Learning Activities to Explore Musical Theater

Free and fun ways for teens and tweens to learn more about each other and the world of musical theater
Did you ever feel like there was a whole other person inside you just waiting to come out?
Gabriella Montez in Disneys High School Musical

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Disney

P R E L U D E:

EVERYONE HAS DREAMS

Some dream of fortune and fame. Others dream of a serious vacation from school. Some want to be top athletes or win scholastic honors, while others hope to star in the school play and make friends. What if you want it all? How can you break free of expectations and start something new?
In Disneys High School Musical, teens discover it is possible to reach even the toughest goals when you believe in yourself, pursue your passions and work together. The students at East High have to deal with cliques and all kinds of unwritten rules about their roles as they explore new interests, build relationships and struggle to find out just who they really are. Sound familiar? Beyond the shows catchy songs, cool costumes and the typical high school dramas, Disneys High School Musical features character and stories to which everyone can relate. LEARN THE lINGO! Sound like a pro as you master new words from musical theater throughout the guide: A prelude is a short bit of instrumental music that sets the mood for the following act.

When we reach, we can y. Whether you dream of being a player or playmaker, a singer or songwriter, a star performer on stage or the many other theaters of lifetry activities in this guide to help bring out the music in you. Along the way, you will discover the joys of theater and learn more about yourself, your family and friends! Bop to the Top! Songs and singing are featured throughout Disneys High School Musicalkaraoke, pep rally cheers, audition duets and, in the musical theater tradition, when characters break into song while speaking. Ultimately, High School Musical is part of a great musical theater tradition, a distinctly American invention, ready for you to explore.

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CUE SHEET ms yone Has Drea Prelude: Ever r Show! Welcome to Ou s: se Ri n ai rt Before the Cu Theater on to Musical ti uc od tr In ! Meet the Cast e Game cha Head in th t Ge : re tu er Ov This Together Were All in a Way Can See Us in d rl Wo he T Who We Are fferent Than Di s at Th ds a Stage All the Worl tors Craft Act 1: The Ac g g and Directin Act 2: Writin Take a Break Intermission: c rds Meet Musi Act 3: When Wo s in Motion Act 4: Storie omotions uction and Pr od Pr : es en Sc Behind the sical High School Mu n Ow ur Yo : Grand Finale tes Directors No

Page 2 Page 4 Page 4 Page 6 Page 7 Page 7 Page 9 Page 10 Page 12 Page 14 Page 16 Page 17 Page 19 Page 21 Page 23 Page 25

Check, checktestingone, two, three. The tech crew and stage manager run lighting, sound and safety checks before In theater and lm, a cue is a every show. Before the curtain rises on stage signal or direction that your activities, always get the all clear tells the cast and crew where to signal from your stage managerMom, go or what action to take. Dad or another responsible adult! In the recording industry, cue sheets spell out the order of tracks on a compact disc.

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B E F O R E T H E C U R TA I N R I S E S :

WELCOME TO OUR SHOW!

Introduction to Musical Theater
Now thats show biz. Ms. Darbus, the drama teacher in Disneys High School Musical, wants students to appreciate the wonder, tradition and history of musical theater. Like jazz and the blues, musical theater is a unique American form of art, rooted in older cultures. Born in the Jazz Age of the 1920s, musical theater blends operas, operettas, musical and dance revues and vaudeville comedy acts with popular ideas and sounds. Composers in New York Citys Tin Pan Alley cranked out crowd-pleasing musicals for the Broadway stage and recorded songs that filled the airwaves for years. What comes to mind when someone says musicals? Singing? Rock opera? Music video? MP3s? Go on a library or Internet scavenger hunt to sample the sounds of musical theater over the decades, looking for the top songs, famous artists and hit shows in each period. Learn more about musicals by interviewing older friends and family members. What are their favorite shows, stars, songs, scenes or composersand why? Learn a hit show tune or dance made popular during another era of musical theater. How do stories, music and dance in modern musicals compare with past favorites? The sound of music. In the early days of musical theater, performers would break into spectacular song and dance routines that had little to do with the plot. (Talk about show-stopping scenes!) But in 1943, Richard Rodgers and Oscar Hammerstein II sparked a revolution by using song and dance to actually tell a story in Oklahoma! The pair created a series of sentimental musicals with memorable songs people still love today because, as Hammerstein once said, the things we are sentimental about are the fundamental things in life. What is fundamentally important to you? In their show The Sound of Music, children learn to chase away fear singing about favorite things. How does music ease your fears?

any ubles and m o tr h it w d e ll gly. tiful as it is u The world is u a e b s a is t reality out injustices. Bu nt to sing ab a rt o p im s a st slums. I think it is ju to talk about is it s a s g in in it. rn ithout hope beautiful mo w g in th y n a t write I just couldn
95-1 erstein II (18 Oscar Hamm ricist Broadway ly 960)

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Match the playmakers to their musicals. Check the Web for answers and learn more about these creative collaborators. What contributions do composers and lyricists make to a show?

Timeless tales. In the 1590s, William Shakespeare wrote Romeo and Juliet about the untimely death of two teens from rival households who fall in love. In 1957, audiences wept to a similar tale when West Side Story opened on Broadwaya show that broke from the tradition of comedy in musical theater with themes of gang violence, murder and forbidden love. Check out a few of the video or DVD versions of these plays. How do they compare? How do music and dance tell the story? In Disneys High School Musical, Kelsi writes the score for a new play called Juliet and Romeoa feminist twist on Shakespeares classic. In trying out for the show, Troy and Gabriella rise above cliques and expectations to find joy in music and each other. What other plays feature star-crossed lovers?

