These drama activities based around the lives of Crispus Attucks, Biddy Mason, Elijah McCoy, and Bessie Coleman complement our Black History lessons on these figures. Students will script, stage, imagine, and improvise in a series of prompts perfect for theater classes or any other learning context in which creativity and performance are emphasized. This package contains four documents, each containing multiple activities based around the life experiences of these remarkable Americans. The Woodson Center's Black History and Excellence curriculum is based on the Woodson Principles and tells the stories of Black Americans whose tenacity and resilience enabled them to overcome adversity and make invaluable contributions to our country. It also teaches character and decision-making skills that equip students to take charge of their futures. These lessons in Black American excellence are free and publicly available for all.

This resource provides lecture notes and writing assignments for the study of drama. While Othello and Trifles are mentioned specifically, these notes and assignments can be adapted and applied to practically any play.  Unless otherwise noted, the materials in this unit are licensed under CC BY-NC-SA.

Thank you for visiting our Tennessee Board of Regents OER Grant English 1020: Introduction to Literature course. The pilot launched in spring 2023. This Walters State Community College composition course focuses on reading and analyzing poetry, drama, and short stories. The course has been designed with Quality Matters standards, Universal Design for Learning concepts, Growth Mindset fundamentals, and Lumen Circles concepts.     

The goal of this creative activity is to hone students' interpretative skills and their ability to contrast and compare artifacts produced in different cultures and contexts. First, students will read the script of a scene taken from a famous Italian movie ("Il Posto" by Ermanno Olmi). Based on their interpretation of the script, they will re-stage the scene. After that, they will watch the scene in the original movie and compare their interpretation with the original rendition. This activity was created for an intermediate Italian class (Italian 203) taught in 2017 at Duke Univerisity (Romance Studies).

Öğretmen çocuklara iletişim hakkında bilmeceler sorar. Öğretmen daha sonra sınıfa birkaç kutu getirir. Bu kutudan neler yapabileceğimizi sorar ve medya araçlarıyla beyin fırtınası yapmalarını sağlar. Çocuklar istedikleri gruplara ayrılıyorlar, kutuları istedikleri gibi şekillendirebiliyorlar, televizyon, radyo, telsiz, mikrofon, telefon. Televizyonun düğmeleri ve kumandası renkli kağıtlarla çocuklar tarafından yapılıyor. Bu kişinin başına televizyon maketi konulur ve kişiden bir haber sunuyormuş gibi yapması istenir. Daha sonra öğretmen kanalı değiştiriyormuş gibi yapar ve başka bir kişiden bir yarışma sunuyormuş gibi yapmasını ister. Kullandıkları iletişim araçlarıyla ilgili dramalar yapılır.

Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We’ll look at laws, both national and local, relating to the “obscene”, as well as unofficial practices, and think about the way censorship operates in American life now. And of course we will study the offending texts, themselves, to find what is really dangerous about them, for ourselves.