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The Play’s the Thing

High School, Interdisciplinary

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Description of Unit

In this unit, high school students will explore the history of theater in the historical, political, and socioeconomic context of a specific era. They will analyze the influence of these different societal elements on the theatrical movements of that time and look for concrete examples within period-specific plays. In researching these elements, students will learn about different types of theater, theater’s role in society, its impact in history, and the evolution of the form. 

Students will research a specific theatrical movement (from an era of their choice), at least two external social issues of the time, and the history and development of a notable play that typifies that era. Students will recreate a scene from the representative play in two ways—as a reproduction in the style of its original era and as a reimagining in the style of a different era. Students will also create a design portfolio addressing the production needs of staging the play (e.g., set, costume, makeup, lighting and effects, direction). 

This guide links the unit The Play’s the Thing to the Texas Essential Knowledge and Skills (TEKS) for high school students. In this unit, students will consider the evolution of theater in the historical, political, and socioeconomic context of a previous era. They will explore the influence of these different elements on the theatrical movements of that time. Students will ultimately use this information to recreate a play from a specific era as if it were to be performed in a different period or for a modern audience. 

The Play’s the Thing is an interdisciplinary unit with connections to the English language arts, literature, social studies, theater, and fine arts disciplines. The following document includes the applicable TEKS and the details of the unit, The Play’s the Thing. The final section of this document presents the applicable Texas College and Career Readiness Standards adopted by the Texas Higher Education Coordinating Board (THECB) on January 24, 2008. 

Teacher Overview

For this project, students will learn about the historical role of theater in society. To do this, students will familiarize themselves with historical movements in theater and how these movements impacted (or were impacted by) historical, cultural, socioeconomic, and pop culture events of their time. They will then research the relationship between theatrical productions and the era in which they were created. 

This unit includes three components: 

  1. Students will select a historical era to study and identify the major theatrical movement of the time. They will also pick a period-specific play that reflects that movement.

    2. Example: If the selected play is Hamlet, students will consider the political issues and historical context that inspired Shakespeare to write this play during his era.

  2. Students will research the external influences of the era that may have inspired the playwright to create that work for the stage. Influences could include the historical, political, socioeconomic, or pop culture events of the time that served as the backdrop for its development. Students will examine how theater of the era responded to these influences and if there were any changes. Students should include theatrical innovations in staging, stagecraft, design, and production for a complete picture.

    3. Example: When considering Hamlet, students will examine the cultural climate and history around the play’s original production. They will also research the popular theatrical conventions of the time, including unit sets, all-male casts, and “theater for the common man.”

  3. Students will consider the production of the selected play, both in its time and in a different historical era. They will develop a production plan that addresses the contextual issues and theatrical conventions of its original time of creation. They will then reimagine the play as it would look in a different style and era.

    4. Example: Students will first produce a short scene from Hamlet in the classic style, reflecting the staging, line delivery, and costuming common to the Old Globe Theater during Shakespeare’s time. They will then consider how the play would look if it was being produced and staged in 1940s Chicago. The character of Hamlet might be the son of a powerful bootlegger or mafia don. He may have to negotiate the cultural politics of his father’s recent death and address the socioeconomic impact on the family business that is complicated by the politics of the era.

Phase I. Learning Experiences

  1. Theater serves as both a reflection and a catalyst for the society in which it is produced. It brings literature to life. Theater is regularly impacted and influenced by historical or political events. These events may inspire playwrights, producers, actors, and set and costume designers.

    2. Ask students to form pairs or small groups and consider the following question prompts. Students should discuss the questions in their small groups and share their responses in a class discussion before moving on to the next question:

    • How does literature reflect everyday life? What examples can you give? What inspired notable historical writers to use these topics in their work?
    • How does literature treat history? What are some examples? Other than in historical fiction, how can historical context influence literary content?
    • If plays are literature, how does the era in which they are written inspire the playwright? How does the conventional stagecraft of the play’s era influence production?
    • When reading a classic script, what would you have to consider to reimagine the play for production in a different historical era? For a modern audience? How would you approach this task?

