Program Information
- ISBN
- 9798279800704
- Technical Specifications: Checklist
- Tech Specs: Checklist (pdf 517.05 KB)
- Technical Specifications: Professional Development
- Tech Specs: Professional Development (pdf 172.91 KB)
Basic Drama Projects, 10th edition (Technical Theatre I)
Grade 9
IMRA 2026
Publisher: Perfection Learning Corporation
Copyright: 2026
Series includes:
Rubric: Fine Arts K–12 (Download Not Available)
* Some programs submit evidence for only part of a standard, while others submit all sections. A 100% score means this program met all the expectations it submitted.
Quality Review
Standards Alignment
Rubric Section
| Grade | TEKS % | ELPS % |
|---|---|---|
| Grade 9 | 100% | N/A |
Criteria for Quality
Rubric Section 1
Intentional Instructional Design
Materials support educators in effective implementation through intentional course, unit, and lesson-level design.
Total
100% (23 out of 23 points)
Evaluation for 1.1a
The “Implementation Guide for Technical Theatre I” in the Texas Teacher Resource provides a scope and sequence divided into nine units, each titled with the unit’s main idea or focus. The units align with the course Texas Essential Knowledge and Skills (TEKS) and include a list of concepts the unit addresses.
The concepts in each unit align with the unit focus. For example, unit 6, “Theatre and Its Counterparts,” includes a concept list that consists of “technical elements across styles/genres; impact of live theatre, film, TV, and electronic media; cultural heritage and diversity; and U.S. contributions to performing arts and media.”
Evaluation for 1.1b
The “Implementation Guide” in the Teacher Resource includes a scope and sequence with pacing suggestions for a traditional schedule to support effective implementation and the recommended number of weeks for instruction. For example, unit six cites a pacing recommendation of “Weeks 19–22.”
The “Implementation Guide” in the Teacher Resource provides additional pacing recommendations that outline the general structure for each unit, with suggestions for blocked schedules, shortened calendars, and A/B rotation schedules. The guide gives an example for unit 1, showing the chapter or focus, pacing information, and additional notes. The materials provide suggestions for modifications for alternate schedules such as combining introduction and vocabulary with activities and compressing elements when necessary to fit the schedule.
Evaluation for 1.1c
The “Implementation Guide” in the Teacher Resource explains how course concepts connect through spiraling skills, the merging of theory and practice, interdisciplinary and media integration, and performance readiness. Unit breakdowns draw connections to previous units, highlighting opportunities for students to apply earlier learning to new materials. For example, the unit 5 rationale states that the technical theatre unit “comes after students grasp acting and directing fundamentals. This ensures students approach technical work with appreciation for its role in storytelling.”
The Teacher Resource provides a unit order rationale specific to Technical Theatre I. It also explains each unit’s purpose within the scope of the technical theatre TEKS and outlines how educators should approach and teach the content. For example, the materials explain that unit 4 “situates students within the collaborative process—analysis of plays, blocking, direction, rehearsal scheduling, and audience engagement.”
Evaluation for 1.1d
The “Implementation Guide” in the Teacher Resource offers protocols with guidance for internalizing the contents and instructional approach at the unit level. The recommendations provide a multistep protocol that prepares educators for teaching a unit, including utilizing the annotated text and resources such as the scope and sequence, assessments, and Differentiation Library. For example, the unit internalization protocol suggests unpacking the unit focus and purpose, mapping the TEKS to unit content, analyzing project sequence and structure, planning for differentiation, identifying assessment opportunities, and anticipating classroom materials.
Additionally, the “Implementation Guide” provides a protocol with guidance on internalizing the contents and instructional approach at the chapter level. The guide presents specific steps related to objectives, sequencing activities, and utilizing chapter activities for various instructional purposes. Specific suggestions at the chapter level include clarifying objectives, reviewing key activities, preteaching key vocabulary and concepts, using projects as formative assessments, anticipating differentiation needs, preparing for reflection and evaluation, and assigning meaningful extensions.
Evaluation for 1.1e
The “Implementation Guide” provides sample coaching prompts, observation checklists, and Professional Learning Community (PLC)-ready reflection questions. Instructional leaders can use the guide’s direct instructions to communicate with educators, asking questions such as “Where do you target formative assessment in this sequence?” to find out whether educators are following course protocol and guidance.
The “Implementation Guide” includes resources to support educators in teaching Technical Theatre I, including look-fors, learning sequence, scaffolding, and differentiation within each unit aligned with the technical theatre TEKS. For example, one of the look-fors in unit 2 is “Visible, explicit safety-culture-setting from day one,” which is specific to the genre.
Evaluation for 1.2a
The Teacher Resource includes an overview for each unit. The unit 1 Opener, for example, explains the unit’s purpose and resources, lists academic and discipline-specific vocabulary needed to teach the unit concepts effectively, and provides definitions and suggestions for preteaching the vocabulary.
The Teacher Resource unit overviews address the background knowledge educators need to effectively deliver each unit’s lesson. For example, in the unit 2 overview, the “Background Content Knowledge” section says, “An educator teaching this unit should understand that safety in a theatre is primarily a matter of habit and awareness rather than any single piece of equipment.”
Evaluation for 1.2b
The Teacher Resource includes an introductory letter for families, written in both English and Spanish. This letter provides a course overview, discusses learning concepts, and outlines student responsibilities.
Families also receive letters at the start of each unit, with suggestions for supporting students’ progress. For example, the letters recommend talking about key points from the unit, watching a performance together, or trying an activity at home. The letters also provide information about what students are learning and suggest ways to have students demonstrate their learning.
Evaluation for 1.3a
The Teacher Resource unit overview includes structured, detailed lesson plans. The lesson plans refer educators to the Teacher’s Edition for information on the TEKS, lesson objectives, and required materials for each lesson. In chapter 1 of the Teacher’s Edition, the side channel lists four chapter objectives, and a chart identifies the TEKS the chapter addresses. The chart also lists required student and educator materials.
Each lesson plan includes a Teach (I Do/We Do/You Do Lesson Cycle) table that outlines timing, tasks, and questions to guide student learning. The Teacher Actions & Questions column offers questions for instructors to ask students, such as “What skills did this game require you to use?” Both the Teacher Actions & Questions and Student Activities & Objectives Addressed columns include student activities. The student column lists specific tasks for students, such as performances, presentations, and discussions.
The lesson plans also include a table that outlines assessments for each chapter, their administration timing, and the objectives they address. In chapter 3, for example, assessments include vocabulary exit tickets, performance checklists, and peer critique sheets. Educators also get clear instructions on what students should achieve during the assessments, such as “Presentation is 1–3 min; used multiple senses.”
Evaluation for 1.3b
The materials include chapter overviews that serve as lesson overviews within the course’s structure. Each chapter overview in the Teacher’s Edition includes a section called “To Have on Hand” that lists materials educators need to deliver instruction. For chapter 1, this section lists scenes from The Glass Menagerie and a video or DVD of the play. The section also lists student handouts.
The materials include lesson plans for each course with a Teach (I Do/We Do/You Do Lesson Cycle) table that shows how many days educators should spend on each part of the lesson cycle (i.e., I Do, We Do, You Do) and how many minutes to spend on each activity, giving educators a clear idea of what to accomplish in the allotted time.
Evaluation for 1.3c
The materials guide educators on how to use the “Additional Projects” pages at the end of each chapter for extension, enrichment, and remediation. For example, the Teacher’s Guide suggests projects for chapter 20 that include a variety of student output (including digital, written, and live demonstration) to help students explore and deepen their understanding of set construction. The sidebar references specific books and a Technical Theatre Assistant app to support students and educators in extension activities.
The pacing guide in the Teacher Resource includes recommendations for homework, extension, and enrichment, particularly for non-standard class periods and calendars. For example, the guide recommends using discussion prompts, vocabulary, and journaling either asynchronously or as homework.
The Theatre Information Pack in the Teacher Resource also includes recommendations for extension and enrichment. For example, in unit 9, the assignment “Texas Theatre Economy Research Report” offers an optional extension in which students propose one policy or community investment to strengthen the economic impact of local theatre.
1.1 Course-Level Design
1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
2 out of 2 points
Evaluation for 1.1a
Evaluation for 1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
2 out of 2 points
The concepts in each unit align with the unit focus. For example, unit 6, “Theatre and Its Counterparts,” includes a concept list that consists of “technical elements across styles/genres; impact of live theatre, film, TV, and electronic media; cultural heritage and diversity; and U.S. contributions to performing arts and media.”
1.1b
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).
3 out of 3 points
Evaluation for 1.1b
Evaluation for 1.1b
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).
3 out of 3 points
The “Implementation Guide” in the Teacher Resource provides additional pacing recommendations that outline the general structure for each unit, with suggestions for blocked schedules, shortened calendars, and A/B rotation schedules. The guide gives an example for unit 1, showing the chapter or focus, pacing information, and additional notes. The materials provide suggestions for modifications for alternate schedules such as combining introduction and vocabulary with activities and compressing elements when necessary to fit the schedule.
1.1c
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.
2 out of 2 points
Evaluation for 1.1c
Evaluation for 1.1c
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.
2 out of 2 points
The Teacher Resource provides a unit order rationale specific to Technical Theatre I. It also explains each unit’s purpose within the scope of the technical theatre TEKS and outlines how educators should approach and teach the content. For example, the materials explain that unit 4 “situates students within the collaborative process—analysis of plays, blocking, direction, rehearsal scheduling, and audience engagement.”
1.1d
Materials include protocols with corresponding guidance for unit and lesson internalization.
Materials include protocols with corresponding guidance for unit and lesson internalization.
2 out of 2 points
Evaluation for 1.1d
Evaluation for 1.1d
Materials include protocols with corresponding guidance for unit and lesson internalization.
2 out of 2 points
Additionally, the “Implementation Guide” provides a protocol with guidance on internalizing the contents and instructional approach at the chapter level. The guide presents specific steps related to objectives, sequencing activities, and utilizing chapter activities for various instructional purposes. Specific suggestions at the chapter level include clarifying objectives, reviewing key activities, preteaching key vocabulary and concepts, using projects as formative assessments, anticipating differentiation needs, preparing for reflection and evaluation, and assigning meaningful extensions.
