YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING 9-12

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

Learning Description

Students will be engaged throughout this lesson as they take improvisation to a new level. They will create stories on their feet without a script bringing laughter and energy into the classroom as they put flashbacks and foreshadowing into their bodies. They will work individually and in groups to bring prophecies to life. Students will learn about and put into practice literary techniques without even realizing it because they will be having so much fun with their friends and classmates!

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can act out memories from my own life using my body and voice.
  • I can use improvisation to create stories.
  • I can work with others to create a story.
  • I can be intentional about creating positive memories in my life.

Essential Questions

  • How can improvisation help me be flexible in my world?
  • When have I had foreshadowing and flashback moments in my life?
  • How can memories enhance my life and stories?
  • How can I be in tune to hear the foreshadowing voices around me?

 

Georgia Standards

Curriculum Standards

9th Grade Literature and Composition:

ELAGSE9-10RL5 Analyze how an author's choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

 

10th Grade Literature and Composition:

ELAGSE9-10RL5 Analyze how an author's choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

Arts Standards

TAHSFT.CR.1 Organize, design, and refine theatrical work.

b. Incorporate dramatic elements through improvisation.

TAHSFT.PR.1 Act by communicating and sustaining roles in formal and informal environments.

a. Observe and demonstrate aspects of verbal and non-verbal techniques in common human activity for performance (e.g. voice, breathing, posture, facial expression, physical movement).

 

South Carolina Standards

Curriculum Standards

ELA.AOR.5: Evaluate and critique how an author uses words, phrases, and text structures to craft text.

English I:

ELA.E1.AOR.5.1 Analyze how an author’s choices in structuring a text, including the manipulation of time (e.g., flashback and foreshadowing), create effects such as mystery, tension, and/or suspense.

 

English II:

ELA.E2.AOR.5.1 Analyze how an author’s choices concerning how to structure a literary text, order events within it, and manipulate time, create effects such as mystery, tension, or surprise.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

Benchmark T.CR NH.1: I can work with others to add dialogue to a story.

Indicator T.CR NH1.2: I can collaborate with peers to improvise multiple dialogue choices.

Anchor Standard 3: I can act in improvised scenes and written scripts.

Benchmark T.P IM.3: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

Indicator T.P IM.3.1: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

 

Key Vocabulary

Content Vocabulary

  • Character – A person, animal, or being in a story that takes part in the action; characters have traits, emotions, and motivations that shape the story.
  • Story – A connected series of events that includes a beginning, middle, and end; a story usually has characters, a problem, and a resolution.
  • Foreshadow – A hint or clue about something that will happen later in the story. Example: Dark clouds gathering in the sky may foreshadow a storm.
  • Flashback – A scene that takes the story back in time to show something from the past. Example: A character remembers their first day of school while getting ready for graduation.
  • Tone – The author's attitude toward the subject, shown through word choice and style
  • Mood – The feeling or atmosphere a reader gets from a story

Arts Vocabulary

  • Memory – The process of taking in information from the world around us, processing it, storing it and later recalling that information, sometimes many years later. Actors have to memorize lines for a performance.
  • Improvisation – A moment in a play that is not rehearsed or "scripted", or acting without a script
  • Dialogue – Conversation between two or more persons
  • Scene – A single situation or unit of dialogue in a play
  • Visualization – Creating vivid mental images and scenarios to enhance the understanding of characters, scenes, and the overall narrative, ultimately leading to more authentic and engaging performances

 

Materials

 

 

Instructional Design

Opening/Activating Strategy

MEMORY WALK TIME MACHINE - FLASHBACK THEATRE

  • Ask students what happened right before they arrived today.
    • That was a memory.
    • Ask: Is a memory from the past or future? (Past)
      • Memory is the process of taking in information from the world around us, processing it, storing it, and later recalling that information.
      • Memories can be positive or negative.
      • Ask:
        • What is the first memory that pops into your head when I say…chocolate?
        • What about when I say…homework?
      • Explain that they are about to enter a Memory Machine Walk.
        • Invite students to close their eyes, if they feel safe to do so, and visualize a particular memory from their lives.
          • Actors visualize their characters, playing out the story in their mind's eye.
        • Tell students to think of events that have happened in their lives up to this point.
          • For example, when they were a baby, a toddler, an elementary schooler, activities or accolades, family milestones, the first day of school, birthday, embarrassing moments, etc.)
          • Tell students to choose one memory.
        • Explain how the Memory Machine Walk will work.
          • Students walk around the room.
          • Teacher calls, "1, 2, 3 …. FLASHBACK".
          • Students freeze.
          • Students act out their past event/memory from their life using body and voice.
          • Teacher calls, "1, 2, 3 …WALK".
          • Students visualize another memory and repeat the process.
        • Continue until through several rounds.
      • Memory Walk Group Improv:
        • Ask students to get into groups of three.
        • Tell them that they will improvise a scene (make it up on their feet).
        • Have them choose a simple scenario.
        • Give groups two minutes to decide on their scenario and who will play what characters.
        • Explain how the Memory Walk Improv will work.
          • Teacher calls, "1, 2, 3…ACTION".
          • Students start improvising the scene.
          • At some point during the improv, the teacher will call out "1, 2, 3…Flashback!".
          • Students must immediately improvise an earlier event that gives details to the scene.
        • Give students a moment to think about possible flashbacks that fit within their scenario.
        • Start the exercise.
        • Let students improvise for about 45 seconds before calling, "1, 2, 3…Flashback!".
        • Ask for any volunteers who would like to share their scene.
        • Reflect with students by asking what they noticed about the exercise. Use the following questions to facilitate discussion.
          • How did the flashback change the way they saw the story?
          • What emotions or surprises did it create?

Work Session

  • Ask students what they thought about the improvised scenes.
    • What worked and didn't work?
    • Did all of the partners accept suggestions given by their scene partner?
  • Tell students that improvisation is making up a story as you go along without using a script.
    • It can be tough and often ends flat with the characters arguing.
    • Improvisation takes practice, and there are some important rules that help actors make it successful.
    • Discuss Rules of Improvisation.
    • Watch the video Minute Improv Yes And.
    • Tell students that improvisation is radical acceptance and cooperation in action.
    • Tell students, “Now, let's put these rules into practice and sharpen our improvisation skills”.

 

CIRCLE OF PROPHECIES–FORESHADOW THEATRE

  • Ask students what a prophecy is.
    • A prophecy is a vague or dramatic prediction.
      • It adds tone and mood to a story–usually suspense and mystery!
    • Ask students if they can think of any movies or TV shows that they have seen or books they have read that contained prophecies.
    • Share an example of a prophecy: "The sky will weep silver tears, and a path of glowing moss will appear. Choose the path, or face the silence".
    • Ask them to think of a prophecy that they have heard or make one up.
      • Have them turn and share with the person sitting next to them.
    • Invite students to sit or stand in a circle.
    • Tell them that you have slips of paper with prophecies listed on them in a hat.
    • Have one student pull a prophecy out of the hat and read it.
      • Work as a class to come up with three foreshadowing clues that go with the prophecy.
        • Example: "The lights flicker, a character makes a cryptic comment, a storm begins outside".
      • Work as a class to come up with a fast-forward idea to reveal what happens next.
        • Example: "A ghost appears!"
      • Encourage dramatic foreshadowing, over-the-top reactions, and creative problem-solving!
    • Invite some students to the center of the circle to act out a short improv scene leading up to the prophecy coming true (or hilariously failing to).
      • The scene must include the following:
        • The prophecy
        • The three foreshadowing clues
        • The one fast-forward idea
      • Encourage students to have fun and take risks.
    • Ask students to get into groups of three or four.
    • Have them choose one scene idea from Scene Ideas for "Circle of Prophecies"- Foreshadowing.
      • Example: "The Missing Homework Will Decide the Future"
        • Prophecy: "Beware! If the sacred scroll (a.k.a. the missing homework) is not returned by sundown, disaster will strike!"
        • Scene: A group of students frantically searches for the missing assignment, convinced it holds magical powers. The teacher (or "guardian of knowledge") gets more suspicious by the minute.
      • Have students start on the spot or give groups five to ten minutes to decide the following:
        • Setting
        • Characters
        • Three foreshadowing clues that go with the prophecy
        • One fast forward idea
      • Have students share improvised scenes with the class.
      • Reflect with students by asking them what they noticed about the exercise. Use the following questions to facilitate discussion.
        • What made foreshadowing effective?
        • How does foreshadowing add suspense or mystery?

