Educational: Drama and performance arts

Book SynopsisNominated for Outstanding Drama Education Resource at the 2024 Music & Drama Education AwardsA first-of-its-kind anthology, Beyond The Canon's Plays for Young Activists combines plays, toolkits, and an online guide to empower young people into activism. With award-winning plays from the UK's most revolutionary female writers of colour, as well as bespoke multimedia learning guides, this collection offers young global activists aged 16+, as well as teachers and creatives at any level, the opportunity to diversify their education and enhance their understanding of politically driven plays, world politics and social justice. Unique in how it amplifies these selected award-winning plays by incorporating learning guides that accommodate different learning styles (be they visual, auditory, reading/writing and kinaesthetic), Beyond The Canon dares readers to take a deeper dive into the world of the play, be inspired by the themes and provocations anTrade ReviewThese are genuinely groundbreaking plays, full of provocations and rich sources of discussion, both in and out of the classroom … The watching, studying and reading of these plays can contribute to those aspirations being realised, encourage students to take a deeper and more clear-eyed view of our shared history and cultural assumptions, and ultimately help them step out of their comfort zones. -- John Dabell * Teach Secondary Magazine *Table of Contents1. About Beyond The Canon Limited 2. Introduction by Simeilia Hodge-Dallaway 3. Introduction Sarudzayi Marufu 4. Beyond The Canon’s Top Tips for Approaching Politically Charged Plays: Creating a Safe Space 5. Interview with and Biography of Mojisola Adebayo 6. Muhammad Ali and Me by Mojisola Adebayo - Playscript 7. Muhammad Ali and Me - Learning Resource written by Award-Winning Writer and Co-Founder at Black Lives Black Words International Project, Reginald Edmund 8. Interview with and Biography of Hannah Khalil 9. A Museum in Baghdad by Hannah Khalil 10. A Museum in Baghdad - Learning Resource written by Director, Dramaturg and Education Associate for RSC Chris White 11. Interview with and Biography of Amy Ng 12. Acceptance by Amy Ng 13. Acceptance - Learning Resource Written by the Author 14. Continue the Conversation 15. References and Inspirations

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Book SynopsisRomance doesn't follow a script with this spicy forbidden love story, perfect for fans of Ali Hazelwood and Emily Henry. 'Not to be too dramatic - I LOVED it' - Pernille Hughes, bestselling author of Probably the Best Kiss in the World'This tale of love, friendship, and the pursuit of dreams mixes sizzling chemistry with heaps of A+ banter' - Anna E. Collins, author of Love at First Spite You can't spell Dream Man without DRAMA. As a PA to famous New York playwright Juliette, Winnie has spent the last seven years behind the scenes fetching coffee, soothing egos and buying birthday presents. Putting her own career plans on hold to (once again) cater to Juliette's every whim, Winnie reluctantly agrees to accompany her boss on a trip across the pond to work on London's West End. There, she meets Juliette's dashing nephew Liam (hello, hot accent!). With a standing-ovation-worthy smile, Winnie can't help crushing on him. Hard. When Juliette notices her assistant is distracted, she forbids Winnie from seeing Liam, making sneaking around backstage even more thrilling . . . Dream job. Dream man. We're totally Here for the Drama. Trade ReviewBromley's snappy dialogue and sassy banter never let up in this funny, charming, sexy and all-round fabulous romcom. I can't think of a couple I have recently enjoyed as much as Winnie and Liam. Their interactions and dialogue are exquisite. Not to be too dramatic - I LOVED it. -- Pernille HughesHere for the Drama drew me in instantly with its snarky wit and refreshingly sweet and nerdy hero. This tale of love, friendship, and the pursuit of dreams mixes sizzling chemistry with heaps of A+ banter into a read that is sure to charm readers! -- Anna E. CollinsBromley has written a wonderfully engaging novel with snappy narration from Winnie, and she deftly balances moments of humor with depth by providing her characters with deep backstories and complicated emotions... An entertaining, romantic story of a woman's personal and professional coming-of-age. * Kirkus *

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Book SynopsisGet exam ready with the only study guide available for National 5 Drama! Written specifically for the Scottish curriculum, this guide will give you all the tools you need to succeed in National 5 Drama. In this Study Guide, you will find: coverage of the key content you need to know for each unit of the course; advice on the process of developing and presenting a dramatic production; Don’t Forget pointers that offer advice on key facts and how to avoid common mistakes; Things to Do and Think About sections which provide you with plenty of opportunities to put your knowledge into practice. This guide is also supported by a host of free additional material available on the BrightRED Digital Zone!Trade ReviewTwenty- one 5* reviews on Amazon.co.uk: "A brilliant resource. Comprehensive guide. Easy to read and understand"; "Five Stars. Has everything my son needs to revise for his Nat 5 exam"; "Excellent. As advertised"; "Great examples and clear and inspiring teaching ideas. This book is a must for anyone teaching or studying drama. Well written, great examples and clear and inspiring teaching ideas.It covers everything from generating ideas, characterisation to costume, lighting and health and safety. I will be using this as my key reference tool through teaching national 5 and i suspect you will too when you buy it. I highly recommend it"Table of ContentsDrama Skills, Production Skills, Assessment

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Book SynopsisA practical, hands-on resource to help students tackle the Performing Monologues aspect of their Drama GCSE. // Provides guidance on how to choose a monologue, including the choice of character, style, content and genre // Includes a large selection of exemplar monologues and offers a synopsis of the play, rehearsal techniques and areas for further research on each one // Contains notes on additional scenes from the plays which could also be considered, studied and performed. // Advice on how to rehearse, and how to tackle common problems such as timing, nerves, voice and eye-lines // Downloadable pro-forma sheets are also available including a rehearsal schedule, research, feedback, post-rehearsal notes and performance checklist // Suitable for AQA, Edexcel, OCR and WJEC/Eduqas GCSE Drama specifications