1.1e
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.
2 out of 2 points
Evaluation for 1.1e
Evaluation for 1.1e
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.
2 out of 2 points
The “Implementation Guide” includes resources to support educators in teaching Technical Theatre I, including look-fors, learning sequence, scaffolding, and differentiation within each unit aligned with the technical theatre TEKS. For example, one of the look-fors in unit 2 is “Visible, explicit safety-culture-setting from day one,” which is specific to the genre.
1.2 Unit-Level Design
1.2a
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.
2 out of 2 points
Evaluation for 1.2a
Evaluation for 1.2a
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.
2 out of 2 points
The Teacher Resource unit overviews address the background knowledge educators need to effectively deliver each unit’s lesson. For example, in the unit 2 overview, the “Background Content Knowledge” section says, “An educator teaching this unit should understand that safety in a theatre is primarily a matter of habit and awareness rather than any single piece of equipment.”
1.2b
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.
2 out of 2 points
Evaluation for 1.2b
Evaluation for 1.2b
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.
2 out of 2 points
Families also receive letters at the start of each unit, with suggestions for supporting students’ progress. For example, the letters recommend talking about key points from the unit, watching a performance together, or trying an activity at home. The letters also provide information about what students are learning and suggest ways to have students demonstrate their learning.
1.3 Lesson-Level Design
1.3a
Materials include comprehensive, structured, detailed lesson plans that include objectives, questions, tasks, materials, and instructional assessments required to meet the content and language standards of the lesson (aligned with the TEKS and the ELPS).
Materials include comprehensive, structured, detailed lesson plans that include objectives, questions, tasks, materials, and instructional assessments required to meet the content and language standards of the lesson (aligned with the TEKS and the ELPS).
4 out of 4 points
Evaluation for 1.3a
Evaluation for 1.3a
Materials include comprehensive, structured, detailed lesson plans that include objectives, questions, tasks, materials, and instructional assessments required to meet the content and language standards of the lesson (aligned with the TEKS and the ELPS).
4 out of 4 points
Each lesson plan includes a Teach (I Do/We Do/You Do Lesson Cycle) table that outlines timing, tasks, and questions to guide student learning. The Teacher Actions & Questions column offers questions for instructors to ask students, such as “What skills did this game require you to use?” Both the Teacher Actions & Questions and Student Activities & Objectives Addressed columns include student activities. The student column lists specific tasks for students, such as performances, presentations, and discussions.
The lesson plans also include a table that outlines assessments for each chapter, their administration timing, and the objectives they address. In chapter 3, for example, assessments include vocabulary exit tickets, performance checklists, and peer critique sheets. Educators also get clear instructions on what students should achieve during the assessments, such as “Presentation is 1–3 min; used multiple senses.”
1.3b
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.
3 out of 3 points
Evaluation for 1.3b
Evaluation for 1.3b
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.
3 out of 3 points
The materials include lesson plans for each course with a Teach (I Do/We Do/You Do Lesson Cycle) table that shows how many days educators should spend on each part of the lesson cycle (i.e., I Do, We Do, You Do) and how many minutes to spend on each activity, giving educators a clear idea of what to accomplish in the allotted time.
1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
1 out of 1 points
Evaluation for 1.3c
Evaluation for 1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
1 out of 1 points
The pacing guide in the Teacher Resource includes recommendations for homework, extension, and enrichment, particularly for non-standard class periods and calendars. For example, the guide recommends using discussion prompts, vocabulary, and journaling either asynchronously or as homework.
The Theatre Information Pack in the Teacher Resource also includes recommendations for extension and enrichment. For example, in unit 9, the assignment “Texas Theatre Economy Research Report” offers an optional extension in which students propose one policy or community investment to strengthen the economic impact of local theatre.
Rubric Section 2
Progress Monitoring
Materials support educators in effective implementation through frequent, strategic opportunities to monitor and respond to student progress.
Total
100% (15 out of 15 points)
Evaluation for 2.1a
The Teacher Resource provides an overview for each unit that lists different types of assessments, including diagnostic, formative, and summative, at the unit and lesson level and tells educators where to find them. For example, the unit 1 overview identifies assessments that include matching, short-answer, and essay questions, as well as skill demonstration.
The Teacher Resource also provides a project-based cornerstone assessment designed specifically for Technical Theatre I. It includes both formative and summative elements and builds on the knowledge and skills acquired throughout the course. This assessment acts as a final project for the course.
Evaluation for 2.1b
The Teacher Resource includes an assessment guide that clearly describes and explains the purpose of instructional assessments in the course, including diagnostic, formative, summative, and cornerstone assessments.
The Teacher’s Edition further outlines how to use the assessments throughout the book. It explains the purpose of each assessment and offers visual examples to help educators use the assessments as designed. The Teacher’s Edition categorizes assessments as formal or informal. Informal assessments involve self-reflection and peer evaluation. Formal assessments include chapter tests, diagnostic tests, unit tests, and cornerstone assessments.
Evaluation for 2.1c
The materials offer educators guidance on implementing assessments, including timing, suggested variations, and administration. For example, the Teacher Resource provides step-by-step instructions on using the diagnostic/posttests. It suggests that educators diagnose, group, and plan scaffolding by matching TEKS and student needs before starting a unit. It also offers insights on rating answers, instructions for readministering assessments after finishing a unit, and guidance for using diagnostic tests to pinpoint remediation areas.
The Teacher’s Edition also offers guidance at the end of each unit, such as telling educators when to administer the unit test and readminister diagnostic tests. These directives help ensure that educators consistently administer assessments.
Evaluation for 2.1d
The Teacher Resource includes a cornerstone assessment that clearly identifies the TEKS and objectives it fulfills. The summative assessment requires students to demonstrate what they have mastered throughout the course.
The materials include chapter projects that serve as formative assessments. For example, the chapter 10 project of the Student Edition asks students to create a three- to five-minute improvised scene. The lesson plans also offer TEKS-aligned formative assessments including vocabulary checks, class discussions, and teacher-student check-ins.
The Teacher Resource also provides TEKS-aligned diagnostic assessments. The assessments include a selection of activities educators can use at their discretion as diagnostics and posttests. The lesson plans indicate course and TEKS alignment for each assessment.
Evaluation for 2.1e
The materials include instructional assessments of varying complexity, with questions and activities aligned to the TEKS. The Teacher Resource provides diagnostic and post-assessments that require students to demonstrate both performance skills and knowledge. In unit 1, for example, assessment tasks range in complexity from identifying to demonstrating to creating.
The Teacher Resource cornerstone assessment includes TEKS-aligned components at varying levels of complexity, from foundational levels of recall to creating and evaluating. The components align to the course TEKS and allow students to demonstrate their skills and knowledge.
Evaluation for 2.2a
The Teacher Resource includes scoring information to help educators interpret student performance. It provides directions for scoring diagnostic tests on a rating of 0–2 based on how well students demonstrate understanding. For unit projects, the Teacher Resource offers individual rubrics with information about ratings and observable criteria. The materials encourage educators to hold student conferences and track student progress.
The downloadable Progress Monitor spreadsheet in the Teacher’s Edition includes assessment rubric descriptors and additional scoring guidance. The rubric aligns with the four TEKS strands and includes ratings from Needs Much Improvement to Outstanding. Each rating descriptor provides clear guidance for interpreting student performance. The guidance recommends that educators hold conferences with students to review rubric scores and help students understand their performance.
Evaluation for 2.2b
The Teacher Resource guides educators to use tasks and activities in response to student assessment performance. Specifically, it recommends that educators identify the TEKS strands with which students struggle and then determine remediation steps. The Teacher Resource also suggests a variety of remediation strategies, including remediation ladders, profiles, and mini-packs, and it gives frequency and timing recommendations for integrating tasks and activities into the classroom based on student performance trends.
The downloadable Progress Monitor spreadsheet in the Teacher’s Edition guides educators’ response to student performance trends on assessments. It divides unit projects by strands and organizes them by difficulty to help educators determine how to use remediation and extension projects to respond to individual student performance and performance trends.
Evaluation for 2.2c
The downloadable Progress Monitor spreadsheet in the Teacher’s Edition helps educators track individual student progress and growth. Educators can use the monitor to view individual scores and student averages on diagnostic, formative, and summative assessments. The monitor also tracks student success in the four main TEKS strands.
Students can use the My Theatre Toolbox Log to evaluate their skills and habits throughout the course. The materials encourage students to reflect on and rate their progress. Students can customize the log’s checkpoints and add individual skills.
2.1 Instructional Assessments
2.1a
Materials include a variety of instructional assessments at the unit and lesson level (including diagnostic, formative, and summative) that vary in types of tasks and questions, including skills demonstration.
Materials include a variety of instructional assessments at the unit and lesson level (including diagnostic, formative, and summative) that vary in types of tasks and questions, including skills demonstration.
3 out of 3 points
Evaluation for 2.1a
Evaluation for 2.1a
Materials include a variety of instructional assessments at the unit and lesson level (including diagnostic, formative, and summative) that vary in types of tasks and questions, including skills demonstration.
3 out of 3 points
The Teacher Resource also provides a project-based cornerstone assessment designed specifically for Technical Theatre I. It includes both formative and summative elements and builds on the knowledge and skills acquired throughout the course. This assessment acts as a final project for the course.
2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.
Materials include the definition and intended purpose for the types of instructional assessments included.
1 out of 1 points
Evaluation for 2.1b
Evaluation for 2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.
1 out of 1 points
The Teacher’s Edition further outlines how to use the assessments throughout the book. It explains the purpose of each assessment and offers visual examples to help educators use the assessments as designed. The Teacher’s Edition categorizes assessments as formal or informal. Informal assessments involve self-reflection and peer evaluation. Formal assessments include chapter tests, diagnostic tests, unit tests, and cornerstone assessments.
2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
1 out of 1 points
Evaluation for 2.1c
Evaluation for 2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
1 out of 1 points
The Teacher’s Edition also offers guidance at the end of each unit, such as telling educators when to administer the unit test and readminister diagnostic tests. These directives help ensure that educators consistently administer assessments.
2.1d
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.
3 out of 3 points
Evaluation for 2.1d
Evaluation for 2.1d
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.
