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
Charlie and the Chocolate
Factory announces
‘The Imagination Awards’
A new initiative for young designers has
been announced by the creators of West
End hit Charlie and the Chocolate Factory.
‘The Imagination Awards’ are designed
to champion creativity and encourage
originality among school children.
The awards are due to be launched
in 2016 in two parts: Charlie’s Challenge
and Young Theatre Designer Award. The
former, a national award for 5–15 year
olds, seeks to provide a platform for
students to share solutions to problems
facing them, their school or the world in
the most creative way possible. The latter
is aimed at 16–18 year olds, and will be
celebrating young people with an interest
Dozens of organisations join forces for Shakespeare400
With celebrations for the Bard’s 400th
deathday about to get underway, cultural
organisations will join together in 2016 to
mount festivities involving new novels,
poems and plays, as well as an exhibition
at the British Library and a film season at
the British Film Institute.
The Shakespeare Centre at King’s
College London will coordinate the
event, having celebrated Shakespeare’s
tercentenary in 1916. Rather than staging
productions of Shakespeare’s works, the
festivities will instead be celebrating
with multi-faceted events, ranging from
film and opera to concerts, lectures and
exhibitions.
Deborah Bull, assistant principal for
culture and engagement at King’s, has
said that the festivities will be ‘for as
wide an audience as possible and in a
way that doesn’t just commemorate
the past, but also celebrates the present
and heralds the future. The influence
of Shakespeare on art, culture and
society over the past 400 years cannot be
overestimated and this is reflected in the
rich array of activities planned for 2016.’
6 Teaching Drama · Spring term 1 · 2015/16
TDSP1_1516_006-011_News_Opinion.indd 6
#
T
a
#
c
f
N
W
k
a
t
#
in costume or set design. G
Matt Crockett
Charlie’s Challenge is aimed at all T
young people, and intends to encourage Jonathan Slinger as Willy Wonka l
creative imagination from all walks fi
of life, with Sam Mendes’ production in the arts,’ says producer Caro Newling. s
of Roald Dahl’s novel due to release Certainly, since its 2013 opening, Charlie s
resources throughout the awards process and the Chocolate Factory has championed a
to showcase the magical world of theatre education within the theatre, particularly i
to inspired young minds. The Young with its ‘Page-to-Stage’ resource, and a
Theatre Designer Award will target series of new school workshops will be n
young adults who have already tested launched in January 2016, encompassing a
the waters of theatre design, but may not drama, dance, musical theatre, singing U
have considered a career in the industry. and storytelling, enabling students to –
‘The Imagination Awards are our way test the waters of all areas of theatre. s
of reaching out to young people across the Further information about the awards is a
nation who are creative and interested expected soon. d
2
w
r
d
a
was formulated from the 2012 World i
Shakespeare Festival. ‘I am delighted
by the remarkable willingness of our e
cultural partners to be involved in a t
shared project for 2016,’ he said. ‘We
extended and developed the opening
conversations and the consortium L
began to emerge. It is, of course, a very
exciting time for lovers of Shakespeare
across the globe and we are thrilled to S
be contributing in this way to mark 400 t
years of Shakespeare-inspired creativity.’ a
The Shakespeare400 programme w
includes a lighting installation developed L
by the RSC at London’s Barbican Centre, b
who are also putting on a film season
with RSC Shakespeare on Screen; an C
exhibition in Windsor Castle celebrating w
the Bard’s longstanding relationship with p
the royal court; a multitude of lunchtime p
concerts with BBC Radio 3 to showcase p
King’s College London will coordinate talent inspired by Shakespeare’s plays; t
Shakespeare400 and The Gap of Time, a novel by Jeanette h
Winterson retelling A Winter’s Tale, f
Director of the Shakespeare Centre available now in hardback. l
at King’s, Professor Gordon McMullan More information can be found online S
said that the idea for Shakespeare400 at www.shakespeare400.org o
www.teaching-drama.co.uk w
07/12/2015 15:23:09

#LoveTheatreDay 2015
This November saw the online theatre-
appreciation event of the year with
#LoveTheatreDay, a nationwide
celebration of all things theatre. The
festivities, which took place on 18
November, kicked off with London’s
West End’s top theatres tweeting little-
known facts and tips, and arts companies
and cultural institutions coming
together to celebrate the first of many
#LoveTheatreDays.
The event, run in partnership by the
Guardian Culture Professional Networks,
Twitter and CultureThemes, was
launched to provide theatres and arts
figureheads with a rare opportunity to
share their work with the world, and to
shout about the importance of theatre in
a country where appreciation for the arts
is declining.
New British plays are one of the
nation’s greatest cultural achievements,
and take to stages as far afield as the
United States, Hong Kong and Australia
– yet the opportunity to celebrate a
showcase of a nation’s talent seldom
arises. Tamasha playwright and artistic
director Fin Kennedy conducted a
2013 report entitled ‘In Battalions’,
which found that, with British theatre
0 remaining under fire at the hands of
damaging cuts to Arts Council England
and local arts budgets being axed, theatre
is set to face more harm.
Jo Belolli, associate producer for
early years at the Polka Theatre, told
the Guardian that ‘children need theatre
London’s south bank to become 2.5 mile homage to Shakespeare
Shakespeare’s Globe has announced
that it will be celebrating the 400th
anniversary of Shakespeare’s death
with a weekend dedicating 2.5 miles of
London’s south bank to 37 large screens
between 23–24 April 2016.
In an exhibition entitled ‘The
Complete Walk’, each of the 37 screens
will play an original ten-minute film
pertaining to one of Shakespeare’s
plays and filmed in the location of the
plays’ settings. Entry will be free and
the exhibition will include over six
hours’ worth of content. The site of the
festivities was chosen based on the
location of the Globe Theatre, where
Shakespeare wrote and presented most
of his plays.
k www.teaching-drama.co.uk
TDSP1_1516_006-011_News_Opinion.indd 7
like they need food and fresh air. To
engage as an audience member in
a live performance, or to participate
in a creative activity with peers or
family members nourishes their huge
imagination and intellect. At Polka,
we hear countless passing comments
from children, and some who are now
adults; their visit has made a lasting
impression.’
‘Theatre is a critical training ground
for new talent for other creative
industries,’ said Kennedy. ‘TV, film, radio,
advertising, gaming and other digital
artforms would wither without theatre’s
contribution to training successive
generations of actors, directors,
playwrights and technicians.’
The day’s celebrations, which took
place primarily on Twitter, featured
sub-hashtags to highlight specific
themes: #BackStage, 10am–12pm, which
offered audiences a glimpse into how
a production comes together prior to
opening; #AskATheatre, 3–5pm, which
gave people the opportunity to Tweet
theatre companies, large and small, with
questions about their experiences; and
#Showtime, 7–10pm, which gave those
unable to make it to a theatre production
the chance to sit in ‘virtual stalls’ on
Twitter.
The event saw a multitude of theatres
and companies take to Twitter to shed
light and offer advice, behind-the-scenes
images and snippets of theatreland, from
Shakespeare’s Globe to the National
Two and a half miles of the River Walk will be
devoted to the Bard
‘Shakespeare spent half his life in
London,’ says Dominic Dromgoole,
artistic director of the Globe. ‘We think it
is suitable and fitting that the huge range
of his work should be celebrated 400
Teaching Drama · Spring term 1 · 2015/16
News
Shakespeare’s Globe give Twitter users a
taste of #Showtime
Theatre, and the Royal Shakespeare
Company to the Olivier Awards. Among
the interesting facts revealed by theatres
was the number of cities in which Les
Misérables has performed (319), the
number of shirts ironed by Janet, costume
supervisor at St Martin’s Theatre for
The Mousetrap (25,000), and the number
of young actors to have starred in Billy
Elliot (42).
Kennedy also shed light on his guide
to playwriting success as part of the day.
‘See as much theatre as possible,’ he
said, adding that prospective playwrights
should ‘Get qualified in something else
first; you will need a day job for years,’
and ‘Hang in there: I’m talking 10 years
or more before you give up; it really takes
that long.’
Did you take part in #LoveTheatreDay?
If so, Tweet us at @teachingdrama and tell
us how you celebrated it.
years after his death in a big free public
event, utilising the very latest technology,
along a public walkway beside the same
old dirty river, so rich with history.’
Mayor of London Boris Johnson has
remarked that Shakespeare’s work
continues to resonate with people of
all ages and backgrounds. ‘That is an
incredible feat and one that will be
rightly celebrated across the world next
year,’ he said. ‘London has a fantastic
range of Shakespearean-inspired events
lined up for 2016 and I am delighted to
support The Complete Walk. It will give
Londoners and visitors to the capital a
wonderful opportunity to take in the
Bard’s work in the city where some of his
greatest stories were conceived.’
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


Arts Council
England to
receive an extra
£10m per year
There were
expected cuts
of up to 40%
to the creative
industries in
George Osborne’s
November
spending review,
but the impact
was far smaller George Osborne
than expected,
with Arts
relieved worries
about arts funding
Council England
announcing they will receive an extra
£10 million per year over the next
four years.
Though the Department for Culture,
Media and Sport operational budget
suffered a 20% cut, the arts received a far
better outcome than anyone expected,
with the Chancellor of the Exchequer
confirming that funding to the Arts
Council would increase because arts
are ‘one of the best investments we can
make’ – despite Education Secretary
Nicky Morgan’s damaging Ebacc threats.
Despite an overall 5% reduction in
arts funding, ACE’s grant is expected to
rise by 1–2% over the next five years,
meaning the council can safely continue
funding its 684 organisations until 2018
– among them theatres, opera and ballet
companies, museums and galleries.
ACE chairman Peter Bazalgette thanks
Osborne for ‘an astonishing settlement
for arts and culture,’ and said that the
review will put the council ‘slightly ahead
in cash terms.’
‘We can keep up our efforts to ensure
everyone, everywhere in England benefits
from Arts Council money,’ Bazalgette said
following the news. ‘We can continue
to invest in children and young people,
disadvantaged communities and new
talent, as well as hundreds of much-loved
arts and cultural institutions.’
The review also saw Osborne promise
that entry into national museums and
galleries would remain free, with funding
being protected until 2019–20, as well
as room for potential new tax credits
to further help them. ‘One of the best
investments we can make as a nation
is in our extraordinary arts, museums,
heritage, media and sport,’ he confirmed.
k www.teaching-drama.co.uk
TDSP1_1516_006-011_News_Opinion.indd 9
Imelda Staunton, who won Best
Musical Performance for Gypsy
London Evening
Standard Theatre
Awards winners
announced
The 2015 London Evening Standard
Theatre Awards, held on 22 November at
London’s Old Vic, was attended by a star-
studded cast of film and theatre stars,
including winners Nicole Kidman, Imelda
Staunton and James McAvoy.
Presenter Rob Brydon and co-hosts
Evgeny Lebedev of the Evening Standard,
Dame Judi Dench and Sir Ian McKellen,
handed out 16 awards for theatrical
prowess, with Staunton performing
‘Everything’s Coming Up Roses’ from
Gypsy and Pixie Lott singing ‘Moon River’
from 2016 West End production Breakfast
at Tiffany’s.
Award winners
f f Best Actor: James McAvoy, The Ruling
Class
f f Natasha Richardson Award for Best
Actress: Nicole Kidman, Photograph 51
f f Best Play: The Motherf**ker with the
Hat, Stephen Adly Guirgis
f f Newcomer in a Musical: Gemma
Arterton, Made in Dagenham
f f Best Musical Performance: Imelda
Staunton, Gyspy
f f Evening Standard Radio 2 Audience
Award for Best Musical: Kinky Boots
f f Milton Shulman Award for Best
Director: Robert Icke, Oresteia
f f Best Design: Anna Fleischle, Hangmen
f f Charles Wintour Award for Most
Promising Playwright: Molly Davies,
God Bless the Child
f f Emerging Talent Award in partnership
with Burberry: David Moorst, Violence
and Son
f f Beyond Theatre Award: Alexander
McQueen: Savage Beauty Exhibition
f f Editor’s Award in partnership with
The Ivy: Vanessa Redgrave
f f Lebedev Award: Stephen Sondheim
Teaching Drama · Spring term 1 · 2015/16
News
Goosebumps
series to be
made into
immersive
theatre
R.L. Stine’s
bestselling
children’s horror
series Goosebumps
is to be made into
an immersive
theatre experience
from April Goosebumps
2016. The show,
aptly entitled
author R.L. Stine,
Goosebumps The Show will be staged in the
same tunnels beneath Waterloo Station
that housed Alice’s Adventures Underground
earlier this year.
Fans of the series will remember
an abundance of nightmare-inducing
monsters, from The Haunted Mask to The
Werewolf of Fever Swamp, with Stine being
labelled as ‘the Stephen King of children’s
books’. But the new production won’t
be strictly limited to children; in fact,
the initial run will be aimed at adults
between April and September, with
children able to see an adapted version of
the show from May.
The interactive production will
involve the audience walking through
the abandoned tunnels of the Vaults to
experience adaptations of Stine’s One
Day at Horrorland, Say Cheese and Die!,
Stay Out of the Basement and Night of the
Living Dummy. Tom Salamon, co-creator
of Accomplice, is writer and director of
the production, with original series’
illustrator Tim Jacobus creating artwork.
Kieron Vanstone, director of the
Vaults, has said that he’s wanted to stage
Goosebumps for years. ‘Immersive events
have become the lifeblood of London
culture, and Goosebumps is perfectly suited
to the genre,’ he said. ‘These stories were
made to be experienced up close, with
every shiver, sound and unsettling sight.’
The books, which were published
in the 1990s and were followed by a
successful television series, is one of the
bestselling series of all time – second
only to J.K. Rowling’s Harry Potter, and the
show, which warns audiences ‘You’re in
for a scare!’ is set to sell out.
Tickets and further information can be
found at www.goosebumpstheshow.com
9
07/12/2015 15:44:45
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TD_Spring1_2016.indd 10 03/12/2015 17:53:44


