The Arts · Grade 9

Active learning ideas

Character Development: Objectives and Obstacles

Active learning works for character development because objectives and obstacles are dynamic forces that students must feel in their bodies and voices. When students physically pursue wants while confronting barriers, the abstract becomes concrete, which builds lasting understanding of dramatic action.

• Ontario Curriculum Expectations
• TH:Cr1.1.HSII
• TH:Pr5.1.HSII

• 30–45 min
• Pairs → Whole Class
• 4 activities

Activity 01

• Role Play
• 35 min · Pairs

Improv Pairs: Objective Pursuit

Pairs choose a simple objective, like 'convince your partner to share a secret.' They perform a 2-minute scene, then the teacher introduces an obstacle, such as 'your partner distrusts you.' Pairs adapt tactics immediately and debrief on physical and vocal changes. Rotate partners for variety.

Analyze how a character's objective influences their physical and vocal choices.

Facilitation Tip

During Improv Pairs, remind students that objectives must be active verbs, not emotions, to keep their choices purposeful and performable.

What to look for

Provide students with a brief character description and a scene scenario. Ask them to write: 1. The character's primary objective. 2. One potential obstacle. 3. One specific action the character might take to pursue their objective.

• Apply
• Analyze
• Evaluate
• Social Awareness
• Self-Awareness

Activity 02

• Role Play
• 45 min · Small Groups

Monologue Creation Stations

Set up stations with scenario cards listing objectives and obstacles. Students spend 5 minutes per station drafting a 1-minute monologue, focusing on physical embodiment. Groups share one monologue, receiving peer feedback on clarity of objective. Compile into a class performance showcase.

Predict how a new obstacle might change a character's strategy in a scene.

Facilitation Tip

At Monologue Creation Stations, circulate to prompt students to underline their objective and circle obstacles in their written drafts before performing.

What to look for

During improvisation, observe students and ask targeted questions: 'What do you want right now?' (objective) and 'What is stopping you?' (obstacle). Note student responses to gauge understanding of core concepts.

• Apply
• Analyze
• Evaluate
• Social Awareness
• Self-Awareness

Activity 03

• Role Play
• 30 min · Whole Class

Obstacle Escalation Circle

In a circle, one student starts a scene with an objective. Each classmate adds an obstacle in turn, prompting real-time adaptation. The performer notes tactic shifts. Rotate roles twice, followed by group discussion on vocal and movement choices.

Design a short monologue that clearly communicates a character's primary objective.

Facilitation Tip

In the Obstacle Escalation Circle, model how to name the obstacle before committing to a new tactic, so students practice strategic response.

What to look for

After students perform their objective monologues, have peers complete a simple feedback form. Questions could include: 'Was the character's objective clear? Yes/No. If no, what was unclear?' and 'What was one obstacle implied or stated in the monologue?'

• Apply
• Analyze
• Evaluate
• Social Awareness
• Self-Awareness

Activity 04

• Role Play
• 40 min · Small Groups

Character Analysis Tableau

Small groups select a scripted scene, freeze in a tableau showing objective vs. obstacle. Class predicts next action. Groups defend choices with evidence from physicality and voice, then perform a short continuation.

Analyze how a character's objective influences their physical and vocal choices.

Facilitation Tip

For the Character Analysis Tableau, freeze the scene after each adjustment and ask observers to name the objective and obstacle they see in the frozen moment.

What to look for

Provide students with a brief character description and a scene scenario. Ask them to write: 1. The character's primary objective. 2. One potential obstacle. 3. One specific action the character might take to pursue their objective.

• Apply
• Analyze
• Evaluate
• Social Awareness
• Self-Awareness

A few notes on teaching this unit

Experienced teachers approach this topic by grounding abstract concepts in physical action first, then layering analysis. Avoid spending too much time on definitions before students feel the tension of wanting something while facing resistance. Research in drama education shows that students grasp character development best when they experience objectives and obstacles kinesthetically before analyzing them verbally. Use guided reflection after each activity to connect the physical choices to the dramatic concepts.

Successful learning looks like students consistently naming a clear objective and obstacle, adjusting their physical and vocal choices to match, and explaining how these choices serve the character's goal. Students should also articulate strategy shifts when obstacles change.

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Watch Out for These Misconceptions

• During Improv Pairs, watch for students who improvise actions without naming a clear objective. Redirect by asking, 'What do you want in this moment? How does that action show it?'

  During Improv Pairs, if a student's action feels random, pause and ask the class to guess the objective. Then have the actor confirm or revise their choice to clarify motivation.

• During Obstacle Escalation Circle, watch for students who treat obstacles as only external events like arguments or locked doors. Ask, 'What inside you could make this even harder?' to prompt internal obstacles.

  During the Character Analysis Tableau, freeze the scene and ask observers to point out both external barriers and internal doubts visible in the actors' bodies and faces.

• During Monologue Creation Stations, watch for students who describe emotions instead of objectives, such as saying 'I feel nervous' instead of 'I need to hide my mistake'. Ask, 'What do you need from the other character right now?'

  During Improv Pairs, model how to turn a vague objective like 'be happy' into a concrete want like 'make my friend laugh' to show the difference between emotion and action.

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Methods used in this brief

• Role Play