Educational: Drama and performance arts

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 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 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 SynopsisA book of selected theatre reviews from 2020 from one of the foremost authorities on British theatre. Starting each chapter is a brief commentary on the developments of that era and the social, political and cultural context within which this theatre was being produced. Also included are key obituaries and letters in response to reviews written, providing a rich collection of curated archival material. Following on from his first collection, One Night Stands, Michael Billington's chronicle offers a rich, authoritative insight into British theatre over the last 3 decades from his unique professional perspective. It begins with Tony Kushner's UK premiere of Angels in America at the National Theatre in 1992 and culminates with Inua Ellams's celebrated adaptation of Chekhov's Three Sisters at the same venue almost 30 years later. En route, we're exposed to the fallibility of theatre criticism through his much-regretted original criticism of Sarah Kane's Blasted and its role in identifyTrade ReviewThe best theatrical read of the year. * British Theatre Guide *A hugely valuable document of almost three decades of British theatre, but also a highly personal collection. * Times Literary Supplement *Here is 18 years' worth of [Billington's] wisdom, starting with a recession and ending with a pandemic, culled from a half-century at the Guardian ... This book is more than a wander down memory lane, however; it brilliantly shows how theatre reflects society, art imitating life. * Country Life Magazine *Table of ContentsAcknowledgements xi Introduction 1. Towards the End of the Millennium: 1992–9 1992 Angels in America Faith Healer Moby Dick The Rise and Fall of Little Voice 1993 Is there Life after Deptford? 400 Years since the Death of Christopher Marlowe Arcadia Moonlight Cabaret 1994 The Atheist’s Tragedy Footfalls John Gielgud: a celebration of his 90th birthday The Queen and I/Road Measure for Measure Pentecost The Life and Legacy of John Osborne 1995 Blasted Letters to the Editor about Blasted Dealer’s Choice Skylight The Importance of Being Earnest/ Private Lives Mojo 1996 Shakespeare on Screen The Beauty Queen of Leenane Divine Right Hedda Gabler Ashes to Ashes 1997 Bird and Fortune Ivanov A Six-Point Plan for Theatre Playhouse Creatures Blue Heart The Weir 1998 An Experiment With An Air Pump Naked Cleansed Copenhagen The Merchant of Venice/As You Like It Via Dolorosa 1999 The Colour Of Justice Lift Off 71 House and Garden Ricky Jay and his 52 Assistants Mnemonic Noel Coward Centenary 2. Hopes of Renewal: 2000–9 2000 The Island Celebration/The Room Richard II Blue/Orange 4.48 Psychosis The Bogus Woman Is there a Crisis in Black Theatre? 2001 A Raisin in the Sun Alive From Palestine Mother Clap’s Molly House The Seagull No Man’s Land 2002 The York Realist Up For Grabs The Marriage of Figaro Frozen The Coast of Utopia Joan Littlewood A Number 2003 Iphigenia Henry V Fallout The Elephant Vanishes Iain Duncan Smith’s Leader’s Speech at the Conservative Party Conference The Sugar Syndrome Cut-Price Shakespeare Lear’s Daughters 2004 The Goat, or Who Is Sylvia? When Harry Met Sally Endgame Festen Sing Yer Heart Out for the Lads Guantanamo Stuff Happens Thou shalt not cough Don Carlos 2005 Professor Bernhardi Mammals Is the Fashion for the 90-minute Play suffocating Dramatists? Elmina’s Kitchen Talking to Terrorists Death of a Salesman Blackbird The Wild Duck 2006 Nights at the Circus Resurrection Blues The Clean House Rock ‘N’ Roll Frost/Nixon A Moon for the Misbegotten Krapp’s Last Tape 2007 The Seagull Black Watch King Lear Macbeth The Crisis in West End Theatre Noughts and Crosses 2008 Tribute to Paul Scofield 1922–2008 Gone With the Wind The English Game The Pitmen Painters Her Naked Skin Hamlet Breaking the Rules: Leading Article on Harold Pinter Tribute to Harold Pinter 2009 Be Near Me Death and the King’s Horseman The Arts in the 1980s: Reflections on Theatre under Margaret Thatcher The Great Game: Afghanistan The Contingency Plan Jerusalem Enron Critic’s Notebook 3. Bright Spots in the Lost Decade: 2010–19 2010 Off the Endz Sweet Nothings Ruined Religion and Theatre The Persians The Game Onassis Men Should Weep 2011 What’s Wrong with Spoilers? The League of Youth The Merchant of Venice truth and reconciliation Othello Tribute to Shelagh Delaney Foxfinder The Animals and Children Took to the Streets 2012 Signs of Second-Rate Plays Julius Caesar Ten Billion Three Sisters This House All That Fall Red Velvet The Effect 2013 The Audience Chimerica A Season in the Congo Handbagged The Scottsboro Boys 50 Years of The National Theatre 2014 Ellen Terry With Eileen Atkins King Charles III Khandan (Family) Wonderland Ballyturk The James Plays Gypsy 2015 Oppenheimer The Hard Problem Nicholas Hytner’s 12-year-reign as Director of the National Lampedusa The Trial Hamlet Hangmen Tribute to Brian Friel Elf the Musical 2016 Escaped Alone Cleansed Hamlet The Flick 246 Sixty Years of the Royal Court Why Shakespeare lives on 400 Years after his Death Father Comes Home from the Wars Oil The Intelligent Homosexual’s Guide to Capitalism and Socialism King Lear 2017 Hamlet Consent The Ferryman An Octoroon Barber Shop Chronicles Donald Trump and Shakespeare Fatherland Girl From The North Country Tribute to Sir Peter Hall Albion Ken Dodd at 90 2018 The Inheritance The Writer Nine Night Red The Jungle The Lehman Trilogy Caryl Churchill at 80 Company The Watsons Sweat 2019 Our Lady of Kibeho Rutherford and Son Betrayal Kunene and the King Small Island Romersholm Ian McKellen The Cheviot, the Stag and the Black, Black Oil Fleabag A Very Expensive Poison Three Sisters Letter to Oliver Dowden in The Guardian Index

