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 II)
Grade 10
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 10 | 67.74% | 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
65% (15 out of 23 points)
Evaluation for 1.1a
The “Implementation Guide for Technical Theatre II” 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, the unit 8 “The Studio: Monologues and Scenes for Study and Production” concept list includes “monologues, scenes, performance, and critique.”
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, along with the recommended number of weeks for instruction. For example, unit 8 recommends completing the unit over weeks 25–28.
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 suggest modifications for alternate schedules, such as combining introduction and vocabulary with activities and compressing elements when needed 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 connect to previous units, highlighting opportunities for students to apply what they learned earlier to new material.
Although the “Implementation Guide” in the Teacher Resource provides a unit order rationale, it does so only for an introductory (Theatre I) course. It does not provide a unit order rationale for Technical Theatre II.
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 using 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 for objectives, sequencing activities, and using 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” does not include resources to support educators in teaching Technical Theatre II. The resources provide look-fors, a learning sequence, scaffolding, and differentiation within each unit, but they do not align with the standards for Technical Theatre II.
Evaluation for 1.2a
The Teacher Resource includes an overview for each unit. The unit 1 overview, for example, provides the unit’s purpose and helpful resources and points to the unit’s academic and discipline-specific vocabulary, offering suggestions for preteaching the words. However, the unit overviews do not address the background content knowledge needed to teach the unit’s concepts. For example, the unit 1 overview references Stanislavski’s system and the evolution of improvisation but provides no background information to help educators prepare to teach those concepts.
Although the unit overviews address background knowledge, they focus on knowledge that helps students rather than the knowledge educators need to effectively cover unit concepts.
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 discussing 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 for students to demonstrate their learning.
Evaluation for 1.3a
The Teacher Resource unit overview includes instructional protocol, progress monitoring, and additional unit activities. Course materials include student-facing activity sheets and assessments, but they do not include comprehensive lesson plans.
The Teacher’s Edition includes generalized TEKS alignment for each chapter, separate from other planning materials. The Teacher’s Edition lists the TEKS for chapter 3 as 5D and 5I for Technical Theatre II and provides the Student Edition page numbers. However, the Teacher’s Edition provides no further planning materials.
Evaluation for 1.3b
The materials include chapter overviews that serve as lesson overviews. 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 “Pacing Guide” in the Teacher Resource includes recommended timing for the chapters, but it does not provide specific timing for individual lesson components. For example, chapter 1 has two components. Weeks one and two focus on chapter 1, “The Theatre and You,” with a recommended pacing of three to four classes that includes vocabulary, group discussions, theatre games, memory brainstorming, and preparation. The second component is the chapter project, which lasts for two to three classes and includes a presentation, peer critique, and time for students to process their reflections. This “Pacing Guide” does not reflect individual components such as activities, lessons, and assignments within the chapter.
Evaluation for 1.3c
The materials guide educators on using the “Additional Projects” section 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.
In the Teacher Resource, the “Theatre Information Pack” also includes some 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, the unit 8 “The Studio: Monologues and Scenes for Study and Production” concept list includes “monologues, scenes, performance, and critique.”
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 suggest modifications for alternate schedules, such as combining introduction and vocabulary with activities and compressing elements when needed 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.
1 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.
1 out of 2 points
Although the “Implementation Guide” in the Teacher Resource provides a unit order rationale, it does so only for an introductory (Theatre I) course. It does not provide a unit order rationale for Technical Theatre II.
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 for objectives, sequencing activities, and using 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.
1 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.
1 out of 2 points
The “Implementation Guide” does not include resources to support educators in teaching Technical Theatre II. The resources provide look-fors, a learning sequence, scaffolding, and differentiation within each unit, but they do not align with the standards for Technical Theatre II.
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.
1 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.
1 out of 2 points
Although the unit overviews address background knowledge, they focus on knowledge that helps students rather than the knowledge educators need to effectively cover unit concepts.
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 discussing 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 for students to 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).
0 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).