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Book SynopsisA book packed with one hundred monologues, aimed at young performers from pre teens to young adults. The book has been written by a drama teacher with over twenty years' experience which includes heading up a performing arts faculty in a secondary school, GCSE and A-Level examining and most currently residing as the principal of a successful theatre school. She also has her work published in the 2019 LAMDA Acting Anthology and has several published plays. The original monologues and scenes can be used for class work, festivals and exams. The monologues have guidance on age suitability, and there is a good mix of male and female characters, with some written as non-gender specific in order to give the performer a wider selection of pieces to choose from. This collection of creative material would be a great asset to any drama teacher’s resources and be of benefit to primary and secondary schools as well as youth groups, and those preparing for auditions. “A great series of monologues, funny, sad and heart warming. Like a little sidekick in paperback form! Extremely reliable resources for all genres of monologue. The author has, thankfully, broadened the horizons for anyone looking for suitable and appropriate audition material. Students will be thrilled to perform these fun, new, fresh, quirky and up to date pieces.” Dave King (Drama Teacher and LAMDA Tutor)Table of ContentsMonologue Activities 1 Rehearsal Tasks 3 Suitability: Pre-teen Feisty Fairy 6 Jack 7 My Friend Henry 8 Peter Pan in Wonderland 10 Extraordinary 11 My World 13 I Won’t Choose 15 Alfie 16 It’s Here Somewhere 18 I’m Not Ready 20 My Grandma Never Sits Down 22 A Mermaid’s View 24 Magical Pet 25 Cowboy Trumps Indian 27 Wilderness Badge 29 Pirate Not Princess 30 Fame club 31 Santa Can Only Be Red 33 Check Mate! 35 Queen of Hearts and the Best Tarts 37 No One Understands Me 39 I Love the Ice 40 Poof! 42 Circus Dog 44 Show and Tell 46 I’m Not Contrary 48 Suitability: Pre-teen/Young Teen I’m not Contrary 48 Gran Says 50 Evacuee 52 Fleeced 54 Winner 56 Loves me, loves me not 57 The Light 59 I Dated an Elf 61 The Breakup 63 There’s Nothing Merry About Me 65 Geronimo! 67 If Walls Had Ears 69 Caravanning 71 Angry Waves 73 Life in Black and White 75 Unsinkable 77 Happy Place 79 Dystopia — The Taste That Once Was 81 Turbulent Times 83 Mission Complete 85 Excitement is Exhausting! 88 One Last Spell 90 A Striking friendship 92 Hard Times 94 Bitter Sweet Nightmares 96 I’m Not Scared 98 The Audition 100 Suitability: Teen The Audition 100 Cyber Torture 102 Dear Jenny 104 More Dragons 106 Dear Diary 109 Karma 111 Inner Beauty 113 Chapped 115 I’m Not a Vandal 117 Underworld 120 Mirror, Mirror 122 Less is More 124 The Ugly Vase 126 Curtain Going Up! 128 Enjoy the Moment 131 Going Solo 133 An Unwanted View 135 I Miss You 137 Trouble 139 The Lodger 141 Stinky Shoe 143 Sparkle 145 Little Red Lie 147 The Big Apple 149 Hair We Go! 151 Suitability: Teen/Young adult Hair We Go 151 Solitary 153 Eat Me! 155 When the World Turned Grey 157 Haunting 159 No Stars on this Jacket 161 What Am I Doing Here? 163 The Beauty Treatment 165 The Loft 167 New Home 169 Oxbridge Material 171 And the winner is… 173 The Urge 175 Evil Personified 177 Rest in Purgatory 179 Sometimes 181 Suitability: Young Adult Sometimes 181 Stood Here Looking at You 183 The Robbery 185 Desperate 187 Fashion Buzz 189 Me Too! 191 I Do 193 What I Never Had 195

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Book SynopsisThis Play Guide is specifically written for A Level students who are studying Antigone as part of the AQA A Level Drama & Theatre specification. It provides structured support for Component 1: Section A - Drama and theatre. / This book is divided into three sections: How to explore a text for A level Drama and Theatre, with vocabulary-building sections on acting, directing and design; An extended exploration of the play to enrich students' understanding and response to the text; Targeted examination preparation to improve writing and test-taking skills. / Fully supports the written examination and helps students develop their key knowledge and understanding of key A Level drama & theatre skills. / Knowledge and understanding of the play are developed with a synopsis, character and scene studies, contextual and practical exploration. / Includes a wide range of practical drama tasks, activities, and research and revision exercises. / Advice on how to interpret and prepare for exam questions with examples of effective responses.

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Book SynopsisWritten by a highly experienced and respected Drama teacher and Author, Annie Fox, this comprehensive resource offers detailed guidance on how to approach performing duologues for the GCSE Drama course. It aims to help students have the most positive possible experience of performing duologues, from choosing ones that suits their skills, supporting their rehearsals and trouble-shooting common problems.- Provides guidance on how to select a duologue, including the choice of character, content and genre.- Includes a large selection of exemplar duologues for performance practice, each with a summary of the setting and characters, as well as notes to aid in understanding and breaking down the scene.- Offers advice and tips on how to rehearse and troubleshoot common issues such as forgetting lines and ensuring students demonstrate a range of skills.- Covers a wide range of genres and styles, including the horror thriller Let the Right One In, the friendship drama Out of Love and the hilarious fantasy comedy, Alice.- Supports all GCSE Drama specifications including AQA, OCR, Edexcel and WJEC/Eduqas, and offers high-quality support you can trust.

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Book SynopsisRevised and updated to match the latest WJEC Eduqas GCSE Film Studies specification and covering many of the latest film texts for assessment from 2024, this highly visual and engaging Student Book will support students through the course and help prepare them for their exams.- Written by a team of experienced examiners and teachers, this book offers high quality support you can trust.- Comprehensive definitions of key terms throughout the book with examples of how they should be used in analyses.- Case studies of key films provide an in-depth exploration of the key elements of film form.- A dedicated chapter on the Non-Examined Assessment production element of the specification provides clear guidance on how students will be assessed.- New stretch and challenge tasks allow students to further develop their understanding.- Exam-style questions enable students to test themselves and help refine exam technique.- Sample exam questions with student answers an

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Book Synopsis''Believe me, my young friend, there is absolutely nothing half so much worth doing as simply messing about in boats. In them or out of them, it doesn''t matter. Whether you get away or you don''t, whether you arrive at your destination or whether you never get anywhere at all, you''re always busy.''Ever since the publication of Kenneth Grahame''s novel in 1908, the characters of Ratty, Mole, Toad and Badger have delighted generations of readers. Now Alan Bennett has written an adaptation for the stage, a version which is both true to the original and yet carries that distinctive Bennett hallmark.Alan Bennett introduces this edition, writing about the history of the project and the staging of the production.''Bennett is even able to inject the odd sly joke for the adult without bewildering the tots... the result is a delightful evening, a treat for anyone.'' The Times