YNAMIC D Andrew Llo UOS yd Webber and Tim R ice Pete Town shend and Des McAn Tommy uff Alan Menk en and Ho The King a ward Ashm nd I an Frederick Jesus Chr Loewe and ist Supers Alan Lerne tar r Jim Jacob s and War High Scho ren Casey ol Musica l Richard Ro dgers and O West Side scar Hamm Story erstein II David Lawr ence and M atthew Ge Grease rrard Leonard Be Little Sho rnstein and p of Horror Stephen S s ondheim My Fair La dy
Theater etiquette. How is watching live theater different than watching a movie or TV musical? Why is it important to watch quietly? When can members of the audience make noise? What sounds are OK to make? How do you show appreciation or dissatisfaction in a theater? Wait a minute Check out these dual definitions of words common in musical theater! Hook A phrase of music or lyrics in a song that catches audience interest, or an item you hang your coat on. Score All the songs in a musicallike how the points add up in a game. Beat Hold your temper. In music and dance, a beat is a count of about one second. Strike Three and youre out! Or, call it quits when you take the set apart after a show. Block To lay out all the moves telling actors where to go on stageor deect a shot in basketball. Pit Where the orchestra sitslower than the stage, but not really a hole! Apron Part of the stage in front of the curtainand a way to stay clean in the kitchen. Wrap Grandma calls her sweater a wrap, but in theater and lm, Thats a wrap! means its all over. Corpse A dead bodyand when an actor gets an uncontrollable t of laughter on stage! Beginners Freshmen! And cast members who are on stage when the curtain goes up.

eater e things in th re th d e e n ce u Yo d the audien n a rs to c a e ing. the play, th give someth st u m h c a e d an

31) igh (born 19 Kenneth Ha British actor

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MEET THE CAST!

Troy Bolton is captain of the East High Wildcats basketball teamand the coachs son. Once he meets Gabriella and sings a karaoke duet with her, he nds theres more to life than basketball.

Gabriella Montez is the new girl at East High School interested in Troy, mathematics, science and auditioning for the musical.

Chad Danforth is Troys buddy and teammate. He loves basketball, is skeptical about leotards and gets a serious crush on Taylor when they work together to help their friends.

Sharpay Evans is the president of East Highs Drama Club. Shes used to getting her wayand all the lead roles.

Ryan Evans is Sharpays sidekick and younger twin (by eight minutesa fact Sharpay wont let him forget!). He has starred opposite Sharpay in 17 productions. And he loves hats.

Taylor McKessie lives for science, thinks sports are for Cro-magnums and hopes that her new friend Gabriella will join the science team to help them win the Scholastic Decathlon.

PLUS:
Zeke Baylor is a top basketball player on the East High Wildcats team. We discover he has two secretsa crush on Sharpay and a love of baking. Kelsi Nielson is a quiet, dedicated lyricist and composer working on a new feminist school musical, called Juliet and Romeo. Ms. Darbus is East Highs dramatic drama teacher. She loves introducing students to the magic of the arts, and ghts with Coach Bolton over the importance of theater and sports. Coach Bolton is Troys father and basketball coach. A former Wildcats champion, he has high hopes for his team and even higher expectations for his star son.

Say what? Write a line each character might speak or think. What slang might the character use? Sing what? What music might the character like? What karaoke song would he or she sing first? Walk this way. Move like the character. How would you enter the cafeteria on the first day? Casting director. In the musical of life, who would you choose to play you? A famous actor, friend, teacher or mentor? Who would play the other important roles in your life story? Musical director. If you had to choose one song to summarize your life, what would it be?
Watch High School Musical on Disney Channel!

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O V E R T U R E :

GETCHA HEAD IN THE GAME

Were All in This Together!
What is it about musicals that brings people together? Get your head into the game as you explore some of the big ideas, or themes, in Disneys High School Musical. At the same time, get a hands-on introduction to theater techniques that even Coach Bolton and the Wildcats would enjoy. Teamwork is the key to success in theater, sports and life. Every role is a vital part of a shows success. Working in an ensemble is essential on stage and in lifewhether in a lead, cameo, supporting, walk-on or behindthe-scenes role. And every operation needs understudies ready to step in when a player cant perform. Consider how you work with back up, how you follow or lead and help others to shine. These are true star qualities. Beautiful noise. Gather in a circle, with each person bringing a small object to make a rhythmic noise. Listen as the first flips through pages of a book, another rattles keys, still another dribbles a ballall playing with sound, tone, cadence and beat. Moving in turn around the circle, each person adds to the grooveexploring their own sound while composing a song in harmony with others. After jamming for awhile, play without props. Each player creates a soundchirping, clicking, clapping, tapping, experimenting with high and low, swift and slowas others join in one at a time around the circle. Next, ask each person to move to the music, building off the movements of others. An overture is a piece of music that sets the mood and introduces the audience to themes they will hear throughout the show.

Okay, n ow we w il to do th is if we a l only be able ll w ork toge Troy Bo ther. lton

in Disne ys High School M usical

Mix and mingle interviews. Mix and mingle interviews can help you focus and listen better. Ask players in a group to move freely around the room as you sample a track from Disneys High School Musical. Pause the music. Players partner with the closest person, standing back to back. One partner interviews the other, then retells the story to the group. Switch roles so each person gets

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TheAter Lingo Sets the StAge For LiFe!

