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Issue 63 • Spring term 1 • 2015/16

www.teaching-drama.co.uk

Which board
to tread?
Tips on choosing
exam boards

Psychological
matters
How student
personalities affect
your assessment

SHAKESPEARE 400
63>

Celebrations you can join in 2016


671005
771755
9

PLUS:
Darren Henley, Sanford Meisner, Chickenshed, putting
Shakespeare on trial, flipped learning, news, reviews and more …

TDSP1_1516_001_Cover A01_BWM.indd 2 07/12/2015 10:27:20


TD_Spring1_2016.indd 2 03/12/2015 17:53:18
Contents Issue 63 · Spring term 1 · 2015/16

Regulars Reviews
5 Editorial 36 Books
Hour-long Shakespeare: Henry IV,
6 News
Henry V and Richard III; Shakespeare
11 Opinion and Audience in Practice; Transforming
the Teaching of Shakespeare with
12 Drama and me the Royal Shakespeare Company;
Adam Cross, Director of Drama
The Shakespeare Workbook and Video:
at King’s College School in
A Practical Course for Actors; English
Wimbledon
Renaissance Tragedy: Ideas of Freedom;

16
14 Green room Year of the Fat Knight
Should Shakespeare be ‘translated’
for students?
39 Performance
Around the World in 80 Days
16 Bardwatching
Catch up on the latest Shakespeare
Workshop
Globe Education CPD at
news
Clifton College
26 On course
Shakespeare and Theatre MA/
40 Web resource
RSC teaching packs
Diploma – Shakespeare Institute
27 Theatre Practitioners Web resource
Digital Theatre Plus
Sanford Meisner

21 Schemes
28 Toolkit
Teaching lighting: the basics online
43 My five favourite plays 31 Scheme summaries
Tim Marriott chooses his favourite
KS2
scripts for student performers
Circo Fantastico!
45 Listings KS3
Theatre workshops, events and
Stage combat
training for adults and young
people KS3
Exploration of Shakespeare
50 Drama games and strategies
KS3/4

25
UFO (Unidenti­fied Fictional Object)
The Seven Ages of Man

Features AS/A2
Using postmodernism in drama
18 Shakespeare: the jury’s out and theatre making
Sarah Lambie speaks with the
AS/A2
Simon Annand

brains behind Shakespeare on Trial


Yerma by Federico García Lorca
21 Flipping it
Meet the MTDES speaker: 35 One-off workshop
Keith Burt The Great Egg Detective

23 Which Board to Tread?

39
A National Drama CPD event on
choosing between exam boards
24 Bias bypass: the blind leading
the blind
What’s the real solution to biased
marking in drama?
25 Breaking out of the shed
Chickenshed celebrates over 40
Cover image: Cobbe portrait of
years of success
William Shakespeare

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 3

TDSP1_1516_003_Contents x.indd 3 07/12/2015 15:21:14


o v e r
Disc are’s iconic
s hakes p e atre he
glo be t

Exhibition & Tour


Open daily throughout
the year.

Globe Education
Twelfth Night: Playing
Shakespeare with Deutsche
Bank booking now, Lively
Action workshops, CPD
for teachers, innovative
online resources, and
more for schools.

Globe Theatre Season


Priority booking for
Education Friends members
from January 2016.

St Paul’s, Southwark, Mansion House London Bridge, Blackfriars, Waterloo

Shakespearesglobe.com
Bankside, London SE1

TD_Spring1_2016.indd 4 07/12/2015 12:48:29


Editorial
J
Editor ust as there was two years ago on the 450th
Sarah Lambie anniversary of Shakespeare’s birth, there has been
Editorial Assistant a flurry of celebratory creative activity planned for
Rebecca Pizzey
2016, the 400th anniversary year of his death. And while
Designer
Hal Bannister
traditional productions aplenty are due to grace our stages
Production Controller
and screens, a strong theme in a good deal of the reported
James Taggart plans is that of breaking the mould, updating the language
Advertising Executive – really challenging the air of reverence which surrounds
Ruth McPherson the Bard of Avon.
Head of Sales In this issue’s Bardwatching (page 16) I report on
Amy Driscoll editions of Shakespeare re-written in text-speak, and our
Head of Design and Production Green Room debaters discuss the idea of ‘translating’
Beck Ward Murphy
Shakespeare for young audiences on page 14, but I have recently read
Marketing Manager
Alfred Jahn
about a number of other projects which are pushing against the belief that
Managing Director
the language of the bard is the only way to approach his stories. Jeanette
Ciaran Morton Winterson’s The Gap of Time is the first in a collection of commissioned novels
Publisher entitled The Hogarth Shakespeare Series and published by Vintage. She refers to
Derek B Smith it as ‘a cover version’ of The Winter’s Tale: in an article she wrote for the Guardian
Printed by recently, she explained that ‘as a dramatist he was less concerned with a fixed
Latimer Trend Printing Group, text than we are. He was a collaborator, an actor-playwright in a company
Estover Road,
Plymouth PL6 7PY dependent on patrons and box office sales. He knew how to riff on an idea.’
Produced by Winterson’s language is strikingly similar to that of Mark Rylance, who has
Rhinegold Publishing Ltd always been one for challenging accepted ideas about Shakespeare (Rylance is
Rhinegold House famously and intriguingly a proponent of the theory that the plays were written
20 Rugby Street by one of Christopher Marlowe, Francis Bacon, the Earl of Oxford, Edward de
London WC1N 3QZ
Vere or Mary Sidney). In a recent interview about his work with InterMission
Advertising
Tel: 020 7333 1733 Youth Theatre, Rylance said of modern Shakespearean performance, ‘It’s too
Fax: 020 7333 1768 reverent. It’s like taking a rap song in 400 years from now, that we think is
Production really wonderful, and deciding it really should be said slowly so all the lovers of
Tel: 020 7333 1759 rap can hear every word.’ Under artistic director and writer Darren Raymond,
Fax: 020 7333 1768
InterMission takes Shakespeare and combines it with modern street language,
Editorial
Tel: 07785 613 149
claiming that ‘audiences say you generally can’t tell where one begins and the
Fax: 020 7333 1736 other ends.’
Email: teaching.drama@rhinegold.co.uk Another recently announced irreverence is the collaboration between theatre
Website: www.teaching-drama.co.uk company Spymonkey and the Northampton Royal & Derngate and Brighton
Telephone calls may be monitored for Festival, who are to present The Complete Deaths: a compilation of all 74 of
training purposes
Shakespeare’s onstage deaths, directed by Tim Crouch. Billing itself as ‘solemn
Teaching Drama Subscriptions
Tel: +44 (0) 1795 592 818
yet sublimely funny’, the production promises to be the goriest of the gory, and
Email: teachingdrama@servicehelpline.co.uk will embark on an international tour after its premiere at the Brighton Festival.
800 Guillat Avenue It’s certainly one way to engage in the perhaps somewhat dubious ‘celebration’
Kent Science Park of the death of a great man 400 years ago.
Sittingbourne ME9 8GU
For our part, we’ll reserve our own little irreverence for TD Summer 1: the
© Rhinegold Publishing Ltd 2015 death-day issue, so keep your eyes peeled (though not à la Gloucester) for
Bardwatching then.

Sarah Lambie
Editor

Subscribe to Teaching Drama. See page 44.

The presence of advertisements in Teaching Drama does not imply the magazine’s endorsement of the goods or services advertised. Teaching
Drama tries to avoid inaccuracies. If readers believe that an error has been made they should contact the editor before taking any other action.

Rhinegold Publishing also publishes Music Teacher, Classical Music, Opera Now, Early Music Today, International Piano, Choir & Organ, Rhinegold British
and International Music Yearbook, British Music Education Yearbook, British Performing Arts Yearbook.

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 5

TDSP1_1516_005_Editorial.indd 5 07/12/2015 15:21:46


#
News T
a
#

Charlie and the Chocolate c


f
N

Factory announces W
k

‘The Imagination Awards’
a
t
#

A new initiative for young designers has in costume or set design. G

Matt Crockett
been announced by the creators of West Charlie’s Challenge is aimed at all T
End hit Charlie and the Chocolate Factory. young people, and intends to encourage Jonathan Slinger as Willy Wonka l
‘The Imagination Awards’ are designed creative imagination from all walks fi
to champion creativity and encourage of life, with Sam Mendes’ production in the arts,’ says producer Caro Newling. s
originality among school children. of Roald Dahl’s novel due to release Certainly, since its 2013 opening, Charlie s
The awards are due to be launched resources throughout the awards process and the Chocolate Factory has championed a
in 2016 in two parts: Charlie’s Challenge to showcase the magical world of theatre education within the theatre, particularly i
and Young Theatre Designer Award. The to inspired young minds. The Young with its ‘Page-to-Stage’ resource, and a
former, a national award for 5–15 year Theatre Designer Award will target series of new school workshops will be n
olds, seeks to provide a platform for young adults who have already tested launched in January 2016, encompassing a
students to share solutions to problems the waters of theatre design, but may not drama, dance, musical theatre, singing U
facing them, their school or the world in have considered a career in the industry. and storytelling, enabling students to –
the most creative way possible. The latter ‘The Imagination Awards are our way test the waters of all areas of theatre. s
is aimed at 16–18 year olds, and will be of reaching out to young people across the Further information about the awards is a
celebrating young people with an interest nation who are creative and interested expected soon. d
2
w
Dozens of organisations join forces for Shakespeare400 r
d
a
With celebrations for the Bard’s 400th was formulated from the 2012 World i
deathday about to get underway, cultural Shakespeare Festival. ‘I am delighted
organisations will join together in 2016 to by the remarkable willingness of our e
mount festivities involving new novels, cultural partners to be involved in a t
poems and plays, as well as an exhibition shared project for 2016,’ he said. ‘We
at the British Library and a film season at extended and developed the opening
the British Film Institute. conversations and the consortium L
The Shakespeare Centre at King’s began to emerge. It is, of course, a very
College London will coordinate the exciting time for lovers of Shakespeare
event, having celebrated Shakespeare’s across the globe and we are thrilled to S
tercentenary in 1916. Rather than staging be contributing in this way to mark 400 t
productions of Shakespeare’s works, the years of Shakespeare-inspired creativity.’ a
festivities will instead be celebrating The Shakespeare400 programme w
with multi-faceted events, ranging from includes a lighting installation developed L
film and opera to concerts, lectures and by the RSC at London’s Barbican Centre, b
exhibitions. who are also putting on a film season
Deborah Bull, assistant principal for with RSC Shakespeare on Screen; an C
culture and engagement at King’s, has exhibition in Windsor Castle celebrating w
said that the festivities will be ‘for as the Bard’s longstanding relationship with p
wide an audience as possible and in a the royal court; a multitude of lunchtime p
way that doesn’t just commemorate concerts with BBC Radio 3 to showcase p
the past, but also celebrates the present King’s College London will coordinate talent inspired by Shakespeare’s plays; t
and heralds the future. The influence Shakespeare400 and The Gap of Time, a novel by Jeanette h
of Shakespeare on art, culture and Winterson retelling A Winter’s Tale, f
society over the past 400 years cannot be Director of the Shakespeare Centre available now in hardback. l
overestimated and this is reflected in the at King’s, Professor Gordon McMullan More information can be found online S
rich array of activities planned for 2016.’ said that the idea for Shakespeare400 at www.shakespeare400.org o

6 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk w

TDSP1_1516_006-011_News_Opinion.indd 6 07/12/2015 15:23:09


News

#LoveTheatreDay 2015
This November saw the online theatre- like they need food and fresh air. To
appreciation event of the year with engage as an audience member in
#LoveTheatreDay, a nationwide a live performance, or to participate
celebration of all things theatre. The in a creative activity with peers or
festivities, which took place on 18 family members nourishes their huge
November, kicked off with London’s imagination and intellect. At Polka,
West End’s top theatres tweeting little- we hear countless passing comments
known facts and tips, and arts companies from children, and some who are now
and cultural institutions coming adults; their visit has made a lasting
together to celebrate the first of many impression.’
#LoveTheatreDays. ‘Theatre is a critical training ground
The event, run in partnership by the for new talent for other creative
Shakespeare’s Globe give Twitter users a
Guardian Culture Professional Networks, industries,’ said Kennedy. ‘TV, film, radio, taste of #Showtime
Twitter and CultureThemes, was advertising, gaming and other digital
launched to provide theatres and arts artforms would wither without theatre’s
figureheads with a rare opportunity to contribution to training successive Theatre, and the Royal Shakespeare
share their work with the world, and to generations of actors, directors, Company to the Olivier Awards. Among
shout about the importance of theatre in playwrights and technicians.’ the interesting facts revealed by theatres
a country where appreciation for the arts The day’s celebrations, which took was the number of cities in which Les
is declining. place primarily on Twitter, featured Misérables has performed (319), the
New British plays are one of the sub-hashtags to highlight specific number of shirts ironed by Janet, costume
nation’s greatest cultural achievements, themes: #BackStage, 10am–12pm, which supervisor at St Martin’s Theatre for
and take to stages as far afield as the offered audiences a glimpse into how The Mousetrap (25,000), and the number
United States, Hong Kong and Australia a production comes together prior to of young actors to have starred in Billy
– yet the opportunity to celebrate a opening; #AskATheatre, 3–5pm, which Elliot (42).
showcase of a nation’s talent seldom gave people the opportunity to Tweet Kennedy also shed light on his guide
arises. Tamasha playwright and artistic theatre companies, large and small, with to playwriting success as part of the day.
director Fin Kennedy conducted a questions about their experiences; and ‘See as much theatre as possible,’ he
2013 report entitled ‘In Battalions’, #Showtime, 7–10pm, which gave those said, adding that prospective playwrights
which found that, with British theatre unable to make it to a theatre production should ‘Get qualified in something else
0 remaining under fire at the hands of
damaging cuts to Arts Council England
the chance to sit in ‘virtual stalls’ on
Twitter.
first; you will need a day job for years,’
and ‘Hang in there: I’m talking 10 years
and local arts budgets being axed, theatre The event saw a multitude of theatres or more before you give up; it really takes
is set to face more harm. and companies take to Twitter to shed that long.’
Jo Belolli, associate producer for light and offer advice, behind-the-scenes Did you take part in #LoveTheatreDay?
early years at the Polka Theatre, told images and snippets of theatreland, from If so, Tweet us at @teachingdrama and tell
the Guardian that ‘children need theatre Shakespeare’s Globe to the National us how you celebrated it.

London’s south bank to become 2.5 mile homage to Shakespeare


Shakespeare’s Globe has announced years after his death in a big free public
that it will be celebrating the 400th event, utilising the very latest technology,
anniversary of Shakespeare’s death along a public walkway beside the same
with a weekend dedicating 2.5 miles of old dirty river, so rich with history.’
London’s south bank to 37 large screens Mayor of London Boris Johnson has
between 23–24 April 2016. remarked that Shakespeare’s work
In an exhibition entitled ‘The continues to resonate with people of
Complete Walk’, each of the 37 screens all ages and backgrounds. ‘That is an
will play an original ten-minute film incredible feat and one that will be
pertaining to one of Shakespeare’s rightly celebrated across the world next
plays and filmed in the location of the Two and a half miles of the River Walk will be year,’ he said. ‘London has a fantastic
plays’ settings. Entry will be free and devoted to the Bard range of Shakespearean-inspired events
the exhibition will include over six lined up for 2016 and I am delighted to
hours’ worth of content. The site of the ‘Shakespeare spent half his life in support The Complete Walk. It will give
festivities was chosen based on the London,’ says Dominic Dromgoole, Londoners and visitors to the capital a
location of the Globe Theatre, where artistic director of the Globe. ‘We think it wonderful opportunity to take in the
Shakespeare wrote and presented most is suitable and fitting that the huge range Bard’s work in the city where some of his
of his plays. of his work should be celebrated 400 greatest stories were conceived.’

k www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 7

TDSP1_1516_006-011_News_Opinion.indd 7 07/12/2015 15:23:35


21 Jan – 12 Mar 30 Mar – 7 May
Escaped Alone X
by Caryl Churchill by Alistair McDowall
A new full-length play from the renowned A thriller set in an imagined near future where
playwright whose previous work includes Mars is populated by blonde Americans and
TOP GIRLS and LOVE AND INFORMATION. the British research team are stuck on Pluto.
‘One of the most original and influential ‘Fierce dystopian drama
voices in modern theatre’ with terrific comic edge’
Financial Times The Guardian on Ali McDowall’s POMONA

PLAYS FOR SCHOOLS


Schools and HE Groups of 8+ get 50% off
At the Royal Court your students will see relevant, political, Tickets £17.50 & £12.50 per pupil instead of £35 & £25
engaging plays about issues affecting the way we live now. for shows in the Jerwood Theatre Downstairs.
Alongside each production, school groups can book 14+ age guidance for both productions.
Insight Workshops where students work with a Valid for performances Wed – Sat. Subject to availability.
member of the creative and Young Court team, exploring
rehearsal techniques and the text to give them an exciting
introduction to the world of the play.
Suitable for KS4 and above. £3.50 per student.
To book contact maiaclarke@royalcourttheatre.com

To book call 020 7565 5000 Innovation partner

royalcourttheatre.com

TD_Spring1_2016.indd 8 07/12/2015 09:11:00


News

Arts Council Goosebumps


England to series to be
receive an extra made into
£10m per year immersive
There were theatre
expected cuts
of up to 40% R.L. Stine’s
to the creative bestselling
industries in Imelda Staunton, who won Best children’s horror
George Osborne’s Musical Performance for Gypsy series Goosebumps
November is to be made into
spending review, London Evening an immersive
but the impact theatre experience
was far smaller George Osborne Standard Theatre from April Goosebumps
than expected,
with Arts
relieved worries
about arts funding Awards winners 2016. The show,
aptly entitled
author R.L. Stine,