 

Fun additions to consider including in the lesson:

  • Encourage dramatic foreshadowing – Have one student act as the "Prophet" to ominously deliver the prophecy before the scene begins.
  • Use props, such as a toy crystal ball, an old book, and a flashlight for dramatic lighting.
  • Allow silly twists – Maybe the "big disaster" is that the vending machine runs out of snacks. Let them be creative!

 

EXTENSION:

Have groups write down their scenes after improvising them to create a script. Students will edit and revise the scripts.

 

Closing Reflection

  • Facilitate a discussion using the following questions:
    • What did you like or dislike about this lesson?
    • Do you have a better understanding of foreshadowing and flashbacks?
  • Tell students to get with their groups and share one memory they have from their improvised scenes.
  • Tell students that memories make life interesting and can make relationships stronger. Ask them to think of an intentional way to create a positive, fun memory with a friend or family member that might last a lifetime.

 

Assessments

Formative

  • The teacher can discern if the students understand the meaning of flashbacks and foreshadowings by the dialogue they include in their improvisations.

Summative

  • Create a checklist of the elements that need to be included in the scene.
  • Create a checklist for the rules of improvisation and have audience members check off the rules that were followed in each scene.

 

 

Differentiation

Accelerated: 

  • Have advanced students write a complete story containing both foreshadowing and flashbacks using the Simple Scene prompts.

 

Remedial:

  • Create one scene as a class or allow students to contribute to the story without acting in the scenes. Or, allow remedial students to pantomime without using words while the teacher reads the improvised text.

 

Additional Resources

Improvisation Video - A Lesson on Improv Technique, with Chris Gethard | Big Think

 

Credits

Ideas contributed by: Susie Spear Purcell

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

Back to Lessons

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING 6-8

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

Learning Description

Students will be engaged throughout this lesson as they take improvisation to a new level. They will create stories on their feet without a script bringing laughter and energy into the classroom as they put flashbacks and foreshadowing into their bodies. They will work individually and in groups to bring prophecies to life. Students will learn about and put into practice literary techniques without even realizing it because they will be having so much fun with their friends and classmates!

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can act out memories from my own life using my body and voice.
  • I can use improvisation to create stories.
  • I can work with others to create a story.
  • I can be intentional about creating positive memories in my life.

Essential Questions

  • How can improvisation help me be flexible in my world?
  • When have I had foreshadowing and flashback moments in my life?
  • How can memories enhance my life and stories?
  • How can I be in tune to hear the foreshadowing voices around me?

 

Georgia Standards

Curriculum Standards

Grade 6:

ELAGSE6RL5 Analyze how a particular sentence, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of the theme, setting, or plot.

 

Grade 7:

ELAGSE7RL5 Analyze how a drama's or poem's form or structure (e.g., soliloquy, sonnet) contributes to its meaning.

 

Grade 8:

ELAGSE8RL5 Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style.

Arts Standards

TA.PR.1 Act by communicating and sustaining roles in formal and informal environments.

a. Demonstrate effective verbal and non-verbal communication skills (e.g. rate, pitch, volume, inflection, posture, facial expression, physical movement).

c. Demonstrate a variety of types of theatre performances.

 

South Carolina Standards

Curriculum Standards

ELA.AOR.5: Evaluate and critique how an author uses words, phrases, and text structures to craft text.

Grade 6:

ELA.6.AOR.5.1 Analyze how a particular sentence, paragraph, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of theme, setting, or plot.

 

Grade 7:

ELA.7.AOR.5.1 Analyze how the structure of a literary text (e.g., narrative, drama, poem) contributes to its meaning.

 

Grade 8:

ELA.8.AOR.5.1 Determine and explain how an author’s choices in structuring a text, including the manipulation of time (e.g., flashback and foreshadowing), create effects such as mystery or suspense.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

Benchmark T.CR NH.1: I can work with others to add dialogue to a story.

Indicator T.CR NH1.2: I can collaborate with peers to improvise multiple dialogue choices.

Anchor Standard 3: I can act in improvised scenes and written scripts.

Benchmark T.P IM.3: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

Indicator T.P IM.3.1: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

 

Key Vocabulary

Content Vocabulary

  • Character – A person, animal, or being in a story that takes part in the action; characters have traits, emotions, and motivations that shape the story.
  • Story – A connected series of events that includes a beginning, middle, and end; a story usually has characters, a problem, and a resolution.
  • Foreshadow – A hint or clue about something that will happen later in the story. Example: Dark clouds gathering in the sky may foreshadow a storm.
  • Flashback – A scene that takes the story back in time to show something from the past. Example: A character remembers their first day of school while getting ready for graduation.
  • Tone – The author's attitude toward the subject, shown through word choice and style
  • Mood – The feeling or atmosphere a reader gets from a story

Arts Vocabulary

  • Memory – The process of taking in information from the world around us, processing it, storing it and later recalling that information, sometimes many years later. Actors have to memorize lines for a performance.
  • Improvisation – A moment in a play that is not rehearsed or "scripted", or acting without a script
  • Dialogue – Conversation between two or more persons
  • Scene – A single situation or unit of dialogue in a play
  • Visualization – Creating vivid mental images and scenarios to enhance the understanding of characters, scenes, and the overall narrative, ultimately leading to more authentic and engaging performances

 

Materials

 

 

Instructional Design

Opening/Activating Strategy

MEMORY WALK TIME MACHINE - FLASHBACK THEATRE

  • Ask students what happened right before they arrived today.
    • That was a memory.
    • Ask: Is a memory from the past or future? (Past)
      • Memory is the process of taking in information from the world around us, processing it, storing it, and later recalling that information.
      • Memories can be positive or negative.
      • Ask:
        • What is the first memory that pops into your head when I say…chocolate?
        • What about when I say…homework?
      • Explain that they are about to enter a Memory Machine Walk.
        • Invite students to close their eyes, if they feel safe to do so, and visualize a particular memory from their lives.
          • Actors visualize their characters, playing out the story in their mind's eye.
        • Tell students to think of events that have happened in their lives up to this point.
          • For example, when they were a baby, a toddler, an elementary schooler, activities or accolades, family milestones, the first day of school, birthday, embarrassing moments, etc.)
          • Tell students to choose one memory.
        • Explain how the Memory Machine Walk will work.
          • Students walk around the room.
          • Teacher calls, "1, 2, 3 …. FLASHBACK".
          • Students freeze.
          • Students act out their past event/memory from their life using body and voice.
          • Teacher calls, "1, 2, 3 …WALK".
          • Students visualize another memory and repeat the process.
        • Continue until through several rounds.
      • Memory Walk Group Improv:
        • Ask students to get into groups of three.
        • Tell them that they will improvise a scene (make it up on their feet).
        • Have them choose a simple scenario.
        • Give groups two minutes to decide on their scenario and who will play what characters.
        • Explain how the Memory Walk Improv will work.
          • Teacher calls, "1, 2, 3…ACTION".
          • Students start improvising the scene.
          • At some point during the improv, the teacher will call out "1, 2, 3…Flashback!".
          • Students must immediately improvise an earlier event that gives details to the scene.
        • Give students a moment to think about possible flashbacks that fit within their scenario.
        • Start the exercise.
        • Let students improvise for about 45 seconds before calling, "1, 2, 3…Flashback!".
        • Ask for any volunteers who would like to share their scene.
        • Reflect with students by asking what they noticed about the exercise. Use the following questions to facilitate discussion.
          • How did the flashback change the way they saw the story?
          • What emotions or surprises did it create?