Ensemble: A group that works together with equal contributions and trust. Character: More than a role in a play, its how you treat people. That reveals true character. Motivation: The reason behind the actionwhat drives you and a chance to listen makes you work for your best. and learn without Obstacle: Anything in the way of the characters ability to looking. Try these achieve goals. What obstacles do you face? conversation starters: Tell me about Ovation: Bravo! Brava! A rousing round of applause from the something you love. audience for your eorts. How does music make you feel? Tell me about a time Friends and enemies. when you sang or danced in public. Not everyone in Disneys High School Musical gets along. Kids in different cliques are in Create a group contract. conflict, and it changes how they move. Build Build a sense of community in your class or confidence, teamwork and relationships among a group of friends. Discuss agreements with this group game. Each player secretly that are important for all to honor. Outline chooses another to be an enemy. When the and publicly post rules, expectations and goals director calls action, players move around you will work on together. the room, avoiding their enemies at all cost! The director then calls freeze, asks players to choose a friend and calls action again. This time when moving, players must keep their chosen friends between them and their way, in their own l ia c e sp is e enemies. After the game, consider how you re not Everyon er strong, we th o h c a e , y could tell the difference between friends and e a k w we ma nt in a good re e i d e r e enemies, how you changed physically, how . the same, w re we belong e h w s r e th situations like this come up at school and how e tog cs ri ly you can handle them. ether ll in This Tog
Were A l Musical s High Schoo from Disney

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The World Can See Us in a Way Thats Dierent Than Who We Are
Students at East High learn to break free of stereotypesoverly simple ideas about a person based on their membership in a group. While they may be based on a kernel of truth, stereotypes are overly simplified ways of looking at people that rarely are accurate. Go with the ow? Listen to the song Stick to the Status Quo from Disneys High School Musical: No, no, no, no! Stick to the stuff you know. If you wanna be cool, follow one simple rule: Dont mess with the flow, no, no, stick to the status quo. What does status quo mean to you? Why do you think the songwriters chose that term? Do the East High characters accept their roles? Find yourself in High School Musical. Are you an athlete like Troy, cautiously stepping onto a new stage of life? Maybe you are a newcomer like Gabriella, or a seasoned but jealous school star like Sharpay. What groups or social cliques are common in your schooland how do you work and get along with different people in them? What characters from other musicals remind you of people in your own life? How well do stereotypical characters in stories reflect qualities of true people? What dimensions of the stereotype are harmful or helpful in communications? What are the different roles people play in your school? What reputations and expectations are associated with each? Map out your thoughts in a writers word web (a picture that links words to show how ideas are related). Where and how can you build new networks linking people and ideas?
friends book homework basketball practice athlete

Student
school cafeteria

So good to be seen, so good to be heard, sings Sharpay in the High School Musical number What Ive Been Looking For. She knows that stage performers rely on keen powers of observation, memory and perceptionusing all of their senses to help memorize lines, learn cues, tap into emotions, add depth to their character and communicate mood to the audience. Sharpays shoebox. Test your ability to observe and remember by placing a collection of small, safe objects into a shoebox. Ask players to study everything carefully for a few minutes, then cover the box. What details or relationships among objects do people recall? Listen to the environment to develop and appreciate your sense of sound. Sit quietly with your eyes closed for a minute. Note how many different sounds there are! Listen carefully in other environmentstaking time out for a few minutes each day. How much of the world do you understand through sound? Imagine what the world is like for those who cannot hear.

the e comes from tr a e th rd o w . The seeing place e th s n a e m e the Greeks. It le come to se p o e p e c la . p It is the cial situation so e th d n a life truth about
) (19011992 Stella Adler acher te g n actin ca ri e m A t n e promin and actress

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All the Worlds a Stage

Musicals offer a chance to gain experience and skills you need to succeed in other situations in life. Body language and gesture. Actors think through moves and make deliberate gesturespainting pictures that capture mood and motive. Spend 10 minutes people-watching at a mall, restaurant or classroom. Can you tell how a person is feeling or thinking from the look on his face, the position of her body, the space between them? What stories can you build observing interactions among others? What does your body language say? Imagine watching yourself in fast-forward on videotapenoting exaggerated or repetitive motions. Try using your body to show a range of emotions and attitudes. Can others tell when you are acting like a person who is listening, angry, in love, impatient or guiltyor someone arrogant, puzzled, amazed, tense or tired? Without sound, show you are grieving, delighted, interested, jealous, selfish or silly. Overcoming fears and ops. Troy was afraid to tell his friends about singing. Gabriella choked up at the callback auditionsuntil Troy reminded her about the time they sang karaoke together, and it felt just right. Overcome your jitters and any feelings of stage fright with plenty of rehearsals so you feel well-prepared. Try deep breathing exercises or blow raspberriesgently vibrating air through your loosely closed lips. Remember the audience is your friend people want to see you do well. Peer just over the heads of the audience to avoid eye contact, and feel your tension melt away. Some actors exercise to shake out their jitters. Warm up and stretch out your face and voice muscles, as you might limber up before playing sports. Use the power of visualization to picture your star performance or imagine you are in a relaxing space where you feel at ease.

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What roles are in your future? Picture yourself or a character from Disneys High School Musical at different stages in life: infancy, childhood, young adulthood, middle age and old age. Walk, talk, move, sing or dance as you might at each stage and age. Timing, pacing and delivery. What keeps you on the edge of your seat or puts you to sleep? Actors and other performers depend on presentation, timing, staging and word choice. They try to read the audience, adjust to its mood and anticipate reactions. Watch powerful speakers, presenters or comedians. Detect rhythm and patterns in their language, volume and tone of voice. How do they pause for effect? How much time does it take for ideas to sink in or laughter to ring out before the presenter resumes? Try reading a passage with as few stops as possible; read it again, in slow motion; then a third time, using breath and timing for punctuation and impact.