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Book SynopsisMerging the theoretical framework with the practical elements of staging an ancient Greek play, this indispensable guide offers directors and actors an excellent starting point for mounting their production. Considering the conditions of ancient Greek performance and the conventions of the Greek theatre, the book examines large questions, including those related to ancient Greek values, myth and the individual (characterization'), and the gods and fate all of which must be taken into consideration when approaching a contemporary production. This practical guide also explores with analysed examples, the issues that today's theatre-makers should consider in order to successfully stage ancient Greek drama. These topics include: - choice of translation - setting - costumes - masks - mode of delivery - acting style for both tragedy and comedy - handling of the chorus - solutions to staging Greek dramaTrade ReviewAn excellent handbook for whoever is looking to delve deeper into the culture and the theatre tradition that created some of the most iconic characters and plays ever written. Ewans’ insightful introduction prepares and empowers aspiring practitioners for their exploration of ancient Greek drama. * Emily Louizou, Theatre Director & Artistic Director of Collide Theatre Ltd *Table of ContentsPreface Notation Dates Spelling Introduction: Adaptation and Interpretation Chapter One: The Original Conditions of Performance 1.1 The Festivals of Dionysos 1.2 Performance Practice 1.3 The Playing Space 1.3.1 Theatron and Orchestra 1.3.2 The Skene 1.4 Staging Conventions 1.5 Costumes and Masks 1.6 Actors 1.7 The Choros 1.8 ‘Realistic’ or ‘Stylized’? Chapter Two: Values, Myth and the Individual, the Gods and Moira 2.1 Greek and Modern Values 2.2 Myth and the Individual 2.3 The Gods and Daimones 2.4 Moira 2.5 Comedy 2.6 Modern Performance Chapter Three: Performing Greek Drama on the Modern Stage 3.1 Translation 3.1.1 Introduction 3.1.2 Desiderata 3.1.3 Comedy 3.2 Setting, Costumes and Masks 3.2.1 ‘Ancient’ or Modern? 3.2.2 Desiderata 3.3 Speech and Song 3.4 Acting 3.4.1 Tragedy 3.4.1.2 Solo Speech 3.4.1.3 Dialogue and Three-actor Scenes 3.4.1.4 Props 3.4.1.5 Conclusion 3.4.2 Comedy 3.4.2.1 The In-Law in The Women’s Festival 3.4.2.2 A lazzo in Frogs 3.4.2.3 Props 3.4.2.4 Conclusion 3.5 The Choros 3.5.1 Introduction 3.5.2 Tragedy 3.5.2.1 A Choral Ode 3.5.2.2 A Lyric Scene 3.5.2.3 A Lyric/dialogue Scene 3.5.2.4 Conclusion 3.5.3 Comedy 3.5.3.1 A Choros Divided 3.5.3.2 The Parabasis 2.5.3.3 Conclusion 3.6 Performing Greek Drama on an End-on Stage 3.6.1 Comedy: Peace (2009) 3.6.2 Tragedy: Medea (2021) 3.6.3 Conclusion 3.7 Adieu Glossary of Greek words Recommended reading Works cited Appendix 1: Synopses of the Extant Tragedies and Comedies Appendix 2: Some Audio-Visual Resources Index