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Book SynopsisThis book offers a creative and practical guide for K-6 teachers on how to effectively integrate movement into the curriculum to increase student engagement, deepen learning, improve retention, and get kids moving during the school day.Chapters offer concrete ideas for integrating creative movement and theater into subjects such as math, science, literacy, and social studies. Drawing on two decades of experience, Dr. Becker outlines key skills, offers rich examples, and provides adaptable and flexible classroom tested lesson plans that align with Common Core Standards, the NGSS, C3 Social Studies Standards, and the National Core Arts Standards. Activities are grounded in arts integration, which is steadily gaining interest in school reform as an effective teaching strategy that increases student outcomes academically and sociallyparticularly effective for students who have traditionally been marginalized.This book will benefit practicing educators who want to invigoratTable of Contents1. Introduction: Let’s Get this Moving! 2. Getting Ready to Move 3. Setting the Stage for Success 4. Leaping for Literacy 5. Moving Through History 6. Moving Math 7. Science in Motion: Don't Lose STEAM! 8. Moving Toward Authentic Assessments Using the Arts

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Book SynopsisThis classic edition of Mike Fleming's The Art of Drama Teaching provides a multitude of practical ideas for teachers of drama and for those who are interested in using drama to teach other subjects. It takes the form of detailed discussion of twenty-five drama techniques including but not limited to: beginnings and endings monologue and narration off-stage action and reported action mime irony time shifts minor characters Each technique, topic or convention is illustrated by a carefully chosen extract from a play and accompanied by a commentary and practical examples of lesson tasks.This book not only demonstrates drama as an art form and provides ready-to-use material for drama teachers, but highlights how dramatic techniques can be used to inform classroom teaching and develop teacher practice. Featuring a brand new preface by the author to contextualise the book within thTable of ContentsIntroduction to the Classic Edition Acknowledgements Introduction 1. Alternative Perspective (Priestley, An Inspector Calls) 2. Analogy (Brecht, Galileo) 3. Beginnings (Chekhov, Three Sisters) 4. Counterpoint (O'Casey, The Plough and The Stars) 5. Endings (Wertenbaker, Our Country's Good) 6. Exposition (Ibsen, Hedda Gabler) 7. Externalising Inner Conflict (Marlowe, Dr Faustus) 8. False Identity (Rattigan, Separate Tables; Shakespeare, Othello) 9. Framing Action (Miller, The Crucible) 10. Incongruity (Churchill, Top Girls) 11. Irony (Shakespeare, Macbeth) 12. Mime (Shaffer, The Royal Hunt of the Sun) 13. Minimal Context (Beckett, Waiting for Godot) 14. Minor Characters (Stoppard, Rosencrantz and Guildenstern are Dead) 15. Monologue (Bennett, A Chip in the Sugar) 16. Narration (Bolt, A Man for all Seasons) 17. Object Focus (Galsworthy, The Silver Box; Wilde, Lady Windermere's Fan; Shakespeare, Othello) 18. Off-Stage Action (Ayckbourn, Absurd Person Singular) 19. Pause (Pinter, Betrayal) 20. Play Within A Play (Shakespeare, A Midsummer Night's Dream) 21. Reported Action (Sophocles, Oedipus) 22. Ritual (Yeats, On Baile's Strand) 23. Time Shift (Miller, Death of a Salesman) 24. Unspoken Thoughts (Friel, Philadelphia, Here I Come) 25. Voices (Shaffer, Amadeus; Thomas, Under Milk Wood; Shakespeare, King Richard III; Eliot, Murder in the Cathedral)

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Book SynopsisThis abridged edition is designed for schools and has been adapted for 10 actors playing all of the roles. With a running time of just 90 minutes it is suitable for performance in non-theatre spaces, with minimal technical requirements.The Curious Incident of the Dog in the Night-Time brings Mark Haddon''s best-selling novel to life on stage, adapted by two-time Olivier Award-winning playwright Simon Stephens. Winner of seven Olivier Awards including Best Play, along with the Drama Desk, Outer Critics Circle, Drama League and Tony Awards for Best Play, this remarkable and exhilarating theatrical masterpiece originated at London''s Royal National Theatre in 2012 before going on to transfer to the West End for multiple seasons, followed by its acclaimed Broadway run. The play has now been seen on five continents around the world with major productions ranging from Mexico, Australia, Canada, Seoul and Japan. This brand new edition of the play has been abridged specifically with schTrade ReviewPlaywright Simon Stephens . . . not only frames the action, but also sets up a rich tension between fiction's invention and the obsession with facts, forensics and systemised data that is a symptom of Christopher's autism . . . this is a highly skilful adaptation -- Michael Billington * Guardian *A curiously successful case of a hit novel turned into a play . . . This is a profoundly moving play about adolescence, fractured families, mathematics, colours and lights -- Michael Coveney * Independent *This adaptation by the acclaimed playwright Simon Stephens is intensely, innately theatrical; it is also funny and extremely moving -- Laura Thompson * Daily Telegraph *Seeing an adaptation of a book that you have loved can inspire a certain nervousness but fans of A Curious Incident should have no such worry when going to see the National’s faithful and imaginative adaptation. It is a triumph, capturing the depth and touching nature of the original text and adding theatrical sensibilities to great effect. Highly recommended. * Londonist *As adaptations of much-loved fiction go, Simon Stephens' perky and imaginative version . . . is an instant classic * What's On Stage *Simon Stephens' clever adaptation of Mark Haddon's bestselling novel about a teenage boy with Asperger's syndrome is like a cute dog that leaps up and wants to lick you all over. There's no point in resisting – and there's no need ... The novel gets you inside Christopher's head, but the stage version does more, giving Christopher's internal response to the world an external manifestation -- Lyn Gardner * Guardian *This is a really superior stage adaptation. Instead of just transposing the book. Stephens has recreated it for the stage. . . It doesn't shirk the discomfort of being a child with special needs, but –as Christopher learns to believe in himself- it also quietly illustrates some of the excitement of living in your own world -- Aleks Sierz * Tribune *A bittersweet story told with verve and passion -- Siobhan Murphy * Metro *

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Book SynopsisThere are thousands of students enrolled in school drama classes and yet very often young actors cannot be heard, are culturally encouraged to trail off at the ends of sentences, and habitually use only the lowest pitches of the voice. Drama teachers, frequently ask, How can I get my students to speak up, to be clear, to articulate? Voice and the Young Actor is written for the school actor, is inviting in format, language and illustration and offers clear and inspiring instructions. The accompanying video content features 85 mins and 28 filmed voice workshop exercises with the author and two students. These students log their reflections in the book on what they have learned throughout their training and there is space for the reader to do the same. A workbook in format, Voice and the Young Actor provides simple, interactive vocal exercises and shows young performers how to take voice work into acting.