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1937) hwin (1898 music George Gers w d Broad ay an l ca si as cl popular, ted with his ho collabora in composer w er, Ira Gershw lyricist broth

best ke jazzits Life is a lot li provise. when you im

Zeke Baylo r

We should be boosting you up, not tearing you down.

in Disneys H igh School M usical

This is not what I want. This is not what I planned! Get over it, Sharpay! Star performers know how to go with the flow. They stay relaxed, in character, on top of cues and ready to improvisethinking, acting and reacting to situations in the moment, creating new ideas and approaches as a scenario unfolds. Actors arent the only ones who improvise. Teachers, cooks, salespeople, counselors, athletesmany people combine imagination and flexibility with observation and communication to get through situations. Try these improvisation games: Mirror, mirror. Standing face to face, copy a partners slow, steady movements. Maintain good eye contact. Move as one, working in unison so it is hard to figure out who is leading. Go Wildcats! Players suggest props, words or situations around which to build a scene at an East High pep rally. One catchno speaking. The entire scene has to be in rally songs or cheers! Add gestures and movements to communicate. How does that affect the tempo (speed), pitch (highness or lowness) or volume of your cheer? You took a big risk by singing and improvising! What did it feel like to sing by yourself? How does it compare with singing in a group?

Each of us brings something to the table to help each other grow. Working together in harmony, we can resolve conflicts and discover new ways to reach a healthy balance in life activities. Gain valuable perspective listening to different points of view and reaching out to others by trying these. Reasonable parties. Coach Bolton and Ms. Darbus are passionate about their work, each believing their activity is more valuable to students. Stage a debate between the Drama Club and Wildcats. Each group must present reasons why their activity is more important to high school life than the other. List five valuable skills you need to do the activity. How does the activity help an individual, the group and the school community? After each side presents its case, judges will decide the strongest argument. Strike a balance. Finish homework or watch TV? Make it to the auditions or go to the playoffs? Sometimes we get pulled in too many directions. Talk with caring family and friends to help sort and set priorities. Other people are there for support. Try this with your team, club or class: Gather a group around a tree stump. (An overturned plastic drum bucket or sturdy crate will do, too). One at a time, players step up and try to stay balanced as a group until all are aboard! Can you reach balance while walking, hopping or sliding on an imaginary tight rope?

Places everyonehit your mark! Actors need to nd their spotsmarked on the oor with tapeso the stage lights will be on them.

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ACT 1

The Actors Craft

focus Talented actors bring into ke their all of the qualities that ma ing how characters uniquecaptur ds, moves, the character looks, soun into their thinks. Actors breathe life e world characters, trying to see th es, to through the characters ey actice some become that person. Pr in visual, basics you need to do well while using language and theater arts n and actyour eyes, ears, imaginatio and scene ing skills in improvisation rs. work as you create characte servation Keep a journal or ob havior and banknoting human be e into roles. interaction you can weav at make Consider all the facets th e a sponge, the person unique. Be lik e a journal soak up impressions. Writ int of entry from a characters po inary TV view, or videotape an imag r. Listen interview with the characte to and practice speaking with different accents. ory. Tap into sense mem ng ice Think about eating a melti ddles or pu cream cone, splashing in om. Silently the smell of the locker ro the sensaact out how it feels. Show dy. tion, using all of your bo Get into character. er winning Imagine you are Kelsi aft e Tony Best Musical Score at th up cookAwards, or Zeke whipping you are a ies in the kitchen. Maybe out for new kid at East High trying who am the basketball team. Play ur body, I? with friends, using yo vivid voice and feelings to create dy and characters. What sort of bo r have? posture does your characte es the What kind of gestures? Do t or avoid character make eye contac How does it? Twirl hair? Bite nails? your character walk? Whats your story? rs personal Think about the characte aracter history. Where does the ch es and live? Add mannerisms, lik nest, dislikes. Is the character ho can you loyal, deceitful, shy? How other playshow those qualities? Can character ers tell a story about your from tidbits you portray?

All the b est p role som erformers brin g to the ir dieren ething more, so t than w m ething hat the a paper. T uthor pu hats wh t on at Thats w makes theatre li hy it per ve. sists. Step
hen Son dheim (b or compos er and ly n 1930) ricist

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Chillin at home. ing a favorPicture your character do t out the ite activity at home and ac Who is speaking? shooting n, de e th in g din rea ne sce Logue in. Make ipping up hoops in the backyard, wh up a minute-long does the w Ho . en ch kit e th in ks snac monologue for Act out a character eat? Sit? Sleep? your favorite charr in cte ara ch ur yo g yin pla y Tr scene. acter. Which High library, the different settingsat the School Musical scholastic ues set championship game or a ngs or verses have monolog so for nt rta po im e-minute decathlon. Why is it to music? Improvise a fiv ess pr ex lly ca ysi ph e to actors on stage ue with another person. Th log dia u yo do w Ho s from the meaning behind words? word ending logue come ord, speech, do this? Greek logos, meaning w suffix refer telling. Words with this . hy w What do Understanding to types of speech or text. st mu s tor ac , ing e? To be convinc mean: Epilogue? Prologu ese th arch eir th talogue? understand what causes Travelogue? Idealogue? Ca n tai cer a in ink th or acter to behave m the way. Some actors work fro their own inside out, tapping into character. emotions to motivate the utside in, Others work from the o e person presenting a picture of th What I am not they are playing on stage. interested ? rm rfo pe to in th w u yo it s ate hout myse tiv mo lf ; I am inte e truth that is rested in t that is wit he truth h in w. vie m of t yself. Poin Konstanti sneys n Stanisla Recreate a scene from Di vsky (186 e th R m u 31938) fro ss cal usi ian actor a M ol Stanislavsk High Scho nd directo y created r dif l th era sy e method stem of re point of view of sev laxation, c acting ap th o proacha a n t helps acto centration and senso rs draw on ferent characters. Play sev ry exercise their own experienc ur s emotions, es to port eral times, considering yo m emories a ray charac n d te . ive rs ect realisticall change in persp y.

