In this residency students, with guidance, start from zero and build a performance. They experience and learn: the importance of guideline-setting; multiple techniques for mining for ideas and themes; approaches to agreeing on a theme; crafting a mission and a statement; determining the desired effect on the audience; creating the world; gathering and creating material using various methods in the studio and outside it; tracking and communicating progress; decision-making processes; organizing material; cutting; attending to technical needs; rehearsing, and, finally, performing.
For Middle School
The English curriculum requires collaborative discussions in pairs, small groups, and larger groups. This residency teaches the behaviors, methods, and expectations that allow for group discussion and collaboration. Students will experience the basics of effective small group processes while creating a performance based on a text that relates to something they are studying. The text could be an original historical document, a poem or short literary work, a scientific theory, a performance, or something else chosen by the classroom teacher.
In this residency, groups of students collaborate to write an argument supported by reasons about something they are studying—for example a current event, a historical event, a work of art, or a scientific theory. They explore the topic dramatically, and then begin writing an argument. They practice reading their argument aloud, (with appropriate volume, clarity, rate, and expression), receive peer responses, revise their writing, and, at the end of the residency perform it for their classmates.
English Language Arts Grades 3-5.W.1 Write opinion pieces on topics or texts, supporting a point of view with reasons and information. 6-8.W.1 Write arguments to support claims with clear reasons and relevant evidence. NC Theatre Arts 3-8.C.1 Use movement, voice, and writing to communicate ideas and feelings. C.2 Use performance to communicate ideas and feelings.
This residency integrates Theater with Language Arts and Social Studies standards. Before the residency, student groups research a figure who played a key role in the history they are studying. During the residency, they explore dramatically and imaginatively their historical figure. Then they write monologues, arguments, or letters in the voice of their key figures that explain their points of view on the events they influenced–for example, in U.S. History, the Revolutionary War or the Civil War. They write about the motivation of historical figures, the obstacles they faced, and their hopes for and influences on the future. They work in collaborative groups to create mini-performances from their writing. Students gain skills and awareness of group dynamics and practice their skills in collaborative creative processes. Finally, students perform their monologues or letters.
English Language Arts Grades 3-8.W.1 Write arguments to support claims with clear reasons and relevant evidence. NC Social Studies 3.H.1.2 Analyze the impact of contributions of diverse historical figures in local communities and regions over time. 4.H.1.3 Explain how people, events, and developments brought about changes to communities in various regions in NC. 5.H.2.1 Summarize the contributions of the “Founding Fathers” to the development of our country. 6.H.2.4 Explain the role that key historical figures and cultural groups had in transforming society. 8.H.2.2 Summarize how leadership and citizen actions (e.g. the founding fathers, the Regulators, the Greensboro Four, and participants of the Wilmington Race Riots) influenced the outcome of key conflicts in N.C. and the U.S. Theatre Arts: 3-8.C.1 Use movement, voice, and writing to communicate ideas and feelings. C.2 Use performance to communicate ideas and feelings.
“Wow!!” What a fabulous time we all had during your visit to Saluda River. The ways in which you made learning fun as well as meaningful makes such a difference to our students.” –Stephanie Walker, Saluda River Elementary Theatre Arts Teacher.
This residency emphasizes the communication, collaboration, and creative thinking skills inherent in mime. Students, through imaginative movement explorations in pairs and small groups, learn basic skills like: focusing attention on a partner, leading and following and switching from leading and following, making creative choices, working with a partner without bossing, listening, (really!) rotating group roles and responsibilities, and practicing positive critiques of the work of their peers. They conceive, develop, and perform their own mime pieces as they are guided through group collaborative processes.
In this workshop, students learn to create invisible objects and imaginary worlds. They work with partners and learn to: focus on a partner, accept a partner’s offers, lead and follow. They develop kinesthetic awareness, tune into body language, and non-verbally communicate ideas, characters and feelings. They learn the basics of creative thinking. They explore ideas in groups through improvisation and discussion. They create and perform original mime skits that incorporate their new mime skills.
The Durham Arts Council Says:
Mime Artist Sheila Kerrigan impressed students of George Watts Montessori with her multi-talented theatrical repertoire in mime, juggling, and improvisation….At George Watts, Kerrigan began the after school program with a little mime show followed by instruction of simple mime gestures such as being stuck in a box, leaning against a wall, and climbing a ladder. She then proceeded to guide the children through collaborative creative processes during improvisation exercises. Students passed around an imaginary object and transformed it into something new with each subsequent turn. Students then broke into small groups to plan a silent theatrical performance. A showcase of their creations was followed by a discussion of what the audience perceived the performance content to be. Stories took a range of humorous plot lines from playground activity to fishing adventures. Finally, Kerrigan closed off the afternoon with a little juggling practice.
Especially geared for youth-at-risk and reluctant writers, this residency begins with setting guidelines for behavior together. The group brainstorms and discusses hot topics for a performance. Students write short pieces on topics that are important to them in genres that make sense to them. They collaborate on taking their writings from the page to the stage. If all goes according to plan, the residency culminates in a performance conceived and created by the performers about the issues that keep them awake at night and get them out of bed in the morning.
For adults, families, and children age 9 and up, this juggling workshop features juggling performance pieces that point up the importance of failure as part of learning something new, the value of setting a positive mental attitude to attain success, and the virtue of persistence in achieving goals. Participants learn a basic juggling pattern and some variations, and they learn how to juggle with a friend. This workshop offers a fun way for families to play together and for anyone to improve coordination.
For students of theater and communication, and anyone who wants to understand what people are saying beyond their words, this workshop breaks down and demonstrates the elements of body language and non-verbal communication. Participants observe and qualify movement in others, learn to bring their unconscious reactions to body language into consciousness, change specific aspects of their own movement, and observe how their feelings and thoughts change as they change their own body language.
NC Theatre Arts Standards: 6-8.C.1 Use movement, voice, and writing to communicate ideas and feelings. 6.C.1.1 Use movement and acting skills to express a variety of emotions to an audience. 7.C.1.1 Use movement and acting skills to express a variety of characters to an audience. 8.C.1.1 Use physical movement and acting skills to express stories to an audience.
For drama students, amateurs, and professionals, this residency or workshop helps create strong, believable, fully-physicalized characters. Participants experience a variety of physical approaches to character development such as image work, energy work, animals, honing kinesthetic awareness, sharpening focus, developing a presence, exploring rhythm and dynamics, and studying and practicing body language principles. Sessions begin with a warm-up, continue with guided physical approaches to character, improvisation-based physical explorations, reflections on character discoveries, and end with reflection on learning and growth. By the end of the residency, participants will have a sense of how physicalization can strengthen their focus and enlarge their stage presence.
Ms. Kerrigan’s residency was very beneficial and enriching for my 8th grade Movement class. It complemented our unit on gesture and made valid in very obvious ways how vital gesture and expression are to movement and choreography. Sheila presented very well and maintained a good rapport with the students. I was impressed with her clarity, humor and thorough approach to the material. –Mary Grady Norkus, Durham Academy