Last year’s Shakespeare Up Close: Macbeth
Robert Day
Orange Tree
Theatre launches
Shakespeare
Up Close
The Orange Tree Theatre in Richmond, London, has announced
its spring edition of Shakespeare Up Close, with educational
productions and workshops specifically catered towards primary
and secondary school students.
The theatre, which has been working with schools for over
30 years and connects with 10,000 students every year, will be
bringing Romeo and Juliet to secondary schools this spring, playing
both in the theatre and on tour round schools across 13 London
boroughs – notably Richmond, Kingston, Ealing, Hounslow and
Wandsworth. The production will run for 90 minutes with six
actors, giving Shakespeare’s classic a contemporary edge and
working to enhance understanding of the text.
The summer term brings Shakespeare Up Close: The Comedy
of Errors to primary students aged 5–10, creating an accessible
and exciting introduction to the Bard. Primary Shakespeare has
been a part of the Orange Tree’s education programme for over
20 years and comprises two stages. For the initial part, an actor
from the company visits the school for a two-hour storytelling
workshop, which enables students to step into the shoes of
the main characters. Following this, students visit the Orange
Tree for a full staged abridged performance, which features
interactive elements.
GCSE and A level drama students are invited to Discover
More in the theatre, and are encouraged to experience the
world of theatre first hand by working onstage, encouraging
experimentation with the actor/audience relationship. There are
workshops to accompany the productions, and teachers have the
opportunity to make use of the Orange Tree’s digital resources.
Prior to performances, the theatre also offers free pre-show
workshops that enable students to partake in two hours of
stimulus devising and exploration of the key themes of the play.
Further information can be found online at
www.orangetreetheatre.co.uk
k www.teaching-drama.co.uk
TDSP1_1516_006-011_News_Opinion.indd 11
Opinion
Opinion
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
quality cultural education for
all young people, regardless
of their circumstances. As
Laura Gander-Howe, the Arts
Council’s Director of Children,
Young People and Learning said, we believe that every child
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
young creative talent on our doorstep.
The Challenge will encourage sector leaders across the arts,
education, local authorities, schools and higher education
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.
A lot has been done recently to address a number of the
recommendations made in my Henley Review on Cultural
Education in England. Arts Council has supported the
development of music education hubs and introduced and
invested £10 million in a network of 10 Bridge organisations,
tasked with galvanising local partnerships and connecting
children and young people with cultural provisions. They are
now working with more than 7000 schools, and since 2013
have levered in more than £11.5m in additional funding for
local projects. We have also redesigned the Artsmark award as
being by schools for schools. It complements Arts Award, which
runs in partnership with Trinity College London.
Work with children and young people is now part of
our funding agreements, with some 82% of 663 National
Portfolio Organisations and 21 Major Partner Museums; the
Royal Shakespeare Company, for example, has a professional
development network for drama teachers, providing training to
support the teaching of Shakespeare.
As part of the Cultural Education Challenge, the Arts
Council announced 50 new partnerships across the country
which will be modelled on previous pilot cultural education
partnerships established in Great Yarmouth, Bristol and Barking
and Dagenham. Our national Bridge organisations will support
these partnerships through detailed needs analysis to inform
priorities, gaps and provision.
Although we are focussed on getting these partnerships
up and running by 2018, we are encouraging other strong
convenors to come forward to help deliver the Challenge
in other areas. Discover how you can participate and make
a difference to the lives of all our children. Find more at
www.artscouncil.org.uk/culturaleducationchallenge
Teaching Drama · Spring term 1 · 2015/16 11
07/12/2015 11:07:22
 Drama and me
Adam Cross
for education in secondary schools, as
Nela Pecher/Avalanche Studio
well as training teachers – it should all
cascade from the same place.
What has been your experience
of working with young people on
Shakespeare?
I’ve done it in different contexts, from
English and drama classrooms, to
rehearsal rooms, to the Globe Theatre
itself. I’ve learnt that first impressions
are often crucial with Shakespeare –
they can define a person’s relationship
with the plays for life. Those very first
steps – the starter activity or initial
What is your occupation? exercise – can make all the difference.
I’m Director of Drama at King’s College
School in Wimbledon. What are your top tips for teachers
approaching Shakespeare’s work with
Where did you study/train? students?
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 RADA. I prepare an edition of the text without
punctuation, which can act as an
What did you think of the drama lessons initial barrier when trying to access
you received at school? the intention of the moment. When
I didn’t have drama lessons as you have to punctuate yourself in live
such, although I did have a number speech, you’re forced to connect with
of fantastic teachers, who were what you’re saying. As soon as you
fearless and visionary in the school have to make sense of a line, it is the
productions they staged. By the time start of an investment.
I was fifteen I had been given the Following that, I spend the first
chance to act in plays by Euripides, rehearsal on the shape of the language.
Shakespeare and Beckett! It wasn’t a The speaker leads the exercise,
big school, but there was a big can-do delivering their lines one word at a
approach that I still find very inspiring. time, and adopting a frozen physical
embodiment for each in turn. Everyone
How do you think drama education has else in the room follows, which creates
changed today? a shared understanding. The speaker
On the one hand there is more of an needs to go at the pace of the room
explicit understanding of the value and maintain eye contact with the
of drama education on the formal group. It can be painstaking, but it
curriculum in terms of the craft, works. Shakespeare’s language is his
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
TDSP1_1516_012_Drama and me.indd 12
stagecraft – it’s a physical, dynamic
presence in the plays, as well as a
carrier of intellectual sense. When
students understand this they lose
their apprehension. This is why
it is almost impossible to teach
Shakespeare effectively in a room filled
with desks!
Finally, I’ve found that maintaining
a healthy irreverence is always
important! The brilliance of
Shakespeare is that the plays still
hold relevance. The aim is always
to help young actors find the most
communicative version of a scene.
Shakespeare was a man of the theatre
trying to make things work for his
audience, just as we are. You need
to be able to exclaim ‘Oh Will…’ at
moments that seem obscure!
And finally, which play is your favourite
to work on with young people and why?
The Winter’s Tale, which I am currently
working on with my school. Although
one of his last plays, it is Shakespeare’s
most experimental, and innocent.
The dramatic range is astonishing
– from intense domestic realism, to
pure fantasy, slapstick and linguistic
fireworks. The adult characters, so
caught up in their institutions and
politics, are forced to learn from the
young. There is something wonderful
about Florizel and Perdita, the young
lovers representing rebirth and
regeneration, being played by actors of
the right age. It also feels like a play for
now, in the way the characters have to
find a new morality, following an age of
excess which has exploded in on itself.
There is a kind of purity coming from
austerity.
www.teaching-drama.co.uk
01/12/2015 11:52:06
 ANYTHING
IS POSSIBLE. 1956–2O16

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WITH 2O16 MASTERCLASS WEEKS

NYT MASTERCLASSES FOR 15+ YEAR OLDS.

BOOKING NOW OPEN FOR BRISTOL, LONDON
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– AUDITION TECHNIQUE
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– PERFORMING SHAKESPEARE

FIND OUT MORE TODAY AT NYT.ORG.UK/EVENTS

Matt Smith,
INCLUDING ACTING AUDITIONS & TECHNICAL INTERVIEWS Former NYT Member

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


Green room
Yes
Helen Day is co-founder of H2oh!
Education, which runs a range of
curriculum-linked performing arts
workshops in primary and secondary
schools across the South East of England,
and runs weekly workshops for the
Beacon Arts Youth Theatre in Brighton.
T T
hose passionate about Shakespeare
will probably always find the idea of a
‘translation’ horrifying. I can understand
that – the language is so rich, and presents such
glorious wonder when one understands it and
gets underneath it, that the idea of giving that
up in favour of plain, modern day language
seems really quite underwhelming.
Translating may encourage
some students to move beyond
a ‘translated’ text and to engage
with the original work
However, I do believe it’s possible to view a
good modern version of a Shakespeare play as
a teaching tool that can be used alongside the
original text. Must it be presented as a complete
alternative?
I have taught students who are naturally
inclined to engage with Shakespeare’s works,
and those for whom the language is such a
strong barrier that they just don’t ever really
move beyond that. For these students, being able
to understand the stories of Shakespeare, with
all the nuance of plot and character but without
the fight to just get to grips with the words,
may be a stepping stone towards enjoying it. It
may even encourage some to move beyond a
‘translated’ text and to engage with the original
work. I use improvisation as a teaching tool
when looking at specific scenes and themes
in his plays, and in these improvisations the
students use modern language. Is there really
so much difference between that and actually
offering them a ‘translated’ text?
For me, teaching Shakespeare is about using
any route to share the joy of his masterpieces,
and to plant the seeds for a lifelong appreciation
of his work. If a ‘translated’ text helps realise
this process, then I’m all for it.
14 Teaching Drama · Spring term 1 · 2015/16
TDSP1_1516_014-015_Green Room.indd 14
S
the debate: ‘
Mat Walters is head of drama and
theatre studies at Guernsey Grammar
School. He has been a senior member
of the AQA drama and examining team
and has taught drama at all levels for
23 years.
ranslation is a way into the text, but
doesn’t have to replace it. Let’s be
honest, the central route into teaching
Shakespeare tends to be asking students ‘what
does this speech mean?’ Only by understanding
the sense behind the words can students
come to a better understanding of character,
relationships and plot. Throwing students
straight into the deep end of Shakespearean
language will pull down the shutters against
him for life, so start with more accessible
versions.
Students can write their own monologues
to inspire others to battle with them: a diary
entry about meeting a mysterious boy at a party
Throwing students straight into
the deep end of Shakespearean
language will pull down the
shutters against him for life
whom they know their parents will not approve
of (but are going to secretly meet anyway), or
a despairing letter to a parent about their new
choice of partner and how it is too soon since Dad
left. They can then go to Shakespeare’s ideas and
see how language can be used to express the
same ideas with an understanding of context
and motivation already there.
The controversy about commissioning
modern translations of Shakespeare’s
plays ignores how useful they can be as a
teaching tool, especially for students who find
Shakespeare’s work initially so challenging –
and ultimately off putting. These are essentially
cover versions of the plays, and the best cover
versions can lead back to the originals. Hands
up who has used the opening of West Side Story
or a clip from The Craft as a way to kick up off
work about Montagues and Capulets or the
Three Witches?
www.teaching-drama.co.uk w
01/12/2015 11:54:40
 Should Shakespeare be
: ‘translated’ for students?
No
Alicia Pope completed a degree in
English and Theatre and Media Drama
at the University of Glamorgan,
followed by a PGCE at UWE, Bristol.
She is currently in her tenth year of
teaching.
I A
n the sense that ‘translated’ means rewritten
and performed in modern prose, I don’t
think Shakespeare should be translated for
students – one of the many joys of Shakespeare
is the infinite variety of his language. As a
teacher and lover of theatre I want Shakespeare
to be accessible, not something that only ‘clever’
people understand, but as part of that love
comes his ability to spin a good yarn with a
spectacular use of language.
Perhaps we should address how
theatre can be made available
y a sense of ‘dumbing down’ and does a huge
to everyone instead of changing
an enormous part of our literary
heritage
Some students may need some help with
the language, but Shakespeare wrote for
performance, not critical analysis, and things
take a very different turn when a script goes
from page to stage. Lines that are almost
incomprehensible suddenly take on very clear
meaning when you see Desdemona stare
longingly at Othello or Lady Macbeth wring her
d bloodied hands.
The idea of translating Shakespeare comes
from wanting to make it accessible but it
becomes accessible when we see it as it was
meant to be seen. Perhaps we should instead
address how theatre can be made more
available to everyone before we start changing
an enormous part of our literary heritage.
k www.teaching-drama.co.uk
TDSP1_1516_014-015_Green Room.indd 15
Join the debate
Strongly agree or disagree with one of our
green room debaters? Go online to
www.teaching​drama​blog.wordpress.com
and have your say.
Dan Clay has worked as a full-time and
supply teacher, as well as exploring
other avenues of work, including within
theatre and journalism. He has written
for the TES, Teach (Secondary) and
many other websites.
nyone who thinks Shakespeare’s prose
should be translated for a youthful
audience is perhaps being unfair to the
actors, teachers and students whose task it is to
bring to life the language of some of the finest
plays we have at our disposal – not least to a
certain humble playwright who, lest we forget,
wrote for the very people of the time.
A quick look at the hugely popular and
successful film adaptations of Romeo and Juliet,
Coriolanus and Macbeth should tell you that
adapting the setting – not the language – can
make Shakespeare highly accessible. The idea
of needing to open up his language brings forth
disservice to the very words Shakespeare uses
to draw character, emotion and narrative.
You don’t mess with greatness –
especially not from someone so
clearly born with it
While there’s nothing wrong with editing
texts – the popular Animated Tales and BBC
modern adaptations did just that – bringing
the language ‘up to date’ carries with it some
worrying prospects. Are we now to expect, in
keeping with the theme of making Shakespeare
relevant to today’s youth, Joey Essex starring in
the next big screen version of Hamlet, or perhaps
Keith ‘King Lear’ Lemon treading the boards at
the RSC come summer? And if translation takes
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.
Teaching Drama · Spring term 1 · 2015/16 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?
From 9–31 January 2016, alongside the
work onstage at the Barbican, a special
festival of RSC Shakespeare on Screen has
been created to complement the King and
Country plays, and will be showing in the
Barbican Cinemas.
The nine titles selected include
Macbeth (1979) with Ian McKellen
and Judi Dench, originally performed
at The Other Place in Stratford-upon-
Avon, Peter Hall’s A Midsummer Night’s
Dream (1959) with Charles Laughton as
Bottom in a rarely-seen partial recording
of Hall’s staging which was filmed for
American television, and Gregory Doran’s
production of Hamlet (2009) filmed on
location in an abandoned seminary in
North London, with David Tennant.
The Globe Education Shakespeare
Hodder Education in 2011, have
editions, first published by
English Literature GCSE curriculu
been revised to meet the new
course exam, rather than coursewo
m requirements for an end-of-
of Macbeth and Romeo and Juliet
rk. Board specific editions
WJEC Eduqas.
are published for AQA and
What relevance does this hold for
drama teachers? Well, the
Globe can always be relied upon
actors and acting at its core, and
to produce work which has
from a range of productions at Shak
sure enough, colour photographs
to understand how the play work
espeare’s Globe help students
World’ explains historical context
s on stage, while ‘Shakespeare’s
Education’s research department;
in features from Globe
for each scene; and ‘From the Rehe
‘Director’s Notes’ provide summari
es and thinking points
in rehearsal to help students deve
arsal Room’ provides active exer
cises of the type used
turning points.
lop their own understanding of the
text at key dramatic
The editions are priced at £7.99,
available to order online at hodd
ereducation.co.uk

