Present Perform Produce Theater
New York State Learning Standards for theTogether we Create PresentPerformProduceTheater Respond ConnectAt-A-Glance Standards
New York State Learning Standards for theTogether we Create PresentPerformProduceTheater Respond ConnectAt-A-Glance Standards
NYS Learning Standards for the ArtsRevision CommitteeTHEATER* Denotes Committee ChairJames BranniganSmithtown High School WestLucy Cerezo-ScullyPS 61, Leonardo DaVinciBenjamin DonaldUrban Assembly Maker AcademyKristie Fuller*Indian River Central School DistrictPaige HardisonLevittown Public SchoolsWilliam RalbovskySyracuse City School DistrictSusan SchoonmakerFabius-Pompey School DistrictHolly ValentineGates Chili School DistrictLeslie Yolen, Associate in Visual Arts EducationNew York State Education DepartmentJennifer Childress, Art Education Consultant (editing, documentdesign)NYS Arts Standards Coding SystemEach discipline is assigned an alphabetic abbreviation using uppercase lettersDA Dance MA Media Arts MU MusicTH Theatre VA Visual ArtsTable of ContentsAnchor Standard Artistic Process Process Componentp.Anchor Standard 1 Creating Envision3Anchor Standard 2 Creating Develop4Anchor Standard 3 Creating Rehearse5Anchor Standard 4 Performing Select6Anchor Standard 5 Performing Prepare7Anchor Standard 6 Performing Share7Performing/Presenting/Producing4. Analyze, interpret and select artistic work for presentation.5. Develop and refine artistic techniques and work for presentation.6. Convey meaning through the presentation of artistic work.Anchor Standard 7 Responding Reflect8Anchor Standard 8 Responding Interpret8Responding7. Perceive and analyze artistic work.8. Interpret intent and meaning in artistic work.9. Apply criteria to evaluate artistic work.Anchor Standard 9 Responding Evaluate9Anchor Standard 10 Connecting Relate10Connecting10. Synthesize and relate knowledge and personal experiences to make art.11. Relate artistic ideas and works with societal, cultural and historical context to deepen understanding.Anchor Standard 11 Connecting Interrelate, Research11Each artistic process is assigned an alphabetic abbreviation using an upper and lower oducingRespondingConnectingEach anchor standard is assigned a numberCreating1. Generate and conceptualize artistic ideas and work.2. Organize and develop artistic ideas and work.3. Refine and complete artistic ideas and work.NOTE: The Anchor Standards (AS) are the same across all arts disciplines. However, each discipline’s standards have disciplinespecific interpretations of the AS, called Enduring Understandings (EU). EUs guide the content of the Performance Indicators.Some Anchor Standards in some of the arts disciplines have more than one EU.To create code alignment between all standards and disciplines, AS numbers are always followed by “.1”, “.2”, like this: 1.1,1.2. “.1” follows the AS number even when there is only one Enduring Understanding.Each grade level is indicated by a letter, number, or HS Roman numeralPK Pre-Kindergarten K Kindergarten 1,2,3,4,5,6,7,8 for grades 1– 8HSI for HS Proficient HSII for HS Accomplished HSIII for HS AdvancedTheater ExampleExample Performance IndicatorPerformance Indicators are coded with a lower case alpha(a, b, c) even when there is only one in a column.Bold words indicate discipline specific vocabulary.Definitions can be found in the NYS Arts StandardsGlossary (separate publication).Each Performance Indicator (PI) is assigned a lower case letter even when there is only one. The firstperformance indicator is “a”, the next “b”, and so on.OrderingFirst position indicates the discipline. It is always followed by a colon ( : ).Second position (following the colon) indicates the Artistic Process.Third position indicates the Anchor Standard number and Enduring Understanding number, which are separated by a “.”Fourth position indicates the Grade Level.Fifth position indicates the Performance Indicator.ExampleCodePage 2 of 11, THEATERCopyright 2017The New York State Education Department