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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 SynopsisNominated for ten UK book awards, Theresa Breslin''s hit novel tells of how two young boys - one Rangers fan, one Celtic fan - are drawn into a secret pact to help a young asylum seeker in a city divided by prejudice. Now adapted for the stage by Martin Travers, the play has already been produced to great acclaim at Glasgow''s Citizens Theatre.Graham and Joe just want to play football and be selected for the new city team, but a violent attack on Kyoul, an asylum seeker, changes everything when they find themselves drawn into a secret pact to help the victim and his girlfriend Leanne. Set in Glasgow at the time of the Orange Order walks, Divided City is a gripping tale about two boys and how they must find their own way forward in a world divided by difference.This educational edition has been prepared by national Drama in Secondary English experts Ruth Moore and Paul Bunyan. Published in Methuen Drama''s Critical Scripts series the book:- meets the curriculum requirements for Trade ReviewI like the size and layout of the book; the fact that it feels like a script rather than a textbook... The scheme of work is well thought out and thorough... The instructions for learning, for students to refer to directly, have an appropriate tone and clarity which is refreshing to see. -- Helen Day * Teaching Drama *Table of ContentsDivided City: The Play Teaching and Learning Activities Introducing a context and exploring a setting Investigating the opening scenes and key ideas Key Issues - chains, links and hyperlinks Circle of Conscience - Living with yourself Responsibility and Fear - Keys and Chains Elephant in the Room - Seeing the Unseen Placing Texts to explore different contexts Circle of Techniques - The Adaptation Process Placing the Playwright. Does the author remain? Approaching the final whistle - Layers of Meaning From a Divided City to . . . Revisiting the setting

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Book SynopsisDickens' irresistible portrayal of poverty, cruelty and crime in Victorian Britain tells of Oliver's arrival in London, where he falls under the influence of Fagin, a gang of young thieves and the irrepressible Artful Dodger.

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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 SynopsisThis collection of scenes offers drama teachers a wide range of topics to explore through characterisation of the moment. There are scenes based on the historical past, these could be linked to cross-curricular activities. Those set in the present seek to draw young actors into a setting with which they can identify and emotionally explore. The author believes that young actors often wish to explore comedy. With this in mind, many of the scenes reflect comedic values. Some of these fun situations hold deeper resonances which the drama teacher would be able to explore with the actor. Each scene contains many different levels for the actor to identify with and emotionally develop. As the words are brought to life, the actor should imagine that they relate to a given set of circumstances; each scene is directly linked to the human situation. A young actor''s motto should be: "I will live the words I learn."

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Book SynopsisDrama, well-integrated into a curriculum, can bring empathy, excitement, expression and engagement into any lesson. This book will help teachers to work successfully with drama in their classroom in a rewarding, holistic way.Beginning with a consideration of what it means to be a drama teacher -- whether for one lesson or a whole touring production -- this comprehensive book guides teachers through the challenges and the details, starting from breathing exercises and ice-breaker games to finding the right play for your age group and all aspects of rehearsal and staging. Packed full of sensible, down-to-earth advice, helpful tips and funny stories based on Nell Smyth's extensive experience, this is an invaluable one-stop handbook.Throughout, this warm and practical book never forgets what truly makes a successful production -- a joyful, thriving child or teenager at the heart of it.Trade Review'This book has the merit of being complete in all aspects relevant to the target audience and will make an excellent reference guide for teachers and prospective teachers. The more enthusiastic student might also gain much from this work and it would prove invaluable in providing a clear focus and end point whilst being able to offer the content so often lacking. An incredibly useful piece of work which will get much use across the sector and Nell Smyth must be commended for her depth of understanding and passion whilst being able to ground the reader with practical experiences.'-- Adrian Hall FRSA, Principal at ALRA (The Academy of Live and Recorded Arts)'This is a book which privileges process-orientated learning, relevant knowledge, critical reflection, ownership and validation of the child's felt experience, relationships based on respect, understanding and shared core values, collaborative learning and a sense of joy which incorporates the whole person and their wellbeing. It is also a book that is a pleasure to read and will be of immense practical help to those working in the field or who wish to understand more fully the possibilities of drama in helping us to understand what it means to be human.'-- Dr Adrian James PhD Dip.Act. FRSA FHEA PGCHE Head of Cert H.E. (Southend Campus) East 15 Acting School 'Throughout the book the theory is presented and rationalised before really clear and accessible exercises are offered for teachers and practitioners to use. The book also begins with a focus on yourself as a teacher which is most useful in reminding us all that we too, must be present, if we are to support and develop children and young people. It is a highly nuanced and informed approach which is clearly founded on excellent practice supported by theory. What is most useful about this book is perhaps the fact that the NQT and the experienced drama facilitator could pick it up and both be challenged and supported to develop their practice. [...] what is offered here is outstanding practice for any teacher in any school with every child.'-- Emma Bramley, LIPA (Liverpool Institute of Performing Arts) 'How I wish I had had access to Drama at the Heart when I was feeling my way into my teaching career [...] Time and again while reading through this 'journey' I heard myself saying 'I know that' or 'I did that' -- statements I immediately qualified with the observation: 'but I didn't explore its nature as thoroughly, and certainly not as cogently, as Nell.' The very memory of this (recurring) commentary makes me wish even more that I had had Drama at the Heart as a source [...] I certainly will recommend Drama at the Heart to every teacher who wants, who needs, to work creatively with sudents.'-- Mr Paul Gierlach, retired Waldorf teacher'This is an inspiring book, but also one that gives the reader a genuine experience of what action research in Steiner education can look like. The book contains not only an in-depth study of some important contemporary thought, but a thoroughly practical guide to its theme. Many have written about action research in Waldorf education, Nell Symth tells a story of her work with children & young people that allows the reader to enter the experience of it.' -- Kevin Avison, Senior Advisor for the Steiner Waldorf Schools Fellowship in the UK and Ireland'practical tips and advice to design, plan and implement responsive ideas to work with children and young people. '-- Dr Nicola Abraham, The Royal Central School of Speech and Drama'I wish I'd had this book when I started my career as a Waldorf Class Teacher. For those in our schools today, this book fills a gap in the pedagogical literature -- and it's fun, creative and very well written.'-- Carol Fegté, Mentor Teacher at Blue Oak Charter School, Chico, California'My 9 year olds are presenting their play next week. I have worked for the past 4 weeks using Drama at the Heart. It has been the most wonderful book to accompany me on this new journey. I can't thank [the author] enough for the book and their excellent writing skills!! This book reads so well! I'm sharing it with all our staff.'-- Todd, Waldorf Teacher, New Zealand