    To provide a concrete example, have the students consider Shakespeare’s Romeo and Juliet. This famous play has been done and redone over the years; however, it remains fresh in treatment and production. Jerome Robbins reimagined it for the screen with the 1961 production of West Side Story. Baz Luhrmann then modernized it for the screen in the 1996 film Romeo and Juliet, starring Leonardo DiCaprio and Claire Danes. In both cases, the play’s plot, tone, and concept remained, but each production reflected the sensibilities of its specific era. Robbins set the love story in 1960s New York and addressed the issues of gang rivalries and race tensions. Luhrmann updated the classic setting and design but retained Shakespeare’s language for his modern audience. Search online for clips from each film to compare and contrast their approach. This will help deepen the students’ understanding of how the story looks when produced and set in a different era.

    As students are learning more about the history and evolution of theater, you may want them to consult the following resources:

    1. Theatre History
    2. An Online Guide to the History of Theater
    3. PBS LearningMedia: History of Theater
    4. West Side Story
  2. Students may not be familiar with the major movements in theater history or how they correlate with historical events. Have students find a timeline of major events in world history and compare it to a timeline of important events in theater history. By aligning timelines, students will be able to see where historical events and theatrical movements intersect.

    It is often helpful to collect images of an era. These could include headlines, propaganda images, photos of leaders, and pictures of people and cities. All will be used to help flesh out both the tenor of the times and the design of the play.

    To illustrate the connection, show the students a picture of a production of Samuel Becket’s Waiting for Godot. This play was originally produced in Paris in 1953, and it is a prime example of the theatrical movement known as Absurdism. Absurdism rose to prominence around the time of World War II. During the tragedy of wartime, the Absurdists framed all human action as meaningless, leaving humans without control over life. The Absurdist playwrights appreciated the absurdity of the world and laughed at the situation (which was often bleak, pointless, and strange). The works of playwrights such as Samuel Becket and Eugene Ionesco illustrate the Absurdism movement. To deepen the students’ understanding, consider showing a clip of a production of Waiting for Godot. Several clips are available on YouTube, including those from the Robin Williams/Steve Martin Broadway production in 1988 and the Patrick Stewart/Ian McKellen London production in 2009.

    3. With this introduction to theatrical movements throughout history, create a Chalk Talk. Ask the students guiding questions and then review their responses with the whole group:

    • In this context, how might the historical, cultural, and socioeconomic events of World War II have inspired the Absurdist movement?
    • What inspired playwrights to write these Absurdist plays? In what other manner could these themes have been addressed? Where else could we see or hear the Absurdist viewpoint? What would this play have been like if you were in the audience?
    • In what other context or era could an Absurdist play be set or presented? How would that production differ from the original? How did the Absurdist movement change theater or contribute to its evolution?

    Encourage students to ask these types of questions as they research and explore their final product topics. Have students note plays and playwrights that are prominently featured in history of theater timelines and explore these playwrights’ bodies of work. Select a few notable plays and conduct a classroom read-through of the scripts. Plays are written to be read aloud, so be sure to have the students gather in a group, select roles, and vocalize the lines in the script. Students should have someone read the stage directions aloud as well; these are an integral part of any play. This exercise will help students begin to think about what play they would like to stage for their final product.

    The following resources may be helpful as students work through the history of theatrical movements:

  3. Designed to activate prior knowledge, student discussions and activities thus far have focused on theater history and the impact of external and internal events on its evolution. Students have explored the effect of historical, political, or socioeconomic issues on literature and considered their impact on the playwright’s inspiration. They have also reflected on how to reimagine a classic script for production in another era or for a modern audience. They have examined how historical and theatrical timelines intersect and identified different theatrical movements/styles that have been influenced by historical events. These activities and discussions have laid the foundation for students to plan their research.

