Educational: Drama and performance arts

Book Synopsis

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Book Synopsis

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Book SynopsisAustralia 1789. A young married lieutenant is directing rehearsals of the first play ever to be staged in that country. With only two copies of the text, a cast of convicts, and one leading lady who may be about to be hanged, conditions are hardly ideal...Winner of the Laurence Olivier Play of the Year Award in 1988, and many other major awards, Our Country''s Good premiered at the Royal Court Theatre, London, in 1988 and opened on Broadway in 1991. ''Rarely has the redemptive, transcendental power of theatre been argued with such eloquence and passion.'' Georgina Brown, Independent It is published here in a new Student Edition, alongside commentary and notes by Sophie Bush.The commentary includes a chronology of the play and the playwright's life and work as well as discussion of the social, political, cultural and economic context in which the play was originally conceived and created.Trade ReviewWertenbaker has searched history and found in it a humanistic lesson for hard modern times: rough, sombre, undogmatic and warm * The Sunday Times *Highly theatrical, often funny and at times dark and disturbing, it sets an infant civilization on the stage with clarity, economy and insight. -- Charles Spencer * Daily Telegraph *Wertenbaker's play remains terrifyingly relevant … Wertenbaker scarcely puts a foot wrong. She … expands the argument about the practical wisdom of putting on a play into a wider debate about crime and punishment and, when an actor-convict on the eve of hanging breaks her self-incriminating vow of silence, movingly demonstrates the power of drama to change minds. -- Michael Billington * Guardian *Table of ContentsCommentary Chronology: ­ A timeline of Wertenbaker’s life and works, set alongside key theatrical, social and political events of the period. Contexts: - The 1780s: Attitudes to Crime and Punishment; The First Fleet and the Penal Colony of New South Wales; Theatrical Styles and Conventions; The Recruiting Officer - The 1980s: Attitudes to Crime and Punishment; Theatre Funding; The Royal Court, Max Stafford-Clark and the ‘Joint Stock Method’; The Playmaker - Timberlake Wertenbaker Themes: - Guilt and Innocence; Punishment, Rehabilitation and Redemption; The Value of Theatre; Language, Silence and Voice; Colonialism Dramatic Devices: - Language(s): Regional Dialects; Articulacy and Inarticulacy; The Aborigine - Episodic Structure - Theatrical Style: Multi-roling and Cross-casting; Brechtian Aesthetic - Options for Design Production History - A Timeline Critical Reception - Critical response, recognition and influence - The Play Today Academic Debate: ­ A brief discussion of academic responses to the play Further Study: A bibliography of texts for further study - A discussion of Comparative Literature (by Wertenbaker and others) PLAY TEXT - OUR COUNTRY'S GOOD

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Book SynopsisWritten in 1836, Woyzeck is often considered to be the first truly modern play.The story of a soldier driven mad by inhuman military discipline and acute social deprivation is told in splintered dialogue and jagged episodes, which are as shocking and telling today as they were when first performed, almost a century after the author''s death, in Munich 1913.This edition contains introductory commentary and notes by Laura Martin from the University of Glasgow. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. A well as the complete text of the play itself, this volume contains: A chronology of the play and the playwright's life and work an introductory discussion of the social, political, cultural and economic context in which the play was originally conceived and created a succinct overview of the creation processes followed and subsequent performance history of the piece an analysis of, and commentary onTable of ContentsChronology Commentary: Historical and Social Contexts The Manuscripts Character and Caricature Genre and Themes: Social Drama, Madness, Existential Terror and Tragedy, The ‘Double Nature’ of the Human Animal, The Problem of Marie Conclusion The Play as Performance Academic Debate Publication and Production History Further Exploration WOYZECK Notes

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Book SynopsisToo frightened of scandal to become involved with a brilliant writer, Hedda Gabler opts instead for a conventional but loveless marriage. But, when her first love returns with a masterpiece that might threaten her husband''s career, Hedda decides to take drastic and fatal action.Universally condemned in 1890 when it was written, Hedda Gabler has subsequently become one of Ibsen''s most performed and studied plays. Blending comedy and tragedy, Ibsen probes the thwarted aspirations and hidden anxieties of his characters against a backdrop of contemporary social Habits and hypocrisies.This Methuen Drama Student Edition is published with Michael Meyer's classic translation, and with commentary and notes by Dr. Sophie Duncan. These offer a contemporary lens on the play''s gender politics, and consider some key twentieth and twenty-first century productions of Hedda Gabler, which include actresses like Maggie Smith, Harriet Walker, and Ruth Wilson taking on tTrade ReviewThe production of an Ibsen play impels the inquiry, What is the province of art? If it be to elevate and refine, as we have hitherto humbly supposed, most certainly it cannot be said that the works of Ibsen have the faintest claim to be artistic. We see no ground on which his method is defensible...Things rank and gross in nature alone have place in the mean and sordid philosophy of Ibsen. * Excerpt from an original review, 1890s, Saturday Morning Review *Table of ContentsChronology COMMENTARY Cultural and Theatrical Contexts Theatrical Style Themes Characterisation Setting Translation Performance History Scholarly and Popular Debate Further reading and viewing HEDDA GABLER Notes

