Monologue Unit Plan

Drama 9

April 6-16

The Shakespeare Academy of Fine

Actors

Alyssa Latimer & Olivia Funkhouser

 Table of Contents

Rationale PG 1

Unit Objective and Skills PG 2

Unit Overview PG 3-5

Sample Lesson plan 1 PG 6

Sample Lesson plan 2 PG 7

Assessments PG 8-12

Materials PG 13

Bibliography PG 14
 Rationale:
Drama as an art form provides students a safe and expressive means to
engage in self-discovery. Theatre enhances students’ abilities to communicate
through dramatic means. The discipline is broken down into three sequenced
categories; beginning, intermediate and advanced. These categories act as a
sequence of improvements. Throughout their learning, students will address
multiple aspects of speech, acting, and improvisation. Student growth can be
demonstrated through their ability to communicate over a variety of dramatic
disciplines. These disciplines allow students to develop skills in communication.
Monologues as a unit of study help to provide students with skills of
self-confidence and public speaking. These skills have a very prominent real-world
application as students will need to learn the skills to properly communicate in a
solo setting. Drama provides students with lasting skills such as communication,
risk-taking, and building interpersonal relationships.
 Unit Objective:

In this unit, students will perform an audition monologue based

on the following skills:
- Memorization (Lessons 4, 5, 6, 7, 8)
- Finding character motivation (Lessons 2, 3, 4, 5, 6, 7, 8)
- Breaking text into individual moments (Lessons 4, 5, 6)
- Solo performances (Lessons 3, 7, 8, 9)

These skills can be connected with the following Specific

Learner Expectations.

Acting #:​ 2, 8, 21, 23, 30-32

Speech #: ​9, 15, 18
Theatre Studies #: ​1, 2, 12
 Unit Overview
Lesson 1-
TSW Good audition vs bad audition scenes
Walk, roll down, stretch, tongue rolls, lemon lion. What is a monologue? 15 seconds of
speaking to a buddy about something they despise. 30-second improvisation monologue about
something they enjoy, What happens during an audition? Groups of two good audition vs bad
audition scenes.
Speech 2, 3, 17, 18
Acting 1, 5, 9, 10, 11, 16, 22, 23, 24, 28
CAN STUDENTS EXEMPLIFY WHAT MAKES AN AUDITION STRONG?

Lesson 2-
TSW research and find 2 monologues to pitch.
Walk, tag, blob tag, everybody's it tag, walk, stretch, remind students what we talked about
yesterday. Give students a tongue twister they will have to say it as boring as possible and then
as exciting as possible. What makes a good monologue discussion? Type, style, genre, timing
(action). Have students read over a strong monologue and a weak monologue, ask them to break
down the elements of both. Explain to students they will be finding two options for a monologue.
Students can use both computers or provided books. The question to keep in mind: ​What were
your first impressions of the piece? Pick a piece they enjoy.
Acting 1, 6, 23, 30
Theatre Studies 1, 3, 12
CAN STUDENTS SELECT TWO STRONG MONOLOGUES?

Lesson 3-
TSW pitch their monologues.
Intro, walk, jump, high five, write out pitch, This case should address character, intentions and
something the student wants to explore. Walk and pitch, pitch to a buddy, why challenge, pitch
to teacher.
Acting 23, 30
Theatre Studies 1, 3, 12
CAN STUDENTS PITCH THEIR MONOLOGUES AND ANSWER WHY?

Lesson 4-
TSW analyze their own monologues for beats.
Intro, walk, walk with different intentions (angry, happy, sad), discuss and define beats, go
through monologue example with partner to find beats, go through monologue with the class to
find beats, find beats in their own monologue.
Improv/Acting 1, 6, 19, 23, 27, 30
Theatre Studies 1, 3, 12
CAN STUDENTS FIND AND JUSTIFY BEATS IN A MONOLOGUE

Lesson 5-
TSW find their super-objective and improv scenes around the super-objective.
Intro, walk, walk fast, walk slow, ​walk with different intentions, What is an objective? What is a
super-objective? Open scenes, go through monologue, find super-objective in their own
monologue. List some ways they could reach their objective. Learn about tactics. Rehearse
monologues.
Improv/Acting ​1, 6, 19 23, 30
CAN STUDENTS FIND THEIR OWN SUPER OBJECTIVES AND LIST TACTICS?

