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Constantin Stanislavski

Theater Books Every Drama Teacher Should Own

May 8, 2025 By dhcbaldwin Leave a Comment

A puppy with reading glasses perched on his nose as if he is reading the theater book before him.

Theater Books Every Drama Teacher Should Know

From time to time, I read of teachers having  funds left nearing the end of the year.  They are frantically trying to spend any left over funds in their budget.  If you aren’t familiar with this kind of fervor.   Please know this–many times if a teacher does not use up their budget, it is given to someone else! And we don’t want that to happen, now do we?

Usually, I suggest items such as rehearsal boxes, makeup kits, a light tree, etc.  But today I’m blogging only about books I recommend you collect for your teaching library.  Here is a list of my ” Theater Books Every Drama Teacher Should Own”.

When I began teaching like a hundred years ago, there weren’t too many resources from which to teach.  Of course, we had play anthologies, but nothing much for the day-to-day class.  No one had ventured into teaching young students yet.  I mean, this was 1980!  If you’d like more information about that journey, check out: How to Make Your Drama Class Successful-Lessons Learned from 38 Years of Teaching High School.

Now you can find many books focusing on particular grade levels.  I’ve included several for each grade level here.

Theater Books Every Drama Teacher Should Own

Theater Books Every Drama Teacher Should Own

 Theater Games for the Classroom by Viola Spolin–This theater book is absolutely essential for you (and a personal favorite of mine), especially if you are teaching elementary or middle school students.  This best-selling book by Viola Spolin offers the most comprehensive theater instruction for all types of students, from small children to young adults. It includes over 130 theater games, plus exercises and instructional strategies. First developed by Spolin, the originator of modern improvisational theater techniques, these games have been tried and tested for over fifty years. I’ll tell you a secret–most of the books that are published about warm up games and exercises used this one as a stepping off point for theirs!  In other words, go to the original source.

Theater Books Every Drama Teacher Should Own

2. Multicultural Plays for Children Volume 2 by Pamela Gerke–When I taught middle school students a pre-elective course, I used several plays from this theater book collection. These excellent dramatic adaptations of 10 folktales from various countries and cultures will help fill that void. Most importantly I think each play is based on a story from the oral tradition that has retained.  Consequently through many alterations across time, these plays share a core of truth about human nature and life.

Furthermore, this book includes a substantial introductory section that addresses many concerns: adapting a play for various cast sizes; changing gender, setting, and length; vocal-projection exercises and theater games; plus many useful suggestions for production.

Also, each play has detailed directions for creating sets, props, costumes.  In addition, it includes a realistic timetable for rehearsals and other production needs, and a pronunciation guide. Talk about really helpful for a teacher!  Music is included, as is extensive information about some cultures that will extend and enrich the experience for children. Included:  The Comedy of Errors, Hamlet, Macbeth, The Merchant of Venice, Othello, Romeo and Julie, and The Tempest, etc. 

Theater Books Every Drama Teacher Should Own

Inspire Movement Through Story and Song

3. Lesson Plans for Creative Dance: Connecting with Literature, Arts and Music by Sally Carline–Children love to express themselves through movement—and with this great new resource, you can guide them through a range of actions and dances that will help them develop both physically and mentally. This theater book is a resource for physical educators, classroom teachers, and dance specialists as well as a useful supplement to college level elementary education courses.
Additionally, author Sally Carline has tested and refined the creative movement activities that she has prepared for educators and for preservice teachers. She includes background material that will ground you in understanding how to best teach and incorporate movement activities in a variety of classes and settings. Check out this blog post for more information: Creative Movement: Elementary and Middle School Teachers – Ready to Move?
Beautiful Stories from Shakespeare for Children

  4.Beautiful Stories for Children by Edith Nesbit -When I taught an introduction to Shakespeare course, I used this theater book with  middle schoolers.  We read the stories, minus Shakespeare’s play versions. William Shakespeare is arguably the most pivotal and widely read figure in the history of English literature. This comprehensive collection highlights some of the bard’s best works. Plus, they have been adapted to be more easily read and digestible for children.

Included are the stories of A Midsummer Night’s Dream, The Tempest, As You Like It, The Winter’s Tale, King Lear, Twelfth Night, Much Ado About Nothing, Romeo and Juliet, Pericles, Hamlet, Cymbeline and Macbeth. Also, included are the stories of The Comedy of Errors, The Merchant of Venice, Timon of Athens, Othello, The Taming of the Shrew, Measure for Measure, Two Gentlemen of Verona, All’s Well That Ends Well.

Theater Books Every Drama Teacher Should Own

Acting from the Inside Out: Tools for Voice, Body, and Imagination

5. Building a Character–Building a Character by Constantin Stanislavski is one of the three volumes that make up Stanislavski’s The Acting Trilogy. An Actor Prepares explores the inner preparation an actor must undergo in order to explore a role to the full. In this volume, Sir John Gielgud said, this great director “found time to explain a thousand things that have always troubled actors and fascinated students.”

