UDL in the Theatre Classroom
Theatre/Drama/Performing arts is a world of diversity! And a very good definition of the phrase "it takes a village."
Let’s start by examining a standard in advanced theatre: “Generate original ideas in one theatrical area (e.g., acting, production) that integrate aesthetic principles with personal style.” Right away, you can see that flexibility is evident in the many different roles people can take on.
- If you're an extrovert who loves to be in front of people, get up on that stage and act.
- If you're an introvert who finds confidence in portraying someone else and diving into a character, get up on that stage!
- Are you a dancer? You can be an actor who dances or be part of the ensemble if you enjoy performing to a crowd, but don't want to memorize lines.
- If you'd rather not be in front of a crowd but love the atmosphere and have leadership qualities, join the production team.
- Love technology? Theaters have tons of sound boards and microphones, and lighting that all need constant configuring!
- Have an artistic side? Set design! Scenery painting!
- Love to sew? Costume design! I have a love of fashion and makeup, and have worked as a costume designer and makeup artist on productions.
By embracing firm goals and flexible means, everyone can use their strengths and their skills to come together and create a masterpiece!
This same flexibility also applies to how individuals demonstrate their ideas and understanding. For example, if working toward a standard like, “Explain and justify the selection of technical elements (e.g., scenery, lighting, props, costumes, sound, and makeup design) used to communicate the concept of a drama/theatre work,” members of the production team could communicate their ideas through sketches, inspiration photos from the internet, a walk-thru on the stage, explaining their vision in writing, or in a discussion with the director.
As a costume designer and make-up artist, I am sure my process differs from that of others with the same expertise. For example, I benefited from exemplars and often researched other productions and their costumes and make-up for inspiration, while others prefer to come up with their own ideas. Some costume designers sew everything themselves and build costumes from scratch. I realized I could be much more efficient if I bought pieces from Target or a thrift store and built on them. To justify my selections, I prefer to design a slide deck with inspiration photos to get approval before designing and creating the costumes, but other designers prefer to sketch.
Flexibility is also evident in the different ways actors approach their craft. For example, actors and actresses are required to “Perform roles that present a range of moods and emotions and causes audience reflection by presenting different styles or viewpoints.” But, this doesn’t look the same for two actors, as artists often have very different preferences when it comes to how they rehearse and prepare for roles.
One of the clearest examples of this variability in action comes from real rehearsal experiences. One of my favorite memories of theatre was directing The Wizard of Oz for a community theatre for 7-14-year-olds. In our pre-rehearsal meeting, I handed out the scripts for the first time. We all sat in a circle on the floor and read through cover to cover (note, those read-alouds can support those that may still struggle with decoding text, and reading aloud can always be an opt-in process!). After that meeting, these young actors started down different paths. Some marked up their scripts with highlighters, while others preferred to mark them up with pencils to edit and change notes, as needed. Some went home to watch other productions or the movie to see how other actors portrayed the roles, while others felt stifled by the examples and wanted to interpret the script themselves. When it came to practice, some of the actors preferred to practice in front of a mirror, while others practiced with family members or friends, or recorded themselves and critiqued the recordings.
This is evident with some of the most talented actors in the world! Some actors are method actors who embody the role both on and offstage while rehearsing to become the character. Other actors create their own approach. For example, Nicolas Cage actually developed an approach called “Nouveau Shamanic” acting, a style inspired by a power object that tricks your imagination into your role. Oh, and he has won an Oscar for this “flexibility.”
So what does this actually look like in practice? Here are a few look-fors you might notice in a UDL-aligned theatre classroom:
- Students have opportunities to participate in theatre in a variety of ways, including acting, stage management, set design, lighting, sound, costumes, makeup, choreography, publicity, or running crew, ensuring that everyone has a meaningful role in the production
- Students have opportunities to apply for different roles within a production, whether on stage or behind the scenes, by filling out an application, requesting a meeting with the director, or sharing their interests and strengths in a format that works best for them
- Students have opportunities to try different roles over time, allowing them to explore new skills while still building on what they already do well
- Students have options for how they prepare for auditions or roles, such as rehearsing independently, working with a partner, recording themselves, or seeking feedback from peers or the director
- Students have multiple ways to communicate ideas for design or performance, including sketches, mood boards, digital presentations, written reflections, or verbal discussions
- Students have structured opportunities to give and receive feedback throughout the process, whether through rehearsals, peer critique, small group discussions, or written notes
While they go hand in hand, theatre in a classroom setting and the process of mounting a full production are distinct in purpose, structure, and experience. The classroom uses theatre as a tool for learning, emphasizing exploration, skill-building, and creative expression in a more relaxed environment. In contrast, a theatre production operates with a clear end goal: a polished performance for an audience, requiring coordination, discipline, and a high level of commitment. Understanding the differences between these two approaches allows us to better appreciate how each contributes uniquely to a student’s growth. Let’s explore a bit more about putting on a show!
UDL in a Theatre Production
In addition to individual approaches, theatre reflects UDL in the way learning is chunked and scaffolded over time. As theatre teachers know, the production itself always happens in phases.
- At the very first rehearsal, typically everyone is gathered together for a read-through of the script.
- Then you usually get everyone on stage (or in the rehearsal area) and begin "blocking," which means you go through the script page by page, and the director tells the actors where to go and basically where to be at any given moment. Then you rehearse that blocking over and over until it runs smoothly!
- Meanwhile, music and dance rehearsals are happening, and then those art forms are merged in
- Then scenery and props
- Then add in lights and sound, piece by piece
- Then add in costumes and make-up
Throughout this entire process, reflection and problem-solving are essential as you work toward the standard, “Identify theatrical challenges and reflect upon the advantages and disadvantages of different solutions,” because, as with all standards, mastery comes through practice and revision.
Aligned with UDL, this process is most powerful when the learning environment is intentionally designed as a safe, inclusive space where all students feel comfortable taking risks, expressing ideas, and receiving feedback without judgment. From that foundation, everyone on the team needs to have flexible, meaningful opportunities to share ideas for improvement, whether through suggestion boxes, team meetings, notes to the director, or other ways to contribute feedback that build on their strengths.
Across all of these examples, the goal remains firm, but the path to get there is flexible. By designing with all of this in mind, theatre classrooms and productions can honor student strengths while maintaining high expectations for all. In the end, firm goals and flexible means come together to create a completed show!!
Now, go break a leg!
Reviewed and edited by Dr Katie Novak