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Book SynopsisAn inspiring, practical handbook for anyone working with young people to make devised theatre. Devising theatre is a fundamental element of the Drama curriculum, but managing the process is often demanding, difficult and challenging. It can lead even highly competent Drama teachers to feel disempowered. However, help is at hand, whether you're a novice coping with your first exam season, a non-specialist or a veteran in need of some fresh ideas. Making Theatre provides a framework that will take the stress out of the process, and help your students realise their full potential. Joss Bennathan answers the common questions raised by Drama teachers, such as: What is the best way of grouping my students? How do I manage and monitor several groups rehearsing simultaneously? How do I include the erratic attender without jeopardising the work of the others? What degree of directing and guidance is appropriate? He shows how to build the foundations that underpin devised theatre, and provides ten invaluable structures to meet the needs of different students, regardless of their level of skills. These structures will help you to ensure that your students avoid shallow, clichéd work and demonstrate their understanding of the relationship between style, content and form. There is a diverse range of stimulus material including song lyrics, prose extracts, verbatim testimony and artwork, all reproduced in this book - and also available to download and print. The book includes a range of stand-alone exercises covering key areas, including: Voice and movement Characterisation Communication Scene transitions Narrative economy and clarity Performance conventions Trade Review'Invaluable... clear and practical... a must for your bookshelf' * National Drama - Drama magazine *'A thorough working knowledge of theatre-making with young people, along with a clear understanding of the limitations of working towards an examination, the potential difficulties of managing the work with young people and the pitfalls that may be encountered by any teacher devising for an audience. [Bennathan's] exercises and frameworks should go a long way towards guiding the less experienced teacher through these potential traps and will undoubtedly provide fresh inspiration for those with more experience' * Drama Resource *'A godsend... sound, informed advice, pitched at the right level without being condescending or patronising... I'm so glad this book is now on my shelf. I bet you'll love it too' * Teaching Drama Magazine *

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Book SynopsisPacked full of games, activities and exercises, this book is designed to be a drama teacher's best friend. Written by a drama teacher with over twenty years' experience which includes heading up a performing arts faculty in a secondary school, GCSE and A-Level examining and presiding as the principal of a successful theatre school, as well as being a published playwright and having her work featured in the 2019 LAMDA Acting Anthology. As well as featuring drama games to use in the classroom, this book contains thorough instructions, valuable advice and useful activities to use in the teaching of improvisation and devising for small and large groups and working with script.

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Book SynopsisFor teachers and lovers of Shakespeare, ShakesFear and How to Cure It provides a comprehensive approach to the challenge and rewards of teaching Shakespeare and gives teachers both an overview of each of Shakespeare's 38 plays and specific classroom tools for teaching it. Written by a celebrated teacher, scholar and director of Shakespeare, it shows teachers how to use the text to make the words and the moments come alive for their students. It refutes the idea that Shakespeare's language is difficult and provides a survey of the plays by someone who has lived intimately with them on the page and on the stage.Trade ReviewShakesFear and How to Cure It: The Complete Handbook for Teaching Shakespeare is written from the perspective of someone who has seemingly spent his entire adult life entrenched in the world of Shakespeare. Ralph Alan Cohen’s authority is undisputed, and as such, he conveys knowledge that is insightful, practical, and, above all else, immensely useful for teaching and learning. Cohen has taken his decades of experience and created a manual of sorts to help educators learn different (perhaps better) ways to approach teaching Shakespeare in the classroom … [Early] chapters show Cohen’s ability to connect and engage with the reader in a way that feels like talking with a colleague. The content is rich with practical and helpful advice, and his language is comfortable and easy to follow … A fantastic resource for educators. Although new(er) Shakespeare teachers will probably benefit the most, I do believe the book can provide new perspectives and ideas for experienced teachers as well. Cohen has a gift for communication, allowing ShakesFear to be accessible and useful to a wide audience. * American Reference Books Annual *What fun it must be to have Cohen as a teacher! ... [His] compelling book offers us a haven. * Times Higher Education *Table of ContentsPART ONE : The Teacher Chapter 1. How I Learned to Stop Worrying and Love the Bard Chapter 2. Seven Deadly Misconceptions Chapter 3: Ten Don’ts Chapter 4. Ten Do’s Chapter 5: Shakespeare Is Hard Chapter 6: Shakespeare Is Boring PART TWO: The Plays: 38 short chapters Annotated list of available video Index

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Book SynopsisNo, Alice, I don''t want to become a man, I just want to stop trying to be a woman.It's New Year in Rotterdam, and Alice has finally plucked up the courage to email her parents and tell them she's gay. But before she can hit send, her girlfriend reveals that he has always identified as a man and now wants to start living as one.Now Alice must face a question she never thought she'd ask . . . does this mean she''s straight?A bittersweet comedy about gender, sexuality and being a long way from home.Rotterdam received its world premiere at Theatre503, London, in October 2015, before transferring to Trafalgar Studios, London, in May 2016. This volume contains introductory commentary and notes by Stephen Farrier from the Royal Central School of Speech and Drama, London. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, this volume contains:- an introductTrade Review(Rotterdam) speaks eloquently about a complex issue while at the same time being properly laugh-out-loud funny * Stage magazine *Table of ContentsThe introduction and commentary to the play will cover: Introduction to Author's Life and Work Contexts: historical, political and social (focusing on sexuality and gender, and including terminology) Themes: identity, intergenerational relationships, secrets and truth-telling, friendship Dramaturgy and Genre Production History and Reception Scene-by-Scene Summary Play-text Further Reading

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Book SynopsisWritten by an experienced senior examiner and teacher, and endorsed by WJEC, this vibrant student book provides invaluable support in an accessible and engaging style for all three components of the specification, including: All aspects of devising and performing and on rehearsal techniques. / Creating a portfolio of supporting evidence and on choosing suitable extracts from a text. / Evaluating and helping improve students' own devised performance. / Understanding key theatre practitioners and genres, with suggested practical activities / Focused introductions to the set plays. / Support and advice for technical students who choose set, lighting or sound design.

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Book SynopsisRoald Dahl fans will rejoice at the opportunity to bring their favorite books and characters to life. Five of Dahl’s hugely popular, beloved books have been adapted into winning plays for children. With useful tips on staging, props, and costumes, these plays can be produced with a minimum amount of resources and experience. Teachers, parents, and children everywhere will recognize Quentin Blake’s appealing classic cover art and will find these easy-to-perform plays to be a great source of entertainment!

