Theatre Curriculum

Description of Program

The Theatre Department of Barbara Ingram School for the Arts offers the distinction of a conservatory-style approach to training students in the craft of the dramatic and theatre arts. In our program, students communicate as active creators and interpreters, designers and builders. Their tools range from the body as an instrument to the lighting and soundboard as a workbench. It is our goal to nurture our student’s creativity and to let each one know that what they are pursuing as storytellers is foundational to their artform and paramount to the human experience. The actor-centric training is an immersive deep-dive with opportunities to delve in music, voice, dance and production techniques. Through physical training and performance, every aspect of the actor’s instrument is engaged, instilling a lifelong confidence that they will carry with them throughout their highly-adaptable, professional lives. Designer, director, builder, performer, our multi-discipline theatre training, will become the tools to turn ideas into reality. Taking classes alongside future architects, veterinarians, entrepreneurs and Oscar winners, we want our students to graduate from the BISFA Theatre program, recognizing that their options go well beyond the audition room.

 Performance Theatre - Acting

Grades 9 & 10

• ACTING Level 1 and 2 (C Block with Underclassmen)

• Most modules last 4 weeks.  It is the goal to complete 2 modules each 9 weeks.  There are a few days built in as make up or theatre game days. 

• Module 1- VOICE and SPEECH.  To be expressive and present as an actor, students need a trained voice as part of their physical instrument.  In this course, students study the development of voice techniques for the stage, including work included in “Freeing the Natural Voice” in relaxation.  Students demonstrate the principles of voice sound production.  Students demonstrate the elements of vocal production, breathing, relaxation, phonation, resonance, articulation, body support, posture and proper placement of the tongue and lips.  Students will explore the anatomy of the voice, air pressure, vibratory resonance control of the soft palate and larynx and movement of the jaw.  In class work includes stretching, relaxation, grounding, range, and the creation of a personal physical and vocal exercise warm up. 

• Module 2- ACCENTS and DIALECTS.  The continuation of the use of voice in theatrical works focuses on a variety of accents and dialects.  Students will understand the difference between an accent and a dialect.  Freshmen will focus on accents/dialects found in the United States while Sophomores focus on international accents/dialects.

• Module 3- MAKE-UP.  Although much of the character’s work is internalized, the external appearance of the actor often completes the performance.  This class will introduce the student to make up skills needed to perform in venues such as a black box studio or large proscenium stage.  Freshmen will master basic stage make up and old age make up.  Sophomores will focus on period make up and fantasy make up.  As it is important for the actor to understand what works best on their own face, this will be a hands-on class with each students applying make-up on their own faces.  (Student make up kits will be available for purchase or students may supply their own).

• Module 4- ACTING WITH MAKE UP/SCRIPT ANALYSIS LEVELS 1 AND 2.  A continuation of module 3, students will analyze scripts for context and given circumstances.  Students will incorporate the use of make-up to accentuate the face while portraying the emotion.  This course lays the foundation for students to acquire the fundamental skills and tools for developing the acting process.  Stanislavski and Haagen techniques will strengthen their powers of concentration and focus as they learn how to analyze and create characters.   Uta Haagen’s 9 questions will be the guide to understanding the character’s basic wants, needs and surroundings.  Students will understand the world of the play and begin to make clear and specific acting choices toward the character’s goal.  Freshmen should select from contemporary works (post 1960) while sophomores select from Golden Age shows (pre-1960 and post WW2).

• Module 5- MASK WORK.  Students will explore the physicality of a character using a variety of masks.  Freshmen will focus on human emotions by utilizing either an emotionless mask or a mask with a predetermined emotion.  Sophomores will work with animal masks, focusing on the physical mannerism of the animal, then evolving those mannerisms into a human character.  Improvisation games will allow the student to explore further the interactions of a variety of emotions while maintaining physicality and character choices.

• Module 6- ACTING THROUGH THE MASK.  Elevating the work of module 5, this module will apply the physicality discovered in mask usage to scripted dialogue, performing a scene relying only on the physical responses and reactions of the character and not the dialogue.  Students will then perform the scene (without the mask), incorporating facial performance, physicality and the author’s written word.  We will also continue to utilize the teachings of Stanislavski and Haagen to analyze and score their scene, identifying beats, goals, obstacles, tactics and subtext.

• Module 7- SENSORY RECALL & OBJECT RECALL.  Students will study the art of illusion in recreating moments connected to the five senses.  Students will explore the effects external stimuli have on the human body (ie: mouth watering, unpleasant smells, etc..) and recreate that reaction with implied props.  Students will be exposed to a variety of foods and smells so please be mindful of allergies.  Object recall will strengthen the student’s imagination and focus by examining a physical object then the recreating of the object completely in pantomime. Scenes and monologues will then be improvised around the imaginary props.  Improvisations will incorporate the use of goals (what does the character want) and tactics (what do I do to get what I want). 

• Module 8- END OF YEAR SHOWCASE.  Students will spend the remaining 4 weeks selecting material that will utilize facial reactions exaggerated using make-up; physicality that is believable and consistent with the character; and playable tactics that are intended to further the character’s story to an identified goal.  Students will also identify the given circumstances surrounding their piece as well as the character’s obstacles, and subtext.   Final product will be showcased to the public at the end of the school year.