Lucy Dilger Drama Unit Plan Educ 3525

Lucy Dilger Drama Unit Year 10
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EDUC3525 Drama Unit Plan
By Lucy Dilger 2084379

Title: Stanislavskis System

Year Level: 10

Subject: Drama

Length: 4 Weeks, 12 lessons (two double classes and one single per week)

Key Words: Truth, Realism, Focus, Imagination, Emotion, and Relaxation

Curriculum Plan:

Lesson 1: Truth versus Fake Lesson 7: Inner Monologue
Lesson 2: Emotional Memory Lesson 8: Objective
Lesson 3: Emotional Memory Continued Lesson 9: Introduction to monologues
Lesson 4: Magic if Lesson 10: Building your character
Lesson 5: Realist Theatre Excursion Lesson 11: Rehearsing Monologue
Lesson 6: Given Circumstances Lesson 12: Finalising Monologues

Unit Summary:

The first section of this unit focuses on the students development of two of Stanislavskis most
well known techniques Emotional Memory and Magic if. The students are then taken to see a
performance of realistic drama and asked to write a performance review connecting their analysis
to the style realism and Stanislavskis system. The unit then uses Stanislavskis system to
interpret scripts and characters given circumstances, objective, and inner monologue. The last
section of the unit is focused on developing a monologue for performance. Students are asked to
use the techniques learnt throughout the unit to develop a truthful, deep, and diverse
performance.

Lucy Dilger Drama Unit Plan Year 10

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Unit Rationale/Aims:
This unit aims to help students develop an understanding of Stanislavskis system, and how to
apply his techniques to improve their performance. Additionally the unit aims to educate students
on Theatrical realism, and how to find truth in their performance.

Unit Goals:
- For students to develop numerous techniques that will assist the in developing strong,
reasoned, realistic characters.
- For each student to successfully perform a monologue in front of an audience with a well
thought through developed character.

Assessment Plan:
Summative Assessment: Formative Assessment:

Review of a performance Participation in class activities and discussions.

Evaluation of Monologue Performance Character development and research

Class Performance (improvised scenes and script
work)
Australian Curriculum Content Description in this unit:

Perform devised and scripted drama making deliberate artistic choices and shaping design
elements to unify dramatic meaning for an audience (ACADRM051)

Manipulate combinations of the elements of drama to develop and convey the physical and
psychological aspects of roles and characters consistent with intentions in dramatic forms and
performance styles (ACADRM048)

Improvise with the elements of drama and narrative structure to develop ideas, and explore
subtext to shape devised and scripted drama (ACADRM047)

Retrieved from: ACARA Website:
http://www.australiancurriculum.edu.au/TheArts/Curriculum/F-10#page=dr


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ACARA Achievement standards addressed within this unit:

Students develop and sustain different roles and characters for given circumstances and
intentions. They perform devised and scripted drama in different forms, styles and performance
spaces. They refine performance and expressive skills in voice and movement to convey dramatic
action.
Retrieved from: ACARA Website:
http://www.australiancurriculum.edu.au/TheArts/Curriculum/F-10#page=dr

Cross-Curricula Links:

History: Students can research Russia and the soviet-union at the time after the Second
World War.

English: Students could write a narrative piece on a characters inner monologue, or
objective.

Resources:

Centre Stage by Matthew Clausen

Acting The Truth: The Acting Principles of Constantin Stanislavski and Exercises: A
Handbook for Actors, Directors, and Instructors of Theatre.

ACARA Website: http://www.australiancurriculum.edu.au/thearts/learning-in-drama


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Lesson 1: Truth versus Fake

45 Minutes

1. Introduction:

- Welcome, roll call.
- Brief explanation of Unit, intended goals, and expectations.
- Introduce Stanislavski, giving a brief history of his life and influence in drama.
(Possibly highlight some well-known actors or directors that use his system.)
- Explain the main idea of this unit is to establish truth and realism in performance.
Ask students what they think truth in performance means.

2. Warm-up: Memory Ball
- This is a focus activity, using one tennis ball ask the students to stand in a circle and
pass the tennis ball across the circle to someone, once a student has caught the ball
and passed it on they must sit down, this ensures everyone gets passed the ball only
once.
- After there is only one person left standing with the ball students must stand up and
try and repeat exactly the same pattern that they passed the ball in previously
however this time students do not sit down after passing the ball on.