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


5 REASONS WHY TEACHERS CHOOSE RSC EDUCATION
1 CPD in your school from as little as £35pp:
practical activities immediately
transferable from course to classroom
2 Free Schools’ Broadcasts: register now
to watch Othello on 17 March and
The Merchant of Venice on 21 April
3 Free Online Resources,
including the RSC Dream
Team 2016 Playmaking
Pack with lots of ideas
for how your school can
celebrate Shakespeare’s
legacy
@rsc_education RSCTeachers
TD_Spring1_2016.indd 17
Photo by Rob Freeman
4 Bespoke workshops for students
in Stratford-upon-Avon on any
Shakespeare play
5 Events, courses and conferences for
young people from KS1 to undergraduate
and their teachers
Find out more at www.rsc.org.uk/education
or call the RSC Education Ticket Hotline
on 01789 403434 (8.30am-5pm, Mon-Fri
during UK term time)
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
Globe Education, Georghia Ellinas,
has brought Shakespeare to
justice, and justice to Shakespeare. In
a project which she initiated, now in
its third incarnation, Globe Education
collaborates with the Royal Courts of
Justice to offer two-day workshops for
KS5 students, putting controversial
characters in the legal hot-seat in
‘Shakespeare on Trial’. I spoke to her
about projects past and present.
‘It’s a two day course,’ she tells me.
‘It starts with the students having
a lecture on the play: it’s pitched at
A level students so we look at things
like the historical and social context
of the play and the issues around law
at the time. Following this, they have a
practical workshop where they explore
a scene in the play, through typical
approaches that the actors take when
they’re in rehearsals. Then they watch
a performance of the play in the Globe
theatre and we supply resources, so that
the students have lots of material to
take away for their further reading. The
next day they work with the legal team
at the Royal Courts of Justice to put one
character on trial.’
him: that his crime was a premeditated S
murder, or that it was manslaughter on p
the grounds of diminished responsibility. t
The students went for the latter, as it f
allowed them to explore the fact that his N
whole psyche and his sense of his own t
identity and beliefs had been completely
eroded by Iago – which was great.’
The impact on the group was really
positive – many of them were considering
going on to study law at university, and the
experience helped them to feel empowered
to do so. ‘One young woman said, ‘now I
think I can be a lawyer, now I think I can do
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


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.
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
eyes of the students, ‘the most exciting
trip we have done with the School’,’ she
told me. ‘From the moment they arrived at
the Globe, studied the play and watched a
performance of it, through to their visit to
the Royal Courts, where they put together
a court case with a legal team, they were
transfixed – and a month later are still
discussing it with their teachers and their
friends. It was a wonderfully crafted,
visually- and mentally-stimulating event,
and our students learnt a variety of skills
which they can use and discuss in their A
level work and also in interviews as they
apply for university.
‘From the teachers’ angle, it gave us
all an insight into a more creative and
inspiring way to deliver Shakespeare and
to take it away from the page to further
understand both the characters and the
relevance of the plot in today’s world.
We will be using this model of a two-day
course on an annual basis for our sixth
form as it was such a successful trip.’
Running as these projects do
in conjunction with the ‘Playing
Shakespeare with Deutschebank’
productions, the next group of students
to pull one of the Bard’s characters up in
front of a jury will be looking at Twelfth
Night. For the first time there will be
two groups: one London-based and one
How do you use your
d
body and voice to
convince other people
o of your argument?
k www.teaching-drama.co.uk
TDSP1_1516_018-019_Shakespeare on trial.indd 19
working with the Nottingham courts. The
latter group will come down for their day
at the Globe and return to Nottingham for
the legal section of the course. It hasn’t
yet been decided what the charge will be,
but Ellinas is considering ‘bullying in the
workplace’. ‘It’s a topical issue,’ she tells
me, ‘for people in the workplace of course,
but also as an issue in schools. The
students either may have been bullied
themselves, or could have been implicit
in bullying. That’s what you get in Twelfth
Night – Malvolio suffers ‘gang bullying’
rather than just one person doing it.’
Cross-curricular skills
It all sounds enormous fun, but there
is, of course, an underlying educational
point to it. Ellinas tells me why she
designed the course: ‘Students for A level
have to be able to construct an argument
– they have to do it in literature, drama,
history, geography, law … it’s a cross-
curricular reading skill; they need to find
evidence, piece it together, and say why
that evidence is persuasive: that’s why it
proves my case. Those are really important
skills for A level, for further study, and
for the world of work, so this course is
designed to develop those skills.
‘And then of course there’s the
performance. How do you use your body
and voice to convince other people of
your argument? We’ve got all of the
language modes: speaking, listening,
reading and writing, all working together
to construct that argument and to deliver
it. And another skill is deciding which
bits of evidence I need and in which
order to put them. Do I put my most
important point first or do I use it as a
sledgehammer at the end?’
Teaching Drama · Spring term 1 · 2015/16
Shakespeare on Trial
The Royal Courts of Justice, London
At the Royal Courts it’s the students
who play all the roles: accused, and
jurors. And there’s a valuable lesson to be
learnt there too. ‘I’ve done jury service,’
says Ellinas, ‘and that jury room is so
intimidating. It’s designed to be scary, so
having the confidence to speak in that
sort of setting is also part of it. Students
have seen it on TV, but actually going in
there – it really does make you feel very
small. Anything that builds students’
confidence is going to be very helpful in
the long run.’
My feeling is that there’s inspiration
here for drama teachers – another
opportunity for cross-curricular
activity, and in fact a very easy project
to undertake independently at school
(albeit without the advantage of the
Scary Room). Ellinas agrees, ‘We’re using
Shakespeare because that’s what we
do – but you could do it with a novel or
a poem… When I was in the classroom
I did things like this with the murder
mystery The Ballad of Charlotte Dymond.
It’s a very flexible activity in the sense
of putting any character on trial, and
you can take any character from a book
as long as it’s pertinent.’ And although
at present the course at the Globe is
designed for students at KS5, we also
agree that it could easily be done at
school with GCSE groups and younger –
even with Year 6. 
The course is suitable for groups of 12+
and costs £100 per student – which
includes the ticket price for the production
of Twelfth Night at Shakespeare’s Globe.
More information can be requested by
emailing learningenquiries@
shakespearesglobe.com
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


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
this style of work, developing new
practices and methodologies of teaching
drama. I continue this through my blog,
Burt’s Drama.
Why were you keen to be part of the
MTDES programme?
I am passionate about sharing and
discovering new and progressive
pedagogies that I think will help both
further the subject of drama and make
the drama teacher’s life more successful.
We’ve all got a mountain to climb with the
changes in the education system, be they
for the better or worse, and anything that
helps must be a good thing!
What are you going to be talking about to
delegates at the MTDES?
What’s your background and experience I’m going to be talking about a relatively
in drama teaching? new pedagogy which has come out of
I’ve always wanted to be a drama America called Flipped Learning. Flipped
teacher – ever since school. After A levels Learning had been successfully used
I was lucky enough to read drama and in other contexts but at the time of my
education at the Royal Central School research had never been used in drama
of Speech and Drama before starting teaching. In my practice I found it very
teaching in a school in Slough fifteen effective when communicating the
years ago. While in Slough I quickly theory of practitioners, theatre history
became head of drama and created a and exam centred content, allowing me
very successful department. Having more time to spend with the students to
explained to my students that drama is prepare for the method of assessment
a good career choice I decided to put my and help them achieve higher grades.
money where my mouth is and set up As the pressure is going to build with
my own company, Lemon Cake Theatre. the new GCSE and A level specifications,
Working as a professional theatre pedagogies like this are really going to be
practitioner still inspires my teaching the way forward to deliver more content
today, as I find a real symbiosis between without taking away from practical
preparation for assessment.
Dilip Patel / Double-Barrelled Ltd
What is Flipped Learning?
Flipped Learning is essentially turning
the traditional concept of teaching on
its head. Instead of delivering a lecture
at the start of the lesson, the teacher
records it and gives it to the student
to watch or listen to before the lesson
as homework. The lesson itself then
Last year’s expo, which featured in-depth
becomes about the application of that
seminars and fireside chats
knowledge and the assessment of that
www.teaching-drama.co.uk
TDSP1_1516_021_MTDES.indd 21
MTDES
application. Time is made thereby to
ensure the knowledge is fully understood,
applied and embedded ready for
assessment.
How did you first encounter Flipped
Learning yourself?
I first encounted it during research for
my Masters when exploring the Kahn
academy. This is a huge online library of
instructional videos used by teachers in
the US. I realised a number of teachers
had already made the leap to Flipped
teaching and with great academic
success.
What are you most looking forward to
being able to share with other teachers?
There are lots of things that could be
taken from my seminar, ranging from
a full blown pedagogy that can change
your teaching practice to some extremely
useful take away bitesize pieces. I am
most looking forward to encouraging
teachers to reflect and try new ways of
delivering or assessing, even if it’s just
little things.
And finally, what other session would
you most like to attend if you were to
be at the MTDES for both days of the
conference programme, and why?
Anthony Kerr-Dineen’s session on
the role of character education in the
development of young people looks really
exciting. I’ve always been passionate that
at the centre of teaching drama should
be the process of making theatrical
experiences. I think there are tremendous
opportunities within that to develop
strong useful character traits such as grit,
self-control and optimism. 
‘Flipped Learning: a new approach’ is on
26 February at 10am and, like the rest of
the MTDES, is completely free to attend.
The programme for the MTDES as
announced so far can be found at
www.musicaltheatredrama.co.uk
Teaching Drama · Spring term 1 · 2015/16 21
07/12/2015 10:48:48
 THEATRE TRAINING
AT ITS FINEST
ACTING
ACTOR MUSICIAN
CREATIVE PRODUCING
MUSICAL DIRECTION
MUSICAL THEATRE
THEATRE DIRECTING
THEATRE PRODUCTION ARTS
WRITING MUSICALS

Auditions across the UK

MOUNTVIEW.ORG.UK · 020 8881 2201 · @MOUNTVIEWLDN

an amazing place to study

Our BTEC, Foundation and BA courses

in performing arts offer students a
unique opportunity to learn whilst
performing in our own working
theatre. Students also take part in
outreach projects in schools,
communities and organisations.

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


Which Board to Tread?
This November, National Drama CPD event Which
Board to Tread? was held at the Corn Exchange in
Newbury. Samantha O’Reilly took a closer look
W
hether ‘tentatively testing’
which boards to tread
or confidently securing
departmental direction, the National
Drama CPD event provided a chance to
hear about the impact of specification
changes at both GCSE and GCE levels,
straight from the horse’s mouth.
Representatives from all major exam
boards, including AQA, Edexcel, OCR and
Eduqas (the English version of Welsh
board WJEC) were present to share what
their GCSE, AS and A level drama and
theatre courses had to offer.
Treading the boards –
a summary
There are similarities across all four
boards at KS4–5, seemingly as a direct
result of the government’s drive for
rigour. At GCSE these tend to fall into
three areas to be examined:
 Devised Process and Performance
Assessed
 Scripted performance – each pupil
must perform two extracts from the
same play
 Written exam – demonstrating
understanding of drama, generally
through a response to live theatre and
set text study
At A level:
 Process driven performance
 Practical study of practitioners
 Performing from text
 Responding to live performance
(usually in the written exam)
 Study of set plays
Key points to note
 Set texts are varied for each exam board
 Study and performance of dramatic
text now needs firm embedding in KS3
drama or English lessons to support
learners at KS4–5
All exam boards expect live performance exams to
have an ‘audience’ present, although who makes up
that audience can vary
www.teaching-drama.co.uk
TDSP1_1516_023_Which board to tread.indd 23
 ‘Contrast’ is a key term Ofqual have
presented exam boards with, in terms
of the differences in the texts studied.
Exam boards vary in their approach
to this; Edexcel seem to have the
most straightforward approach by
classifying their contrast as ‘time’ at
GCSE level
 GCSE exam boards vary in their
response to devised performance
stimuli. AQA and Edexcel are leaving
stimuli selection up to the teachers
to find, whereas Eduqas and OCR are
presenting stimuli each year
 Measures for progress must be evident
and obvious. This seems a particularly
important point to note for the ‘Text
in performance’ examiners visit that
some boards are asking for a ‘concept
document’ from each learner, which
outlines their artistic intentions for
performance. Be sure to identify what
each exam board requires; some are
marking this as part of the qualification,
others are not. OCR appears to have a
straightforward and clear document for
the assessment of this
 Theatres and theatre companies have
much to offer schools if aligned with
the set texts or understanding of the
relevance of the ‘live theatre reviews’
aspect of GCSE and GCE study
Holly Barradell
Exam boards such as
OCR and AQA held stalls
Teaching Drama · Spring term 1 · 2015/16
Exam boards
Holly Barradell
The event gets under way
with a panel of speakers
 All exam boards expect live
performance exams to have an
‘audience’ present, although who
makes up that audience can vary
Networking
While there is no question that the
event was hugely useful, it did at times
feel a little like ‘death by PowerPoint’
– particularly for a Friday afternoon.
Drama teachers can be a tricky audience
to please; while we may look innocuous
and attentive, the #ParrottGate drama
certainly proved the opposite! This
moment of ‘real drama’ was handled
sensitively by Holly Barradell and
I feel it is very important to end by
mentioning what an excellent job Holly
and her National Drama colleagues did in
coordinating this opportunity.
In which other subject would you
find 300+ teachers coming together on a
Friday afternoon to network, debate, take
part in Oscar-style selfies and reflect?
Let’s face it – some of the best networking
opportunities and aligned thinking took
place in the toilets! National Drama
members also received a discounted
membership rate – amazing value
for money!
So, am I stepping out into the 2016
spotlight with a clear direction of travel?
The event certainly supported my attempt
to confidently tread the boards! 
All exam board presentations have been
made available on the National Drama
website: www.nationaldrama.org.uk/cpd/
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
of current non-accredited specifications’
is an extremely useful quick guide to the
differences across the exam boards at
GCSE level.
23
01/12/2015 12:01:03
 Psychology
Bias bypass:
the blind
leading
the blind
Dan Clay explores the psychology of marking bias,
and asks how to achieve blind marking in drama
B
e honest – how often do you mark
your student’s coursework blind?
We’re not talking physically here
of course (how else would you pick up
that glass of wine?) but without knowing
whose work you’re looking at and
without any inherent bias. Given the
findings of a recent study, perhaps it’s
worth contemplating.
All in the personality…
Starting with the hypothesis that
teachers are not totally resistant to bias,
the study’s authors decided to test how
teachers with the same personality
traits as their students might be inclined
to mark their work more favourably
than those with whom they are more
dissimilar. Using both reading and
arithmetic testing, they took data from
293 German Grade 8 students and 94
teachers across a mix of secondary
schools to test their theory.
After establishing the personality traits
of each teacher and student, the authors
asked teachers to give a blind overall
judgement on individual student ability
against an average Grade 8 student and
Perhaps the very
practical nature of
drama means that
teachers of the subject
feel a closer affinity
with their students
24 Teaching Drama · Spring term 1 · 2015/16
TDSP1_1516_024_Psychology.indd 24
then predict how students would fare in
specific reading and arithmetic tasks.
The study found that students
similar to their teachers were judged
more positively than those who were
dissimilar, and the authors of the study
commented that teachers are likely
to give ‘a more accurate estimation of
student achievement because it is easier
to take over another person’s perspective
if that person is more similar to oneself.’
Their defining conclusion was that
personality similarity ‘systematically
affects judgement’ – certainly an
illuminating find.
…and the handwriting
In 2013, the Department for Education
found that bias, personal feelings and
even neat handwriting influenced
teachers’ marking, while an OECD
study undertaken earlier this year
concluded that teachers generally mark
girls’ work more leniently than that
of boys, a finding backed by a study of
French schools by the London and Paris
Schools of Economics, which found a 6%
difference in favour of the former.
However, given that accurate and
impartial judgements are central to the
professional competence of a teacher,
how might they impact on those teaching
drama when perhaps marking blind
might be the only fair way to truly assess
achievement?
Drama: an exception to the rule
There is, of course, a huge problem.
Assessing students in a drama classroom
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
for which teachers can best adapt their
practice.
As with any subject, drama is not
without its element of bias. The very
nature of practical assessment by
external examiners such as in Edexcel’s
GCSE specification, means that teachers
are inherently biased, given the
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.
In this case, the study’s findings are
extremely relevant, given the gap which
can often exist between teachers’ and
moderators’ assessments of controlled
coursework tasks at GCSE and A level.
So, what’s the answer? A system
of e-pen marking commonly used by
examiners and moderators to shield
the student’s name from view? It may
be fine for this purpose but removes
that all-important personal bond
between teacher and student. In larger
departments moderation between
teachers certainly helps to eliminate
bias – although undoubtedly other
teachers will know students from
previous experience or hearsay. And
peer assessment, though a great tool
for student’s learning, risks carrying the
same level of bias, if not more so, than
teachers themselves.
It’s likely that the answer lies with the
individual teacher: maintaining the same
level of high expectations for each student
and beginning the marking process with
this firmly in mind. Even then, the study’s
authors themselves suggest it might be
difficult ever to lose some sense of bias,
whether personalities match or not,
given that delivering judgements about
students inherently requires using our
knowledge and experience of the very
student we are judging.
A bias bypass might be trickier than it
seems then. 
‘Personality similarity between teachers
and their students influences teacher
judgement of student achievement’, by
Tobias Rausch, Constance Karing, Tobias
Dörfler and Cordula Artelt (Taylor &
Francis), available at: http://www.
tandfonline.com/doi/full/10.1080/0144
3410.2014.998629
www.teaching-drama.co.uk
07/12/2015 15:44:13