Lesson 6-
TSW create a moment before and after their monologue that will give the scene some context
using improvisation.
Intro, walk, high/low status, party quirks, create before and after moment, rehearse monologues.
Improv/Acting 4, 12, 14, 19, 20, 27, 29
ARE STUDENTS ABLE TO CREATE A BACKSTORY FOR THEIR CHARACTER?

Lesson 7-
TSW complete a monologue workshop, where they show their teacher a portion of their
monologue. Roll down, stretch- arms, legs, neck, cat-cow yoga pose, tree pose, child’s pose.
Each student will workshop in front of their classmates. The teacher will offer suggestions and
feedback.
Improv/Acting 1, 2, 19, 25, 31, 32, 33
CAN STUDENTS RESPOND POSITIVELY TO DIRECTIONS?

Lesson 8-
TSW present their monologues to a partner incorporating the feedback from the workshop.
Intro, walk, mirror, status pictures, monologue character scene, show monologues, 2 stars and a
wish.
Improv/Acting 1, 10, 12, 15, 29, 31, 32, 33
Movement 5, 13, 24, 28
Speech 4
Theatre Studies 1
CAN STUDENTS WORK WELL WITH A PARTNER?
Lesson 9-
TSW perform their final rendition of their monologues for the entire class.
Intro, good audience member speech, roll-down, energy shake, performance and closure.
Improv/Acting 1, 9, 12, 27,31, 32
Speech 2, 4, 6, 8, 9, 10, 11, 13, 15, 18
Movement 3, 4, 13, 17, 25
CAN STUDENTS PERFORM A MONOLOGUE?
SEE RUBRIC FOR DETAILS
 LESSON PLANS

Lesson 4: Adding Beats

GENERAL INFORMATION
Teachers ​Alyssa Latimer Subject/Grade ​9 Unit/Topic ​Monologues: Adding Beats Date/Time ​April 7th,
1:30-2:15
Olivia Funkhouser
Related GLO & SLO/Goal(s):
Demonstrate effects of intonation, rate, pause and phrasing on the meaning of words. Demonstrate
the effect of character on oral interpretation​.
Analyze text for meaning and character development.

Background information about the students and/or the topic.

OBJECTIVE(S)
Students will learn the process of breaking down monologues into specific moments.
Students will be able to identify emotional shifts in texts.
ASSESSMENT
Formative: ​Were the students able to breakdown their monologue? Do they understand where the emotional
shifts are?
Summative

Materials & Equipment:

PROCEDURE ​(Teacher’s script in italics)

Running time ​45 min
Introduction/Set
Introduce Beats. Students will learn the definition of ‘beats’ in monologues and where to find them. ​Please sit
in a circle. Today you will be finding beats within your monologues. A beat is any change that your character
experiences throughout the monologue. Finding these beats will help you find your characters intention. ​(2
min).
Body (Activities)
Warm Up. Start with a warm up to get kids moving before they have to sit. ​We will begin with a warm up.
Stand up, and begin walking around the room. S ​ tudents will walk normally, make eye contact, say hi, make
conversation, walk faster, walk slower, walk like they’re in a hurry, walk like they’re angry, walk like they
are happy, etc. (5 min).
Beats Activity-Class. Go through an example with the class to give them understanding of how to find beats.
Now that you are warmed up, as a class we will go through a monologue and find the beats together. Come grab
this monologue from T ​ he Importance of Being Ernest. ​Take some time to look through with a partner and see if
you can find where Gwendolyn’s intentions change. Then we will discuss. ​Class will take some time to look,
then we will find beats as a class, discussing why or why not the beats they come up with make sense. (15
min)
Beats Activity-Solo. Students will now apply their knowledge to their own monologues. ​Now you will
breakdown your own monologue into beats. It is better to have too many than not enough. Let me know if you
have questions or are struggling. ​(20 min).
Closure
As students finish, they will come and show the teachers. We will just make sure they understand the concept
of beats and that they have them done or at least started.
Follow up - What will the students do next? ​Next class the students will use their beats to find a super-objective
from their monologue.
Art of Teaching - What specific area(s) of teaching will you be working on during this lesson and how will you
know if you have succeeded? ​We will be working on breaking down text (particularly monologues) into units.
We will know if they have completed it by them showing us on a typed version of their monologue.

