Drama Games & Activities for Kids, Teens & Adults PART 2

Theatre Games, Activities & Trust Exercises for Kids, Teens & Adults [PART 2]

PHOTO CREDIT: Aliana ~Theatre Lover~ & http://flashmobsintheclassroom.blogspot.ca/2013/04/how-to-unite-cast-of-your-high-school_3.html?showComment=1391724459155#c7817831197284516316

 

Before you can play, rehearse, learn or build a production/performance - you need to build trust. 

 

These activities are some of my personal favourites whether I'm working with children, teenagers or adults in pairs or groups.

 

Before starting any activity - always state the purpose of the exercise (ie. voice warm-up or letting go of inhibitions) and conduct a quick "check-in" with members. After introducing the activity, ask each participant to briefly express how they are feeling and the kind of day they had. This is important to do in order to have a sense of everyone's mind space before starting. If someone had a bad day, they might not be as energetic or enthused where someone having a great day may have difficulties focusing and paying attention.

 

I hope these games and activities will help you in building trust amongst team members, classmates or a production cast & crew.

 

#7. PROPS/ quick-thinking, creativity, imagination & thinking outside of the box

• Form a circle either sitting on the floor or in chairs
• Place one or two identical but random objects (ie. gloves or fridge magnets) in the center
• Go around the circle having each person go up to the objects and use them in a scene as something else (ie. gloves as shoes)
• Encourage everyone in the group to get up and approach the objects quickly and come up with something on the spot.
• Change things up by having people get up and approach the objects in a random pattern rather than taking turns going around the circle.

#8. MYSTERY SHOPPER/ acting in the moment and using body language to express intent

• This activity works best in pairs
• Person A pretends to be a cashier at a store
• Person B portrays a customer
• B approaches the counter and speaks to the cashier about purchasing a specific item
• THERE'S A CATCH! - B can only speak in gibberish
• A needs to try and understand what it is B is looking for
• The scene is over when A correctly guesses the item and cashes the customer out

#9. WALK! WALK! WALK!/ situational comedy, group work, imagination and warm-up

• In this activity, the entire group follows one leader
• TECHNIQUE #1: the Leader walks around the room and everyone else copies their walk
• TECHNIQUE #2: the Leader specifies that everyone should walk like someone or something (ie. the Terminator or a duckling)
• TECHNIQUE#3: the Leader asks the group to walk around the room as if they are walking on a specific surface (ie. glass, ice or fire)
• In all these instances, the leader could be a student, group member or instructor

#10. FORTUNATELY-UNFORTUNATELY/ teamwork, pairs & improve

• Divide the group into pairs
• The scene begins with one person starting a sentence with "Fortunately...."
• The second person responds by saying a sentence starting with "Unfortunately..."
• The scene continues with one person always saying "Fortunately" at the beginning of everything they say and the other person always saying "Unfortunately"
• After awhile, switch up who says which word
• (ie. "Fortunately, I caught the bus on time." "Unfortunately, the bus got a flat tire." etc.)

#11. BETWEEN THE LINES/ writing exercise, self-exploration, trust-building & group support

• This exercise requires each individual to have a notebook or scrap paper and something to write with AND music that can be played helps in creating a safe atmosphere
• Have everyone sit someone in the room in their own space
• Each person has the length of one song to write a note or letter than is specified by the instructor.
• These may include: Things I Like, Dear Self, I'm Afraid of..., I Wish, I Hate, I'm Sorry..., etc.
• As soon as the instructor delivers the starting line or subject, the song is started and the participants have until the end of the song to write.
• Encourage everyone to continue writing until the song ends.
• This is a great exercise to get people out of their minds and opening up to others
• Writing in a way that is not "judged", or checked for grammar or ideas of right & wrong is freeing. Ensure everyone feels safe to write away without holding back.
• This is a "rambling on" activity done with a pen instead of talking

 #12. SNAKE/ touching, trust, body movement & body language

• Establish a starting point and finish line (ie. this wall to that line or vice-versa)
• Have the participants form a line
• The first person touches the starting line with their body somehow and creates a shape with their body
• The next person touches the first person somehow and creates another shape that is different in levels, shape, silhouette, etc.
• This continues until a person on the "snake" touches the finish line
• This can be done with small groups and the last person leap-frogs to the front when it is their turn again
• CHANGE THINGS UP - give the participants a word they can use as inspiration for their shapes (ie. water, fire, monkey, Summer, etc.)

