.

3. Demonstrate competency inhandling stage tasks and develop-ing skills as performer, techni-cian, and member of theaudience.

4. Demonstrate understanding ofthe theories and history of the-atre, drama, and art.

STATETHEATREEDUCATIONGOALS

Goals 1, 4

Goals 1, 3

Goals 3, 4

Goals 2, 4

SCOPE AND SEQUENCE

A scope and sequence is a picture of the entire curricu-lum from the school system level. It provides a broadoverview of the content of the curriculum and illustratesthe sequencing of the material from kindergartenthrough the twelfth grade.

In any scope and sequence certain key elements mustbe presented for each unit or course: the title or topic, anarrative describing the goals and subgoals to be taught,and the placement of the unit or course within theschool program.

Developing and Assessing a Scopeand SequenceThe first step for developing a new scope and sequence,or modifying an existing one, is to review the currentcurriculum. It may he helpful to answer the following se-ries of questions about the current scope and sequence.1. Do the topics covered adequately meet the desired

scope of the program?2. Is the content, as well as its placement, appropriate

for the developmental levels of the various types oflearners?

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3. Is each of the system's goals incorporated into thecurrent scope?

4. Does the sequence follow a logical order and allow forrecycling material when appropriate?

The answers to these questions should be examinedand recommendations made for needed changes in thescope and sequence. Once this needs assessment hasbeen completed, the scope and sequence should be re-vised to reflect the newly developed philosophy andgoals.

Example from a Local SequenceThere are a variety of ways a sequer ce could be struc-tured and still meet the recognized needs of a system.The following example describes !sec uences for learnersat levels I, II, and III.

LEVEL ILet's PretendImitative Dramatic PlayCreative DramaticsBeginning RoleplayMimePuppets!Theatre Around the WorldTheatre in Relation to HolidaysTheatre of Other CulturesThe Play's The Thing . . .

Seeing PlaysAppropriate Audience BehaviorIntroduction to Theatre Terminolo,

and Production ElementsOn StageReading PlaysChoral ReadingBasic Acting Skill DevelopmentKnowledge of Stage DirectionsScript WorkSharing the Stage SpaceRehearsal and PerformanceLet's Write a PlayStory Development (beginning, middle, end)Dramatic ConflictSettingCharactersDialogueResolution

LEVEL IIExploring RolesImprovisationAdvanced MimeAdvanced RoleplayExamining Stereotypes and Stock CharactersCreating an EnsembleGroup DynamicsGroup RolesDeveloping CharactersRehearsal Responsibilities and BehaviorsTheatre HistoryTheatre's RootsTheatre as a RitualTheatre in Other CulturesEthnic Influences and ContributionsTheatre Styles and FormsContemporary TheatreSeeing is BelievingAttending Plays in the CommunityAppropriate Audience BehaviorMeeting with Theatre ProfessionalsEvaluating PerformancesCritiques: Oral and WrittenIn The SpotlightReading PlaysExtending Acting SkillsIncreasing Awareness of Theatre Elements

and TerminologyTechnical DesignReader's TheatreScene StudyRehearsal and PerformanceEvaluating One's Own Performance

and the Performance of OthersPlaywritingReading and Analyzing ScriptsPlot DevelopmentCharacters and Character DevelopmentDialogue

LEVEL HIIntroduction to TheatreThe Acting ProcessBasic Stage MovementBasic Vocal TechniquesScript Analysis and InterpretationStage Production ProceduresTheatre HistoryAn Overview

