The Rep - Education - Girl Scout Classes

Theater Badge Workshop

GIRL SCOUTS: THEATER BADGE WORKSHOP
Complete Instructions for Troop Leaders

Lesson plans created by: Jacque Troy
July 2001, REVISED May 2006

We started serving Girl Scouts at Milwaukee Repertory Theater with this enormously popular workshop in 1997. In 2006, an extensive strategic planning process encouraged us to develop programming that connects the plays on our stages with audiences of an appropriate age. In order to concentrate our efforts it became necessary to discriminate programs which we have long enjoyed presenting, but found do not meet our department’s revised goals. This decision meant that we would no longer be able to formally offer this class, but we wanted to be sure that Girl Scout troop leaders had access to our curriculum. So, here it is!

Here’s what’s included to assist you:

Descriptions of badge requirements from the Girl Scout publication are presented in italics, so you’ll know which requirement is being addressed by each activity.
Step by step lesson plans for our workshop so that you can facilitate the experience whenever you want with your troop.
Appendices with detailed descriptions of the suggested activities.
Other handouts, developed by theater professionals that will assist you in teaching this workshop.
An invitation to contact the Education Department at Milwaukee Repertory Theater with any additional questions you might have, or to arrange a tour of our facility, as part of the experience. Jenny Kostreva at 414-290-5370 or jkostreva@milwaukeerep.com

Primary Resources:

Girl Scouts Badges and Signs by Girl Scouts of the U.S.A. , 2005.

Theater Game File by Viola Spolin, 1989.

Plays used for workshop preparation:

These were found in a very OLD anthology of plays for young people at the Milwaukee Public Library. However, any short play for young people will serve the purpose.

The Pot Boiler (comedy in the theater)
The Case of the Glass Slippers (a mock Cinderella trial)
The Stone in the Road (a fairytale in dramatic form)

Materials: Numbers in () indicate amount of “sets” needed if class size of 15 is reached.

Appendix A - H (click to open)

ACTIVITY #1 : those determined by instructor for warm-up, none for mirror and voice activities--See Appendices A-E

ACTIVITY #2 : (enough for characters involved) copies of play, (15) Character History
Worksheets --See Appendix F

ACTIVITY #3 : (3-4) “costumes”—can be clothing from your home that gives an idea of personality, see activity instructions for more guidance, (1-2) sample “renderings” you create (1) large tub of fabric scraps (20) one- sixth of white poster board sheet, (15) pencils, scissors, glue stick (8) set of markers, staplers

ACTIVITY #4 : (20) bandanas—these are optional but fun (1) envelope of People words—See Appendix G (1) envelope of Place words—See Appendix H

WORKSHOP RUNNING TIME (15-25 girls): Two Hours

During the first 30 minutes

Activity #1 : Theater Exercises

Choose a warm-up activity which will encourage the group to get to know one another and feel comfortable working together. Any “ice-breaker” activity will do.
Mirror Mimic: Try to “mirror mimic” with someone else...
Belt It Out: Make sure you’re loud enough to be heard. Put your hands on your waist. As you inhale, your waist should expand against your hands, pushing them out. As you exhale, your waist should deflate, like a balloon. Breathe like this three or four times. How far out can you get your hands? As you exhale, say “Ahhh”. Have a friend time you. How long can you hold that “Ahhh”? Try again, only this time go for volume. How loudly can you say “Ahhh”? Try again, going for both volume and time.
For “Mirror Mimic”, Viola Spolin has a number of interesting suggestions for varying this exercise. (See Appendices A-D)
I start by using an adult to model even before the girls begin. I then have the students start in pairs, sitting on the floor to control their silliness and I talk a lot about focus while they are working. Then I let them stand up and switch who is leading, continuing to stress focus, control...including moving slowly enough to allow your partner to follow.
Other voice exercises which encourage volume and breath support can be added to the required curriculum above. (See Appendix E)
I do the voice work very quickly, as I think it is a whole separate skill set. I ask them to split into two groups and stand on opposite ends of the room from one another. Then:
Show all how to “flop over” safely (soft knees, head down)
Demonstrate how to roll up safely on an “mmmmmm” sound
When they are full upright, ask them to use full voice to say “MA” as the release
Talk just a bit about staying out of their throat
repeat “mmmmmm-MA” a few times with all performing together
Then ask first girl in line to use full voice to say “HELLLOOOO” to first girl across the room. Go back and forth until all have completed it. Minimal suggestions.