Building a Character discusses the external techniques of acting: the use of the body, movement, diction, singing, expression, and control. Plus, it describes the preparation that precedes actual performance. This theater book includes extensive discussions of Gogol’s The Inspector General and Shakespeare’s Othello. Lastly, Sir Paul Scofield called Creating a Role “immeasurably important” for the actor.

Additionally, If you are ready to teach Stanislavski’s methods, check out: Theater of Acting Unit The Konstantin Stanislavski Acting Styles Method Memory

Theater Books Every Drama Teacher Should Own

 

6.  We’re Live! Radio Theater #101 by Deborah Baldwin–Written by me, this theater book is the ultimate resource for drama teachers looking to introduce students to the exciting world of radio theater. Designed for grades 2–12, this book walks educators through the process of creating, rehearsing, and performing radio plays. And with no costumes or sets required!  Inside, you’ll find student-friendly scripts, production tips, voice acting techniques, and simple sound effect ideas that bring stories to life using only imagination and sound.

Whether you’re tight on time, space, or resources, We’re Live! offers a creative and flexible way to engage students in storytelling, collaboration, and performance. It’s perfect for in-class use, distance learning, or even podcast projects. Lastly, my book guides and empowers teachers to step into the role of radio director and help students shine—mic in hand and voices ready!

7. Curtains Up! Theatre Games and Storytelling by Robert Rubinstein– If you teach students in upper elementary and middle school, this would be one of the first books I’d suggest to you.  I learned about it at a MSTA convention (sponsored by Educational Theatre Association) many years ago. Theatre games help to develop students’ skills in storytelling, improvisation, and public speaking. They also build confidence, teamwork, and vocabulary. This is a collection of theatre games which have been classroom tested. Try the collaborative and fun activity “The Monster with Three Heads.” Pick up a copy of this exercise here: Three Headed Monster. I guarantee you, your students will love it!

Looking for free lessons?  Check out: Free Stuff!

What theater books would you suggest to a theater teacher?  I’d love to include it in a blog post planned for the near future.  Just contact me at DhcBaldwin@gmail.com

Click here:  We’re Live! Radio Theater #101

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Filed Under: acting, arts education, Broadway, creative movement, drama education, drama integration, excellence in teaching, gifted and talented, High School, middle grades, performing arts, Radio Theatre, Teacherspayteachers, Teaching, teaching strategies, theater, theatre, youth theatre Tagged With: acting skills, Constantin Stanislavski, creative movement, improvisation, multicultural plays, radio theater, theater games for the classroom, Viola Spolin

The Meaning Behind “There Are No Small Acting Parts Only Small Actors”

May 9, 2018 By dhcbaldwin 4 Comments

Two actors in a musical

The Meaning Behind “There Are No Small Acting Parts Only Small Actors”

The Hidden Meaning Behind "There Are No Small Acting Parts Only Small Actors"

Let’s consider the meaning of  “There are no small acting parts, only small actors.” Constantin Stanislavski, considered the father of acting,  is credited with saying this quote. Here is a my director’s advice to actors seeking acting parts. Having taught/directed productions for over 38 years, I’ve experienced every kind of actor’s personality that’s possible.

However, first I want to consider my directing philosophy.  Although I am certainly not the father of modern acting, I do have an extensive teaching and directing career from which I can draw my opinions of the quote’s meaning.  Here’s my take on it. 

(Did you know I have the secret to boosting student engagement?  My new book, “We’re Live! Radio Theater #101” explains my journey to implementing this unique tool in the classroom. Check it out here)

The Meaning Behind "There Are No Small Acting Parts Only Small Actors"

There Are No Small Acting Parts Only Small Actors

The Tony Awards are the Oscar Awards for Broadway–except they are more genuine in my humble opinion. Theatre is different.

One reason–it is special because it is live.

The Hidden Meaning Behind "There Are No Small Acting Parts Only Small Actors"

I was thinking about the performers who portray smaller roles in the nominated productions.  If you ever see them on television in a short quip on syndicated news or talk show, you’ll observe those supporting characters and chorus members are just as invested in the production as the leading actors.

That’s impressive.  Generally, the nominated actors and actresses began as chorus members and understudies many years ago.  They put in their time portraying small acting parts and earned their stripes to finally receive the spotlight. However, this is not always the case.  If you’d like to learn about Broadway actors and actresses, check out: Bright Lights: Broadway’s Rising Stars

There Are No Small Acting Parts Only Small Actors

The Hidden Meaning Behind "There Are No Small Parts Only Small Actors"

Just because you are cast in a small acting role does not mean you are not important to the show. If you think so, you have missed the point entirely.

You are still important to the show.  Believe me. 