Theatre IMimeEnsemble ActingCharacterizationProduction Text AnalysisTheory and CriticismHistorical/Social Context of ActingTheatre IIReader's TheatreActing for Arena, Thrust, and Proscenium StagesElements of DirectingDesign Elements and the Production ConceptActors and the Business of TheatreUsing Theory and Criticism in Play AnalysisTheatre IIIActing StylesActing for the CameraDirecting ProjectsTechnical Theatre Design ProjectsDevelopment of Critical TheoriesElective: Play ProductionTheatre ArchitectureScenic and Costume DesignStagecraftLighting DesignMakeup DesignMusic and Sound DesignElective: DirectingThe Director's FunctionProduction Concept and StyleScript SelectionAuditioning and CastingFundamentals of Composition and PicturizationFundamentals of Movement and Rhythm.Play AdaptationElective: Development of TheatreGreek Theatre and Roman TragedyCommedia dell' Arte and the Medieval StageElizabethan Stage and ShakespeareRestoration Comedy to Modern TheatreNon-Western Theatre

CURRICULUMASSESSMENTAND DIMLOPPAINf

Example from a Local ScopeThe scope of each course or unit is described through anarrative and a listing of the goals and subgoals covered.Though two school systems may teach the same se-quence (that is, the same topic at the same grade level),the scope of that course or unit may he different. Thefollowing is an example of a local system scope forcourses in three grades in level 1.

1st GradeThe theatre program for the first grade focuses on basictheatre concepts and skills. Projects are designed to al-low students to explore through personal experience: toimitate, to investigate the senses, to share ideas and feel-ings, to recognize the need for collaboration in theatricalactivities. The first grader will come in contact with a yr,-riety of materials and processes and through related th.atrical activities will develop the theatrical skills thatenhance competence in other areas of learning.

The first grader will:Develop a better understanding of self, family, andcommunity.Identify how each of the senses contribute to knowingand feeling.Reinforce communication skills.Develop self-confidence and accept responsibility.Engage fully in dramatic play and creative drama.Demonstrate appropriate audience behavior.

First grade theatre meets the following state subgoals:1.1, 1.22.1, 2.23.1. 3.2. 3.34.1, 4.3

2nd GradeThe theatre program for the second grade focuses on ap-plied theatre concepts and skills. Greater attention isgiven to the details of sensory and emotional experi-ences. Communication and attending skills are empha-sized. Students are encouraged to share creative ideaswith others. Through related theatre activities, the sec-ond grader will enhance competence in other areas oflearning.

The second grader will:Develop a better understanding of neighborhood,community, and occupations.Distinguish various behavioral roles: home, classroom,playground.

Use dramatic play and creative drama as a means ofclarifying and sharing ideas and feelings.Use costumes and properties to enhance theatreactivities.Work well with others, express personal preference,and assume responsibility.

Second grade theatre meets the following state subgoals:1.1, 1.22.1, 2.23.1, 3.2, 3.34.1, 4.3

3rd GradeIn the third year of the theatre program, the student willbuild on skills and reactions developed in previous the-atrical experiences. Greater emphasis is placed on care-ful use of the voice and body. Perceptual and responseskills are enhanced by continuing efforts to develop se.sory acuity. Students experience a wide variety of the-atrical activities which allow them to demonstrate moreadvanced skills as they consciously plan their work andmake aesthetic judgments. Through related theatre ac-tivities, the third grader will enhance competence inother areas of learning.

The third grader will:Interpret character motivation and behavior in creativedrama, film, television, and plays.Use movement and voice to communicate thoughts,and feelings.Apply problem-solving techniques to theatricalactivities.Present theatrical activities based on a variety ofstimuli.Gain in self-confidence and be more accepting ofothers.