Lesson 7: Workshop
GENERAL INFORMATION
Teachers ​Alyssa Latimer ​Subject/Grade ​9 ​Unit/Topic M
​ onologues: The Workshop ​ Date/Time ​April 10th,
45min
Olivia Funkhouser
Related GLO & SLO/Goal(s):
To develop competency in communication skills through participation in and exploration of
various dramatic disciplines.
Demonstrate effects of intonation, rate, pause and phrasing on the meaning of words.
Demonstrate the effect of character on oral interpretation.
Rehearse, polish and present text.

OBJECTIVE(S)
The students will present small portions of their monologue to the class and receive feedback from their
teachers.

ASSESSMENT
Formative ​Are they receptive to teacher feedback? Can they handle side-coaching?
Summative

Materials & Equipment: Notepad and pen.

PROCEDURE ​(Teacher’s script in italics)

Running time ​45 Min
Introduction/Set
Warm-Up. ​We will prepare you for your workshop with a full-body and vocal warm-up.​ ​If everybody could stand
up and find a spot in the room. ​Students will start with a roll down, then stretch out their arms, legs, and roll
out their neck. We will do some yoga poses and breathing exercises, then move into vocal exercises, including
making sounds with their diaphragms, rolling consonants, and articulating sounds. (8 min).
Body (Activities)
Workshop. Students will begin presenting their monologues. ​This workshop is designed to help you polish your
monologue and make sure you are starting strong for your performance. We will call you up and you will tell the
class the character you are playing and the title of the monologue, and when you are ready you will begin. You
will not get through more than the first few lines, and we will be guiding you with side-coaching as you are
presenting. Please take a seat and we will begin. W​ hen students start their monologue, we will provide
instruction as needed, and ask them to stop if we would like them to try something again. We will focus on a
strong beginning, ensuring they are in character before they start speaking, and that intentions are clear
right from the start. We will make notes to ensure that during the final performance they have incorporated
the feedback they learned today in some way. (35 min)
Follow up - What will the students do next? ​Next class we will finish up any students that did not get to
workshop their monologue, and then they will present their monologues to a partner and practice
incorporating feedback.
 Assessment

Students will be assessed in a variety of formative and

summative ways throughout this unit. Each lesson in the unit has
a form of assessment that will ensure student progress. At the
end of each lesson, we will use an emoji checklist to see where
students are at with each objective. If students fall between a
meh emoji and a sad face, a conversation will be had with the
teacher about methods of improvement. During the partner
run-through class (lesson 8), students will complete a Two Stars
and A Wish worksheet to provide peer feedback. Aspects of this
unit including the rehearsal journal and the final performance
will be summatively assessed with criteria found below.
 Assessment Materials
Checklist for formative assessment based on classes. If students fall between a meh emoji and a
sad face a conversation will be had with the teacher to improve.

😁 😐 😰
CAN STUDENTS EXEMPLIFY WHAT MAKES AN AUDITION STRONG?
April 6, 2020

Comments:

😁 😐 😰
CAN STUDENTS SELECT TWO STRONG MONOLOGUES?
April 7, 2020

Comments:

😁 😐 😰
CAN STUDENTS PITCH THEIR MONOLOGUES and answer why?
April 8, 2020

Comments:

😁 😐 😰
CAN STUDENTS FIND AND JUSTIFY BEATS IN A MONOLOGUE
April 9, 2020

Comments:

😁 😐 😰
CAN STUDENTS FIND THEIR OWN SUPER OBJECTIVES AND LIST TACTICS?
April 10, 2020

Comments:

ARE STUDENTS ABLE TO CREATE A BACKSTORY FOR THEIR CHARACTER?