3. Eyeball:
- Ask students to sit together in a circle.
- Show the class a small Styrofoam ball that you want them to imagine is an eyeball.
- Explain to the class that the eyeball is going to be passed around the circle, and they
must pick it up and pass it on the throughout the circle, imagining it is real. (Many
students will do this in a very over the top fashion, making extreme facial expressions,
and loud exclamations.)
- After students have passed the imaginary eyeball around the circle, you will then
bring out a real pigs eye (Can usually get these from a butcher) you will then ask
students to repeat the exercise, passing round the real eyeball. (Some students may
refuse to hold the eyeball all together, they do not have too hold it, the point is for

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students to notice a difference between their reactions when there was a fake eyeball,
to when there was a real eyeball).
- As a class discuss the difference between the students reactions to the fake eyeball
to their reactions when the real eyeball was produced. This activity is aimed at
helping students establish what Stanislavski means by realistic, and truthful
performance.
- After the class has discussed the differences they identified, ask the students to
repeat the exercise, this time passing round a small bean bag imagining it is a heart,
give them a few minutes to think about their reactions and emotions, then begin
passing it round the circle. (Hopefully this time students will be more aware of their
reactions, getting rid of the over the top expressions and replacing them with more
realistic and truthful portrayals.

4. Conclusion:
What could you do as actors to develop realistic and truthful performances? Why is
developing a sense of truth in your performance important? Can you think of different
genes of drama when performers need to be realistic? When do they not need to worry
about realism?


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Lesson 2: Emotional Memory
90 Minutes
1. Introduction:

- As soon as students sit down tell them for a bit of fun to warm up today you have
hidden ten dollars in the room somewhere, tell them whoever finds it first can keep
it. (Most students will be frantically looking everywhere for the money.) After two
minutes tell them there is no money.
- Ask the students how they felt as they were looking, what was going through their
minds. Tell them you want them to remember how they felt whilst looking for the
money, as they will need to use this memory to help them with todays exercise.
- With reference to the above activity briefly explain Stanislavskis emotional memory
and how it is used when developing different characters.

2. Warm up: Relaxation activity

- Ask students to lie down on their backs on the floor of the classroom or theatre.
- Instruct them to close their eyes.
- Ask students to relax every part of their body, making it feel heavy and melt into the
floor, releasing any tension, everything must be completely relaxed. (Dim the lights;
soften your voice, to help create a calm atmosphere.)
- Once all students are relaxed and focused ask them to recall how they felt as they
searched for the money at the start of the lesson, ask them to recall how their body
felt, what was going through their mind, were they aware of the people around
them? Were they frantic, excited, or disinterested?
- Now ask students to recall a time in their lives where they have found something
really special, or valuable. It could have been picking up an old wallet and finding
money inside, it could be finding a 2 dollar coin on the street, finding mum or dads
car keys after they lost them somewhere in the house. Ask them to recall how they
felt when they found this item? What did their body do, what was going through
their mind, what was the first thing they did? Did you post it on Facebook? Scream
out in joy? Ensure no one was watching and put it in your pocket?


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- Now ask students to recall a time when they have been looking for something and
someone else has found it instead. If they cant think of this situation ask them to
just think of a time when they have really wanted something and it has been given or
won by someone else.
- Ask students when they are ready to slowly open their eyes and stand up.

3. Lost Activity:

- Separate students into pairs.
- Ask each student to create a scene that involves them both searching for an item; ask
them to finish the scene by one person finding the item. Ask them to perform this
scene as a mime. (Miming will allow students to concentrate on their bodies and facial
expressions without having to worry about adding words as well.)
- Ask students to use their memories recalled in the relaxation activity to develop a
realistic, truthful performance. The audience should think they are really looking for
something, and be able to clearly identify who found the object and who didnt.
- Each pair will perform their scene to the class, after each performance give some
positive and constructive feedback. If they would like to share you can ask students
what memory they used to help them develop their character.