0 out of 4 points
The Teacher’s Edition includes generalized TEKS alignment for each chapter, separate from other planning materials. The Teacher’s Edition lists the TEKS for chapter 3 as 5D and 5I for Technical Theatre II and provides the Student Edition page numbers. However, the Teacher’s Edition provides no further planning materials.
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.
2 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.
2 out of 3 points
The “Pacing Guide” in the Teacher Resource includes recommended timing for the chapters, but it does not provide specific timing for individual lesson components. For example, chapter 1 has two components. Weeks one and two focus on chapter 1, “The Theatre and You,” with a recommended pacing of three to four classes that includes vocabulary, group discussions, theatre games, memory brainstorming, and preparation. The second component is the chapter project, which lasts for two to three classes and includes a presentation, peer critique, and time for students to process their reflections. This “Pacing Guide” does not reflect individual components such as activities, lessons, and assignments within the chapter.
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.
In the Teacher Resource, the “Theatre Information Pack” also includes some 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
80% (12 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 students acquire 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 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 Student Edition and Teacher’s Edition include formative assessments in the form of chapter projects. For example, the chapter project in chapter 10 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 educator–student check-ins. However, the scope and sequence in the Teacher Resource lists unit 3 as part of the course but provides no TEKS alignment. The “Additional Projects” at the end of the chapter include six activities, none of which align to the course TEKS.
The Teacher Resource provides some TEKS-aligned diagnostic assessments. The assessments include activities educators can use at their discretion as diagnostics and posttests, but these do not align with the TEKS and course objectives. For example, the Technical Theatre II scope and sequence lists these concepts (objectives): movement, stage directions, voice and ensemble work. The Teacher Resource diagnostic activities do not relate to any of those objectives.
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 scale 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 offers guidance on using 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.
The Teacher Resource suggests that students track their own progress in reflection journals or portfolios, but it does not provide a tool for students to do so. Journal prompts throughout the text encourage students to record their progress, and the “Pacing Guide” recommends that students set up journals in the first week of the course.
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 students acquire 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 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.
1 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.
1 out of 3 points
The Student Edition and Teacher’s Edition include formative assessments in the form of chapter projects. For example, the chapter project in chapter 10 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 educator–student check-ins. However, the scope and sequence in the Teacher Resource lists unit 3 as part of the course but provides no TEKS alignment. The “Additional Projects” at the end of the chapter include six activities, none of which align to the course TEKS.
The Teacher Resource provides some TEKS-aligned diagnostic assessments. The assessments include activities educators can use at their discretion as diagnostics and posttests, but these do not align with the TEKS and course objectives. For example, the Technical Theatre II scope and sequence lists these concepts (objectives): movement, stage directions, voice and ensemble work. The Teacher Resource diagnostic activities do not relate to any of those objectives.
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.
1 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.
1 out of 2 points
The Teacher Resource suggests that students track their own progress in reflection journals or portfolios, but it does not provide a tool for students to do so. Journal prompts throughout the text encourage students to record their progress, and the “Pacing Guide” recommends that students set up journals in the first week of the course.
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
90% (19 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 roleplay, as well as ways to teach students 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 EB 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 specially designed instruction (SDI) or 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 for students receiving special education supports and services. For instance, 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,” offers a specific activity educators can use to explain 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 the “Prepare” (narrative instruction) section 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. These accommodations are not differentiated by language proficiency level.
The Differentiation Library also offers educator guidance for accommodations across language proficiency. 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. Still, they are not differentiated by language proficiency levels.
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 emergent bilingual 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. However, the materials do not provide guidance for supporting students in making cross-linguistic connections in written discourse.
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 roleplay, as well as ways to teach students 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 EB 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 for students receiving special education supports and services. For instance, 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 the “Prepare” (narrative instruction) section 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.
1 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.
1 out of 2 points
The Differentiation Library also offers educator guidance for accommodations across language proficiency. 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. Still, they are not differentiated by language proficiency levels.
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.
7 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.
7 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. However, the materials do not provide guidance for supporting students in making cross-linguistic connections in written discourse.