Work Session

  • Ask students what they thought about the improvised scenes.
    • What worked and didn't work?
    • Did all of the partners accept suggestions given by their scene partner?
  • Tell students that improvisation is making up a story as you go along without using a script.
    • It can be tough and often ends flat with the characters arguing.
    • Improvisation takes practice, and there are some important rules that help actors make it successful.
    • Discuss Rules of Improvisation.
    • Watch the video Minute Improv Yes And.
    • Tell students that improvisation is radical acceptance and cooperation in action.
    • Tell students, “Now, let's put these rules into practice and sharpen our improvisation skills”.

 

CIRCLE OF PROPHECIES–FORESHADOW THEATRE

  • Ask students what a prophecy is.
    • A prophecy is a vague or dramatic prediction.
      • It adds tone and mood to a story–usually suspense and mystery!
    • Ask students if they can think of any movies or TV shows that they have seen or books they have read that contained prophecies.
    • Share an example of a prophecy: "The sky will weep silver tears, and a path of glowing moss will appear. Choose the path, or face the silence".
    • Ask them to think of a prophecy that they have heard or make one up.
      • Have them turn and share with the person sitting next to them.
    • Invite students to sit or stand in a circle.
    • Tell them that you have slips of paper with prophecies listed on them in a hat.
    • Have one student pull a prophecy out of the hat and read it.
      • Work as a class to come up with three foreshadowing clues that go with the prophecy.
        • Example: "The lights flicker, a character makes a cryptic comment, a storm begins outside".
      • Work as a class to come up with a fast-forward idea to reveal what happens next.
        • Example: "A ghost appears!"
      • Encourage dramatic foreshadowing, over-the-top reactions, and creative problem-solving!
    • Invite some students to the center of the circle to act out a short improv scene leading up to the prophecy coming true (or hilariously failing to).
      • The scene must include the following:
        • The prophecy
        • The three foreshadowing clues
        • The one fast-forward idea
      • Encourage students to have fun and take risks.
    • Ask students to get into groups of three or four.
    • Have them choose one scene idea from Scene Ideas for "Circle of Prophecies"- Foreshadowing.
      • Example: "The Missing Homework Will Decide the Future"
        • Prophecy: "Beware! If the sacred scroll (a.k.a. the missing homework) is not returned by sundown, disaster will strike!"
        • Scene: A group of students frantically searches for the missing assignment, convinced it holds magical powers. The teacher (or "guardian of knowledge") gets more suspicious by the minute.
      • Have students start on the spot or give groups five to ten minutes to decide the following:
        • Setting
        • Characters
        • Three foreshadowing clues that go with the prophecy
        • One fast forward idea
      • Have students share improvised scenes with the class.
      • Reflect with students by asking them what they noticed about the exercise. Use the following questions to facilitate discussion.
        • What made foreshadowing effective?
        • How does foreshadowing add suspense or mystery?

 

Closing Reflection

  • Facilitate a discussion using the following questions:
    • What did you like or dislike about this lesson?
    • Do you have a better understanding of foreshadowing and flashbacks?
  • Tell students to get with their groups and share one memory they have from their improvised scenes.
  • Tell students that memories make life interesting and can make relationships stronger. Ask them to think of an intentional way to create a positive, fun memory with a friend or family member that might last a lifetime.

 

Assessments

Formative

  • The teacher can discern if the students understand the meaning of flashbacks and foreshadowings by the dialogue they include in their improvisations.

Summative

  • Create a checklist of the elements that need to be included in the scene.
  • Create a checklist for the rules of improvisation and have audience members check off the rules that were followed in each scene.

 

 

Differentiation

Accelerated: 

  • Have advanced students write a complete story containing both foreshadowing and flashbacks using the Simple Scene prompts.

 

Remedial:

  • Create one scene as a class or allow students to contribute to the story without acting in the scenes. Or, allow remedial students to pantomime without using words while the teacher reads the improvised text.

 

Additional Resources

Improvisation Video - A Lesson on Improv Technique, with Chris Gethard | Big Think

 

Credits

Ideas contributed by: Susie Spear Purcell

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

Back to Lessons

ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS 9-12

MAY THE FORCE BE WITH YOU IMPROVISATIONS

ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS

Learning Description

The room will buzz with movement as students put gravity and magnetic fields into their bodies while playing "Gravity Groove" and "Magnetic Field Milling". They will then explore the golden rule of improvisation, "Yes..and" by playing "You are a….Yes, I am". The lesson concludes with students creating improvised scenes with given Force of Nature Scenarios (Gravity, Magnetism, Electricity, Friction, Inertia). This challenging and hilarious lesson will catapult students' imaginations and get them out of their comfort zones.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: THEATRE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use my body to explore different aspects of electricity.
  • I can use my imagination to learn about science.
  • I can create stories with characters and dialogue to bring electricity to life.
  • I can use improvisation to make stories about what I am learning in science.
  • I can build upon others' ideas.

Essential Questions

  • How can improvisation help me understand the forces of nature?
  • What is the difference between negating and accepting others' ideas?
  • How can I embody radical acceptance in my life and the world around me?

 

Georgia Standards

Curriculum Standards

Physical Science:

SPS10 Obtain, evaluate, and communicate information to explain the properties of and relationships between electricity and magnetism. 

Additional Science standards that can be taught using these theatre strategies:

 

Human Anatomy & Physiology:

SAP4. Obtain, evaluate, and communicate information to analyze the processing of matter

and energy in the cardiovascular, respiratory, digestive and urinary systems.

 

Physics:

SP1. Obtain, evaluate, and communicate information about the relationship between

distance, displacement, speed, velocity, and acceleration as functions of time.

SP2. Obtain, evaluate, and communicate information about how forces affect the motion of objects.

SP3. Obtain, evaluate, and communicate information about the importance of conservation laws for mechanical energy and linear momentum in predicting the behavior of physical systems.

SP4. Obtain, evaluate, and communicate information about the properties and applications of waves.

Arts Standards

TAHSFT.CR.1 Organize, design, and refine theatrical work.

b. Incorporate dramatic elements through improvisation.

TAHSFT.PR.1 Act by communicating and sustaining roles in formal and informal environments.

a. Observe and demonstrate aspects of verbal and non-verbal techniques in common human activity for performance (e.g. voice, breathing, posture, facial expression, physical movement).

 

South Carolina Standards

Curriculum Standards

Physics:

P-PS2-3. Apply scientific and engineering ideas to design, evaluate, and refine a device that minimizes the effect of a force on a macroscopic object during a collision

P-PS2-5. Plan and conduct an investigation to provide evidence that an electric current can produce a magnetic field and that a changing magnetic field can produce an electric current.

P-PS3-5. Develop and use a model to illustrate the forces between two objects and the changes in energy of the objects due to their interaction through electric or magnetic fields.

Additional Science standards that can be taught using these theatre strategies:

 

Biology:

B-LS4-6. Create or revise a simulation to test a solution to mitigate adverse impacts of human activity on biodiversity.

B-LS4-5. Evaluate the evidence supporting claims that changes in environmental conditions may result in (1) increases in the number of individuals of some species, (2) the emergence of new species over time, and (3) the extinction of other species.

 

Earth & Space Science:

E-ESS1-4. Use mathematical or computational representations to predict the motion of orbiting objects in the universe due to gravity.

E-ESS2-1. Use evidence to argue how Earth’s internal and external processes operate to form and modify continental and ocean-floor features throughout Earth’s history.

E-ESS2-3. Develop a model based on evidence of Earth’s interior that describes cycling of matter through convection processes.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

Anchor Standard 3: I can act in improvised scenes and written scripts.