T H E AT E R C r e a t i n g Co n c e i v i n g a n d d e v e l o p i n g n e w a r t i s t i c i d e a s a n d w o r k 1Anchor Standard 1 Generate and conceptualize artistic ideas and work.Enduring Understanding 1.1Essential QuestionCreativity is a foundation of theatrical practice. What happens when theater artists use their imaginations and/or learned theater skills while engaged in creative exploration?Artistic Process CREATINGProcess Component HS ProficientTH:Cr1.1.HSIHS AccomplishedTH:Cr1.1.HSIIHS AdvancedTH:Cr1.1.HSIIIa. With promptingand support,transition betweenimagination andreality in dramaticplay.a. With promptingand support, inventand inhabit animaginaryelsewhere indramatic play.a. Propose potentialchoices thatcharacters couldmake in a guideddrama experience.a. Propose potentialnew details to plotand story in aguided dramaexperience.a. Create roles,imagined worlds,and improvisedstories.a. Articulate thevisual details ofimagined worldsand improvisedstories that supportgivencircumstances.a. Identify physicalqualities that mightreveal a character’sinner traits in animagined world.a. Identify possiblesolutions to stagingchallenges.a. Investigatemultiple perspectivesand solutions tostaging challenges.a. Imagine andexplore multipleperspectives andsolutions to stagingproblems.a. Apply basicresearch to constructideas about thevisualcomposition of adrama or theaterwork.a. Investigatehistorical and culturalconventions andtheir effect on thevisualcomposition of adrama or theaterwork.a. Synthesizeknowledge from avariety of dramaticforms, theatricalconventions, andtechnologies tocreate the visualcomposition of adrama or theaterwork.b. With promptingand support, usenon-representational materials tocreate props,puppets, andcostume pieces fordramatic play.b. With promptingand support, usenon-representational materials tocreate props,puppets, andcostume pieces fordramatic play.b. Collaborate withpeers toconceptualizecostumes and propsin a guided dramaexperience.b. Collaborate withpeers toconceptualizescenery in a guideddrama experience.b. Imagine andarticulate ideas forcostumes, props, andsets.b. Visualize anddesign technicalelements thatsupport a story andgivencircumstances.b. Propose designideas that support astory and givencircumstances.b. Identify solutionsto design challengesin a drama or theaterwork.b. Explain andpresent solutions todesign challengesin a drama or theaterwork.b. Explore andcollaborate todesign solutions fora drama or theaterwork.b. Explore the effectof technology ondesign choices.b. Understand andapply technology todesign solutions fora drama or theaterwork.b. Create a completedesign for a dramaor theater work thatincorporatestechnicalelements.c. With promptingand support, usegestures to tell astory in dramaticplay.c. With promptingand support, usegestures to tell astory in dramaticplay.c. Identify ways inwhich gestures andmovement may beused to create orretell a story in aguided dramaexperience.c. Identify ways inwhich voice andsounds may be usedto create or retell astory in a guideddrama experience.c. Collaborate todetermine howcharacters mightmove and speak tosupport a story andgivencircumstances.c. Imagine how acharacter mightmove to support astory and givencircumstances.c. Identify how theinner thoughts of acharacter affect astory and givencircumstances.c. Explore therelationship betweenscripted orimprovisedcharacters and theirgivencircumstances.c. Envision anddescribe the innerthoughts andobjectives of acharacter.c. Develop ascripted orimprovisedcharacter byarticulating theirinner thoughts,objectives, andmotivations.c. Use scriptanalysis to generateideas about acharacter who isbelievable andauthentic.c. Use personalexperiences andknowledge todevelop a characterwho is believableand authentic.c. Integrate culturaland historicalcontexts withpersonal experiencesto create a characterwho is believableand authentic.Page 3 of 11, THEATERCopyright 2017The New York State Education Department
T H E AT E R C r e a t i n g Co n c e i v i n g a n d d e v e l o p i n g n e w a r t i s t i c i d e a s a n d w o r k 2Anchor Standard 2 Organize and develop artistic ideas and work.Enduring Understanding 2.1Essential QuestionTheater artists work to discover different ways of communicating meaning. What are the challenges to making artistic choices?Artistic Process CREATINGProcess Component S ProficientTH:Cr2.1.HSIHS AccomplishedTH:Cr2.1.HSIIHS AdvancedTH:Cr2.1.HSIIIa. With promptingand support,contribute throughgestures and wordsto dramatic play.a. With promptingand support, interactwith peers andcontribute todramatic play.a. Contribute to thedevelopment of asequential plot in aguided dramaexperience.a. Collaborate withpeers to devisemeaningfuldialogue.a. Participate inmethods ofinvestigation todevise theatricalexperiences.a. Collaborate