April 13, 2020
😁 😐 😰
Comments:

😁 😐 😰
CAN STUDENTS RESPOND POSITIVELY TO DIRECTIONS?
April 14, 2020

Comments:

😁 😐 😰
CAN STUDENTS WORK WELL WITH A PARTNER?
April 15, 2020

Comments:

😁 😐 😰
CAN STUDENTS PERFORM A MONOLOGUE?
April 16, 2020

Comments:

 
 TWO STARS AND A WISH
Name:

💭
 Rehearsal journal marking
A​ The rehearsal journal has at least 7 entries. Students reflect on
both the process and the final product. The journal is a
comprehensive view of the students rehearsal process. The
journal can include warmups, insights, challenges faced and
realizations about their character.
B​ The rehearsal journal has between 5-6 entries. Reflection
focuses on either process or product but not both. The journal is
a broad view of the students rehearsal process.
C ​The rehearsal journal has 3-4 entries. Reflection does not have
a clear focus on either process or product. The journal provides a
minimal view of the students rehearsal process.
D​ The rehearsal journal includes 0-2 entries. Reflection does not
occur. The journal does not provide a view of the students’
rehearsal process.
 Materials
Mercanti, J. V. ​In Performance: Contemporary Monologues for Teens. ​Applause Theatre & Cinema Books
An imprint of Hal Leonard Corporation, Milwaukee, WI, 2015.

Depner, Mary, and S. L. Depner. ​Smart Monologues: Vocabulary Building Monologues for Teens and
Young Adults. ​Jelliroll, Inc, Valencia, California, 2012.

Young, Rebecca. ​102 Monologues for Middle School Actors: Including Comedy and Dramatic
​ eriwether Publishing Ltd, Colorado Springs, Colo, 2012.
Monologues. M

Gaddis, Alisha. ​Teen Boys' Comedic Monologues that are Actually Funny. ​Applause Theatre & Cineam
Books, an Imprint of Hal Leonard Corporation, Milwaukee, WI, 2015.

Milstein, Janet B. ​Award-Winning 60-Second Comic Monologues, Ages 13-18. v​ ol. 3., Smith and Kraus,
Inc, Hanover, New Hampshire, 2008.

Milstein, Janet B. ​Award-Winning 60-Second Comic Monologues, Ages 4-12. v​ ol. 1, Smith & Kraus, Inc,
Hanover, New Hampshire, 2008.

​ andcastle Publishing, South Pasadena, Calif,

Stevens, Chambers. ​Magnificent Monologues for Kids 2. S
2009.

https://www.monologuearchive.com/children.html

https://www.monologuegenie.com/monologues-for-teens.html

https://www.instantmonologues.com/category/young

https://themonologuearchive.tumblr.com/post/159672568475/act-02-01-gwendolyn
 Bibliography
Team, MB. “Working On Your Monologue: Break It Down.” ​Monologue Blogger,​ 6 Oct. 2019,
monologueblogger.com/working-on-your-monologue-break-it-down/.
https://monologueblogger.com/working-on-your-monologue-break-it-down/

Farmer, David. “Drama Games.” ​Drama Resource​, 29 Oct. 2019,

dramaresource.com/drama-games/​.

Alberta Learning. (1989). ​Drama 7-9​ [Program of Studies]. [Edmonton], Canada: Alberta
Learning.
https://education.alberta.ca/media/482120/jhdrama.pdf

​ niversity
Alberta Learning. (1989). “Drama, Junior High School : Teacher Resource Manual​” U
of Alberta Libraries [Edmonton], Canada: Alberta Learning.
archive.org/details/jhsdramatrm89albe/page/104.