 

Key Vocabulary

Content Vocabulary

  • Attract - When two objects pull toward each other due to magnetic or electric forces; opposite charges or poles attract (e.g., a north pole and a south pole of a magnet)
  • Repel - When two objects push away from each other due to magnetic or electric forces; like charges or poles repelling (e.g., two north poles of a magnet)
  • Positive (+) - A type of electric charge or magnetic property. It repels other positive charges and attracts negative charges.
  • Negative (-) - A type of electric charge or magnetic property. It repels other negative charges and attracts positive charges.
  • North Pole (N) - One of the two ends of a magnet where the magnetic force is the strongest
  • South Pole (S) - The opposite end of a magnet where the magnetic force is the strongest
  • Gravity - The force that pulls all objects with mass towards each other, causing things to fall to the ground and keeping planets in orbit
  • Friction - A force that opposes motion when two surfaces come into contact
  • Inertia - The tendency of an object to resist a change in motion; an object at rest stays at rest, and an object in motion stays in motion unless acted on by an outside force (Newton's First Law of Motion)
  • Magnetism - The force that is created by the movement of tiny charged particles called electrons and causes some materials, like iron, to attract or repel each other
  • Magnetic field -  The invisible area around a magnet where the force of magnetism acts, attracting or repelling other magnets and magnetic materials like iron

Arts Vocabulary

  • Body - Actors use their body to become a character through body posture and movement. What your mind thinks, what your emotions feel, all of this is supposed to show up in your body.
  • Posture - How an actor holds their shoulders and chest to portray a character's motivations, emotions, and traits.
  • Imagination - Actors use their imagination to envision things that are not real. It is an essential tool in an actor’s ability to bring a character, scene, etc. to life.
  • Facial Expressions - Using your face to show emotion
  • Improvisation - A moment in a play that is not rehearsed or “scripted”, or acting without a script. For example: if an actor forgets a line, he/ she may improvise the line in the scene.
  • Rules of Improvisation -
  1. Say "Yes, and…"
    • Always accept what your scene partner says or does.
    • Build on it by adding your own ideas instead of shutting theirs down.
  2. Avoid asking too many questions.
    • Instead of just asking, add information to keep the scene moving.
  3. Make bold choices and commit.
    • Don't be afraid to fully commit to your character and actions.
    • Even if something feels silly, own it!
  4. Keep the scene moving forward.
    • Scenes shouldn't stall—always contribute to the action.
    • If things slow down, introduce a new action, emotion, or obstacle.

Stay in the moment.

    • Listen to your scene partners and respond genuinely.
  1. Make your partner look good.
    • Improv is about teamwork, not competition.
    • Support each other and help the scene succeed instead of trying to be the funniest.
  1. There are no mistakes, only opportunities.
    • If something unexpected happens, go with it!
    • Mistakes can lead to hilarious or creative moments in a scene.
  • Keep it appropriate.

Materials

  • Positive/Negative cards–index cards with one word on each: Positive (+), negative (-) (one card per student)
  • North/South cards–index cards with one word on each: North (N), South (S) (one card per student)
  • Rules of Improvisation
  • Force of Nature Scenarios for "May the Force Be With You" improvisations.
    • 1 - "Magnetic Mystery" (Magnetism, Electricity)
      • Scenario: A town is experiencing strange magnetic disturbances—cars, phones, and even metal trash cans are flying toward a mysterious magnetic field! A group of scientists must figure out what's causing it before everything metal disappears into the sky.
        • Forces in action:
          • Magnetism–students can act as metal objects being pulled toward an invisible force
          • Electricity–powering the magnet on/off to control the chaos
        • 2 - "Frenzy Friction" (Friction, Inertia)
          • Scenario: A group of skiers is competing in a downhill race, but as they reach the bottom, they realize the snow has melted into a super slippery ice patch! With almost no friction, they can't stop and must figure out how to slow down before crashing.
            • Forces in action:
              • Friction–acting out different surfaces: rough snow versus slick ice
              • Inertia–skiers keep moving unless something stops them
            • 3 - "Elevator Drop" (Electricity, Gravity)
              • Scenario: A group of people is in an elevator when the power goes out! Without electricity, the elevator stops moving. Then, the emergency backup kicks in, but gravity starts pulling it too fast. Can they figure out how to stop the elevator before it crashes?
                • Forces in action:
                  • Electricity–powers the elevator, but it fails
                  • Gravity–pulling it down when the power is lost
                  • Friction–brakes activating to slow it down
                • 4 - "Rollin’ Coaster" (Inertia, Friction, Gravity)
                  • Scenario: A brand-new roller coaster malfunctions, and instead of slowing down at the end, it keeps speeding up! The riders must find a way to stop the ride before they launch off the tracks.
                    • Forces in action:
                      • Gravity–pulling the coaster down steep drops
                      • Inertia–coaster keeps moving unless stopped
                      • Friction–brakes trying to slow it down

 

Instructional Design

Opening/Activating Strategy

EXTREME ZING! (Magnetism & Electricity)

  • Explore the words attract and repel and how they look on our bodies.
    • Repel jumps away.
    • Attract comes together.
  • Explore the words positive and negative and how they look with our bodies, faces, and voices.
    • Positive - Tall body, high level that goes from small to big, face goes small to big, voice with pitch and volume that grows
    • Negative - Small body, low level that goes from low to high, face from big to small, voice with pitch and volume that decrease
  • Discuss how attract and repel relate to positive and negative charges.
    • Opposites attract.
    • Likes repel.
  • Have students mill about the room.
  • Tell students:
    • When I say "1, 2, 3…Action" you will mill about the room as your positive or negative character.
    • When I say "1, 2, 3…ZING!" you will freeze opposite the person/character closest to you.
    • Physically react to your partner/other character:
      • If they are opposites (+ and -) or (North and South), they must move toward each other (slow-motion magnetization).
      • If they are like charges (+ and +) or (North and North), they must dramatically push apart like an invisible force is pushing them.
    • I will then say "1, 2, 3…Action” and you will mill about the room again until I call out "1, 2, 3.. ZING”.
  • Give each student a positive/negative card and a north/south card.
  • Keep playing for several rounds.
  • Then, add the third action: Neutral!
    • Students freeze, representing an uncharged object.

 

GRAVITY GROOVE

  • Discuss how gravity changes movement.
  • Ask students to move around the room normally.
  • Call out different gravity levels:
    • Zero gravity:
      • Students move in slow motion, floating like astronauts.
    • Moon gravity:
      • Students take big, slow steps, like walking on the Moon.
    • Extreme gravity:
      • Students act as if they are being pulled down with heavy weight.
    • Coaching note:
      • Encourage students to exaggerate their movements and facial expressions to tell a strong non-verbal story.

 

MAGNETIC FIELD MILLING

  • Discuss the meaning of a magnetic field.
  • Play music.
  • Explain the game. Say:
    • When I play the music, you will walk around the room like a magnetic particle floating in space.
    • When I stop the music, I will call out a scenario.
    • You need to use your whole body, facial expression, and imagination to embody the scenario without words.
  • Start the music. Asking questions as students mill about the space.
    • How would that feel in your body?
    • How would your legs react?
    • How would your arms react?
  • Stop the music and call out a scenario:
    • Strong magnet!
      • Students rush to the center of the room acting like a strong magnetic field pulling them in.
        • Coaching questions:
          • How would this change the pace of your movement?
          • How would the magnetic field pull you?
          • What part of your body would lead?
        • Weak magnet!
          • Students lazily move in all directions showing a weak attraction.
            • Coaching questions:
              • How would this change the pace of your movement?
              • How would your face react?
              • What part of your body would lead?
              • How would your posture change?
            • Magnet turned off!
              • Students collapse like the magnet lost power.
                • Coaching questions:
                  • How would you fall to the ground?
                  • Add a sound when you are turned off.