3 out of 3 points
The materials include chapter projects that serve as formative assessments. For example, the chapter 10 project of the Student Edition asks students to create a three- to five-minute improvised scene. The lesson plans also offer TEKS-aligned formative assessments including vocabulary checks, class discussions, and teacher-student check-ins.
The Teacher Resource also provides TEKS-aligned diagnostic assessments. The assessments include a selection of activities educators can use at their discretion as diagnostics and posttests. The lesson plans indicate course and TEKS alignment for each assessment.
2.1e
Instructional assessments include TEKS-aligned items at varying levels of complexity.
Instructional assessments include TEKS-aligned items at varying levels of complexity.
2 out of 2 points
Evaluation for 2.1e
Evaluation for 2.1e
Instructional assessments include TEKS-aligned items at varying levels of complexity.
2 out of 2 points
The Teacher Resource cornerstone assessment includes TEKS-aligned components at varying levels of complexity, from foundational levels of recall to creating and evaluating. The components align to the course TEKS and allow students to demonstrate their skills and knowledge.
2.2 Data Analysis and Progress Monitoring
2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.
Instructional assessments and scoring information provide guidance for interpreting student performance.
2 out of 2 points
Evaluation for 2.2a
Evaluation for 2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.
2 out of 2 points
The downloadable Progress Monitor spreadsheet in the Teacher’s Edition includes assessment rubric descriptors and additional scoring guidance. The rubric aligns with the four TEKS strands and includes ratings from Needs Much Improvement to Outstanding. Each rating descriptor provides clear guidance for interpreting student performance. The guidance recommends that educators hold conferences with students to review rubric scores and help students understand their performance.
2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
1 out of 1 points
Evaluation for 2.2b
Evaluation for 2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
1 out of 1 points
The downloadable Progress Monitor spreadsheet in the Teacher’s Edition guides educators’ response to student performance trends on assessments. It divides unit projects by strands and organizes them by difficulty to help educators determine how to use remediation and extension projects to respond to individual student performance and performance trends.
2.2c
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.
2 out of 2 points
Evaluation for 2.2c
Evaluation for 2.2c
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.
2 out of 2 points
Students can use the My Theatre Toolbox Log to evaluate their skills and habits throughout the course. The materials encourage students to reflect on and rate their progress. Students can customize the log’s checkpoints and add individual skills.
Rubric Section 3
Supports for All Learners
Materials support educators in reaching all learners through design focused on engagement, representation, and action/expression for learner variability.
Total
100% (21 out of 21 points)
Evaluation for 3.1a
The Teacher’s Edition chapter overviews offer differentiated instruction and activities for students who have not yet demonstrated proficiency in the course TEKS. This guidance appears in the “Project Specs” section. For example, the chapter 10 overview recommends supporting students with prompts and sentence starters as well as a printable worksheet.
The “Implementation Guide” in the Teacher Resource offers additional guidance for differentiated instruction. For example, it recommends using checklists, rehearsal calendars, visual signage, and reflection prompts. Additionally, the guide offers suggestions for scenarios and role-play, as well as ways to teach accountability. For example, unit 2 guidance includes support structures such as visual cues and diagrams, formative assessments such as quick checks and voice and diction rubrics, the EB Resource for emergent bilingual (EB) students, and the Differentiation Library, a downloadable resource that also provides guidance on instructional modifications for emergent bilingual students.
Evaluation for 3.1b
The downloadable Differentiation Library provides specific suggestions for EB students under the label “Supplemental EB Activities,” including activities targeted at listening, speaking, reading, and writing. For instance, suggestions for chapter 2 include having students listen for targeted theatre words and match the words to provided icons; having students verbalize their feelings with a partner using sentence stems; and having students match printed sentence strips to activity steps. Students also can create their own warm-up checklists.
Embedded guidance throughout the Teacher’s Edition helps educators reinforce vocabulary and references. Sidebars provide strategies to support EB students and offer a comprehensive vocabulary list at the beginning of each chapter. For example, in the chapter 10 sidebar, the “Differentiation: EB Support” section offers a Language of Theatre feature that reinforces student vocabulary and focuses on speaking and listening for comprehension. The chapter’s “Theatre Terms” section lists the chapter’s key vocabulary terms, such as conflict, motivation, and objectives, along with their definitions.
The Student Edition highlights vocabulary terms and phrases at the beginning of each chapter, and the terms are boldfaced and defined in the text. The vocabulary list for chapter 11 includes terms such as cue, fourth wall, and subtext, and the text defines each word in context as students navigate the chapter. The Language of Theatre feature for this chapter requires students to listen for unfamiliar terms with a partner and decode the terms’ meanings using prior language connections, story context, and scene cues.
Evaluation for 3.1c
The materials provide educator guidance on differentiating instruction for students who show TEKS proficiency. For example, the Teacher’s Edition chapter 10 overview includes a “Differentiation: Challenge” section that suggests ways to modify an activity to provide enrichment or extension for students who demonstrate proficiency.
The Teacher’s Edition ACTivity Challenge tasks offer additional differentiation guidance for students who have shown TEKS proficiency. For example, the chapter 18 ACTivity Challenge task is an activity for advanced students that serves as an extension to the main chapter activities.
Evaluation for 3.1d
The downloadable Differentiation Library provides specific guidance on instructional modifications for students receiving special education services. Under the label “Striving/SDI,” the main project in each unit includes four categories of needs and modifications to support them: access, expression, social/collaboration, and behavior/regulation. For example, in chapter 19, suggestions for “Striving/SDI” students struggling with expression include allowing students to build a basic set layout using paper cutouts and permitting students to give oral or video explanations of their design.
The Teacher’s Edition also guides educators to provide specially designed instruction (SDI) for students receiving special education supports and services. For example, in chapter 3, under the heading A Test Run, a feature called ACTivity Strategic Support tells educators to reinforce the text by having students recreate body positions of the person in the photo. This feature also provides specific prompts for educators to guide students through the instruction.
Evaluation for 3.2a
The Teacher’s Edition includes direct prompts and guidance for educators to model and explain the text’s concepts. For example, in chapter 8 of the Teacher’s Edition, a section titled “Show, Don’t Tell” provides direction on modeling inflection for the students, including direct prompts. Another section, “Try This,” provides a specific activity educators can use to explain the concept of breath control. The “Show, Don’t Tell” and “Try This” sections offer modeling tips and activities throughout the text.
Comprehensive unit overviews also offer educator guidance on modeling and explaining concepts. For example, in the Teacher Resource unit 1 overview, the “Additional Unit Activities” section provides directions such as “remind students” and “ask the class” preceding the explicit prompts. An “Additional Unit Activities” suggestion for unit 1 has educators hold a class discussion about the term critical research and ask questions to guide the conversation.
Evaluation for 3.2b
The materials incorporate educator guidance and recommendations in multiple ways. Both the Teacher’s Edition and the “Implementation Guide” in the Teacher Resource provide a general overview of the course’s instructional approach. Chapter overviews in both the Teacher’s Edition and the Teacher Resource provide additional guidance and recommendations on specific topics, assignments, and grouping structures for various activities and formats. The materials frequently pair student-facing concepts with specific educator directions, such as “Set up a light lab in your classroom,” for effective lesson delivery. The EB Guide and the Differentiation Library provide guidance for accommodating specific populations.
In the Teacher’s Edition wrap for chapter 18, the educator guidance supports the goals and flow of the Student Edition, starting with “Prepare” (narrative instruction) and moving toward a final collaborative project. Side channel activities vary from whole-class to small-group discussions, and visual-based discussions support the talk-show format. This wrap area includes suggestions for facilitating class discussions, with prompts such as “Ask students to think about what questions they might ask themselves.” The materials also feature a variety of instructional approaches, including project-based learning, direct instruction, and differentiated instruction.
Evaluation for 3.2c
The materials support varied types of practice and include recommended structures to support effective implementation. Chapter 18 of the Teacher’s Edition, for example, begins with narrative instruction and moves to a collaborative project. Side channel activities include whole-class and small-group discussions, visual-based discussions, and independent practice. Each chapter includes similar types of recommendations and practice.
Chapter 14 of the Teacher’s Edition also demonstrates how the materials incorporate multiple types of practice and guide recommended structures. The activity Why Is It Called a Play? includes group discussion, independent practice, and collaborative work. The materials offer guidance on implementing the activity, explaining which parts to do as a group, independently, or with a partner.
Evaluation for 3.3a
The EB Resource offers extensive educator guidance for EB students, including scaffolding, grouping, and activity and assessment accommodations. The section “More Ideas for Drama Instruction” offers specific linguistic accommodations for various levels of language proficiency, including think-pair-share activities, specific ways to use graphic organizers, and best practices for corrective feedback.
The Differentiation Library also offers educator guidance on accommodations across language proficiency levels. This resource provides specific activities aligned both with the ELPS domains and text chapters. The accommodations in later chapters engage students in using increasingly academic and discipline-specific language. The “Basic Drama Projects: Technical Theatre I Lesson Plans” document also includes linguistic accommodations by proficiency level. The linguistic accommodations for unit 1 outline how to modify an activity to support students of all language proficiency levels. For example, educators can include heavy visual support for students in pre-production and encourage intermediate students to complete an activity with simple sentences and moderate educator support.
Evaluation for 3.3b
The EB Resource offers information on how to implement materials in bilingual/ESL programs. The resource suggests integrating English language development into the academic content aligned with Texas state-approved programming. The section “Guiding English Acquisition in the Drama Classroom” introduces language objectives, offers grouping suggestions, and outlines specific implementation strategies throughout the course, including incorporating the ELPS across all four domains into the academic content.
The Teacher Resource “Implementation Guide” discusses how educators can use the course materials for bilingual/ESL programs. It highlights specific elements in each resource aimed at helping these students and includes a visual showing how the course units support ELPS progressions through specific components of the Language of Theatre feature.
Evaluation for 3.3c
The Teacher’s Edition offers embedded guidance for educators to support EB students through the Language of Theatre feature. In chapter 3, for example, the guidance suggests that students create a language notebook to track terms they learn throughout the course, helping EB students develop academic and discipline-specific vocabulary.