Council England announced Goosebumps The Show will be staged in the


announcing they will receive an extra same tunnels beneath Waterloo Station
£10 million per year over the next The 2015 London Evening Standard that housed Alice’s Adventures Underground
four years. Theatre Awards, held on 22 November at earlier this year.
Though the Department for Culture, London’s Old Vic, was attended by a star- Fans of the series will remember
Media and Sport operational budget studded cast of film and theatre stars, an abundance of nightmare-inducing
suffered a 20% cut, the arts received a far including winners Nicole Kidman, Imelda monsters, from The Haunted Mask to The
better outcome than anyone expected, Staunton and James McAvoy. Werewolf of Fever Swamp, with Stine being
with the Chancellor of the Exchequer Presenter Rob Brydon and co-hosts labelled as ‘the Stephen King of children’s
confirming that funding to the Arts Evgeny Lebedev of the Evening Standard, books’. But the new production won’t
Council would increase because arts Dame Judi Dench and Sir Ian McKellen, be strictly limited to children; in fact,
are ‘one of the best investments we can handed out 16 awards for theatrical the initial run will be aimed at adults
make’ – despite Education Secretary prowess, with Staunton performing between April and September, with
Nicky Morgan’s damaging Ebacc threats. ‘Everything’s Coming Up Roses’ from children able to see an adapted version of
Despite an overall 5% reduction in Gypsy and Pixie Lott singing ‘Moon River’ the show from May.
arts funding, ACE’s grant is expected to from 2016 West End production Breakfast The interactive production will
rise by 1–2% over the next five years, at Tiffany’s. involve the audience walking through
meaning the council can safely continue the abandoned tunnels of the Vaults to
funding its 684 organisations until 2018 Award winners experience adaptations of Stine’s One
– among them theatres, opera and ballet f f Best Actor: James McAvoy, The Ruling Day at Horrorland, Say Cheese and Die!,
companies, museums and galleries. Class Stay Out of the Basement and Night of the
f f Natasha Richardson Award for Best
ACE chairman Peter Bazalgette thanks Living Dummy. Tom Salamon, co-creator
Actress: Nicole Kidman, Photograph 51
Osborne for ‘an astonishing settlement of Accomplice, is writer and director of
f f Best Play: The Motherf**ker with the
for arts and culture,’ and said that the Hat, Stephen Adly Guirgis the production, with original series’
review will put the council ‘slightly ahead f f Newcomer in a Musical: Gemma illustrator Tim Jacobus creating artwork.
in cash terms.’ Arterton, Made in Dagenham Kieron Vanstone, director of the
‘We can keep up our efforts to ensure f f Best Musical Performance: Imelda Vaults, has said that he’s wanted to stage
everyone, everywhere in England benefits Staunton, Gyspy Goosebumps for years. ‘Immersive events
from Arts Council money,’ Bazalgette said f f Evening Standard Radio 2 Audience have become the lifeblood of London
following the news. ‘We can continue Award for Best Musical: Kinky Boots culture, and Goosebumps is perfectly suited
to invest in children and young people, f f Milton Shulman Award for Best to the genre,’ he said. ‘These stories were
Director: Robert Icke, Oresteia
disadvantaged communities and new made to be experienced up close, with
f f Best Design: Anna Fleischle, Hangmen
talent, as well as hundreds of much-loved every shiver, sound and unsettling sight.’
f f Charles Wintour Award for Most
arts and cultural institutions.’ Promising Playwright: Molly Davies, The books, which were published
The review also saw Osborne promise God Bless the Child in the 1990s and were followed by a
that entry into national museums and f f Emerging Talent Award in partnership successful television series, is one of the
galleries would remain free, with funding with Burberry: David Moorst, Violence bestselling series of all time – second
being protected until 2019–20, as well and Son only to J.K. Rowling’s Harry Potter, and the
as room for potential new tax credits f f Beyond Theatre Award: Alexander show, which warns audiences ‘You’re in
to further help them. ‘One of the best McQueen: Savage Beauty Exhibition for a scare!’ is set to sell out.
investments we can make as a nation f f Editor’s Award in partnership with
The Ivy: Vanessa Redgrave Tickets and further information can be
is in our extraordinary arts, museums,
f f Lebedev Award: Stephen Sondheim found at www.goosebumpstheshow.com
heritage, media and sport,’ he confirmed.

k www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 9

TDSP1_1516_006-011_News_Opinion.indd 9 07/12/2015 15:44:45


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TD_Spring1_2016.indd 10 03/12/2015 17:53:44


Opinion

Opinion
Last year’s Shakespeare Up Close: Macbeth

with Darren Henley


Introducing… the Cultural Education Challenge
This October the Arts Council
launched the Cultural
Education Challenge, a call
to action to those working
in the arts and education
sectors to enable a high
Robert Day

quality cultural education for


all young people, regardless
of their circumstances. As

Orange Tree Laura Gander-Howe, the Arts


Council’s Director of Children,
Young People and Learning said, we believe that every child

Theatre launches should experience great arts and culture. With the creative
industries growing to become one of the UK’s fastest growing
sectors, driving 1 in 20 jobs, it’s critical that we nurture the

Shakespeare
young creative talent on our doorstep.
The Challenge will encourage sector leaders across the arts,
education, local authorities, schools and higher education

Up Close
institutions to create joined-up arts and cultural provisions
locally, to develop a clear and coherent local offer and ensure
that more children and young people have access to arts
and culture.
The Orange Tree Theatre in Richmond, London, has announced A lot has been done recently to address a number of the
its spring edition of Shakespeare Up Close, with educational recommendations made in my Henley Review on Cultural
productions and workshops specifically catered towards primary Education in England. Arts Council has supported the
and secondary school students. development of music education hubs and introduced and
The theatre, which has been working with schools for over invested £10 million in a network of 10 Bridge organisations,
30 years and connects with 10,000 students every year, will be tasked with galvanising local partnerships and connecting
bringing Romeo and Juliet to secondary schools this spring, playing children and young people with cultural provisions. They are
both in the theatre and on tour round schools across 13 London now working with more than 7000 schools, and since 2013
boroughs – notably Richmond, Kingston, Ealing, Hounslow and have levered in more than £11.5m in additional funding for
Wandsworth. The production will run for 90 minutes with six local projects. We have also redesigned the Artsmark award as
actors, giving Shakespeare’s classic a contemporary edge and being by schools for schools. It complements Arts Award, which
working to enhance understanding of the text. runs in partnership with Trinity College London.
The summer term brings Shakespeare Up Close: The Comedy Work with children and young people is now part of
of Errors to primary students aged 5–10, creating an accessible our funding agreements, with some 82% of 663 National
and exciting introduction to the Bard. Primary Shakespeare has Portfolio Organisations and 21 Major Partner Museums; the
been a part of the Orange Tree’s education programme for over Royal Shakespeare Company, for example, has a professional
20 years and comprises two stages. For the initial part, an actor development network for drama teachers, providing training to
from the company visits the school for a two-hour storytelling support the teaching of Shakespeare.
workshop, which enables students to step into the shoes of As part of the Cultural Education Challenge, the Arts
the main characters. Following this, students visit the Orange Council announced 50 new partnerships across the country
Tree for a full staged abridged performance, which features which will be modelled on previous pilot cultural education
interactive elements. partnerships established in Great Yarmouth, Bristol and Barking
GCSE and A level drama students are invited to Discover and Dagenham. Our national Bridge organisations will support
More in the theatre, and are encouraged to experience the these partnerships through detailed needs analysis to inform
world of theatre first hand by working onstage, encouraging priorities, gaps and provision.
experimentation with the actor/audience relationship. There are Although we are focussed on getting these partnerships
workshops to accompany the productions, and teachers have the up and running by 2018, we are encouraging other strong
opportunity to make use of the Orange Tree’s digital resources. convenors to come forward to help deliver the Challenge
Prior to performances, the theatre also offers free pre-show in other areas. Discover how you can participate and make
workshops that enable students to partake in two hours of a difference to the lives of all our children. Find more at
stimulus devising and exploration of the key themes of the play. www.artscouncil.org.uk/culturaleducationchallenge

Further information can be found online at


www.orangetreetheatre.co.uk

k www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 11

TDSP1_1516_006-011_News_Opinion.indd 11 07/12/2015 11:07:22


Drama and me
Adam Cross
for education in secondary schools, as stagecraft – it’s a physical, dynamic

Nela Pecher/Avalanche Studio


well as training teachers – it should all presence in the plays, as well as a
cascade from the same place. carrier of intellectual sense. When
students understand this they lose
What has been your experience their apprehension. This is why
of working with young people on it is almost impossible to teach
Shakespeare? Shakespeare effectively in a room filled
I’ve done it in different contexts, from with desks!
English and drama classrooms, to Finally, I’ve found that maintaining
rehearsal rooms, to the Globe Theatre a healthy irreverence is always
itself. I’ve learnt that first impressions important! The brilliance of
are often crucial with Shakespeare – Shakespeare is that the plays still
they can define a person’s relationship hold relevance. The aim is always
with the plays for life. Those very first to help young actors find the most
steps – the starter activity or initial communicative version of a scene.
What is your occupation? exercise – can make all the difference. Shakespeare was a man of the theatre
I’m Director of Drama at King’s College trying to make things work for his
School in Wimbledon. What are your top tips for teachers audience, just as we are. You need
approaching Shakespeare’s work with to be able to exclaim ‘Oh Will…’ at
Where did you study/train? students? moments that seem obscure!
The University of York, and as a When directing young people in
postgraduate at King’s College London Shakespeare, I do two things to start. And finally, which play is your favourite
and RADA. I prepare an edition of the text without to work on with young people and why?
punctuation, which can act as an The Winter’s Tale, which I am currently
What did you think of the drama lessons initial barrier when trying to access working on with my school. Although
you received at school? the intention of the moment. When one of his last plays, it is Shakespeare’s
I didn’t have drama lessons as you have to punctuate yourself in live most experimental, and innocent.
such, although I did have a number speech, you’re forced to connect with The dramatic range is astonishing
of fantastic teachers, who were what you’re saying. As soon as you – from intense domestic realism, to
fearless and visionary in the school have to make sense of a line, it is the pure fantasy, slapstick and linguistic
productions they staged. By the time start of an investment. fireworks. The adult characters, so
I was fifteen I had been given the Following that, I spend the first caught up in their institutions and
chance to act in plays by Euripides, rehearsal on the shape of the language. politics, are forced to learn from the
Shakespeare and Beckett! It wasn’t a The speaker leads the exercise, young. There is something wonderful
big school, but there was a big can-do delivering their lines one word at a about Florizel and Perdita, the young
approach that I still find very inspiring. time, and adopting a frozen physical lovers representing rebirth and
embodiment for each in turn. Everyone regeneration, being played by actors of
How do you think drama education has else in the room follows, which creates the right age. It also feels like a play for
changed today? a shared understanding. The speaker now, in the way the characters have to
On the one hand there is more of an needs to go at the pace of the room find a new morality, following an age of
explicit understanding of the value and maintain eye contact with the excess which has exploded in on itself.
of drama education on the formal group. It can be painstaking, but it There is a kind of purity coming from
curriculum in terms of the craft, works. Shakespeare’s language is his austerity.
discipline and collaborative skills the
subject fosters. However there is still
an unhelpful disjunct in this country
between the subject at secondary level, Shakespeare was a man of the theatre trying to
and our world-leading drama industry.
Working in theatres and schools, I have
make things work for his audience, just as we
seen this from both sides; our leading are. You need to be able to exclaim ‘Oh Will…’
theatrical institutions and drama at moments that seem obscure!
schools should be setting the agenda

12 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk

TDSP1_1516_012_Drama and me.indd 12 01/12/2015 11:52:06


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INCLUDING ACTING AUDITIONS & TECHNICAL INTERVIEWS Former NYT Member

TD_Spring1_2016.indd 13 07/12/2015 16:15:29


S
Green room the debate: ‘

Yes
Helen Day is co-founder of H2oh! Mat Walters is head of drama and
Education, which runs a range of theatre studies at Guernsey Grammar
curriculum-linked performing arts School. He has been a senior member
workshops in primary and secondary of the AQA drama and examining team
schools across the South East of England, and has taught drama at all levels for
and runs weekly workshops for the 23 years.
Beacon Arts Youth Theatre in Brighton.

T T
hose passionate about Shakespeare ranslation is a way into the text, but
will probably always find the idea of a doesn’t have to replace it. Let’s be
‘translation’ horrifying. I can understand honest, the central route into teaching
that – the language is so rich, and presents such Shakespeare tends to be asking students ‘what
glorious wonder when one understands it and does this speech mean?’ Only by understanding
gets underneath it, that the idea of giving that the sense behind the words can students
up in favour of plain, modern day language come to a better understanding of character,
seems really quite underwhelming. relationships and plot. Throwing students
straight into the deep end of Shakespearean
language will pull down the shutters against
Translating may encourage him for life, so start with more accessible
some students to move beyond versions.
Students can write their own monologues
a ‘translated’ text and to engage to inspire others to battle with them: a diary
with the original work entry about meeting a mysterious boy at a party

However, I do believe it’s possible to view a Throwing students straight into


good modern version of a Shakespeare play as the deep end of Shakespearean
a teaching tool that can be used alongside the
original text. Must it be presented as a complete language will pull down the
alternative? shutters against him for life
I have taught students who are naturally
inclined to engage with Shakespeare’s works,
and those for whom the language is such a whom they know their parents will not approve
strong barrier that they just don’t ever really of (but are going to secretly meet anyway), or
move beyond that. For these students, being able a despairing letter to a parent about their new
to understand the stories of Shakespeare, with choice of partner and how it is too soon since Dad
all the nuance of plot and character but without left. They can then go to Shakespeare’s ideas and
the fight to just get to grips with the words, see how language can be used to express the
may be a stepping stone towards enjoying it. It same ideas with an understanding of context
may even encourage some to move beyond a and motivation already there.
‘translated’ text and to engage with the original The controversy about commissioning
work. I use improvisation as a teaching tool modern translations of Shakespeare’s
when looking at specific scenes and themes plays ignores how useful they can be as a
in his plays, and in these improvisations the teaching tool, especially for students who find
students use modern language. Is there really Shakespeare’s work initially so challenging –
so much difference between that and actually and ultimately off putting. These are essentially
offering them a ‘translated’ text? cover versions of the plays, and the best cover
For me, teaching Shakespeare is about using versions can lead back to the originals. Hands
any route to share the joy of his masterpieces, up who has used the opening of West Side Story
and to plant the seeds for a lifelong appreciation or a clip from The Craft as a way to kick up off
of his work. If a ‘translated’ text helps realise work about Montagues and Capulets or the
this process, then I’m all for it. Three Witches?

14 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk w

TDSP1_1516_014-015_Green Room.indd 14 01/12/2015 11:54:40


Should Shakespeare be Join the debate

: ‘translated’ for students?


Strongly agree or disagree with one of our
green room debaters? Go online to
www.teaching​drama​blog.wordpress.com
and have your say.

No
Alicia Pope completed a degree in Dan Clay has worked as a full-time and
English and Theatre and Media Drama supply teacher, as well as exploring
at the University of Glamorgan, other avenues of work, including within
followed by a PGCE at UWE, Bristol. theatre and journalism. He has written
She is currently in her tenth year of for the TES, Teach (Secondary) and
teaching. many other websites.

I A
n the sense that ‘translated’ means rewritten nyone who thinks Shakespeare’s prose
and performed in modern prose, I don’t should be translated for a youthful
think Shakespeare should be translated for audience is perhaps being unfair to the
students – one of the many joys of Shakespeare actors, teachers and students whose task it is to
is the infinite variety of his language. As a bring to life the language of some of the finest
teacher and lover of theatre I want Shakespeare plays we have at our disposal – not least to a
to be accessible, not something that only ‘clever’ certain humble playwright who, lest we forget,
people understand, but as part of that love wrote for the very people of the time.
comes his ability to spin a good yarn with a A quick look at the hugely popular and
spectacular use of language. successful film adaptations of Romeo and Juliet,
Coriolanus and Macbeth should tell you that
adapting the setting – not the language – can
Perhaps we should address how make Shakespeare highly accessible. The idea
theatre can be made available of needing to open up his language brings forth
y a sense of ‘dumbing down’ and does a huge
to everyone instead of changing disservice to the very words Shakespeare uses
an enormous part of our literary to draw character, emotion and narrative.

heritage
You don’t mess with greatness –
Some students may need some help with especially not from someone so
the language, but Shakespeare wrote for
performance, not critical analysis, and things clearly born with it
take a very different turn when a script goes
from page to stage. Lines that are almost
incomprehensible suddenly take on very clear While there’s nothing wrong with editing
meaning when you see Desdemona stare texts – the popular Animated Tales and BBC
longingly at Othello or Lady Macbeth wring her modern adaptations did just that – bringing
d bloodied hands. the language ‘up to date’ carries with it some
The idea of translating Shakespeare comes worrying prospects. Are we now to expect, in
from wanting to make it accessible but it keeping with the theme of making Shakespeare
becomes accessible when we see it as it was relevant to today’s youth, Joey Essex starring in
meant to be seen. Perhaps we should instead the next big screen version of Hamlet, or perhaps
address how theatre can be made more Keith ‘King Lear’ Lemon treading the boards at
available to everyone before we start changing the RSC come summer? And if translation takes
an enormous part of our literary heritage. off, why bother with GCSE French or Spanish –
just translate the textbook, give everyone an A*
and be done with it!
No. Like a fine Pinot wine or Arsenal’s back
four of the early nineties, you don’t mess with
greatness – especially not from someone so
clearly born with it.

k www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 15

TDSP1_1516_014-015_Green Room.indd 15 01/12/2015 11:55:11


Bardwatching
OMG! Sarah Lambie reports on all things Shakespeare as his
400th death date approaches – #killingit

Learn, good soul


Will you see the players well bestowed? The Globe Education Shakespeare
From 9–31 January 2016, alongside the Hodder Education in 2011, have
editions, first published by
work onstage at the Barbican, a special English Literature GCSE curriculu
been revised to meet the new
festival of RSC Shakespeare on Screen has course exam, rather than coursewo
m requirements for an end-of-
been created to complement the King and of Macbeth and Romeo and Juliet
rk. Board specific editions
Country plays, and will be showing in the WJEC Eduqas.
are published for AQA and
Barbican Cinemas.
What relevance does this hold for
The nine titles selected include drama teachers? Well, the
Globe can always be relied upon
Macbeth (1979) with Ian McKellen actors and acting at its core, and
to produce work which has
and Judi Dench, originally performed from a range of productions at Shak
sure enough, colour photographs
at The Other Place in Stratford-upon- to understand how the play work
espeare’s Globe help students
Avon, Peter Hall’s A Midsummer Night’s World’ explains historical context
s on stage, while ‘Shakespeare’s
Dream (1959) with Charles Laughton as Education’s research department;
in features from Globe
Bottom in a rarely-seen partial recording for each scene; and ‘From the Rehe
‘Director’s Notes’ provide summari
es and thinking points
of Hall’s staging which was filmed for in rehearsal to help students deve
arsal Room’ provides active exer
cises of the type used
American television, and Gregory Doran’s turning points.
lop their own understanding of the
text at key dramatic
production of Hamlet (2009) filmed on
The editions are priced at £7.99,
location in an abandoned seminary in available to order online at hodd
ereducation.co.uk
North London, with David Tennant.