Work Session

IMPROVISATION

  • Introduce the Rules of Improvisation.
  • Watch the video: Minute Improv Yes And.
  • GAME: "YOU ARE A…..YES, AND I AM"
    • Have students get into partners around the room.
    • Partner #1 tells the other what character they are/have.
      • #1 says, “You are a ________.”
      • #1 claps three times while Partner #2 becomes the character.
    • Partner #2 immediately physicalizes and embodies the character said to them.
      • Then says, after the claps, “Yes, I am ….and….I _______”, adding in a detail and acting it out.
    • Partner #1 gives Partner #2 three character suggestions. Then, the partners switch.
    • Partner #2 gives Partner #1 three character suggestions.
    • Example:
      • #1 says, “You are a monkey” then claps three times.
      • #2 becomes a monkey with body, voice, and sounds.
      • #2 says, “YES, I am a monkey, AND I eat bananas!”.
      • Repeat this twice and then switch.

 

MAY THE FORCE BE WITH YOU

  • Say, “Now, let's practice and play with improvisation; let's make up scenes on our feet as we go along”.
  • Ask three student volunteers to come to the front of the room.
  • Read the scenario: "Lost in Space" (Gravity, Inertia).
    • A team of astronauts is on a spacewalk when their spaceship's gravity generator malfunctions! Suddenly, they are floating in zero gravity. A planet’s gravitational pull pulls them in as they struggle to move. Can they escape before they get sucked into the atmosphere?
    • Ask students which forces are at work. This scenario deals with gravity and inertia.
    • Ask students to explore ways that would look in their bodies in each scenario.
      • Gravity–weightlessness in space versus strong pull from a planet
      • Inertia–astronauts floating in motion until they push off something
    • Ask students to freeze in a pose as if they are floating in zero gravity.
    • Call "Action" and have students come to life.
    • Coaching notes as students improvise.
      • If a student negates something, ask them to repeat it with "Yes, and…"
      • Tell students:
        • Project your voice so that we can hear you.
        • Listen to your partner.
        • Build on what your partner is saying.
        • Bring in the focus of nature.
      • When students are finished, call "Lights out."
      • Have students bow.
      • Ask the students in the audience what they thought each actor did well.
      • Ask them what worked and didn't work about the dialogue.
      • Assign groups of students a Force of Nature Scenario (Gravity, Magnetism, Electricity, Friction, Inertia).
        • Give students ten minutes to rehearse.
        • Have students share scenes.
        • Keep coaching as scenes are being performed to help direct the scenes if needed.

 

Closing Reflection

  • Say, “Improvisation is radical cooperation and acceptance. Why do you think people say that about improv?”.
    • Have students turn and talk to a neighbor about the following:
      • Was improvisation easy or hard for you, and why?
      • Think about how saying "Yes…and" might change some of your school, home, and work relationships.

 

Assessments

Formative

  • Walk around the room and listen to collaboration to assess students’ comprehension of the material.
  • Observe students' understanding of improvisation and comfort level throughout the lesson.

Summative

  • Assess students' content comprehension through the scenes that they create. Check to make sure they include the forces and create dialogue.

Differentiation

Accelerated: 

  • Accelerated students can revise and edit their scripts. Then, type them out and create blocking to perform in front of the class. Blocking is the physical arrangement of actors on a stage that facilitates the performance of a play.

 

Remedial:

  • The class can work as one team and develop a simple script for each scenario. Then, they can read them aloud in class.

Additional Resources

Minute Improv Video: Yes And

Credits

Ideas contributed by: Susie Spear Purcell

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

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ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS 6-8

MAY THE FORCE BE WITH YOU IMPROVISATIONS

ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS

Learning Description

Students will use improvisation to expand their knowledge of gravity, electricity, and magnetism. The room will buzz with movement as they put gravity and magnetic fields into their bodies while playing "Gravity Groove" and "Magnetic Field Milling". They will then explore the golden rule of improvisation, "Yes..and" by playing "You are a….Yes, I am". The lesson concludes with students creating improvised scenes with given Force of Nature Scenarios (Gravity, Magnetism, Electricity, Friction, Inertia). This challenging and hilarious lesson will catapult students' imaginations and get them out of their comfort zones.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: THEATRE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use my body to explore different aspects of electricity.
  • I can use my imagination to learn about science.
  • I can create stories with characters and dialogue to bring electricity to life.
  • I can use improvisation to make stories about what I am learning in science.
  • I can build upon others' ideas.

Essential Questions

  • How can improvisation help me understand the forces of nature?
  • What is the difference between negating and accepting others' ideas?
  • How can I embody radical acceptance in my life and the world around me?

 

Georgia Standards

Curriculum Standards

Grade 8:

S8P5 Obtain, evaluate, and communicate information about gravity, electricity, and magnetism as major forces acting in nature.

Additional Science standards that can be taught using these theatre strategies:

Grade 6:

S6E4. Obtain, evaluate, and communicate information about how the sun, land, and water affect climate and weather.

a. Analyze and interpret data to compare and contrast the composition of Earth’s atmospheric layers (including the ozone layer) and greenhouse gases.

b. Plan and carry out an investigation to demonstrate how energy from the sun transfers heat to air, land and water at different rates.

Grade 7:

S7L2. Obtain, evaluate, and communicate information to describe how cell structures, cells, tissues, organs, and organ systems interact to maintain the basic needs of organisms.

a. Develop a model and construct an explanation of how cell structures (specifically the nucleus, cytoplasm, cell membrane, cell wall, chloroplasts, lysosome, and mitochondria) contribute to the function of the cell as a system in obtaining nutrients in order to grow, reproduce, make needed materials, and process waste.

Arts Standards

TA.PR.1 Act by communicating and sustaining roles in formal and informal environments.

a. Demonstrate effective verbal and non-verbal communication skills (e.g. rate, pitch, volume, inflection, posture, facial expression, physical movement).

c. Demonstrate a variety of types of theatre performances.

 

South Carolina Standards

Curriculum Standards

Grade 8:

8-PS2-1. Apply Newton’s third law to design a solution to a problem involving the motion of two colliding objects.

8-PS2-3. Analyze and interpret data to determine the factors that affect the strength of electric and magnetic forces.

8-PS2-4. Construct and present arguments using evidence to support the claim that gravitational interactions are attractive and depend on the masses of interacting objects and the distance between them.

8-PS2-5. Conduct an investigation and evaluate the experimental design to provide evidence that fields exist between objects exerting forces on each other even though the objects are not in contact.

Additional Science standards that can be taught using these theatre strategies:

Grade 6:

6-PS1-4. Develop and use a model that predicts and describes changes in particle motion, temperature, and state of a pure substance when thermal energy is added or removed.

6-PS3-4. Plan an investigation to determine the relationships among the energy transferred, the type of matter, the mass, and the change in the average kinetic energy of the particles as measured by the temperature of the sample.

Grade 7:

7-PS1-2. Analyze and interpret data on the properties of substances before and after the substances interact to determine if a chemical reaction has occurred.

7-PS3-5. Construct, use, and present arguments to support the claim that when the kinetic energy of an object changes, energy is transferred to or from the object.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure. 

Anchor Standard 3: I can act in improvised scenes and written scripts.