    4. With this foundation, students should have a good idea of a historical timeframe and a theatrical movement that interests them. In this step, students will plan their research and decide on the play they will develop. The following resources may help students as they search for the play they will reimagine:

    Students may also want to visit the library and consult the following publications:

    • The Oxford Dictionary of Plays by Michael Patterson (Oxford University Press, 2006)
    • The Oxford Illustrated History of Theater by John Russell Brown (Oxford University Press, 2001)
    • History of the Theater by Oscar Gross Brockett and Franklin Joseph Hildy (Pearson, 2008)
    • A Source Book in Theatrical History: Twenty-Five Centuries of Stage History in more than 300 Basic Documents and Other Primary Material by A.M. Nagler (Dover Publications, 1959)
    • Theater and History by Rebecca Schneider (Palgrave, 2014)
    • Theater and Politics by Joe Kelleher (Palgrave, 2009)

Phase II. Independent Research

A. Research process

  1. Selecting a topic. Students will form small groups based on their shared interest in a particular historical era and theatrical movement. As a group, the students will choose an important historical era or event to study and identify the theatrical movement reflecting the historical, political, socioeconomic, or pop culture sensibilities of the era. They will select a specific play that is representative of this era.
  2. Asking guiding questions. Student groups will develop guiding questions to help focus their research on a specific era, theatrical movement, and play. Examples of guiding questions include the following:
    • What was the historical climate of the era?
    • How did events of the era influence or inspire the theatrical movement?
    • How were playwrights and theater artists influenced or inspired by the time?
    • What purpose did theater serve during this era?
    • Which playwright’s work illustrates the era and its theatrical movement?
    • How did other groups or audiences receive these plays?
    • How can a play speak to audiences in different eras of history?
    • Which play is representative of this era and movement?
    These questions are designed to help students narrow the scope of their project and select a specific play for reimagining.


    3. While these examples are general, the students’ questions about the historical era should be more specific to the chosen topic. Questions should lead them to form research-based opinions. The students should also develop hypotheses or some possible answers to the questions.

  3. Creating a research proposal. Students will include numerous components in the research proposal, including the following:
    • The name of the selected play
    • The historical era or event that inspired the play
    • The theatrical movement that the play fits into
    • Examples of other significant playwrights and plays from that time period
    • Guiding questions to drive research
    • Resources to find answers to the guiding questions (e.g., primary and secondary sources, scripts, articles, correspondence with experts on the subject)
    • Any initial thoughts on the social implications of the selected theatrical movement
  4. Conducting the research. After the teacher has approved proposals, students will begin using the resources they have identified and others they may encounter. During this stage, students should focus on the historical, political, socioeconomic, or pop culture influences of an era on theater and theatrical movements of that time.

    5. Students will also research the typical components of stagecraft, acting, and directing during this theatrical movement and era. These elements have undoubtedly changed over time as theater has evolved. For example, some of these ever-changing components include the following:

    • Approaches to set and prop design
    • The use of lighting and special effects
    • Costumes and masks
    • Music, soundtracks, and dance
    • The role of the producer, director, and stage manager (if any)

    During the research phase, students will keep a log, note cards, or resource process sheets to record all the sources they use and what was learned from each.

    B. The product

    The student groups will collaborate to complete following steps for the final product:

    1. Students will create a retrospective of the theatrical movement that was prevalent in their selected historical era. The retrospective should include information on the roots of the theatrical movement and an overview of the important historical, political, or socioeconomic events of the time. Students will provide citations of representative plays and playwrights associated with the movement. They will use the script of the selected play to illustrate these points, perhaps through character and set analysis.
    2. Students will develop a theatrical treatment of a classic period play that reflects the time in which it was originally produced. Each group member will take on an element of traditional stagecraft to fully realize the play as a period-specific production. This will include dramaturgical research on the play, the playwright, and the related historical or theatrical movements. Students will develop set designs, stage models, props, and costume designs. They will consider the design of other applicable production elements, such as lighting, special effects, sound, music, and movement. Students will provide explanations of design choices made and how they were appropriate to the historical era.
    3. Students will consider how their selected play might have been staged and received by its contemporary audience. Students will then select a different historical era of interest (it can be either earlier or later than the original period). They will consider how this same text would play to an audience in the alternate era and if it would retain its relevance. Students will create a treatment for both productions (the original reproduction and the alternate reimagining). They will compare and contrast the historical contexts, theatrical movements, audience sensibilities, and production elements of the two eras. Each student in the group will write an explanation of the reimagined edition and the artistic decisions that were made.

