DRAMA TEACHER ACADEMY THEATREFOLK CANADA

TRAINING MODULES

Introduction to Stage Management
Stage Management Part Two
Basic Lighting for Drama Teachers
Introduction to Set Design
The Do-it all Director's Guide to Costuming
From Audition to Curtain Call: Directing Youth Theatre
Organised Chaos: Discipline in the Theatre Classroom
Introduction to Teaching Mask
Friendly Shakespeare
The Top Ten Playwriting Exercises
Strong Ensemble=Strong Play
Big Picture Blocking: Staging your Play Outside-In
Mission Possible: Creating a Mission and Unified Mission for your Theatre Program
Working with Monologues for Rehearsal and Development
Copyright for Drama Teachers
Laban: Advanced Characterization
Serious Play: Theatre Games and Warm-ups for Rehearsal and Ensemble Building
Breathe Control and Projection
Close Reading in the Drama Classroom
Concept-Based Design for the Theatre Teacher
How to Teach Improv
Google Drive in the Drama Classroom
Playing Comedy
Style, Coaching Improv
Theatre Etiquette
Creating the Ensemble-Based Classroom

PROFESSIONAL LEARNING COMMUNITY SESSIONS

First time in the drama classroom
Time management for drama teachers
Office hours with drama educators
Planning your season
School start up
Assessment in the drama classroom
Class size: too big / too small
Staging scenes in the classroom
Engaging the non-theatre student
Curriculum
Production pitfalls
Commitment
Competition
Fundraising
Advocacy
Theatre as a social voice
Theatre as a dumping ground
Rock your next rehearsal
Musicals: rehearsals
Technical Theatre
Tips and tricks to make your production a technical success
Let's get physical

Revisioning Social Theater through Camp Spectacles Aristotle University

About training
 

Personal narratives serve as primary material that rehearses and seeks to stage an encounter between the phenomenon of Social Theater and the poetics of Camp. Narratives of this sort, i.e. a person's (hi)stories, life-changing experiences, incidents related to conflicts and relationships, dreams and fantasies, constitutive of the participants' most familiar referential fields, typically feed into (and off) Social Theater projects and performances. The aim of such projects and performances is to address remedially participants’ experiences, focusing on the more troublesome ones, and thus to contribute to the wellness of both the individual and the collective.