Breaking out of the shed
As Chickenshed celebrates over 40  Catering to a challenge
years of success, Rebecca Pizzey
takes a look at their Education and
Chickenshed
Outreach Workshops
C
hickenshed advertises itself as
an inclusive theatre company
that celebrates performance as
the driving force behind tackling social
issues and facing the skills needed to
excel in any career path. Founded in
1974 by Jo Collins and Mary Ward, the
charity has since seen decades of success
– particularly with its educational and
outreach workshops.
The workshops incorporate social
issues with theatre, providing schools
with the opportunity to work with
practitioners to improve acting and
communication skills. The initial
workshop took place in 1990 in the Royal
Albert Hall, according to Paul Morrall,
Director of Education and Outreach at
Chickenshed. ‘We paired a class from
a special school with a class from a
mainstream school, and the idea was that
they’d be working together and would find
a common ground between them.’ The
pilot workshop was a huge success, with
It is more important
than ever for schools to
incorporate workshops
and theatre trips into
their programmes
www.teaching-drama.co.uk
TDSP1_1516_025_Chickenshed.indd 25
Chickenshed was
founded on the basis of
inclusivity in drama
‘1500 kids from a mainstream school and
a class from a special school from each of
the London boroughs, with a cast of about
250 Chickenshed kids,’ explains Morrall. ‘It
was a massive celebration of inclusivity.’
A message through theatre
The workshops have grown vastly
since 1990 and currently cover most of
the country, often touring with social
messages; one show in particular is
a piece by Morrall, which centres on
themes of gang violence, written after his
nephew Shaquille Smith was killed by a
gang in 2008 at the age of fourteen. ‘We
go to young offenders institutes, schools
where there have been victims of gang
violence, schools where there are risks of
violence – and even places where there
aren’t any issues with gang violence,
but where schools want to explore the
themes and prepare their students.’ The
show, which encourages open discussion
and involvement, has been seen by
around 50,000 people over seven years,
and is one of the largest outreach projects
from a London theatre company.
Morrall feels that theatre is more
important than ever when it comes to
conveying a message, though with the
looming return of the Ebacc [see Teaching
Drama Autumn 1] threatening students’
accessibility to creative subjects –
Teaching Drama · Spring term 1 · 2015/16
Chickenshed
particularly drama, fewer schools are able
to incorporate workshops and theatre
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.’
Unfortunately, arts funding in schools is
on the decline, with many departments
unable to push for the costs of workshops
or convince their head teachers that
workshops are key tools in theatrical
training. However, Chickenshed promise
to provide a relevant catered programme,
and even welcomes the challenge;
‘give us your most challenging concept,
whatever the area is, and believe me – we
will give you a performing arts workshop
that will benefit you and the entire
class.’ On top of that, the inclusivity of
Chickenshed means that they can provide
a variety of themes and topics, as well as
cater to your school’s individual requests.
Chickenshed also offer in-house
training, including a level 3 BTEC
diploma, which can progress to a
foundation degree, and then a full BA – all
validated by Middlesex University. ‘They
were so impressed by our inclusive work
and our pioneering and philosophical
aspects, that they wanted to develop
further education with us,’ says Morrall.
Students on the courses play an
important role in the company’s outreach
work as well as studying; ‘they come
with us on outreach work and use that
as research for themselves. It’s all part of
a culture of education and research. We
think the links between education and
theatre are so vital – and obviously we
proved the pudding.’ 
A full list of workshops offered by
Chickenshed, as well as how to book, can
be found at www.chickenshed.org.uk/
educational-outreach-workshops
25
01/12/2015 12:08:58
 On course
Distance Learning Shakespeare and
Theatre MA/Diploma
Shakespeare Institute, Stratford
B
ased at the Shakespeare Institute
in Stratford, an off-site department
of University of Birmingham, this is
one of four Shakespeare-linked MAs in the
country. Like its sister option Shakespeare
in Education, it consists of a very flexible
modular structure and can be done by
online distance learning, part-time, as well
as face-to-face full- or part-time.
‘It’s quite an intimate department,’ says
senior lecturer and course leader Dr Erin
Sullivan. ‘We have about 75 MA students
overall at any one time and I know
them all by name.’ Of the 45 students
or so enrolled on the Shakespeare and
Theatre and Shakespeare in Education
course about three quarters are distance
learners. ‘And they’re based all over the
world,’ says Erin, who has been in post
for five years, having previously worked
for the Open University.
Course contents
There are two core modules which
everyone takes: Shakespeare’s Theatre
and Research Skills. Each student
then chooses four optional modules
from Shakespeare’s Craftsmanship,
Shakespeare’s Legacy, Shakespeare’s Text,
History of Shakespeare in Performance,
Shakesperience, Shakespeare and
Theatre Practice, History of Shakespeare
Criticism, Plays and Poems, Early Modern
Drama: Middleton and Johnson (some
of these are available only by distance
learning and some only on-site).
According to Erin, ‘all of the modules
are written by our Fellows here at the
Institute.’
Each module is assessed by an extended
essay, and once six are completed, MA
students embark on a 15,000-word
dissertation. This degree or diploma is a
major commitment. It can’t be treated as
a hobby in a couple of hours a week. To do
it properly part-time you need to allocate
at least 15 hours a week and be prepared
to go to Stratford for some weekends if
26 Teaching Drama · Spring term 1 · 2015/16
TDSP1_1516_026_On course.indd 26
you want to access some of the on-site
modules. Erin stresses flexibility and
the potential to mix and match, and
distance learners and part-time students
are required to do just as much work as
their full-time counterparts. And, as with
the OU as a distance learner, you can be
as involved or not as you wish, with the
student community.
Because of the geographical proximity
within the Shakespeare Institute, the
course has ‘a strong friendship’ with the
RSC, including links between individuals
– earlier course director Russell Jackson
teamed up with Kenneth Branagh
and remains his text adviser for films,
and there are a growing number of
collaborative activities, especially now
the RSC is re-developing the Other Place
as a focus for innovation.
Entry requirements
‘We normally look for an upper second
BA in a related subject such as English
or drama and we ask for a piece of
writing about Shakespeare as part of the
application,’ Erin explains, though this is
not set in stone. She and her colleagues
will also consider relevant experience or
a degree in different subjects, and start
these students as affiliates. ‘Almost all
of them move on to the full programme
quite quickly because there’s a huge
amount of enthusiasm and commitment.’
Career pathways
Many students are teachers, while others
include actors, directors and professional
theatre makers wanting to widen their
work portfolio, perhaps by teaching part-
time in a drama school or FE/HE college.
‘We’ve also had lots of people who just
want to learn about Shakespeare:
accountants, physicians, estate agents –
all sorts,’ says Erin, mentioning in passing
a voice coach and a German ballet
dancer whose passion was dance based
on Shakespeare.
by Susan Elkin
University of Birmingham
The Shakespeare Institute provides both
hands-on and distance learning for all levels
‘Teachers who enrol are usually
teachers of English or drama wishing to
explore ways of enhancing what they do
in the classroom. Perhaps they’re already
involved in school productions and
hungry to do more, or do it in a different
way,’ says Erin, adding that some are
looking for higher qualifications with a
view to moving into leadership positions
and influencing others.
Some students progress to research
degrees once the MA is done, with
doctorate opportunities also available at
the Institute as a pathway. 
Notes for teachers
f f The MA takes 12 months full-time or
24–36 months part-time including
distance learning. The diploma takes
8 months full-time or 16 months
part‑time
f f Fees are £6,840 per year full-time
for UK and EU residents (£14,850
overseas). For diploma, part-time
and distance learning, rates are
£760 per module and £2,280 for
the dissertation. Erin notes that
many teachers are part-funded by
their schools and/or given a lighter
teaching load to allow them to fit their
studies in.
f f The next open day at the Shakespeare
Institute is on 4 February 2016. More
details, including a virtual tour, can
be found at http://www.birmingham.
ac.uk/schools/edacs/departments/
shakespeare/index.aspx
www.teaching-drama.co.uk
07/12/2015 15:43:44
 Theatre practitioners
Sanford Meisner
S
anford Meisner was an actor and a
trainer of actors, born in Brooklyn
in 1905, who taught at the Group
Theatre, then the Actors’ Studio and
finally the Neighbourhood Playhouse in
New York until only a few years before his
death in 1997.
Originally part of the same group as
Lee Strasberg and Stella Adler, Meisner’s
ideas also have their basis in the work
of Konstantin Stanislavski. However,
while Strasberg and Adler’s ‘method’
encouraged actors to build performance
on emotional recall and personal real-
life circumstances, it was Meisner’s firm
belief that acting should be defined as
‘living truthfully under imaginary given
circumstances’ – responding truthfully in
the moment to that which you receive,
not from within, but from the other
actors with whom you are interacting.
Unlike some other practitioners, there
is no recognisable style of work which
emerges from Meisner’s principles:
no such thing as a ‘Meisner-esque’
production. His ‘technique’ is purely a
method for training actors to respond
truthfully: a highly effective form of
groundwork.
Work on Meisner exercises requires
a high degree of maturity: there is no
reason why a KS4–5 group should not
benefit hugely from the principles of
the basic exercises, however as time
does not allow for full exploration of the
technique, it is probably best to stick to
the simplest ones as an introduction.
Exercise one – introduction
Divide students into pairs. This work is
particularly effective with one pair ‘up’
at a time, as there is a good deal to learn
from watching and then discussing. Time
constraints may demand that pairs work
around the room all at once.
Seat the two students opposite each
other in a neutral and relaxed position
and ask them to observe one other, to
take note of what each other is wearing,
what they look like, facial expressions
or movements. After a few minutes, ask
each student in turn to shut their eyes
www.teaching-drama.co.uk
TDSP1_1516_027_Theatre practs.indd 27
and to describe in detail what they saw.
At the most basic level, this teaches
the principle of looking and seeing,
and of taking the attention off the self
(where most actors – most people in
fact – will usually find their attention
habitually lies).
Exercise two – ‘mechanical’
repetition
Seat two actors opposite one other. This
time it is best for one pair to ‘work’ and
the rest of the group to observe. Ask them
to begin by observing one other, then ask
either one to say something simple that
they see. At this stage it is best for this to
be a neutral physical observation, such as
‘blue t-shirt’.
Without pause for thought, the two
should then repeat this observation back
and forth between them ‘blue t-shirt’ –
‘blue t-shirt’ etc. matching precisely the
intonation, pitch (as far as possible),
volume and pronunciation that they hear
from the other actor. Unless the students
are instantly perfectly attuned and
responsive, there will probably be slight
changes in the sounds: the only maxim
is that each must listen precisely to
what, and how the phrase is said by the
other person, and repeat it as exactly as
they can. If you notice failures on either
student’s part to spot subtle changes in
the sounds made, pause the pair and ask
the observers to remark upon what has
been missed.
This exercise teaches students to listen
actively to what is being said by the
Teaching Drama · Spring term 1 · 2015/16
by Sarah Lambie
other actors on stage, but also highlights
how observant an audience is, and how
sensitive to tiny changes and to truth of
response from actors.
Exercise three – ‘simple’
repetition
Again, seat two students opposite one
other. Explain that the principle of exact
sound replication has now been set aside;
there is no longer any need to ‘imitate’
volume or intonation, but watching and
listening as learnt in the previous two
exercises are still (and always) essential.
As before, either student remarks upon
something simple that they see – however,
this must now be made personal by
extending into a full descriptive sentence:
‘You’re wearing a blue t-shirt.’ Also as
before, the other actor must immediately
repeat the phrase, though for sense they
must switch the personal pronouns: ‘I’m
wearing a blue t-shirt.’ This repetition
continues indefinitely. The important thing
is not what is said, which is ultimately of
little significance, but that the actors each
notice and respond truthfully to the way
in which it is said: keeping their attention
always on the other person and noticing
how they are affected by what they receive.
Extension
The next stage of this work is for actors
to begin responding to change in their
partner: remaining alert, and maintaining
the principle that everything must
be repeated at least once, to keep a
‘conversation’ from emerging, which roots
actors firmly back in their heads, out of
their more instinctive modes of response.
After some repetition of ‘You’re
wearing a blue t-shirt,’ it may be that
one or the other sees, and observes, ‘You
raised your eyebrow,’ and the repetition
changes. Over time, more insightful and
emotional observations may emerge,
and if fully engaged, the students may
find all sorts of personal emotional
reactions arising from the interaction –
all are training the actors to keep their
attention off themselves and to respond
truthfully. 
27
01/12/2015 12:10:36
 Toolkit
Teaching lighting:
the basics
W
ith the recent changes to GCSE
and A level drama courses,
it’s possible that teachers may
find more students becoming interested
in lighting as an option for assessment in
some components of the course. There’s
no need to panic if you’re not an expert
on lighting – a little useful knowledge is
all you need to teach your students about
the basics. It’s also useful for teachers
to know a little themselves, should they
need to do a basic design for a school
production or exam piece.
Purpose of lighting
Remember that theatre lighting is used
for the following reasons:
ff Making sure your actors can be seen
by the audience
ff Concentrating attention on specific
areas of the stage when required
ff Creating an atmosphere or mood,
perhaps using colour
ff Special effects, such as strobe lighting
or patterns
What do I need to know?
ff As with photography, lighting is about
angles, so you need to think about
where you want to hang your lights,
and how much light you want to come
from them
ff It’s useful to think about how you
can use colour – this can be for
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
broken up into a pattern for a specific
effect, such as a leafy floor or a church
window
What about angles?
The best way to see how lighting angles
work is by playing around with some
large torches and a wig on a chair or box.
28 Teaching Drama · Spring term 1 · 2015/16
TDSP1_1516_028-029_Toolkit.indd 28
by Lucy Ellen Rix
P
This will show you how light hits the face f f Profile spot: this lantern can produce L
and body. a beam of light that has a hard or soft I
Here are some key things to know: edge. It has shutters which let you y
f f If lit from directly overhead, the eyes control the edge of the beam, so you f
and mouth will be in shadow can focus it onto a smaller area. This l
f f If lit from behind, the body will be in lantern is good for spotlighting. A gobo s
shadow can be fitted to this lantern to shape i
f f If lit from the side, the profile will be the beam of light, and an iris can be s
highlighted used to reduce size of the beam E
f f If lit from below, the face will be a
distorted – this is useful for dramatic l
effect a
f f If lit from the front, the features of the i
face will be emphasised o
b
The best lighting for the face is to use T
three sources of light: one from the front b
at 45 degrees, and two from either side, a
90 degrees apart. The lights at the side w
will fill in, with the main source of light w
coming from the front.
Profile spot light
Types of lantern
There are 4 basic types of lantern which f f Flood: this is a very simple type
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
ff Fresnel spot: a really useful lantern are good for a general wash or for
which gives a nice soft edge to the lighting a back cloth, but they cannot
light. It’s good for using in a general be adjusted or focussed. These can be
wash across the acting space. A barn useful for dance events where lighting
C
door can be fitted to a Fresnel to stop of facial expression is not always as
the main beam scattering onto bits of important
scenery. The size of the beam can be
adjusted with a screw mechanism
C
Flood light
f f PAR-can: these lanterns are very good
for using strong colours but not great
for general wash lighting as they are
Fresnel spot with a barn door attached too powerful. Par-cans are effective for
special effects or for a very stylised
www.teaching-drama.co.uk w
01/12/2015 12:12:53