A monologue is a speech in which a character directly addresses the audience or another character as if thinking out loud. When the character delivering a monologue is alone on stage, it also may be described as a soliloquy.

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ACT 2

Writing and Directing

Writing and script development. Describe a person whose appearance impressed you, then build a story in which the characte r can be involved.
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lan the na me us Smithee ed by who w sc ish to remain reenwriters anony mous

The plot thickens. Build a group story. One player begins the yarn by spinning a few lines. At any moment, the director points to another player who imme diately picks up the story where the fir st left off. Continue as each person adds to the tale. Practice storytelling with younger childrenthey can be a tou gh audience! Try to unite, invite, offer and acknowledge contribution s to keep em hooked!

1948) ebber (born W yd o Ll w re And inning r of 13 award-w se o p m co h Englis way and cals on Broad si u m er st u b block est End in Londons W

ere were I just wish th ters. more new wri

Analyze a script. Most scripts tell a story wi th a definitive shape, or arc, though which all characters pass, starting wi th the scene (which sets context), movin g to the buildup (where there is a conflict or opportunity), culmina ting in the climax (turning point of the story) and ending with resolution. Th ere are several different kinds of plo ts that move a story from A to Zfro m problem to resolution, mystery to solut ion, conflict to peace, danger to safety , confusion to order. Think of stories you know that are examples of each or describe some other plot patterns.

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Musical come dies arent wri tten, they are rewritt en.

Storyboard. rds are a Like comic strips, storyboa how the plot series of pictures that show drawings, unfolds. Build a story with etches and dialogue bubbles, color sk ge and snap magazine cut-outs. Or, sta the main a series of photos. What are cters work events? How will the chara portunities? through obstacles and op ction. Giving and taking dire the directors Once rehearsals start, it is nts for each charjob to block out moveme ate movement acter on stage. Actors anim s, but follow with their own motivation cues to hit their the directors blocking and on stage: marks in nine quadrants
Upstage Right Centerstage Right Downstage Right Upstage Center Centerstage Downstage Center Audience Upstage Left Centerstage Left Downstage Left

Stephen Sond heim composer and lyricist who ha s been called the greatest an d perhap in the American s best-known artist musical theate r by The New Yo rk Times

ections by writPlayers can learn stage dir s on index cards ing a lot of different move wnstage right, (Cross down left, move do the cards one come centerstage). Drawing calls out stage by one, the group leader ing each person directions to the castask m Disneys to move like a character fro ss upstage right High School Musical. (Cro stage left like like Taylor; dribble down Kelsi.) Chad; enter stage left like

Cafeteria freeze. work to keep Performers and directors me on stage action in an effective fra rson adds to and in film so that each pe picture. Try the overall impact of the to enter the this game: Players pretend moving fluidly lunchroom at East High, e director calls around each other until th one freezes, then out Stage picture! Every the audience. notes their relationship to ector encourWith side coaching, the dir the picture to ages those who are out of ke any part of do whatever it takes to ma dience (jut out their body visible to the au etc.) Move big, an arm, slide onto a knee, with poses at and use all levels in space ights. high, low and medium he

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I N T E R M i S S i O N :

TAKE A BREAK
How do you unwind? exciteAfter the anticipation and tors and ac ment of the opening acts, loosen up audiences take breaks and y performduring intermission. Man d visualizaers use basic relaxation an improv tion techniques as well as ercises to games and other acting ex ap up after warm up, ease into or wr a scene or show. limber or Try these activities to get loosen up anytime: Imagine Relax. Lie on your back. ating, or each part of your body flo relax each falling asleep. Isolate and ting go toe. Move up the body, let kle, calf, of tension in the foot, an stomach, knee, thigh, hips, waist, oulders, heart and lungs. Soften sh every arms, hands, fingers and ck until muscle of the face and ne you feel at peace. that enter Clean slate. Project ideas blackyour head onto a mental board, then wipe clean. your hips, Dance like Ryan! Rotate e to your knees and shoulders in tim favorite music. rs try to Wildcat basketball. Playe score dribble, guard, shoot and ft and toss using an invisible ball! Li g how it the space ball, discoverin the shape. feels, how others can see with full Take aim, throw and catch ll in space body movements. Is the ba e with or your imagination? Thos artbeats flushed faces and rapid he Why do were truly in the game. ily after players breathe more heav need more exercise? Why do bodies oxygen after exertion?

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ACT 3

When Words Meet Music

Vocal warm-ups. voices Actors and singers use their sound and as instruments to project er breathemotionpracticing prop facial ing techniques, vocal and and in warm-ups to stay in tune ese: shape with exercises like th eathe Rise and fall. Learn to br e muscle from your diaphragmth eathing, responsible for correct br stomach, which is at the top of your n soup shaped like an upside-dow s downbowl. It expands and move Lie on ward when you breathe in. ced on your back with a book pla ok rise bo your stomach. Watch the ale and and fall as you deeply inh exhale with an ahhhh. ciating Limber lips. Practice enun as quickly with tongue twisters. Speak each sylas you can. Take care to say diction! lable clearlythats good e line Stress points. Read the sam a different many times, emphasizing word or phrase. choose a Singing syllables. Players e game. word or phrase to start th ms around Position individuals or tea lable of the a circle and assign one syl turn to phrase for each to sing in rounds, a familiar tune. Sing a few phrase then try the same word or with different melodies. When do I sing? ip Think about the relationsh d mood. an between language, music Disneys Listen carefully to songs in u take High School Musical as yo a in each notes. Whats the big ide make you song? How does the song es or feel? What messages, phras does that words pop outand what and events? tell you about characters story and How do songs move the hy do you pull you into the plot? W icist think the composer and lyr ng or dance chose this moment for so instead of spoken words?