      4. C. Communication

      To communicate learning, students will choose a scene from the play that they have selected and perform a representative five- to eight-minute version in the style of the theatrical movement that spawned it. Students will then present a version of that same scene as if performing it in another theatrical era. One student in the group will be the director and another the narrator. The other students in the group will be the actors in the performance. There will be an unscripted Q&A session with audience members after both performances.

      D. A completed project consists of:

      1. A research proposal
      2. A research log, note cards, or resource process sheet
      3. A theatrical treatment of a notable play that presents it in its original form
      4. A theatrical treatment of a notable play that reimagines it as if it were being produced in an alternate era
      5. A live performance of the two versions of a scene from the selected play
      6. A Works Cited page
      7. An audio or visual recording of the presentation, including an unscripted Q&A session


This unit may address the following TEKS.

110.31, English Language Arts and Reading, English I

110.31(b)(1)
Reading/Vocabulary Development. Students understand new vocabulary and use it when reading and writing.
110.31(b)(2)
Reading/Comprehension of Literary Text/Theme and Genre. Students analyze, make inferences and draw conclusions about theme and genre in different cultural, historical, and contemporary contexts and provide evidence from the text to support their understanding.
110.31(b)(8)
Reading/Comprehension of Informational Text/Culture and History. Students analyze, make inferences and draw conclusions about the author's purpose in cultural, historical, and contemporary contexts and provide evidence from the text to support their understanding. Students are expected to explain the controlling idea and specific purpose of an expository text and distinguish the most important from the less important details that support the author's purpose.
110.31(b)(11)
Reading/Comprehension of Informational Text/Procedural Texts. Students understand how to glean and use information in procedural texts and documents.
110.31(b)(13)
Writing/Writing Process. Students use elements of the writing process (planning, drafting, revising, editing, and publishing) to compose text.
110.31(b)(14)
Writing/Literary Texts. Students write literary texts to express their ideas and feelings about real or imagined people, events, and ideas. Students are responsible for at least two forms of literary writing.
110.31(b)(16)
Writing/Persuasive Texts. Students write persuasive texts to influence the attitudes or actions of a specific audience on specific issues. Students are expected to write an argumentative essay to the appropriate audience that includes:
110.31(b)(17)
Oral and Written Conventions/Conventions. Students understand the function of and use the conventions of academic language when speaking and writing. Students will continue to apply earlier standards with greater complexity.
110.31(b)(18)
Oral and Written Conventions/Handwriting, Capitalization, and Punctuation. Students write legibly and use appropriate capitalization and punctuation conventions in their compositions.
110.31(b)(20)
Research/Research Plan. Students ask open-ended research questions and develop a plan for answering them.
110.31(b)(21)
Research/Gathering Sources. Students determine, locate, and explore the full range of relevant sources addressing a research question and systematically record the information they gather.
110.31(b)(23)
Research/Organizing and Presenting Ideas. Students organize and present their ideas and information according to the purpose of the research and their audience. Students are expected to synthesize the research into a written or an oral presentation that:
110.31(b)(24)
Listening and Speaking/Listening. Students will use comprehension skills to listen attentively to others in formal and informal settings. Students will continue to apply earlier standards with greater complexity.
110.31(b)(25)
Listening and Speaking/Speaking. Students speak clearly and to the point, using the conventions of language. Students will continue to apply earlier standards with greater complexity. Students are expected to give presentations using informal, formal, and technical language effectively to meet the needs of audience, purpose, and occasion, employing eye contact, speaking rate (e.g., pauses for effect), volume, enunciation, purposeful gestures, and conventions of language to communicate ideas effectively.