todevise original ideasby asking questionsabout characters andplots.a. Devise originalideas that reflectcollective inquiryabout characters andtheir givencircumstances.a. Use critical analysisto improve, refine,and evolve originalideas and artisticchoices.a. Examine andjustify original ideasand artistic choices,based on criticalanalysis, historical,and cultural context.a. Articulate andapply critical analysis,backgroundknowledge,research, andhistorical and culturalcontext to thedevelopment oforiginal ideas.a. Explore thefunction of historyand culture in thedevelopment of adramatic conceptthrough a criticalanalysis of originalideas.a. Refine a dramaticconcept todemonstrate a criticalunderstanding ofhistorical and culturalinfluences applied toa drama or theaterwork.a. Develop andsynthesize originalideas in a drama ortheater work,utilizing criticalanalysis, historicaland cultural context,research, and globaltheater traditions.b. With promptingand support, expressoriginal ideas indramatic play.b. With promptingand support, expressoriginal ideas indramatic play.b. With promptingand support,participate in groupdecision making in aguided dramaexperience.b. Contribute ideasand make decisionsas a group to advancea story.b. Compare ideaswith peers and makeselections that willenhance and deepengroup drama ortheater work.b. Make and discussgroup decisions andidentifyresponsibilitiesrequired to present adrama or theaterwork to peers.b. Participate indefinedresponsibilitiesrequired to present adrama or theaterwork informally to anaudience.b. Collaborate todevise a drama ortheater work.b. Inhabit a role andrespect the roles ofothers in preparingor devising adrama or theaterwork.b. Share leadershipand responsibilitiesto developcollaborative goalswhen preparing ordevising a dramaor theater work.b. Investigate thecollaborative natureof the actor, director,playwright, anddesigners andexplain how theirroles can beinterdependent.b. Cooperate as acreative team tomake interpretivechoices.b. Collaborate as acreative team todiscover artisticsolutions and makeinterpreted choicesin a devised orscripted drama ortheater work.Page 4 of 11, THEATERCopyright 2017The New York State Education Department
T H E A T E R C r e a t i n g Co n c e i v i n g a n d d e v e l o p i n g n e w a r t i s t i c i d e a s a n d w o r k 3Anchor Standard 3 Refine and complete artistic work.Enduring Understanding 3.1Essential QuestionTheater artists refine their work and practice their craft through rehearsal and active participation. How do theater artists transform and edit their initial ideas?Artistic Process CREATINGProcess Component HS ProficientTH:Cr3.1.HSIHS AccomplishedTH:Cr3.1.HSIIHS AdvancedTH:Cr3.1.HSIIIa. With promptingand support, answerquestions indramatic play.a. With promptingand support, ask andanswer questions indramatic play.a. Contribute to theadaptation of theplot in a guideddrama experience.a. Contribute to theadaptation ofdialogue.a. Collaborate withpeers to revise,refine, and adaptideas to fit givencircumstances.a. Revise animprovised orscripted drama ortheater work throughrepetition andcollaborative review.a. Revise animprovised orscripted drama ortheater work throughrepetition and selfreview.a. Articulate andexamine choices torefine a devised orscripted drama ortheater work.a. Demonstratefocus andconcentration in therehearsal process.a. Use repetition andanalysis to revise adevised or scripteddrama or theaterwork.a. Use theatricalconventions torevise a devised orscripted drama ortheater work.a. Analyze thedramatic conceptand technicaldesign elementsof a devised orscripted drama ortheater work.a. Refine the style,genre, form, andtheatricalconventions of adevised or scriptedwork.b. With promptingand support,participate in usingsounds andmovements indramatic play.b. With promptingand support,participate in usingsounds andmovements indramatic play.b. Identifysimilarities anddifferences in soundsand movements in aguided dramaexperience.b. Use and adaptsounds andmovements in aguided dramaexperience.b. Contribute tophysical and vocalexploration in animprovised orscripted drama ortheater work.b. Develop physicaland vocal exercisetechniques for animprovised orscripted drama ortheater work.b. Use physical andvocal exploration forcharacterdevelopment.b. Identify effectivephysical and vocaltraits of characters.b. Develop effectivephysical and vocaltraits of