Brevity is the soul of wit … Countrymen, lend me your ears


In last issue’s The BBC has announced ‘Interactive Live Lessons’ will
ambitious new plans be broadcast from the Library of
Bardwatching we Birmingham
reported on the Oregon to celebrate the
Shakespeare Festival’s 400th anniversary of
decision to have Shakespeare’s death by
Shakespeare’s work teaming up with other
‘translated’ for modern leading British arts
audiences. It led to the organisations. An online
debate in this issue’s festival, a digital project
Green Room about tracking Shakespeare’s
whether such a thing inspirations around the
YOLO Juliet Srsly Hamlet
might be necessary or country, and interactive
desirable to make the lessons for school children
are among the plans.
bard’s work accessible to students … but Penguin Random House e Shakespeare Festival
Digital output will include an onlin
have gone even further than that. In their ‘young adult fiction’ to be laun ched on 23rd April.
entitled ’Shakespeare Lives’,
category they proudly present the ‘OMG Shakespeare’ series.
On Tour ’ will draw on origi nal archive material and
‘Shakespeare
No, really. YOLO Juliet, Srsly Hamlet, Macbeth #killingit and A Engl ish Dram a (REED) and the
research from Records of Early
Midsummer Night #nofilter tell the stories of Shakespeare’s plays
ry, toge ther with acad emic support from the Arts and
British Libra
in a very modern form of dialogue: text-speak. ‘tl;dr A Shakespeare De Montfort University, to build
Humanities Research Council and
play told through its characters texting with emojis, posting photos, espeare performances from his
a digital picture of key historic Shak
checking in at locations, and updating their relationship statuses,’ ‘Inte racti ve Live Lessons’, produced by
lifetime to the present day. for
gushes the website. ‘The perfect gift for hip theater [sic] lovers and from the Library of Birmingham
teens.’ BBC Learning, will be broadcast will be installed,
e an inter activ e map
students across the UK, whil
Well, I have to concede that the man himself – a great lover and times and works of Shakespeare.
allowing users to explore the life,
prolific coiner of neologisms – would probably have embraced this ersit ies across the UK are to be
Schools, colleges and univ
developing new language, had he been alive to hear it spoken, so
ss to hund reds of BBC telev ision and radio broadcasts
given acce
perhaps I’d better give author Brett Wright the benefit of the doubt ets and docu mentaries through the
of Shakespeare’s plays, sonn
here. If you’re curious and considering a purchase you may be Resource. Bardwatching will
digital BBC Shakespeare Archive
relieved to learn that a glossary is included for the uninitiated … for ents as they are announced.
example ‘tl;dr’, apparently, means ‘too long; didn’t read’. Sad face. report on further developm

16 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk

TDSP1_1516_016_Bardwatching.indd 16 01/12/2015 11:58:56


Photo by Rob Freeman
5 REASONS WHY TEACHERS CHOOSE RSC EDUCATION
1 CPD in your school from as little as £35pp: 4 Bespoke workshops for students
practical activities immediately in Stratford-upon-Avon on any
transferable from course to classroom Shakespeare play
2 Free Schools’ Broadcasts: register now 5 Events, courses and conferences for
to watch Othello on 17 March and young people from KS1 to undergraduate
The Merchant of Venice on 21 April and their teachers
3 Free Online Resources, Find out more at www.rsc.org.uk/education
including the RSC Dream
or call the RSC Education Ticket Hotline
Team 2016 Playmaking
on 01789 403434 (8.30am-5pm, Mon-Fri
Pack with lots of ideas
for how your school can during UK term time)
celebrate Shakespeare’s
legacy

@rsc_education RSCTeachers

TD_Spring1_2016.indd 17 03/12/2015 17:53:57


Shakespeare on Trial
w

Globe Education
e
t
a
s
h
a

p
d
b
B
t
p
t
T
f
o
A
b

h
t
e
t
t
t
p
Portia and Nerissa in the courtroom scene of t
Globe Education’s The Merchant of Venice, a
part of Playing Shakespeare with Deutsche Bank t
d
f

Shakespeare:
Expanding horizons v
‘We’ve done it twice and we’re now going a
into our third project, with Twelfth Night,’ w
Ellinas explains. ‘The first was Othello, l

the jury’s out
which was with a group of students a
from the widening participation project,
where government funding brings a
students into university whose parents i
have never been. It’s a way of expanding t
horizons for those who perhaps haven’t u
got that parental support about going r
The Bard’s characters are on trial, and to university. We had students from W

Sarah Lambie is first on the scene… different schools across Hampshire and


Wiltshire.
c
f
‘For Othello there are two possible
charges that can be levelled against i

H
ead of Learning at Shakespeare’s A level students so we look at things him: that his crime was a premeditated S
Globe Education, Georghia Ellinas, like the historical and social context murder, or that it was manslaughter on p
has brought Shakespeare to of the play and the issues around law the grounds of diminished responsibility. t
justice, and justice to Shakespeare. In at the time. Following this, they have a The students went for the latter, as it f
a project which she initiated, now in practical workshop where they explore allowed them to explore the fact that his N
its third incarnation, Globe Education a scene in the play, through typical whole psyche and his sense of his own t
collaborates with the Royal Courts of approaches that the actors take when identity and beliefs had been completely
Justice to offer two-day workshops for they’re in rehearsals. Then they watch eroded by Iago – which was great.’
KS5 students, putting controversial a performance of the play in the Globe The impact on the group was really
characters in the legal hot-seat in theatre and we supply resources, so that positive – many of them were considering
‘Shakespeare on Trial’. I spoke to her the students have lots of material to going on to study law at university, and the
about projects past and present. take away for their further reading. The experience helped them to feel empowered
‘It’s a two day course,’ she tells me. next day they work with the legal team to do so. ‘One young woman said, ‘now I
‘It starts with the students having at the Royal Courts of Justice to put one think I can be a lawyer, now I think I can do
a lecture on the play: it’s pitched at character on trial.’ this,’ so it really opened a door for her that

18 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk w

TDSP1_1516_018-019_Shakespeare on trial.indd 18 07/12/2015 10:47:11


Shakespeare on Trial
was previously closed, because she had no
Globe Education

experience of what it was like to explore


text in this way, to construct an argument
and then deliver that argument. The tutor
said they came back really enthused and
hopefully a lot of them will now consider
applying for university.’
The second group of students to
partake in the project were from a
different background. Independent
boarding school Clifton College in
Bristol brought 24 students from across
the disciplines: literature, history and
philosophy students took part, aided by
their Director of Drama, Karen Pickles.
This time the play for study was Measure
for Measure, and the charge was the ‘order
of misrule’, levelled at the Duke’s proxy
Angelo and exploring how his rule had
been corrupted.
The Royal Courts of Justice, London
I asked Pickles what students and staff
had made of it. ‘The two-day adventure to
the Globe and the Royal Courts was, in the working with the Nottingham courts. The At the Royal Courts it’s the students
eyes of the students, ‘the most exciting latter group will come down for their day who play all the roles: accused, and
trip we have done with the School’,’ she at the Globe and return to Nottingham for jurors. And there’s a valuable lesson to be
told me. ‘From the moment they arrived at the legal section of the course. It hasn’t learnt there too. ‘I’ve done jury service,’
the Globe, studied the play and watched a yet been decided what the charge will be, says Ellinas, ‘and that jury room is so
performance of it, through to their visit to but Ellinas is considering ‘bullying in the intimidating. It’s designed to be scary, so
the Royal Courts, where they put together workplace’. ‘It’s a topical issue,’ she tells having the confidence to speak in that
a court case with a legal team, they were me, ‘for people in the workplace of course, sort of setting is also part of it. Students
transfixed – and a month later are still but also as an issue in schools. The have seen it on TV, but actually going in
discussing it with their teachers and their students either may have been bullied there – it really does make you feel very
friends. It was a wonderfully crafted, themselves, or could have been implicit small. Anything that builds students’
visually- and mentally-stimulating event, in bullying. That’s what you get in Twelfth confidence is going to be very helpful in
and our students learnt a variety of skills Night – Malvolio suffers ‘gang bullying’ the long run.’
which they can use and discuss in their A rather than just one person doing it.’ My feeling is that there’s inspiration
level work and also in interviews as they here for drama teachers – another
apply for university. Cross-curricular skills opportunity for cross-curricular
‘From the teachers’ angle, it gave us It all sounds enormous fun, but there activity, and in fact a very easy project
all an insight into a more creative and is, of course, an underlying educational to undertake independently at school
inspiring way to deliver Shakespeare and point to it. Ellinas tells me why she (albeit without the advantage of the
to take it away from the page to further designed the course: ‘Students for A level Scary Room). Ellinas agrees, ‘We’re using
understand both the characters and the have to be able to construct an argument Shakespeare because that’s what we
relevance of the plot in today’s world. – they have to do it in literature, drama, do – but you could do it with a novel or
We will be using this model of a two-day history, geography, law … it’s a cross- a poem… When I was in the classroom
course on an annual basis for our sixth curricular reading skill; they need to find I did things like this with the murder
form as it was such a successful trip.’ evidence, piece it together, and say why mystery The Ballad of Charlotte Dymond.
Running as these projects do that evidence is persuasive: that’s why it It’s a very flexible activity in the sense
in conjunction with the ‘Playing proves my case. Those are really important of putting any character on trial, and
Shakespeare with Deutschebank’ skills for A level, for further study, and you can take any character from a book
productions, the next group of students for the world of work, so this course is as long as it’s pertinent.’ And although
to pull one of the Bard’s characters up in designed to develop those skills. at present the course at the Globe is
front of a jury will be looking at Twelfth ‘And then of course there’s the designed for students at KS5, we also
Night. For the first time there will be performance. How do you use your body agree that it could easily be done at
two groups: one London-based and one and voice to convince other people of school with GCSE groups and younger –
your argument? We’ve got all of the even with Year 6. 
language modes: speaking, listening,
reading and writing, all working together
The course is suitable for groups of 12+
How do you use your to construct that argument and to deliver
and costs £100 per student – which
it. And another skill is deciding which
d
body and voice to bits of evidence I need and in which
includes the ticket price for the production
of Twelfth Night at Shakespeare’s Globe.
convince other people order to put them. Do I put my most More information can be requested by
o of your argument? important point first or do I use it as a emailing learningenquiries@
shakespearesglobe.com
sledgehammer at the end?’

k www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 19

TDSP1_1516_018-019_Shakespeare on trial.indd 19 07/12/2015 10:47:37


presents

SPECIAL EDITION BOX SET Redgrave Theatre


Percival Road, Clifton
Bristol BS8 3LE
Thu 18 - Sat 27
Feb 2016
Eves 7.30pm
Sat & Thu mats 2.30pm
(no mat Thu 18)
£15 full £10 concession

Imbued with a spirit of magic and the supernatural,


The Tempest is Shakespeare’s late great masterpiece of
forgiveness, generosity and enlightenment.

Box Office: 0117 973 3955


www.oldvic.ac.uk

Bristol Old Vic QP V2.indd 1 04/12/2015 11:18:39

MACBETH &
“poignant, impassioned MUCH ADO
ABOUT
and gorgeous”
The Times

Daily Mail
HHHHH
Daily Telegraph NOTHING
Musical Shakespeare with a sense of humour!
HHHHH HHHHH Schools’ Matinees at:
Lincoln Theatre Royal, 17 May 2016
Felixstowe Spa Pavilion, 25-26 May 2016
Lichfield Garrick, 7-8 June 2016
Christopher Luscombe directs Shakespeare’s great Markeaton Park, Derby, 15-18 June 2016
pair of romantic comedies, Love’s Labour’s Valentines Mansions, Ilford, 20 June 2016
The
Belgrade Theatre, Coventry, 21-23 June 2016
Lost and Love’s Labour’s Won – the latter usually
known as Much Ado About Nothing. Both plays
are available individually or as a special edition
box set, on DVD and Blu-ray.

OUT NOW
ON DVD & BLU-RAY “Hugely Funny!”
The Stage
www.opusarte.com www.rsc.org.uk Much Ado About Nothing On tour from May 2016
www.oddsocks.co.uk

TD_Spring1_2016.indd 20 04/12/2015 11:34:04


MTDES

Flipping it
Ahead of the Musical Theatre & Drama Education
Show, Sarah Lambie meets speaker Keith Burt to
discover Flipped Learning

teaching, practising and experimenting.


When I returned to teaching I continued application. Time is made thereby to
this style of work, developing new ensure the knowledge is fully understood,
practices and methodologies of teaching applied and embedded ready for
drama. I continue this through my blog, assessment.
Burt’s Drama.
How did you first encounter Flipped
Why were you keen to be part of the Learning yourself?
MTDES programme? I first encounted it during research for
I am passionate about sharing and my Masters when exploring the Kahn
discovering new and progressive academy. This is a huge online library of
pedagogies that I think will help both instructional videos used by teachers in
further the subject of drama and make the US. I realised a number of teachers
the drama teacher’s life more successful. had already made the leap to Flipped
We’ve all got a mountain to climb with the teaching and with great academic
changes in the education system, be they success.
for the better or worse, and anything that
helps must be a good thing! What are you most looking forward to
being able to share with other teachers?
What are you going to be talking about to There are lots of things that could be
delegates at the MTDES? taken from my seminar, ranging from
What’s your background and experience I’m going to be talking about a relatively a full blown pedagogy that can change
in drama teaching? new pedagogy which has come out of your teaching practice to some extremely
I’ve always wanted to be a drama America called Flipped Learning. Flipped useful take away bitesize pieces. I am
teacher – ever since school. After A levels Learning had been successfully used most looking forward to encouraging
I was lucky enough to read drama and in other contexts but at the time of my teachers to reflect and try new ways of
education at the Royal Central School research had never been used in drama delivering or assessing, even if it’s just
of Speech and Drama before starting teaching. In my practice I found it very little things.
teaching in a school in Slough fifteen effective when communicating the
years ago. While in Slough I quickly theory of practitioners, theatre history And finally, what other session would
became head of drama and created a and exam centred content, allowing me you most like to attend if you were to
very successful department. Having more time to spend with the students to be at the MTDES for both days of the
explained to my students that drama is prepare for the method of assessment conference programme, and why?
a good career choice I decided to put my and help them achieve higher grades. Anthony Kerr-Dineen’s session on
money where my mouth is and set up As the pressure is going to build with the role of character education in the
my own company, Lemon Cake Theatre. the new GCSE and A level specifications, development of young people looks really
Working as a professional theatre pedagogies like this are really going to be exciting. I’ve always been passionate that
practitioner still inspires my teaching the way forward to deliver more content at the centre of teaching drama should
today, as I find a real symbiosis between without taking away from practical be the process of making theatrical
preparation for assessment. experiences. I think there are tremendous
opportunities within that to develop
Dilip Patel / Double-Barrelled Ltd

What is Flipped Learning? strong useful character traits such as grit,


Flipped Learning is essentially turning self-control and optimism. 
the traditional concept of teaching on
its head. Instead of delivering a lecture
at the start of the lesson, the teacher ‘Flipped Learning: a new approach’ is on
records it and gives it to the student 26 February at 10am and, like the rest of
to watch or listen to before the lesson the MTDES, is completely free to attend.
as homework. The lesson itself then The programme for the MTDES as
Last year’s expo, which featured in-depth announced so far can be found at
becomes about the application of that
seminars and fireside chats www.musicaltheatredrama.co.uk
knowledge and the assessment of that

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 21

TDSP1_1516_021_MTDES.indd 21 07/12/2015 10:48:48


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Chickenshed, the UK’s largest inclusive


theatre company, has flexible entry
requirements and is rated ‘Outstanding’.

www.chickenshed.org.uk/courses | 020 8216 2729 | Chickenshed, Southgate N14 4PE

See us in action in Sharing Stages, our new show encompassing collaboration and
partnerships and featuring students currently on our courses, or book us to come Sharing Stages
to your organisation and run a bespoke workshop. 3 - 20 March

TD_Spring1_2016.indd 22 04/12/2015 10:36:03


Exam boards

Which Board to Tread?

Holly Barradell
This November, National Drama CPD event Which The event gets under way
with a panel of speakers
Board to Tread? was held at the Corn Exchange in
Newbury. Samantha O’Reilly took a closer look

W
hether ‘tentatively testing’  ‘Contrast’ is a key term Ofqual have
which boards to tread presented exam boards with, in terms
or confidently securing of the differences in the texts studied.
departmental direction, the National Exam boards vary in their approach
Drama CPD event provided a chance to to this; Edexcel seem to have the
hear about the impact of specification most straightforward approach by
changes at both GCSE and GCE levels, classifying their contrast as ‘time’ at  All exam boards expect live
straight from the horse’s mouth. GCSE level performance exams to have an
Representatives from all major exam  GCSE exam boards vary in their ‘audience’ present, although who
boards, including AQA, Edexcel, OCR and response to devised performance makes up that audience can vary
Eduqas (the English version of Welsh stimuli. AQA and Edexcel are leaving
board WJEC) were present to share what stimuli selection up to the teachers Networking
their GCSE, AS and A level drama and to find, whereas Eduqas and OCR are While there is no question that the
theatre courses had to offer. presenting stimuli each year event was hugely useful, it did at times
 Measures for progress must be evident feel a little like ‘death by PowerPoint’
Treading the boards – and obvious. This seems a particularly – particularly for a Friday afternoon.
a summary important point to note for the ‘Text Drama teachers can be a tricky audience
There are similarities across all four in performance’ examiners visit that to please; while we may look innocuous
boards at KS4–5, seemingly as a direct some boards are asking for a ‘concept and attentive, the #ParrottGate drama
result of the government’s drive for document’ from each learner, which certainly proved the opposite! This
rigour. At GCSE these tend to fall into outlines their artistic intentions for moment of ‘real drama’ was handled
three areas to be examined: performance. Be sure to identify what sensitively by Holly Barradell and
 Devised Process and Performance each exam board requires; some are I feel it is very important to end by
Assessed marking this as part of the qualification, mentioning what an excellent job Holly
 Scripted performance – each pupil others are not. OCR appears to have a and her National Drama colleagues did in
must perform two extracts from the straightforward and clear document for coordinating this opportunity.
same play the assessment of this In which other subject would you
 Written exam – demonstrating  Theatres and theatre companies have find 300+ teachers coming together on a
understanding of drama, generally much to offer schools if aligned with Friday afternoon to network, debate, take
through a response to live theatre and the set texts or understanding of the part in Oscar-style selfies and reflect?
set text study relevance of the ‘live theatre reviews’ Let’s face it – some of the best networking
At A level: aspect of GCSE and GCE study opportunities and aligned thinking took
 Process driven performance place in the toilets! National Drama
 Practical study of practitioners members also received a discounted
Holly Barradell

 Performing from text Exam boards such as membership rate – amazing value
OCR and AQA held stalls
 Responding to live performance for money!
(usually in the written exam) So, am I stepping out into the 2016
 Study of set plays spotlight with a clear direction of travel?
The event certainly supported my attempt
Key points to note to confidently tread the boards! 
 Set texts are varied for each exam board
 Study and performance of dramatic
All exam board presentations have been
text now needs firm embedding in KS3 made available on the National Drama
drama or English lessons to support website: www.nationaldrama.org.uk/cpd/
learners at KS4–5 cpd-events/which-board-presentations.
In addition to this, National Drama
members can access a useful document by
logging into the member’s area. ‘Review
All exam boards expect live performance exams to of current non-accredited specifications’
have an ‘audience’ present, although who makes up is an extremely useful quick guide to the
differences across the exam boards at
that audience can vary GCSE level.

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 23

TDSP1_1516_023_Which board to tread.indd 23 01/12/2015 12:01:03


Psychology

Bias bypass:
requires seeing them perform or working
together; the visual nature of assessment
requires the teacher to see exactly who
is performing and where. This means
that it’s only really the written element

the blind
for which teachers can best adapt their
practice.
As with any subject, drama is not
without its element of bias. The very

leading
nature of practical assessment by
external examiners such as in Edexcel’s
GCSE specification, means that teachers
are inherently biased, given the

the blind
amount of preparation, rehearsal and
organisation they witness.

The solution?
Perhaps the very practical nature of
drama means that teachers of the subject
feel a closer affinity with their students.
Dan Clay explores the psychology of marking bias, In this case, the study’s findings are

and asks how to achieve blind marking in drama extremely relevant, given the gap which
can often exist between teachers’ and
moderators’ assessments of controlled
coursework tasks at GCSE and A level.