110.32, English Language Arts and Reading, English II

110.32(b)(1)
Reading/Vocabulary Development. Students understand new vocabulary and use it when reading and writing.
110.32(b)(2)
Reading/Comprehension of Literary Text/Theme and Genre. Students analyze, make inferences and draw conclusions about theme and genre in different cultural, historical, and contemporary contexts and provide evidence from the text to support their understanding.
110.32(b)(6)
Reading/Comprehension of Literary Text/Literary Nonfiction. Students understand, make inferences and draw conclusions about the varied structural patterns and features of literary nonfiction and provide evidence from text to support their understanding. Students are expected to evaluate the role of syntax and diction and the effect of voice, tone, and imagery on a speech, literary essay, or other forms of literary nonfiction.
110.32(b)(8)
Reading/Comprehension of Informational Text/Culture and History. Students analyze, make inferences and draw conclusions about the author's purpose in cultural, historical, and contemporary contexts and provide evidence from the text to support their understanding. Students are expected to analyze the controlling idea and specific purpose of a passage and the textual elements that support and elaborate it, including both the most important details and the less important details.
110.32(b)(9)
Reading/Comprehension of Informational Text/Expository Text. Students analyze, make inferences and draw conclusions about expository text and provide evidence from text to support their understanding.
110.32(b)(12)
Reading/Media Literacy. Students use comprehension skills to analyze how words, images, graphics, and sounds work together in various forms to impact meaning. Students will continue to apply earlier standards with greater depth in increasingly more complex texts.
110.32(b)(13)
Writing/Writing Process. Students use elements of the writing process (planning, drafting, revising, editing, and publishing) to compose text.
110.32(b)(14)
Writing/Literary Texts. Students write literary texts to express their ideas and feelings about real or imagined people, events, and ideas. Students are responsible for at least two forms of literary writing.
110.32(b)(16)
Writing/Persuasive Texts. Students write persuasive texts to influence the attitudes or actions of a specific audience on specific issues. Students are expected to write an argumentative essay to the appropriate audience that includes:
110.32(b)(18)
Oral and Written Conventions/Handwriting, Capitalization, and Punctuation. Students write legibly and use appropriate capitalization and punctuation conventions in their compositions.
110.32(b)(20)
Research/Research Plan. Students ask open-ended research questions and develop a plan for answering them.
110.32(b)(21)
Research/Gathering Sources. Students determine, locate, and explore the full range of relevant sources addressing a research question and systematically record the information they gather.
110.32(b)(24)
Listening and Speaking/Listening. Students will use comprehension skills to listen attentively to others in formal and informal settings. Students will continue to apply earlier standards with greater complexity.
110.32(b)(25)
Listening and Speaking/Speaking. Students speak clearly and to the point, using the conventions of language. Students will continue to apply earlier standards with greater complexity. Students are expected to advance a coherent argument that incorporates a clear thesis and a logical progression of valid evidence from reliable sources and that employs eye contact, speaking rate (e.g., pauses for effect), volume, enunciation, purposeful gestures, and conventions of language to communicate ideas effectively.

113.41, United States History Studies Since 1877

113.41(c)(2)
History. The student understands traditional historical points of reference in U.S. history from 1877 to the present.
113.41(c)(3)
History. The student understands the political, economic, and social changes in the United States from 1877 to 1898.
113.41(c)(6)
History. The student understands significant events, social issues, and individuals of the 1920s.
113.41(c)(12)
Geography. The student understands the impact of geographic factors on major events.
113.41(c)(25)
Culture. The student understands the relationship between the arts and the times during which they were created.
113.41(c)(26)
Culture. The student understands how people from various groups contribute to our national identity.
113.41(c)(29)
Social studies skills. The student applies critical-thinking skills to organize and use information acquired from a variety of valid sources, including electronic technology.
113.41(c)(30)
Social studies skills. The student communicates in written, oral, and visual forms.
113.41(c)(32)
Social studies skills. The student uses problem-solving and decision-making skills, working independently and with others, in a variety of settings.