The “Language of Theatre” feature in chapter 17 of the Teacher’s Edition offers another example of embedded guidance. It encourages educators to help students identify root words in the chapter’s discipline-specific vocabulary, providing a cross-linguistic exercise in oral discourse. The Differentiation Library provides activities to support emergent bilingual (EB) students in making cross-linguistic connections through written discourse, specifically in the “Supplemental EB Activities” table in the rows labeled “Writing.” One example of a specific writing task for EB students is an activity in which the student writes a card with stage directions and then has another student follow those directions to test the student’s writing.
Evaluation for 3.3d
This guidance is not applicable because the program is not designed for dual language immersion (DLI) programs.
3.1 Differentiation and Scaffolds
3.1a
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.
1 out of 1 points
Evaluation for 3.1a
Evaluation for 3.1a
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.
1 out of 1 points
The “Implementation Guide” in the Teacher Resource offers additional guidance for differentiated instruction. For example, it recommends using checklists, rehearsal calendars, visual signage, and reflection prompts. Additionally, the guide offers suggestions for scenarios and role-play, as well as ways to teach accountability. For example, unit 2 guidance includes support structures such as visual cues and diagrams, formative assessments such as quick checks and voice and diction rubrics, the EB Resource for emergent bilingual (EB) students, and the Differentiation Library, a downloadable resource that also provides guidance on instructional modifications for emergent bilingual students.
3.1b
Materials include pre-teaching or embedded supports for unfamiliar vocabulary and references in text (e.g., figurative language, idioms, academic and discipline-specific language).
Materials include pre-teaching or embedded supports for unfamiliar vocabulary and references in text (e.g., figurative language, idioms, academic and discipline-specific language).
2 out of 2 points
Evaluation for 3.1b
Evaluation for 3.1b
Materials include pre-teaching or embedded supports for unfamiliar vocabulary and references in text (e.g., figurative language, idioms, academic and discipline-specific language).
2 out of 2 points
Embedded guidance throughout the Teacher’s Edition helps educators reinforce vocabulary and references. Sidebars provide strategies to support EB students and offer a comprehensive vocabulary list at the beginning of each chapter. For example, in the chapter 10 sidebar, the “Differentiation: EB Support” section offers a Language of Theatre feature that reinforces student vocabulary and focuses on speaking and listening for comprehension. The chapter’s “Theatre Terms” section lists the chapter’s key vocabulary terms, such as conflict, motivation, and objectives, along with their definitions.
The Student Edition highlights vocabulary terms and phrases at the beginning of each chapter, and the terms are boldfaced and defined in the text. The vocabulary list for chapter 11 includes terms such as cue, fourth wall, and subtext, and the text defines each word in context as students navigate the chapter. The Language of Theatre feature for this chapter requires students to listen for unfamiliar terms with a partner and decode the terms’ meanings using prior language connections, story context, and scene cues.
3.1c
Materials include teacher guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency in content and skills in the course TEKS.
Materials include teacher guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency in content and skills in the course TEKS.
1 out of 1 points
Evaluation for 3.1c
Evaluation for 3.1c
Materials include teacher guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency in content and skills in the course TEKS.
1 out of 1 points
The Teacher’s Edition ACTivity Challenge tasks offer additional differentiation guidance for students who have shown TEKS proficiency. For example, the chapter 18 ACTivity Challenge task is an activity for advanced students that serves as an extension to the main chapter activities.
3.1d
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.
1 out of 1 points
Evaluation for 3.1d
Evaluation for 3.1d
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.
1 out of 1 points
The Teacher’s Edition also guides educators to provide specially designed instruction (SDI) for students receiving special education supports and services. For example, in chapter 3, under the heading A Test Run, a feature called ACTivity Strategic Support tells educators to reinforce the text by having students recreate body positions of the person in the photo. This feature also provides specific prompts for educators to guide students through the instruction.
3.2 Instructional Methods
3.2a
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.
2 out of 2 points
Evaluation for 3.2a
Evaluation for 3.2a
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.
2 out of 2 points
Comprehensive unit overviews also offer educator guidance on modeling and explaining concepts. For example, in the Teacher Resource unit 1 overview, the “Additional Unit Activities” section provides directions such as “remind students” and “ask the class” preceding the explicit prompts. An “Additional Unit Activities” suggestion for unit 1 has educators hold a class discussion about the term critical research and ask questions to guide the conversation.
3.2b
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
1 out of 1 points
Evaluation for 3.2b
Evaluation for 3.2b
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
1 out of 1 points
In the Teacher’s Edition wrap for chapter 18, the educator guidance supports the goals and flow of the Student Edition, starting with “Prepare” (narrative instruction) and moving toward a final collaborative project. Side channel activities vary from whole-class to small-group discussions, and visual-based discussions support the talk-show format. This wrap area includes suggestions for facilitating class discussions, with prompts such as “Ask students to think about what questions they might ask themselves.” The materials also feature a variety of instructional approaches, including project-based learning, direct instruction, and differentiated instruction.
3.2c
Materials support multiple types of practice (e.g., guided, independent, collaborative) and include guidance for teachers and recommended structures (e.g., whole group, small group, individual) to support effective implementation.
Materials support multiple types of practice (e.g., guided, independent, collaborative) and include guidance for teachers and recommended structures (e.g., whole group, small group, individual) to support effective implementation.
2 out of 2 points
Evaluation for 3.2c
Evaluation for 3.2c
Materials support multiple types of practice (e.g., guided, independent, collaborative) and include guidance for teachers and recommended structures (e.g., whole group, small group, individual) to support effective implementation.
2 out of 2 points
Chapter 14 of the Teacher’s Edition also demonstrates how the materials incorporate multiple types of practice and guide recommended structures. The activity Why Is It Called a Play? includes group discussion, independent practice, and collaborative work. The materials offer guidance on implementing the activity, explaining which parts to do as a group, independently, or with a partner.
3.3 Support for Emergent Bilingual Students
3.3a
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.
2 out of 2 points
Evaluation for 3.3a
Evaluation for 3.3a
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.
2 out of 2 points
The Differentiation Library also offers educator guidance on accommodations across language proficiency levels. This resource provides specific activities aligned both with the ELPS domains and text chapters. The accommodations in later chapters engage students in using increasingly academic and discipline-specific language. The “Basic Drama Projects: Technical Theatre I Lesson Plans” document also includes linguistic accommodations by proficiency level. The linguistic accommodations for unit 1 outline how to modify an activity to support students of all language proficiency levels. For example, educators can include heavy visual support for students in pre-production and encourage intermediate students to complete an activity with simple sentences and moderate educator support.
3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
Evaluation for 3.3b
Evaluation for 3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
The Teacher Resource “Implementation Guide” discusses how educators can use the course materials for bilingual/ESL programs. It highlights specific elements in each resource aimed at helping these students and includes a visual showing how the course units support ELPS progressions through specific components of the Language of Theatre feature.
3.3c
Materials include embedded guidance for teachers to support emergent bilingual students in developing academic and discipline-specific vocabulary, increasing comprehension, building background knowledge, and making cross-linguistic connections through oral and written discourse.
Materials include embedded guidance for teachers to support emergent bilingual students in developing academic and discipline-specific vocabulary, increasing comprehension, building background knowledge, and making cross-linguistic connections through oral and written discourse.
8 out of 8 points
Evaluation for 3.3c
Evaluation for 3.3c
Materials include embedded guidance for teachers to support emergent bilingual students in developing academic and discipline-specific vocabulary, increasing comprehension, building background knowledge, and making cross-linguistic connections through oral and written discourse.
8 out of 8 points
The “Language of Theatre” feature in chapter 17 of the Teacher’s Edition offers another example of embedded guidance. It encourages educators to help students identify root words in the chapter’s discipline-specific vocabulary, providing a cross-linguistic exercise in oral discourse. The Differentiation Library provides activities to support emergent bilingual (EB) students in making cross-linguistic connections through written discourse, specifically in the “Supplemental EB Activities” table in the rows labeled “Writing.” One example of a specific writing task for EB students is an activity in which the student writes a card with stage directions and then has another student follow those directions to test the student’s writing.
3.3d
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
Not applicable.
Evaluation for 3.3d
Evaluation for 3.3d
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
Not applicable.
Rubric Section 4
Artistic Literacy and Creative Expression
Materials are designed to develop and refine discipline-specific artistic knowledge and skills while providing opportunities for students to perform, exhibit, or present artistic works.
Total
86% (12 out of 14 points)
Evaluation for 4.1a
The recurring Language of Theatre feature in both the Student Edition and the Teacher’s Edition focuses on vocabulary and artistic literacy. The Teacher’s Edition side channel for this feature includes educator guidance on gauging prior knowledge of terminology, engaging students in listening and responding, and classroom discussions related to discipline-specific artistic literacy. In chapter 7, this feature focuses on stage directions and provides direct instruction in discipline-specific artistic literacy, offering background on stage pictures and movement aligned with the course TEKS.
Within the Teacher’s Edition, ACTivity tasks include guidance for educators on engaging students in various activities. These tasks, including improvisation in chapter 5, blocking and stage business in chapter 7, and practicing character movement in chapter 9, guide educators in teaching discipline-specific artistic skills.
Evaluation for 4.1b
The Technical Theatre I course materials mainly appear in unit 5, chapters 19–25, of the Student Edition and the Teacher’s Edition. Most concepts are self-contained, with each chapter focusing on a different genre within technical theatre. For example, in chapter 21, the text introduces the role of the lighting crew during the production process. The Teacher’s Edition wraparound prompts educators to remind students of the purpose of the technical rehearsal during the rehearsal process. Earlier in the same chapter, students learn about lighting plots, and the wraparound tells educators to reference prior learning about kinds and positioning of lighting instruments to reinforce new concepts.
The “Additional Projects” pages in the Student Edition often remind students to refer to previous content when completing an assignment. For example, at the end of chapter 21, “Additional Project #3” instructs students to refer to specific pages for color information. Another example is the “Additional Projects” section in chapter 26, where the text instructs students to “refer to page 353 for ideas” on innovations and contributions of the United States to theatre.
The materials explicitly connect new artistic literacy concepts to those introduced early in the course. In the lesson plans, the “Build On” and “Artistic Literacy” sections clearly describe those connections, including references to specific vocabulary concepts introduced earlier. For example, the lesson for chapter 15 refers back to the production team’s vocabulary while outlining how students move from identification to more complex tasks of analysis.