characters.b. Refine physical,vocal, andphysiological traits ofcharacters.b. Use physical andvocal choices todevelop aperformance that isbelievable,authentic, andrelevant.b. Use research andscript analysis torevise physical andvocal choices toenhance thebelievability andrelevance of a dramaor theater work.b. Synthesizeresearch, scriptanalysis, andcontext to create aperformance that isbelievable,authentic, andrelevant.c. With promptingand support, use asingle object inmultiplerepresentations indramatic play.c. With promptingand support, use asingle object inmultiplerepresentations indramatic play.c. Collaborate toimagine multiplerepresentations of asingle object in aguided dramaexperience.c. Independentlygenerate multiplerepresentations of asingle object.c. Refine objecttransformation tosupport animprovised orscripted drama ortheater work.c. Collaborate onsolutions for designand technicalproblems.c. Create innovativesolutions for designand technicalproblems.c. Expand a plannedtechnical designduring the rehearsalprocess.c. Consider multipleplanned technicaldesign elementsduring the rehearsalprocess.c. Implement andrefine a plannedtechnical design,using simpletechnology duringthe rehearsalprocess.c. Refine technicaldesign choices tosupport the story of adevised or scripteddrama or theaterwork.c. Revise technicaldesign choicesduring a rehearsalprocess to enhancethe story andemotional impact ofa devised orscripted work.c. Apply technicalproficiency tosupport the story andemotional effect of adevised or scripteddrama or theaterwork.Page 5 of 11, THEATERCopyright 2017The New York State Education Department
T H E A T E R Pe r f o r m i n g R e a l i z i n g a r t i s t i c i d e a s a n d w o r k t h r o u g h i n t e r p r e t a t i o n a n d p r e s e n t a t i o n 4Anchor Standard 4 Select, analyze, and interpret artistic work for presentation.Enduring Understanding 4.1Essential QuestionThe essence of theater is storytelling. Why are strong choices essential to producing a drama or theater work?Artistic Process PERFORMINGProcess Component H:Pr4.1.56thTH:Pr4.1.67thTH:Pr4.1.78thTH:Pr4.1.8HS ProficientTH:Pr4.1.HSIHS AccomplishedTH:Pr4.1.HSIIHS AdvancedTH:Pr4.1.HSIIIa. With promptingand support, identifycharacters andsetting in dramaticplay or a guideddrama experience.a. With promptingand support, identifycharacters andsetting in dramaticplay or a guideddrama experience.a. Describe a story’scharacter actions anddialogue in aguided dramaexperience.a. Interpret storyelements in aguided dramaexperience.a. Apply theelements ofdramatic structureto a story and create adrama or theaterwork.a. Modify thedialogue and actionto change a story in adrama or theaterwork.a. Describe theunderlying thoughtsand emotions thatcreate dialogue andaction in atheatricalexperience.a. Identify theessential events in astory or script thatcomprise thedramaticstructure.a. Consider variousstaging choices toenhance the story.a. Explore differentpacing to bettercommunicate a story.a. Examine howcharacterrelationships affecttelling a story.a. Discover howunique choices shapebelievable andsustainabletheatricalexperiences.a. Apply reliabletheatrical researchof directors’ styles toform unique choicesfor a directorialconcept.b. With promptingand support, usebody and voice tocommunicateemotions in aguided dramaexperience.b. With promptingand support, usebody and voice tocommunicateemotions in aguided dramaexperience.b. Use body, face,gestures, and voiceto communicatecharacter traits andemotions in aguided dramaexperience.b. Alter voice andbody to expand andarticulate nuances ofa character in aguided dramaexperience.b. Investigate howmovement andvoice areincorporated intotheatricalexperiences.b. Make physicaland vocal choicesto create a character.b. Use physical andvocal choices todevelop a character.b. Experiment withvarious physicaland vocal choicesto communicatecharacter.b. Use variouscharacter objectivesin a drama or theaterwork.b. Use variouscharacter objectivesand tactics toovercome anobstacle.b. Shape characterchoices by usinggivencircumstances in adrama or theaterwork.b. Use theatricalresearch todetermine choicesthat influencecharacter.b. Apply a variety ofresearched actingtechniques as anapproach to characterchoices.Page 6 of 11, THEATERCopyright 2017The New York State Education Department