B
e honest – how often do you mark then predict how students would fare in So, what’s the answer? A system
your student’s coursework blind? specific reading and arithmetic tasks. of e-pen marking commonly used by
We’re not talking physically here The study found that students examiners and moderators to shield
of course (how else would you pick up similar to their teachers were judged the student’s name from view? It may
that glass of wine?) but without knowing more positively than those who were be fine for this purpose but removes
whose work you’re looking at and dissimilar, and the authors of the study that all-important personal bond
without any inherent bias. Given the commented that teachers are likely between teacher and student. In larger
findings of a recent study, perhaps it’s to give ‘a more accurate estimation of departments moderation between
worth contemplating. student achievement because it is easier teachers certainly helps to eliminate
to take over another person’s perspective bias – although undoubtedly other
All in the personality… if that person is more similar to oneself.’ teachers will know students from
Starting with the hypothesis that Their defining conclusion was that previous experience or hearsay. And
teachers are not totally resistant to bias, personality similarity ‘systematically peer assessment, though a great tool
the study’s authors decided to test how affects judgement’ – certainly an for student’s learning, risks carrying the
teachers with the same personality illuminating find. same level of bias, if not more so, than
traits as their students might be inclined teachers themselves.
to mark their work more favourably …and the handwriting It’s likely that the answer lies with the
than those with whom they are more In 2013, the Department for Education individual teacher: maintaining the same
dissimilar. Using both reading and found that bias, personal feelings and level of high expectations for each student
arithmetic testing, they took data from even neat handwriting influenced and beginning the marking process with
293 German Grade 8 students and 94 teachers’ marking, while an OECD this firmly in mind. Even then, the study’s
teachers across a mix of secondary study undertaken earlier this year authors themselves suggest it might be
schools to test their theory. concluded that teachers generally mark difficult ever to lose some sense of bias,
After establishing the personality traits girls’ work more leniently than that whether personalities match or not,
of each teacher and student, the authors of boys, a finding backed by a study of given that delivering judgements about
asked teachers to give a blind overall French schools by the London and Paris students inherently requires using our
judgement on individual student ability Schools of Economics, which found a 6% knowledge and experience of the very
against an average Grade 8 student and difference in favour of the former. student we are judging.
However, given that accurate and A bias bypass might be trickier than it
impartial judgements are central to the seems then. 
professional competence of a teacher,
Perhaps the very how might they impact on those teaching ‘Personality similarity between teachers
practical nature of drama when perhaps marking blind and their students influences teacher
drama means that might be the only fair way to truly assess judgement of student achievement’, by
Tobias Rausch, Constance Karing, Tobias
achievement?
teachers of the subject Dörfler and Cordula Artelt (Taylor &
feel a closer affinity Drama: an exception to the rule Francis), available at: http://www.
tandfonline.com/doi/full/10.1080/0144
with their students There is, of course, a huge problem.
3410.2014.998629
Assessing students in a drama classroom

24 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk

TDSP1_1516_024_Psychology.indd 24 07/12/2015 15:44:13


Chickenshed

Breaking out of the shed


particularly drama, fewer schools are able
Chickenshed was
founded on the basis of to incorporate workshops and theatre
inclusivity in drama trips into their programmes. As a result,
it is essential that schools make that
all-important leap into theatre, despite
lack of funding. ‘You can be an incredible
reader and you can be incredibly
numerate, but if you can’t communicate
properly and you can’t work in groups,
you’re not going to succeed in your field
of work,’ he says. ‘Performing arts are
actually everywhere in the curriculum,
as it gives kids a way of engaging and
physically getting to grips with all kinds
of different concepts. A lot of kids have
been cut off from so much education.’

As Chickenshed celebrates over 40  Catering to a challenge


Unfortunately, arts funding in schools is
years of success, Rebecca Pizzey on the decline, with many departments
takes a look at their Education and unable to push for the costs of workshops
Chickenshed

or convince their head teachers that


Outreach Workshops workshops are key tools in theatrical
training. However, Chickenshed promise
to provide a relevant catered programme,

C
hickenshed advertises itself as ‘1500 kids from a mainstream school and and even welcomes the challenge;
an inclusive theatre company a class from a special school from each of ‘give us your most challenging concept,
that celebrates performance as the London boroughs, with a cast of about whatever the area is, and believe me – we
the driving force behind tackling social 250 Chickenshed kids,’ explains Morrall. ‘It will give you a performing arts workshop
issues and facing the skills needed to was a massive celebration of inclusivity.’ that will benefit you and the entire
excel in any career path. Founded in class.’ On top of that, the inclusivity of
1974 by Jo Collins and Mary Ward, the A message through theatre Chickenshed means that they can provide
charity has since seen decades of success The workshops have grown vastly a variety of themes and topics, as well as
– particularly with its educational and since 1990 and currently cover most of cater to your school’s individual requests.
outreach workshops. the country, often touring with social Chickenshed also offer in-house
The workshops incorporate social messages; one show in particular is training, including a level 3 BTEC
issues with theatre, providing schools a piece by Morrall, which centres on diploma, which can progress to a
with the opportunity to work with themes of gang violence, written after his foundation degree, and then a full BA – all
practitioners to improve acting and nephew Shaquille Smith was killed by a validated by Middlesex University. ‘They
communication skills. The initial gang in 2008 at the age of fourteen. ‘We were so impressed by our inclusive work
workshop took place in 1990 in the Royal go to young offenders institutes, schools and our pioneering and philosophical
Albert Hall, according to Paul Morrall, where there have been victims of gang aspects, that they wanted to develop
Director of Education and Outreach at violence, schools where there are risks of further education with us,’ says Morrall.
Chickenshed. ‘We paired a class from violence – and even places where there Students on the courses play an
a special school with a class from a aren’t any issues with gang violence, important role in the company’s outreach
mainstream school, and the idea was that but where schools want to explore the work as well as studying; ‘they come
they’d be working together and would find themes and prepare their students.’ The with us on outreach work and use that
a common ground between them.’ The show, which encourages open discussion as research for themselves. It’s all part of
pilot workshop was a huge success, with and involvement, has been seen by a culture of education and research. We
around 50,000 people over seven years, think the links between education and
and is one of the largest outreach projects theatre are so vital – and obviously we
It is more important from a London theatre company. proved the pudding.’ 
than ever for schools to Morrall feels that theatre is more
important than ever when it comes to
incorporate workshops conveying a message, though with the A full list of workshops offered by
and theatre trips into looming return of the Ebacc [see Teaching Chickenshed, as well as how to book, can
be found at www.chickenshed.org.uk/
their programmes Drama Autumn 1] threatening students’
educational-outreach-workshops
accessibility to creative subjects –

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 25

TDSP1_1516_025_Chickenshed.indd 25 01/12/2015 12:08:58


On course
Distance Learning Shakespeare and
Theatre MA/Diploma
Shakespeare Institute, Stratford
by Susan Elkin

B
ased at the Shakespeare Institute you want to access some of the on-site

University of Birmingham
in Stratford, an off-site department modules. Erin stresses flexibility and
of University of Birmingham, this is the potential to mix and match, and
one of four Shakespeare-linked MAs in the distance learners and part-time students
country. Like its sister option Shakespeare are required to do just as much work as
in Education, it consists of a very flexible their full-time counterparts. And, as with
modular structure and can be done by the OU as a distance learner, you can be
online distance learning, part-time, as well as involved or not as you wish, with the
as face-to-face full- or part-time. student community.
‘It’s quite an intimate department,’ says Because of the geographical proximity
senior lecturer and course leader Dr Erin within the Shakespeare Institute, the The Shakespeare Institute provides both
Sullivan. ‘We have about 75 MA students course has ‘a strong friendship’ with the hands-on and distance learning for all levels
overall at any one time and I know RSC, including links between individuals
them all by name.’ Of the 45 students – earlier course director Russell Jackson
or so enrolled on the Shakespeare and teamed up with Kenneth Branagh ‘Teachers who enrol are usually
Theatre and Shakespeare in Education and remains his text adviser for films, teachers of English or drama wishing to
course about three quarters are distance and there are a growing number of explore ways of enhancing what they do
learners. ‘And they’re based all over the collaborative activities, especially now in the classroom. Perhaps they’re already
world,’ says Erin, who has been in post the RSC is re-developing the Other Place involved in school productions and
for five years, having previously worked as a focus for innovation. hungry to do more, or do it in a different
for the Open University. way,’ says Erin, adding that some are
Entry requirements looking for higher qualifications with a
Course contents ‘We normally look for an upper second view to moving into leadership positions
There are two core modules which BA in a related subject such as English and influencing others.
everyone takes: Shakespeare’s Theatre or drama and we ask for a piece of Some students progress to research
and Research Skills. Each student writing about Shakespeare as part of the degrees once the MA is done, with
then chooses four optional modules application,’ Erin explains, though this is doctorate opportunities also available at
from Shakespeare’s Craftsmanship, not set in stone. She and her colleagues the Institute as a pathway. 
Shakespeare’s Legacy, Shakespeare’s Text, will also consider relevant experience or
History of Shakespeare in Performance, a degree in different subjects, and start Notes for teachers
Shakesperience, Shakespeare and these students as affiliates. ‘Almost all f f The MA takes 12 months full-time or
Theatre Practice, History of Shakespeare of them move on to the full programme 24–36 months part-time including
Criticism, Plays and Poems, Early Modern quite quickly because there’s a huge distance learning. The diploma takes
8 months full-time or 16 months
Drama: Middleton and Johnson (some amount of enthusiasm and commitment.’
part‑time
of these are available only by distance f f Fees are £6,840 per year full-time
learning and some only on-site). Career pathways for UK and EU residents (£14,850
According to Erin, ‘all of the modules Many students are teachers, while others overseas). For diploma, part-time
are written by our Fellows here at the include actors, directors and professional and distance learning, rates are
£760 per module and £2,280 for
Institute.’ theatre makers wanting to widen their the dissertation. Erin notes that
Each module is assessed by an extended work portfolio, perhaps by teaching part- many teachers are part-funded by
essay, and once six are completed, MA time in a drama school or FE/HE college. their schools and/or given a lighter
students embark on a 15,000-word ‘We’ve also had lots of people who just teaching load to allow them to fit their
studies in.
dissertation. This degree or diploma is a want to learn about Shakespeare:
f f The next open day at the Shakespeare
major commitment. It can’t be treated as accountants, physicians, estate agents – Institute is on 4 February 2016. More
a hobby in a couple of hours a week. To do all sorts,’ says Erin, mentioning in passing details, including a virtual tour, can
it properly part-time you need to allocate a voice coach and a German ballet be found at http://www.birmingham.
at least 15 hours a week and be prepared dancer whose passion was dance based ac.uk/schools/edacs/departments/
shakespeare/index.aspx
to go to Stratford for some weekends if on Shakespeare.

26 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk

TDSP1_1516_026_On course.indd 26 07/12/2015 15:43:44


Theatre practitioners
Sanford Meisner
by Sarah Lambie

S
anford Meisner was an actor and a other actors on stage, but also highlights
trainer of actors, born in Brooklyn how observant an audience is, and how
in 1905, who taught at the Group sensitive to tiny changes and to truth of
Theatre, then the Actors’ Studio and response from actors.
finally the Neighbourhood Playhouse in
New York until only a few years before his Exercise three – ‘simple’
death in 1997. repetition
Originally part of the same group as Again, seat two students opposite one
Lee Strasberg and Stella Adler, Meisner’s other. Explain that the principle of exact
ideas also have their basis in the work sound replication has now been set aside;
of Konstantin Stanislavski. However, there is no longer any need to ‘imitate’
while Strasberg and Adler’s ‘method’ volume or intonation, but watching and
encouraged actors to build performance listening as learnt in the previous two
on emotional recall and personal real- exercises are still (and always) essential.
life circumstances, it was Meisner’s firm and to describe in detail what they saw. As before, either student remarks upon
belief that acting should be defined as At the most basic level, this teaches something simple that they see – however,
‘living truthfully under imaginary given the principle of looking and seeing, this must now be made personal by
circumstances’ – responding truthfully in and of taking the attention off the self extending into a full descriptive sentence:
the moment to that which you receive, (where most actors – most people in ‘You’re wearing a blue t-shirt.’ Also as
not from within, but from the other fact – will usually find their attention before, the other actor must immediately
actors with whom you are interacting. habitually lies). repeat the phrase, though for sense they
Unlike some other practitioners, there must switch the personal pronouns: ‘I’m
is no recognisable style of work which Exercise two – ‘mechanical’ wearing a blue t-shirt.’ This repetition
emerges from Meisner’s principles: repetition continues indefinitely. The important thing
no such thing as a ‘Meisner-esque’ Seat two actors opposite one other. This is not what is said, which is ultimately of
production. His ‘technique’ is purely a time it is best for one pair to ‘work’ and little significance, but that the actors each
method for training actors to respond the rest of the group to observe. Ask them notice and respond truthfully to the way
truthfully: a highly effective form of to begin by observing one other, then ask in which it is said: keeping their attention
groundwork. either one to say something simple that always on the other person and noticing
Work on Meisner exercises requires they see. At this stage it is best for this to how they are affected by what they receive.
a high degree of maturity: there is no be a neutral physical observation, such as
reason why a KS4–5 group should not ‘blue t-shirt’. Extension
benefit hugely from the principles of Without pause for thought, the two The next stage of this work is for actors
the basic exercises, however as time should then repeat this observation back to begin responding to change in their
does not allow for full exploration of the and forth between them ‘blue t-shirt’ – partner: remaining alert, and maintaining
technique, it is probably best to stick to ‘blue t-shirt’ etc. matching precisely the the principle that everything must
the simplest ones as an introduction. intonation, pitch (as far as possible), be repeated at least once, to keep a
volume and pronunciation that they hear ‘conversation’ from emerging, which roots
Exercise one – introduction from the other actor. Unless the students actors firmly back in their heads, out of
Divide students into pairs. This work is are instantly perfectly attuned and their more instinctive modes of response.
particularly effective with one pair ‘up’ responsive, there will probably be slight After some repetition of ‘You’re
at a time, as there is a good deal to learn changes in the sounds: the only maxim wearing a blue t-shirt,’ it may be that
from watching and then discussing. Time is that each must listen precisely to one or the other sees, and observes, ‘You
constraints may demand that pairs work what, and how the phrase is said by the raised your eyebrow,’ and the repetition
around the room all at once. other person, and repeat it as exactly as changes. Over time, more insightful and
Seat the two students opposite each they can. If you notice failures on either emotional observations may emerge,
other in a neutral and relaxed position student’s part to spot subtle changes in and if fully engaged, the students may
and ask them to observe one other, to the sounds made, pause the pair and ask find all sorts of personal emotional
take note of what each other is wearing, the observers to remark upon what has reactions arising from the interaction –
what they look like, facial expressions been missed. all are training the actors to keep their
or movements. After a few minutes, ask This exercise teaches students to listen attention off themselves and to respond
each student in turn to shut their eyes actively to what is being said by the truthfully. 

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 27

TDSP1_1516_027_Theatre practs.indd 27 01/12/2015 12:10:36


Toolkit
Teaching lighting:
the basics by Lucy Ellen Rix
P

W
ith the recent changes to GCSE This will show you how light hits the face f f Profile spot: this lantern can produce L
and A level drama courses, and body. a beam of light that has a hard or soft I
it’s possible that teachers may Here are some key things to know: edge. It has shutters which let you y
find more students becoming interested f f If lit from directly overhead, the eyes control the edge of the beam, so you f
in lighting as an option for assessment in and mouth will be in shadow can focus it onto a smaller area. This l
some components of the course. There’s f f If lit from behind, the body will be in lantern is good for spotlighting. A gobo s
no need to panic if you’re not an expert shadow can be fitted to this lantern to shape i
on lighting – a little useful knowledge is f f If lit from the side, the profile will be the beam of light, and an iris can be s
all you need to teach your students about highlighted used to reduce size of the beam E
the basics. It’s also useful for teachers f f If lit from below, the face will be a
to know a little themselves, should they distorted – this is useful for dramatic l
need to do a basic design for a school effect a
production or exam piece. f f If lit from the front, the features of the i
face will be emphasised o
Purpose of lighting b
Remember that theatre lighting is used The best lighting for the face is to use T
for the following reasons: three sources of light: one from the front b
ff Making sure your actors can be seen at 45 degrees, and two from either side, a
by the audience 90 degrees apart. The lights at the side w
ff Concentrating attention on specific will fill in, with the main source of light w
areas of the stage when required coming from the front.
ff Creating an atmosphere or mood, Profile spot light
perhaps using colour Types of lantern
ff Special effects, such as strobe lighting There are 4 basic types of lantern which f f Flood: this is a very simple type
or patterns are commonly found in schools or of lantern which is a lamp and a
colleges. These are: reflector in a box with no lens. Floods
What do I need to know? ff Fresnel spot: a really useful lantern are good for a general wash or for
ff As with photography, lighting is about which gives a nice soft edge to the lighting a back cloth, but they cannot
angles, so you need to think about light. It’s good for using in a general be adjusted or focussed. These can be
where you want to hang your lights, wash across the acting space. A barn useful for dance events where lighting
C
and how much light you want to come door can be fitted to a Fresnel to stop of facial expression is not always as
from them the main beam scattering onto bits of important
ff It’s useful to think about how you scenery. The size of the beam can be
can use colour – this can be for adjusted with a screw mechanism
symbolic purposes (such as red for
danger) or for creating warm or cold
environments
ff What kind of shape do I want my light
beam to create? Some lanterns have
adjustable beams, and others take
accessories where the beam can be C
broken up into a pattern for a specific
effect, such as a leafy floor or a church Flood light
window
f f PAR-can: these lanterns are very good
What about angles? for using strong colours but not great
The best way to see how lighting angles for general wash lighting as they are
work is by playing around with some Fresnel spot with a barn door attached too powerful. Par-cans are effective for
large torches and a wig on a chair or box. special effects or for a very stylised

28 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk w

TDSP1_1516_028-029_Toolkit.indd 28 01/12/2015 12:12:53


Toolkit
moment within a play. Deep colours Accessories
might burn out quickly with a par-can A few basic accessories will really widen
so be careful when choosing shades what you can do with your lanterns. Here
are some recommendations for your
lighting cupboard:
ff Coloured gels to create atmosphere
and mood; these are transparent and
go in the path of the beam, held by a
metal frame
Zero88 Jester Lighting Desk, available from
ff Barn doors fit onto the front of a

x
Stage Superstore
Fresnel lantern, allowing the beam of
light to be shaped, and for light spill to
be reduced However, both manual and
PAR-can lantern
programmable lighting boards are
acceptable for students. Programmable
LED lanterns ones are easier to use, as lighting states
If there’s a little bit more money in can be recorded into the memory or onto
your budget then a good investment a USB and then the student just needs
for students to work with would be LED to press the GO button in performance
lanterns, which eliminate the need for for each cue, rather than having to set
o sheets of coloured gel as they have built up each cue manually. The Smart-Fade
in colour options, allowing you to mix 1248 by ETC is ideal for smaller venues
shades. Lighting hire and sales company – but for the tighter budget, the free
ETC produce Colour Source PAR (LED) downloadable software Smartsoft will
and Colour Source Spot (LED). These turn a PC or Mac into a virtual Smart-
lanterns have red, green, blue and lime ff Iris – this fits inside the profile spot Fade console, allowing for students
as their fixed colours which can be used and reduces the diameter of the beam. to work on their own lighting design
in different combinations. The beauty They can be very useful for tightly from home.
of these lanterns are that they can also focussed areas
be used with or without a lighting desk.
The Colour Source Spot has the added
bonus that the colour will remain strong
and powerful throughout a performance
without the burning out that can happen
with regular lanterns.
ETC Smart-Fade 1248 Console

Finally, students touring their


performance in local schools might
benefit from the ETC Smart Pack Touring
ff Gobos, which are shaped metal slates System, which works well for groups
that fit into profile spots to shape the without a dedicated drama space. It
beam into a pattern – there are lots of allows any area to be adapted, and
different designs, and you can even inbuilt dimmers allow for lighting to be
make your own! completely portable.
Colour Source PAR (LED) from ETC

Lighting Consoles
It’s important to have a lighting console
that can be used by your students,
as most exam boards expect that the
students’ lighting design for assessment
will be realised in performance – often
with about four different lighting changes
within it. There are a number of different
options out there – ideally you would
Colour Source Spot (LED) from ETC need to have a two-scene pre-set which
allows one state to be set up while
another is in use.
Teachers’ Tip
Further information and products
It’s useful to have a lantern on a stand for can be found from ETC at
the classroom but this is not essential, www.etcconnect.com, Stage Superstore
torches can be just as effective when at www.stagesuperstore.co.uk, and
teaching about angles. Whitelight at www.whitelight.ltd.uk

k www.teaching-drama.co.uk Teaching Drama · Spring term 1 ·2015/16 29

TDSP1_1516_028-029_Toolkit.indd 29 01/12/2015 12:13:24


ETC ColorSource
Set up your system in no time

ColorSource Relay
Transforming small system design

ColorSource PAR and Spot


High quality factory-calibrated RGB-L
luminaires for smaller budgets

Wireless-DMX control for LED installations with minimal setup time,


remote configuration and system error monitoring. Makes your Americas n Europe n Asia
students work like pros. Learn more at www.etcconnect.com. www.etcconnect.com

Stage and theatre lighting


LED PARs and bars
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TD_Spring1_2016.indd 30 04/12/2015 11:41:54


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Schemes of Work:
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BTEC

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KS3
Spring term 1
ES
A2

GC

AS
War
Vickie Smith GCSE
GCSE – Edexcel Unit 1

Introduction Vickie Smith is an Assistant Head


Teacher and the Head of Drama and
This scheme of work can be used with the Drama and Theatre Studies Sixth Form at Chichester High School
Specification GCSE – Unit 1. The scheme is ready to be used as a 6-hour exam for Girls. She has been teaching Drama
and is structured into four two-part sessions. (This is the six hours practical, and for 11 years and is also an Edexcel GCE
Drama Examiner.
allows for two hours for notes which I have included in the scheme; I do this as a

Each issue, Teaching Drama publishes six substantial


whole day exam with breaks every two hours.) It meets the criteria for the exam,
allowing students to use a variety of explorative strategies, drama mediums and
elements of drama in the exploration of a range of the stimuli based on the theme
of war.