HAVe FUn with TongUe Twisters

Red leather, yellow leather. You know New York. You need New York. You know you need New York. A skunk sat on a stump and thunk the stump stunk, but the stump thunk the skunk stunk.

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Sing in context and ch aracter. A reprise is the return of a song in a different context later in the show. Sharpay and Ryan sing a polished version of What Ive Been Looking For early in High School Musical, while Gabriella and Troy offer a slower, more tender version in th e reprise. Try singing this song like characte rs in the show. How would each perform it? Then, fit the words to a different music al stylerock, pop, hip-hop, country, reg gae or blues. How does the music chan ge meaning? Score! A marriage of music and lyrics. Choose a poem, text passa ge or sports article to be your lyr ics matching it to another fav orite tune. Sing your song for others. Listen for musical and wo rd

patterns that repeat. How does music add emotion? Get together with classmates to create an entire scoreusing news articles, editorials and advertising about a globa l or local event. What type of music will yo ur group choose to tell the story? Lay down a hit soundt rack. Make a CD of your comp ositions. Choose the order and title of song s. Take a picture of your group for the cove r, create a montage or add original art. Remember, every grea t artist was once an amateu r! Stephen Schwartz wrote th e musical Godspell while he was still a teenagerand it went on to become a Br oadway hit.

Agnes De Mille (190 Harlem-bo 51993) rn d a n whose fam cer and ch oreograph ous dream e ballet seq uence in O r used danc klahoma! e to advan ce plot

The trues t expressio n of a peo is in its da ple nces and it s m u sic. Bodies ne ver lie.

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ACT 4

Stories in Motion
Its NOT All Greek to Me!

Body sense and rhythmic movement. Be aware of how you move ace through space. Go on a sp walk or play freeze tag in slow motion. Play Double Dutch with an invisible jump ropekeeping the . rope and jumpers lined up re Turning the rope takes mo concentration than jumping! Dance like an object h, imagine how a paint brus basketball, pom-pom, piano or scoreboard would move to music.

What root and meaning do these terms from Greek have in common?

Choreography: From a Greek word that means to describe a dance in writing and drawing. Choreographer: Someone who arranges dance steps and movements for a ballet or show. Chorus: In Greek theater, a character or group that comments on action and advances the plot.

e. Tell a story with danc character Play a silent scene in which music, emotions are controlled by expresses or improvise a dance that sic make your ideas. How does mu do you you move? What pictures ger. Shrink see? Grow bigger and big gerate smaller and smaller. Exag . moves for musical theater

ration! Inspiration and perspi eys High Choreography from Disn ny influSchool Musical draws on ma basketences and uses moves from p rallies. ball, cheerleading and pe on hipOther dance scenes draw z tradihop, salsa, modern and jaz tions, as well as freestyle.

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Get Inspiration
MoVement Run, walk, hop, leap, skip, slide, jump, gallop, bend, twist, stretch, swing, lead, follow sPAce In what level of space are you? High Medium Low time

for Your Dance

FocUs Straight Curved Open Closed

direction Forward Slow ckward Ba Medium ways de Si Fast ag Di onal With Turning music or without

energY Strong Light Sharp Smooth

bodY Parts from head to toe Shapes the body can takecurves, angles

Choreograph your workout. Set a basketball drill to music. Clean your room to your favorite tunes. Practice number facts and commit vocabulary to memory by pairing new ideas with dance steps. Now dress the part! How do costumes and props affect character moves?

Try out these moves

Strike A Pose: Pick a typical stance from a character at East High. Fre eze for four counts. Strike another character pose and hold four counts. Ad d jumps. Repeat with two more poses for a total of 16 beats. CheerleAder Arms : Ready, OK! Make 90degree angles with your arms. Hold them straight up by your ears or in a V. Clap between each movement as you try va riations. SteP ClAP: Step to the side with your right foo t. Bring your left foot into its side and clap. Step wi th your left foot and revers e. Repeat for eight coun ts. LUnge: Stand facing for ward, lunge to the right side and put your right arm straight out to your side. Come back to the middle. Repeat to the lef t side. Add in arm variatio ns and try lunging forwa rd and backward. PAddle TUrn: With yo ur left foot on the groun d to pivot, let your right foo t make eight small taps to paddle around in a full turn. Keep arms out to each side. Go around once, then clap or pose. Switch so that the right foot pivots, with the lef t foot paddling. Repeat ea ch side for eight counts. FreeStYle: Use imagina tion to create new routinescombining the se basic elements of all dances.

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B E H I N D T H E

S C E N E S :

PRODUCTION AND PROMOTIONS

Behind-the-scenes talent makes major musical productions possible, with each person contributing unique skills and artistic sensibilities.
Sound designers amplify, direct and enhance the shows audiocreating noises, recordings and special eects. Lighting design adds dimension to a play by illuminating the stage in dierent ways. Consider how light of dierent color, intensity and direction lls a set with atmosphere.

Set designers translate real and imaginary settings onto the stage, working with craftspeople to build a world in which the actors play.

Property or prop masters nd or build everything needed to ll the set, from furniture to hand objects.

Stage managers are organized multitaskers who keep everything running smoothly during show time creating production schedules, monitoring rehearsals, supporting the director and calling cues.

Make-up and hair stylists often use exaggerated techniques for musical theater to make actors look older, younger, hairier, scarier and balderor simply to make sure actors expressions are visible to people in the back rows of the audience!

Costume designers and wardrobe stylists create realistic, period clothing making sure actors can perform freely.

Marketing and promotions specialists work to make sure the house is packed. They reach out to the community with special events and activities and generate good publicity and reviews to spread the word about the show.