113.42, World History Studies

113.42(c)(24)
Culture. The student understands the roles of women, children, and families in different historical cultures.
113.42(c)(25)
Culture. The student understands how the development of ideas has influenced institutions and societies.
113.42(c)(26)
Culture. The student understands the relationship between the arts and the times during which they were created.
113.42(c)(28)
Science, technology, and society. The student understands how major scientific and mathematical discoveries and technological innovations have affected societies from 1750 to the present.
113.42(c)(29)
Social studies skills. The student applies critical-thinking skills to organize and use information acquired from a variety of valid sources, including electronic technology.
113.42(c)(30)
Social studies skills. The student communicates in written, oral, and visual forms.
113.42(c)(31)
Social studies skills. The student uses problem-solving and decision-making skills, working independently and with others, in a variety of settings.

113.43, World Geography Studies

113.43(c)(2)
History. The student understands how people, places, and environments have changed over time and the effects of these changes.
113.43(c)(5)
Geography. The student understands how political, economic, and social processes shape cultural patterns and characteristics in various places and regions.
113.43(c)(8)
Geography. The student understands how people, places, and environments are connected and interdependent.
113.43(c)(16)
Culture. The student understands how the components of culture affect the way people live and shape the characteristics of regions.
113.43(c)(17)
Culture. The student understands the distribution, patterns, and characteristics of different cultures.
113.43(c)(18)
Culture. The student understands the ways in which cultures change and maintain continuity.
113.43(c)(21)
Social studies skills. The student applies critical-thinking skills to organize and use information acquired from a variety of valid sources, including electronic technology.
113.43(c)(22)
Social studies skills. The student communicates in written, oral, and visual forms.
113.43(c)(23)
Social studies skills. The student uses problem-solving and decision-making skills, working independently and with others, in a variety of settings.

117.315, Theatre, Level I

117.315(c)(1)
Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre.
117.315(c)(2)
Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations.
117.315(c)(3)
Creative expression: production. The student applies design, directing, and theatre production concepts and skills.
117.315(c)(4)
Historical and cultural relevance. The student relates theatre to history, society, and culture.
117.315(c)(5)
Critical evaluation and response. The student responds to and evaluates theatre and theatrical performances.

117.316, Theatre, Level II

117.316(c)(1)
Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre.
117.316(c)(2)
Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations.
117.316(c)(3)
Creative expression: production. The student applies design, directing, and theatre production concepts and skills.
117.316(c)(4)
Historical and cultural relevance. The student relates theatre to history, society, and culture.
117.316(c)(5)
Critical evaluation and response. The student responds to and evaluates theatre and theatrical performances.

This unit may address the following Texas College and Career Readiness Standards.

Social Studies:

SS.I.A.2
 Analyze the interaction between human communities and the environment.
SS.I.A.3
 Analyze how physical and cultural processes have shaped human communities over time.
SS.I.A.5
 Analyze how various cultural regions have changed over time.
SS.I.B.2
 Identify and evaluate sources and patterns of change and continuity across time and place.
SS.I.B.3
 Analyze causes and effects of major political, economic, and social changes in U.S. and world history.
SS.I.E.1
 Identify different social groups (e.g., clubs, religious organizations) and examine how they form and how and why they sustain themselves.
SS.I.E.2
 Define the concept of socialization and analyze the role socialization plays in human development and behavior.
SS.I.E.3
 Analyze how social institutions (e.g., marriage, family, churches, schools) function and meet the needs of society.
SS.I.F.1
 Use a variety of research and analytical tools to explore questions or issues thoroughly and fairly.
SS.I.F.2
 Analyze ethical issues in historical, cultural, and social contexts.
SS.II.B.1
 Explain and evaluate the concepts of race, ethnicity, and nationalism.
SS.II.B.2
 Explain and evaluate the concept of gender.
SS.II.B.3
 Analyze diverse religious concepts, structures, and institutions around the world.
SS.II.B.4
 Evaluate how major philosophical and intellectual concepts influence human behavior or identity.
SS.II.B.6
 Analyze how individual and group identities are established and change over time.
SS.IV.A.1
 Identify and analyze the main idea(s) and point(s)-of-view in sources.
SS.IV.A.2
 Situate an informational source in its appropriate contexts (contemporary, historical, cultural).
SS.IV.A.3
 Evaluate sources from multiple perspectives.
SS.IV.A.4
 Understand the differences between a primary and secondary source and use each appropriately to conduct research and construct arguments.
SS.IV.A.5
 Read narrative texts critically.
SS.IV.A.6
 Read research data critically.
SS.IV.B.1
 Use established research methodologies.
SS.IV.B.3
 Gather, organize, and display the results of data and research.
SS.IV.B.4
 Identify and collect sources.
SS.IV.C.1
 Understand and interpret presentations (e.g., speeches, lectures, informal presentations) critically.
SS.IV.D.1
 Construct a thesis that is supported by evidence.
SS.IV.D.2
 Recognize and evaluate counter-arguments.
SS.V.A.1
 Use appropriate oral communication techniques depending on the context or nature of the interaction.
SS.V.A.2
 Use conventions of standard written English.
SS.V.B.1
 Attribute ideas and information to source materials and authors.