Overall aim

schemes of work, covering KS2, KS3, GCSE, AS, A2, IB, To use a variety of strategies, elements and mediums to explore the dramatic
potential of the theme of war.

Lesson objectives
By the end of the project the student will be able to:

BTEC and the Creative and Media Diploma.


f Discuss with confidence the dramatic potential of the theme
f Use strategies, elements and mediums to explore the theme of war in a
creative way
f Record their understanding of strategies, elements and mediums by completing
notes
f Organise rehearsal time and collaborate with others in a mature and focused

Written by experienced teachers and examiners,


manner
f Discuss ideas within their group, showing a creative and imaginative facility
f Recognize strengths and weaknesses in their own and others’ work
f Evaluate the workshop using technical terminology

these resources provide indispensable content for your


At the end of the exam
From the Edexcel specification:
All students will achieve at least a C grade by:
f Using the explorative strategies with some skill, showing control over voice and
movement
f Showing a good understanding of the Elements of Drama and Drama Mediums

classroom teaching. They contain:


and including them in the piece with some guidance from group members
f Working constructively with others throughout the workshop, remaining
focused at all times
f Communicating ideas which show a good ability to be creative
f Showing a good understanding of the dramatic potential of the theme in group

› useful background information


and class discussions.
Most students will achieve at least a B grade by:
f Using the explorative strategies with confidence, showing complete control
over vocal and movement skills, including pause and stillness
f Showing an excellent understanding of the Elements of Drama and Drama
Mediums and working collaboratively to include them in the piece with

› practical teaching points


assurance
f Working constructively with others throughout the workshop, remaining
committed and focused at all times
f Providing some key ideas to their group which show an excellent ability to be
creative and imaginative
f Showing an excellent understanding of the dramatic potential of the theme in

› valuable assignment ideas


group and class discussions, being able to justify their opinions.
Some students will achieve an A/A* grade by:
f Using the explorative strategies with excellent facility, showing outstanding
control over vocal and movement skills, including pause, stillness and tension

› direct links to YouTube clips and websites


www.teaching-drama.co.uk Teaching Drama · Summer term 2 · 2014/15 1

How to access your online schemes:*


1 Go to teaching-drama.co.uk and scroll down to the bottom of
the page.

2 Enter your Web ID.

Your Web ID is an eight digit alphanumeric code which can be found


on the address label that came with this magazine and on any written
communication from us.
If you cannot locate your Web ID, just call us on
+44 (0) 1795 592 818
and we’ll let you know what it is.

* Schemes of work will be available online to subscribers for 12 months only. To gain permanent access to the schemes,
simply download each PDF onto your laptop or PC.

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 31

TDSP1_1516_031-033_Scheme summaries.indd 31 07/12/2015 10:52:02


Scheme summaries

Circo Fantastico!
Andrew Williams and Geoff Smith KS2 Stage combat
Naomi Holcombe KS3 Exploration of Shakespeare
Vickie Smith KS3
KS2 KS3 KS3

Introduction Andrew Williams is an experienced Introduction Naomi Holcombe is a drama teacher


and Head of Year 8 at Queen Elizabeth’s
Introduction Vickie Smith is an Assistant Head
Teacher and the Head of Drama and
workshop specialist with TYA Creative
This scheme of work takes students on a magical tour in the company of one and has spent the last 4 years This scheme of work for KS3 aims to teach students an understanding of the Hospital School in Bristol. She has been The aim of this scheme of work is to allow students to explore several different Sixth Form at Chichester High School
developing innovative drama schemes teaching the Edexcel course at GCSE for for Girls. She has been teaching drama
of the most influential circus directors of the 19th-century: Guiseppe Chiarini. skills and techniques behind stage combat and to enable them to go on to develop Shakespeare plays in an interesting and practical way to help take the fear out of
for various age groups and ability levels. 9 years. for 13 years and is also an Edexcel GCE
Embarking on the journey as members of the Royal Italian Circus, the students these into on-stage routines. his work. It is ideal for Year 7 and Year 8 students. By the end of the scheme the drama examiner.
He now runs one of TYA’s flagship
will create and develop their characters using various characterisation techniques It is organised into six one-hour lessons, delivered over a period of six weeks. students will understand how Shakespeare should be explored practically, and
centres from the Lyceum Theatre in
and become circus experts with a specialism of their choosing. They will also Crewe and is passionate about the value
how conventions can be used to enhance the language. The success criteria for
explore a number of key themes, as outlined in the Learning Objectives. Learning objectives the work is adapted from Drama in Schools and is set at Level 5.
of drama in education as a means to
Using Mantle of the Expert (MoE) as a means to empower students and place develop deeper understanding across all
By the end of the scheme students will have gained the following knowledge/
them at the centre of the learning, selected resources to provide impetus or subjects. skills:
pretext, and Teacher-in-Role (TiR) or character narration to add depth and tension Geoff Smith is Head of Drama at f Awareness of a range of stage combat moves Lesson 1: The Tempest
to the imagined enterprise, this scheme of work blends historical references to this Malbank School, Nantwich and Creative f Understanding of the safety aspects and skills involved
Director of The Young Actors drama f Ability to link moves together to form short sequences Aim: To use soundscape and physical theatre to convey the horrors of the
cherished form of entertainment with a fictional storyline and as such provides
group. He has worked in Crewe and f Ability to choose music to complement action moments before the shipwreck in The Tempest.
flexibility to adopt alternative themes, if desired. Nantwich schools for the past 18 years,
f Ability to develop narrative.
and has supported the PGCE drama Success criteria
Learning objectives courses of Manchester and Chester
By the end of the scheme, students will have been immersed in a story about one Assessment f Explore the shipwreck in The Tempest and structure it using appropriate
universities. His specialism is process Resources:
of the greatest circus shows in history. With MoE at its core, the scheme develops drama. Contact Geoff via http://
f Peer assessment dramatic styles, such as physical theatre
f Video camera
participants’ skills in storytelling and creative writing. Using a number of stimuli www.tyacreative.co.uk or follow him f Video recording of their completed pieces. f Use an increasing range of different drama techniques, effects and theatre
f CD player
(included as appendices) and a number of drama techniques, the scheme @TYAYoungActors. f YouTube clip – Terry King on fight
conventions, such as soundscape.
encourages critical thinking around the key themes of devotion, teamwork,
tradition, family and the importance of the arts and entertainment in society. Lesson 1 direction in His Dark Materials:
https://www.youtube.com/watch?v=
Starter
9IxQluDyiEc&list=PLJgBmjHpqgs5flU f Split the class into groups of 4. Using only their voices they are to take the
There is also scope to integrate historical themes because of the time period
Learning objectives 37d8jH5gAa2fxERaIn&index=2 script (see Resource 1) and create a soundscape (using the lines, allocating one
outlined, geographical themes as a result of the circus’s nomadic nature, and even
f To use physical control, co-operation and concentration to develop two stage f BBC Bitesize video on stage fighting: line to each member of the group) to create a sense of commotion. The piece
language skills (especially Italian) as the circus employs international talents. http://www.bbc.co.uk/education/
combat moves and perform them safely. should build in volume and pace.
Over the course of six one-hour sessions, participants develop skills using clips/zksr87h f Groups show their pieces as the others close their eyes and listen to the images
tableaux (or freeze frames), essence machine, improvisation, physical theatre, Starter f Othello – staging a brawl:
they create in their imaginations.
soundscaping, small- and whole-group work, and hot seating, in addition to Show students the National Theatre video where Terry King talks about what https://www.youtube.com/watch?v=
participation with Teacher-in-Role. The scheme also encourages students’ stage fighting is all about (see link in Resources opposite). RSAOk8STD7c&list=PLJgBmjHpqgs5f Discussion:
development of enquiry, creativity, negotiation, empathy, reflection, problem lU37d8jH5gAa2fxERaIn How does this vocal atmosphere link to the way effects were created in
Then discuss what students know about stage combat in the theatre. Explain Act 2, scene 3 from Othello:
solving and group discussion as they explore the key questions/themes in each that the reaction is as important as the action. They are going to learn a range of Shakespeare’s theatre?
f A warm-up idea from the National
session. stage combat moves and by the end of the scheme they will be able to piece them Theatre:
Main content
all together to form a sequence. https://www.youtube.com/
watch?v=0E9-UHcwgVA
The class are then given a brief outline of The Tempest. (This needs to be at the
Lesson 1: Circus School Start with a clear set of guidelines for your students on safety rules. This is
vitally important, as there will always be students who are over-enthusiastic;
teacher’s discretion, knowing the group and details they can assimilate.)
The class should discuss where they think their piece of text has come from in
For variations on this warm-up: explain that if they don’t follow your rules clearly someone could get hurt. My
Learning objectives the play and any confusion over the content is clarified at this point.
f Introduce a competitive edge by penalty for someone not following my rules is that they sit out and watch the
In this session, the group will evaluate a number of stimuli and make inferences In their original groups, they each had a line. New groups are now formed by
eliminating the last student to freeze next sequence until they can continue at the correct pace. Soundscape: Noises and words that
as part of group discussion as to what they think links them. They will use students with the same lines. In these groups they are to find an interesting way
or to follow the wrong command. In There is a good clear video on the BBC Bitesize website which might be useful overlap to create a collage that can be
tableaux and responding in role to enrich the pretext and begin to build their drama this variation, always encourage
to perform their line only, again thinking about how it will build up.
to watch before attempting the moves (see link in Resources opposite). used as atmosphere.
world. The key theme in this session is devotion. students with a generous round of Under the teacher’s direction this is then performed as a whole class soundscape.
applause as they leave the game. Warm-up Mid-point: The class should discuss what the piece now needs to make it work
Warm-up (5 mins) f Test the concentration of frozen for performance. (Ideas should identify use of body/sounds/movement, etc.)
Ask students to walk around in the space. When you signal, or blow a whistle,
Have the students walk randomly around the space, aiming to constantly fill any students by making silly noises or The class is split into three final groups and they now have to create the
they must turn 90 degrees and continue on, as if walking on a piece of chequered
empty space that appears to ‘keep the floor alive’. This gets the blood flowing and pulling silly faces. tempest in an interesting way, using their voices plus any elements that they
f Enforce a ‘two metre rule’ when
paper. Insist on sharp turns, quick moments. Increase and decrease the pace and
helps raise awareness of their surroundings. Explain that when you say ‘Freeze’ have available to them in the room. As well as bodies and vocal work, chairs/
frozen, which means that no one is make sure they are all remaining precise.
they must stop moving completely; when you say ‘Move’ they do exactly that, and tables, etc. can be used to make sounds. The main focus of the task is to create
allowed to be within two metres of Next, ask them to stand like a boxer. One foot forward, fists clenched hands
continue moving around the space as they were before. After a few repetitions of the mayhem on the ship faced by the sailors and it should climax effectively and
anyone else. A breach of this rule up in a guard position. Call out a series of numbers. For each number they must
this, leaving varying intervals between the commands, explain that the results in elimination. This is a good break apart at the end. Again the language is to be used, as this is a focal point for
punch one arm forward. For example if you call out 3, they punch ‘right, left, right’.
commands will now be opposites. That is, ‘Freeze’ means move and ‘Move’ means test of awareness. the lesson.
Their arm must retract quickly and the punch must have a weight/force to it.
freeze. This game is excellent for learning concentration. After independent preparation time and showing of pieces (time permitting),
Task 1 feedback is given on how effectively the pieces conveyed this horror.
Make a circus (10 mins) Get them into pairs. Discuss the two moves that you are going to teach them
Show the group the pictures of the circuses while playing the ‘circus music’ (see this lesson – the punch and the slap. Ask for a volunteer. You then demonstrate Plenary – still image Still image: a frozen picture.
link in Resource 5). Ask the students what the picture is and tell them to discuss, the move with the volunteer. For the punch, you position yourself at arm’s reach Quick fire 3 or 4 still images that show three moments in The Tempest that they
in pairs, what they know about circuses. Invite some of the pairs to share their apart (measure this by placing one foot on the floor and leaning towards them can remember from the storyline shared at the beginning of the lesson.

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 1 www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 1 www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 1

Circo Fantastico! Stage combat Exploration of T


Andrew Williams Naomi Holcombe Shakespeare o
and Geoff Smith KS3 Vickie Smith K
KS2 This scheme of work for KS3 aims to
teach students an understanding of
KS3 K
This scheme of work takes students on the skills and techniques behind stage The aim of this scheme of work is T
a magical tour in the company of one combat and to enable them to go on to to allow students to explore several m
of the most influential circus directors develop these into on-stage routines. different Shakespeare plays in an s
of the 19th-century: Guiseppe Chiarini. interesting and practical way to help L
It is organised into six one-hour lessons,
Embarking on the journey as members of take the fear out of his work. It is s
delivered over a period of six weeks.
the Royal Italian Circus, the students will ideal for Year 7 and Year 8 students.
Naomi Holcombe is a drama teacher and
T
create and develop their characters using By the end of the scheme the students
Head of Year 8 at Queen Elizabeth’s Hospital
s
various characterisation techniques and will understand how Shakespeare
School in Bristol. She has been teaching the
a
become circus experts with a specialism should be explored practically, and how
Edexcel course at GCSE for 9 years.
a
of their choosing. They will also explore a conventions can be used to enhance the
a
number of key themes, as outlined in the language. The success criteria for the
Learning Objectives. work is adapted from Drama in Schools I
and is set at Level 5. S
Andrew Williams is an experienced workshop
specialist with TYA Creative and has spent o
the last 4 years developing innovative drama Vickie Smith is an Assistant Head Teacher u
schemes for various age groups and ability and the Head of Drama and Sixth Form at o
levels. He now runs one of TYA’s flagship Chichester High School for Girls. She has
centres from the Lyceum Theatre in Crewe been teaching drama for 13 years and is also K
and is passionate about the value of drama an Edexcel GCE drama examiner. s
in education as a means to develop deeper p
understanding across all subjects. E
Geoff Smith is Head of Drama at Malbank h
School, Nantwich and Creative Director
d
of The Young Actors drama group. He has
worked in Crewe and Nantwich schools
for the past 18 years, and has supported
the PGCE drama courses of Manchester
and Chester universities. His specialism
is process drama. Contact Geoff via
http://www.tyacreative.co.uk or follow him
@TYAYoungActors.