Evaluation for 4.1c
The materials consistently give students opportunities to develop and use artistic literacy vocabulary. In addition to the glossary in both the Student Edition and the Teacher’s Edition, the materials include a theatre terminology handout in the Teacher Information Pack, and each chapter lists relevant discipline-specific vocabulary and definitions. In addition, chapters include games, activities, and tasks that require students to use vocabulary terms in various ways. For example, chapter 22 introduces the concepts of acoustics. Students go into different spaces to record sound samples, and then they present their recordings and describe the recording spaces’ acoustics, allowing them to use their new artistic literacy vocabulary. Similarly, in chapter 23, students learn costuming vocabulary. The Teacher’s Edition wraparound tells educators how to lead a discussion that will prompt students to use their new vocabulary.
The “Additional Projects” pages in each chapter include activities and tasks that consistently require students to use artistic literacy vocabulary. For example, in “Additional Project #2” in chapter 20, students must create a presentation on items in a scene shop, including hand tools, power tools, measuring tools, joinery tools, and materials. Assignments like this provide opportunities for students to use discipline-specific artistic literacy vocabulary.
Evaluation for 4.1d
The Teacher Resource includes a series of chapter tests that require students to demonstrate understanding of artistic literacy. The materials align some of these tests to the course TEKS for Technical Theatre I. The chapter 21 test, for example, includes basic concepts in theatrical lighting, such as dimmers, followspots, and gels. The test also asks students to identify the basic functions of light, which aligns with core concepts of artistic literacy in theatrical lighting.
The “Prepare and Present” sections of the Student Edition and the Teacher’s Edition include activities and tasks that require students to demonstrate an understanding of discipline-specific artistic literacy aligned with the course TEKS for Technical Theatre I. For example, the chapter 25 task requires students to create a prop plot, which requires an understanding of discipline-specific artistic literacy related to creating and acquiring theatrical props.
In the Student Edition and the Teacher’s Edition, many suggested projects on the “Additional Projects” pages require students to demonstrate understanding of discipline-specific artistic literacy. For example, in chapter 21, “Additional Project #4” requires students to research and report on electricity and includes several terms that align with the discipline-specific artistic literacy for this course.
Evaluation for 4.2a
The Teacher’s Edition ACTivity tasks guide educators to provide TEKS-aligned instruction as students develop new artistic skills. For example, the ACTivity task for chapter 19 includes information on explaining the importance of color in set design. The guidance includes asking whether students have a favorite color and following up with “What emotions does this color call forth?” Other discipline-specific examples include guidance on drawing to scale (chapter 20), identifying lighting instruments (chapter 21), and assembling costumes (chapter 23).
In the Teacher’s Edition, the “Prepare” section of chapter projects guides educators to develop students’ artistic skills. For a project in chapter 19 that requires students to create a set design, the Teacher’s Edition wraparound suggests conversation topics, leading questions, and activities to help students develop task-related skills. The text suggests asking questions such as “What is the purpose of scenery?” and “What is the job of the set designer?”
Evaluation for 4.2b
In the Teacher’s Edition side channel, several sections guide educators to review skills introduced in previous chapters. For example, the chapter 9 side channel instructs educators to review the rules and guidelines of improvisation, and chapter 10 suggests that educators “review the skills of listening, observing, and concentrating” from chapter 3. In chapter 14, students act as playwrights and practice revealing information while advancing the plot and revealing character motivation through exposition. The text connects those concepts to the previously introduced concepts of exposition, character objectives, and obstacles, building connections for both students and educators.
Unit 8 in the Student Edition and the Teacher’s Edition provides scenes and monologues for performance and connects new discipline-specific artistic skills to prior learning across lessons and units. Sections on both rehearsal and performance skills emphasize the importance of reviewing and incorporating previous learning. The text cites specific pages to revisit for information on safe and effective physical, vocal, and emotional safety while performing.
A section called “Builds On” outlines how each chapter’s tasks build on those in the previous chapter. For example, the lesson plan for chapter 15 “builds on Chapter 14’s script analysis, moving from identifying a script’s technical requirements to understanding the two roles . . . who unify a production’s full team.”
Evaluation for 4.2c
The “Present” sections in the Student Edition offer opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, or presenting artistic works. For example, the “Present” section in chapter 16 has students present a rehearsal schedule, and other chapters have students present set designs, lighting plans, and costume designs. These assignments are both developmentally appropriate and aligned to the course TEKS.
The ACTivity tasks in the Teacher’s Edition wraparound help students develop artistic skills. For example, an ACTivity task in chapter 19 has students analyze photographs or video clips with sets, considering the creativity evident in the design. The students then present their thoughts to the class. In chapter 23, students must select fabrics for a specific character and then present their selections in a discussion format. The activity focuses on developing skills in costuming and storytelling.
The “Additional Projects” pages at the end of each chapter offer opportunities for students to develop discipline-specific artistic skills by performing, exhibiting, or presenting artistic works. For example, “Additional Project #2” in chapter 19 asks students to either present or role-play how directors and designers communicate. Chapter 24 includes presentations on makeup techniques. These activities help students build skills through developmentally appropriate presentations aligned with the course TEKS.
Evaluation for 4.2d
The materials provide opportunities for students to refine artistic skills through activities and tasks. Most chapters conclude with an Evaluate & Apply feature that requires students to present, critique peers, and process feedback to refine their artistic skills. These evaluations vary in complexity and rigor but do not increase progressively throughout the course. In unit 5, which focuses on technical theatre concepts, the chapter 19 Evaluate & Apply feature is much more complex and rigorous than those in the later chapters. Chapter 19 asks students to repeat the evaluation process they completed for a peer’s design on their own design. Then they must explain how they applied the design elements of theatre as an art form and evaluate themselves as creative beings. The same feature in the next chapter asks students to “explore how the processes used in technical theatre might be applied in the workforce.” These two sequential examples show the course’s lack of progression in rigor.
The “Additional Projects” pages at the end of each chapter also help students refine their skills through activities and tasks. The “Additional Projects” pages in chapters 19 and 23 include activities with opportunities for skill refinement. The projects in chapter 19 are as rigorous and complex as those in chapter 23. The “Additional Project #3” in chapter 19 asks students to design a backdrop for a musical. “Additional Project #6” in chapter 23 has students design a period costume. The assignments are very similar in rigor and complexity. Therefore, although the text provides opportunities for students to refine discipline-specific artistic skills through activities and tasks at varying levels of complexity and rigor, these opportunities do not increase progressively across lessons and units within the course.
Evaluation for 4.2e
Each chapter includes a project to demonstrate students’ mastery of artistic skills that chapter covers. For many of these projects, students demonstrate mastery through performing, exhibiting, or presenting artistic works. In chapter 19, for example, students design a set for a scene or play and then present their overall design to their peers. The differentiation options in the Teacher’s Edition wraparound help educators ensure that the task is developmentally appropriate and aligned with the TEKS.
The Teacher Resource includes a cornerstone assessment for each course. The Technical Theatre I project has students create a technical design and present their work. This assignment requires students to demonstrate mastery of an artistic skill in performance at a developmentally appropriate level, and it aligns with the course TEKS.
Evaluation for 4.3a
The materials provide opportunities for students to explore a variety of discipline-specific art forms, as evidenced in the table of contents for units 5, 6, and 7 in the Student Edition. These pages list a variety of discipline-specific art forms focused on or applicable to technical theatre. The text spotlights playwrights from diverse backgrounds and various genres of technical work and allows students to engage with non-musical plays, musicals, television, film, and electronic media.
The Student Edition features “Then and Now” sections that “focus on theatre history and make connections to current times.” In unit 5, these sections invite students to explore a variety of discipline-specific art forms relevant to technical theatre, addressing traditional and contemporary technical theatre art forms as well as a variety of drama genres and styles.
Unit 7 comprises a three-part series in which students explore theatre history, including a variety of genres and styles. This study covers theatre from early times to the modern era, allowing students to explore theatre over time. From the “two books of the Bible that read as dramatic literature” to the Greek tragedies and the Peking opera of China, the unit offers multiple opportunities for students to explore a range of theatrical art forms.
Evaluation for 4.3b
The Teacher’s Guide ACTivity tasks offer multiple opportunities for students to create, adapt, or extend artistic works for performance or presentation, all of which are appropriate for technical theatre. Several of these ACTivity tasks require students to create designs using a script and present them to their peers. For the chapter 19 ACTivity task, students must create a set design; for chapter 21, a lighting design; and for chapter 23, a costume design. For chapter 22, students must “re-score a short scene from an existing film” with music and share it with the class.
“Additional Projects” pages in the Student Edition offer students opportunities to create, adapt, or extend artistic works relevant to technical theatre. For example, in chapter 19, “Additional Project #3” and “Additional Project #5” invite students to create and present set designs based on existing works. In chapter 23, “Additional Project #7” involves reading a scene from Cyrano de Bergerac, by Edmond Rostand, or Baucis and Philemon, by Mary Zimmerman. These examples are in line with appropriate fair use and copyright since they are part of classroom study.
Evaluation for 4.3c
The Student Edition promotes student agency by enabling students to make and select their own artistic works for study and performance. However, the materials do not include guidance for educators on promoting student agency. For example, the chapter project for chapter 21 involves creating a lighting design. In the Teacher’s Edition, the side channel directs educators to help students “select the scene for design or suggest the same scene they used for the set design.” The text does not give educators additional guidance on promoting student agency as students select works to use for the project. For a Chapter 19 project, students must create a set design. The Teacher’s Edition tells educators, “Select a play for each student or groups of students or approve the play selected by the students.” The materials do not suggest promoting student agency in that decision.
The “Unit Implementation Guide” in the Teacher Resource includes a “Sequence of Learning” section for each unit. Unit 8 includes “guided matching of texts to student strengths/goals,” but the material does not tell educators how to fulfill that directive. The unit gives students agency by encouraging them to select their own performance material, but it does not guide educators to promote that agency.
The course lesson plans include sections that address student agency. However, these sections do not include making or selecting artistic works and instead focus on choices relating to skills and habits. For example, the “Student Agency” section in unit 1 instructs students to choose backstage or shop hazards to include in their notes.