Third grade theatre meets the following state subgoals:1.1, 1.22.23.1, 3.2, 3.34.1, 4.3

20

A K-12 Theatre Education Match with the State Theatre Education Goals

STATE SUBGOALS

1.1 1.2 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3Oral Exchange ofExperienceRole Playing

Listening forUnderstanding XUse of Oral Language XExpressive CreativeThoughts X X

Exchange andUnderstanding of Ideas XOral Expression ofThought and Feelings X

X X

Summarize SequentiallyListening Analytically X

X XX X

Sequential Relating ofNarrativesAssessment of NarrativesOral Descriptions XCriticism of PeerCreativity X

Oral Reports XCriticism of Oral Reports X

X X

X X

X XLogical Presentation ofExtemporaneousSpeeches X X XWriting of Others X X XComprehension of Causeand Effect X X XPredictions of PlotOutcomes X X X

8 Introduction of DramaticStructureBasic Theatre Terms andtheir Origins

X X X X X

X X X

X X

X X

21 ?8

Example of a LocalMatch with StateTheatre EducationGoalsTo assess local programs itis helpful to complete amatch between goalsestablished by the localsystem or the state and thegoals implicit in the currentscope and sequence. Thefollowing is an example ofsuch a match.

STATE SUBGOALS

1.1 1.2 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3

Theatre ArfsImprovisation X X

Mice X

NlovementStage Etiquette X X X

Theatre History( overview I X X X

t'haracterization X X X

Functions of Sceneryand Lighting

X X X X X X

Play ProductionRole Playing X X X XX X X X

Scene I )evelopment X X X X X X

Directorial Functions X X X X X X

Set 'mist ruct X X X

'Theatre I ist(IrySpecific)

Acting Methods SomeIral Interpretation X X l XX X X X X X

Design. Lighting, and Set X X X X X

Independent PlayProduction'oncentrations

Act ing X X X XX X X X

Directing X X X XX X X X

DesignX X X X X X

2922

INSTRUCTIONAL UNITS

An instructional unit describes how a topic at a particu-lar grade level is to be taught. It is a guide for teachers touse in working with their students.

An instructional unit consists of severalimportant elements:

the title or topic to be covered;a narrative or outline describing the content to becovered;a set of objectives derived from the goals and sub-goals and defining the scope of the unit or course;the activities necessary to reach the objectives;a list of resources, equipment, and supplies;a description of the evaluation procedures needed todetermine whether or not the objectives have beenmet.

How Are Instructional Units Developed?The first step in developing an instructional unit is to ex-amine existing ones. It may be helpful to answer a seriesof questions about them:1. Do the objectives build toward designated goals and

subgoals and do they cover the scope of the topic?2. Is the content, including skills, adequate enough to

cover the topic and is it current?3. Are the activities adequate for reaching the objectives,

and are they appropriate for the learner?4. Is the sequence of learning activities within the unit

logical?5. Are the resources listed adequate f^: the activities?6. Does the evaluation relate directly to the stated

objectives?A series of decisions must then be made. First, is it

possible simply to revise the existing units? Second, areunits available from an outside source that could beadapted to meet the identified needs? Third, if not, howcan new units be developed locally to improve thecurriculum?

Once these questions have been answered, it may hehelpful to pilot any resulting curriculum changes. Theevaluation of such a pilot can he useful in further refin-ing the new curriculum.

Example of an Instructional UnitPLAYWRITDIG LEVEL 2

UNIT DESCRIPTIONThe Playwriting Unit will extend experienc:es in play-making by providing opportunities for students to readand analyze short plays and to write scenes. Students

will work together and alone in activities that will en-hance understanding and skill development. Emphasiswill be placed on translating understanding of playwTit-ing into the writing of performable material. Emphasiswill also be placed on development of personal response.Discussion, reading, field trips, contacts with writers,observation, trial-and-error projects, and revising willfurther establish the broad and specific goals of the unit.

UNIT GOALSThe following state theatre education subgoals are metin this unit:1.1, 1.22.2, 2.33.1, 3.2, 3.34.1, 4.3

UNIT OBJECTIVESBy the end of the unit, students will be able to:

1. Identify cause and effect in plots and characterbehavior.

2. Predict probable behaviors of characters based onbackground information and specific circumstances.

3. Suggest alternative courses of action in plots andpredict results of them.

4. Distinguish between "character" and "actor" in livetheatre and television.

5. Recognize and use the formal characteristics of adramatic script, including identification of speakers,dialogue, and stage directions.