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
50% (8 out of 16 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. However, the materials do not delineate these features by level and do not provide the complexity and depth required to align with the TEKS for an advanced technical theatre course.
The Teacher’s Edition wraparound includes another recurring element labeled “Show, Don’t Tell” that guides educators in providing explicit instruction to students. The materials do not delineate this feature by level and do not provide the complexity and depth required to align with the course TEKS for an advanced technical theatre course.
Evaluation for 4.1b
The content for Technical Theatre II is largely in unit 5, chapters 19–25, in both the Student Edition and the Teacher’s Edition. The chapters in this unit build on one another; most concepts are self-contained, with each chapter focusing on a different genre within technical theatre. While the materials frequently reference prior learning, they do not make those connections explicit to new learning. For example, chapter 21 discusses the lighting crew’s role in the production process. The Teacher’s Edition wraparound instructs educators to review the purpose of technical rehearsals. This instruction does not help students make connections to what they are currently learning. Earlier in the same chapter, when students learn about lighting plots, the wraparound tells educators to reference prior learning about the kinds and positioning of lighting instruments, but it does not explicitly connect the new learning (how to read a lighting plot) to the previous learning.
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. However, these notes do not explicitly connect what students previously learned with what they are learning currently.
The materials do not clearly distinguish between those intended for Technical Theatre I and those for Technical Theatre II. Neither the Teacher’s Edition nor the Student Edition includes guidance, text, or assignments that connect what students learned in Technical Theatre I with what they learn in Technical Theatre II. Because the materials do not distinguish between Technical Theatre I and Technical Theatre II, it is not possible to make an explicit connection between them.
Evaluation for 4.1c
The materials consistently provide opportunities for students 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 of the text 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, in chapter 21, students discuss the lighting in a play and answer questions using the chapter’s vocabulary. Similarly, the chapter 25 project asks students to discuss their prop plot using the chapter vocabulary.
Each chapter includes “Additional Projects” pages. The activities and tasks in this section consistently require students to use artistic literacy vocabulary. For example, in “Additional Project #9” in chapter 24, students create a makeup design and describe how they would apply it. Assignments like this provide opportunities for students to use discipline-specific artistic literacy vocabulary.
Evaluation for 4.1d
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.
Each chapter of the Student Edition and the Teacher’s Edition concludes with “Additional Projects” pages. Many of the suggested projects require students to demonstrate understanding of discipline-specific artistic literacy. For example, in chapter 26, “Additional Project #6” centers on American theatrical innovations and contributions and requires students to demonstrate their understanding of discipline-specific literacy aligned with the course TEKS. In the same chapter, “Additional Project #7” asks students to develop a marketing plan, which also requires an understanding of artistic literacy.
Evaluation for 4.2a
The Teacher’s Edition ACTivity tasks guide educators to provide TEKS-aligned instruction as students develop new artistic skills. Although some of these ACTivity tasks include a challenge for advanced students, the challenge task does not include the same type of explicit instructional guidance the materials provide for “non-advanced” student instruction.
In the Teacher’s Edition, the “Prepare” portion of chapter projects guides educators to develop students’ artistic skills. The materials do not delineate these features by level and lack the complexity and depth required to align with the course TEKS for an advanced technical theatre course.
Evaluation for 4.2b
The Technical Theatre II course materials are largely contained in unit 5, chapters 19–25, of the Student Edition and the Teacher’s Edition. The chapters in this unit build upon one another; most concepts are self-contained, with each chapter focusing on a different genre within technical theatre. While the materials frequently provide references to prior learning, they do not make those connections explicit to new learning. For example, in the chapter 21 project, students must design a lighting plot using cross-lighting and 45-degree angles, which are introduced earlier in the chapter. The materials do not explicitly connect this prior learning to the skill of creating lighting plots.
The “Additional Projects” pages that end each chapter in the Student Edition and Teacher’s Edition often suggest that students refer to previous content when they tackle a project. For example, at the end of chapter 21, “Additional Project #3” instructs students to refer to specific pages for color information. The “Additional Projects” pages in chapter 26 instruct students to “refer to page 353 for ideas” on U.S. theatrical innovations and contributions. These notes do not make explicit connections; they instruct students to refer back to the material but do not meaningfully connect it to new material.