4. Conclusion:
What is emotional Memory?
Why is it a useful tool when developing realistic, truthful characters?


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Lesson 3: Emotional Memory Continued

90 Minutes

1. Introduction:

- Recap the last lesson, reflecting on what is meant by emotional memory and how it
is utilised by actors to create truth in their performance.
- Explain that during this lesson we will be further exploring emotional memory,
however, delving into some deeper emotions.
- Explain to students that emotional memory can often bring up some difficult
memories for some people and as such it is important that as a class we are
supportive of each other. Discuss with students that what is discussed and talked
about in our drama classroom should be kept inside it unless, you as the teacher
think it is something that should be discussed with someone else that can help offer
some advice.

2. Warm-up: Focus Activity

- Again begin with students lying down on their backs with their eyes closed, asking
them to completely relax their bodies into the floor. Ask students to focus on each of
their senses, what they can hear, what they can smell, how do their clothes feel on
their skin.
- When they are ready ask students to stand up, trying to keep their focus.

3. Hospital Waiting Room:

(This activity can be adapted for different classes, teachers must be aware of students past
experiences, there may be students who cannot deal with this topic because of their home life
so it may need to be changed.)

- Ask students to walk around the classroom space, ask them not to make eye contact
with anyone else, ask them to focus only on themselves.

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- After a minute or so ask the students to recall a time when a member of their family
or a close friend has been in hospital. Ask them to think about how they felt as they
waited for news of their condition, what emotions were they feeling.
- Ask students to think about how these emotions affected the way they walked,
talked, moved, interacted with others etc.
- Ask them to change the way they are moving now to suit the emotions they are
recalling from this memory.
- Ask students to stop walking, sit down, keeping focused on the memory they have
just recalled.

4. Dealing with a sick relative:

- Line chairs up in two rows across the classroom. Ask students to imagine the chairs
are a part of a hospital waiting room.
- Tell the students to imagine a family member is in hospital and they havent been
told their current condition; they are in the waiting area, expecting some news soon.
- Ask them to think about their emotions, ask them to use the memories established in
the first activity to give a truthful performance.
- Tell them to really think about what they would do in the situation, would they sit
down or stand up? Would they talk to those around them or would they remain
silent? Would they be calm or more anxious?
- Ask them to enter the space, ask them to not to talk for three or so minutes, just
spend time establishing their character, think about their bodies, and emotions.
- After three or so minutes tell students that if they think their character would they
can begin some dialogue with someone else. Ask them to be aware that no one is
talking over the top of each other.

5. Conclusion:

Ask students how they felt in the scene? If they are comfortable ask them to share the
memory they used to influence their performance. Ask students if they think using
emotional memory is useful and if it has improved their acting.


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Lesson 4: Magic if

90 Minutes

1. Introduction:

- Ask the class to describe emotional memory ensuring they understand how to use it?
And why we use it? When developing characters.
- Explain that sometimes as actors you will not be able to relate to a character or
remember a time when you have been in a similar situation as them.
- When this is the case you can use a technique know as Magic if
- Explain briefly what is meant by Magic if i.e. Asking what if, imagining what
would I do ifhow would I feel if.

2. Warm Up activity: Relaxation

- Ask students to lie down on their back and close their eyes. Asking them to breathe
in and tense all their muscles, and then breathe out and let them relax, repeat this a
few times until students feel relaxed and at ease.

3. Winning the Lottery:

- Whilst students are still lying down ask them to imagine they have just found out
they have won the lottery. Ask them a series of question that will help them create a
character and scene, these may include:
- Where are you?
- Who is with you?
- How do you feel?
- What is the first thing you are going to do?
- What is the first thing that comes to your mind?
- Now ask students to get into group of 4-5, and ask them to create a scene that
involves someone winning the lottery, other characters could be shop attendants,
family members, friends. (If students are going to be other characters in the scene not
winning the lottery ask them to use magic if to imagine how they would feel if a family

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member won the lottery or if they were a shop assistant whose customer won the
lottery.)

- Give students 15 minutes to rehearse their scenes. During this time the teacher can
go round asking students questions about their characters.

- Ask students to perform their short scenes for the class. After each performance ask
students about how they used the magic if technique. Also offering some feedback
on their performance.

4. Conclusion:
What does Stanislavski mean by Magic if?
When would you use magic if when developing a character for a performance?

5. Homework Task:

Ask students to think of a situation they have never been in. Ask them to write a paragraph
on what they would do in this situation, including how they would feel, etc.