32 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk w

TDSP1_1516_031-033_Scheme summaries.indd 32 07/12/2015 10:52:44


Scheme summaries

The Seven Ages of Man


Katherine Noble KS3/4 Using postmodernism in drama
and theatre making
David Porter
AS/A2 Yerma by Federico García Lorca
Mat Walters AS/A2
KS3/4 AS/A2
AS/A2
Introduction Katherine Noble took up teaching in
a secondary school after spending
Introduction David Porter is former Head of Introduction Mat Walters is Head of Drama and
Performing Arts at Kirkley High School, Theatre Studies at Hereford Sixth Form
This scheme of work explores the monologue ‘The Seven Ages of Man’ spoken time practising drama and acquiring We live in an increasingly ‘cross-genre’ environment where things are mixed, Lowestoft, teacher and one-time This scheme of work for use with KS5 looks at introducing the play Yerma, College. He is an Assistant Examiner for
her actor’s Equity card. Her focus children’s theatre performer. Freelance the written units for AQA and has taught
by Jaques in the play As You Like It by William Shakespeare (Act 2, scene 7, lines sampled and mashed up. History, time, roles, arts, technology and our cultural focusing on key themes in the play, and building acting and directing strategies
over the last ten years has been the writer, blogger and editor, he is a senior drama at all levels for 18 years.
139–166). responsibility of creating and delivering
and social contexts are in flux. Postmodernism expresses many of the ways in for Act 1, scene 1.
assessor for A level performance studies,
The purpose of the scheme is for students to understand the monologue and drama to KS3 and KS4. which this is happening. Yerma is a tragedy and clearly reflects Lorca’s interest in challenging the
IGSCE drama moderator and GCSE drama
learn drama strategies to explore it, and demonstrate understanding of it to an As the reformed A levels come on stream, postmodernism may appear to examiner.
expectations of naturalistic theatre. The performing style adopted should reflect
audience. have little place except in BTECs. However, performing arts in general and these aspects clearly; so should the technical elements and colour palette for
It is intended to be delivered to KS3. Students will devise and perform their own The film The Curious Case of Benjamin drama in particular require knowledge and understanding of wider contexts, the costumes, as should the terms used to describe approaches to it in written
Button presents a good example of the
play inspired by the monologue using the skills taught in the scheme of work. reinterpretations, devising and study of texts from different periods. Exploring work. There is also a clear element of surrealist influence over the play, and the
cycle of life which can help students
to understand elements of Jaques’
postmodernism is an excellent way to open up a world of artistic interest, language is deeply poetic, symbolic and full of imagery. Song and choreographed
Learning objectives exploration, experiment and mash-ups for students who are 16 and over. movement also play central roles in bringing the play to life. Even those scenes
monologue.
By the end of this scheme students will have learnt: Although different in details, the Drama and Theatre A level specifications which seem the most potentially naturalistic are full of stage directions and
f To explore the monologue ‘The Seven Ages of Man’ spoken by Jaques in the offered for teaching from 2016 (first exam in 2018) are similar in intention and poetic imagery which indicate a heightened, almost stylised, acting style.
play As You Like It by William Shakespeare (Act 2, scene 7, lines 139–166) breadth of study. All require exploration of some predetermined and some Yerma premiered in 1934 and in it, once again, Lorca took the local and specific
f To demonstrate an understanding of the monologue centre-chosen texts, a variety of leading practitioners, and devising and re- and gave them a universal quality, allowing the play to become an indictment of
f To demonstrate skills through a devised play inspired by the monologue interpretations. Using postmodernism broadens students’ viewpoints, ideas and the trappings of social convention, ideas that run through all of his work. At the
f To understand and demonstrate how to develop own and others’ work practical experiences of using art forms to express material. centre of the play is a woman driven to madness and murder by her desire for a
f To assess own work and work of others. Exam preparation aside, this scheme serves as an effective introduction/taster child, in order that she can fulfil that which is expected of her. The play hints at
Allan Graham, Master Peace
to performing arts in general and theatre/drama in particular. her not being responsible for the lack of a child, but that it is, in fact, her husband
The resources
Juan who is infertile. The last line of the play ‘I’ve murdered my child,’ as Yerma
Resource 1 is a student booklet that can be used: New specifications stands over her husband, who she has just strangled with a strength born from
f To consolidate learning f OCR’s Drama and Theatre A level: hysteria and despair (or perhaps could the scene be staged so that Juan allows her
f To check what the student understands of the work covered http://www.ocr.org.uk/qualifications/as-a-level-gce-drama-and-theatre-h059- to kill him?), emphasises the constant symbolic nature of the actions and words.
f To set homework tasks h459-from-2016/ It is her husband whom she has killed, and yet, so consumed is she by her sense
f For teacher assessment of the student f Pearson Edexcel’s Drama and Theatre A level:
Resource 1 can be used as part of the of being incomplete, the murder is of her role as a mother: her rightful role which
f For student self- and peer-assessment. http://qualifications.pearson.com/en/qualifications/edexcel-a-levels/drama-
plenary at the end of a lesson. has been denied her.
and-theatre-2016.coursematerials.html#filterQuery=category:Pearson- Yerma is perhaps the most immediately accessible of Lorca’s plays, but it has
Lesson 1: Monologue Key words:
UK:Category%2FSpecification-and-sample-assessments
f AQA’s Drama and Theatre A level:
many challenges, especially with regard to focusing on an extract of it when
considering the role of a director and an actor. Central to success in dealing with
f The Seven Ages of Man
http://www.aqa.org.uk/subjects/drama/a-level/drama-and-theatre-7262 an extract is an appreciation of the heightened acting style which emphasises
Learning objectives f As You Like It
f William Shakespeare
f WJEC’s Drama and Theatre A level: the poetic nature of the language and the conflicting passions that the characters
By the end of the lesson students will have learnt:
f Freeze frame http://www.wjec.co.uk/qualifications/drama/drama-gce-a-as/index.html face. The aim of this scheme of work is to remind students of the need for
f To understand what a monologue is
f Mime f Ofqual’s conclusions from consultations and new exam regulations are appropriate theatrical vocabulary, to highlight the importance of the acting style,
f To understand what is meant by ‘The Seven Ages of Man’ Resources
f Monologue. available online: to understand and begin to convey the subtext evident in the relationships and
f To understand how the use of space and levels can demonstrate character and Suggestions are suitable for both
https://www.gov.uk/government/consultations/gcse-as-and-a-level-reform- to highlight some central themes of the play and to consider how they could
relationships. teachers and students. Teachers should
regulations-for-dramadrama-and-theatre be made evident during the opening sections of Act 1. The three sections of
f To use freeze frame to highlight key statements in the monologue ‘The Seven Resources: check material before sharing it.
Ages of Man’ f The monologue ‘The Seven Ages of BTECs and Technicals are also being revised and students preparing for many routes the opening scene, between Yerma and her husband Juan, then the interaction
f To explain a mime and demonstrate communication of character through Man’ from As You Like It through these will find postmodernism useful and of help in developing their ideas. between Yerma and her newly-pregnant friend Maria, and then finally her scene
f Resource 1, pp. 4 to 7 Devising public performance with Victor, will be considered from the point of view of a director, and simple
movement, gesture and expression.
f Resource 2, slides 1 to 4. Learning objectives Most specifications require both group methods to convey meaning to the audience will be addressed. Students must
Starter activity f To study postmodern approaches to the performing arts and solo practical performance and show an understanding of what their given extract foreshadows later in the play,
Objectives f To explore issues and ideas from practitioners written analysis of texts from the so that their directorial ideas are relevant and are apt for the development of
perspectives of performers, directors
Discuss with students Resource 2, slide 1. Check their understanding of f To put ideas into social, historical and cultural contexts the plot.
and designers. Where devising is
monologue – see Resource 2, slide 2, freeze frame and mime. Explain to f To stimulate creative thinking, problem-solving and team work through required, postmodernism can help
Yerma is a highly atmospheric play, and that sense of tension and how it differs
students that by the end of the lesson they will have created a freeze frame performance material prepare for public performance. in each section of the opening scene of the play, needs to be carefully addressed.
that demonstrates one of the seven ages and will have improvised a mime that f To develop writing, devising and performing skills using postmodern material. Once again Lorca chooses to set his action in a close-knit, highly ordered
demonstrates the age being portrayed in the freeze frame. community, where social roles are clearly defined and must not be deviated from,
Scheme in summary so Yerma as a character becomes a symbol herself of the misery that such a strict
Task Lesson 1: Some postmodernism sense of social expectation can cause.
Resource 1, pp. 4 and 5 and Resource 2, slide 3. Towards definitions of postmodernism explored through an experimental piece of
Read ‘The Seven Ages of Man’. Discuss with students what they think the performance. Potential considerations regarding the proposed new specification
monologue is about. Explain any words with which they may be unfamiliar. Yerma is expected to be part of the ‘List B’ plays for the new AQA A level
Resource 2, slide 4. Demonstrate to students how the deliberate use of space Lesson 2: Some history
specification and therefore students will be expected to approach it from a
and levels can show the status of a character and the relationship they have to Taking a play extract that uses fragmented history and juxtaposition to air issues
directorial point of view, as well as that of actor and technician. There will be two
other characters. Ask three students to model the following: and manipulate audience expectations.
questions focussing on a specific extract from the play, and this scheme of work

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 1 www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 1 www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 1

The Seven Ages Using Yerma by


of Man postmodernism Federico García
Katherine Noble in drama and Lorca
theatre making Mat Walters
KS3/4
This scheme of work explores the
monologue ‘The Seven Ages of Man’
David Porter AS/A2
spoken by Jaques in the play As You
Like It by William Shakespeare (Act 2, AS/A2 This scheme of work for use with KS5
looks at introducing the play Yerma,
scene 7, lines 139–166). We live in an increasingly ‘cross-genre’ focusing on key themes in the play, and
environment where things are mixed, building acting and directing strategies
The purpose of the scheme is for
sampled and mashed up. History, for Act 1, scene 1.
students to understand the monologue
and learn drama strategies to explore it, time, roles, arts, technology and our
Yerma is a tragedy and clearly reflects
and demonstrate understanding of it to cultural and social contexts are in flux.
Lorca’s interest in challenging the
an audience. Postmodernism expresses many of the
expectations of naturalistic theatre. The
ways in which this is happening.
performing style adopted should reflect
It is intended to be delivered to KS3.
As the reformed A levels come on these aspects clearly; so should the
Students will devise and perform their
stream, postmodernism may appear technical elements and colour palette for
own play inspired by the monologue
to have little place except in BTECs. the costumes, as should the terms used
using the skills taught in the scheme
However, performing arts in general and to describe approaches to it in written
of work.
drama in particular require knowledge work. There is also a clear element of
Katherine Noble took up teaching in a and understanding of wider contexts, surrealist influence over the play, and the
secondary school after spending time reinterpretations, devising and study of language is deeply poetic, symbolic and
practising drama and acquiring her actor’s texts from different periods. Exploring full of imagery. Song and choreographed
Equity card. Her focus over the last ten years postmodernism is an excellent way movement also play central roles in
has been the responsibility of creating and to open up a world of artistic interest, bringing the play to life. Even those
delivering drama to KS3 and KS4. exploration, experiment and mash-ups scenes which seem the most potentially
for students who are 16 and over. naturalistic are full of stage directions
and poetic imagery which indicate a
David Porter is former Head of Performing heightened, almost stylised, acting style.
Arts at Kirkley High School, Lowestoft,
teacher and one-time children’s theatre Mat Walters is Head of Drama and Theatre
performer. Freelance writer, blogger and Studies at Hereford Sixth Form College. He
editor, he is a senior assessor for A level is an Assistant Examiner for the written units
performance studies, IGSCE drama moderator for AQA and has taught drama at all levels for
and GCSE drama examiner. 18 years.

k www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 33

TDSP1_1516_031-033_Scheme summaries.indd 33 07/12/2015 10:53:19


Thursday 25 February
to Saturday 2 April

Directed by Paul Hart

Tickets £26.50 to £8 Production sponsored


by
Workshops available
& free education pack
Book at watermill.org.uk Also supported by an
anonymous donor
Box Office 01635 46044
The Watermill Theatre and Restaurant,
Bagnor, Newbury RG20 8AE

TD_Spring1_2016.indd 34 04/12/2015 16:57:51


Also available online …

One-off The Great Egg Detective


Ryan J Williams

workshop KS1–2

Introduction Set-up – ten min


This one-off workshop helps build Using the resources, each group of students work together to
both general and character-based create a model of the crime scene. You can also give each group
improvisational skills. The drama leader, a piece of paper to wrap around the rectangular box and create a
in-role as the Police Chief, reopens the wall pattern with coloured pencils.
case of Humpty Dumpty and asks the Once you have briefed the detectives, split them into groups
young ‘detectives’ to re-enact the event to of four. Encourage them to place one sheet of card flat as the
discover what truly happened. ‘floor’ and fold the other to create a ‘backdrop’, connecting the
two pieces with sticky tape to keep it upright. The rectangular
Learning objectives box will act as Humpty’s wall.

ff Through this workshop, students will develop their The Egg-speriment – two min
improvisational and spontaneity skills along with their general After the models are created, explain what the following
story-based creativity. experiment will entail; each group will be given one egg, and will
ff They will learn to perform, subconsciously, as a character and drop it onto their model from approximately 1 metre. If the egg
will also work to devise a small performance as a team. falls behind their wall, the group must assume Humpty fell. If
the egg falls in front of the wall, the group must assume Humpty
was pushed.
Resources This is a fun part of the workshop in which the ‘scene of the
Each group of students will need two sheets of A4 card, a small crime’ is recreated, and can give the groups a lot of humorous
rectangular box (a toothpaste box or similar), a roll of sticky and interesting ideas!
tape and an egg – these will build the model ‘crime scene’. I also
recommend a few sheets of old newspaper to place underneath Rehearsal – fifteen min
the model. Before the rehearsal, move the models to a safe corner. Now the
detectives can create a short performance based on the results
Opening – five min of their experiment, and speculate on the true events of the case.
As the students arrive, the leader should already be in-role as Encourage wacky ideas such as ‘he slipped on a banana peel,’ ‘he
the Police Chief. Ask them to stand in a line facing you and was bungee jumping’ and, if he was pushed, ‘Humpty pushed
announce the following, or re-work it to suit your class: ‘Humpty a real egg off the wall.’ As the Chief and leader, check on the
Dumpty sat on the wall, but was he pushed – or did he fall? As groups’ progress and offer them help if they need it.
the Police Chief I have reopened this case and, for the next hour,
YOU are my detectives. Now, we need to scramble our teams Performance – fifteen min
together and boil this case down as quickly as possible.’ Still in role, ask the students to form an audience in front of the
stage area. Allow each group to perform their fun theories, and,
Warm-up – ten min as the Chief, ensure you take notes throughout. Once all of the
In order for the detectives to discover what truly led to Humpty’s groups have performed, thank the detectives for their hard work
fall, they must be creatively prepared – a warm up is needed. and take a vote on which theory they believe to be most likely.
Bring the class into a standing circle, with a beanbag or a small
ball, and begin telling a nursery rhyme themed story. Using Plenary
the ‘fortunately/unfortunately’ concept, throw the beanbag to With any remaining time, discuss the workshop and the
each person in the circle, beginning with an unfortunately, and techniques that have been used. Explain to the students how,
alternating with each new person. For example: with their ‘detective’ characters, they have been improvising
ff Unfortunately, it was raining and the spider was about to be a character throughout the class, and how that can be
flushed away. implemented in other performances.
ff Fortunately, there was a water spout nearby for the spider
to climb. Tip: To make the workshop even more fun, use egg-related jokes
ff Unfortunately, as the spider began to climb, the water came and puns throughout – for example, ‘Egg-sellent’ and ‘Egg-citing’
down and washed the spider out! work great.
This doesn’t have to follow a traditional nursery rhyme story,
and is a great way to help the students stay alert and work on
Remember: You can find the Great Egg Detective workshop pack on
their improvisational skills.
the Teaching Drama Website.

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 35

TDSP1_1516_035_One-off workshop.indd 35 01/12/2015 12:15:54


Reviews
Book Book Book
Shakespeare and Audience in Practice Hour-long Shakespeare: Henry IV (Part 1), Year of the Fat Knight: The Falstaff Diaries
by Stephen Purcell (Palgrave Macmillan) Henry V and Richard III by Anthony Sher (Nick Hern Books)
ISBN 978-0-23036-404-2 by Matthew Jenkinson (John Catt ISBN 978-1-84842-464-6
Educational Ltd)
A new and interesting look at performance ISBN 978-1-90971-738-1 This book is a bit like sitting down for a
approaches to Shakespeare, keeping the good chat with an affable, perceptive, self-
audience as its central theme throughout. Each script does a good job of retaining key deprecating, but honest, actor.
plot elements.

The most
engaging aspect
of this book is when
‘I t is not a book
for purists, nor
those seeking a
A ntony Sher
could have
earned a living as
Stephen Purcell study text.’ So opens an author, had he
applies dramatic the introduction to not become one of
theories to real life Matthew Jenkinson’s the finest actors
examples of leading book with a wise of his generation.
theatre practitioners warning. That said, The RSC’s Henry IV
– companies, this collection, (Parts One and Two),
directors or actors. taking some of staged last year in
He analyses these Shakespeare’s driest Stratford, later at
performance examples in ways that plays and adapting them for KS3, would the Barbican and finally on national and i
are easy to access and would prompt always be a thankless task. international tour this year, brings forth s
impassioned debate in KS5 study and Each play has a short introduction and Sher’s mesmerising Falstaff. During the
beyond. The text also offers opportunities synopsis, useful for students as context twelve months it took to draw those l
for reflection for emerging directors for what follows. The scripts use original shows together Sher kept a diary and o
keen to consider the role and impact Shakespearian language, so if you’re after that’s what this book, complete with his r
Shakespeare has on an audience. simplification of the text to go with an own illustrative drawings, consists of. S
The text is peppered with abridged version, this is not the edition It’s compelling, informative, funny and, U
commentary on a vast number of recent for you. like most published diaries, gives a good b
Shakespearean productions and I found Each script does a good job of retaining impression of allowing the reader an t
myself regularly reflecting on my own key plot elements in an hour-long intimate, privileged insider view. a
experience as an audience member of production, though there can be an over- We hear how he learns his lines d
those productions. However, as a teacher reliance on choral speech, sometimes (that infuriating question which actors t
I would have liked to see several more of taking up two or three pages at a time. would rather the public didn’t ask) and s
the promised ‘exploratory workshops’, The introduction again suggests that about the practical problems of the fat p
through which Purcell offers an these are divided, but no guidance is suit. Then there are the after-hours w
opportunity to ‘test the book’s ideas’ in offered on this. conversations with Artistic Director Greg
his prologue. The end result is a very earnest hour Doran and, along the way, events they R
There are six workshops briefly spent in the company of each play. It’s attend together and separately. Also m
outlined, and while each enables neither fish nor fowl; the adaptations tucked imperceptibly into this book is a m
exploration, they require leaders to would be useful for KS3 students, but critique of the two plays as Sher explains r
be experienced in delivery. Though an I would question not studying the how, from day to day, he and the cast t
insightful exploration, the text does not whole script at this stage. Mixed and explored and developed scenes. r
encourage me to ‘play’ with the ideas in lower ability groups will require further If you were lucky enough to see those t
practice; instead I will be discussing the guidance with the material in class, and productions of the Henrys (as I did) then p
thinking further, but as a spectator! will likely be put off by the large chunks this book will enhance the memory and p
of faithful text. For those wanting to teach you a great deal about theatre m
mount faithful-ish productions of these making. If you didn’t, then a couple of p
Samantha O’Reilly is Head of Drama at
histories but at a shorter length, this is evenings with Sher’s book is probably t
Coombe Boys’ School and has taught for
thirteen years. In 2012 she became Drama the book for you. the next best thing. It’s a bit like sitting
AST for the Royal Borough of Kingston-Upon- down for a good chat with an affable,
Thames and in 2014 a Lead Practitioner. She perceptive, self-deprecating, but honest,
Ben Morse was a full time teacher and Head
trained at The Royal Central School of Speech actor. And he writes beautifully.
of Drama for ten years. He is now a freelance
& Drama.
director.
Susan Elkin is a former English teacher, and is
education and training editor at The Stage and
author of So You Want to Work in Theatre?

36 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk w

TDSP1_1516_036-037 Book revs.indd 36 01/12/2015 12:17:42


Reviews

Book Book Book


Transforming the Teaching of Shakespeare The Shakespeare Workbook and Video: A English Renaissance Tragedy: Ideas of
with the Royal Shakespeare Company Practical Course for Actors Freedom
by Joe Winston (Arden Shakespeare) by David Carey and Rebecca Clark Carey by Peter Holbrook (Arden Shakespeare)
ISBN 978-1-4081-6397-7 (Methuen Drama)
ISBN 978-1-4725-2509-3 Excellent background research for teachers,
An interesting collation of the successes in with the latter chapters having direct
education at the RSC. A comprehensive guide to unlocking some practical applications for students.
of the mysteries of performing
Shakespeare.