There is no delineation between the materials intended for Technical Theatre I and Technical Theatre II. Neither the Teacher’s Edition nor the Student Edition provides guidance, text, or assignments that connect the artistic skills in Technical Theatre I to those in Technical Theatre II. Since the materials do not differentiate between the two courses, they cannot make an explicit connection between them.
Evaluation for 4.2c
The wraparound in the Teacher’s Edition includes ACTivity tasks that help students develop artistic skills, and many of these tasks require presentation. Some ACTivity tasks include a challenge for advanced students, differentiating the artistic skills assignments for Technical Theatre I and Technical Theatre II. The challenges support the more advanced TEKS for Technical Theatre II. For example, in chapter 19, advanced students must find examples of theatrical productions in flexible spaces and analyze how the stage impacts technical elements. Students must then present their findings to classmates, which develops artistic presentation skills. This task is more rigorous than the standard ACTivity task, in which students must explain how to use a black-box stage (flexible stage) to reflect the type of stage they used in an earlier performance.
The ACTivity challenge in chapter 29 asks advanced students to create a presentation that integrates multiple art forms. For the standard version of this ACTivity task, students must research and write a report (no presentation or multiple art forms required). The challenge activity helps students develop artistic skills through higher-level presentation or performance, in alignment 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 lack of progression in rigor.
The “Additional Projects” pages also help students refine their skills through activities and tasks. The “Additional Projects” pages at the ends of chapters 19 and 23 both 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 that demonstrates students’ mastery of the artistic skills the 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 II assessment has students create a comprehensive technical design proposal, execute the design, and present it to an audience. This requires students to demonstrate mastery of an artistic skill at a developmentally appropriate level, and it aligns with the course TEKS.
Evaluation for 4.3a
The materials give students opportunities to explore a variety of discipline-specific art forms, as shown 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 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 for Leaders and Teachers” 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.
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.
0 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.
0 out of 1 points
The Teacher’s Edition wraparound includes another recurring element labeled “Show, Don’t Tell” that guides educators in providing explicit instruction to students. The materials do not delineate this feature by level and do not provide the complexity and depth required to align with the course TEKS for an advanced technical theatre course.
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.
0 out of 2 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.
0 out of 2 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. However, these notes do not explicitly connect what students previously learned with what they are learning currently.
The materials do not clearly distinguish between those intended for Technical Theatre I and those for Technical Theatre II. Neither the Teacher’s Edition nor the Student Edition includes guidance, text, or assignments that connect what students learned in Technical Theatre I with what they learn in Technical Theatre II. Because the materials do not distinguish between Technical Theatre I and Technical Theatre II, it is not possible to make an explicit connection between them.
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
Each chapter includes “Additional Projects” pages. The activities and tasks in this section consistently require students to use artistic literacy vocabulary. For example, in “Additional Project #9” in chapter 24, students create a makeup design and describe how they would apply it. 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
Each chapter of the Student Edition and the Teacher’s Edition concludes with “Additional Projects” pages. Many of the suggested projects require students to demonstrate understanding of discipline-specific artistic literacy. For example, in chapter 26, “Additional Project #6” centers on American theatrical innovations and contributions and requires students to demonstrate their understanding of discipline-specific literacy aligned with the course TEKS. In the same chapter, “Additional Project #7” asks students to develop a marketing plan, which also requires an understanding of artistic literacy.
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.
0 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.
0 out of 1 points
In the Teacher’s Edition, the “Prepare” portion of chapter projects guides educators to develop students’ artistic skills. The materials do not delineate these features by level and lack the complexity and depth required to align with the course TEKS for an advanced technical theatre course.
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.
0 out of 2 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.