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Lesson 5: Realistic Drama - Excursion

In this lesson students will attend a performance of realistic drama. (A state Theatre
Company performance would be ideal as they typically include special performances for
school students, which can finish with a question and answer session with actors and the
director.)

1. Introduction:

- Explain what is meant by realism, introducing the idea of the fourth wall
- Introduce some well known plays and playwrights of realistic drama
- Highlight the main features of realistic drama and what they should look for in the
performance.
- Ask students to construct four questions around realistic theatre or Stanislavskis
system that they would like to ask the actors or director of the play.
- Explain the assessment piece focused on this excursion. Give students the task sheet,
and rubric (See Appendix A and B)


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Lesson 6: Given Circumstances

45 Minutes

1. Introduction:
- Explain Stanislavskis given circumstances (Make sure to stress to students that given
Circumstances are GIVEN!! They are not made up)
- Discuss why it is important for actors to understand their characters given
circumstances.

2. Warm-up: What are you doing?
- Students stand in a circle.
- One student starts in the centre of the circle doing an activity.
- A second student enters the circle and asks What are you doing?
- The student acting out the activity must respond with something they were not
doing.
- Then the student that asked the question must start doing the activity the other
student suggested.

3. Script Work:
- Divide students into groups and give each group a small section of a script. (The
scene given to students should be taken from an appropriate realistic drama, some
plays that could be used include Fossils by Manuel Aston, Two weeks with the Queen by
Mary Morris, and Spitting Chips by Peta Murray.)
- Ask each student to choose a character from the script and ask them to find the
given circumstances connected to that character. Some of the circumstances that
may need to be answered may include:
- Where the character is
- Who are they with?
- When is the scene taking place?
- What are they doing?
- Why are they there?
- Ask students to share their finding with other members of their group.


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Rehearse Scene:
- Give students the reset of the lesson to work on their scene with groups. (Whilst
rehearsing ask students to concentrate on theyre given circumstances, and how this
will influence their performance.)
Conclusion:
- Why are knowing your characters given Circumstances important? How did it help
you, when you began work on your scene?


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Lesson 7: Inner monologue
90 Minutes
Introduction:

- Explain what is meant by a characters inner monologue
- Discuss why students might think developing an inner monologue for a character is
a useful tool.

Create an inner monologue for your character

- Using their script ask students to choose five lines during the scene and write a
sentence that describes what is going in their characters mind when the line is said.
- After each student has completed their 5 sentences ask them to get into their scene
groups.
- Explain to students that they are going to perform their scene again for the class
however at different points throughout the play the group will freeze and one
student will discuss their inner monologue with the audience.
- For example, if there are four students in the group ask them to decide together four
points throughout the scene where they will freeze and one character will directly
address the audience explaining what s going through their head at that certain
point. Encourage them to use the sentences they devised at the beginning of the
activity.
- Give students 10 minutes to rehearse their scene.

Perform Scenes:

- Each group will perform their scenes with inner monologues for the class.
- After each group give some feedback directly related to the students inner
monologue.
Conclusion:

- How did writing out you characters inner monologue help you in your performance?
- Why is the technique important for actors? How does it help an actor develop a
truthful performance?

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Lesson 8: Objective
90 Minutes

Introduction:
- Explain what is meant by a characters objective in a play.
- Discuss why it is important as an actor to understand your characters objective.

Warm-up: Space Jump
- One students stands in front of the class and starts doing an activity, when the
teacher calls space jump the student must freeze.
- Using the other students frozen position another student must enter the space and
use the other actors position to change the scene/activity to something completely
different.
Finding your Objective:
- Ask students to form their groups from the previous lesson, and begin work trying
to find their characters objective in the scene, i.e. What is their character trying to
accomplish during their scene?
- After each student has had time finding there objective ask them to discuss as a
group each others objective indicating the difference and similarities between each.
- Give students 15 minutes to rehearse their scenes encouraging them to make
changes focused on the objective of their character and the other characters on
stage.

Perform Scenes
- For the last time students will perform their scenes for the class. (Teachers should be
able to see a difference between students first performance of the scenes and this
performance.)

Conclusion:
- Discuss with students the three different techniques you utilised in the last three
lessons to analyse scripts.
- Ask students how the techniques have helped their character development?
- Which technique was most useful?


