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Canadian Theatre Context

Drama • 9th Grade • 60 minutes • 25 students • Created with AI following Aligned with provincial curriculum standards

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Drama
9th Grade
60 minutes
25 students
8 September 2026

Teaching Instructions

This is lesson 5 of 18 in the unit "Contemporary Drama Ensemble Lab". Lesson Title: Canadian Theatre, Place, and Context Lesson Description: Study varied Canadian theatre practices through excerpts, interviews, production images, and trailers from artists such as Hannah Moscovitch, Judith Thompson, Jordan Tannahill, Guillermo Verdecchia, Drew Hayden Taylor, Yvette Nolan, Monique Mojica, Tara Beagan, Jani Lauzon, and Reneltta Arluk. Frame Canada as plural and contested, not a single story. Ask who speaks, who is represented, who has access, and whose labour is missing. Use Richmond and Metro Vancouver connections such as Gateway Theatre, Arts Club Theatre, Pacific Theatre, Theatre Replacement, PuSh, and Full Circle: First Nations Performance; use current programming only after checking official sources. Students create a context-and-care map for one excerpt. Do not reproduce sacred, ceremonial, or community-owned material.

Overview

Lesson 5 of 18 in Contemporary Drama Ensemble Lab. Students examine Canadian theatre as plural, contested, and shaped by place, identity, access, and labour. Using carefully selected excerpts and production materials, they create a context-and-care map for one work, building on prior ensemble, performance, and response skills.

Learning intentions

Students will:

  • Explore how time, place, culture, and social context influence Canadian dramatic works.
  • Analyse how artists communicate identity, perspective, belonging, and power.
  • Use drama vocabulary to interpret excerpts, images, interviews, and trailers.
  • Create a context-and-care map that identifies representation, access, and ethical considerations.
  • Respond respectfully to perspectives that differ from their own.

Success criteria

  • I can describe how a Canadian theatre work is shaped by its context.
  • I can identify whose perspective is centred, represented, absent, or questioned.
  • I can use terms such as place, voice, worldview, access, labour, audience, and representation accurately.
  • I can make informed choices about cultural care and avoid treating Canada as one story.

Curriculum links

  • Drama 9–12: dramatic elements, symbols, movement, sound, image, form, and the influences of time and place.
  • Exploring and creating: create and interpret dramatic works, intentionally select dramatic elements, and explore relationships between identity, place, culture, society, and belonging.
  • Reasoning and reflecting: describe, analyse, respond to, and evaluate dramatic works using discipline-specific language; receive and apply constructive feedback.
  • Communicating and documenting: connect personal voice, cultural perspectives, and symbolism to drama; demonstrate awareness of self, others, and audience.

Lesson structure (60 minutes)

  1. 0–6 min · Provocation and framing. Teacher opens the hook and framing slides with the question, “Who gets to tell a Canadian story?” and establishes that Canada contains many distinct, living communities and contested histories. Students silently record one possible answer, then share with a partner; the teacher reminds them not to imitate accents, sacred practices, or community-owned material.

  2. 6–16 min · Curated theatre landscape. Teacher uses the Canadian theatre landscape slides to introduce selected artists and companies, such as Hannah Moscovitch, Judith Thompson, Jordan Tannahill, Guillermo Verdecchia, Drew Hayden Taylor, Yvette Nolan, Monique Mojica, Tara Beagan, Jani Lauzon, and Reneltta Arluk. Include short, age-appropriate excerpts, interviews, production images, or trailers, plus Richmond and Metro Vancouver connections such as Gateway Theatre, Arts Club Theatre, Theatre Replacement, PuSh, and Full Circle: First Nations Performance. Students note one artistic choice and one contextual question for each example; use current programming only after checking official sources.

  3. 16–24 min · Structured viewing and discussion. Teacher presents two contrasting examples and pauses for the prompts on the viewing and discussion slides: “Who speaks?”, “Who is represented?”, “Who has access?”, “Whose labour is visible or missing?”, and “What might the venue, audience, or place change?” Students discuss in groups of four, distinguishing observation from assumption and using evidence from the material.

  4. 24–30 min · Model a context-and-care map. Teacher models one fictional or publicly documented example on the mapping model slides, thinking aloud through six headings: work and artist, place and time, voices and perspectives, audience and access, labour and power, and care questions. Explicitly state that students must not reproduce sacred, ceremonial, or community-owned material, and should identify uncertainty rather than speculate.

  5. 30–48 min · Collaborative mapping. Teacher forms groups of four or five and distributes the context-and-care map. Each group chooses one provided excerpt or production example, then completes the map using evidence from the slides and classroom materials. Students identify the work’s context, dramatic elements, intended or implied audience, represented and absent perspectives, access considerations, and one responsible question for further research. One student may act as reader, one as evidence-finder, one as recorder, and one as care-checker.

  6. 48–56 min · Gallery response and refinement. Teacher displays the gallery response slides and asks groups to leave one specific observation and one respectful question on another group’s map. Students rotate, read another map, and revise one statement or add one care consideration in response to feedback.

  7. 56–60 min · Plenary and exit reflection. Teacher returns to the opening question using the plenary and exit prompt. Students complete the final section of the worksheet: “One way place shapes drama is…”, “One perspective I need to avoid assuming is…”, and “One action that demonstrates care is…”. Invite two or three voluntary responses.

Resources

  • the Canadian theatre context deck
  • the context-and-care map
  • Teacher-curated, age-appropriate excerpts, interviews, production images, and trailers
  • Projector, speakers, and reliable classroom playback
  • Large paper or shared digital canvases
  • Sticky notes and pens
  • Official company or artist information checked before class

Assessment

  • Listen for evidence-based discussion using drama vocabulary and respectful distinction between observation and assumption.
  • Review group maps for understanding of place, context, voice, representation, audience, access, labour, and cultural care.
  • Collect the worksheet exit reflection to identify misconceptions and inform the next ensemble activity.

Differentiation

  • Provide a choice of excerpts with varied complexity, transcripts or captions, still images, and short summaries; never require students to disclose personal or cultural identity.
  • Offer sentence starters such as “The work appears shaped by…”, “The evidence suggests…”, and “A perspective that may be missing is…”.
  • Assign flexible group roles and allow students to contribute through speaking, writing, drawing, arranging evidence, or using a shared digital document.
  • Extend confident students by asking them to compare how venue, audience, funding, or access may alter a work’s meaning; support learners needing more structure with a partially completed map and a vocabulary bank.

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