6. Ask appropriate questions about the structure ofplots, motivations of characters, and character-specific dialogue.

7. Convert material from narrative to dramatic modes.8. Demonstrate knowledge of a planning process for

writing a scene.9. Write a scene in which dialogue imitates daily

speech and also reveals character motivation.10. Re-write a scene after obtaining critiques from

others.11. Identify and discuss career opportunities in

playwriting.

CURRICULUMASSESSMENTAND DEV1ILOPMINT

VOCABULARYPlaywright/playwritingPlot/setting/character/themeStatic and dynamic charactersCharacterizationMotivationAesthetic distanceWilling suspension of disbeliefScript/textDialogue

UNIT PREREQUISITE EXPERIENCESReadinoliscussing playsSeeing/discussing playsKnowledge of the significance of the playwright to the-

atre. Other writing based on observation of people,with specific P'..tention to description of behavior andconversation..

UNIT LEARNING MATERIALSLibrary of playsAccess to writers, particularly playwrights if possibleTape recordersSpace and performers

SAMPLE LEARNING STRATEGIES1. Using a scene from a contemporary play, identify

examples of cause and effect, character-specificdialogue, indications of motivation, and stagedirections.

2. Using a tape recorder, collect typical conver:ations.Analyze the conversations and write a "home" sceneand a "school" scene creating appropriate dialogue.

3. Identify and analyze a fairy tale for cause and effectand for character behavior. Write a plan for changingthe tale into a dramatic script.

4. Using the written plan, convert the fairy tale into adramatic script.

SAMPLE ASSESSMENT TASKS1. Based on the reading of a play, lead a discussion on

how the same story might be told in a novel or shortstory.

2. Listen to an oral critique of a scene written by a fel-low student; write a report identifying the criteriaused in the critique.

3. Using a scene yeu have written, meet with a directorand actors who will enact it; explain your intentionsas a writer and answer their questions.

4. Working with peers, observe a performance of thescene you have written; engage in a critique of thescript. Revise the script.

5. Engage in a critique with a professional playwright ofthe revised scene. Make revisions again.

SELECTED RESOURCESGrote, David. Script Analysis: Reading and Under-

standing the Playscript for Production. Belmont, CA:Wadsworth, 1985.

Kerr, Walter. How Not to Write a Play. New York: SimonSchuster, 1955.

Kline, Peter. The Theatre Student: Playwriting. NewYork: Richard Rosen Press, 1970.

McGowan, Kenneth. A Primer of Playwriting. New York:Random House, 1951.

Smiley, Samuel. Playwriting: The Structure of Action.Englewood Cliffs, N.J.: Prentice-Hall, 1971.

Van DrutenJohn. Playwright at Work. Wesport, CT:Greenwood Press, 1953.

Ward, Winifred. Playmaking with Children. New York:Appleton-Century-Crofts, 1957.

APPENDICES

Appendix A: A Sample Set of Illustrative Objectives 26Appendix B: Required Maryland Competency Objective 30Appendix C: A Glossary of Theatre Education Terms 31Appendix D: The Maryland Theatre Curricular Frame-

work Task Force 32Appendix E: The Maryland Theatre Curricular Frame-

work Review Panel 33Appendix F: The National Review Panel for the Maryland

Theatre Curricular Framework 34

3225

APPENDIX

A Sample Set of Illustrative Objectives

SUBGOAL LEVEL I

1.1 Identify common events and situations in various theatre activities.Identify common human behaviors in various theatre activities.Identify universal themes depicted in various theatre activities.

1.2 Demonstrate an understanding of imitation as fundamental to all theatricalexperience.Demonstrate an understanding of the functions of language and action in theatre.Demonstrate an understanding of space, time, and energy as theatrical elements.Imitate people. animaLs, and things from everyday life.Explore differences among people through dramatic play.Explore, through dramatic play. behaviors of fictional characters.

