Contextual Theater

Contextual Theatre: “Audition” Unit
by Meredith Gale-Johnson
Developed June, 2003 for
Fundamentals I: Advanced Acting Course (Fall 2003)
Harrison High School
Grades 9-12
mergale@mindspring.com
Introduction Unit Plan Bibliography Biography
Introduction: “Fundamentals I: Advanced Acting” is the third course in the Cobb

County High School sequence of drama courses. Thus, students bring to this course some
prior knowledge of acting techniques, as well as some experience with a number of this
unit’s components. Students are introduced to improvisation, for example, and must
perform a monologue in Introduction to Theatre (the first course in the sequence).
Likewise, students perform some rudimentary character analysis and hone their
improvisation and acting skills in Intermediate Acting (the second course in the
sequence). The “Audition” unit in Fundamentals I is designed to teach students not only
new auditioning skills, but also how to use previously learned skills to successfully
audition for roles and scholarships. This structure capitalizes on one of Parnell’s “Seven
structures that can transform a classroom,” the “building” principal, which states that
“new knowledge and new units of study are deliberately and specifically connected with
students’ prior knowledge or past learning so that the new learning builds on prior
experience” (Parnell, 1995). As well, students will have the opportunity to use the skills
learned in this unit later on this same semester when they participate in an actual audition
for student-directed plays.
This unit is designed to fall roughly halfway through the “Fundamentals I: Advanced
Acting” course and to last a total of four weeks. Since Harrison High School has a four
by four block schedule, this class will meet for an hour and a half each day for each of the
nineteen days included in this unit plan (one day is a teacher workday). Though this unit
runs the risk of being long, and thus losing student interest, it is my hope that the
authenticity of the assignment with help keep the students focused. As well, the
workshop-type setting of the classroom throughout this unit has proven to be a powerful
method of instruction. Truly, this classroom will become a “working laboratory or studio,
where genuine knowledge is created, real products are made, and authentic inquiry
pursued” (Daniels, 1998). Students in this class will truly “learn by doing.”
As you perus e the following (vague and tentative) lesson plans, please note that not every
day includes a “National High School Language Arts Standard” or an “Assessment.”
National Standards may be taught on these days, and the classroom teacher will certainly
wish to implement some sort of evaluation or assessment each day. “Since students are
working on different topics . . . the teacher needs a system for recording students’ choices
and monitoring their day-to-day work. [And] because conferences are a key ingredient of
the workshop, the teacher typically develops a simple system for jotting down the
highlight of these conversations” (Daniels, 1998). Likewise, students will be expected to
self-evaluate and keep records of their own, two proven “best practices.” Students will be
expected to understand that all workshop time must be used on some aspect of the
inquiry, and that when they complete one product or phase, they are not finished for the
day. For example, during the first two weeks of the unit, students are expected to
complete a monologue notebook while they are working on the selection and rehearsal of
their audition monologues. While working on the notebook will be an added task, it will
allow students the opportunity to decide to some extent what they “feel like doing” at a
given time. As well, “while there are regular, structured opportunities for sharing and
collaborating in a workshop, student may also spend much time working independently
and autonomously” (Daniels, 1998). And as in all effective workshops, we will need to
set due dates, even if the final assessment dos not take place until the end of the unit, for
“even as students enjoy the autonomy of self-directed study, they are also accountable for
regularly producing work and meeting deadlines” (Daniels, 1998).
As far as the final assessment goes (please see days eighteen and nineteen), the two day
“audition” taking place at the end of the unit encompasses five of the six standards for
authentic assessment proposed by Wiggins in 1998 and discussed by Harwell and Blank
in 2001, which are as follows: “The problem is realistic; the student has to “do”
something; the task or problem replicates the contexts in which adults are tested; the task
or problem requires the student to use, efficiently, a repertoire of skills and knowledge;
and the task or problem allows a quality –improvement approach: a performance-
feedback-revision-performance model” (Harwell, 2001). After all, students are not being
asked to do anything that the professional actor is not asked to do. Every item from the
headshot and the interview to the monologue notebook and the musical audition are
completely authentic.
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Day 1
General Objectives: Students will understand the importance of knowing how to

audition in the theatre community. They will understand how the audition process builds
upon some previous knowledge and how it differs. Students will be made aware of all of
the situations in which a strong audition will be expected and will understand our
“calendar” for the next four weeks.
Procedures: This day will begin the audition unit and will offer an overview of what
auditioning is and why actors on all levels (high school, college, professional, and
recreational) must audition. Ideally, a guest speaker will join the class on this day and tell
students what auditors expect to see in auditions and give students some insight into
choosing appropriate material for auditions. Students will be introduced this day to all
aspects of the auditioning unit including the following: selecting, rehearsing, and
performing two contrasting monologues and a musical number; preparing for
improvisation, interviews, and cold readings; creating a monologue notebook, theatrical
resume, and headshot; and taking part in a simulated audition.
Day 2
National High School Language Arts Standards:

Learning and Self-management Tools and Techniques
The student reviews his or her own progress in completing work activities and adjusts
priorities as needed to meet deadlines; tha t is, the student: develops and maintains work
schedules that reflect consideration of priorities; manages time; monitors progress
towards meeting deadlines and adjust priorities as necessary.
General Objectives: Students will understand how monologues for audition are different
from those they may have read or performed previously. Students will be able to select an
appropriate contemporary monologue for audition. Students will understand the
requirements of the monologue notebook. Students will be able to work independently to
search for their contemporary monologue (as well as other monologues for inclusion in
their notebook).
Procedures: Students will begin choosing their contemporary audition monologues on

this day. A list of criteria will be given to students, and they will have access to a number
of plays and monologue books, as well as the Internet.
The actual monologue notebook assignment will be given this day and will be due on
Day 10. The notebook must include at least ten monologues appropriate for the student
actor and is a truly authentic assignment, as all professional and many college actors have
a notebook of this type.
Days 3 & 4

priorities as needed to meet deadlines; that is, the student: develops and maintains work
General Objectives: Students will be able to apply some skills learned in the first part of
this course in play and character analysis to their monologue. Students will be able to
score and block the ir monologues. Students will be able to work independently on these
tasks as well as on the monologue notebook. Students will be able to work through their
monologues with a partner and will take steps toward monologue memorization.
Procedures: Students will begin reading and studying their plays and will begin to
understand the character they have chosen through a series of character analysis
questions. Students will apply previously learned techniques of script scoring and
blocking to their monologues. Students will be able to work on their monologue
notebooks if they choose and will work on memorizing their monologues. Students will
be expected to work with a partner for at least a short period of time to aid in
memorization and in making better physical, vocal, and character choices regarding their
monologues.
Day 5

General Objectives: Students will be able to recite their monologues without their
scripts and will be able to answer introduce their monologues fluently and articulately.
Students will be able to work independently and with partners to practice their
monologues and introductions and to complete their monologue notebooks.
Procedures: We will discuss how to appropriately introduce a monologue for an

audition, and students will write introductions for their monologues. Students will have
individual time to practice their monologues either alone or with a partner or to work on
their notebooks if they wish. I will take volunteers to “workshop” their monologues with
the class.
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Day 6

The student evaluates his or her performance; that is, the student: establishes expectations
for his or her own achievement; critiques his or her work in light of the established
expectations; and seeks and responds to advice and criticism from others.
General Objectives: Students will be able to present their monologues (with

introduction) for the class. Students will be able to evaluate their own performance and
the performances of others. Students will be able to give and take constructive criticism.
Procedures: Each student will perform his or her monologue for the class. The
monologues will be videotaped so that each student may critique his or her own
performance. Students will also have time to work on their monologue notebooks.
Assessment: Students will receive a non-graded assessment of their work on this

monologue. I will take written notes and will conference with students individually
throughout this week. Students will do this monologue again and will be expected to use
criticism at that time to improve their performance.
Day 7
General Objectives: Students will understand what “cold readings” are and how to do
them effectively for auditions.
Procedures: I will give some instruction in cold readings and students will have the
opportunity to practice some cold readings of different types both individually and for
their classmates.
Day 8

General Objectives: Students will be able to choose a classical, contrasting monologue

and complete their monologue notebooks.
Procedures: Students will begin choosing their classical audition monologues on this
day. A list of criteria will be given to students, and they will have access to a number of
plays and monologue books, as well as the Internet. Students will be able to work
independently to find their classical monologue and to complete their monologue
notebooks.
Days 9 & 10

this course in play and character analysis to their monologue. Students will be able to
score and block their monologues. Students will be able to work independently on these
tasks as well as on the monologue notebook. Students will be able to work through their
monologues with a partner and will take steps toward monologue memorization.
blocking to their monologues. Students will be able to work on their monologue
notebooks if they choose and will work on memorizing their monologues. Students will
be expected to work with a partner for at least a short period of time to aid in
monologues.
Assessment: Assessment of the monologue notebook will take place on this day. I will
evaluate all included monologues based on the principles of monologue choosing taught
in class.
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Day 11