During the next 30 minutes

Activity #2 : Character Study

Character Traits: A play has a lead character, supporting characters and extras. Read a play and choose a character that you would like to play. Show that you understand your character by describing the following: 1) The character’s personality, 2) the character’s behavior and 3) what other people think of your character.
Enough copies of your chosen, short play for young people for each character in the play.
One Character History Worksheets for each troop member.
Leaders have troop members read the play aloud and facilitate filling out Character History Worksheets.

During the next 30 Minutes

Activity #3 : Fabric Costume Renderings

Mix it Up, Make it Up: Using basic materials (pieces of fabrics, yarn, newspapers, etc.) design your own costumes....
Show actual costumes/clothing samples to students one at a time.
What can you tell me about this character just by looking at their clothes?
Ask them to provide examples of how they reached their decisions

(i.e. color, condition of clothing, trim, neckline, etc.
B. Lead a brief discussion about the importance of costuming in the theater

1. discuss fabric choices (satins=wealth, coarse wools for peasants, etc.)
2. discuss color choices (yellow=happy, dark blue=serious, etc.)
3. mention the use of “shape” or layering to tell more about character

If possible, show sample renderings as done by professional designers. These can be found on-line at most regional theater websites. Usually, they’re contained in study guides.

D. Tell students they will now do a “rendering” for a character with actual fabric and trim.

E. Show sample that you create ahead of time to model what’s required. Hand out 1/6 of a piece of poster board and pencil to each student.

Suggest doing pencil (stick) outline of head and body first to get correct proportions, otherwise students will try to work too small.
Use of markers and pencils should be limited in favor of fabric and trim.
Each person should have access to markers, glue stick, scissors and stapler
Fabric should be kept in a central location
students should take only as much as they need
larger, re-usable pieces should be returned for others
discuss that there may not be exactly what they had in mind in our stock, but they need to pretend that they’ve been assigned to a costume shop and must use the fabrics available for the costumes
Some will want to draw the whole thing--this is usually the result of not knowing how to begin--suggest they outline the character in pencil and then add the fabric. All SHOULD use fabric. This is a rare opportunity.
Make sure you help to keep this activity focused and clean, without interfering in the student’s creative process. The kids love it, which makes for LOTS of excited chaos.

During the next 30 minutes.

Activity #4 : Character Charades

Character Charades: Write types of characters on pieces of paper and place them in a bowl. Each persona picks a character and without talking, acts it out until the group correctly guesses who or what it is. Create a real or a unique character...

A. EXERCISE: People and Places Scenes

Ask the students to divide into groups of 3-4 and select a place to sit together on the floor. Adults may play too, if they’d like.
Once they’re settled, discuss how actors don’t get to choose who they’re going to play on stage. A director watches their audition and then decides which role best suits the actor. Indicate that you’re going to test their ability to play a character to which they are assigned.
Introduce the People and Place words envelopes.—Appendix G and H. You will need to cut these apart prior to class. In each of the envelopes are names of characters and places. Each person in the group will choose one character. The group will choose a place. With these assignments, they must create a play that illustrates why these people are in this place. To help give shape to this activity:
Indicate to students that they MUST play who they choose. Some will whine, but it’s important to get them to work outside their comfort zone.
They should share who they’re playing with the rest of their group but not with others.
Encourage them to think about what each of their characters’ “WANT” (objective) or the scenes will struggle to find an ending. “If you’re playing Santa Claus, it won’t do you any good to just walk around going “ho, ho, ho”. Think about what your Santa wants. I.e. a new job, more toys, cookies, etc.”
They may use bandanas and as many chairs as people in their group, but nothing else. If you don’t limit chair and prop use, they’ll worry about the stuff rather than the story.
As you circulate with people and place cards, remind each group to share their people with each other and think about what they want.
As they begin to discuss and rehearse, circulate to help as needed. Some will need reminders to actually rehearse what they’re going to do and NOT just talk about it.
When the time is up, have all students gather in the audience to watch the scenes.
Start with a volunteer group, then the first group may decide who goes next, and so on.
Demand focus (which means no laughing or other forms of “breaking character”) in the scene. If chaos ensues, stop and remind them to think about what each of them wants so that the scene can find a logical ending.
IMPORTANT : When each scene ends, have the whole group come back on stage, face the audience and announce who they were playing. Then one person can share where they were. Students get very upset if they can’t say this out loud, and the audience gets pre-occupied with trying to guess or asking the girls who just went.

During the last 5-10 minutes.

Workshop closure

Ask students to talk about some of the new things they learned about theater today.
Remind them that to complete their badge requirements, they will need to make a trip to see a play. See it Live: Attend a play, a theatrical performance, a dinner theater, or a school or community production.