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Book SynopsisThis brilliant CGP Grade 9-1 GCSE Drama Play Guide is perfect for studying the ins and outs of Dennis Kelly’s DNA. The book provides in-depth study notes about the play, covering character and performance, staging and design, context and themes to name a few! The layout is clear and accessible, with plenty of full-colour photographs. We’ve also included thought-provoking practice questions, revision tasks and exam tips throughout. Plus there’s a whole section of exam advice, including what to expect in the exam, and model answers. To round things off we’ve thrown in a glossary explaining the key terms and a comic-strip cartoon summary of the whole play! Don’t miss the CGP Grade 9-1 GCSE Drama Revision Guide for full course study notes (9781782949626).

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Book SynopsisThis CGP Play Guide is perfect for studying J.B. Priestley’s An Inspector Calls for GCSE Drama. The book provides in-depth study notes about the play, covering character and performance, staging and design, context and themes to name a few! The layout is clear and accessible, with plenty of full-colour photographs. We’ve also included thought-provoking practice questions, revision tasks and exam tips throughout. Plus, there’s a whole section of exam advice, including what to expect in the exam, and model answers. To round things off we’ve thrown in a glossary explaining the key terms and a comic-strip cartoon summary of the whole play! Don’t miss the CGP GCSE Drama Revision Guide for full course study notes (9781782949626).

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Book SynopsisThis CGP Play Guide is a superb resource for studying Arthur Miller’s The Crucible for Grade 9-1 GCSE Drama. The book provides in-depth study notes about the play, covering character and performance, staging and design, context and themes to name a few! The layout is clear and accessible, with plenty of full-colour photographs. We’ve also included thought-provoking practice questions, revision tasks and exam tips throughout. Plus there’s a whole section of exam advice, including what to expect in the exam, and model answers. To round things off we’ve thrown in a glossary explaining the key terms and a comic-strip cartoon summary of the whole play! Don’t miss the CGP Grade 9-1 GCSE Drama Revision Guide for full course study notes (9781782949626).

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Book SynopsisThis amazing CGP Grade 9-1 GCSE Drama Play Guide is the perfect resource for studying Willy Russell’s Blood Brothers. The book provides in-depth study notes about the play, covering character and performance, staging and design, context and themes to name a few! The layout is clear and accessible, with plenty of full-colour photographs. We’ve also included thought-provoking practice questions, revision tasks and exam tips throughout. Plus there’s a whole section of exam advice, including what to expect in the exam, and model answers. To round things off we’ve thrown in a glossary explaining the key terms and a comic-strip cartoon summary of the whole play! Don’t miss the CGP Grade 9-1 GCSE Drama Revision Guide for full course study notes (9781782949626).