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Book SynopsisAlice Dreaming is a play for secondary students that tells a uniquely Australian story. Designed to provoke discussion and debate, Alice Dreaming can be used as a classroom resource to develop student thinking around both personal issues and social issues, including the environment, politics and Australian history.

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Book SynopsisA modern parable set against the backdrop of the first Old Firm clash of the season. Funny, hard-hitting and thought-provoking, the second edition of Scarfed for Life tells the story of two teenage friends caught in the crossfire of polite suburban prejudice and garden equipment. Ideal for secondary school students, the play draws on what sectarianism and prejudice actually mean to young Glaswegians, and how it affects them and their peers. Scarfed for Life is a hard-hitting play based on the experiences of discrimination and prejudice among the young people of Glasgow.The play toured secondary schools in Scotland in 2011 and Scottish prisons in 2013. The language in this edition has been revised specifically with school-age students in mind, and is an ideal, issue-led play for students 14+.Trade ReviewScarfed for Life is a loud, lively piece about sectarianism in Glasgow ... and uses a mix of broad, mouthy comedy and serious agitprop to tell the story of two teenage friends ... who both find themselves facing serious problems - bullying and violent aggression . . . A play like Scarfed for Life can play a useful role in challenging entrenched attitudes. * The Scotsman *

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Book SynopsisSusan Davis is Senior Lecturer at Central Queensland University, Australia. Beth Ferholt is Assistant Professor of Education in Early Childhood and Art at Brooklyn College, City University of New York, USA. Hannah Grainger Clemson is a researcher currently working on education and cultural policy and programmes in the UK and Europe. She is also Tutor in Drama and Theatre Education at the University of Warwick, UK.Satu-Mari Jansson is a theatre-based trainer at Theatreworks Training, UK, and affiliated researcher at The Center for Research on Activity, Development and Learning (CRADLE) at the University of Helsinki, Finland.Ana Marjanovic-Shane is Associate Professor of Education at Chestnut Hill College, Philadelphia, USA.Trade ReviewThis invaluable compilation of essays synthesises Vygotsky's thinking, socio-cultural theories and the various practices of drama in education. As such, it shines a spotlight on how we come to do what we do as humans. * Andy Kempe, Professor of Drama Education, University of Reading, UK *Table of ContentsNotes on Contributors Foreword, Vera John-Steiner (University of New Mexico, USA) Introduction: Vygotsky, Sociocultural Concepts and Drama in and for Education, Susan Davis (Central Queensland University, Australia), Hannah Grainger Clemson (University of Warwick, UK), Beth Ferholt (Brooklyn College, City University of New York, USA) and Satu-Mari Jansson (University of Helsinki, Finland) Part I: Vygotsky, Drama, Perezhivanie and the Unity of Development 1. Dramatic Interactions: From Vygotsky's Life of Drama to the Drama of Life, Michael Michell (University of New South Wales, Australia) 2. Stanislavski and Vygotsky: On the Problem of the Actor’s and Learner’s Work, Hannah Grainger Clemson (University of Warwick, UK) 3. Perezhivanie in Researching Playworlds: Applying the Concept of Perezhivanie in the Study of Play, Beth Ferholt (City University of New York, USA) Part II: Sociocultural Insights into Learning through Drama 4. Dialogue and Social Positioning in Dramatic Inquiry: Creating with Prospero, Brian Edmiston (Ohio State University, USA) 5. Identity and Creativity: The Transformative Potential of Drama, Harry Daniels (University of Oxford, UK) and Emma Downes (Bartley Green School, Birmingham, UK) 6. Constructing Identity and Motivation in the Drama Classroom: A Sociocultural Approach, Richard Walker (University of Sydney, Australia), Michael Anderson (University of Sydney, Australia), Robyn Gibson (University of Sydney, Australia) and Andrew Martin (University of New South Wales, Australia) Part III: The Dynamics of Meaning Making Through Drama Processes in the Classroom 7. Dramatic Play and Process Drama: Towards a Collective Zone of Proximal Development to Enhance Language and Literacy Learning, Robyn Ewing (University of Sydney, Australia) 8. Sociocultural Theory, Process Drama and Second Language Learning , Penny Bundy (Griffith University, Australia), Erika Piazzoli (Griffith University, Australia) and Julie Dunn (Griffith University, Australia) 9. Prolepsis and Educational Change Through Drama: Bringing the Future Forward, Patricia Enciso (Ohio State University, USA) 10. Interactive Drama with Digital Technology and Tools for Creative Learning, Susan Davis (Central Queensland University, Australia) Part IV: Practice and Research Inspired by Sociocultural Approaches to Drama, Education and Learning 11. A Theatre Company’s Development and Learning Through Cultural-historical Activity Theory and Developmental Work Research: Movement between Archetypes, Satu-Mari Jansson (University of Helsinki, Finland) 13. How Environment Affects Learning: Schoolteachers Engaging with Theatre-based Pedagogies, Anton Franks (University of Nottingham, UK) 14. Drama, Theatre and Performance Creativity, R. Keith Sawyer (Washington University, USA) 15. Building a Workplace Theatre: Forum Theatre and Developmental Work Research as Developmental Resources in Interventions, Satu-Mari Jansson (University of Helsinki, Finland) Index