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Lesson 9:
45 Minutes

Introduction:

- Give each student a handout of the monologue assessment task (see appendix C)
- Explain the task and what is expected of the students

Handout Monologues:

- When handing out monologues explain to the students that you have specifically
chosen a particular monologue for each student. Explain that you have chosen the
monologue to not only challenge the students but also to work to their acting
strengths.
(Teachers can find monologues for students using a variety of different resources some
examples include:
Books:
- Award Monologues for Women, Edited by Patrick Tucker and Christine Ozanne
- Monologues for Young Actors, By Lorraine Cohen
- Audition Speeches for 6 to 19 Year olds, by Jean Marlow
Websites:
- There are lots of websites with a variety of monologues however many do not have any
background information on the play they have come from unlike the books above.

Once you have given out each of the monologues, you will take the class to a computer room
to research the play their monologue has come from.

Ask students to finish their research for homework

Give students a handout, which outlines the information they need to record from their
research. (See appendix D)


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Lesson 10: Building your character

90 Minutes

Introduction:

- Explain to students that it is important before beginning to rehearse and memorise
their monologue that they develop a strong, well thought out character.
- Explain that during this lesson students will portray their character during a variety
of different improvisation activities.
- Explain that this lesson gives students a chance to experiment with their characters
and try out their ideas, theres no wrong way to go!!

Warm activity: ZAP

- Students stand in a circle, when a students name is called they must bob down and
the people on either side of them must turn and zap each other by clapping their
hands together and shouting zap!
- The person who zaps first stays in and the other is out of the game.

Thank God youre here:

- Ask three students to come up on stage and give them a place and situation, some
examples include:
- A job interview at McDonalds
- Excepting an award at the Academy Awards
- A police interview room after being arrested
- A game show
- After the group of three have established the setting, one student unaware of the
setting will enter the scene as their character.
- This student must the quickly establish where they are and continue the scene.


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Visitors:
- This activity involves one character doing a job in their house (the stage).
- Four other characters are located around the edge of the stage one at the front door
of the house, one at the back door, one at the window, and one on the phone, these
characters are known as the visitors.
- Throughout the scene the character in the house is continually interrupted by the
visitors, to announce their arrival they each make a different noise, knock knock
(back door), ring ring (Phone), ding dong (Front door), and yoo-hoo (window).
(Throughout the exercise students are always their character from their monologue.)

Whose line is it anyway?
- Students are divided into groups of 4
- Give students a setting, and situation for a short scene they will improvise. Some
examples of this are: A safari in Africa, watching a movie at the drive in, going
shopping for a wedding dress, camping in the wilderness
- Give students a few minutes to discuss their scenes and think about what there
characters would be doing in these settings, and how they would be acting.
- Gather the groups back together and give each student a line on a piece of paper, ask
them not to look at their line. Some examples of lines are:
- Why is my hair blue?
- OMG what is that?
- Can you smell that?
- Im scared.
- Does anyone have a Band-Aid?
- Tell the students that throughout their improvised scene they must read the line
given to them, they must prepare their fellow actors for the line, for example and
then he said.., or I overhead them say .
- Explain to the students that they cant read the line before saying it during the
scene, they must improvise.

Conclusion:

Give students Character Sheet hand out (See appendix E) and ask them to complete it for
homework.

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Lesson 11

90 Minutes

Introduction:
- Explain that the aim of the lesson is to rehearse the students monologues.

Warm up: Character Hot Seat

- One student sits in a chair in front of the class as their character.
- The class then asks them questions about their character for example
- How old are you?
- Whats your favourite TV show?
- Who is your best friend?
- When did you last go on a holiday?
- This exercise will help students get into character as well as possibly having to
answer questions that they had not yet thought about.
-
Rehearse monologues:

- Before asking students to separate to individually work on their monologues, give
them some rehearsal tips for example:
- Using a pen to underline words that need to be emphasised
- Break the monologue into parts, highlighting the climatic
moments of the piece.
- Discuss different levels, to ensure the monologue is not one
note.
- Mark the points where you will pause.

Conclusion:

- Ask students to practice their monologues.
- Let them know it is expected that students have memorised their monologues by the
next lesson.