General Objectives: Students will be able to present their monologues (with

introduction) for the class. Students will be able to evaluate their own performance and
the performances of others. Students will be able to give and take constructive criticism.
Procedures: Each student will perform his or her monologue for the class. The
performance.

monologue. I will take written notes and will conference with students individually
throughout this week. Students will do this monologue again and will be expected to use
criticism at that time to improve their performance.
Day 12
General Objectives: Students will be able to do improvisation for audition. Students will
understand what sorts of improvisation activities they might be asked to perform in an
audition and how to be successful in the improvisation portion of an audition.
Procedures: We will discuss some commonly used activities and why students might be
asked to do those activities. Students will have the opportunity to take part in some
improvisation activities.
Day 13

General Objectives: Students will be able to work independently to find either a dialect
or foreign language monologue or a musical number.
Procedures: Students will have the opportunity to choose the final major component of
their “big” audition, either a monologue done in dialect (or a foreign language) or a
musical number. Students will search today for what they wish to do and will get to work
researching and rehearsing when they have found their piece.
Day 14

this course in play and character analysis to their monologue or musical number. Students
will be able to score and block (or choreograph) their monologues and/or songs. Students
will be able to work independently or with a partner and will take steps toward
monologue memorization.
blocking to their monologues. Students will work on memorizing their monologues and
will be expected to work with a partner for at least a short period of time to aid in
pieces.
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Day 15


General Objectives: Students will be able to present their monologues or musical pieces
(with introduction) for the class. Students will be able to evaluate their own performance
and the performances of others. Students will be able to give and take constructive
criticism. Students will also be able to create a theatrical resume and have their headshots
taken.
Procedures: Each student will perform his or her mo nologue (or song) for the class. The
performance. In addition, I will show the class some examples of theatrical resumes and
headshots and students will have the opportunity to work on their resumes in the media
center. As well, students will have each brought a disk on this day and will have their
headshot taken (their resume will eventually be printed on the back).

monologue or musical number. I will take written notes and will conference with
students. Students will do this piece again and will be expected to use criticism at that
time to improve their performance.
Day 16

Communication Tools and Techniques
The student makes an oral presentation to an audience with expertise in the relevant
subject matter; that is, the student: organizes the presentation in a logical way appropriate
to its purpose; adjust the style of presentation to suit its purpose and audience; speaks
clearly and presents confidently; responds appropriately to questions form the audience;
and evaluates the effectiveness of the presentation and identifies appropriate revisions for
a future presentation.

General Objectives: Students will be able to give and take constructive criticism
regarding their own and one another’s headshots and resumes, as well as the three
previously viewed monologues and/or musical number. Students will be able to work
somewhat independently to manage their time between these topics.
Procedures: Students will share their resume drafts with me and with each other, and we
will make revision suggestions and retur n them to the students. Student will also decide
which headshot they want to use from their disk. Students will be given photo paper on
which they (or I) will print their headshot and resume, which will be due on Thursday.
Students will also be divided into groups and will do all three of their prepared audition
pieces for their group members.
Day 17

General Objectives: Students will be able to understand appropriate clothing, jewelry,

hairstyles, etc. to wear for an audition. Students will also be able to do any last minute
polishing that needs to be done.
Procedures: I will talk with students about appropriate audition clothing, etc. and they
will have some time if they wish to ask some questions about their resumes, clothing, etc.
Students will have the opportunity to perform any portion of their audition with which
they feel uncomfortable. As well, we may practice some additional cold readings,
improvisation, and interviewing in preparation for our mock audition. Students will have
some time to work independently or with a partner on their monologues/musical
numbers.
Day 18

and evaluates the effectiveness of the presentation and identifies appropriate revisio ns for
Speaking, Listening, and Viewing

The student participates in one-to-one conferences with a teacher, paraprofessional, or
adult volunteer, in which the student: initiates new topics in addition to responding to
adult- initiated topics; asks relevant questions; responds to questions with appropriate
elaboration, and confirms understanding by paraphrasing the adult’s directions or
suggestions.
General Objectives: Students will be able to present their auditions to a panel of aud itors
who are auditioning for “a repertory season.” They will be expected to behave as though
this is a actual audition and to present their two contrasting monologues. Following the
monologues, they will be asked by the auditors if they have another piece they could do,
at which point they will present their musical number or third monologue. Students will
be able to answer interview questions by the auditors and will have the auditors look at
their headshots and resumes.
Procedures: Ideally, I would have a theatre professor and a member of the professional
theatre community. If one of those was unavailable, a Harrison graduate who has gone on
to college or professional theatre would be fine. After performing their monologues,
students will be asked interview questions by the auditors and will have the auditors look
at their headshots and resumes.
Assessment: I would like to work with members of the college/professional community