 

Key Vocabulary

Content Vocabulary

  • Attract - When two objects pull toward each other due to magnetic or electric forces; opposite charges or poles attract (e.g., a north pole and a south pole of a magnet)
  • Repel - When two objects push away from each other due to magnetic or electric forces; like charges or poles repelling (e.g., two north poles of a magnet)
  • Positive (+) - A type of electric charge or magnetic property. It repels other positive charges and attracts negative charges.
  • Negative (-) - A type of electric charge or magnetic property. It repels other negative charges and attracts positive charges.
  • North Pole (N) - One of the two ends of a magnet where the magnetic force is the strongest
  • South Pole (S) - The opposite end of a magnet where the magnetic force is the strongest
  • Gravity - The force that pulls all objects with mass towards each other, causing things to fall to the ground and keeping planets in orbit
  • Friction - A force that opposes motion when two surfaces come into contact
  • Inertia - The tendency of an object to resist a change in motion; an object at rest stays at rest, and an object in motion stays in motion unless acted on by an outside force (Newton's First Law of Motion)
  • Magnetism - The force that is created by the movement of tiny charged particles called electrons and causes some materials, like iron, to attract or repel each other
  • Magnetic field -  The invisible area around a magnet where the force of magnetism acts, attracting or repelling other magnets and magnetic materials like iron

Arts Vocabulary

  • Body - Actors use their body to become a character through body posture and movement. What your mind thinks, what your emotions feel, all of this is supposed to show up in your body.
  • Posture - How an actor holds their shoulders and chest to portray a character's motivations, emotions, and traits.
  • Imagination - Actors use their imagination to envision things that are not real. It is an essential tool in an actor’s ability to bring a character, scene, etc. to life.
  • Facial Expressions - Using your face to show emotion
  • Improvisation - A moment in a play that is not rehearsed or “scripted”, or acting without a script. For example: if an actor forgets a line, he/ she may improvise the line in the scene.
  • Rules of Improvisation -
  1. Say "Yes, and…"
    • Always accept what your scene partner says or does.
    • Build on it by adding your own ideas instead of shutting theirs down.
  2. Avoid asking too many questions.
    • Instead of just asking, add information to keep the scene moving.
  3. Make bold choices and commit.
    • Don't be afraid to fully commit to your character and actions.
    • Even if something feels silly, own it!
  4. Keep the scene moving forward.
    • Scenes shouldn't stall—always contribute to the action.
    • If things slow down, introduce a new action, emotion, or obstacle.
  5. Stay in the moment.
    • Listen to your scene partners and respond genuinely.
  6. Make your partner look good.
    • Improv is about teamwork, not competition.
    • Support each other and help the scene succeed instead of trying to be the funniest.
  7. There are no mistakes, only opportunities.
    • If something unexpected happens, go with it!
    • Mistakes can lead to hilarious or creative moments in a scene.
  8. Keep it appropriate.
  •  
  •  
  •  
  •  

 

Materials

  • Positive/Negative cards–index cards with one word on each: Positive (+), negative (-) (one card per student)
  • North/South cards–index cards with one word on each: North (N), South (S) (one card per student)
  • Rules of Improvisation
  • Force of Nature Scenarios for "May the Force Be With You" improvisations.
    • 1 - "Magnetic Mystery" (Magnetism, Electricity)
      • Scenario: A town is experiencing strange magnetic disturbances—cars, phones, and even metal trash cans are flying toward a mysterious magnetic field! A group of scientists must figure out what's causing it before everything metal disappears into the sky.
        • Forces in action:
          • Magnetism–students can act as metal objects being pulled toward an invisible force
          • Electricity–powering the magnet on/off to control the chaos
        • 2 - "Frenzy Friction" (Friction, Inertia)
          • Scenario: A group of skiers is competing in a downhill race, but as they reach the bottom, they realize the snow has melted into a super slippery ice patch! With almost no friction, they can't stop and must figure out how to slow down before crashing.
            • Forces in action:
              • Friction–acting out different surfaces: rough snow versus slick ice
              • Inertia–skiers keep moving unless something stops them
            • 3 - "Elevator Drop" (Electricity, Gravity)
              • Scenario: A group of people is in an elevator when the power goes out! Without electricity, the elevator stops moving. Then, the emergency backup kicks in, but gravity starts pulling it too fast. Can they figure out how to stop the elevator before it crashes?
                • Forces in action:
                  • Electricity–powers the elevator, but it fails
                  • Gravity–pulling it down when the power is lost
                  • Friction–brakes activating to slow it down
                • 4 - "Rollin’ Coaster" (Inertia, Friction, Gravity)
                  • Scenario: A brand-new roller coaster malfunctions, and instead of slowing down at the end, it keeps speeding up! The riders must find a way to stop the ride before they launch off the tracks.
                    • Forces in action:
                      • Gravity–pulling the coaster down steep drops
                      • Inertia–coaster keeps moving unless stopped
                      • Friction–brakes trying to slow it down

 

 

Instructional Design

Opening/Activating Strategy

EXTREME ZING! (Magnetism & Electricity)

  • Explore the words attract and repel and how they look on our bodies.
    • Repel jumps away.
    • Attract comes together.
  • Explore the words positive and negative and how they look with our bodies, faces, and voices.
    • Positive - Tall body, high level that goes from small to big, face goes small to big, voice with pitch and volume that grows
    • Negative - Small body, low level that goes from low to high, face from big to small, voice with pitch and volume that decrease
  • Discuss how attract and repel relate to positive and negative charges.
    • Opposites attract.
    • Likes repel.
  • Have students mill about the room.
  • Tell students:
    • When I say "1, 2, 3…Action" you will mill about the room as your positive or negative character.
    • When I say "1, 2, 3…ZING!" you will freeze opposite the person/character closest to you.
    • Physically react to your partner/other character:
      • If they are opposites (+ and -) or (North and South), they must move toward each other (slow-motion magnetization).
      • If they are like charges (+ and +) or (North and North), they must dramatically push apart like an invisible force is pushing them.
    • I will then say "1, 2, 3…Action” and you will mill about the room again until I call out "1, 2, 3.. ZING”.
  • Give each student a positive/negative card and a north/south card.
  • Keep playing for several rounds.
  • Then, add the third action: Neutral!
    • Students freeze, representing an uncharged object.

 

GRAVITY GROOVE

  • Discuss how gravity changes movement.
  • Ask students to move around the room normally.
  • Call out different gravity levels:
    • Zero gravity:
      • Students move in slow motion, floating like astronauts.
    • Moon gravity:
      • Students take big, slow steps, like walking on the Moon.
    • Extreme gravity:
      • Students act as if they are being pulled down with heavy weight.
    • Coaching note:
      • Encourage students to exaggerate their movements and facial expressions to tell a strong non-verbal story.

 

MAGNETIC FIELD MILLING

  • Discuss the meaning of a magnetic field.
  • Play music.
  • Explain the game. Say:
    • When I play the music, you will walk around the room like a magnetic particle floating in space.
    • When I stop the music, I will call out a scenario.
    • You need to use your whole body, facial expression, and imagination to embody the scenario without words.
  • Start the music. Asking questions as students mill about the space.
    • How would that feel in your body?
    • How would your legs react?
    • How would your arms react?
  • Stop the music and call out a scenario:
    • Strong magnet!
      • Students rush to the center of the room acting like a strong magnetic field pulling them in.
        • Coaching questions:
          • How would this change the pace of your movement?
          • How would the magnetic field pull you?
          • What part of your body would lead?
        • Weak magnet!
          • Students lazily move in all directions showing a weak attraction.
            • Coaching questions:
              • How would this change the pace of your movement?
              • How would your face react?
              • What part of your body would lead?
              • How would your posture change?
            • Magnet turned off!
              • Students collapse like the magnet lost power.
                • Coaching questions:
                  • How would you fall to the ground?
                  • Add a sound when you are turned off.

Work Session

IMPROVISATION

  • Introduce the Rules of Improvisation.
  • Watch the video: Minute Improv Yes And.
  • GAME: "YOU ARE A…..YES, AND I AM"
    • Have students get into partners around the room.
    • Partner #1 tells the other what character they are/have.
      • #1 says, “You are a ________.”
      • #1 claps three times while Partner #2 becomes the character.
    • Partner #2 immediately physicalizes and embodies the character said to them.
      • Then says, after the claps, “Yes, I am ….and….I _______”, adding in a detail and acting it out.
    • Partner #1 gives Partner #2 three character suggestions. Then, the partners switch.
    • Partner #2 gives Partner #1 three character suggestions.
    • Example:
      • #1 says, “You are a monkey” then claps three times.
      • #2 becomes a monkey with body, voice, and sounds.
      • #2 says, “YES, I am a monkey, AND I eat bananas!”.
      • Repeat this twice and then switch.