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Book SynopsisJust because there is a new grammar, punctuation and spelling test at the end of KS2 doesn't mean you need to rush for practice test papers. Teaching Grammar, Punctuation and Spelling is a creative solution to the new test. All children need to learn the rules of spelling, punctuation and grammar - but they don't only have to be learned while sitting at a desk. For teachers who are tired of worksheets, exercises and reading schemes, this book offers a new approach to teaching literacy, through movement, speech and drama. There are over 70 clearly described and ready-to-use movement activities, covering each of the rules that children are expected to know and use in the SATs during Year 6. Pupils will gain a firm understanding of language through these innovative movement, speech and drama activities. Extensions and challenges enable the activities to be used and enjoyed throughout Key Stage 2. Through acting out parts of speech, letter strings and punctuation, children will internalize the language and absorb ideas, skills and understanding. They will be able to draw on this stored knowledge and use it wherever they need it in the future - when they are being tested - but, more importantly, in their own writing. The combination of visual, aural and kinaesthetic approaches means that the activities suit all types of learner and can be confidently used with both large and small groups. A wide range of ability levels, and even mixed ages, may be easily taught together and high achievers may be challenged alongside those receiving extra support. In addition to literacy understanding, pupils will also develop skills in problem solving, teamwork and social confidence. Suitable for use with all Key Stage 2 children, but particularly Years 5 and 6.Table of ContentsIntroduction. GRAMMAR ACTIVITIES: Is that your name? (Proper nouns and common nouns); Tell me more (Adjectives that describe nouns); Which one? (Adjectives of order); As clever as that (Nouns and adjectives in similes); To do it together (Verbs - root forms); Now or later? (Verb tenses); Who will do it? (Active and passive verbs); Describe it to me (Adverbs of manner); When was that? (Adverbs of time); Where shall we go? (Adverbs of place); Constructing theories (Connectives/conjunctions - single words); All link up (Connectives/conjunctions - two or more words); Opposite ideas (Prefixes to change meaning); This way or that way? (Suffixes to change meaning); Different forms (Suffixes to change tense or type of word); Who's it? (Pronouns - to replace nouns); His or hers? (Pronouns - singular or plural and possessive); Combining words (Compound adjectives - using hyphens); Where are you now? (Prepositions - relative positions); Say it carefully (Word order - for meaning); Be my partner (Clauses that work alone but may be joined); Lift us out (Subordinate clauses); Excuse me (Degrees of formality - strangers, requests, complaints, occasions and events); Quite correct (Degrees of formality - school, books and essays); Familiarity (Degrees of formality - home, family and friends); Could you tell me? (Asking and answering questions); Do as I say (Giving orders and commands); Break it down (Using paragraphs). PUNCTUATION ACTIVITIES: Taller than some (Full stops and capital letters to make sentences); May I ask you? (Using question marks); How amazing! (Using exclamation marks); Find the links (Commas to divide clauses); Wait a moment (Commas to create pauses for reading aloud); Keep us apart (Commas to separate items within a list); Ready to speak? (Commas in complex sentences and speeches); That one's mine (Apostrophes to indicate possession); What's missing? (Apostrophes to indicate missing letters or words); And then - (Using an ellipsis); What did he say? (Inverted commas in speech and dialogue); Is that true? (Inverted commas used for effect); Make a report (Inverted commas used in exact reporting); What happened next? (Dashes); And also - (Brackets to enclose extra information); And by the way - (Brackets to add an aside); I'll tell you more (Brackets to give further explanation); On the other hand (Semi-colons to separate or balance contradictions); I don't think so (Semi-colons to separate or balance preferences or opinions); Is there a reason? (Semi-colons to separate or balance explanations or comparisons); A whole group (Colons before lists); Your turn (Colons before speeches or instructions). SPELLING ACTIVITIES: Begin to rhyme (Initial letters and rhymes); Make a pattern (Common spelling patterns); Spells of wizardry ('Magic e' words); Already happened (Adding 'ed' to regular words to make the past tense); Scare him off (Adding 'ed' to words ending in 'e'); Double time (Adding 'ed' and doubling consonants); Do it now (Adding 'ing' to regular verbs in the present tense); Swap with me (Adding 'ing' to words ending in 'e'); It takes two (Adding 'ing' and doubling consonants ); More of us (Regular plurals - adding 's' or 'es'); Yes, I'm coming (Irregular plurals - words ending in 'y'); Change the letter (Irregular plurals - words ending in 'f'); Leave me alone (Irregular plurals - words that stay the same); Mix up (Unusual plurals); End it now (Word endings - that sound the same and are often confused); How does it end? (Word endings - that can be hard to remember); Quietly does it (Silent letters as initials); Not a sound (Silent letters within words); Hide inside (Spelling longer words - by finding smaller words inside them); Put us together (Spelling longer words - by joining words together); What do you hear? (Homophones); Which way round? (Words containing 'ie' or 'ei'); Catch the beats (Syllables). Index of learning objectives.