0 out of 2 points
The “Additional Projects” pages that end each chapter in the Student Edition and Teacher’s Edition often suggest that students refer to previous content when they tackle a project. For example, at the end of chapter 21, “Additional Project #3” instructs students to refer to specific pages for color information. The “Additional Projects” pages in chapter 26 instruct students to “refer to page 353 for ideas” on U.S. theatrical innovations and contributions. These notes do not make explicit connections; they instruct students to refer back to the material but do not meaningfully connect it to new material.
There is no delineation between the materials intended for Technical Theatre I and Technical Theatre II. Neither the Teacher’s Edition nor the Student Edition provides guidance, text, or assignments that connect the artistic skills in Technical Theatre I to those in Technical Theatre II. Since the materials do not differentiate between the two courses, they cannot make an explicit connection between them.
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 challenge in chapter 29 asks advanced students to create a presentation that integrates multiple art forms. For the standard version of this ACTivity task, students must research and write a report (no presentation or multiple art forms required). The challenge activity helps students develop artistic skills through higher-level presentation or performance, in alignment 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 also help students refine their skills through activities and tasks. The “Additional Projects” pages at the ends of chapters 19 and 23 both 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 II assessment has students create a comprehensive technical design proposal, execute the design, and present it to an audience. This requires students to demonstrate mastery of an artistic skill 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 for Leaders and Teachers” 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.
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
82% (9 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 script “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. While these examples meet the first half of the scoring criteria, rigor and complexity do not progressively increase from one task to the other.
The “Additional Projects” pages in the Student Edition give 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.” Although these projects help students develop their artistic skills, the projects across the lessons and units are very similar and do not increase in rigor or complexity through the course.
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 practice active listening, provide constructive feedback, and collaborate effectively as they give 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.
1 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.
1 out of 2 points
The “Additional Projects” pages in the Student Edition give 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.” Although these projects help students develop their artistic skills, the projects across the lessons and units are very similar and do not increase in rigor or complexity through the course.
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 practice active listening, provide constructive feedback, and collaborate effectively as they give 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.
0 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.
0 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
80% (4 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. However, the section does not provide guidance on direct instruction, content, or examples. In the same chapter, the section “Use Math to Help You Choose” connects math and theatre, but it does not provide instructional guidance for educators. The section tells educators to “Connect mathematical concepts to everyday experiences” and “Use models and methods” but does not provide content or examples to guide instruction.
The materials do not guide educators on how to make cross-curricular connections. The content includes assignments and tasks with cross-curricular elements across multiple core academic subjects, including discussions of critical ethics (i.e., social studies/literary criticism), historical connections, and other mathematical examples, but none of these provide explicit instructional guidance.
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 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 shaped the characters’ choices.
Evaluation for 6.2a
Unit 7 is titled “Exploring Drama and Theatre History.” The Teacher’s Edition 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 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 Student Handbook for Performance and Production in the Student Edition includes several tasks requiring students to demonstrate an understanding of historical and cultural context. One task asks students to research the “theatrical conventions from the culture and period” of two plays from different eras. Students then decide which play they would prefer to direct and write a statement articulating their choice. Another task requires students to create a set design for a production. The text states, “Do the necessary research to make your design reflect as accurately as possible the historical and cultural period it portrays.” Later in the assignment, students must defend their work’s historical or cultural accuracy, demonstrating their understanding of these contexts.
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.
0 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.
0 out of 1 points
The materials do not guide educators on how to make cross-curricular connections. The content includes assignments and tasks with cross-curricular elements across multiple core academic subjects, including discussions of critical ethics (i.e., social studies/literary criticism), historical connections, and other mathematical examples, but none of these provide explicit instructional guidance.
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 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 shaped 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 Student Handbook for Performance and Production in the Student Edition includes several tasks requiring students to demonstrate an understanding of historical and cultural context. One task asks students to research the “theatrical conventions from the culture and period” of two plays from different eras. Students then decide which play they would prefer to direct and write a statement articulating their choice. Another task requires students to create a set design for a production. The text states, “Do the necessary research to make your design reflect as accurately as possible the historical and cultural period it portrays.” Later in the assignment, students must defend their work’s historical or cultural accuracy, demonstrating their understanding of these contexts.