moment within a play. Deep colours
might burn out quickly with a par-can
so be careful when choosing shades
Toolkit
Accessories
A few basic accessories will really widen
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
PAR-can lantern
LED lanterns
If there’s a little bit more money in
your budget then a good investment
for students to work with would be LED
lanterns, which eliminate the need for
o sheets of coloured gel as they have built
in colour options, allowing you to mix
shades. Lighting hire and sales company
ETC produce Colour Source PAR (LED)
and Colour Source Spot (LED). These
lanterns have red, green, blue and lime
as their fixed colours which can be used
in different combinations. The beauty
of these lanterns are that they can also
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.
Fresnel lantern, allowing the beam of
light to be shaped, and for light spill to
be reduced
ff Iris – this fits inside the profile spot
and reduces the diameter of the beam.
They can be very useful for tightly
focussed areas
Stage Superstore
However, both manual and
programmable lighting boards are
acceptable for students. Programmable
ones are easier to use, as lighting states
can be recorded into the memory or onto
a USB and then the student just needs
to press the GO button in performance
for each cue, rather than having to set
up each cue manually. The Smart-Fade
1248 by ETC is ideal for smaller venues
– but for the tighter budget, the free
downloadable software Smartsoft will
turn a PC or Mac into a virtual Smart-
Fade console, allowing for students
to work on their own lighting design
from home.
ETC Smart-Fade 1248 Console

Finally, students touring their

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

Colour Source Spot (LED) from ETC
Teachers’ Tip
It’s useful to have a lantern on a stand for
the classroom but this is not essential,
torches can be just as effective when
teaching about angles.
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
need to have a two-scene pre-set which
allows one state to be set up while
another is in use.
Further information and products
can be found from ETC at
www.etcconnect.com, Stage Superstore
at www.stagesuperstore.co.uk, and
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
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ColorSource Relay
Transforming small system design

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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
A comprehensive and popular
Moving Heads
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Scanners
Lasers solutions for any event or
Effects lighting performance.
Indoor and outdoor solutions

lightmaxx products are exclusively available in the UK from dv247 and dv music village.
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TD_Spring1_2016.indd 30 04/12/2015 11:41:54

 t o our

LO ake bs
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G th cri
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workshop

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Schemes of Work:
a

W st o !
BTEC

f
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
KS3/4
Introduction
This scheme of work explores the monologue ‘The Seven Ages of Man’ spoken
by Jaques in the play As You Like It by William Shakespeare (Act 2, scene 7, lines
139–166).
The purpose of the scheme is for students to understand the monologue and
learn drama strategies to explore it, and demonstrate understanding of it to an
audience.
It is intended to be delivered to KS3. Students will devise and perform their own
play inspired by the monologue using the skills taught in the scheme of work.
Learning objectives
By the end of this scheme students will have learnt:
f To explore the monologue ‘The Seven Ages of Man’ spoken by Jaques in the
play As You Like It by William Shakespeare (Act 2, scene 7, lines 139–166)
f To demonstrate an understanding of the monologue
f To demonstrate skills through a devised play inspired by the monologue
f To understand and demonstrate how to develop own and others’ work
f To assess own work and work of others.
The resources
Resource 1 is a student booklet that can be used:
f To consolidate learning
f To check what the student understands of the work covered
f To set homework tasks
f For teacher assessment of the student
f For student self- and peer-assessment.
Lesson 1: Monologue
Learning objectives
By the end of the lesson students will have learnt:
f To understand what a monologue is
f To understand what is meant by ‘The Seven Ages of Man’
f To understand how the use of space and levels can demonstrate character and
relationships.
f To use freeze frame to highlight key statements in the monologue ‘The Seven
Ages of Man’
f To explain a mime and demonstrate communication of character through
movement, gesture and expression.
Starter activity
Objectives
Discuss with students Resource 2, slide 1. Check their understanding of
monologue – see Resource 2, slide 2, freeze frame and mime. Explain to
students that by the end of the lesson they will have created a freeze frame
that demonstrates one of the seven ages and will have improvised a mime that
demonstrates the age being portrayed in the freeze frame.
Task
Resource 1, pp. 4 and 5 and Resource 2, slide 3.
Read ‘The Seven Ages of Man’. Discuss with students what they think the
monologue is about. Explain any words with which they may be unfamiliar.
Resource 2, slide 4. Demonstrate to students how the deliberate use of space
and levels can show the status of a character and the relationship they have to
other characters. Ask three students to model the following:
Katherine Noble took up teaching in
a secondary school after spending
time practising drama and acquiring
her actor’s Equity card. Her focus
over the last ten years has been the
responsibility of creating and delivering
drama to KS3 and KS4.
The film The Curious Case of Benjamin
Button presents a good example of the
cycle of life which can help students
to understand elements of Jaques’
monologue.
Resource 1 can be used as part of the
plenary at the end of a lesson.
Key words:
f The Seven Ages of Man
f As You Like It
f William Shakespeare
f Freeze frame
f Mime
f Monologue.
Resources:
f The monologue ‘The Seven Ages of
Man’ from As You Like It
f Resource 1, pp. 4 to 7
f Resource 2, slides 1 to 4.
Using postmodernism in drama
and theatre making
David Porter
AS/A2
AS/A2
Introduction
We live in an increasingly ‘cross-genre’ environment where things are mixed,
sampled and mashed up. History, time, roles, arts, technology and our cultural
and social contexts are in flux. Postmodernism expresses many of the ways in
which this is happening.
As the reformed A levels come on stream, postmodernism may appear to
have little place except in BTECs. However, performing arts in general and
drama in particular require knowledge and understanding of wider contexts,
reinterpretations, devising and study of texts from different periods. Exploring
postmodernism is an excellent way to open up a world of artistic interest,
exploration, experiment and mash-ups for students who are 16 and over.
Although different in details, the Drama and Theatre A level specifications
offered for teaching from 2016 (first exam in 2018) are similar in intention and
breadth of study. All require exploration of some predetermined and some
centre-chosen texts, a variety of leading practitioners, and devising and re-
interpretations. Using postmodernism broadens students’ viewpoints, ideas and
practical experiences of using art forms to express material.
Exam preparation aside, this scheme serves as an effective introduction/taster
Allan Graham, Master Peace
to performing arts in general and theatre/drama in particular.
New specifications
f OCR’s Drama and Theatre A level:
http://www.ocr.org.uk/qualifications/as-a-level-gce-drama-and-theatre-h059-
h459-from-2016/
f Pearson Edexcel’s Drama and Theatre A level:
http://qualifications.pearson.com/en/qualifications/edexcel-a-levels/drama-
and-theatre-2016.coursematerials.html#filterQuery=category:Pearson-
UK:Category%2FSpecification-and-sample-assessments
f AQA’s Drama and Theatre A level:
http://www.aqa.org.uk/subjects/drama/a-level/drama-and-theatre-7262
f WJEC’s Drama and Theatre A level:
http://www.wjec.co.uk/qualifications/drama/drama-gce-a-as/index.html
f Ofqual’s conclusions from consultations and new exam regulations are
available online:
https://www.gov.uk/government/consultations/gcse-as-and-a-level-reform-
regulations-for-dramadrama-and-theatre
BTECs and Technicals are also being revised and students preparing for many routes
through these will find postmodernism useful and of help in developing their ideas.
Learning objectives
f To study postmodern approaches to the performing arts
f To explore issues and ideas from practitioners
f To put ideas into social, historical and cultural contexts
f To stimulate creative thinking, problem-solving and team work through
performance material
f To develop writing, devising and performing skills using postmodern material.
Scheme in summary
Lesson 1: Some postmodernism
Towards definitions of postmodernism explored through an experimental piece of
performance.
Lesson 2: Some history
Taking a play extract that uses fragmented history and juxtaposition to air issues
and manipulate audience expectations.
David Porter is former Head of
Performing Arts at Kirkley High School,
Lowestoft, teacher and one-time
children’s theatre performer. Freelance
writer, blogger and editor, he is a senior
assessor for A level performance studies,
IGSCE drama moderator and GCSE drama
examiner.
Resources
Suggestions are suitable for both
teachers and students. Teachers should
check material before sharing it.
Devising public performance
Most specifications require both group
and solo practical performance and
written analysis of texts from the
perspectives of performers, directors
and designers. Where devising is
required, postmodernism can help
prepare for public performance.
Yerma by Federico García Lorca
Mat Walters AS/A2
AS/A2
Introduction Mat Walters is Head of Drama and
Theatre Studies at Hereford Sixth Form
This scheme of work for use with KS5 looks at introducing the play Yerma, College. He is an Assistant Examiner for
the written units for AQA and has taught
focusing on key themes in the play, and building acting and directing strategies
drama at all levels for 18 years.
for Act 1, scene 1.
Yerma is a tragedy and clearly reflects Lorca’s interest in challenging the
expectations of naturalistic theatre. The performing style adopted should reflect
these aspects clearly; so should the technical elements and colour palette for
the costumes, as should the terms used to describe approaches to it in written
work. There is also a clear element of surrealist influence over the play, and the
language is deeply poetic, symbolic and full of imagery. Song and choreographed
movement also play central roles in bringing the play to life. Even those scenes
which seem the most potentially naturalistic are full of stage directions and
poetic imagery which indicate a heightened, almost stylised, acting style.
Yerma premiered in 1934 and in it, once again, Lorca took the local and specific
and gave them a universal quality, allowing the play to become an indictment of
the trappings of social convention, ideas that run through all of his work. At the
centre of the play is a woman driven to madness and murder by her desire for a
child, in order that she can fulfil that which is expected of her. The play hints at
her not being responsible for the lack of a child, but that it is, in fact, her husband
Juan who is infertile. The last line of the play ‘I’ve murdered my child,’ as Yerma
stands over her husband, who she has just strangled with a strength born from
hysteria and despair (or perhaps could the scene be staged so that Juan allows her
to kill him?), emphasises the constant symbolic nature of the actions and words.
It is her husband whom she has killed, and yet, so consumed is she by her sense
of being incomplete, the murder is of her role as a mother: her rightful role which
has been denied her.
Yerma is perhaps the most immediately accessible of Lorca’s plays, but it has
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
an extract is an appreciation of the heightened acting style which emphasises
the poetic nature of the language and the conflicting passions that the characters
face. The aim of this scheme of work is to remind students of the need for
appropriate theatrical vocabulary, to highlight the importance of the acting style,
to understand and begin to convey the subtext evident in the relationships and
to highlight some central themes of the play and to consider how they could
be made evident during the opening sections of Act 1. The three sections of
the opening scene, between Yerma and her husband Juan, then the interaction
between Yerma and her newly-pregnant friend Maria, and then finally her scene
with Victor, will be considered from the point of view of a director, and simple
methods to convey meaning to the audience will be addressed. Students must
show an understanding of what their given extract foreshadows later in the play,
so that their directorial ideas are relevant and are apt for the development of
the plot.
Yerma is a highly atmospheric play, and that sense of tension and how it differs
in each section of the opening scene of the play, needs to be carefully addressed.
Once again Lorca chooses to set his action in a close-knit, highly ordered
community, where social roles are clearly defined and must not be deviated from,
so Yerma as a character becomes a symbol herself of the misery that such a strict
sense of social expectation can cause.
Potential considerations regarding the proposed new specification
Yerma is expected to be part of the ‘List B’ plays for the new AQA A level
specification and therefore students will be expected to approach it from a
directorial point of view, as well as that of actor and technician. There will be two
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
workshop
Introduction
This one-off workshop helps build
both general and character-based
improvisational skills. The drama leader,
in-role as the Police Chief, reopens the
case of Humpty Dumpty and asks the
young ‘detectives’ to re-enact the event to
discover what truly happened.
Learning objectives
ff Through this workshop, students will develop their
improvisational and spontaneity skills along with their general
story-based creativity.
ff They will learn to perform, subconsciously, as a character and
will also work to devise a small performance as a team.
Resources
Each group of students will need two sheets of A4 card, a small
rectangular box (a toothpaste box or similar), a roll of sticky
tape and an egg – these will build the model ‘crime scene’. I also
recommend a few sheets of old newspaper to place underneath
the model.
Opening – five min
As the students arrive, the leader should already be in-role as
the Police Chief. Ask them to stand in a line facing you and
announce the following, or re-work it to suit your class: ‘Humpty
Dumpty sat on the wall, but was he pushed – or did he fall? As
the Police Chief I have reopened this case and, for the next hour,
YOU are my detectives. Now, we need to scramble our teams
together and boil this case down as quickly as possible.’
Warm-up – ten min
In order for the detectives to discover what truly led to Humpty’s
fall, they must be creatively prepared – a warm up is needed.
Bring the class into a standing circle, with a beanbag or a small
ball, and begin telling a nursery rhyme themed story. Using
the ‘fortunately/unfortunately’ concept, throw the beanbag to
each person in the circle, beginning with an unfortunately, and
alternating with each new person. For example:
ff Unfortunately, it was raining and the spider was about to be
flushed away.
ff Fortunately, there was a water spout nearby for the spider
to climb.
ff Unfortunately, as the spider began to climb, the water came
down and washed the spider out!
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
their improvisational skills.
www.teaching-drama.co.uk
TDSP1_1516_035_One-off workshop.indd 35
The Great Egg Detective
Ryan J Williams
KS1–2
Set-up – ten min
Using the resources, each group of students work together to
create a model of the crime scene. You can also give each group
a piece of paper to wrap around the rectangular box and create a
wall pattern with coloured pencils.
Once you have briefed the detectives, split them into groups
of four. Encourage them to place one sheet of card flat as the
‘floor’ and fold the other to create a ‘backdrop’, connecting the
two pieces with sticky tape to keep it upright. The rectangular
box will act as Humpty’s wall.
The Egg-speriment – two min
After the models are created, explain what the following
experiment will entail; each group will be given one egg, and will
drop it onto their model from approximately 1 metre. If the egg
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.
This is a fun part of the workshop in which the ‘scene of the
crime’ is recreated, and can give the groups a lot of humorous
and interesting ideas!
Rehearsal – fifteen min
Before the rehearsal, move the models to a safe corner. Now the
detectives can create a short performance based on the results
of their experiment, and speculate on the true events of the case.
Encourage wacky ideas such as ‘he slipped on a banana peel,’ ‘he
was bungee jumping’ and, if he was pushed, ‘Humpty pushed
a real egg off the wall.’ As the Chief and leader, check on the
groups’ progress and offer them help if they need it.
Performance – fifteen min
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,
as the Chief, ensure you take notes throughout. Once all of the
groups have performed, thank the detectives for their hard work
and take a vote on which theory they believe to be most likely.
Plenary
With any remaining time, discuss the workshop and the
techniques that have been used. Explain to the students how,
with their ‘detective’ characters, they have been improvising
a character throughout the class, and how that can be
implemented in other performances.
Tip: To make the workshop even more fun, use egg-related jokes
and puns throughout – for example, ‘Egg-sellent’ and ‘Egg-citing’
work great.
Remember: You can find the Great Egg Detective workshop pack on
the Teaching Drama Website.
Teaching Drama · Spring term 1 · 2015/16 35
01/12/2015 12:15:54
 Reviews
Book
Shakespeare and Audience in Practice
by Stephen Purcell (Palgrave Macmillan)
ISBN 978-0-23036-404-2
A new and interesting look at performance
approaches to Shakespeare, keeping the
audience as its central theme throughout.
The most
engaging aspect
of this book is when
Stephen Purcell
applies dramatic
theories to real life
examples of leading
theatre practitioners
– companies,
directors or actors.
He analyses these
performance examples in ways that
are easy to access and would prompt
impassioned debate in KS5 study and
beyond. The text also offers opportunities
for reflection for emerging directors
keen to consider the role and impact
Shakespeare has on an audience.
The text is peppered with
commentary on a vast number of recent
Shakespearean productions and I found
myself regularly reflecting on my own
experience as an audience member of
those productions. However, as a teacher
I would have liked to see several more of
the promised ‘exploratory workshops’,
through which Purcell offers an
opportunity to ‘test the book’s ideas’ in
his prologue.
There are six workshops briefly
outlined, and while each enables
exploration, they require leaders to
be experienced in delivery. Though an
insightful exploration, the text does not
encourage me to ‘play’ with the ideas in
practice; instead I will be discussing the
thinking further, but as a spectator!
Samantha O’Reilly is Head of Drama at
Coombe Boys’ School and has taught for
thirteen years. In 2012 she became Drama
AST for the Royal Borough of Kingston-Upon-
Thames and in 2014 a Lead Practitioner. She
trained at The Royal Central School of Speech
& Drama.
36 Teaching Drama · Spring term 1 · 2015/16
TDSP1_1516_036-037 Book revs.indd 36
Book Book
Hour-long Shakespeare: Henry IV (Part 1), Year of the Fat Knight: The Falstaff Diaries
Henry V and Richard III by Anthony Sher (Nick Hern Books)
by Matthew Jenkinson (John Catt ISBN 978-1-84842-464-6
Educational Ltd)
ISBN 978-1-90971-738-1 This book is a bit like sitting down for a
good chat with an affable, perceptive, self-
Each script does a good job of retaining key deprecating, but honest, actor.
plot elements.
‘I t is not a book
for purists, nor
those seeking a
A ntony Sher
could have
earned a living as
study text.’ So opens an author, had he
the introduction to not become one of
Matthew Jenkinson’s the finest actors
book with a wise of his generation.
warning. That said, The RSC’s Henry IV
this collection, (Parts One and Two),
taking some of staged last year in
Shakespeare’s driest Stratford, later at
plays and adapting them for KS3, would the Barbican and finally on national and i
always be a thankless task. international tour this year, brings forth s
Each play has a short introduction and Sher’s mesmerising Falstaff. During the
synopsis, useful for students as context twelve months it took to draw those l
for what follows. The scripts use original shows together Sher kept a diary and o
Shakespearian language, so if you’re after that’s what this book, complete with his r
simplification of the text to go with an own illustrative drawings, consists of. S
abridged version, this is not the edition It’s compelling, informative, funny and, U
for you. like most published diaries, gives a good b
Each script does a good job of retaining impression of allowing the reader an t
key plot elements in an hour-long intimate, privileged insider view. a
production, though there can be an over- We hear how he learns his lines d
reliance on choral speech, sometimes (that infuriating question which actors t
taking up two or three pages at a time. would rather the public didn’t ask) and s
The introduction again suggests that about the practical problems of the fat p
these are divided, but no guidance is suit. Then there are the after-hours w
offered on this. conversations with Artistic Director Greg
The end result is a very earnest hour Doran and, along the way, events they R
spent in the company of each play. It’s attend together and separately. Also m
neither fish nor fowl; the adaptations tucked imperceptibly into this book is a m
would be useful for KS3 students, but critique of the two plays as Sher explains r
I would question not studying the how, from day to day, he and the cast t
whole script at this stage. Mixed and explored and developed scenes. r
lower ability groups will require further If you were lucky enough to see those t
guidance with the material in class, and productions of the Henrys (as I did) then p
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
histories but at a shorter length, this is evenings with Sher’s book is probably t
the book for you. the next best thing. It’s a bit like sitting
down for a good chat with an affable,
perceptive, self-deprecating, but honest,
Ben Morse was a full time teacher and Head
actor. And he writes beautifully.
of Drama for ten years. He is now a freelance
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?
www.teaching-drama.co.uk w
01/12/2015 12:17:42