W hile there
may be some
debate about the
A imed
primarily at
undergraduates
T he detailed
argument in
this book might
domination of and actors, this have little direct
Shakespeare in the comprehensive application to
English classroom, guide is divided examination drama
there is no doubt into five chapters in schools – however,
that this desire to focussing on the wider relevance
keep Shakespeare at language and action, of tragedy is central
the centre of things imagery, sound and to all students of
has allowed drama story, rhythm and drama, and this
into more classrooms than might have metre, rhetoric and style, and preparation book outlines its importance with clarity.
seemed likely in a post–Gove world. and performance. Holbrook’s discursive introduction to the
With clarity and confidence, this book It is incredibly informative and unlocks genre is very useful, exploring ‘Freedom,
looks at the development of the pedagogy concepts about performing Shakespeare Order and Tyranny’ while touching on
of Shakespeare with very specific that many actors struggle with. The book the Greeks with reference to Antigone and
reference to the work done by the Royal uses small sections from a range of plays Oedipus in particular. At the heart of the
Shakespeare Company with their STAND to offer detailed explanations, including book’s argument is the compelling notion
UP FOR SHAKESPEARE campaign. The how to approach text, dealing with that tragedy shows ‘people freely choosing
book goes through the development of iambic pentameter and preparing for how to understand and respond to the
this approach, reflecting on its history performance. profoundly difficult circumstances that
and the people who influenced its There are many practical exercises to they find themselves in.’
development, and offers an outline for explore different aspects of performing The content of the book is invaluable
the future. There are a number of case Shakespeare which will allow students for developing an understanding of the
studies and the findings of a research to access texts with enthusiasm and context of Renaissance plays such as
project on the effect that this kind of without anxiety. There are plenty of Hamlet and The Changeling; Holbrook
work has on students. teaching tips, models for teaching over relishes the idea that they were written
This is not a classroom book; the a term and some very useful ideas for for the common man and that debate,
RSC (and others) has produced suitable undertaking practical work alone. freedom of thought and choice were at
material to explore these teaching The book is full of ideas for practical their heart. The final third of the book
methods for yourself. This is a thoughtful explorations that could be adapted is devoted to examinations of fifteen
reflection of the work that has led to for a range of different texts, allowing individual plays and how they fit into
the RSC not only getting a positive for use of the book for the teaching of Holbrook’s broader themes of freedom
reputation for its stage work, but also for one text rather than many. There are and tyranny, and the ways in which
the excellence of its education work and seventeen online videos that accompany they challenged both contemporary and
performances aimed specifically at young the workbook, and watching some of modern audience through argument and
people. Buy for positive inspiration, the practical work taking place is an debate. These later chapters have the
maybe, or when you embark on your own undoubtedly useful tool. greatest relevance for introducing the
postgraduate certificate in the teaching of Although this book is largely more themes in the book to A level students,
the Bard. suited to undergraduates and beyond, particularly for extension work.
there are lots of things that GCSE and A This is a book in which the ideas keep
level teachers would find extremely useful. coming at the reader with compelling
Ali Warren is a full-time drama teacher, runs a
enthusiasm and energy.
youth theatre for 8–11 year olds and is
teacher-in-residence at Salisbury Playhouse.
Alicia Pope completed a degree in English and Peter Jolly is head of drama at Dulwich
Theatre and Media Drama at the University of College, a member of Shakespeare’s Globe
Glamorgan, followed by a PGCE at UWE, Bristol. council and a trustee of the Rose Theatre,
She is currently in her tenth year of teaching. Bankside.

k www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 37

TDSP1_1516_036-037 Book revs.indd 37 01/12/2015 12:19:22


27 JAN – 11 MARCH INSET DAY:
Shakespeare Up Close
MAX STAFFORD-CLARK ON
Romeo and POLITICAL THEATRE
Juliet Friday 5 February 2016 | London | £160
Join Max Stafford-Clark and
guests to explore different
types of political plays, by
looking at number of Max’s
previous productions.
The day takes place at Out of
Joint’s rehearsal base in North
London, and includes lunch.
For more information and to book
your place give Isabel a call on
0207 609 0207 or send an email to
Orange Tree Theatre isabel@outofjoint.co.uk.
Shakespeare’s darkest love story is given a contemporary “A valuable, inspiring and practical insight”
edge in our intimate in-the-round staging. 6 actors bring Christian Anthony, St Paul’s School, on our
Shakespeare’s language to sparkling life in a fast paced 2015 verbatim theatre inset day.
production for ages 12+. Running time 90 minutes.
Available in school or at the Orange Tree Theatre,
just one minute from Richmond Station.
For more details contact Education Director Imogen Bond www.outofjoint.co.uk
on 020 8940 0141 or education@orangetreetheatre.co.uk

TD_Spring1_2016.indd 38 03/12/2015 17:54:11


Reviews
bedroom window, with drawable curtains.
Performance The stand-out multi-role performance

Around the World in comes from Tim Steed who brings


something different and hilarious to each
80 Days of his characters, throwing himself into
every one with commitment – right up
Sarah Lambie until, on this performance, he corpsed
himself, much to the enjoyment of the
Ensemble Christmas fun with a very audience.
British air and not an ‘It’s behind My reservations about the performances
you’ in sight. were, I suspect, opening-night related:
there was a disconnect between the actors
a lot of the time: stumbling over lines,

A press audience is usually fairly


reticent to laugh and cheer, but
Around the World in 80 Days at the St
pausing on cues – they weren’t always
quite listening to one another. It felt as
if the physical set-pieces had been more

Simon Annand
James Theatre in London’s Victoria was thoroughly drilled than the ordinary
incredibly well received, and with very verbal interactions and the result was
good reason. A cast of 8 – most of whom slightly less smooth than I’m sure the
are onstage most of the time – tell show will be once it has settled in. Overall,
the story of Phileas Fogg and his valet That being the case, Laura Eason’s however, there is much for students to
Passepartout with energy and lightness adaptation of the novel, coupled with Lucy learn from the production, and it’s really
of heart, and present an audience with an Bailey’s direction, have done a very good good fun.
enjoyable evening’s entertainment. job of making something of the story.
The story of Around the World in 80 Days A great deal of this is down to the Around the World in 80 Days is booking at
St James Theatre until 17 January 2016;
is actually a somewhat thankless one to ensemble playing – while Robert Portal,
www.stjamestheatre.co.uk/theatre/
stage – it is a crucial tenet of the plot and Simon Gregor and Tony Gardner play
around-the-world-in-eighty-days
characterisation of Fogg that, although he Fogg, Passepartout and Inspector Fix
and his various companions make their with wit and comic timing, four further
journey through a number of fascinating actors take on the several remaining bit- Sarah Lambie is the editor of Teaching
and exotic cultures, they don’t actually parts of the story, on occasion standing Drama. Having studied English at
have time to stop and experience very in for elements of the set. Designer Anna Cambridge University and acting at Bristol
much of their surroundings. The vast Fleischle deserves a special mention, and Old Vic Theatre School, she is also a
working actress, tutor and drama
majority of the story is set necessarily on there are some lovely touches such as the
workshop leader.
near-identical train and steamer journeys. use of Lena Kaur’s skirt held up to form a

tasks on physicality and text-based group


Shakespeare’s Globe

Workshop work. We were also given the opportunity

Globe Education CPD to reflect at the end of every exercise,


which was a great forum for discussing
Rhiannon Davis how we could apply what we were
learning to the classroom. My favourite
These workshops provide excellent exercise required us to use a Haka-style
value for money and are definitely dance to explore iambic pentameter
worthwhile and enjoyable. and we all agreed that this was a really
accessible for my students. It’s often accessible way of engaging students with
tempting to roll out the same old tried Shakespeare’s rhythms.

I know there will be many drama


teachers like me, based in the south
west, who long to access quality CPD
and tested methods, year after year, but
this can result in a lack of enthusiasm
and energy in approach.
The course was fantastic for all drama
specialists – though I was surprised to
learn that all the others in attendance
run by well-established companies such I attended a day-long course called were English teachers, and they seemed
as the Globe, but cannot get to London ‘Shakespeare for new teachers’. With genuinely excited about the ways in
due to funding or time constraints. So nine years of teaching beneath my which to teach Shakespeare we had all
thank goodness the Globe has recently belt, I can hardly be considered a ‘new’ learnt during the day. At £150 per person,
teamed up with Clifton College to offer teacher, but I had to jump at the chance these workshops provide excellent value
professional development opportunities of taking up anything offered by the for money for those of us in the south
to teachers in the west of England and Globe – particularly as this was, quite west and south Wales, and they are
south Wales. literally, on my doorstep. The course was definitely worthwhile and enjoyable.
As stated on their website, the led by Tom Davey, a Globe Education
courses at Clifton ‘offer a range of learning consultant and unsurprisingly, Rhiannon Davis has been Head of
approaches and techniques for unlocking he got us on our feet straight away with Academic Drama at Clifton College for two
Shakespeare’s language.’ As a busy some warm-up games. This got us all years. She teaches all levels up to A level
and various levels of LAMDA, and is a Year
head of drama, I am always looking for relaxed and focused for the rest of the
10 tutor.
ways to make Shakespeare relevant and day which consisted of vocal exercises,

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 39

TDSP1_1516_039_Around the world_Globe Clifton.indd 39 07/12/2015 15:43:03


Reviews
Hamlet, to more questioning the extent of the value of
Resource specific ideas, references to performances that are

RSC Teacher Packs such as a ‘Fleance


flash forward’ in
no longer running for students to see –
however, they make useful links between
Rebecca Pizzey Macbeth – though the general act of adapting Shakespeare
all cover an to the stage and studying his plays in
These packs cover an interesting interesting variety a classroom, and in many cases more
variety of topics, allowing for of topics, allowing than one production is available, to allow
classroom discussion and optimum for classroom students and teachers to compare design
involvement with the texts. discussion and directorial approaches.
and optimum Often it feels a ‘niche’ stance is the
involvement with idea behind these packs, perhaps with

T he Royal Shakespeare Company’s


online teacher packs are no secret,
having been available on the web
the texts. Further resources are included
within each pack, such as websites that
can be pulled up in front of students, or
the intention of providing students
with original standpoints from which
to look at plays often studied to death.
almost as long as the Bard’s been dead contextual segments of texts for further Despite this, I would highly recommend
(well – since 2006). reference. the packs to teachers of all levels of
The RSC has provided an impressive The prime positive of the teaching drama (and English); they can easily be
array of plays to choose from, including packs are the activities. In the Romeo and adapted to all key stages, and provide a
all of the most popular titles of choice Juliet pack, rehearsal notes from previous wealth of activities that can be broken up
for work with students. Each pack is RSC productions are incorporated into and incorporated into separate lessons
easy to find on the RSC website, with a classroom activities. For example, in throughout the term, or used one after
small breakdown covering activities and the ‘Romeo and Juliet meet’ section, the the other to provide a single full lesson.
themes within, and for which key stage rehearsal notes impart inspiration for
they are accessible. The packs are free, the music and choreography within the
downloadable PDFs, making them easy party scene, building on the example of RSC teacher packs can be downloaded
to use as teaching aids in the classroom, the RSC’s 2010 production, followed by from www.rsc.org.uk/education/
resources/bank
or as handouts. They each feature handy a series of warm ups and tasks for the
logos for ‘READ’, ‘ACTIVITY’ and ‘WATCH’, students, incorporating the original text
so you can prepare for a hands-on in the light of the 2010 production. Of Rebecca Pizzey is the editorial assistant of
practical lesson with the right material. course, the packs are written originally Teaching Drama. She is an English
‘Themes’ explored range from the for teachers taking their students along Literature BA and Creative Writing MA
graduate from Brunel University London.
broad, such as ‘Hiding your truth’ in to the productions, and I did find myself

guides, which only being privy to five-minute sections


Web resource include plot of productions, and when trying to look

Digital Theatre Plus: summaries,


relationship maps
at the key scenes, I was played the first
five minutes again which was frustrating.
Shakespeare (though I couldn’t It may seem unfair to criticise the trial,
load one to a but this would be an investment for
Rachel Creaser suitable size for schools, and not being able to try the
student use), and hints with speaking the resources to their full extent seems
A good selection of productions to text. These include ‘Comparing Comedy: unfortunate. However, the clips are
view as well as strong Love Labour’s Lost and Much Ado About there nonetheless, and the written study
accompanying resources. Nothing’ and ‘Romeo and Juliet: Historical guides are comprehensive so overall it
Context workbook’, both compiled by the does give a fairly solid idea.

D igital Theatre Plus provides theatre


productions watchable online, plus
additional resources to support learning,
Shakespeare Birthplace Trust.
In terms of the Shakespeare-specialities
on offer, you’ve got wise words from
The website is easy to navigate
(though, being limited by the trial, I can’t
comment on the success of streaming a
such as study guides and interviews on former RSC artistic director Michael Boyd full-length production). There are strong
all aspects involved within a show. It has discussing As You Like It, actors offering resources that would be of great use with
a range of offerings for all ages, though their opinions on playing Romeo, and students, and the productions are a great
this review is based on Bard-based Professor Carol Rutter from the University option to turn to if you’re looking for
material for 11–16 year olds. of Warwick talks Much Ado About Nothing. some contemporary theatre examples to
The website’s main resource is its high- Secondary teachers may enjoy the show students.
definition productions; you can stream Teaching Support section, which houses
the likes of King Lear (directed by Michael two online CPD workshops entitled www.digitaltheatreplus.com
Attenborough), Much Ado About Nothing ‘Shakespeare in your Space’, looking
(starring David Tennant and Catherine at methods to employ when having
Rachel Creaser is the creative department
Tate), Macbeth (Liverpool Everyman students read Shakespeare aloud for the coordinator for the Pauline Quirke
Playhouse), As You Like It (Shakespeare’s first time, and exercises you can use to Academy of Performing Arts. She is a
Globe), and The Comedy of Errors (RSC and get rid of anxiety. theatre and performance studies graduate
Told by an Idiot). Reviewing the content as part of a trial from the University of Warwick, and is the
former deputy editor of Teaching Drama.
Another strong point is its study gave me limited access – which included

40 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk

TDSP1_1516_040_RSC review_Digi Theatre.indd 40 07/12/2015 10:54:30


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We have included a wide range of engaging performance texts
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There is lots of choice for you and your students from an essay
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TD_Spring1_2016.indd 41 04/12/2015 11:53:30


1 2
Macbeth A Slight
My five by William Shakespeare
Oxford University Press
Ache
favourite ISBN 978-0198324003 by Harold Pinter
Methuen
ISBN 978-0413308306

plays Cast: 15 males, 4 females Cast: 1 male, 1 female, 1 nonspeaking C


Themes and issues: A large cast Themes and issues: A classic T
classic with themes focussing on fate early Pinter, featuring a middle class t
and ambition, reality and illusion. couple who are threatened by the t
Performance matters: The play
chosen by ... offers director and cast multiple
external menace manifest in a match-
seller standing at the back gate, with
c
d

Tim Marriott opportunities to be creative and


imaginative, from interpreting the
obsessive behaviour and protectionism
leading to downfall.
t
b
witches to contemporising the action. Performance matters: Originally
Tim trained as an actor at Webber Casting opportunities abound with intended for radio, it’s never clear
Douglas after university. He left challenging roles aplenty and cross whether the match seller exists or is
the business in 2000 to become a gender casting is easily achieved. a projection of Edward’s fear of the
Director of Drama following a varied Why it’s great: It’s Shakespeare’s outside world and Flora’s manipulative
acting, writing and directing career, shortest and most unremittingly desire for change. The director has
including seven series as Deputy powerful tragedy and there are so to decide whether or not to embody
Manager Gavin in The Brittas Empire many approaches – though I’ve rarely the match seller and if so, to ensure
on the BBC. seen a misfire. It’s deeply political that he is simply functional and
and relevant, the action varied and depersonalised.
dynamic. I have directed a bare bones Why it’s great:

Mark Dimmock
studio production with a cast of five – The opening scene
but I have also directed it with a cast of is a masterclass P
over fifty. in sub-textual o
humour and, i
Mark Dimmock

Eastbourne College’s like Pinter’s early s


production of Macbeth sketches, makes Lily Bannon s
of Eastbourne
a great teaching b
College as Flora
tool for examining W
text to garner r
clues about the characters and their w
situation. Although the play betrays i
its radio roots with descriptive lines i
and requires a little editing for stage i
performance, the monologues to the r
match seller are demanding in terms c
Watch out for: Textually, the main of technical range – but also rewarding. d
trip hazard is the ‘drunken’ Porter, Edward’s descent into mental and a
who is often considered ‘light relief’ physical destruction paired with t
but actually welcomes the audience to Flora’s playful double entendre offers s
hell. The Porter heightens the horror; rich material for stretching character e
he doesn’t diminish it, and he should actors. The presentation of an innocent b
make the audience uncomfortable vagrant at the back gate provokes a t
rather than offering comic relief. With despotic, violent response from middle t
regards to staging, the play opens and England, making it as relevant as ever c
closes with bloody battles, and nothing and worthy of a bit of satire. W
gets a young cast more enthused than Watch out for: Being precious with r
wielding a few swords and screaming it; Pinter’s writing roots are in sketches. s
blue murder at each other – but the Playing the absurdity of everyday
play is not considered unlucky without middle class morality needs to be
reason, and damage to persons and paramount, otherwise you run the risk
property are easy to achieve! of creating a conceited atmosphere of
mannered enigma, the downfall of any
Pinter production.

42 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk w

TDSP1_1516_042-043_My 5 Fav Plays.indd 42 01/12/2015 12:21:39


My five favourite plays

3 4 5
DNA Blood ’Allo ’Allo
by Dennis Kelly
Oberon Books
Wedding by Jeremy Lloyd
Samuel French
ISBN 978-1840029529 by Federico Garcia Lorca ISBN 978-0573018787
Methuen
ISBN 978-0713685169

Cast: 11, gender nonspecific Cast: 7 males, 7 females, plus extras Cast: 5 males, 4 females
Themes and issues: An ensemble Themes and issues: Multifaceted Themes and issues: A farcical
teenage piece featuring bullying, poetic drama. A bit of a theme is comedy based on the hugely successful
teenage cruelty and gang culture as developing here – blood, fate, menace... TV sitcom, which centres on René as
central themes. A group of teenagers Performance matters: The practical he desperately tries to survive German
do something bad, then panic and try challenges of performing Blood Wedding occupation in France.
to cover the whole thing up, with lies are considerable, as every scene is Performance matters: The play is
bringing more lies. in a different place and the final set in René’s café, so a significant set-
act is written in poetic fantasy with build is on the cards but this is cartoon
Mark Dimmock

Eastbourne College allegorical figures of the Moon and comedy, so places can be suggested
students in DNA Death. Students can consider how to rather than literal. We performed it
creatively and imaginatively get past outside in the summer and achieved
these staging challenges – perhaps a simple style with the cast moving
with lighting effects. Music is also key, furniture and props as part of the
and many productions feature onstage action. Costumes may seem hard to
musicians playing throughout, so a come by, but costume hire is very easy,
musicians’ gallery or visible offstage with a number of companies providing
space may need to be created. a complete set of ’Allo ’Allo outfits.
Why it’s great: Poetic drama such
Mark Dimmock

Mark Dimmock
as this enables passion to survive the
Performance matters: The translation. Students may find it hard
outdoor setting allows for versatile to imagine the constant brooding
interpretation. We’ve performed presence of Leonardo until they get it
sections of it as bare bones GCSE on its feet, and this makes it another
studio pieces using steel deck great teaching tool. Studying Lorca
and blocks. offers great opportunities to investigate
Why it’s great: DNA was heightened realism, symbolism and
Eastbourne College’s
recommended to us by a former pupil surrealism, as well as opportunities to production of ’Allo ’Allo
working at the National Theatre and be creative with music, set, costume
it’s easy to see why. By now this play and lighting design.
is well known to drama teachers but Watch out for: Pace. Follow Lorca’s Why it’s great: Well, it’s not
it still stands out as a tremendously rhythms of accelerating pace through great – but it is great fun. One of my
rewarding text to work with. Its scenes, the compression of time colleagues suggested it and I feared
comedy, violence and naturalistic heightening the drama and creating that it might be a disaster, but the cast
. dialogue are attractive to teenagers empathy for characters who are driven and audience loved it. It’s classic farce,
and as such it is a great teaching by the rhythms of fate. and none of the cast knew the original
tool, the monologues offering great series, so they discovered it as new.
Mark Dimmock

scope for individual work. The cast Blood Wedding, an Watch out for: The success of the
enjoys rehearsing the play, creating Eastbourne College farce depends on playing the drama for
t backstories and improvising around production real and that is quite a challenge. Oh –
the text, and though well-worn to us and the fallen Madonna with the large
teachers by now, it won’t be to your bosom and the sausage in the cellar!
cast or audience.
Watch out for: Beware of
recommending DNA for audition
. speeches as they are done to death!

k www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 43

TDSP1_1516_042-043_My 5 Fav Plays.indd 43 07/12/2015 15:46:51


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TD_Spring1_2016.indd 44 07/12/2015 10:38:20


Listings

Listings
Welcome to the Teaching Drama listings section.
Look here for upcoming workshop and course opportunities scheduled for the
coming months.
If you would like to submit information for future listings in TD, please
email teaching.drama@rhinegold.co.uk or post to Teaching Drama listings,
Rhinegold Publishing, 20 Rugby Street, London WC1N 3QZ
Deadline for the next issue: 10 January 2016.