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Book SynopsisThe stage of the 1700s established a star culture, with the emergence of such acting celebrities as David Garrick, Susannah Cibber, and Sarah Siddons. It placed Shakespeare at the heart of the classical repertoire and offered unprecedented opportunities to female actors. This book demonstrates how an understanding of the practice and theories circulating three hundred years ago can generate new ways of studying and performing plays of all kinds in the present.Eight short essays on emotions, cultivation, character, voice, action, company, audience, and reflection provide two things: a vivid introduction to the practice and ideas of the eighteenth-century stage, and the story of how these past practices and ideas were used in collaborative workshops around the UK to create new rehearsal exercises. Designed to work alone or in combination, these exercises are also open to further adaptation and analysis as part of a work that treats theatre writers of the past as potential collabTrade ReviewAn original, learned, and practical book, which not only brings the theatre of the eighteenth century to vibrant and immediate life, but also makes Garrick's theatre useful to the theatre of today. A hugely enjoyable and absorbing study of a long-neglected and underrated era of theatre history. * Tom Littler, Artistic Director, Orange Tree Theatre *The strength of this book is that it covers in an innovative and creative way a still-neglected and under-researched area of theatre history: the art and training of the actor in the 18th century. It collates, and comments upon, a range of varied texts on how the actor trained, and the theory of acting, from the 18th century in such a way as to interest a number of audiences: the theatre historian, the 18th century literary critic, the drama student at university, the professional actor-in-training and the actor trainer. It suggests an innovative practical method of researching through practice with theatre practitioners, which brings to life and implicitly argues for the on-going usefulness and interest of the material ... This book brings 18th century theatre theory into the rehearsal room and shows contemporary actors both how actors thought about their craft in the past, but also shows how their exercises and thinking can be used today by directors and actors. The idea is that 18th century ideas about acting can still be relevant and useful to actors today – or can be a starting point for exploring both 18th century plays and plays of today ... It is a refreshing and innovative approach to being open-minded about acting practices of the past, trying them out ‘on the floor’ and discovering more about how actor moved, spoke and imagined themselves into plays in the past, making these approached available to us today for experimentation and illumination. * Professor Liz Kuti, University of Essex, UK *Effectively the first in-depth examination of the theory and practice of acting /directing in the long eighteenth century. Given that post-1660 women were for the first time permitted to act on stage in England, the author’s strong interest in examining both the significance of the change and its analysis by female actors – as well their male counterparts – is of great importance: for this change alone would slowly alter the way in which gender representation was enacted and the way in which questions of responsibility/status began to shift. This latter point is particularly significant in what the author has to say about the emergence of a star system. It is offering a combination of the historical and the contemporary in a way that is unprecedented, and is very different from the approach taken by excellent theatrical historiographers such as Thomas Postlewait, whose efforts are concerned with attempts to recover the past, rather than connecting that past with the present. * Professor John Bull, University of Reading *Peeling back the celebrity gloss, this book delves into the performance practice that thrilled 18thc theatre audiences, offering a range of exercises for the modern performer seeking to bring all kinds of plays to life today. * Gilli Bush-Bailey, Professor Emerita University of London, Royal Central School of Speech and Drama, UK *The focus on collaboration between academic research/theory and practical application is the best part of the proposed work. The note that these methods can be then customized and further developed to suit someone’s needs, even outside the specialization of 18th century theatre, promises to be a useful tool in teaching acting ... The publication of this book would provide a new way of examining and embodying a specific historical period and its theatrical style. * Professor Nelson Barre, Roanoke College, US *The volume would be a welcome and significant enhancement of this area, building on and alongside projects such as Richard Schoch and Amanda Winkler’s Performing Restoration Shakespeare ... [This book] has the potential to be an invaluable teaching and research resource ... Both the subject matter and the methodological approach are sound and deserve wider dissemination. More publications which truly blend theatre history and practice are sorely needed. * Dr Oliver Jones, University of York, UK *Table of ContentsIntroduction The Essays: Emotion Cultivation Character Voice Action Company Audience Reflection The Exercises: Garrick’s Scale Dramatic Gesture Attitudes Type and Scenario Proteus False Tone Cue-Script Macklin’s Garden Emphasis Universal Expression Five Rooms The Hiss Great Sensibility Clairon’s Model Appendix Works Cited Index

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Book SynopsisIs there a fundamental connection between New York''s Elevator Repair Service''s 9-hour production of The Great Gatsby and a Kathakali performance?How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey?Can we go beyond our own culture''s contemporary definition of a ''good play'' and think about the theatre in a deep and pluralistic manner?Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico.Via a far-reaching Trade ReviewMajumdar’s processes sound more like those of a detective or an investigative reporter than a writer observing the world from a garret. For his Kashmir plays, he spent time in police bunkers and the dens of militants. For Pah-La, he decided he had to go to Lhasa, whatever the cost. * Arifa Akbar, The Guardian *For 15 years, Abhishek Majumdar has created plays on the fragility of human lives trapped in war and other upheavals. * Indian Express *Majumdar has behind him a remarkable body of work. His plays sweep a wide arc – they have dealt with generational angst, the dark goings-on at a monastery in 8th century, the trauma of wasted childhood, the politics of food, and the heart of extremist violence. But at their core, they always talk of humanism and its fight against tyranny and greed. * Scroll Magazine *Abhishek Majumdar’s book is a thrilling read, crossing continents, entering conflicts, and always informed by a questing fusion of art and politics. It is an essential map to how playwriting and play-making might reflect the fractured world we share. * Steve Waters, playwright *Table of ContentsAcknowledgments Table of Contents Introduction: Travels and Questions HOME The Quest for Tradition Language of Theatre The Enterprise AWAY Brecht in Kashmir The Kashmir Trilogy The Writing of Pah-la: A Theatre Journey across the Roof of the World Devising in the Tibetan Transit School Reading George C Wolfe’s The Coloured Museum In a New York Subway Hamidur Rehman: A Journey through Bangladesh and Germany. A Journey about a Journey OTHER GEOGRAPHIES Lessons in Pausing: From a theatre in West Africa to a Monastery in the Himalayas On Censorship The Pandemic and the Theatre Bibliography

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Book SynopsisHow does the world of theatre and the performing arts intersect with the climate and environmental crisis? This timely book is the first comprehensive account of the sector's response to the defining issue of our time. The book documents a sector in transition and presents theatre professionals, practitioners and organizations with a synthesis of information, knowledge and expertise to guide them to their own endorsement of sustainable thinking and practice. It is illustrated with inspiring case studies and interviews, from London's National Theatre, to Sydney Theatre Company, to the Göteborg Opera and the American Repertory Theatre. These foreground the work of pioneering institutions and individual practitioners whose artistic ingenuity, creative activism and sense of public mission have given shape, content and purpose to what we can now call sustainable theatre'. Spanning almost three decades, the book approaches the topic from multiple angles and through an international perspTrade ReviewA comprehensive resource, at once detailed and eloquent, for theatre administrators, artists, scholars committed to ecological values and practices in theatre studies and performance. * Theresa May, author of Earth Matters on Stage: Ecology, Environment and American Theatre; Co-founder EMOS Ecodrama Playwrights’ Festival *Our world changes rapidly and so does theatre. Beyond the art, sustainability has become a central challenge for institutions and artists alike. Iphigenia Taxopoulou's study is the new standard reference work and provides a guide/paradigm for the modern sustainable theatre. * Oliver Reese, Artistic Director, Berliner Ensemble *Theatres around the world are transforming their practices, operations and venues to be sustainable, and contribute as a sector to help create a sustainable future for our planet and next generations. The book gives a comprehensive, informative and global overview on how to get started, addressing artists, theatre institutions and policy leaders alike. * Heidi Wiley, Executive Director, European Theatre Convention *Table of ContentsPART I: FRAMEWORKS FOR SUSTAINABILITY Chapter 1 – Climate Governance and Cultural Policy Chapter 2 – Cultural Leadership in the Era of Climate Change Chapter 3 – Stories of change: National Theatre (London) & Sydney Theatre Company PART II: SUSTAINABLE THEATRE (IN PRACTICE, ON STAGE, IN ACTION) Chapter 4 – Theatre Buildings and Operations: A Trajectory Towards Sustainability Chapter 5 – Sustainable Production: Greener Practices and Shifting Values Chapter 6 – Creative Responses to Sustainability Chapter 7 – Sustainability Beyond the Walls: Civic Engagement and a Culture of Sharing References Further reading Index