Book
Transforming the Teaching of Shakespeare
with the Royal Shakespeare Company
by Joe Winston (Arden Shakespeare)
ISBN 978-1-4081-6397-7
An interesting collation of the successes in
education at the RSC.
W hile there
may be some
debate about the
domination of
Shakespeare in the
English classroom,
there is no doubt
that this desire to
keep Shakespeare at
the centre of things
has allowed drama
into more classrooms than might have
seemed likely in a post–Gove world.
With clarity and confidence, this book
looks at the development of the pedagogy
of Shakespeare with very specific
reference to the work done by the Royal
Shakespeare Company with their STAND
UP FOR SHAKESPEARE campaign. The
book goes through the development of
this approach, reflecting on its history
and the people who influenced its
development, and offers an outline for
the future. There are a number of case
studies and the findings of a research
project on the effect that this kind of
work has on students.
This is not a classroom book; the
RSC (and others) has produced suitable
material to explore these teaching
methods for yourself. This is a thoughtful
reflection of the work that has led to
the RSC not only getting a positive
reputation for its stage work, but also for
the excellence of its education work and
performances aimed specifically at young
people. Buy for positive inspiration,
maybe, or when you embark on your own
postgraduate certificate in the teaching of
the Bard.
Ali Warren is a full-time drama teacher, runs a
youth theatre for 8–11 year olds and is
teacher-in-residence at Salisbury Playhouse.
k www.teaching-drama.co.uk
TDSP1_1516_036-037 Book revs.indd 37
Book
The Shakespeare Workbook and Video: A
Practical Course for Actors
by David Carey and Rebecca Clark Carey
(Methuen Drama)
ISBN 978-1-4725-2509-3
A comprehensive guide to unlocking some
of the mysteries of performing
Shakespeare.
A imed
primarily at
undergraduates
and actors, this
comprehensive
guide is divided
into five chapters
focussing on
language and action,
imagery, sound and
story, rhythm and
metre, rhetoric and style, and preparation
and performance.
It is incredibly informative and unlocks
concepts about performing Shakespeare
that many actors struggle with. The book
uses small sections from a range of plays
to offer detailed explanations, including
how to approach text, dealing with
iambic pentameter and preparing for
performance.
There are many practical exercises to
explore different aspects of performing
Shakespeare which will allow students
to access texts with enthusiasm and
without anxiety. There are plenty of
teaching tips, models for teaching over
a term and some very useful ideas for
undertaking practical work alone.
The book is full of ideas for practical
explorations that could be adapted
for a range of different texts, allowing
for use of the book for the teaching of
one text rather than many. There are
seventeen online videos that accompany
the workbook, and watching some of
the practical work taking place is an
undoubtedly useful tool.
Although this book is largely more
suited to undergraduates and beyond,
there are lots of things that GCSE and A
level teachers would find extremely useful.
Alicia Pope completed a degree in English and
Theatre and Media Drama at the University of
Glamorgan, followed by a PGCE at UWE, Bristol.
She is currently in her tenth year of teaching.
Teaching Drama · Spring term 1 · 2015/16
Reviews
Book
English Renaissance Tragedy: Ideas of
Freedom
by Peter Holbrook (Arden Shakespeare)
Excellent background research for teachers,
with the latter chapters having direct
practical applications for students.
T he detailed
argument in
this book might
have little direct
application to
examination drama
in schools – however,
the wider relevance
of tragedy is central
to all students of
drama, and this
book outlines its importance with clarity.
Holbrook’s discursive introduction to the
genre is very useful, exploring ‘Freedom,
Order and Tyranny’ while touching on
the Greeks with reference to Antigone and
Oedipus in particular. At the heart of the
book’s argument is the compelling notion
that tragedy shows ‘people freely choosing
how to understand and respond to the
profoundly difficult circumstances that
they find themselves in.’
The content of the book is invaluable
for developing an understanding of the
context of Renaissance plays such as
Hamlet and The Changeling; Holbrook
relishes the idea that they were written
for the common man and that debate,
freedom of thought and choice were at
their heart. The final third of the book
is devoted to examinations of fifteen
individual plays and how they fit into
Holbrook’s broader themes of freedom
and tyranny, and the ways in which
they challenged both contemporary and
modern audience through argument and
debate. These later chapters have the
greatest relevance for introducing the
themes in the book to A level students,
particularly for extension work.
This is a book in which the ideas keep
coming at the reader with compelling
enthusiasm and energy.
Peter Jolly is head of drama at Dulwich
College, a member of Shakespeare’s Globe
council and a trustee of the Rose Theatre,
Bankside.
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