4.1 Artistic Literacy
4.1a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.1a
Evaluation for 4.1a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Within the Teacher’s Edition, ACTivity tasks include guidance for educators on engaging students in various activities. These tasks, including improvisation in chapter 5, blocking and stage business in chapter 7, and practicing character movement in chapter 9, guide educators in teaching discipline-specific artistic skills.
4.1b
Materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses as applicable.
Materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses as applicable.
1 out of 1 points
Evaluation for 4.1b
Evaluation for 4.1b
Materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses as applicable.
1 out of 1 points
The “Additional Projects” pages in the Student Edition often remind students to refer to previous content when completing an assignment. For example, at the end of chapter 21, “Additional Project #3” instructs students to refer to specific pages for color information. Another example is the “Additional Projects” section in chapter 26, where the text instructs students to “refer to page 353 for ideas” on innovations and contributions of the United States to theatre.
The materials explicitly connect new artistic literacy concepts to those introduced early in the course. In the lesson plans, the “Build On” and “Artistic Literacy” sections clearly describe those connections, including references to specific vocabulary concepts introduced earlier. For example, the lesson for chapter 15 refers back to the production team’s vocabulary while outlining how students move from identification to more complex tasks of analysis.
4.1c
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.
2 out of 2 points
Evaluation for 4.1c
Evaluation for 4.1c
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.
2 out of 2 points
The “Additional Projects” pages in each chapter include activities and tasks that consistently require students to use artistic literacy vocabulary. For example, in “Additional Project #2” in chapter 20, students must create a presentation on items in a scene shop, including hand tools, power tools, measuring tools, joinery tools, and materials. Assignments like this provide opportunities for students to use discipline-specific artistic literacy vocabulary.
4.1d
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.1d
Evaluation for 4.1d
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
The “Prepare and Present” sections of the Student Edition and the Teacher’s Edition include activities and tasks that require students to demonstrate an understanding of discipline-specific artistic literacy aligned with the course TEKS for Technical Theatre I. For example, the chapter 25 task requires students to create a prop plot, which requires an understanding of discipline-specific artistic literacy related to creating and acquiring theatrical props.
In the Student Edition and the Teacher’s Edition, many suggested projects on the “Additional Projects” pages require students to demonstrate understanding of discipline-specific artistic literacy. For example, in chapter 21, “Additional Project #4” requires students to research and report on electricity and includes several terms that align with the discipline-specific artistic literacy for this course.
4.2 Artistic Skill
4.2a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic skills at developmentally appropriate levels and in alignment with the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic skills at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.2a
Evaluation for 4.2a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic skills at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
In the Teacher’s Edition, the “Prepare” section of chapter projects guides educators to develop students’ artistic skills. For a project in chapter 19 that requires students to create a set design, the Teacher’s Edition wraparound suggests conversation topics, leading questions, and activities to help students develop task-related skills. The text suggests asking questions such as “What is the purpose of scenery?” and “What is the job of the set designer?”
4.2b
Materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course and across courses as applicable.
Materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course and across courses as applicable.
1 out of 1 points
Evaluation for 4.2b
Evaluation for 4.2b
Materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course and across courses as applicable.
1 out of 1 points
Unit 8 in the Student Edition and the Teacher’s Edition provides scenes and monologues for performance and connects new discipline-specific artistic skills to prior learning across lessons and units. Sections on both rehearsal and performance skills emphasize the importance of reviewing and incorporating previous learning. The text cites specific pages to revisit for information on safe and effective physical, vocal, and emotional safety while performing.
A section called “Builds On” outlines how each chapter’s tasks build on those in the previous chapter. For example, the lesson plan for chapter 15 “builds on Chapter 14’s script analysis, moving from identifying a script’s technical requirements to understanding the two roles . . . who unify a production’s full team.”
4.2c
Materials provide opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
Materials provide opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.2c
Evaluation for 4.2c
Materials provide opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
The ACTivity tasks in the Teacher’s Edition wraparound help students develop artistic skills. For example, an ACTivity task in chapter 19 has students analyze photographs or video clips with sets, considering the creativity evident in the design. The students then present their thoughts to the class. In chapter 23, students must select fabrics for a specific character and then present their selections in a discussion format. The activity focuses on developing skills in costuming and storytelling.
The “Additional Projects” pages at the end of each chapter offer opportunities for students to develop discipline-specific artistic skills by performing, exhibiting, or presenting artistic works. For example, “Additional Project #2” in chapter 19 asks students to either present or role-play how directors and designers communicate. Chapter 24 includes presentations on makeup techniques. These activities help students build skills through developmentally appropriate presentations aligned with the course TEKS.
4.2d
Materials provide opportunities for students to refine discipline-specific artistic skills through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
Materials provide opportunities for students to refine discipline-specific artistic skills through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
1 out of 2 points
Evaluation for 4.2d
Evaluation for 4.2d
Materials provide opportunities for students to refine discipline-specific artistic skills through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
1 out of 2 points
The “Additional Projects” pages at the end of each chapter also help students refine their skills through activities and tasks. The “Additional Projects” pages in chapters 19 and 23 include activities with opportunities for skill refinement. The projects in chapter 19 are as rigorous and complex as those in chapter 23. The “Additional Project #3” in chapter 19 asks students to design a backdrop for a musical. “Additional Project #6” in chapter 23 has students design a period costume. The assignments are very similar in rigor and complexity. Therefore, although the text provides opportunities for students to refine discipline-specific artistic skills through activities and tasks at varying levels of complexity and rigor, these opportunities do not increase progressively across lessons and units within the course.
4.2e
Materials include activities and tasks that require students to demonstrate mastery of discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
Materials include activities and tasks that require students to demonstrate mastery of discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.2e
Evaluation for 4.2e
Materials include activities and tasks that require students to demonstrate mastery of discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
The Teacher Resource includes a cornerstone assessment for each course. The Technical Theatre I project has students create a technical design and present their work. This assignment requires students to demonstrate mastery of an artistic skill in performance at a developmentally appropriate level, and it aligns with the course TEKS.
4.3 Creative Expression
4.3a
Materials provide opportunities for students to explore a variety of discipline-specific art forms (e.g., variety of media, variety of performance genres and styles).
Materials provide opportunities for students to explore a variety of discipline-specific art forms (e.g., variety of media, variety of performance genres and styles).
1 out of 1 points
Evaluation for 4.3a
Evaluation for 4.3a
Materials provide opportunities for students to explore a variety of discipline-specific art forms (e.g., variety of media, variety of performance genres and styles).
1 out of 1 points
The Student Edition features “Then and Now” sections that “focus on theatre history and make connections to current times.” In unit 5, these sections invite students to explore a variety of discipline-specific art forms relevant to technical theatre, addressing traditional and contemporary technical theatre art forms as well as a variety of drama genres and styles.
Unit 7 comprises a three-part series in which students explore theatre history, including a variety of genres and styles. This study covers theatre from early times to the modern era, allowing students to explore theatre over time. From the “two books of the Bible that read as dramatic literature” to the Greek tragedies and the Peking opera of China, the unit offers multiple opportunities for students to explore a range of theatrical art forms.
4.3b
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).
1 out of 1 points
Evaluation for 4.3b
Evaluation for 4.3b
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).
1 out of 1 points
“Additional Projects” pages in the Student Edition offer students opportunities to create, adapt, or extend artistic works relevant to technical theatre. For example, in chapter 19, “Additional Project #3” and “Additional Project #5” invite students to create and present set designs based on existing works. In chapter 23, “Additional Project #7” involves reading a scene from Cyrano de Bergerac, by Edmond Rostand, or Baucis and Philemon, by Mary Zimmerman. These examples are in line with appropriate fair use and copyright since they are part of classroom study.
4.3c
Materials include guidance for teachers on promoting student agency in making or selecting discipline-specific artistic works for study, performance, exhibition, or presentation.
Materials include guidance for teachers on promoting student agency in making or selecting discipline-specific artistic works for study, performance, exhibition, or presentation.
0 out of 1 points
Evaluation for 4.3c
Evaluation for 4.3c
Materials include guidance for teachers on promoting student agency in making or selecting discipline-specific artistic works for study, performance, exhibition, or presentation.
0 out of 1 points
The “Unit Implementation Guide” in the Teacher Resource includes a “Sequence of Learning” section for each unit. Unit 8 includes “guided matching of texts to student strengths/goals,” but the material does not tell educators how to fulfill that directive. The unit gives students agency by encouraging them to select their own performance material, but it does not guide educators to promote that agency.
The course lesson plans include sections that address student agency. However, these sections do not include making or selecting artistic works and instead focus on choices relating to skills and habits. For example, the “Student Agency” section in unit 1 instructs students to choose backstage or shop hazards to include in their notes.
Rubric Section 5
Critical Evaluation and Response
Materials provide opportunities for students to interpret, evaluate, and respond to discipline-specific artistic works of self and others.
Total
100% (11 out of 11 points)
Evaluation for 5.1a
The materials guide students to interpret, evaluate, and respond to artists’ works. Chapter 18 of the Student Edition includes a section called “Goethe’s Principles of Criticism” to help students critique artists’ work. The side channel of the Teacher’s Edition offers corresponding guidance for instructors, helping them unpack the rules of criticism as students prepare to write a play review.
Chapter 19 in the Teacher’s Edition offers similar guidance. In a section called “Communicating with Design,” the side channel helps educators teach students to evaluate and respond to technical drawings for set design. The section suggests that educators share various set-design drawings, both computer-drafted and hand-drafted, for student feedback. The guidance includes specific recommendations such as “Encourage them to consider . . . ” and “Invite students to share.” The materials provide discussion topics to guide student responses to set designers’ artistic work. Educators can adapt their choice of set-design drawings and discussion topics to meet the course TEKS.
Evaluation for 5.1b
Through tasks and assignments, particularly the “Additional Projects” pages, the Student Edition encourages students to use specific vocabulary as they interpret, evaluate, and respond to artistic works. For example, chapter 30 asks students to use words such as intent, structure, effectiveness, and worth to evaluate a YouTube video. “Additional Project #2” asks students to write a film review using “the vocabulary of criticism” introduced in a previous chapter.
