• Portfolio Materials:
    CASA Theatre students prepare portfolio materials in the interest of instructing them in professional industry standard practices. Annually, students prepare portfolio audition material (songs and monologues), and update resume designs. At least biannually, they engage in headshot photography sessions and alternate portfolio projects (like design and tech portfolio review) as well.
    Curriculum: Our curriculum is split into a two year cycle.

    Year 1 is the classically focused curriculum year, where we focus on concepts, history, literature, styles, and practices of the theatre from prehistory and early human cultures (beginning with a storytelling unit that focuses on stories from indigenous cultures and a range of international mythologies) and ending with a focus on Shakespeare and classic comedies from the Elizabethan age to the mid-1800s.

    Year 2 is focused on concepts, history, literature, styles, and practices of the theatre (and related modern industries) from the mid-to-late 1800s to today, beginning with a focus on realism and Stanislavski-based acting theory and ending with units focused on modern theatre, musical theatre, and experimental theatre.

    Annually, the class engages in portfolio development work, production development (usually creating original work from the development phase through production and performance) in our midyear and end-of-year productions, scene and monologue study, song craftsmanship workshops, improv training, and a focus on movement and voice.
    All of our in-class experiences will flow from the attached curriculum maps. Differentiated, extended, and augmented assignments and lessons will be added in to the experience as the year progresses, but with the intention of expanding or augmenting the curricular outline mapped out here.
    Core Concepts:
    We will strive to build a classroom culture that is centered around some key principles and ideas...

      1. There are no "stars," we will embrace a "team first" attitude, and we will prioritize the ensemble over the individual.


      1. This is the moment that matters.

      2. Leave all non-curricular related drama outside of this classroom.


      1. An actor cannot play an emotion without faking it. Actors play ACTIONS, not emotions.

      2. Play the action and the emotion will follow much more naturally. This is true onstage and off.


      1. Objectives+Obstacles=Drama/Action. This is another fundamental concept for actors to master.


      1. By holding ourselves to the standard of those who make their living in this profession we will empower ourselves to do our best work now and to deserve to join their ranks later.

      2. By learning about the icons of this profession (their ideas/philosophies, their contributions, their work, their careers) we will learn more clearly what those standards are.

      3. By engaging with working professionals as often as possible we will continue to refine our knowledge of current best practices and professional standards.

    6. SAY YES 

      1. This fundamental of improvisational work is about a number of things: acceptance, commitment, positivity, and a willingness to embrace the challenges of the unexpected.
    7. INQUIRY

      1. Student-led opportunities for research in the areas where their passions lie.

      1. We will put our hearts and souls into the work, but we will strive to be patient and understanding with ourselves and each other.

    In addition to these core values, students frequently engage in democratic processes and culture-building, team-building, ensemble-building work to promote a healthy and professional culture of respect in our theatre classroom.