Performance
Around the World in
80 Days
Sarah Lambie
Ensemble Christmas fun with a very
British air and not an ‘It’s behind
you’ in sight.
A press audience is usually fairly
reticent to laugh and cheer, but
Around the World in 80 Days at the St
James Theatre in London’s Victoria was
incredibly well received, and with very
good reason. A cast of 8 – most of whom
are onstage most of the time – tell
the story of Phileas Fogg and his valet
Passepartout with energy and lightness
of heart, and present an audience with an
enjoyable evening’s entertainment.
The story of Around the World in 80 Days
is actually a somewhat thankless one to
stage – it is a crucial tenet of the plot and
characterisation of Fogg that, although he
and his various companions make their
journey through a number of fascinating
and exotic cultures, they don’t actually
have time to stop and experience very
much of their surroundings. The vast
majority of the story is set necessarily on
near-identical train and steamer journeys.
Workshop
Globe Education CPD
Rhiannon Davis
These workshops provide excellent
value for money and are definitely
worthwhile and enjoyable.
I know there will be many drama
teachers like me, based in the south
west, who long to access quality CPD
run by well-established companies such
as the Globe, but cannot get to London
due to funding or time constraints. So
thank goodness the Globe has recently
teamed up with Clifton College to offer
professional development opportunities
to teachers in the west of England and
south Wales.
As stated on their website, the
courses at Clifton ‘offer a range of
approaches and techniques for unlocking
Shakespeare’s language.’ As a busy
head of drama, I am always looking for
ways to make Shakespeare relevant and
www.teaching-drama.co.uk
TDSP1_1516_039_Around the world_Globe Clifton.indd 39
Simon Annand
That being the case, Laura Eason’s
adaptation of the novel, coupled with Lucy
Bailey’s direction, have done a very good
job of making something of the story.
A great deal of this is down to the
ensemble playing – while Robert Portal,
Simon Gregor and Tony Gardner play
Fogg, Passepartout and Inspector Fix
with wit and comic timing, four further
actors take on the several remaining bit-
parts of the story, on occasion standing
in for elements of the set. Designer Anna
Fleischle deserves a special mention, and
there are some lovely touches such as the
use of Lena Kaur’s skirt held up to form a
Shakespeare’s Globe
accessible for my students. It’s often
tempting to roll out the same old tried
and tested methods, year after year, but
this can result in a lack of enthusiasm
and energy in approach.
I attended a day-long course called
‘Shakespeare for new teachers’. With
nine years of teaching beneath my
belt, I can hardly be considered a ‘new’
teacher, but I had to jump at the chance
of taking up anything offered by the
Globe – particularly as this was, quite
literally, on my doorstep. The course was
led by Tom Davey, a Globe Education
learning consultant and unsurprisingly,
he got us on our feet straight away with
some warm-up games. This got us all
relaxed and focused for the rest of the
day which consisted of vocal exercises,
Teaching Drama · Spring term 1 · 2015/16
Reviews
bedroom window, with drawable curtains.
The stand-out multi-role performance
comes from Tim Steed who brings
something different and hilarious to each
of his characters, throwing himself into
every one with commitment – right up
until, on this performance, he corpsed
himself, much to the enjoyment of the
audience.
My reservations about the performances
were, I suspect, opening-night related:
there was a disconnect between the actors
a lot of the time: stumbling over lines,
pausing on cues – they weren’t always
quite listening to one another. It felt as
if the physical set-pieces had been more
thoroughly drilled than the ordinary
verbal interactions and the result was
slightly less smooth than I’m sure the
show will be once it has settled in. Overall,
however, there is much for students to
learn from the production, and it’s really
good fun.
Around the World in 80 Days is booking at
St James Theatre until 17 January 2016;
www.stjamestheatre.co.uk/theatre/
around-the-world-in-eighty-days
Sarah Lambie is the editor of Teaching
Drama. Having studied English at
Cambridge University and acting at Bristol
Old Vic Theatre School, she is also a
working actress, tutor and drama
workshop leader.
tasks on physicality and text-based group
work. We were also given the opportunity
to reflect at the end of every exercise,
which was a great forum for discussing
how we could apply what we were
learning to the classroom. My favourite
exercise required us to use a Haka-style
dance to explore iambic pentameter
and we all agreed that this was a really
accessible way of engaging students with
Shakespeare’s rhythms.
The course was fantastic for all drama
specialists – though I was surprised to
learn that all the others in attendance
were English teachers, and they seemed
genuinely excited about the ways in
which to teach Shakespeare we had all
learnt during the day. At £150 per person,
these workshops provide excellent value
for money for those of us in the south
west and south Wales, and they are
definitely worthwhile and enjoyable.
Rhiannon Davis has been Head of
Academic Drama at Clifton College for two
years. She teaches all levels up to A level
and various levels of LAMDA, and is a Year
10 tutor.
39
07/12/2015 15:43:03
 Reviews
Resource
RSC Teacher Packs
Rebecca Pizzey
These packs cover an interesting
variety of topics, allowing for
classroom discussion and optimum
involvement with the texts.
T he Royal Shakespeare Company’s
online teacher packs are no secret,
having been available on the web
almost as long as the Bard’s been dead
(well – since 2006).
The RSC has provided an impressive
array of plays to choose from, including
all of the most popular titles of choice
for work with students. Each pack is
easy to find on the RSC website, with a
small breakdown covering activities and
themes within, and for which key stage
they are accessible. The packs are free,
downloadable PDFs, making them easy
to use as teaching aids in the classroom,
or as handouts. They each feature handy
logos for ‘READ’, ‘ACTIVITY’ and ‘WATCH’,
so you can prepare for a hands-on
practical lesson with the right material.
‘Themes’ explored range from the
broad, such as ‘Hiding your truth’ in
Web resource
Digital Theatre Plus:
Shakespeare
Rachel Creaser
A good selection of productions to
view as well as strong
accompanying resources.
D igital Theatre Plus provides theatre
productions watchable online, plus
additional resources to support learning,
such as study guides and interviews on
all aspects involved within a show. It has
a range of offerings for all ages, though
this review is based on Bard-based
material for 11–16 year olds.
The website’s main resource is its high-
definition productions; you can stream
the likes of King Lear (directed by Michael
Attenborough), Much Ado About Nothing
(starring David Tennant and Catherine
Tate), Macbeth (Liverpool Everyman
Playhouse), As You Like It (Shakespeare’s
Globe), and The Comedy of Errors (RSC and
Told by an Idiot).
Another strong point is its study
40 Teaching Drama · Spring term 1 · 2015/16
TDSP1_1516_040_RSC review_Digi Theatre.indd 40
Hamlet, to more
specific ideas,
such as a ‘Fleance
flash forward’ in
Macbeth – though
all cover an
interesting variety
of topics, allowing
for classroom
discussion
and optimum
involvement with
the texts. Further resources are included
within each pack, such as websites that
can be pulled up in front of students, or
contextual segments of texts for further
reference.
The prime positive of the teaching
packs are the activities. In the Romeo and
Juliet pack, rehearsal notes from previous
RSC productions are incorporated into
classroom activities. For example, in
the ‘Romeo and Juliet meet’ section, the
rehearsal notes impart inspiration for
the music and choreography within the
party scene, building on the example of
the RSC’s 2010 production, followed by
a series of warm ups and tasks for the
students, incorporating the original text
in the light of the 2010 production. Of
course, the packs are written originally
for teachers taking their students along
to the productions, and I did find myself
guides, which
include plot
summaries,
relationship maps
(though I couldn’t
load one to a
suitable size for
student use), and hints with speaking the
text. These include ‘Comparing Comedy:
Love Labour’s Lost and Much Ado About
Nothing’ and ‘Romeo and Juliet: Historical
Context workbook’, both compiled by the
Shakespeare Birthplace Trust.
In terms of the Shakespeare-specialities
on offer, you’ve got wise words from
former RSC artistic director Michael Boyd
discussing As You Like It, actors offering
their opinions on playing Romeo, and
Professor Carol Rutter from the University
of Warwick talks Much Ado About Nothing.
Secondary teachers may enjoy the
Teaching Support section, which houses
two online CPD workshops entitled
‘Shakespeare in your Space’, looking
at methods to employ when having
students read Shakespeare aloud for the
first time, and exercises you can use to
get rid of anxiety.
Reviewing the content as part of a trial
gave me limited access – which included
questioning the extent of the value of
references to performances that are
no longer running for students to see –
however, they make useful links between
the general act of adapting Shakespeare
to the stage and studying his plays in
a classroom, and in many cases more
than one production is available, to allow
students and teachers to compare design
and directorial approaches.
Often it feels a ‘niche’ stance is the
idea behind these packs, perhaps with
the intention of providing students
with original standpoints from which
to look at plays often studied to death.
Despite this, I would highly recommend
the packs to teachers of all levels of
drama (and English); they can easily be
adapted to all key stages, and provide a
wealth of activities that can be broken up
and incorporated into separate lessons
throughout the term, or used one after
the other to provide a single full lesson.
RSC teacher packs can be downloaded
from www.rsc.org.uk/education/
resources/bank
Rebecca Pizzey is the editorial assistant of
Teaching Drama. She is an English
Literature BA and Creative Writing MA
graduate from Brunel University London.
only being privy to five-minute sections
of productions, and when trying to look
at the key scenes, I was played the first
five minutes again which was frustrating.
It may seem unfair to criticise the trial,
but this would be an investment for
schools, and not being able to try the
resources to their full extent seems
unfortunate. However, the clips are
there nonetheless, and the written study
guides are comprehensive so overall it
does give a fairly solid idea.
The website is easy to navigate
(though, being limited by the trial, I can’t
comment on the success of streaming a
full-length production). There are strong
resources that would be of great use with
students, and the productions are a great
option to turn to if you’re looking for
some contemporary theatre examples to
show students.
www.digitaltheatreplus.com
Rachel Creaser is the creative department
coordinator for the Pauline Quirke
Academy of Performing Arts. She is a
theatre and performance studies graduate
from the University of Warwick, and is the
former deputy editor of Teaching Drama.
www.teaching-drama.co.uk
07/12/2015 10:54:30
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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

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


3 4
DNA
by Dennis Kelly
Oberon Books
ISBN 978-1840029529
Cast: 11, gender nonspecific
Themes and issues: An ensemble
teenage piece featuring bullying,
teenage cruelty and gang culture as
central themes. A group of teenagers
do something bad, then panic and try
to cover the whole thing up, with lies
bringing more lies.
Mark Dimmock
Eastbourne College
students in DNA
Mark Dimmock
Performance matters: The
outdoor setting allows for versatile
interpretation. We’ve performed
sections of it as bare bones GCSE
studio pieces using steel deck
and blocks.
Why it’s great: DNA was
recommended to us by a former pupil
working at the National Theatre and
it’s easy to see why. By now this play
is well known to drama teachers but
it still stands out as a tremendously
rewarding text to work with. Its
comedy, violence and naturalistic
. dialogue are attractive to teenagers
and as such it is a great teaching
tool, the monologues offering great
scope for individual work. The cast
enjoys rehearsing the play, creating
t backstories and improvising around
the text, and though well-worn to us
teachers by now, it won’t be to your
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
TDSP1_1516_042-043_My 5 Fav Plays.indd 43
Blood
Wedding
by Federico Garcia Lorca
Methuen
ISBN 978-0713685169
Cast: 7 males, 7 females, plus extras
Themes and issues: Multifaceted
poetic drama. A bit of a theme is
developing here – blood, fate, menace...
Performance matters: The practical
challenges of performing Blood Wedding
are considerable, as every scene is
in a different place and the final
act is written in poetic fantasy with
allegorical figures of the Moon and
Death. Students can consider how to
creatively and imaginatively get past
these staging challenges – perhaps
with lighting effects. Music is also key,
and many productions feature onstage
musicians playing throughout, so a
musicians’ gallery or visible offstage
space may need to be created.
Why it’s great: Poetic drama such
as this enables passion to survive the
translation. Students may find it hard
to imagine the constant brooding
presence of Leonardo until they get it
on its feet, and this makes it another
great teaching tool. Studying Lorca
offers great opportunities to investigate
heightened realism, symbolism and
surrealism, as well as opportunities to
be creative with music, set, costume
and lighting design.
Watch out for: Pace. Follow Lorca’s
rhythms of accelerating pace through
scenes, the compression of time
heightening the drama and creating
empathy for characters who are driven
by the rhythms of fate.
Mark Dimmock
Blood Wedding, an
Eastbourne College
production
Teaching Drama · Spring term 1 · 2015/16
My five favourite plays
5
’Allo ’Allo
by Jeremy Lloyd
Samuel French
ISBN 978-0573018787
Cast: 5 males, 4 females
Themes and issues: A farcical
comedy based on the hugely successful
TV sitcom, which centres on René as
he desperately tries to survive German
occupation in France.
Performance matters: The play is
set in René’s café, so a significant set-
build is on the cards but this is cartoon
comedy, so places can be suggested
rather than literal. We performed it
outside in the summer and achieved
a simple style with the cast moving
furniture and props as part of the
action. Costumes may seem hard to
come by, but costume hire is very easy,
with a number of companies providing
a complete set of ’Allo ’Allo outfits.
Mark Dimmock
Eastbourne College’s
production of ’Allo ’Allo
Why it’s great: Well, it’s not
great – but it is great fun. One of my
colleagues suggested it and I feared
that it might be a disaster, but the cast
and audience loved it. It’s classic farce,
and none of the cast knew the original
series, so they discovered it as new.
Watch out for: The success of the
farce depends on playing the drama for
real and that is quite a challenge. Oh –
and the fallen Madonna with the large
bosom and the sausage in the cellar!
43
07/12/2015 15:46:51
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TD_Spring1_2016.indd 44 07/12/2015 10:38:20