9.9 Explore the difference between performance and audience space. performingand attending, and attending and responding.Explore the difference between pretending and real-life behavior.Explore the need for conventions in theatre.

2.3 Recognize that dramatic play and creative dramatics may contain dialogue.narration, and shifts in time and space.Illustrate features of dramatic text through storytelling.Illustrate dramatic text through creative dramatics, mime, and improvisation.

3.1 Explore sound and movement as a means of self-expression and communication.React spontaneously to environmental stimuli as a means of theatricalexpression.Develop imagination through dramatic play and creative dramatics.Experiment with characterization by observing and imitating others.Demonstrate a basic awareness of theatrical cause and effect.I'nderstand the relationship between actor and audience.

3.:3 Demonstrate willingness to participate with others in theatrical activity.Respond to the ideas and behaviors of others in theatrical activity.Respond positively to rules governing theatrical activity.

4.1 Respond constructively to works of art created by others.Demonstrate the ability to discuss one's contribution to theatrical activity with abalance of pride and modesty.

Establish patterns of aesthetic response that are based on high standardstheatrical activity.

4.2 Develop a vocabulary for discussing strengths and weaknesses of theatricalproductions.Discuss expectancies for theatre activity.Identify differences between personal opinion and theatre criticism.

4.3 Develop trust in group criticism.Develop confidence as a result of constructive peer criticism.Improve skills as a result of positive, affirming criticism and increasedconfidence.

SUBGOAL LEVEL 2

1.1

1.2

9.1

9.2

2.3

Recognize how theatre reflects individual and peer concerns.Recognize how theatre reflects concerns of the extended community.Recognize how theatre reflects universal concerns.Demonstrate an understanding of how the elements of theatre are extractedfrom human experience.Identify the elements of theatre in various theatrical experiences.Demonstrate an understanding of how the elements of theatre can he used in avariety of ways to achieve aesthetic effect.Identify ways in which people in different cultures have used playmaking toimitate daily life.Identify ways in which people in different cultures have developed distinctiveforms of playmaking.Identify differences between theatre and theatre-derived media and how eachpresents characters in crisis situations.Identify various conventions of theatrical activity and their origins.Identify ways in which theatrical conventions developed over many historicalperiods.Explore the evolution of theatrical architecture and its effect on play production.Read plays and discuss their components.Attend a variety of plays and discuss how their texts have been translated intoproductions.

APPENDIX A

Read and respond to various writings about theatre.3.1 Use improvisation as a rehearsal technique in play production.

Use sensory recall to enhance characterization.Create, produce, and perform an improvised play.

3.9 Use theatre vocabularly such as proscenium, aside, motivation, and blocking.Construct a setting for a theatrical activity.Participate in rehearsal, production, and performance of theatrical activities.

3.3 Identify the responsibilities of playwrights, directors. actors, and designers.Identify the responsibilities of various technical contributors to theatre.Identify theatre management responsibilities.

4.1 Identify ways in which various experiences in theatrical activities haveexpanded personal response to theatrical experiences.Identify ways in which reading and discussion have expanded response tonew theatrical experiences.Demonstrate understanding of the need for aesthetic response to be bothintuitive and informed.

4.2 Refine a list of critical standards for use in theatre criticism.Use refined and expanded critical standards in evaluating class assignmentsand school productions.Use refined and expanded critical standards in evaluating mi.-of-schoolproductions.

4.3 Demonstrate acceptance of and develop skills in giving constructive criticism.Apply established criteria in judging the effectiveness of personalcontributions or assignments in acting, directing, and technical theatre.Apply established criteria in evaluating peer performance in classroomactivities as well as school-wide performances.

SUIGOAL LEVEL 3

1.1 Recognize how theatrical form and content evoke aesthetic and socialresponse.Recognize theatre's importance as a form of aesthetic expression throughouthistory.Recognize how other art forms contribute to the aesthetic effect of theatre.