Learn more about technical theater jobs. Watch a show entirely from the perspective of the stage manager or a crew member in the catwalk above the stage. Arrange for a backstage tour of a local theater and meet or

House manager and box oce sta are responsible for selling tickets and coordinating the work of theater employees to assure safe, clean and comfortable spaces for the audience to enjoy the show.

interview some of the production crew members working there. Role-play a production meeting before rehearsal to get all the people involved on the same page.

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Create the look. Design a costume for an original High School Musical character. Brainstorm with friends to choose a character you would like to include in the story. Show the characters personality with clothing, fabric and color choices. What kinds of clothes does the character wear? How does she view herself? How does he reflect his feelings in what he wears? Write down five articles of clothing, colors or accessories the character would wear. Draw sketches to illustrate your designand use photos and magazine clippings to show fabrics, textures and colors that fit your character. Write a line or two that the character will say when he or she first appears on stage in your costume. A whole new world. Ever dream of what the very first home you own will look like? Design a set to look like a room in your dream house. Imagine how you will use the room. Where will people stand, sit, work or play? What colors do you see? What furniture? Objects? Draw a sketch, or use a shoebox to make a diorama, a threedimensional representation of the scene.

Illuminate me. Get a sense of what light can do on stage. Sit in front of a mirror in a darkened room and shine a flashlight on your face from several positions (avoid your eyes, please!). How does lighting from the top, side or bottom change your appearance? What happens if you use different colors? Cover your flashlight with colored plastic cups, food wrap, cellophane or notebook dividers to experiment with effects of the spectrum. Chart the changes you detect, then decide the best way to create mood with color and direction in lighting and show others.

performed by Great works are perseverance.

(17091784) Samuel Johnson poet English critic and

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G R A N D

F I N A L E :

YOUR OWN HIGH SCHOOL MUSICAL

Apply for a grant to produce Disneys High School Musical. Launching in Fall 2007, the NAMM Foundation and Disneys High School Musical School Grant Program allows for middle and high schools across the U.S. to apply for a grant to cover all licensing costs that may be required in order for them to put on their own in-school stage show and to also receive a cash grant that will help support additional teaching and production needs including music and/or dance coaching to enhance the educational opportunities that are part of the production. Grants are competitive and will be evaluated based on grant funding guidelines, including the schools and communitys planning and producing concrete educational outcomes as part of a production of High School Musical: On Stage in a public performance that involves students in all aspects of the production. Grant guidelines will be available at nammfoundation.org.

Do you how you remember in kin d me derg about th et a kid, and kno arten, em, then w youd be 10 secon nothing playing d s later like y because you didn ou were best frie t hav nds, but you e to be anyone rself?
Gabriell a Monte in Disne z ys High School M usical

ing ow someth n k to d a h e people We felt w ont think d I . y r to s at k of his bac st accept th ju ld u o w ma arn in the cine e had to le w k in th I . hes there t there. how he go

Everyones a critic. Read reviews of Disneys High School Musical to understand how critics rate a showthen go to see a local musical production and write up your opinions. Consider different aspects of the showpositive and negative. Look for originality, expression and a good sense of character among actors and vocalists. How did the choreography and dancers convey energy and emotion? How successful was the production overall? Send your review to the local or school newspaper to publish.

orn 1948) Webber (b d y lo L k story w Andre screen bac n o n a f o the use Phantom in discussing e th f o r te rac f the Opera for the cha Phantom o e h T l a c si mu

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Be your own Ms. Darbus. Start a theater ensemble with other kids. What are you interested inimprov, comedy sketches, song and dance? Create a group contract (see page 8) based on your troupes interests and agreementsand start putting together a show. Is there a local theater, coffee shop or organization with a talent show or open mic for young performers? Put your show in the spotlight! Perform for a younger class at school, at a senior center or a congregation in your community. Make posters and ads, send invitations and send a short notice or article to local media to promote attendance at the show.

(one of t

The on ly thing worse t about is not bein han being talke d g talked about. Oscar W ild
e (185 poet, no velist an 41900) d he most successfu playwright l in Vic known fo r his sha torian London) rp wit

Grab a seat. Live theater needs an audience. Check entertainment listings in the newspaper or on the Web for musicals and other shows that interest you. Or plan a group trip to Broadway! This could be the start of something new. Get involved in a musical theater production at school or in the community. Auditionor volunteer to work backstage. Its a great way to make friends and express yourself through music, story, movement and dance. Many productions rely on interns and assistants to help with costumes, sets, publicity, ticket sales and refreshments.

t . If you don m a re d a e hav ke You gotta , how you gonna ma am have a dre me true? d a ream co 0)
95196 tein II (18 rs e m m a ngwriter Oscar H cist and so ri ly y a w d Broa

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DIRECTORS NOTES
to literat - Organiz ure e ideas f or presen tation - Provide details o f charac ters - Develop characte rs and pr ovide plo - Compr t details ehend and analyze t ext - Write

English

in respon se

/Language

Arts

GENERAL N OTES Tap enthu siasm sparke d by High Sc Musicalins hool piring kids w it h musical theater to bec ome better p eo ple and performers! Novice acto rs may shy aw ay from the spotlight and centerstage so be sure to encourage play ers to work in groups at first, and pro vide time for individual prac Each activi tice. ty is designed to achieve standards of excellence in core subjects and practice essential ski lls that stude need to succ nts eed in high s chool, colleg and careers. e

THEATER
CAREER ED
- Teamwork

- Problem solving

- Communication skills - Career foundations

ter d analyze thea - Investigate an eater ry integral to th la u ab c vo c ti - Use authen ovised work ritten and impr w r fo s ea id e - Generat ed events inary and script ag im to ly ve si es ble - Respond expr te to an ensem bu ri nt o c d an collaborate - Concentrate, and dialogue create scenes d an ters se vi o pr m - I ate vivid charac re c to ns o si es sture and expr oductions - Use voice, ge al or formal pr rm fo in r fo s ic interpretation - Realize artist