Listings
DRAMA WORKSHOPS AND COURSES
FOR ADULTS AND YOUNG PEOPLE
SCOTLAND
Citizens Theatre
Nightschool (18+)
Venue: Glasgow
Date and time: 11 Jan–8 Mar
Price: £80; £60 (concessions);
£105; £85 concessions
Contact: 0141 429 0022
Royal Conservatoire of
Scotland
Acting audition: taking
direction
Venue: Glasgow
Date and time: 9–10 Jan,
10am–5pm; 10.30am-5.30pm
Price: £135
Contact: 0141 332 4101
Drama for beginners:
devising skills (ages 17+)
Date and time: 12 Jan–22 Mar,
6.30–8.30pm
Price: £150
Contact: 0141 332 4101
Contemporary dance youth
company (ages 12–17)
Date and time: 12 Jan–21 Jun,
6.30–8.30pm
Price: £290
Contact: 0141 332 4101
Musical theatre audition:
mock audition
Date and time: 16–17 Jan,
10am–5pm
Price: £135
Contact: 0141 332 4101
Introduction to prop-making
(ages 17+)
Date and time: 23–24 Jan,
10am–5pm
Price: £115
Contact: 0141 332 4101
Acting audition: mock
audition
Date and time: 23–24 Jan,
10am–5pm
Price: £135
Contact: 0141 332 4101
Introduction to lighting
(ages 17+)
www.teaching-drama.co.uk
TDSP1_1516_045-048_Listings.indd 45
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.
Date and time: 6–7 Feb,
10am–5pm
Price: £115
Contact: 0141 332 4101
Introduction to choreography
(ages 12–17)
Date and time: 13 Feb,
10am–5pm
Price: £55
Contact: 0141 332 4101
Solo contemporary
performances (ages 18+)
Date and time: 19–20 Mar,
10am–5pm; 10.30am–5.30pm
Price: £115
Contact: 0141 332 4101
Musical theatre: dance
Date and time: 26–27 Mar,
10am–5pm; 10.30am–5.30pm
Price: £115
Contact: 0141 332 4101
Scottish Youth Theatre
Skint knees (ages 3–4)
Venue: Glasgow
Date and time: 16 January–​
19 March, 10–11am (duration
10 weeks)
Price: £110
Contact: 0141 552 3988
Skint knees (ages 5–7)
Venue: Glasgow
Date and time: 16 January–​
19 March, 10–11.30am
(duration 10 weeks)
Price: £110
Contact: 0141 552 3988
Youth Theatre dance
(ages 8–11)
Date and time: 16 January–​
19 March, 11.45am–1.45pm
(duration 10 weeks)
Price: £110
Contact: 0141 552 3988
Weekly lab (ages 16–25)
Date and time: 16 January–​
19 March, 3–6pm (duration 10
weeks)
Price: £165
Contact: 0141 552 3988
NORTH
Drama Resource
Drama in the primary
curriculum
Venue: Contact Theatre,
Manchester
Date and time: 2 Mar,
10am–4pm
Price: £195 (book by 18 Dec
to save £40)
Contact: 01603 465973;
07973 217876
Royal Exchange Theatre
Wordplay: getting started
with playwriting
Venue: Manchester
Date and time: 6; 20 Jan;
3 Feb, 11am–1pm
Price: £6; £4 (concessions)
Contact: 0161 833 9833
After show discussions:
Into the Woods
Date and time: 7 Jan
Price: Free
Contact: 0161 833 9833
Unlock… workshops: Into the
Woods (ages 18+)
Date and time: 7 Jan, 5–7pm
Price: £6; £4 (concessions)
Contact: 0161 833 9833
Between the lines: Into the
Woods (ages 18+)
Date and time: 13 Jan,
11am–1pm
Price: £6; £4 (concessions)
Contact: 0161 833 9833
Elders company (ages 60+)
Date and time: 27 Jan; 24 Feb,
11am–1pm
Price: £6
Contact: 0161 833 9833
Behind the scenes work week
(ages 16–19)
Date and time: 1–5 Feb
Price: Free
Contact: 0161 833 9833
Introducing: WIT
Date and time: 4 Feb,
10.30am–12pm
Teaching Drama · Spring term 1 · 2015/16
Listings
Price: £6; £4 (concessions)
Contact: 0161 833 9833
After show discussions: WIT
Date and time: 4 Feb
Price: Free
Contact: 0161 833 9833
Unlock… workshops: WIT
(ages 18+)
Date and time: 4 Feb, 5–7pm
Price: £6; £4 (concessions)
Contact: 0161 833 9833
Between the lines: WIT
(ages 18+)
Date and time: 10 Feb,
11am–1pm
Price: £6; £4 (concessions)
Contact: 0161 833 9833
Theatre Royal, Newcastle
Acting workshop (ages 12–15)
Venue: Newcastle
Date and time: Every
Wednesday from 6 Jan, 6.30–
8pm (duration 10 weeks)
Price: £60 per term
Contact: 08448 11 21 21
Acting workshop (ages 5–7)
Date and time: Every Saturday
from 9 Jan, 10–11.30am; 12–​
1.30pm (duration 10 weeks)
Price: £60 per term
Contact: 08448 11 21 21
Acting workshop (ages 8–11)
Date and time: Every Friday
from 8 Jan, 5–6.30pm
(duration 10 weeks)
Price: £60 per term
Contact: 08448 11 21 21
Evening weekly workshops:
acting (ages 18+)
Date and time: Every Monday
from 11 Jan, 6.45–8.15pm
(duration 10 weeks)
Price: £65 per term
Contact: 08448 11 21 21
Evening weekly workshops:
advanced acting (ages 18+)
Date and time: Every Tuesday
from 12 Jan, 6.45–8.15pm
(duration 10 weeks)
Price: £65 per term
45
01/12/2015 12:23:26
 Listings
Contact: 08448 11 21 21
Youth theatre (ages 16–25)
Date and time: Every Thursday
from 14 Jan, 6–8pm (duration
10 weeks)
Price: £65 per term
Contact: 08448 11 21 21
West Yorkshire Playhouse
Buzz creative arts course
(ages 14–25)
Venue: Leeds
Date and time: Mondays and
Tuesdays, 10am–3pm
Price: Contact for details
Contact: 0113 245 5252;
maria.thelwell@wyp.org.uk
Buzz weekend workshops
(ages 14–25)
Date and time: Saturdays,
1–3pm
Price: Contact for details
Contact: 0113 245 5252;
maria.thelwell@wyp.org.uk
MIDLANDS
Royal Shakespeare
Company
Family day: Wendy and Peter
Pan
Venue: Royal Shakespeare
Theatre
Date and time: 9 Jan, 10.15–
11.15am
Price: £5 (adult); £3.50 (child)
Contact: 01789 403493
Family workshops: Wendy
and Peter Pan (ages 8+)
Venue: Clore Learning Centre
Date and time: 16 Jan,
10–11.30am
Price: £5 (adult); £3.50 (child)
Contact: 01789 403493
The great Shakespeare egg
hunt
Venue: Royal Shakespeare
Theatre
Date and time: 28 Mar–12 Apr
Price: Free
Contact: 01789 403493
Blood, guts and gore
Date and time: 30; 31 Mar,
11am–12pm
Price: £3.50 (adult); £2.50
(child)
Contact: 01789 403493
EAST
Norwich Puppet Theatre
Rumpelstiltskin puppet
making (ages 5+)
Venue: Norwich
46 Teaching Drama · Spring term 1 · 2015/16
TDSP1_1516_045-048_Listings.indd 46
Date and time: 21 December,
11am–12.30pm
Price: £8.50
Contact: 01603 629 921;
info@puppettheatre.co.uk
Christmas characters (ages 5+)
Date and time: 22 December,
11am–12.30pm
Price: £8.50
Contact: 01603 629 921;
info@puppettheatre.co.uk
Frozen world (ages 5+)
Date and time: 23 December,
11am–12.30pm
Price: £8.50
Contact: 01603 629 921;
info@puppettheatre.co.uk
Santa’s workshop (ages 5+)
Date and time: 24 December,
11am–12.30pm
Price: £8.50
Contact: 01603 629 921;
info@puppettheatre.co.uk
Family workshop: Goblins
and tricksters (ages 4+)
Date and time: 28 December,
11am–12.30pm
Price: £8.50
Contact: 01603 629 921;
info@puppettheatre.co.uk
Fairytale characters (ages 5+)
Date and time: 29 December,
11am–12.30pm
Price: £8.50
Contact: 01603 629 921;
info@puppettheatre.co.uk
From a galaxy far far away
(ages 5+)
Date and time: 30 December,
11am–12.30pm
Price: £8.50
Contact: 01603 629 921;
info@puppettheatre.co.uk
Family workshop: Perfect
pets
Date and time: 2 January,
11am–12.30pm
Price: £8.50
Contact: 01603 629 921;
info@puppettheatre.co.uk
Dragons and monsters
(ages 5+)
Date and time: 4 January,
11am–12.30pm
Price: £8.50
Contact: 01603 629 921;
info@puppettheatre.co.uk
2D animation workshop
(ages 16+)
Date and time: 3 February,
10am–1pm
Price: £15–20
Contact: 01603 629 921;
info@puppettheatre.co.uk
Put Treasure Island
on in a Day with
Creation Theatre
Exploring the inanimate:
Explorations with everyday
materials and objects
(ages 16+)
Date and time: 6-7 February,
10am–5pm
Price: £150
Contact: 01603 629 921;
info@puppettheatre.co.uk
SOUTH EAST
Creation Theatre
Christmas stories (ages 6–8)
Venue: North Wall Arts Centre
Date and time: 22 Dec
Price: £45
Contact: www.creationtheatre.
co.uk/education/holiday-2
Christmas stories (ages 9–12)
Date and time: 22 Dec
Price: £45
Contact: www.creationtheatre.
co.uk/education/holiday-2
Put on Treasure Island in a
day (ages 6–8)
Date and time: 30 Dec
Price: £45 (includes ticket to
show)
Contact: www.creationtheatre.
co.uk/education/holiday-2
Put on Treasure Island in a
day (ages 9–12)
Date and time: 30 Dec
Price: £45 (includes ticket to
show)
Contact: www.creationtheatre.
co.uk/education/holiday-2
Put on Alice in Wonderland in
a day (ages 6–8)
Venue: Mill Arts Centre
Date and time: 30 Dec
Price: £35 (includes ticket to
show)
Contact: www.creationtheatre.
co.uk/education/holiday-2
Put on Alice in Wonderland in
a day (ages 9–12)
Date and time: 30 Dec
Price: £35 (includes ticket to
show)
Contact: www.creationtheatre.
co.uk/education/holiday-2
Drama club (ages 14–16)
Stephen Page
Date and time: From 4 Jan,
7–9pm (duration 12 weeks)
Price: £113 per term
Contact: education@
creationtheatre.co.uk
Drama club (ages 8–10)
Venue: John Mason School,
Abingdon
Date and time: From 5 Jan,
5–6pm (duration 12 weeks)
Price: £113 per term
Contact: education@
creationtheatre.co.uk
Drama club (ages 11–13)
Date and time: From 5 Jan,
6-8pm (duration 12 weeks)
Price: £113 per term
Contact: education@
creationtheatre.co.uk
Drama club (ages 8–10)
Date and time: From 6 Jan,
5–6pm (duration 12 weeks)
Price: £113 per term
Contact: education@
creationtheatre.co.uk
Drama club (ages 11–13)
Date and time: From 6 Jan,
6–7pm (duration 12 weeks)
Price: £113 per term
Contact: education@
creationtheatre.co.uk
Drama club (ages 14–16)
Date and time: From 6 Jan,
7–9pm (duration 12 weeks)
Price: £113 per term
Contact: education@
creationtheatre.co.uk
Drama club (ages 5–7)
Venue: St Andrews Church
Date and time: From 7 Jan,
4.30–5.30pm (duration 12
weeks)
Price: £113 per term
Contact: education@
creationtheatre.co.uk
Drama club (ages 11–13)
Date and time: From 7 Jan,
6.30–7.30pm (duration 12
weeks)
Price: £113 per term
Contact: education@
creationtheatre.co.uk
Drama club (ages 8–10)
Venue: Leckford Place School
www.teaching-drama.co.uk
01/12/2015 12:23:47
 nationalstudentdramafestival
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BY THE FESTIVAL!”

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UNIQUE AND INVALUABLE
AND IS OUTSTANDING
VALUE FOR MONEY”

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Sat 19 to Fri 25 March in Scarborough
Group Tickets for half week and full week available

follow us @nsdfest www.nsdf.org.uk

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 Listings
Date and time: From 9 Jan,
9.30–​10.30am; 10.30–
11.30am; 1.30–3.30pm
(duration 10 weeks)
Price: £113; £162 (2 hour
class)
Contact: education@
creationtheatre.co.uk
WEST
Shakespeare’s Globe
Fathers and daughters in
Shakespeare’s plays
Venue: Clifton College, Bristol
Date and time: 16 January
Price: £150
Contact: 020 7902 1463
SOUTH
Chichester Festival
Theatre
Hetty Feather Q&A (ages 7+)
Venue: Chichester
Date and time: 28 January
Price: Free
Contact: leap@cft.org.uk
LONDON
Drama Resource
Drama in the primary
curriculum
Venue: Toynbee Studios,
Commercial Street
Date and time: 3 Feb, 10.30–
4.30pm
Price: £195 (book by 18 Dec
to save £40)
Contact: 01603 465973;
07973 217876
Full character mask course
with Vamos Theatre
Date and time: 11 Feb,
10.30am–4.30pm
Price: £195
Contact: 01603 465973;
07973 217876
Teaching Shakespeare to
children and young people
Date and time: 12 Mar,
10.30am–4.30pm
Price: £195 (book by 18 Dec
to save £40)
Contact: 01603 465973;
07973 217876
Keynote Educational
Teaching devising in the new
Edexcel 2016 A level Drama
and Theatre specification
Venue: London
48 Teaching Drama · Spring term 1 · 2015/16
TDSP1_1516_045-048_Listings.indd 48
Date and time: 21 January
Price: £249
Contact: 01625 532974
Outstanding outcomes in
AS/A2 Drama and Theatre
Studies
Date and time: 26 January
Price: £249
Contact: 01625 532974
Adapting your practice to
teaching the new 2016
Edexcel GCE A level Drama
and Theatre specifications
Date and time: 29 January
Price: £249
Contact: 01625 532974
Adapting your practice to
teach the new 2016 Edexcel
GCE A level Drama and
Theatre specification
Date and time: 29 January
Price: £249
Contact: 01625 532974
National Theatre
In context: The virtual world
on stage
Venue: John Lyon Education
Studio
Date and time: 15 January,
2–4.30pm
Price: £20; £15 (concessions)
Contact: 020 7452 3000
Costume course: How to
make a corset (ages 18+)
Venue: Clore Learning Centre
Date and time: 1 February –
14 March, 10.30am–4.30pm
(every Monday)
Price: £360; £290
(concessions)
Contact: 020 7452 3000
In context: As You Like It
Date and time: 8 February,
2–5pm
Price: £20; £15 (concessions)
Contact: 020 7452 3000
In context: Katie Mitchell
Date and time: 25 February,
5–8pm
Price: £20; £10 (Entry Pass,
teachers and students)
Contact: 020 7452 3000
Sarah Kane explored: Staging
the unstageable (ages 16+)
Venue: Dorfman Theatre
Date and time: 11 March,
10.30am–3.30pm
Price: £20; £10 (Entry Pass
and HE students); £7.50
(school students and
teachers)
Contact: 020 7452 3000
The Unicorn Theatre holds regular
Film screening: My Dinner
with Andre (ages 12+)
Venue: Clore Learning Centre
Date and time: 15 March, 5pm
Price: Free
Contact: 020 7452 3000
Shakespeare’s Globe
Directing studio
Venue: Sackler Studios and
Globe Theatre
Date and time: 9–10 January,
9.30am–5pm
Price: £250
Contact: higher.education@
shakespearesglobe.com
Pre-show talks: The Winter’s
Tale
Venue: Nancy Knowles Lecture
Theatre
Date and time: 2; 9 February,
10am–6pm
Price: £8; £6 (Friends of
Shakespeare’s Globe;
students)
Contact: 020 7401 9919
Pre-show talks: The Tempest
Date and time: 23 February,
10am–6pm
Price: £8; £6 (Friends of
Shakespeare’s Globe;
students)
Contact: 020 7401 9919
The Oxford-Globe forum
for medicine and drama in
practice
Date and time: 23 January,
10am–4.30pm
Price: £15
Contact: Jennifer.e@
shakespearesglobe.com
Unicorn Theatre
In-school pre-show
workshop: Minotaur
Venue: Your school
Date and time: Contact for
details
workshops and CPD courses
Ludovic des Cognets
Price: £120 per class
Contact: schools@
unicorntheatre.com
CPD course for teachers:
Minotaur
Venue: Southwark
Date and time: 21, 28 Jan, 4,
11 Feb, 5–6.30pm (duration
4 weeks)
Price: £80 per teacher
(includes ticket to show)
Contact: schools@
unicorntheatre.com
CPD course for teachers:
My Father Odysseus
Date and time: 26 Jan, 4.30–
7pm
Price: Free
Contact: schools@
unicorntheatre.com
CPD course for teachers:
Septimus Bean and his
Amazing Machine
Date and time: 14 Mar,
10am–4pm
Price: Free
Contact: schools@
unicorntheatre.com
REPUBLIC OF
IRELAND
The Lir
Character and scene study
Venue: Dublin
Date and time: 5 Jan–8 Mar,
7–9.30pm
Price: €390
Contact: www.thelir.ie/
courses/view/character-and-
scene-study
Introduction to acting
(ages 18+)
Date and time: 7 Jan–10 Mar,
7–9.30pm
Price: €390
Contact: www.thelir.ir/
courses/view/acting-training
www.teaching-drama.co.uk
01/12/2015 12:24:23
 FREE CPD FOR
DRAMA TEACHERS!
Musical Theatre & Drama Education Show | 25 & 26 February 2016 | Olympia Central, London*

Anna Shields & Emily Garsin, Starling Arts Paul Z Jackson, The Improvisation Academy Sarah Henderson, drama practitioner
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
theatre can be a valuable classroom tool communicate with more impact

David Farmer, drama practitioner Dymphna Callery, drama practitioner Keith Burt, teacher
Morning warm-up: Drama games ‘Play’ as an indispensable tool – for Flipped learning– discover a new approach
analysis & as a catalyst for creative using the internet as a tool for teaching
approaches to interpreting text

BOOK YOUR FREE TICKET NOW AT

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* Please note that it is quicker and easier to travel to Olympia by public transport.

MTDES 2016 SPEAKERS

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

 The Academy's alumni
have been nominated for

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EMM YS®

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2 0 1 6 AC A D E M Y LO N D O N E V E N T S
AUDITIONS INFO NIGHT EVENTS TEACHER WORKSHOP
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events and discover why the next generation of
award-winning actors are choosing The Academy.

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TD_Spring1_2016.indd 51 03/12/2015 18:14:27
 Victoria Palace Theatre |
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TD_Spring1_2016.indd 52 07/12/2015 11:06:40