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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 SynopsisMuch more than an archive, these are the vivid, still pertinent voices and messages of the pioneers worldwide. The nineteen articles chosen by the editors of Applied Theatre Research represent key themes and elements from the early days of applied theatre that are still – and indeed now more than ever – relevant. They are all high-quality articles, some of which were highly influential in their own time. All of them still have plenty to say to today’s applied theatre, both in their own terms and sometimes in terms of how their publication influenced the development at the time of this still-expanding field, or refracted it in ways that give us new insights with hindsight. They have been arranged in sections according to some of the key themes – and problematic issues – that were discovered, thought out and sometimes stumbled across by the pioneer writers in the collection. Each section is preceded by a critical editorial commentary on those themes, besides thorough introductions to all the articles and in some cases re-evaluations. The editors have added substantial additional new material to the collection and in doing so, bring their own applied theatre experience to bear on these themes, as they raise general questions that are wide-ranging, contemporary and urgent: from the vital and contested issues of power, partnerships and the giving of voice through theatre to applied theatre’s proactive response to COVID-19, to the need to identify, take account of and address the needs of all stakeholders in any applied theatre project. The articles are grouped in six sections, covering areas such as diversity of geography, community contexts, forms of applied theatre and organizational factors that characterize applied theatre; the definition and nature of applied theatre; how the best intentioned projects could be compromised by any of the many opportunities for applied theatre to go wrong; opportunities for change it can offer and the incorporation of new media technologies, and ethnographic performance, two factors that have now become major preoccupations for our field, particularly in the years since the articles were written. The final section recognizes that applied theatre has been around not for 30 years, but for thousands, and in countless cultures. The editorial chapters have strong connections with the rest of the book, but are written with the editors’ deep insights into the field, and are sharp in their focus and context. The book offers useful insights into the start of applied theatre and its development as an area of practice and research. The chapter collection is relevant and includes influential names in the field who have contributed significantly to the development of applied theatre over time. The primary market will be academics and advanced practitioners in applied theatre, drama education and theatre studies – including the expanding fields of drama therapy, theatre and health etc. It will also be useful for educators exploring creative pedagogy and drama in education strategies across the curriculum. It will be valuable introductory background reading for advanced undergraduate and post-graduate students in drama, theatre studies and theatre arts, performance studies and community theatre. Table of ContentsIntroduction: Then and now John O’Toole PART 1: INSPIRING STORIES 1. Life drama Papua New Guinea: Contextualising practice Andrea Baldwin 2. Audience participation, aesthetic distance and change: Reflections on Fifty Square Feet, a theatre in education programme on urban poverty Chan Yuk-Lan (Phoebe) 3. Converging worlds: Fostering co-facilitation and relationships for health promotion through drama at the grassroots Christine Sinclair and Andrea Grindrod 4. Shakespeare in Nicaragua Els van Poppel PART 2: WHAT IS APPLIED THEATRE? 5. Applied theatre: Problems and possibilities Judith Ackroyd 6. Applied theatre and the power play: An international viewpoint Bjørn Rasmussen 7. Conversations with the devil Tim Prentki 8. Applied theatre: An exclusionary discourse? Judith Ackroyd PART 3: RISKY BUSINESS: GOOD INTENTIONS AND THE ROAD TO HELL 9. Ethical tensions in drama teachers’ behaviour Shifra Schonmann 10. Community theatre in a South Samic community: The challenges of working with theatre in small communities Tordis Landvik 11. Spectacular violence and the Kachahari theatre of Sindhuli, Nepal Alberto Guevara PART 4: THE DESIRE FOR CHANGE: VOICE, POWER AND PARTNERSHIP 12. Tabula rasa: Starting afresh with classroom drama Kathleen Gallagher 13. Making a break for it: Discourse and theatre in prisons James Thompson 14. Evaluating the efficacy of community theatre intervention in/as performance: A South African case study Kennedy Chinyowa 15. ‘We like good disco!’: The ‘public sphere of children’ and its implications for practice Nora Roozemond and Karola Wenzel PART 5: THEATRE OF INNOVATIONS 16. Theatrical reflections of health: Physically impacting health-based research Julia Gray 17. Playing the game, role distance and digital performance John Carroll and David Cameron PART 6: A NOD TO THE ANCESTORS 18. Educational and critical dimensions in Turkish shadow theatre: The Karagöz Theatre of Anatolia Mehmet Takkaç and A. Kerin Dinç 19. Christmas traditions and performance rituals: A look at Christmas celebrations in a Nordic context Stig A. Eriksson

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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 SynopsisAn essential resource for anyone studying Leave Taking by Winsome Pinnock for GCSE English Literature – featuring a complete guide to the text, plus sample questions and answers to help you prepare for assessment. Get to grips with Leave Taking with expert, easy-to-follow breakdowns and analyses of key aspects of the play – including the characters, plot, structure, themes, setting and language – along with a clear explanation of the historical context. This guide also contains prompts for further reflection and research, to help you get the most out of your study and revision, whether at home or in the classroom. Featuring insights from playwright Winsome Pinnock, colour photographs of the play in performance, and extensive quotes and extracts from the text, this GCSE Study Guide will strengthen your understanding, build your confidence and boost your chances of success. It is also an invaluable resource for teachers approaching the play.