1.2 Identify and demonstrate an understanding of theatre elements in scriptanalysis, production design, directing, and acting.Understand the role of the elements of theatre in achieving unity of effect.Compare the elements of theatre with elements of art, music, and dance.

3528

APPENDIX A

2.1 Demonstrate knowledge of how specific playwrights in major historicalperiods have imitated life through drama.Demonstrate knowledge of major periods of theatrical history and differentcultural theatrical expressions.Demonstrate knowledge of how Pulitzer Prize-winning plays have reflectedAmerican life.

2.2 Demonstrate knowledge of how theatrical conventions effect actingperformances and audience response.Demonstrate knowledge of how playwrights have expressed universal themesover many historical periods.Demonstrate knowledge of how technological advances have 'effected theatreproductions.

2.3 Recognize that a variety of opinions about theatre is desirable.Identify ways in which contemporary approaches to theatre evolve fromtheories, traditions, and practices of the past.Demonstrate awareness that a broad background of theatre knowledge effectsthe degree and quality of personal theatre response and practice.

3.1 Graphically represent a production concept for a play.Engage in improvisation to explore the subtext of a script.Design a set, lighting plot, or sound plot, consistent with a specific concept.

3.2 Analyze and interpret a published script.Create a variety of characters drawing from recognized acting methods.Apply various historical and contemporary approaches to theatricalperformances/productions.

3.3 Demonstrate social responsibility during the rehearsal process.Demonstrate social responsibility for the duration of performances and post-performance activities.Demonstrate social responsibility as an audience member.

4.1 Present and defend orally judgments about a variety of theatrical activities.Write critical reviews of a variety of theatrical activities.Demonstrate as a peer teacher ways of improving theatrical activities.

4.2 Demonstrate an understanding of the role and responsibility of the theatrecritic.Analyze theatrical theories and criticism from a variety of sources.Demonstrate critical skills in preparing written critiques of theatricalproductions.

4.3 Facilitate ensemble effect through self- and peer evaluation.Demonstrate personal behavior which subordinates personal needs to theaesthetic and technical requirements of the production.Refine and apply standards of criticism to include ensemble effect.

,c

29

Required Maryland Competency Objective:Placement within Framework Goalsand Subgoals

The State Board of Education requires each Maryland school system to "provide a com-prehensive program in the arts . . . in accordance with guidelines established by the StateDepartment of Education." (COMAR 13A.04.07.01A) In Grades K-8, the instructional pro-gram shall encompass the following objective from the Arts/Physical Education sectionof the Declared Competencies Index:5.2.1.3 Participate in introductory performing arts activitiesThe expected outcomes of programs in theatre related to the competency and objectiveset forth in COMAR 13A.03.01.04 are described in "The Arts/Physical Education ProgramRequirements," State Department of Education, Project Basic Office, Resource Paper 12,1981.

The required program outcomes addressed for theatre in "The Arts/Physical EducationProgram Requirements" are described below in relation to the framework subgoals thatsubsume their content.

EXPECTED OUTCOMES FRAMEWORK SUBGOALS

The use of the voice and body as communicationtools

1.1,4.1,

1.2,4.2,

2.1,4.3

3.1, 3.2,

Audience behaviors and responsibilities 2.2, 3.2, 3.3, 4.1, 4.2

30

Theatre Curricular Framework Glossary

Aesthetics The branch of philosophy that deals with theories of art and beautyAesthetic Pertaining to those characteristics of a work that place it somewhere on thescale of beautiful to ugly (While aesthetic qualities vary according to one's knowledge,experience, and point of view, traditionally they include harmony, unity, moderation, andverisimilitude.)