 

MAY THE FORCE BE WITH YOU

  • Say, “Now, let's practice and play with improvisation; let's make up scenes on our feet as we go along”.
  • Ask three student volunteers to come to the front of the room.
  • Read the scenario: "Lost in Space" (Gravity, Inertia).
    • A team of astronauts is on a spacewalk when their spaceship's gravity generator malfunctions! Suddenly, they are floating in zero gravity. A planet’s gravitational pull pulls them in as they struggle to move. Can they escape before they get sucked into the atmosphere?
    • Ask students which forces are at work. This scenario deals with gravity and inertia.
    • Ask students to explore ways that would look in their bodies in each scenario.
      • Gravity–weightlessness in space versus strong pull from a planet
      • Inertia–astronauts floating in motion until they push off something
    • Ask students to freeze in a pose as if they are floating in zero gravity.
    • Call "Action" and have students come to life.
    • Coaching notes as students improvise.
      • If a student negates something, ask them to repeat it with "Yes, and…"
      • Tell students:
        • Project your voice so that we can hear you.
        • Listen to your partner.
        • Build on what your partner is saying.
        • Bring in the focus of nature.
      • When students are finished, call "Lights out."
      • Have students bow.
      • Ask the students in the audience what they thought each actor did well.
      • Ask them what worked and didn't work about the dialogue.
      • Assign groups of students a Force of Nature Scenario (Gravity, Magnetism, Electricity, Friction, Inertia).
        • Give students ten minutes to rehearse.
        • Have students share scenes.
        • Keep coaching as scenes are being performed to help direct the scenes if needed

 

Closing Reflection

  • Say, “Improvisation is radical cooperation and acceptance. Why do you think people say that about improv?”.
    • Have students turn and talk to a neighbor about the following:
      • Was improvisation easy or hard for you, and why?
      • Think about how saying "Yes…and" might change some of your school, home, and work relationships.

 

Assessments

Formative

  • Walk around the room and listen to collaboration to assess students’ comprehension of the material.
  • Observe students' understanding of improvisation and comfort level throughout the lesson.

Summative

  • Assess students' content comprehension through the scenes that they create. Check to make sure they include the forces and create dialogue.

 

Differentiation

Accelerated: 

  • Accelerated students can revise and edit their scripts. Then, type them out and create blocking to perform in front of the class. Blocking is the physical arrangement of actors on a stage that facilitates the performance of a play.

 

Remedial:

  • The class can work as one team and develop a simple script for each scenario. Then, they can read them aloud in class.

 

Additional Resources

Minute Improv Video: Yes And

 

Credits

Ideas contributed by: Susie Spear Purcell

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

Back to Lessons

ELECTRICITY IGNITES! CIRCUITS 4-5

ELECTRICITY IGNITES! CIRCUITS

ELECTRICITY IGNITES! CIRCUITS

Learning Description

Engage all parts of your students’ minds and bodies as they play circuit games and develop open and closed circuit pantomimes, making learning about electricity dynamic and fun. Their imaginations will be activated when playing Circuit Freeze. By interacting in Circuit Breaker Tag, they will embody the interconnectedness of electrons, batteries, switches, and lightbulbs. These games will set the stage for sparks of collaboration as they create their circuit pantomimes in small groups with VIvant Circuit making. Finally, students give voice to circuit characters by creating a dialogue with an insulator or conductor.

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: THEATRE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can communicate a story without using my voice.
  • I can exaggerate my body and voice to express scientific ideas and processes.
  • I can work with others to create human circuits.
  • I can create a dialogue between two characters using my imagination.
  • I can empathize with a scientific process.

Essential Questions

  • How does electricity affect my life, family, and school?
  • Does my energy affect others the way energy moves through a closed or open circuit?

 

Georgia Standards

Curriculum Standards

Grade 5:

5P2 Obtain, evaluate, and communicate information to investigate electricity.

S5P2.b Design a complete, simple electric circuit, and explain all necessary components.

S5P2.c Plan and carry out investigations on common materials to determine if they are insulators or conductors of electricity.

S5P3 Obtain, evaluate, and communicate information about magnetism and its relationship to electricity.

Arts Standards

Grade 5:

TA5.CR.1 Organize, design, and refine theatrical work.

a. Use imagination to create a character with specific physical, vocal, and emotional traits.

TA5.PR.1 Act by communicating and sustaining roles in formal and informal environments.

b.Use body and movement to communicate thoughts, ideas, and emotions of a character.

c. Collaborate and perform with an ensemble to present theatre to an audience.

e. Communicate and explore character choices and relationships in a variety of dramatic forms (e.g. narrated story, pantomime, puppetry, dramatic play).

 

South Carolina Standards

Curriculum Standards

Grade 4:

4-PS3-4. Apply scientific ideas to design, test, and refine a device that converts energy from one form to another.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

Anchor Standard 3: I can act in improvised scenes and written scripts.

 

Key Vocabulary

Content Vocabulary

  • Circuit - A path or a loop that electricity follows to power something
  • Closed circuit - The electrical path is complete, allowing current to flow
  • Open circuit - A break in the path preventing current from flowing
  • Series circuit - A circuit that has components (like light bulbs) connected in a single line
  • Parallel circuit - A circuit that has multiple paths for electricity to flow
  • Resistors - A little gatekeeper that controls how much electricity (or current) can flow through it, preventing too much from flowing and potentially damaging things
  • Electron - A tiny, negatively charged particle that moves through wires and carries electricity, like a tiny stream of energy
  • Battery - A little power plant, providing the "push" (or electricity) that makes the circuit work, allowing things like lights or motors to turn on
  • Wire - A path or road for electricity to travel, connecting the parts of the circuit so the electricity can flow and power something like a light bulb.
  • Insulator - A material that electricity cannot flow through easily, like plastic or rubber
  • Conductor - A material that electricity can flow through easily, like metal wires
  • Electricity - A type of energy that powers things, like lights and appliances; caused by the movement of tiny particles called electrons

Arts Vocabulary

  • Statues - Frozen pictures made by one person with their body and face to help tell a story without words.
  • Pantomime - Using gestures, facial expressions, and body movements to convey a story or narrative without speaking. Often includes pretending to hold, touch, or do something one is not holding, touching, or using.
  • Body - Actors use their body to become a character through body posture and movement. What your mind thinks, what your emotions feel, all of this is supposed to show up in your body.
  • Imagination - Actors use their imagination to envision things that are not real. It is an essential tool in an actor’s ability to bring a character, scene, etc. to life.
  • Facial Expression - Using your face to show emotion
  • Dialogue - A conversation between two or more persons
  • Voice - Actors use their voice to be heard by the audience clearly. Actors must also apply vocal choices such as pitch, tempo, and volume to the character they are dramatizing.

 

Materials

  • Circle colored stickers for resistors in circuit breaker tag
  • Lanyards for name tags–each lanyard/name tag should have one card in it. Cards should be labeled battery, wires, switch, light bulb/motor); one lanyard/nametag/card per student
  • Open/closed cards–each card should have one word on it–either open or closed (one card per group of four students)
  • Insulator conductor cards–each card should have a visual of a conductor or insulator on it (one card per group of four students)
  • Paper and pencils

 

 

Instructional Design

Opening/Activating Strategy

CIRCUIT FREEZE

  • Tell students that statues are frozen poses actors use to tell dramatic stories.
    • A statue is one person freezing.
    • Statues have levels (high, middle, low), interesting shapes, and facial expressions.
  • Ask students to use their bodies and faces to create a statue of the word “open”.
    • Ask them to outstretch their arms really wide and freeze as if they can't move.
    • This represents an open circuit.
  • Then, ask students to use their body and face to create a statue of the word “closed”.
    • Ask them to hook their hands together in front of their body.
    • Encourage them to pulse their body to represent a closed circuit.
  • Tell students they must freeze in the corresponding statue when you call out "1, 2, 3….OPEN FREEZE" or "1, 2, 3….CLOSED FREEZE".
    • Coaching note:
      • Encourage students to use energy in all parts of their body and face, whether frozen or pulsing.
        • Body (gestures, interesting shapes, energy throughout)
        • Face (eyes, mouths, cheeks)
      • Encourage students to have intense freezes like they are being zapped frozen.