Chapter 18 in the Student Edition also prompts students to use discipline-specific vocabulary to evaluate and respond to artistic works. For the chapter project, students must write a two-page paper evaluating a local theatre performance. The assignment includes post-viewing questions that reinforce discipline-specific vocabulary, and students must “use correct terminology” in their final paper.
Evaluation for 5.1c
The Student Edition provides multiple opportunities for students to practice interpreting, evaluating, and responding to other artists’ works through tasks and activities. For the chapter 15 project, students must “analyze and evaluate a play the way a director would.” The text provides multistep directions to guide students through the evaluation process. In chapter 18, students analyze and evaluate a local play from the perspective of an audience member.
The “Additional Projects” pages in the Student Edition offer students opportunities to interpret, evaluate, and respond to artistic works. For example, “Additional Project #4” in chapter 18 has students review a play they attend at school or in the community and “apply the concepts of evaluation,” including citing evidence. “Additional Project #2” in chapter 28 prompts students to write a film review in which they must “provide precise and specific observations.” The Technical Theatre I lesson plans increase in rigor and complexity over lessons and units. Early units focus on having students interpret and respond to artistic works, and in later units they must explain and defend their ideas.
Evaluation for 5.2a
The “Critique” and “Evaluate & Apply” sections of the Teacher’s Edition guide educators on teaching students to give and receive feedback. Many student projects focus on creating artistic works and give students opportunities to give and receive feedback. For example, in chapter 19, students evaluate a set design created by a peer and also evaluate their own work. The “Evaluate & Apply” section of the Teacher’s Edition tells educators to “help students understand the value of self-assessment.” It offers guidance on how to help students objectively evaluate their work and process peer feedback. Educators can find similar guidance in chapter 21. Here, students evaluate their peers’ lighting designs, using the same rubric educators use. In the Teacher’s Edition, the side channel suggests that educators “discuss the evaluation rubric” and the rating system before students begin evaluating their peers. The rubric asks students to “write a few sentences” explaining why they assigned that rating.
The Teacher’s Edition side channels also guide educators to help students give and receive feedback in other activities. In the chapter 14 ACTivity task, students must evaluate and respond to their peers’ playwriting work. Educators prompt students to engage in active listening, provide constructive feedback, and collaborate effectively as they provide feedback to their partner. The Teacher’s Guide also suggests telling students to “respond to the work they read, not the work they would like to have written themselves.” The “Spotlight on Peer Evaluation” in chapter 3 provides this guidance: “To be effective, peer evaluation requires each student to put themselves in the place of the performer.” Further guidance recommends teaching students to sandwich their suggestions for improvement between two positives and use “I statements.”
Evaluation for 5.2b
The Teacher Resource includes Critique Sheets to help students give peer feedback. These worksheets correspond to chapter projects in the Student Edition and the Teacher’s Edition. For example, the chapter 19 Critique Sheet provides a clear rubric for students to respond to a peer’s set design. Students evaluate individual components, provide an overall score, and write an explanation for their score that details what works and what to improve. In chapter 2 of the Student Edition and the Teacher’s Edition, students review a peer’s theatre warm-up routine. The Teacher’s Edition side channel notes, “After you have reviewed students’ critiques, trim off the evaluator’s name and hand out the sheets to the subjects of the evaluation.” This gives students opportunities to both provide and receive feedback on their artistic work.
The Student Edition includes questions and instructions to help students give feedback on their peers’ artistic work. In chapter 21, students present a lighting plan and critique a peer’s plan. They evaluate their classmate’s work using a defined scale and ask themselves specific questions, such as “Did the speaker display a good understanding of lighting?” and “How well did the speaker answer questions?” Students then write a few sentences and suggestions for “alternative creative choices.” Each chapter includes similar critique instructions aligned with chapter projects, giving students multiple opportunities to give feedback on their peers’ artistic work.
Evaluation for 5.2c
The materials provide rubrics and peer critique, with educator support throughout, offering opportunities for students to receive feedback on their artistic work from both educators and peers. In chapter 1 of the Teacher’s Edition, the side channel explains the critique process for the chapter projects. It indicates that students will be assessed both by educators and their peers using the Teacher Resource feature titled Critique Sheet: The Theatre and You, which includes both an evaluation rubric and a directive for those critiquing to provide an explanation for the score. This establishes a protocol for the chapter projects and ensures that students receive feedback on their artistic works from both educators and peers.
Additionally, the Student Edition provides questions and instructions for students to use when they give feedback. For example, after students present their “Director’s Vision” in chapter 15, the “Process Feedback” section provides prompts related to peer feedback. In chapter 17, students consider a critique of the stage movement they create, and in chapter 19, they receive a critique of their set design presentations.
The Teacher Resource includes a section called “Guidance for Interpreting Student Performance,” which outlines the rubrics and includes a downloadable Progress Monitor spreadsheet. This guidance advises educators to hold individual student conferences that include “reviewing rubric scores with comments to help students understand their strengths and next steps.” This is how students can expect to receive educator feedback throughout the course. In addition, the “Unit Implementation Guide” in the Teacher Resource explains that students will later apply performance and technical skills with educator feedback during Supported Rehearsals.
Evaluation for 5.2d
The “Unit Implementation Guide” in the Teacher’s Resource breaks down instruction by unit and includes examples of how to give students feedback. The “Structuring Lesson/Chapter Internalization” section states that the professional learning community should focus on “norming performance feedback,” with specific suggestions for differentiating for introverts and extroverts as well as “capturing evidence of growth over time.” Later, the “Key Look-Fors in Implementation” section outlines what feedback should look like in the classroom, specifically calling for “robust, constructive feedback” and referencing “clearly articulated criteria.” Feedback throughout the “Unit Implementation Guide” focuses on post-assessment critiques rather than on refining students’ artistic work.
In various chapters of the Teacher’s Edition, the side channels include guidance on providing student feedback. For example, in chapter 25, one side channel suggests, “When students have completed their prop lists and written synopses, go over their work with them” and “be sure that students can answer the important questions.”
Evaluation for 5.2e
Within the Student Edition, most chapters end with students processing feedback or engaging in self-assessment following a peer critique of their work. In chapter 23, the “Evaluate & Apply” section asks students to identify their strengths and weaknesses on the chapter project using both their self-assessment and peer feedback. They then brainstorm strategies to address their weaknesses and apply them in the future. This assignment offers both self-reflection and self-evaluation opportunities for students to refine their artistic works.
The Student Edition includes multiple references to collecting materials and assembling a portfolio for both acting and technical work. In the Student Edition, part 9 of the Student Handbook for Performance and Production outlines how students can build an online portfolio to showcase their talent. Chapter 23 notes that students’ costume sketches are ideal for their technical portfolio. Selecting portfolio pieces and performances gives students another opportunity for self-reflection.
The assessments in the Teacher Resource provide additional opportunities for students to engage in self-reflection and self-evaluation. For example, the cornerstone assessment for Technical Theatre I includes a prompt that asks students to “Listen to feedback, take notes, and revise your design or explanation to address suggestions,” a clear example of self-reflection.
5.1 Evaluating and Responding to Artistic Works
5.1a
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.
1 out of 1 points
Evaluation for 5.1a
Evaluation for 5.1a
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.
1 out of 1 points
Chapter 19 in the Teacher’s Edition offers similar guidance. In a section called “Communicating with Design,” the side channel helps educators teach students to evaluate and respond to technical drawings for set design. The section suggests that educators share various set-design drawings, both computer-drafted and hand-drafted, for student feedback. The guidance includes specific recommendations such as “Encourage them to consider . . . ” and “Invite students to share.” The materials provide discussion topics to guide student responses to set designers’ artistic work. Educators can adapt their choice of set-design drawings and discussion topics to meet the course TEKS.
5.1b
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.
1 out of 1 points
Evaluation for 5.1b
Evaluation for 5.1b
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.
1 out of 1 points
Chapter 18 in the Student Edition also prompts students to use discipline-specific vocabulary to evaluate and respond to artistic works. For the chapter project, students must write a two-page paper evaluating a local theatre performance. The assignment includes post-viewing questions that reinforce discipline-specific vocabulary, and students must “use correct terminology” in their final paper.
5.1c
Materials provide opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
Materials provide opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
2 out of 2 points
Evaluation for 5.1c
Evaluation for 5.1c
Materials provide opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
2 out of 2 points
The “Additional Projects” pages in the Student Edition offer students opportunities to interpret, evaluate, and respond to artistic works. For example, “Additional Project #4” in chapter 18 has students review a play they attend at school or in the community and “apply the concepts of evaluation,” including citing evidence. “Additional Project #2” in chapter 28 prompts students to write a film review in which they must “provide precise and specific observations.” The Technical Theatre I lesson plans increase in rigor and complexity over lessons and units. Early units focus on having students interpret and respond to artistic works, and in later units they must explain and defend their ideas.
5.2 Giving and Receiving Feedback on Artistic Works
5.2a
Materials include guidance for teachers to provide explicit (direct) instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.
Materials include guidance for teachers to provide explicit (direct) instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.
2 out of 2 points
Evaluation for 5.2a
Evaluation for 5.2a
Materials include guidance for teachers to provide explicit (direct) instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.
2 out of 2 points
The Teacher’s Edition side channels also guide educators to help students give and receive feedback in other activities. In the chapter 14 ACTivity task, students must evaluate and respond to their peers’ playwriting work. Educators prompt students to engage in active listening, provide constructive feedback, and collaborate effectively as they provide feedback to their partner. The Teacher’s Guide also suggests telling students to “respond to the work they read, not the work they would like to have written themselves.” The “Spotlight on Peer Evaluation” in chapter 3 provides this guidance: “To be effective, peer evaluation requires each student to put themselves in the place of the performer.” Further guidance recommends teaching students to sandwich their suggestions for improvement between two positives and use “I statements.”
5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
1 out of 1 points
Evaluation for 5.2b
Evaluation for 5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
1 out of 1 points
The Student Edition includes questions and instructions to help students give feedback on their peers’ artistic work. In chapter 21, students present a lighting plan and critique a peer’s plan. They evaluate their classmate’s work using a defined scale and ask themselves specific questions, such as “Did the speaker display a good understanding of lighting?” and “How well did the speaker answer questions?” Students then write a few sentences and suggestions for “alternative creative choices.” Each chapter includes similar critique instructions aligned with chapter projects, giving students multiple opportunities to give feedback on their peers’ artistic work.