If you find yourself unable to move beyond the belief that you should have been cast in a particular role, perhaps it’s time to redirect your focus elsewhere in your life. Coping with disappointment is an inevitable aspect of life, whether positive or negative. While nobody relishes the feeling of letdown, it’s essential to acknowledge its presence and explore alternative avenues for personal fulfillment.

 Get over yourself, you know? Do you agree with me?

The Hidden Meaning Behind "There Are No Small Acting Parts Only Small Actors"

I was Blanche in “Brighton Beach Memoirs” 1989

Some advice from me–if you aren’t cast in the acting part you wanted, it is not an important enough reason to drop out of the show.  Maybe you are to learn something or gain knowledge from the experience? Life is a journey, you know.

Director’s Procedure for Casting 

For several days after I cast a production, I deal with hurt egos of cast members or those who audition for me and didn’t receive the role they desired.

I’ve previously mentioned this–casting a production has a lot to do with who a director envisions in a role. Sometimes I have no idea who I want to play an acting part.  Other times, the right person walks in and is perfect. They are the essence of the character already. If you’d like more information about my experiences and advice, check out Eighteen Ways To Make Your Directing Experience Less Stressful, Part One Eighteen Ways to Make Your Directing Experience Less Stressful, Part Two

 Some people can mold themselves into what I am looking for in a character.  Those people are special because they are versatile.

Casting Questions I Consider

There are other factors in the decision to cast someone, however. For instance, do I know their work?  Are they responsible?  Also, have I known them to be difficult to direct and/or not a team member?

The Hidden Meaning Behind "There Are No Small Parts Only Small Actors"

I was Dot in “Cricket on the Hearth” 2000

Let’s discuss acting parts.  First, there are people who only portray straight roles.  Straight roles are those parts most closely related to your personality.  

Have you ever seen someone in a movie who plays the same sort of roles in each movie?  The role the actor portrays is much like his/her personality off-screen. Aha. Personally, I think Meg Ryan is a good example of someone who can only portray a straight role.

Additionally, there are character roles.  Character roles are those parts that are unlike you–because of your age, stature or personality. Paul Giamatti portrayed character roles with such genius. He’s up for an Oscar award for his work in The Holdovers. Also, Tracey Ullman is a super example. You may remember her from the voice of the mother on The Simpsons.  Another phenomenal actor is  Jared Leto. You won’t even recognize him in House of Gucci. 

Versatile Performer: Embracing Both Character and Straight Roles

Character roles:

  • Ugly Step Sister
  • Wicked Witch
  • Cowardly Lion
  • Shrek

Straight roles:

  • Cinderella
  • Rapunzel
  • Dorothy
  • Fiona

Luckily, I can play both straight and character roles. That makes me more valuable to a director.   To be honest, I enjoy performing character roles the most, because usually they are interesting and unique.

This is my opinion (but I bet a lot of directors would agreed with me)–It isn’t about playing the lead.  It is about who you are best suited to portray. 

This is such a great discussion question.  If you want additional class conversation questions, check out: Conversation Starters

The Meaning Behind "There Are No Small Acting Parts Only Small Actors"

About Me

Guess what?  I have not been cast in a production before.  No joke!  So, chin up! If you don’t receive the role you craved for, your time will come in the future.

If you are interested in my acting  journey, check this out: https://wordpress.com/post/dramamommaspeaks.com/389 

The next time the Tony Awards are televised, look for the chorus members or those supporting characters, folks portraying small acting parts.  See if you notice them.  You’ll only observe them filling out the stage–sort of like shadows in a painting.

There will be several actors who perform that evening that I know personally.  As always, I am very excited for them. Shout a “Bravo!” to your television. I will, too.

Perhaps they will magically hear us…

The Hidden Meaning Behind "There Are No Small Parts Only Small Actors"

I was Miss Prism in “The Importance of Being Earnest” 1976

From My Classroom to Yours: Drama Made Easy

Now, I’m a retired drama teacher who created drama education resources for teachers all over the world.  If you are looking for cohesive, engaging, fun drama lessons and units, check out my store at: Dramamommaspeaks Store

Teaching High School Set Design? 

Or are you looking for a bunch of FREE resources? Check out this category. Maybe you’d like to teach your students about a famous actor’s life?  Check out:  James Earl Jones or Julie Andrews

Have you ever not being cast in a production?  I’d love to hear about your experience.  Contact me at dhcbaldwin@gmail.com. 

 

The Hidden Meaning Behind "There Are No Small Parts Only Small Actors"

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Filed Under: acting, community theater, directing experiences, drama education, theatre Tagged With: acting advice, advice for director, Arts, auditioning, casting, community theater, Constantin Stanislavski, Sirius Broadway, Straight roles vs. character roles, There are no small parts in acting, Tony Awards, Why chorus or supporting roles are beneficial, youth theater

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