to create a rubric to be used in evaluating this portion of the evaluation. This portion of
the assessment will be graded; however, student have had ample time by this point to
perform and revise, based on my suggestions, the suggestions of classmates, and the
students’ own self-reflection. This mode of assessment aligns with a number of
Wiggins’s six standards for determining the authenticity of assessment discussed in
Promising Practices, most notably: The task or problem allows a quality –improvement
approach: a performance- feedback-revision-performance model (Harwell, 2001).
Day 19

and evaluates the effectiveness of the presentation and identifies appropriate revisions for
Speaking, Listening, and Viewing

The student participates in one-to-one conferences with a teacher, paraprofessional, or
adult volunteer, in which the student: initiates new topics in addition to responding to
adult- initiated topics; asks relevant questions; responds to questions with appropriate
elaboration, and confirms understanding by paraphrasing the adult’s directions or
suggestions.
General Objectives: Students will be able to participate in a “callback” for the

“repertory season” for which they auditioned yesterday. During this callback, they will be
expected to answer some additional interview questions, participate in some
improvisations both alone and with others, and perform some cold readings, also working
both alone and with others.
Procedures: Students will be asked to participate in a number of authentic activities for

which they have been preparing, including the following: interviewing, participating in
improvisation and cold readings alone and with classmates, and taking direction.
Assessment: Today’s assessment, like yesterday’s, would ideally be a jointly developed

rubric based on my expectations for the students’ performance and the expectations of the
greater theatre community. Depending upon the time allowed, students will receive either
written feedback from all auditors (including me) or will have the opportunity to sit down
individually with the auditors.
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Bibliography:
Daniels, H., & Bizar, M. (1998). Methods that matter: Six structures for best practice
classrooms. Maine: Stenhouse.
Harwell, S. H., & Blank, W. E. (2001). Promising practices for contextual learning.
Texas: CCI Publishing.
Parnell, D. (2001). Contextual teaching works! Increasing students’ achievement.

Texas: CCI Publishing.
Parnell, D. (1995). Why do I have to learn this? Teaching the way people learn best.
Texas: CORD Communications.
(1997). Performance standards. Pittsburgh: Harcourt Brace Educational Measurement.
Return to Top
Biography: Meredith Gale-Johnson is a third year drama and English teacher at Harrison
High School in Kennesaw, Georgia (Cobb County). She has a BA in English and Theatre
from Appalachian State University, a MA in English from Louisiana State University,
and will graduate in August 2003 from Kennesaw State University with a BS in English
Education.

Contextual Theater

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Contextual Theatre: “Audition” Unit

Introduction Unit Plan Bibliography Biography

Introduction: “Fundamentals I: Advanced Acting” is the third course in the Cobb

General Objectives: Students will understand the importance of knowing how to

National High School Language Arts Standards:

Procedures: Students will begin choosing their contemporary audition monologues on

National High School Language Arts Standards:

National High School Language Arts Standards:

Procedures: We will discuss how to appropriately introduce a monologue for an

National High School Language Arts Standards:

General Objectives: Students will be able to present their monologues (with

Assessment: Students will receive a non-graded assessment of their work on this

National High School Language Arts Standards:

General Objectives: Students will be able to choose a classical, contrasting monologue

National High School Language Arts Standards:

National High School Language Arts Standards:

General Objectives: Students will be able to present their monologues (with

Assessment: Students will receive a non-graded assessment of their work on this

National High School Language Arts Standards:

National High School Language Arts Standards:

National High School Language Arts Standards:

Learning and Self-management Tools and Techniques

Assessment: Students will receive a non-graded assessment of their work on this

National High School Language Arts Standards:

Learning and Self-management Tools and Techniques

National High School Language Arts Standards:

General Objectives: Students will be able to understand appropriate clothing, jewelry,

National High School Language Arts Standards:

Speaking, Listening, and Viewing

Assessment: I would like to work with members of the college/professional community

National High School Language Arts Standards:

Speaking, Listening, and Viewing

General Objectives: Students will be able to participate in a “callback” for the

Procedures: Students will be asked to participate in a number of authentic activities for

Assessment: Today’s assessment, like yesterday’s, would ideally be a jointly developed

Parnell, D. (2001). Contextual teaching works! Increasing students’ achievement.

(1997). Performance standards. Pittsburgh: Harcourt Brace Educational Measurement.

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