5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
2 out of 2 points
Evaluation for 5.2c
Evaluation for 5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
2 out of 2 points
Additionally, the Student Edition provides questions and instructions for students to use when they give feedback. For example, after students present their “Director’s Vision” in chapter 15, the “Process Feedback” section provides prompts related to peer feedback. In chapter 17, students consider a critique of the stage movement they create, and in chapter 19, they receive a critique of their set design presentations.
The Teacher Resource includes a section called “Guidance for Interpreting Student Performance,” which outlines the rubrics and includes a downloadable Progress Monitor spreadsheet. This guidance advises educators to hold individual student conferences that include “reviewing rubric scores with comments to help students understand their strengths and next steps.” This is how students can expect to receive educator feedback throughout the course. In addition, the “Unit Implementation Guide” in the Teacher Resource explains that students will later apply performance and technical skills with educator feedback during Supported Rehearsals.
5.2d
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.
1 out of 1 points
Evaluation for 5.2d
Evaluation for 5.2d
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.
1 out of 1 points
In various chapters of the Teacher’s Edition, the side channels include guidance on providing student feedback. For example, in chapter 25, one side channel suggests, “When students have completed their prop lists and written synopses, go over their work with them” and “be sure that students can answer the important questions.”
5.2e
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
1 out of 1 points
Evaluation for 5.2e
Evaluation for 5.2e
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
1 out of 1 points
The Student Edition includes multiple references to collecting materials and assembling a portfolio for both acting and technical work. In the Student Edition, part 9 of the Student Handbook for Performance and Production outlines how students can build an online portfolio to showcase their talent. Chapter 23 notes that students’ costume sketches are ideal for their technical portfolio. Selecting portfolio pieces and performances gives students another opportunity for self-reflection.
The assessments in the Teacher Resource provide additional opportunities for students to engage in self-reflection and self-evaluation. For example, the cornerstone assessment for Technical Theatre I includes a prompt that asks students to “Listen to feedback, take notes, and revise your design or explanation to address suggestions,” a clear example of self-reflection.
Rubric Section 6
Connections and Context
Materials are designed to deepen understanding of the discipline by examining the arts through cross-curricular connections and historical and cultural context.
Total
100% (5 out of 5 points)
Evaluation for 6.1a
In chapter 26 of the Teacher’s Edition, the “Here’s How” section discusses choosing a school musical. It covers evaluating budget limits and predicting income from ticket sales and fundraising and includes specific guidance for educators to illustrate general mathematical concepts applicable to budgeting. In the same chapter, a section titled “Use Math to Help You Choose” also connects math and theatre.
Lesson plans also include “Cross-Curricular Connections” sections. The “Cross-Curricular Connections” section for chapter 15 guides educators to connect instruction on directors and producers with business content such as negotiating, marketing, and financing.
Evaluation for 6.1b
In unit 6 of the Student Edition, the “Additional Projects” section includes several projects that provide opportunities for students to explore connections among fine arts disciplines. Two “Additional Projects” in chapter 28 require students to compare and contrast plays and films. Chapter 30 includes a project asking students to compare the structure and conventions of electronic media with those of theatre.
The Teacher Resource also includes cross-curricular opportunities for students. For example, the section “Theatre and American Ideals” suggests exploring two specific musicals, 1776 and Hamilton, through the lens of patriotism and the nation’s founding documents. The exploration includes specific activities that connect theatre and social studies as well as theatre and the fine arts, including comparing the film and stage versions of 1776. Another section, “Theatre and the Free Enterprise System,” provides opportunities for students to connect theatre and social studies by examining concepts such as economic systems, supply and demand, and theatre’s economic impact on local communities.
The Teacher Resource “Additional Unit Activities” section for each unit designates some activities as having “Historical and Cultural Relevance.” These activities provide cross-curricular connections to core subjects such as social studies and literature as well as the fine arts. In unit 1, for example, students make a “mini-museum” display comparing a theatre tradition from outside the United States with a contemporary U.S. theatre form, connecting theatre and social studies. In unit 3, students connect social studies and literature as they consider the socioeconomic and historical context of characters in Of Mice and Men and write an essay on how those constraints shape the characters’ choices.
Evaluation for 6.2a
Unit 7 in the Student Edition and the Teacher’s Edition is titled “Exploring Drama and Theatre History.” The side channel guides educators to provide specific examples, anecdotes, and illustrations to help students grasp the historical context. Other sections in the Teacher’s Edition provide additional context to help educators support learning. For example, in chapter 19, the section “Vocabulary Enhancement” includes historical and cultural context for key theatre terms, including the terms’ Greek roots.
The “Historical and Cultural Relevance” section in the Teacher Resource guides educators to provide context for storytelling and writing traditions. Unit 7, for example, examines the storytelling traditions of American Indian tribes, and the “Historical and Cultural Relevance” section prompts educators to “explain that indigenous cultural traditions and belief systems have influenced theatre throughout the world….” and “have students research a traditional story or performance practice from an Oklahoma American Indian Tribe.” Another activity for unit 7 introduces students to “one of the official plays of Texas.” The materials guide educators in delivering direct instruction, including background information about the play, historical and cultural context, and pointers for student assignments.
Evaluation for 6.2b
Unit 8 in both the Student Edition and the Teacher’s Edition contains a collection of monologues and scenes for educators to use with various projects and performances throughout the course. This unit includes both contemporary works and pieces by playwrights across a range of historical periods and cultures. For example, chapter 14, “The Playwright,” includes works from Aristotle, modern African American playwright Lynn Nottage, and Indian American playwright Rajiv Joseph.
The Student Edition includes multiple sections titled “Cultural Heritage” that provide information and insights on artistic traditions from diverse cultures and connect those traditions to today’s American theatre. The “Cultural Heritage” section in unit 1, for example, helps students explore Japanese Kabuki theatre and modern Asian American theatre.
Evaluation for 6.2c
At the end of chapter 1 in the Student Edition, “Additional Project #5” asks students to read a scene from Henrik Ibsen’s A Doll’s House and then analyze it in terms of “what it reveals about the time period and culture in which the characters live.” This activity requires students to demonstrate an understanding of the piece’s historical and cultural context. Similarly, in unit 7, students read a play by a 20th-century playwright and create a visual presentation that “demonstrates historical or cultural accuracy” based on research into the play’s theatrical design. They must both present and defend the accuracy of their design ideas, demonstrating their understanding of the historical and cultural context.
The Teacher Resource also includes activities that require students to demonstrate an understanding of historical and cultural context and align with the TEKS for introductory theatre courses. For example, one creative project asks students to redesign the play Beyond the Sundown, and other tasks relate to Chinese theatre, Kabuki theatre, and Indigenous cultural arts.
6.1 Cross-Curricular Connections
6.1a
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Evaluation for 6.1a
Evaluation for 6.1a
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Lesson plans also include “Cross-Curricular Connections” sections. The “Cross-Curricular Connections” section for chapter 15 guides educators to connect instruction on directors and producers with business content such as negotiating, marketing, and financing.
6.1b
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Evaluation for 6.1b
Evaluation for 6.1b
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
The Teacher Resource also includes cross-curricular opportunities for students. For example, the section “Theatre and American Ideals” suggests exploring two specific musicals, 1776 and Hamilton, through the lens of patriotism and the nation’s founding documents. The exploration includes specific activities that connect theatre and social studies as well as theatre and the fine arts, including comparing the film and stage versions of 1776. Another section, “Theatre and the Free Enterprise System,” provides opportunities for students to connect theatre and social studies by examining concepts such as economic systems, supply and demand, and theatre’s economic impact on local communities.
The Teacher Resource “Additional Unit Activities” section for each unit designates some activities as having “Historical and Cultural Relevance.” These activities provide cross-curricular connections to core subjects such as social studies and literature as well as the fine arts. In unit 1, for example, students make a “mini-museum” display comparing a theatre tradition from outside the United States with a contemporary U.S. theatre form, connecting theatre and social studies. In unit 3, students connect social studies and literature as they consider the socioeconomic and historical context of characters in Of Mice and Men and write an essay on how those constraints shape the characters’ choices.
6.2 Historical and Cultural Context
6.2a
Materials include guidance for teachers to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS.
1 out of 1 points
Evaluation for 6.2a
Evaluation for 6.2a
Materials include guidance for teachers to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS.
1 out of 1 points
The “Historical and Cultural Relevance” section in the Teacher Resource guides educators to provide context for storytelling and writing traditions. Unit 7, for example, examines the storytelling traditions of American Indian tribes, and the “Historical and Cultural Relevance” section prompts educators to “explain that indigenous cultural traditions and belief systems have influenced theatre throughout the world….” and “have students research a traditional story or performance practice from an Oklahoma American Indian Tribe.” Another activity for unit 7 introduces students to “one of the official plays of Texas.” The materials guide educators in delivering direct instruction, including background information about the play, historical and cultural context, and pointers for student assignments.
6.2b
Materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions (e.g., variety of historical and contemporary artistic works, artistic traditions from diverse cultures).
Materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions (e.g., variety of historical and contemporary artistic works, artistic traditions from diverse cultures).
1 out of 1 points
Evaluation for 6.2b
Evaluation for 6.2b
Materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions (e.g., variety of historical and contemporary artistic works, artistic traditions from diverse cultures).
1 out of 1 points
The Student Edition includes multiple sections titled “Cultural Heritage” that provide information and insights on artistic traditions from diverse cultures and connect those traditions to today’s American theatre. The “Cultural Heritage” section in unit 1, for example, helps students explore Japanese Kabuki theatre and modern Asian American theatre.
6.2c
Materials include activities and tasks that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS.
Materials include activities and tasks that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS.
1 out of 1 points
Evaluation for 6.2c
Evaluation for 6.2c
Materials include activities and tasks that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS.
1 out of 1 points
The Teacher Resource also includes activities that require students to demonstrate an understanding of historical and cultural context and align with the TEKS for introductory theatre courses. For example, one creative project asks students to redesign the play Beyond the Sundown, and other tasks relate to Chinese theatre, Kabuki theatre, and Indigenous cultural arts.