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Book SynopsisAre you a theatre-maker looking for devising tools? A writer wanting to improve your dialogue? A director trying to create a story through improvisation? Three Plays by Squint & How They Were Made brings three of the company's plays together with the methods used to create them, in a practical, user-friendly toolkit. Three of Squint's plays - created by Lee Anderson, Adam Foster and Andrew Whyment - are published here for the first time. At the heart of each, a character is struggling to process their personal trauma under the intense glare of the public eye. Long Story Short (2014) dissects journalism in the digital age, Molly (2015) takes a reality television-style journey into the mind of a sociopath, and The Incredible True Story of the Johnstown Flood (2021) embarks on a transatlantic exploration of class, exploitation and appropriation.Developed over ten years through Squint's education programme, the exercises in this book distil the company's Trade ReviewSquint’s trio of fast-paced plays, combined with the activities used to create them, are an invaluable resource for directors, ensembles, devisers and playwrights alike * Emma Rice, Wise Children *You can’t help but feel nourished by Squint’s collective spirit and markedly more equipped to originate theatre * Holly Race Roughan, Artistic Director of Headlong *It’s fascinating to read this generous and detailed articulation of the tools and methods of Squint’s theatre making * Amit Lahav, Artistic Director of Gecko *An invaluable resource for theatre makers and educators * Anna Niland, Associate Director of the National Youth Theatre. *A punchy collection of swaggeringly smart plays coupled with a generous toolkit of inspirations for making new work * Dan Rebellato, Professor of Contemporary Theatre at Royal Holloway. *Table of ContentsSquint. Foreword. Introduction. Long Story Short. Molly. The Incredible True Story Of The Johnstown Flood. The Squint Toolkit Acknowledgements Bibliography

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Book SynopsisHow can the study of Shakespeare contribute to equipping young people for the challenges of an uncertain future? This book argues for the necessity of a Shakespeare education that: finds meaning in the texts through inviting in the prior knowledge, experiences and ideas of students; combines intellectual, social and emotional learning; and develops a critical perspective on what a cultural inheritance is all about. It offers a comprehensive exploration of the educational principles underpinning theatre-based practice and explains how and why this practice can open up the possibilities of Shakespeare study in the classroom. It empowers Shakespeare educators working with young people aged 5-18 to interact critically, creatively and collaboratively with Shakespeare as a living artist.Drawing on the authors' research and experience with organizations including the Royal Shakespeare Company, Shakespeare's Globe, the Folger and Coram Shakespeare Schools Foundation, Trade ReviewThis timely, important publication reinforces the continuing significance of Shakespeare in the school and university curriculum. It reminds students and teachers that active, creative and diverse approaches to the plays are rewarding and relevant. * Chris Green, Director of English and Drama, The Perse School, Cambridge, UK *Even as theatre companies scramble for financial footing and beloved plays become contested ground, Irish and Kitchen present a multidisciplinary case for active or embodied Shakespeare teaching. This book provides a dynamic survey of experiential, joyful and community-building theatre work for classrooms that should convince artists and teachers not to cede a curricular inch to standardized testing - or to rely exclusively on written analytic work – and instead to explore, with students, the benefits of social meaning-making with Shakespeare texts. The editors incorporate insights from social science, neuroscience and educational theorists. They profile directors of established and innovative global theatre education programs and highlight the voices of expert practitioners. Weaving together these perspectives, Irish and Kitchen create a compelling argument for theatre-based Shakespeare teaching: fundamentally intercultural and democratic by respecting students’ lives, providing academic and socio-emotional learning and encouraging critical questions of culture. * Laura Turchi, Arizona State University, USA *This is a brilliant book and a must read for all artists, educators and researchers with an interest in the teaching of Shakespeare through theatre-based pedagogies. The breadth of its theoretical grounding is remarkable and synthesises beautifully with the diverse accounts of inclusive practice that follow. The passion of the authors, grounded in knowledge and experience, shines through every page, leaving the reader in no doubt about the continuing relevance of Shakespeare to the lives of today’s young people and some of the most pressing social and cultural issues of our time. * Joe Winston, University of Warwick, UK *Table of ContentsNotes on Contributors Foreword, James Stredder Acknowledgements Note on the Text Introduction Part 1: Perspectives from Multidisciplinary Research Chapter 1: The Pedagogy Question Chapter 2: The Cultural Capital Question Chapter 3: The Literature Question Chapter 4: The Language Question Part 2: Perspectives from Organizations and Practitioners Chapter 5: Perspectives from Organizations and Practitioners: Introduction Chapter 6: Aims, Scope and Areas of Focus Chapter 7: On Teaching, Schools, and Culture Chapter 8: Why Shakespeare? Part 3: Perspectives from the Classroom Chapter 9: Perspectives from the Classroom: Introduction Chapter 10: Dirty Shakespeare: Outdoor Learning with Primary Pupils, Mary Carey (Primary School Teacher, Channel Islands) Chapter 11: How Relevant is Shakespeare in an International School Context?, Judith Berends O’Brien (Secondary School Teacher, international) Chapter 12: Macbeth: Utilising Students’ Code-Switching as a Tool for Engaging with Shakespeare at Secondary Level, Kirsty Emmerson (Secondary School Teacher, UK) Chapter 13: Salvaging the Bard: A Success Story of Theatre-based Practice for Neurodiverse Learners, Eleni Kmeic (International Theatre & Dance Project, Greece and ICON—School for the Arts, USA) Chapter 14: Transference and Integration: Using Shakespeare to Teach Composition, Carol Parker (Pikes Peak State College, USA) Chapter 15: Theatre-based Pedagogy in a 'Knowledge-based' Curriculum: Perspectives from Initial Teacher Education, Karen McGivern (Teacher Educator) Chapter 16: Much Ado about Decolonizing Shakespeare, Nobulali Dangazeli (ShakeXperience, South Africa) Epilogue References Index