 

CIRCUIT BREAKER TAG

  • Choose one student to be the battery.
    • Give that student one color dot.
    • Ask the student to put this dot on their forehead.
    • The battery is “it”.
  • Assign three to four students to be switches.
    • Give these students another color dot.
    • Ask students to put the dots on their foreheads.
    • Switches control when circuits are open or closed.
  • The rest of the students are electrons.
    • Electrons are runners.
  • Explain how the game works.
    • The battery (“it”) will run around tagging electrons.
      • If an electron is tagged, the student will open their arms stretched out wide and freeze in place.
        • They are representing an open circuit.
        • The only way for a frozen electron to move again is if a switch tags them.
          • When a switch tags an electron, the electron can run free again.
            • They represent "flipping the switch”, which closes the circuit.
          • Conclude the game after a set time limit or until most electrons are frozen.
          • You can then move on to different modes of the game.
            • Explain each of the three modes:
              • Series Circuit Mode:
                • Have students hold hands to create a chain.
                  • This represents a series circuit.
                • If one electron in the chain gets tagged by the battery, everyone in that chain must freeze.
                  • This represents a break in the circuit.
                • A switch can tap the frozen players to restore the circuit.
                  • This allows the entire chain to move again.
                • Parallel Circuit Mode:
                  • Students can run freely throughout the space.
                    • This represents separate parallel paths.
                  • If an electron is tagged, only that individual electron freezes.
                    • All other electrons can keep running.
                  • A switch can unfreeze the tagged electron by tapping them.
                    • This restores that part of the circuit.
                  • Resistor Mode:
                    • Assign some students to be resistors.
                      • Resistors cannot run. They can only walk and must move very slowly. This simulates resistance in a circuit.
                        • NOTE: You can give resistors colored stickers on their forehead or wristbands.
                      • Other electrons (runners) can move freely unless tagged.
                      • If a resistor is tagged by the battery, the resistor must freeze like a normal electron.
                      • This demonstrates:
                        • How resistors slow down the flow of electrons in a circuit.
                        • How resistance affects movement (current).
                      • Once students understand the concept of resistors, you can add levels.
                        • Resistance levels:
                          • Have some resistors hop in slow motion.
                          • Have other resistors turn in slow motion.
                          • You can use other slow-motion movements or ask students for suggestions.

Work Session

VIVANT CIRCUIT

  • Explain that pantomime is a dramatic way to tell a story without using your voice.
    • Actors exaggerate their body movements, gestures, and facial expressions to mime stories.
  • Tell students that the class will tell the story of a human circuit using pantomime.
  • Ask the class to make a big movement with their bodies.
    • Tell them that these movements are energy.
  • Next, tell them that they will see how energy moves through a circuit.
  • Demonstrate one circuit.
    • Ask four volunteers to come to the front of the room.
    • Assign each volunteer a role.
      • 1- Battery–the energy source
      • 2- Wires–the connectors
      • 3- Switch–which can open or close the circuit
      • 4- Light bulb/motor–the load
        • The load reacts when the circuit is complete.
      • Have the actors stand in a circle and hold hands.
      • Explain that they have now formed a circuit chain.
      • Ask the battery to make a big energy movement.
        • This energy movement will pass down the line of the circuit.
      • The battery starts the energy by passing the movement down the line.
        • When the movement reaches the wire, the wire activates.
        • When the movement reaches the light bulb, the light bulb reacts or lights up. The actor jumps or spins.
          • This shows that the circuit is complete.
        • The switch can open/close the circuit.
          • Open–breaking, hands outstretched, and frozen pose
          • Closed–rejoining hands and pulsing
        • Explore details about open and closed circuits.
          • Closed circuit: The electrical path is complete, allowing current to flow.
          • Open circuit: There is a break in the path, preventing current from flowing.
        • Have students pantomime both types of circuits. Prompt each by asking students in the audience to shout out "OPEN" or "CLOSED".
        • Add sound:
          • Explain that you will now stop pantomiming and add sound to the circuit.
          • Encourage students to create a sound for their part of the circuit.
          • Their sound activates when the energy reaches them.
        • GROUP CIRCUITS:
          • Hand out lanyards to every student.
          • Tell them that they are now the circuit character listed on their lanyard.
          • Tell them they have two minutes to get into groups of four with each character represented.
          • Allow them time to group themselves without intervening.
          • Once groups are defined, have students create a quick statue of their character.
          • Give each group a closed or open card.
          • Then, tell them they have four minutes to develop a pantomime for their type of circuit.
          • After four minutes, have each group share their pantomime with the rest of the class.
          • Have the audience guess if they were an open or closed circuit.
          • Add sound:
            • After all groups share, have them get back into their circuit groups and create a sound for their character. .
              • Give them two minutes to rehearse bringing their pantomime to life with sounds.
              • When the energy is passed, the character adds their sound.
              • Then call out "1, 2, 3, ACTION" as groups simultaneously add sound and movement to their circuits.
            • SERIES VERSUS PARALLEL
              • When the class has mastered open and closed circuits, you can introduce series versus parallel circuits using pantomime and bring them to life with sound.
                • Some light bulbs turn off, others stay on.

 

EXTENSION: TO CONDUCT OR NOT TO CONDUCT, THAT IS THE QUESTION

  • Discuss insulators and conductors and how they affect circuits.
  • Get students back into their circuit groups.
  • Hand each group a visual of an insulator or conductor.
  • Ask them to identify if it is a conductor or insulator and to write it on the visual card.
  • Give them five minutes to develop four lines of dialogue between the circuit and the insulator/conductor.
    • Encourage students to create character voices.
  • Have students share dialogue with the class.

 

K-4 GRADE APPLICATIONS:

  • Explore the following electricity-related topics by playing charades or having students create a pantomime to bring to life.
    • Kindergarten: Types of motion
    • 1st: Light and sound
    • 2nd: Magnets (push and pull)
    • 3rd: Heat transfer
    • 4th: Balanced and unbalanced forces

 

Closing Reflection

  • Tell students that today they used their bodies to bring electrical circuits to life. Have them show you one thing you learned about circuits without using their voices.
  • Now, have them turn and talk. Students should tell their partners three ways that they use electricity every day.
  • Ask students the following reflection questions:
    • What did you enjoy about pantomiming and creating dialogue?
    • What do circuits have to do with electricity, and why do we need a complete path/loop for electricity to flow?
    • How do you see circuits or connections in human relationships?

 

Assessments

Formative

  • Walk around the room while students create pantomimes and clarify why they chose certain movements through question and answer.
  • Assess students’ ability to use their voice and body to portray characters. Encourage those who are having difficulty.

Summative

  • Have students create a checklist for their pantomime presentation skills that includes use of body, facial expression, and exaggeration.
  • Assess whether students understand the content through their pantomime presentation.

 

Differentiation

Accelerated: 

  • Create monologues from an open or closed circuit point of view, adding the problem or solution of an insulator or conductor.
  • Flesh out the four lines of dialogue into a full scene involving three circuit characters.

 

Remedial:

  • Build circuits with groups coming to the front of the class versus getting into small groups.
  • Have students improvise the dialogue; the teacher will scribe it on the board.

 

Additional Resources

 

Credits

Ideas contributed by: Susie Spear Purcell

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

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