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Lesson 12

45 Minutes

Introduction:

- Explain to students that their monologues should be almost performance ready.
- This lesson is the last chance they will have to rehearse and fix any issues they may
have.

Warm up: Walking through

- Line students up on one side of the room, give them a place, and ask the students to
walk across the room as their character imagining they are walking through that
place. For example: a desert, a snowstorm, a shopping centre, a crowded room, a
haunted house etc.

Rehearse monologues:

- Give students time to rehearse their monologue a few times by themselves, go round
to each student giving them tips and performance advice.

Perform Monologues for the class:

- In the last 20 minutes of the lesson ask students to perform their monologues for the
class; this is in preparation for their evening performance to their family and friends.

- As this is their last rehearsal, it is important students feel confident going into their
performance, so it is vital teachers give positive feedback.

Conclusion:

- Ask students to continue practicing their monologues.
- Go over details for performance night.

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Appendix A

Year 10 Drama Performance Review

Task:

Write a 500 word review of by..

The review should include:

- Time/ Date of the performance
- Ticket Prices
- A Brief Summary of the Performance
- An analysis of the set/lighting/costume and music used
- An analysis of the actors performance
- A conclusion that includes your opinion on the performance.

In your analysis you should include links to the style of Realism, including what made the
play a realist drama, what did the director, actors, and costume/lightning/ and sound
designers do to deliver a realistic performance.


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Appendix B

Review Rubric:

Unsatisfactory Adequate Advanced Highly Developed
Performance
details
Details of the
performance
were not
included.
A number of
the
performance
details were
recorded.
All
performance
details were
recorded.
All the performance
details were clearly
integrated into the
writing in a fluid
style.
Performance
Summary
The summary
provided was
unstructured.
Elements of
the
performance
summary
were clear.
The
performance
summary was
clear.
The performance
summary was clear,
concise, and well
structured.
Analysis of
Technical
elements of
performance
Technical
elements of the
theatre were not
considered.
A number of
the technical
elements of
the theatre
were
considered.
The technical
elements of
the theatre
were
considered
and some
analysis was
made.
The technical
elements of the
theatre were
considered, and
opinions were
made and
supported through
detailed analysis.
Analysis of
Acting
The judgement
expressed on the
actors
performance
was
unsupported and
lacked evidence.
A number of
the
judgments
made on the
actors
performance
were
supported
through
analysis.
Judgements of
the actors
performance
was
supported
through
analysis.
Judgements made
on the actors
performance was
supported by clear,
thoughtful, and
detailed analysis.
Connection
to the
elements of
realist
theatre and
Stanislavski
s techniques.
Lacked
connection to
realist theatre or
Stanislavskis
system.
One or two
connections
were made
to realist
theatre or
Stanislavski
s techniques.
Three clear
connections
were made to
relist theatre
and
Stanislavskis
techniques.
Four or more clear,
supported
connections were
made to realist
theatre and
Stanislavskis
techniques.
Grammar/St
ructure
The text is
unclear and has
significant
errors.
The text has
some errors.
The text is
clear with few
errors.
The text is clear,
concise and well
structured.


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Appendix C

Monologue Assessment Task:

Students are to perform a Monologue for classmates, Friends and Family. The monologue
must be performed without a script. You will have time in class to rehearse and develop
your character, however, you will also need to spend time at home rehearsing. To assist you
in your character development it is suggested that you apply some of Stanislavskis
techniques learnt in class.

Monologue Assessment:

Developing Adequate Advanced Highly
Developed
Voice
Clarity
Projection
Different Levels
Fluidity
Rhythm
Body
Movement
Eye Contact
Appropriate
posture

Characterization
Depth
Variety of
emotions

Clear objective
Truthful


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Appendix D

Monologue Research:

Where/When was the play set?

A brief outline of the plot of the play

Short summary of all the characters in the play that have a relationship with your character.

What is happening in the scene leading up to your characters monologue?

What is your characters main objective throughout the play?


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Appendix E

CHARACTER DESCRIPTION:

Name:

Age:

Hobbies:

Character traits:

Fashion Style:

Cultural Background:

Education:

Religion:

Relationship Status:

Economic Status:

Health/Well-being:

A person you can think of that has similar character traits:

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Lucy Dilger Drama Unit Plan Educ 3525

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Lucy Dilger Drama Unit Year 10

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