T H E A T E R Pe r f o r m i n g R e a l i z i n g a r t i s t i c i d e a s a n d w o r k t h r o u g h i n t e r p r e t a t i o n a n d p r e s e n t a t i o n 5Anchor Standard 5 Develop and refine artistic techniques and work for presentation.Enduring Understanding 5.1Essential QuestionTheater artists develop personal processes and skills for a performance or design. What can I do to fully prepare a performance or technical design?Artistic Process PERFORMINGProcess Component S ProficientTH:Pr5.1.HSIHS AccomplishedTH:Pr5.1.HSIIHS AdvancedTH:Pr5.1.HSIIIa. With promptingand support, useimagination indramatic play.a. With promptingand support, usesound andmovement indramatic play.a. With promptingand support, identifyand use voice andgesture in aguided dramaexperience.a. Demonstrate therelationship betweenbody, voice, andmind in a guideddrama experience.a. Participate in avariety of physical,vocal, and cognitiveexercises that can beused in a groupsetting.a. Practice actingexercises that can beused in a groupsetting.a. Apply actingexercises to enhancecollaborativetheatricalexperiences.a. Articulate howacting exercises andacting techniquescan be used toimprove theatricalexperiences.a. Participate in avariety of actingexercises and actingtechniques that canbe applied in arehearsal.a. Practice a variety ofacting techniquesto increase skills in arehearsal.a. Apply variousacting techniquesto expand skills in arehearsal.a. Refine a range ofacting skills to builda believable andsustainableperformance.a. Use and justify acollecti
theater work. b. Make and discuss group decisions and identify responsibilities required to present a drama or theater work to peers. b. Participate in defined responsibilities required to present a drama or theater work informally to an audience. b. Collaborate to devise a drama or theater work. b. Inhabit a role and respect the roles of
Ivna Žic studied Applied Theater Studies, Theater Directing, and Dramatic Writing in Giessen, Hamburg, and Graz. Since 2011 she has been working as a freelance author, lecturer and director at the Maxim Gorki Theater in Berlin, Schauspielhaus Vienna, Lucerne Theater, Theater Neumarkt, Schauspiel Essen, Theater St. Gallen, and at uniT.
Ambler Theater? The Ambler Theater is a non-profit movie theater that shows inde-pendent, art, and foreign films, as well as special events like Saturday Kids Matinees and clas-sic Hollywood films. We also have filmmaker appearanc-es, discussion groups, and lectures. Who is running the Theater? "Ambler Theater, Inc.", is a 501(c)(3)
theater army foundations and tenets found in FM 3-94, Theater Army, Corps, and Division Operations. ATP 3-93 addresses the theater army’s role in the Army operating concept. It describes how the theater army performs its primary role of A
brief history of Deaf artists in theater, distinguishing the concepts of “Deaf in theater” and “Deaf theater.” The first documented performance of Deaf people in theater was a pantomime performance in 1884. References in Plato’s Cratylus, a dialogue about language, address the fact that if humans couldn’t speak they would use
in 1908, the Shubert Theater in 1910, the Grand Theater (Grand Opera House) in 1913, and the Orpheum Theater in 1917. Garrick Theater. Completed in 1904 at a cost of 250,000, the Garrick Theater at 517 Chestnut owed its existence to the Garrick Realty Company of New York City under the control of th
environment, theater structure, and strategic level support organizations. It discusses the TSC responsibilities in theater opening, theater distribution, and sustainment operations. The mission command structure of theater sustainment operations is outlined to explain the TSC's role as a headquarters in operations, and the interface
a theater-level commander when an operational mission is assigned. 4) Complete the development of a Joint Theater Sustainment Command (TSC) and its subordinate elements and put it in the Army Campaign Plan. 5) Activate at least two active component Joint Theater Sustainment Commands. 6) Develop the TOE of the Theater Opening BDE to consist of .
build-up and as a follow-up to the 11th World Trade Organization (WTO) Ministerial Conference (MC11) in December 2017. At MC11 in Buenos Aires, differences on digital commerce could not be bridged. Views were significantly opposed. Discussions were heated. While negotiators cannot reach compromise let alone consensus, the digital economy continues to grow very fast, with major economic and .