Cross-Disciplinary Standards:

CDS.I.A.1
 Engage in scholarly inquiry and dialogue.
CDS.I.A.2
 Accept constructive criticism and revise personal views when valid evidence warrants.
CDS.I.B.1
 Consider arguments and conclusions of self and others.
CDS.I.B.2
 Construct well-reasoned arguments to explain phenomena, validate conjectures, or support positions.
CDS.I.B.3
 Gather evidence to support arguments, findings, or lines of reasoning.
CDS.I.B.4
 Support or modify claims based on the results of an inquiry.
CDS.I.D.1
 Self-monitor learning needs and seek assistance when needed.
CDS.I.D.2
 Use study habits necessary to manage academic pursuits and requirements.
CDS.I.D.3
 Strive for accuracy and precision.
CDS.I.D.4
 Persevere to complete and master tasks.
CDS.I.E.1
 Work independently.
CDS.I.E.2
 Work collaboratively.
CDS.I.F.1
 Attribute ideas and information to source materials and people.
CDS.I.F.2
 Evaluate sources for quality of content, validity, credibility, and relevance.
CDS.I.F.3
 Include the ideas of others and the complexities of the debate, issue, or problem.
CDS.I.F.4
 Understand and adhere to ethical codes of conduct.
CDS.II.A.1
 Use effective prereading strategies.
CDS.II.A.2
 Use a variety of strategies to understand the meanings of new words.
CDS.II.A.3
 Identify the intended purpose and audience of the text.
CDS.II.A.4
 Identify the key information and supporting details.
CDS.II.A.5
 Analyze textual information critically.
CDS.II.A.6
 Annotate, summarize, paraphrase, and outline texts when appropriate.
CDS.II.A.7
 Adapt reading strategies according to structure of texts.
CDS.II.A.8
 Connect reading to historical and current events and personal interest.
CDS.II.B.1
 Write clearly and coherently using standard writing conventions.
CDS.II.B.2
 Write in a variety of forms for various audiences and purposes.
CDS.II.B.3
 Compose and revise drafts.
CDS.II.C.1
 Understand which topics or questions are to be investigated.
CDS.II.C.2
 Explore a research topic.
CDS.II.C.3
 Refine research topic based on preliminary research and devise a timeline for completing work.
CDS.II.C.4
 Evaluate the validity and reliability of sources.
CDS.II.C.5
 Synthesize and organize information effectively.
CDS.II.C.6
 Design and present an effective product.
CDS.II.C.7
 Integrate source material.
CDS.II.C.8
 Present final product.
CDS.II.D.3
 Present analyzed data and communicate findings in a variety of formats.
CDS.II.E.1
 Use technology to gather information.
CDS.II.E.2
 Use technology to organize, manage, and analyze information.
CDS.II.E.3
 Use technology to communicate and display findings in a clear and coherent manner.
CDS.II.E.4
 Use technology appropriately.
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