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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 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 SynopsisFrom a first-hand account of working with Jerzy Grotowski to an analysis of the art of writing for the stage; from the hazards of touring in the Emirates to the dramas of touring behind the Iron Curtain in the 1980s; from an analysis of the role of the set and stage music to the story of taking Shakespeare to China... this is an extraordinary, wide-ranging, funny, clever account of 40 years in the life of TNT The New Theatre: the most successful touring theatre company of all time. This long-awaited new book is an extraordinary, wide-ranging, funny, clever account of 40 years in the life of the most successful touring theatre company of all time. The authors dance between magical storytelling... offering a masterclass on the skills and practice of acting, directing and writing for theatre... considering the role of theatre in different countries and continents... and offering a eye-opening history of TNT.Trade Review"This extraordinary memoir of a theatre company is actually many stories. It is the story of the impact of a university lecturer, Edward Braun, on two young men in the 1970s. It is the story of their location in theatrical lineages and genealogies that include Vsevolod Meyerhold and Music Hall, Jerzy Grotowski and Jonathan Pryce. It is the story of one of the few small-scale British touring companies of the 1980s to survive into the 21st century through a combination of happenstance and pragmatic utopianism. It is the story of adaptation and assemblage resulting from open-ended journeys, encounters and the crossing of borders between what was once known as East and West. But perhaps more than anything, it is a love story – and the object of love is theatre itself." Roberta Mock, Professor of Performance Studies, University of Plymouth "I've known TNT since 2003, and I took them to China for the first time in 2005 for performance. The first play was 'Macbeth' and it was very successful. Since then, Paul has been invited to Shanghai Dramatic Arts Center and other theatres in China to direct plays. We had a very happy cooperation with him. TNT is also very famous in China now, they have a large audience in China and are loved by them." Nick Rongjun YU, Artistic Director, Shanghai Dramatic Arts Center "A glorious mix of fine, precise detail and broad sweep commentary and reflection on the last four decades. A model of writing which allows for feeling and passion to co-exist alongside and become intertwined with ‘cold’ consideration and incisive scrutiny of how to position TNT within the cosmology of theatre and performance both within Europe and beyond. ... If categories matter this book is impossible to position: part travel writing, part (auto)biography, part political and cultural history, part philosophy, part theatre and performance studies, part poetry and always story-telling." Simon Murray, Senior Lecturer in Theatre Studies at Glasgow UniversityTable of ContentsPreface Introduction The Visual Chapter One: ‘Harlequin’, ‘1945!’, ‘The Mystery’ Travel Chapter Two: Germany, the Saving Grace Stage Imagery Chapter Three: ‘Cabaret Faust’, ‘Wizard of Jazz’, ‘Moby Dick’ Some Thoughts on Music Theatre Chapter Four: Poland Letter to Katie The Body Chapter Five: ‘Video & Juliet’, ‘Don Quijote’ and ‘Le Petit Prince’ Theatre Fetishes: technical rehearsals and press nights Chapter Six: Japan Chapter Seven: Company Politics What is Acting? Writing for TNT The Writing Process Chapter Eight: ‘The Murder of Sherlock Holmes’, ‘Frankenstein’, and ‘Dracula and the Eco-Warrior’ Chapter Nine: La Belle France Young Audiences Popular Theatre Chapter Ten: ‘Oliver Twist’, ‘Lord of the Flies’ and ‘Gulliver’s Travels’ Actor Training The Elephant in the Room Chapter Eleven: ‘A Streetcar Named Desire’, ‘The Crucible’, ‘Death of a Salesman’ and ‘Pygmalion’ Chapter Twelve: China Failure Directing Theatre Chapter Thirteen: Latin America Actors and Spies Chapter Fourteen: TNT and Islam Comedy The Gulf Chapter Fifteen: ‘Brave New World’ and ‘A Christmas Carol’ Brave New Theatre Chapter Sixteen: Israel Race Chapter Seventeen: Martin Luther King, General Fatima Kassab, and Winnie and Nelson Mandela Prisons, Palaces and Fragments What was it all about? What is it now? Some Conclusions? Epilogue