- Use movement, pitch, tem po and tone for character - Use elements of music for expressive effect - Call on traditional and non -traditional sound sources - Compose short pieces wit h specified guidelines

MUSIC

DANCE

ovement efficient m d n a e iv s s ply expre music and and ap t s r e d n focus and U , n io t a r t n e raditions with conc om many t y r d f o s b n r e e h t t t - Use itions/pa steps, pos e c n a d ic s - Learn ba orm dance e and perf t a e r c , e s - Improvi

the M usic T h e M uin s i c iY n ou Y o u L e Ea A r nR in N gIA Nc G tivi At i C es Tt Io VE Ix TpIl E o rSe M to usiE c ax l plore T h e a t e r M Dusical isneyChanT n eheater l . c o m / H i g hS cwww h o o l M .uN siE c aE l /D MU u sR ic LI H nY E oR u E . com Page 25

relationships Understand how individu als influenced history Interpret events within eras of U.S. history

SOCIAL ST UDIES & HI STORY Inter

pret chronolo gical

Visual Arts

on and control Show volume, proporti ed for costume design Understand skills requir g elements of design Make connections amon

Put on a Show!
You can perform High School Musical and other titles from the Disney Collection. For more information, visit Music Theatre International at www.MTIDisneyCollection.com.

HEALTH & PHYSICAL EDUCATION

- Fitness habits for a lifetime

- Self-management and social behavior - Respect for individual differences

See a Show!
Check out High School Musical on tour and learn about Disneys Broadway productions at www.DisneyOnBroadway.com.

t and ana lyze data and develo - Plan a p conclu simple in sions vestigatio n to addr - Summa e ss quest rize data ions and offe r interpre and imp t a tions lications

- Collec

SCIENC

TECHNOLOGY

urces s and online reso on ti ca ni u m m sing teleco - Collaborate u onic sources ion from electr at rm fo in te ca - Lo
The Music in Musica in You: Learning a cast of l Theaterstarring Activities Septembe friends and family YOU and ! r 2007 Special th Productio anks to Disney Th for conte n Education Departeatrical nt and act ment ivities. For additio The Mus nal resources, vis ic In You it Web sit e.

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R E S O U RC E S
Visit the Library. Learn more about musical theater with these great books: 101 More Dance Games for Children: New Fun and Creativity with Movement by Paul Rooyackers and Rob Webster A Grand Tour: The Rise, Glory, and Fall of an American Institution by Denny Martin Flinn Acting A to Z: The Young Persons Guide to a Stage or Screen Career by Katherine Mayfield Acting for Young Actors: The Ultimate Teen Guide by Mary Lou Belli and Dinah Lenney Acting through Exercises by John L. Gronbeck-Tedesco Blink: The Power of Thinking Without Thinking by Malcolm Gladwell Broadway Musicals: The 101 Greatest Shows of All Time by Ken Bloom and Frank Vlastnik Center Stage by Wayne D. Cook Creative Drama and Imagination by Helaine Rosenberg Creative Drama Resource Book by Ruth Beall Heinig From Cakewalks to Concert Halls: An Illustrated History of African American Popular Music from 1895 to 1930 by Thomas Morgan and William Barlow Funny Bones: Comedy Games and Activities for Kids by Lisa Bany-Winters Games for Actors and Non-Actors by Augusto Boal How to Talk to Children about Art by Francoise Barbe-Gall Improvisations for the Theatre by Viola Spolin International Playtime: Classroom Games and Dances from Around the World by Wayne E. Nelson and Henry Buzz Glass Kids Take the Stage: Helping Young People Discover the Creative Outlet of Theater by Lenka Peterson, Dan OConnor, and Paul Newman On Stage: Theater Games and Activities for Kids by Lisa Bany-Winters Red, Hot, Blue: A Smithsonian Salute to the American Musical by Amy Henderson and Dwight Blocker Bowers Set Your Voice Free by Roger Love Show Time: Music, Dance, and Drama Activities for Kids by Lisa Bany-Winters Stagecraft 1: A Complete Guide to Backstage Work by William A. Lord Stanislavsky for Beginners by David Allen The 7 Simple Truths of Acting for The Teen Actor by Larry Silverberg The Comedy Bible: From Stand-up to Sitcom by Judy Carter The Family Story-Telling Handbook by Anne Pellowski. The Filmgoers Companion by Leslie Halliwell The Mozart Effect for Children: Awakening Your Childs Mind, Health and Creativity with Music by Don Campbell Theater Games for the Classroom by Viola Spolin Theatre for Young Audiences: 20 Great Plays for Children by Coleman A. Jennings

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R E S O U RC E S
Use the Web. Check out these Web sites for more information on arts education and musical theater: www.actorsequity.org www.actorsource.com www.artsedge.org www.artsalive.ca/en/eth/index.asp www.backstage.com www.brainyquote.com www.broadwayworld.com www.carnegiehall.org/article/explore_and_learn/ovr_weill_music_inst.html www.costumes.org http://dance.gmu.edu/Critique_Dance.html www.ed.gov/pubs/TeachersGuide/raising.html www.free.prohosting.com/~jez www.howardgardner.com http://improvencyclopedia.org www.lyricsmania.com www.musicals.net www.musicals101.com www.namm.org www.pbs.org/wnet/gperf/index.html www.playbill.com www.playwriting101.com www.shakespeare.com www.spolin.com/players.html www.theater-link.com www.us.imdb.com

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