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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 SynopsisAfter all, who has the right to cast a stone against one who has suffered? Cannot repentance wipe out an act of folly? Why should there be one law for me and another for women?Wilde''s ''trivial play for serious people'', a sparkling comedy of manners, is the epitome of wit and style. This brilliantly constructed satire with its celebrated characters and much-quoted dialogue turns accepted ideas inside out and is generally regarded as Wilde''s masterpiece. This Methuen Drama Student Edition of the play includes commentary and notes by Lucie Sutherland, Assistant Professor in Drama at the University of Nottingham, UK, which investigate the play through a contemporary lens, bringing in the contributions from queer scholarship and discussions of recent productions of the play.Trade ReviewComes as close to perfection as any comedy I can think of. * Daily Telegraph *Oscar Wilde's best-known work always had a claim to be the wittiest play in the English language. * Financial Times *There is a real need for an updated, student-focused edition of this much taught play. * Jenny Stevens, author and series editor *A fresh new edition of a theatrical favourite that fully evinces the contemporary appeal of Wildean theatre. * Chris Megson, Reader in Drama, Royal Holloway, University of London *The play isn’t going anywhere, and Lucie’s expertise and proposed coverage look ideally suited to ‘free up’ the play from the grip of English Literature study and debate, and give something that Drama teachers can meaningfully engage with. * Matthew Nichols, Head of Drama at Manchester Grammar School, UK *Table of ContentsCHRONOLOGY COMMENTARY Context Themes Dramatic Devices Structure Language Performance History Behind-the-Scenes: Practitioner Interview Critical Reception and Academic Debate Suggestions for Further Study THE IMPORTANCE OF BEING EARNEST NOTES

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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 SynopsisQueen Victoria''s Golden Jubilee, 1887. At East London''s Tilbury Docks, Rani Das and Abdul Karim, step ashore after the long voyage from India. One has to battle a society who deems her a second-class citizen; the other forges an astonishing entanglement with the ageing Queen Victoria who finds herself enchanted by stories of an India over which she rules, but has never seen. Through narrative, music and song, The Empress blends the true story of Queen Victoria's controversial relationship with her Indian servant and Munshi' (teacher), Abdul Karim, with the experiences of Indian ayahs who came to Britain during the 19th century. With private romance being mapped onto world history, the action cuts between the ship and different royal residences, offering bright contrasts as well as surprising affinities. In doing so, the play uncovers remarkable unknown stories of 19th-century Britain and charts the growth of Indian nationalism and the romantic proclivities of one of Britain''sTrade ReviewGupta's play records the rage felt at the injustices of imperial domination. * Guardian *The epic journey of the five characters in The Empress is not only magical and intoxicating, but historically enlightening. * Birmingham Mail *Table of ContentsChronology COMMENTARY PLAYWRIGHT CONTEXT 1. Late-19th-century imperial context 2. Context within which the play was written and rehearsed in 2012/13 3. RSC’s commissioning strategy for new plays THEMES 1. Class 2. Race 3. Gender 4. Religion 5. British Empire CHARACTERS (HISTORICAL & FICTIONAL) & CHARACTERISATION DIALOGUE DRAMATIC DEVICES 1. RSC production: sets, costumes, role of instrumental music and song 2. Use of short scenes to create a visual and textual mosaic RESPONSE Audience and press response PLAY TEXT FURTHER READING AND VIEWING

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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 SynopsisAnthony Neilson''s 2004 play is half a lark, half deadly serious' TIME OUTA profane, madcap, Alice-in-Wonderland trip morphs into something much more profound in Anthony Neilson's weirdly compelling 2004 study of mental instability' EVENING STANDARD Lisa Jones is on a journey. It''s a colourful and exciting off-kilter trip in search of one lost hour that has tipped the balance of her life. The inhabitants of the wonderful world she finds herself in Dissocia are a curious blend of the funny, the friendly and the brutal. This Student Edition of Anthony Neilson's 2004 play, which premiered at the Edinburgh International Festival, features a commentary and notes by anna six. It introduces students to debates surrounding mental health and situates Neilson within a British theatrical tradition, including through an interview with him.Table of ContentsChronology History Form Politics Genre Production History PLAYTEXT Interview with Anthony Neilson Notes Further Reading

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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 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 Synopsis

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Book Synopsis

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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 Synopsis

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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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