Relaxation/Concentration
Physical/Vocal Warms-Ups
Imaging Exercises
Gaming with Concentration as the Focus
Awareness of Self-Discipline

Inner Resources
Sense Recall/Memory Exercises
Gaming with Ensemble Development and Risk-Taking as the Focus
Observation Exercises
(Emotional Recall/Memory)

Physical Expression
Physical Warm-Ups
Observation Exercises
pantomime/Mime Exercises
Body Movement and Character Movement
Gesture and Non-Verbal Expression
Properties and the Actor
Generating Belief

Verbal Expression
Vocal Warm-Ups and Drills
Verbal Improvisation Exercises
Vocal Dynamics (volume, pitch, articulation, tone, etc..)
Corrective Diagnostics and Exercises
Generating Belief
(Oral Interpretation)
(Dialects)

Scene Study
The Monologue
Character Inference and Analysis
The Scene Study (2 or more characters)
Scene Structure/Analysis (character objectives, units, etc.)

Play Analysis
Play Structure (acts, scenes, climax, symbolism, etc.)
Given Circumstances and "World" of the Play
Units of Action
Character Analysis (physical, mental, emotional, social traits)
Character Objectives

Performance
The Stage and Its Elements (areas, terminology, etc.)
Technical Production (costumes, scenery, lighting, etc.)
Rehearsal Procedures and Technique
Guidelines and Criteria (giving and receiving criticism)
Generating Belief
Classroom Performance
        The Monologue
        The Duet Scene
        Auditioning
        The Small Group Scene
Public Performance
        The One-Act Play
        The Full-Length Play
        The Musical
        The Period Play
 

         GAMING, PANTOMIME AND MIME, IMPROVISATION

GAMES

Theatre Games--developed by Viola Spolin in Improvisation for the Theatre, but the term is used in profession to indicate an activity, exercise, improvisation or game that is "drama/play" in nature with a specific objective or "focus."  The objective is usually for:

a. teaching the student about a drama/theatre concept (ground plans, gesture, characterization, etc.)
b. developing inner resources of the student (concentration, sensory recall/awareness, imaging, etc.)
c. creating group ensemble (cooperation, trust, etc.)
d. teaching acting skills (movement, emotion, etc.)
e. improving drama techniques (pantomime, improvisation, etc.)

New Games--developed by the New Games Foundation and featured in The New Games Book and More New Games.  Focus is recreational and non-competitive play with a variety of methods.  New Games are implemented in drama to supplement Spolin's "c" objective above, but some New Games also provide exercise in concentration, pantomime, etc

PANTOMINE AND MIME

A dramatic art form that is non-verbal and communicative.  Though terminology differs, "pantomime" is usually the expression of a tangible idea (brushing your teeth, washing a car), while "mime" is usually the expression of an abstract idea (becoming a flower dying in the sun, being a candle melting down).

Pantomime and mime are used in drama to express creative ideas and are not necessarily used for developing performance technique and skill.  Although some pantomime and mime can be practiced before it is shared, some pantomime can be improvised, or used as a supplement in verbal improvisation.

IMPROVISATION

Improvisation can be verbal or non-verbal, but most often refers to verbal work.  In drama, improvisation is used as a medium for the expression of ideas.

Improvisations range from simple to complex, and should be presented to the drama group according to their level of proficiency For effective improvisation, there should be relevance, conflict and structure.

Relevance is needed for the student to improvise freely from his/ her own experiences.  You would not have a kindergartner improvise upon something that is irrelevant to his/her life, such as dating But if they were to improvise on a pet they found and wanted to keep, then the improvisation holds relevance.

Conflict is an essential component of improvisation because it is the driving force behind dialogue and character objectives--it is the core of plays and leads to (most often) the resolution of an improvisation.

Proficient students may not need a conflict in an improvisation; perhaps the improvisation may focus on characterization (e.g., an improvisation between a ventriloquist and a "dummy").

Structure is the framework or guidelines for the student to develop and present the improvisation.  This includes such factors as the amount of time provided to practice, the length of the improvisation, the focus or objective of the improvisation, etc.

Improvisations work on a set of "givens" that are provided to the student:

a. Who--the characters involved
b. When and/or Where--the time, date, place
c. What--the circumstances
d. How--the "structure" elements and/or the through-line of the improv
e. Why--the conflict and/or the objectives of the improv

The more "givens" you provide, the easier it is to improvise.
Example:
    You and a partner are a young child and a teen-age babysitter. Develop a 3-minute verbal improvisation in which the babysitter tries to get the child to turn off the TV and go to bed, since it's way past the child's bedtime.  Establish the characters at the beginning, and determine how the improvisation will end.  You will have 10 minutes to discuss and practice your idea.  If you wish, use any of the furniture in the room to establish your setting.

See how this differs between less "givens" to the student:

With a partner, develop a 3-minute improvisation about a babysitter.

With fewer "givens," the student has more flexibility and creative potential.  But unless the student is proficient in fleshing out the details of the structure, then improvisation becomes more difficult.