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Book SynopsisHow can the study of Shakespeare contribute to equipping young people for the challenges of an uncertain future? This book argues for the necessity of a Shakespeare education that: finds meaning in the texts through inviting in the prior knowledge, experiences and ideas of students; combines intellectual, social and emotional learning; and develops a critical perspective on what a cultural inheritance is all about. It offers a comprehensive exploration of the educational principles underpinning theatre-based practice and explains how and why this practice can open up the possibilities of Shakespeare study in the classroom. It empowers Shakespeare educators working with young people aged 5-18 to interact critically, creatively and collaboratively with Shakespeare as a living artist.Drawing on the authors' research and experience with organizations including the Royal Shakespeare Company, Shakespeare's Globe, the Folger and Coram Shakespeare Schools Foundation, Trade ReviewThis timely, important publication reinforces the continuing significance of Shakespeare in the school and university curriculum. It reminds students and teachers that active, creative and diverse approaches to the plays are rewarding and relevant. * Chris Green, Director of English and Drama, The Perse School, Cambridge, UK *Even as theatre companies scramble for financial footing and beloved plays become contested ground, Irish and Kitchen present a multidisciplinary case for active or embodied Shakespeare teaching. This book provides a dynamic survey of experiential, joyful and community-building theatre work for classrooms that should convince artists and teachers not to cede a curricular inch to standardized testing - or to rely exclusively on written analytic work – and instead to explore, with students, the benefits of social meaning-making with Shakespeare texts. The editors incorporate insights from social science, neuroscience and educational theorists. They profile directors of established and innovative global theatre education programs and highlight the voices of expert practitioners. Weaving together these perspectives, Irish and Kitchen create a compelling argument for theatre-based Shakespeare teaching: fundamentally intercultural and democratic by respecting students’ lives, providing academic and socio-emotional learning and encouraging critical questions of culture. * Laura Turchi, Arizona State University, USA *This is a brilliant book and a must read for all artists, educators and researchers with an interest in the teaching of Shakespeare through theatre-based pedagogies. The breadth of its theoretical grounding is remarkable and synthesises beautifully with the diverse accounts of inclusive practice that follow. The passion of the authors, grounded in knowledge and experience, shines through every page, leaving the reader in no doubt about the continuing relevance of Shakespeare to the lives of today’s young people and some of the most pressing social and cultural issues of our time. * Joe Winston, University of Warwick, UK *Table of ContentsNotes on Contributors Foreword, James Stredder Acknowledgements Note on the Text Introduction Part 1: Perspectives from Multidisciplinary Research Chapter 1: The Pedagogy Question Chapter 2: The Cultural Capital Question Chapter 3: The Literature Question Chapter 4: The Language Question Part 2: Perspectives from Organizations and Practitioners Chapter 5: Perspectives from Organizations and Practitioners: Introduction Chapter 6: Aims, Scope and Areas of Focus Chapter 7: On Teaching, Schools, and Culture Chapter 8: Why Shakespeare? Part 3: Perspectives from the Classroom Chapter 9: Perspectives from the Classroom: Introduction Chapter 10: Dirty Shakespeare: Outdoor Learning with Primary Pupils, Mary Carey (Primary School Teacher, Channel Islands) Chapter 11: How Relevant is Shakespeare in an International School Context?, Judith Berends O’Brien (Secondary School Teacher, international) Chapter 12: Macbeth: Utilising Students’ Code-Switching as a Tool for Engaging with Shakespeare at Secondary Level, Kirsty Emmerson (Secondary School Teacher, UK) Chapter 13: Salvaging the Bard: A Success Story of Theatre-based Practice for Neurodiverse Learners, Eleni Kmeic (International Theatre & Dance Project, Greece and ICON—School for the Arts, USA) Chapter 14: Transference and Integration: Using Shakespeare to Teach Composition, Carol Parker (Pikes Peak State College, USA) Chapter 15: Theatre-based Pedagogy in a 'Knowledge-based' Curriculum: Perspectives from Initial Teacher Education, Karen McGivern (Teacher Educator) Chapter 16: Much Ado about Decolonizing Shakespeare, Nobulali Dangazeli (ShakeXperience, South Africa) Epilogue References Index

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Book SynopsisA clique of Caribbean maroon warrior women, a general of Haiti and his right-hand man, an ex-enslaved couple reclaiming their land, a group of Black French Caribbean soldiers held captive in Portchester and their wives travelling across the Atlantic to be reunited with them. These are The Ancestors: manifesting in our world, in the hopes we can stop history repeating itself. But do we really hold the key? What dark forces are still currently at play?In October 1796 a fleet of ships from the Caribbean carrying over 2,500 prisoners-of-war, who were mostly Black or mixed-race, began to arrive in Portsmouth Harbour. By the end of that month, almost all of them were held at Portchester Castle, accompanied by their families. About 100 women and children were sent to live nearby.The Ancestors is a site-specific play by Lakesha Arie-Angelo that explores the grounds of Portchester Castle and the voices of Black revolutionaries imprisoned therein that history forgot. It was commissioned bTrade ReviewWith a large cast and a worthwhile focus, The Ancestors is perfect for school productions. * Drama & Theatre Magazine *

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Book Synopsis100+ Fun Ideas for Practising Primary Languages through Drama and Performance provides teachers with effective and creative language learning activities based on drama, dance and performance. The activities are linked to the Foreign Language Programmes of Study in the September 2014 National Curriculum and show how drama, performance and art can be used to achieve substantial progression in all four language learning skills. The 100+ fun ideas are clearly laid out and simple to deliver, providing an invaluable resource to non-specialist and specialist teachers alike.

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Book SynopsisWelsh Language Edition. This Student Book will support you through the GCSE Drama design options of lighting, sound, set and costume design. / The clear and accessible layout will help you engage with and fully understand key design ideas and information. / Written by an experienced author and drama teacher in collaboration with expert consultants working professionally in each of the design areas. / Separate chapters for each of the four design elements give a solid foundation on which to develop the required exam skills. / Numerous diagrams, sketches, plans and photographs help students visualise the practical elements of being a drama designer. / Provides a range of practice questions with exemplar answers and extensive advice on exam preparation.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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