Aesthetic Judgments Decisions about a work of art made on the basis of what onethinks is beautiful or artisticConventions Commonly accepted devices, principles, procedures, and forms that allowvarious freedoms and restrictions to exist in theatrical activities, e.g., the stage curtain:curtain calls; applause; asides; soliloquies; the three unities of time, place, and actionCollaborative Process The cooperative endeavor required to produce and perform aplay (This process requires close attention to individual responsibility, willingness toshare ideas and tasks, assistance to others, and team effort.)Croft Skill; Technique; doing a job with careful attention to detail and disciplineCreative Drama Improvised drama containing a structure usually consisting of a begin-ning, middle, and end; usually applied to theatrical activity for childrenDrama A written or unwritten scenario intended for stage presentation; the script of aplay

Dramatic Play The imitative play of young children that mimics the actions and charac-teristics around them; fragmentary and random, it does not have a clear structureElements of Theatre Components of theatrical activity: space, time, imitation, action,language, energyEnsemble Effect The result of harmonious blending of the efforts of the actors in a pro-duction (This term sometimes also indicates the result of the blending of all the artistsand craftspeople involved in a production.)Form The shape and structure of a theatrical activity the organization of the elementsof theatre into a distinct order, e.g., musical comedy, melodrama, tragedySpectacle All visual elements of a production: scenery, properties, lighting, costumes,makeup, physical movementTheatrical Activities Improvisation, creative drama, storytelling, choral reading, storydramatization, story theatre, puppetry, readers' theatre, role playing, theatre games,mime, creative movement, and the likeWilling Suspension of Disbelief Acceptance of theatrical conventions: acceptance of theillusion created in the theatrical activity or performance

31

The Maryland Theatre Curricular FrameworkTask Force

'ohn C. Carr (Chairperson)'rofessor, Department of Curriculum &

Instructionjniversity of Maryland-College Park

lizabeth A. BarnesDirector of Theatre3owie Senior High SchoolPrince George's County Public Schools

Lenore BlankDirectorINTERACT

William L. BostonDrama InstructorLearning Through the ArtsBaltimore City Public Schools

Jack DelaneyTheatre in Education SpecialistBaltimore County Public Schools

Ruth A. KlineSpecialist in the ArtsMaryland State Department of Education

C. Beth OhlssonVisual and Performing Arts ProgramGovernor Thomas Johnson High SchoolFrederick County Public Schools

Richard T. PioliDirectorDepartment of Aesthetic EducationMontgomery County Public Schools

Suzanne PrattDirector of DramaDulaney High SchoolBaltimore County Public Schools

C. Benton ReavisDirector of TheatreJames M. Bennett Senior High SchoolWicomico County Public Schools

Claire SattaTheatre LiaisonLackey High SchoolCharles County Public Schools

James L. Tucker, Jr.Chief, Arts and Humanities SectionMaryland State Department of Education

Note: Positions indicated are those held at the time of initial service on the task force orreview panels.

32

The Maryland Theatre Curricular FrameworkReview Panel

Nicholas Hobar (Chairperson)Assistant State SuperintendentDivision of InstructionMaryland State Department of Education

Mary A. CaryAdministrative AssistantDivision of AdministrationBaltimore County Public Schools

Andrew HepburnDirector of TheatreSalisbury State College

Gerald F. SnelsonInstructorNorthern High SchoolGarrett County Public Schools

Evelyn Blose HolmanSuperintendentWicomico County Public Schools

Della Dameron/JohnsonInstructorUniversity of Maryland-Eastern Shore

Rudy E. PuglieseProfessor EmeritusUniversity of Maryland-College Park

The National Review Panel for the MarylandTheatre Curricular Framework

iday Casri.u.ial Const,:?:.,antate Board if i.Idu._:ation

Educational Theatre Association

S;agleton, Chairpersonant of Dramainiversity

William L. TribbyDean of AcademicsNorth Carolina School for the Arts

William L. WaackAssociate Professor of EducationUniversity of Northern Iowa

Kim A. WheetleyNational Theatre ProjectTexas Educational Agency

4134 404 53527 2/89

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