FOR MORE GAMES & ACTIVITIES ~ CHECK OUT PART 3!

(coming soon)

A Director's Checklist for the Audition

The script has been chosen, the royalties have been paid for and the theatre space has been booked.
Now it's time to find some actors!

PREPARATIONS
-The Director must decide what they are looking for in their actors and narrow down the list which may include any and all of the following: Experience, Willingness to Learn, Compatability with Others, Personality, Reputation, Resume, Physical Appearance as per Characters Described, Ability to Take Direction, Ability to Read/Perform in front of others and Charisma.
-The Director/Producer must book the audition space and pay for it if required.
-Audition Notices should be posted no later than a month in advance in newspapers, mass emails, Facebook, Community Boards and other outlets online.
-It must be decided as to whether or not the auditions will be held on a one-on-one basis or in a group setting and whether or not any part or all of the audition will be recorded or photographed.
-The Director must choose what they want actors to bring to the audition which can be any one or all of the following: resume, headshot, monologue, acting reel, certificates/diplomas or letter of recommendation.
-The Director and Production Team can (if they choose) select pieces of the script to be used in either a group or one-on-one audition and decide whether or not these selections will be available for actors to read prior to the auditions.

CHECKLIST
-copies of the script for actors to read if they choose
-character descriptions for roles being auditioned for
-copies of script segments or cold reads
-Information Sheets for actors to fill-out as they arrive
-brief outline of items to be discussed and activites to be held
-any props or costumes (if any) you want available to the actors to 'play with'

THE AUDITION
1. Greet everyone as they arrive and make them feel welcome and at ease
(no one wants to see a paranoid, scared or intimidated actor attempt to audition or recite a monologue)
2. Take pictures of the individual actors if you are doing so.
3. Introduce yourself, the production team, the theatre company & the production itself
4. Verbalize the expectations of actors if they are cast and ask anyone to leave if they cannot meet them
(ie. arriving on-time to rehearsals, attending a certain number of rehearsals/week, being accepting of others regardless race, colour, religion, age, orientation, etc.)
5. Inform actors as to when and how they will be contacted if they are cast.
(I also encourage all directors to contact ALL actors to inform them as to whether they've been cast OR not. This is civil, respectful and is an excellent opportunity to give the actors (who were not cast) feedback as to what they did wrong and how they can improve for their next audition. If possible, contact ALL actors to show them you are thankful and grateful that they took the time to audition in the first place - they may audition for you again)
6. Have the actors introduce themselves to the group by sharing their name, an interesting fact about them, why they are auditioning, their interest in theatre, etc.
7. With all the "business" out of the way, now you can have fun with your actors and start the auditions :)

IDEAS for AUDITIONS
- Start with a group warm-up. This will get everyone on their feet, help them to relax AND you will be able to see how they feel about being up with a larger group.
- Hold a group Improv session. This could be anything from having everyone up at the same time and walking around the room interacting (or not) as certain characters, in certain situtations, weather conditions, or with specific character traits. This is another great way to get actors loosened up and see how comfortable they are with maybe getting a little silly :)
- Have two-five actors stand and read and/or perform a part of a scene from the play. Give them direction as to the characters they are portraying, what has just occured previously in the scene and what their objectives are.
- Have one actor stand in front of the group at a time and either read a monologue or a poem as a specific character from the play.
- Have actors auditioning for a certain role perform a simple action that the character does during the play. Examples: screaming in fear/rage/anger, crying, passing out, shocked gasp, scary face, drunken hiccup, hungover, freaked-out as though seeing a monster, etc.
- Storytelling Excercise: Actors stand/sit in a circle. The Director gives the group a title of the story. One person says 3 words then the person to the right of them says the next 3 words that must continue the story until it has gone around the circle or until everyone is laughing too hard to continue. This is a great activity to see actors interact with and listen to each other.
- Hot Seat: 3 actors sit in chairs side by side. The 2 actors on the ends must compete for the attention of the actor in the middle by any means necessary (within reason) and without physically touching them. This is a great ice-breaker and gives actors the chance to let loose a bit.
- Body Language: actors spread around the room. The director calls an emotion, thought or feeling and the actors situate themselves in a still pose (and without sound) which they think portrays what has been asked for.  The director can then move throughout the room and discuss specific examples of what works and what doesn't and why. This gives a chance for actors to listen, learn and get feedback. This is a great way to promote interactions with everyone present - not just the director.

Whether you are a director or an actor at an audition - ALWAYS REMEMBER to have fun!