DRAMA WORKSHOPS AND COURSES


FOR ADULTS AND YOUNG PEOPLE
SCOTLAND Date and time: 6–7 Feb, NORTH Price: £6; £4 (concessions)
Citizens Theatre 10am–5pm Contact: 0161 833 9833
Nightschool (18+) Price: £115 Drama Resource After show discussions: WIT
Venue: Glasgow Contact: 0141 332 4101 Drama in the primary Date and time: 4 Feb
Date and time: 11 Jan–8 Mar Introduction to choreography curriculum Price: Free
Price: £80; £60 (concessions); (ages 12–17) Venue: Contact Theatre, Contact: 0161 833 9833
£105; £85 concessions Date and time: 13 Feb, Manchester Unlock… workshops: WIT
Contact: 0141 429 0022 10am–5pm Date and time: 2 Mar, (ages 18+)
Price: £55 10am–4pm Date and time: 4 Feb, 5–7pm
Royal Conservatoire of Contact: 0141 332 4101 Price: £195 (book by 18 Dec Price: £6; £4 (concessions)
Scotland Solo contemporary to save £40) Contact: 0161 833 9833
Acting audition: taking performances (ages 18+) Contact: 01603 465973; Between the lines: WIT
direction Date and time: 19–20 Mar, 07973 217876 (ages 18+)
Venue: Glasgow 10am–5pm; 10.30am–5.30pm Date and time: 10 Feb,
Date and time: 9–10 Jan, Price: £115 Royal Exchange Theatre 11am–1pm
10am–5pm; 10.30am-5.30pm Contact: 0141 332 4101 Wordplay: getting started Price: £6; £4 (concessions)
Price: £135 Musical theatre: dance with playwriting Contact: 0161 833 9833
Contact: 0141 332 4101 Date and time: 26–27 Mar, Venue: Manchester
Drama for beginners: 10am–5pm; 10.30am–5.30pm Date and time: 6; 20 Jan; Theatre Royal, Newcastle
devising skills (ages 17+) Price: £115 3 Feb, 11am–1pm Acting workshop (ages 12–15)
Date and time: 12 Jan–22 Mar, Contact: 0141 332 4101 Price: £6; £4 (concessions) Venue: Newcastle
6.30–8.30pm Contact: 0161 833 9833 Date and time: Every
Price: £150 Scottish Youth Theatre After show discussions: Wednesday from 6 Jan, 6.30–
Contact: 0141 332 4101 Skint knees (ages 3–4) Into the Woods 8pm (duration 10 weeks)
Contemporary dance youth Venue: Glasgow Date and time: 7 Jan Price: £60 per term
company (ages 12–17) Date and time: 16 January–​ Price: Free Contact: 08448 11 21 21
Date and time: 12 Jan–21 Jun, 19 March, 10–11am (duration Contact: 0161 833 9833 Acting workshop (ages 5–7)
6.30–8.30pm 10 weeks) Unlock… workshops: Into the Date and time: Every Saturday
Price: £290 Price: £110 Woods (ages 18+) from 9 Jan, 10–11.30am; 12–​
Contact: 0141 332 4101 Contact: 0141 552 3988 Date and time: 7 Jan, 5–7pm 1.30pm (duration 10 weeks)
Musical theatre audition: Skint knees (ages 5–7) Price: £6; £4 (concessions) Price: £60 per term
mock audition Venue: Glasgow Contact: 0161 833 9833 Contact: 08448 11 21 21
Date and time: 16–17 Jan, Date and time: 16 January–​ Between the lines: Into the Acting workshop (ages 8–11)
10am–5pm 19 March, 10–11.30am Woods (ages 18+) Date and time: Every Friday
Price: £135 (duration 10 weeks) Date and time: 13 Jan, from 8 Jan, 5–6.30pm
Contact: 0141 332 4101 Price: £110 11am–1pm (duration 10 weeks)
Introduction to prop-making Contact: 0141 552 3988 Price: £6; £4 (concessions) Price: £60 per term
(ages 17+) Youth Theatre dance Contact: 0161 833 9833 Contact: 08448 11 21 21
Date and time: 23–24 Jan, (ages 8–11) Elders company (ages 60+) Evening weekly workshops:
10am–5pm Date and time: 16 January–​ Date and time: 27 Jan; 24 Feb, acting (ages 18+)
Price: £115 19 March, 11.45am–1.45pm 11am–1pm Date and time: Every Monday
Contact: 0141 332 4101 (duration 10 weeks) Price: £6 from 11 Jan, 6.45–8.15pm
Acting audition: mock Price: £110 Contact: 0161 833 9833 (duration 10 weeks)
audition Contact: 0141 552 3988 Behind the scenes work week Price: £65 per term
Date and time: 23–24 Jan, Weekly lab (ages 16–25) (ages 16–19) Contact: 08448 11 21 21
10am–5pm Date and time: 16 January–​ Date and time: 1–5 Feb Evening weekly workshops:
Price: £135 19 March, 3–6pm (duration 10 Price: Free advanced acting (ages 18+)
Contact: 0141 332 4101 weeks) Contact: 0161 833 9833 Date and time: Every Tuesday
Introduction to lighting Price: £165 Introducing: WIT from 12 Jan, 6.45–8.15pm
(ages 17+) Contact: 0141 552 3988 Date and time: 4 Feb, (duration 10 weeks)
10.30am–12pm Price: £65 per term

www.teaching-drama.co.uk Teaching Drama · Spring term 1 · 2015/16 45

TDSP1_1516_045-048_Listings.indd 45 01/12/2015 12:23:26


Listings
Contact: 08448 11 21 21 Date and time: 21 December,

Stephen Page
Put Treasure Island
Youth theatre (ages 16–25) 11am–12.30pm on in a Day with
Date and time: Every Thursday Price: £8.50 Creation Theatre
from 14 Jan, 6–8pm (duration Contact: 01603 629 921;
10 weeks) info@puppettheatre.co.uk
Price: £65 per term Christmas characters (ages 5+)
Contact: 08448 11 21 21 Date and time: 22 December,
11am–12.30pm
West Yorkshire Playhouse Price: £8.50
Buzz creative arts course Contact: 01603 629 921;
(ages 14–25) info@puppettheatre.co.uk Exploring the inanimate: Date and time: From 4 Jan,
Venue: Leeds Frozen world (ages 5+) Explorations with everyday 7–9pm (duration 12 weeks)
Date and time: Mondays and Date and time: 23 December, materials and objects Price: £113 per term
Tuesdays, 10am–3pm 11am–12.30pm (ages 16+) Contact: education@
Price: Contact for details Price: £8.50 Date and time: 6-7 February, creationtheatre.co.uk
Contact: 0113 245 5252; Contact: 01603 629 921; 10am–5pm Drama club (ages 8–10)
maria.thelwell@wyp.org.uk info@puppettheatre.co.uk Price: £150 Venue: John Mason School,
Buzz weekend workshops Santa’s workshop (ages 5+) Contact: 01603 629 921; Abingdon
(ages 14–25) Date and time: 24 December, info@puppettheatre.co.uk Date and time: From 5 Jan,
Date and time: Saturdays, 11am–12.30pm 5–6pm (duration 12 weeks)
1–3pm Price: £8.50 Price: £113 per term
Price: Contact for details Contact: 01603 629 921; SOUTH EAST Contact: education@
Contact: 0113 245 5252; info@puppettheatre.co.uk Creation Theatre creationtheatre.co.uk
maria.thelwell@wyp.org.uk Family workshop: Goblins Christmas stories (ages 6–8) Drama club (ages 11–13)
and tricksters (ages 4+) Venue: North Wall Arts Centre Date and time: From 5 Jan,
Date and time: 28 December, Date and time: 22 Dec 6-8pm (duration 12 weeks)
MIDLANDS 11am–12.30pm Price: £45 Price: £113 per term
Royal Shakespeare Price: £8.50 Contact: www.creationtheatre. Contact: education@
Company Contact: 01603 629 921; co.uk/education/holiday-2 creationtheatre.co.uk
Family day: Wendy and Peter info@puppettheatre.co.uk Christmas stories (ages 9–12) Drama club (ages 8–10)
Pan Fairytale characters (ages 5+) Date and time: 22 Dec Date and time: From 6 Jan,
Venue: Royal Shakespeare Date and time: 29 December, Price: £45 5–6pm (duration 12 weeks)
Theatre 11am–12.30pm Contact: www.creationtheatre. Price: £113 per term
Date and time: 9 Jan, 10.15– Price: £8.50 co.uk/education/holiday-2 Contact: education@
11.15am Contact: 01603 629 921; Put on Treasure Island in a creationtheatre.co.uk
Price: £5 (adult); £3.50 (child) info@puppettheatre.co.uk day (ages 6–8) Drama club (ages 11–13)
Contact: 01789 403493 From a galaxy far far away Date and time: 30 Dec Date and time: From 6 Jan,
Family workshops: Wendy (ages 5+) Price: £45 (includes ticket to 6–7pm (duration 12 weeks)
and Peter Pan (ages 8+) Date and time: 30 December, show) Price: £113 per term
Venue: Clore Learning Centre 11am–12.30pm Contact: www.creationtheatre. Contact: education@
Date and time: 16 Jan, Price: £8.50 co.uk/education/holiday-2 creationtheatre.co.uk
10–11.30am Contact: 01603 629 921; Put on Treasure Island in a Drama club (ages 14–16)
Price: £5 (adult); £3.50 (child) info@puppettheatre.co.uk day (ages 9–12) Date and time: From 6 Jan,
Contact: 01789 403493 Family workshop: Perfect Date and time: 30 Dec 7–9pm (duration 12 weeks)
The great Shakespeare egg pets Price: £45 (includes ticket to Price: £113 per term
hunt Date and time: 2 January, show) Contact: education@
Venue: Royal Shakespeare 11am–12.30pm Contact: www.creationtheatre. creationtheatre.co.uk
Theatre Price: £8.50 co.uk/education/holiday-2 Drama club (ages 5–7)
Date and time: 28 Mar–12 Apr Contact: 01603 629 921; Put on Alice in Wonderland in Venue: St Andrews Church
Price: Free info@puppettheatre.co.uk a day (ages 6–8) Date and time: From 7 Jan,
Contact: 01789 403493 Dragons and monsters Venue: Mill Arts Centre 4.30–5.30pm (duration 12
Blood, guts and gore (ages 5+) Date and time: 30 Dec weeks)
Date and time: 30; 31 Mar, Date and time: 4 January, Price: £35 (includes ticket to Price: £113 per term
11am–12pm 11am–12.30pm show) Contact: education@
Price: £3.50 (adult); £2.50 Price: £8.50 Contact: www.creationtheatre. creationtheatre.co.uk
(child) Contact: 01603 629 921; co.uk/education/holiday-2 Drama club (ages 11–13)
Contact: 01789 403493 info@puppettheatre.co.uk Put on Alice in Wonderland in Date and time: From 7 Jan,
2D animation workshop a day (ages 9–12) 6.30–7.30pm (duration 12
(ages 16+) Date and time: 30 Dec weeks)
EAST Date and time: 3 February, Price: £35 (includes ticket to Price: £113 per term
Norwich Puppet Theatre 10am–1pm show) Contact: education@
Rumpelstiltskin puppet Price: £15–20 Contact: www.creationtheatre. creationtheatre.co.uk
making (ages 5+) Contact: 01603 629 921; co.uk/education/holiday-2 Drama club (ages 8–10)
Venue: Norwich info@puppettheatre.co.uk Drama club (ages 14–16) Venue: Leckford Place School

46 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk

TDSP1_1516_045-048_Listings.indd 46 01/12/2015 12:23:47


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Listings
Date and time: From 9 Jan, Date and time: 21 January
The Unicorn Theatre holds regular
9.30–​10.30am; 10.30– Price: £249 workshops and CPD courses
11.30am; 1.30–3.30pm Contact: 01625 532974
(duration 10 weeks) Outstanding outcomes in
Price: £113; £162 (2 hour AS/A2 Drama and Theatre
class) Studies
Contact: education@ Date and time: 26 January
creationtheatre.co.uk Price: £249
Contact: 01625 532974
Adapting your practice to

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WEST teaching the new 2016
Shakespeare’s Globe Edexcel GCE A level Drama
Fathers and daughters in and Theatre specifications
Shakespeare’s plays Date and time: 29 January
Venue: Clifton College, Bristol Price: £249
Date and time: 16 January Contact: 01625 532974
Price: £150 Adapting your practice to Film screening: My Dinner Price: £120 per class
Contact: 020 7902 1463 teach the new 2016 Edexcel with Andre (ages 12+) Contact: schools@
GCE A level Drama and Venue: Clore Learning Centre unicorntheatre.com
Theatre specification Date and time: 15 March, 5pm CPD course for teachers:
SOUTH Date and time: 29 January Price: Free Minotaur
Chichester Festival Price: £249 Contact: 020 7452 3000 Venue: Southwark
Theatre Contact: 01625 532974 Date and time: 21, 28 Jan, 4,
Hetty Feather Q&A (ages 7+) Shakespeare’s Globe 11 Feb, 5–6.30pm (duration
Venue: Chichester National Theatre Directing studio 4 weeks)
Date and time: 28 January In context: The virtual world Venue: Sackler Studios and Price: £80 per teacher
Price: Free on stage Globe Theatre (includes ticket to show)
Contact: leap@cft.org.uk Venue: John Lyon Education Date and time: 9–10 January, Contact: schools@
Studio 9.30am–5pm unicorntheatre.com
Date and time: 15 January, Price: £250 CPD course for teachers:
LONDON 2–4.30pm Contact: higher.education@ My Father Odysseus
Price: £20; £15 (concessions) shakespearesglobe.com Date and time: 26 Jan, 4.30–
Drama Resource Contact: 020 7452 3000 Pre-show talks: The Winter’s 7pm
Drama in the primary Costume course: How to Tale Price: Free
curriculum make a corset (ages 18+) Venue: Nancy Knowles Lecture Contact: schools@
Venue: Toynbee Studios, Venue: Clore Learning Centre Theatre unicorntheatre.com
Commercial Street Date and time: 1 February – Date and time: 2; 9 February, CPD course for teachers:
Date and time: 3 Feb, 10.30– 14 March, 10.30am–4.30pm 10am–6pm Septimus Bean and his
4.30pm (every Monday) Price: £8; £6 (Friends of Amazing Machine
Price: £195 (book by 18 Dec Price: £360; £290 Shakespeare’s Globe; Date and time: 14 Mar,
to save £40) (concessions) students) 10am–4pm
Contact: 01603 465973; Contact: 020 7452 3000 Contact: 020 7401 9919 Price: Free
07973 217876 In context: As You Like It Pre-show talks: The Tempest Contact: schools@
Full character mask course Date and time: 8 February, Date and time: 23 February, unicorntheatre.com
with Vamos Theatre 2–5pm 10am–6pm
Date and time: 11 Feb, Price: £20; £15 (concessions) Price: £8; £6 (Friends of
10.30am–4.30pm Contact: 020 7452 3000 Shakespeare’s Globe; REPUBLIC OF
Price: £195 In context: Katie Mitchell students) IRELAND
Contact: 01603 465973; Date and time: 25 February, Contact: 020 7401 9919 The Lir
07973 217876 5–8pm The Oxford-Globe forum Character and scene study
Teaching Shakespeare to Price: £20; £10 (Entry Pass, for medicine and drama in Venue: Dublin
children and young people teachers and students) practice Date and time: 5 Jan–8 Mar,
Date and time: 12 Mar, Contact: 020 7452 3000 Date and time: 23 January, 7–9.30pm
10.30am–4.30pm Sarah Kane explored: Staging 10am–4.30pm Price: €390
Price: £195 (book by 18 Dec the unstageable (ages 16+) Price: £15 Contact: www.thelir.ie/
to save £40) Venue: Dorfman Theatre Contact: Jennifer.e@ courses/view/character-and-
Contact: 01603 465973; Date and time: 11 March, shakespearesglobe.com scene-study
07973 217876 10.30am–3.30pm Introduction to acting
Price: £20; £10 (Entry Pass Unicorn Theatre (ages 18+)
Keynote Educational and HE students); £7.50 In-school pre-show Date and time: 7 Jan–10 Mar,
Teaching devising in the new (school students and workshop: Minotaur 7–9.30pm
Edexcel 2016 A level Drama teachers) Venue: Your school Price: €390
and Theatre specification Contact: 020 7452 3000 Date and time: Contact for Contact: www.thelir.ir/
Venue: London details courses/view/acting-training

48 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk

TDSP1_1516_045-048_Listings.indd 48 01/12/2015 12:24:23


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Musical theatre vocal workshop – Collaboration & negotiation – On-your-feet Laban in performance – a taster session
a practical exploration of how musical interactive workshop showing how you can using the techniques of Rudolf Laban
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TD_Spring1_2016.indd 49ad.indd 1 07/12/2015 15:04:43
15:13:05
Drama games and strategies

Next issue
Issue 64 · Spring term 2 · 2015/16
Drama games
and strategies
with David Farmer

ff Musical Theatre issue


With wonder.land at the National Theatre, TD takes a
look at other musical theatre teaching inspirations
ff The Addams Family Musical
David Duthie shares his experiences in staging the
gothic hit with students
ff MTDES
As the big day approaches, we give you our top
picks of exhibitors at the Musical Theatre & Drama UFO (Unidentified Fictional Object)
Education Show Players build up the shape of an object with their
bodies – but does anybody actually know what it is?

Keep in touch with ff Age: 7 to adult


ff Players: Whole Group

Teaching Drama
ff Time: 10 – 20 minutes
ff Skills: Mime, movement

Stay up to date with all the latest goings The group stands in a circle. One person thinks of an object
and enters the space, making the shape with their body. As
on in drama education: soon as another player thinks they know what the object is,
they adds to the shape with their body. One by one, people
ff Blog add themselves in to build up the overall shape. With a small
teachingdramablog.wordpress.com group everyone can be involved; if the group is large, stop
when you think there are enough people to make the object.
ff Twitter The final object may not be the one that the first player
@teachingdrama had in mind and people in the circle may have had several
different ideas. Sometimes the object will be very obvious,
ff Facebook other times it may look more like an abstract work of art – or
www.facebook.com/TeachingDrama even a UFO!
ff Schemes of work awrchive ff Players can add movements and sounds
ff You can set a theme, for example animals, household
www.rhinegold.co.uk/td-archive objects, machines, musical instruments or objects from a
particular place or country

David Farmer runs www.dramaresource.com, a site


that offers a wide range of ideas, games and courses
for drama practitioners. This activity is from his book
101 More Drama Games and Activities.

50 Teaching Drama · Spring term 1 · 2015/16 www.teaching-drama.co.uk

TDSP1_1516_050_Drama games_Next issue 2.indd 50 07/12/2015 16:55:16


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