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Book SynopsisThe Revised Edition of this popular Student Book covers AQA's updated GCSE Drama specification for first teaching from September 2020. // Covers the new selection of set plays for 2020 in AQA's updated specification: The Crucible, Blood Brothers, Noughts & Crosses, Things I Know to be True, Around the World in 80 Days, Romeo and Juliet, A Taste of Honey. // Approved by AQA. // Fully supports the specification assessment objectives and covers the three components: Understanding drama, Devising drama, Texts in practice. // Includes plenty of practical suggestions for drama activities, and tasks enable students to develop their performance and design skills. // Contains many contemporary examples of drama writing, staging, performance and interpretation allow students to explore key ideas and skills in a relevant context. // Analysis and evaluation skills are highlighted and practised in all topics. // Interviews and case studies of key roles such as set designer and performer help improve student understanding. // Key drama terminology is identified and defined throughout. //Table of ContentsAn Introduction to Drama; Component 1: Understanding Drama; Theatre roles and terminology Study of a Set play; Live Theatre Production; Component 2: Devising Drama; Component 3: Texts in Practice; Costume Design; Puppet Design; Glossary of all key drama terms and definitions

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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 SynopsisAct Normal includes 31 contemporary monologues from Too Much Punch For Judy, Hard To Swallow, Missing Dan Nolan, I Love You, Mum - I Promise I Won’t Die, Game Over … and many more of Mark’s plays and musicals. Written with young performers in mind and available for classroom or audition use, they offer a range of characters and topics – both comic and serious - along with acting notes for each monologue. Many of the monologues are verbatim, providing a unique opportunity for actors and directors to explore this exciting form. Act Normal is the first exclusive collection of Mark’s monologue work. ‘Surprise your teacher, your friends, your family, your audience and last but not least, yourselves!’ – Mark Wheeller Monologue topics: True stories and verbatim pieces British World War II evacuee experience Testimony of world champion blind athlete Graham Salmon Account of sisters involved in a drink-driving accident Story of a woman’s battle with anorexia A young woman’s struggles breaking into the football world Two pieces on the life-changing consequences of a car accident Recounting of a prison assault Dan Nolan’s 2002 disappearance Grooming and human trafficking Students excluded from the mainstream education system Accidental drug overdose Young people and self-harm Online predators Fiction Absurdist, allegorical tale about a fantasy King Unplanned teenage pregnancy Fandom and mourning an idol (reference to David Bowie) Theatre in Education piece on road safety Featured plays, with character options and ages (NB: all are suitable for performers of any age and gender) Blackout - Operation Pied Piper - Jean, aged 9 Graham – World’s Fastest Blind Runner – Junie, pre-teen/ Graham, adult Too Much Punch For Judy – Judy, young adult/ Duncan, adult Hard to Swallow – Anna, young adult/ John, adult Sweet (W)FA / Lethal In The Box – Miss Vallas, adult/ Spanner, adult Chicken! – Nut-Job, teenager/ Chris, teenager Legal Weapon 2 – Andy, young adult Wacky Soap – Storyteller, adult Missing Dan Nolan – Pauline, adult / Sarah, young teenager/ Andy, adult One Million to Stop The Traffik – Mary, adult Kids Who Look Out of the Window – Tonisha, teenager Chequered Flags to Chequered Futures – Jane, adult/ Driver, adult I Love You, Mum – I Promise I Won’t Die – Jack, teenager Scratching the Surface – Louise, adult This Is For You – Susan, adult Can You Hear Me Major Tom? – Mark, adult/ Jasmine, adult Game Over – Lorin, adult

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Book SynopsisA varied collection of 30 contemporary duologues from Mark Wheeller's plays. Compiled at a time when social distancing is a consideration, these duologues all lend themselves to Zoom/Social Distance friendly performances. It includes duologues from: Too Much Punch For Judy Hard To Swallow Missing Dan Nolan I Love You, Mum - I Promise I Won't Die Game Over ... and many more of Mark's plays... and musicals. It also includes a previously unpublished self-contained short Sibling Saviours. All these duologues are suitable for young people to use for classroom or audition use. Despite many being ostensibly for adult performers they are all tried and tested for young people to use with amazing results. There has never before been a collection of exclusively Mark Wheeller duologues.

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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 SynopsisThis Play Guide is specifically written for A Level students who are studying Our Country's Good 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: 1) How to explore a text for A level Drama and Theatre, with vocabulary-building sections on acting, directing and design; 2) An extended exploration of the play to enrich students' understanding and response to the text; 3) 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 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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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 Synopsis

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Book SynopsisWhether you love plays or musicals, there is so much to know about the theater. This book will engage newly confident readers who are ready to learn independently with fun facts and provides learners a chance to test their knowledge. These books also feature full-color photos, a table of contents, a glossary, and an index.

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