They all seemed to enjoy the tour of the new school. The Governors continued with their meeting after the Richmond Governors had left and discussed a variety of items including recruitment to the two vacancies for Community Governors and their roles. On Monday it was wonderful to see how well Demeter and Hera settled at the new secondary site. They all did well to find their way around and seemed very happy in their classrooms.
Ideas, Plans, Themes for Drama Teaching May 23rd, Comments Off on Ideas, Plans, Themes for Drama Teaching After many years of drama teaching to British high school students Key StagesI have started to put together some of the ideas, themes, warm-ups, games, productions that I have worked through with students.
Some are articles published at Suite Some will be unique articles published here. These are the Suite articles on drama teaching, so far: Using Masks as a Creative Teenage Drama Tool First published on Suite24 September The mask as a device to support teaching of theatre history, culture diversity and improvisation techniques in Key Stage 4 agesis second to none.
The mask is a versatile object. For protection industry; fencingfor prevention infectionfor disguise or grotesque effect to amuse or terrifyfor replication humour, satire, identificationit has many forms. It helps narrate tales, sets chilling scenarios, heightens comedy.
Teenage girls often dislike some kinds of masks, notably clown faces and heads. Many of both sexes dislike the claustrophobia of masking, so a simple, symbolic mask on a stick serves some of the learning potential.
Masks for History Masks have been around for thousands of years, evidenced in wall paintings, pottery and ancient documents, often embedded deep in ritual.
Studying Greek and Roman theatre history as origins of western tradition, for instance, is enhanced by simple masks. Japanese Noh theatre masks are generally neutral in expression.
Ancient Egyptians used mummy masks, with the death mask becoming a physical representation of the belief that the soul needed a safe journey into the afterlife. Similar cultural tradition is found in Ghana and Zambia.
They are widespread across the history of peoples in both North and South America. Theatrical links with religion are proved in most cultures, from Egyptians, Celts, Greeks, Slavs.
Both pagan and Christian roots are evident in many festivities. Halloween, witchcraft trials, Mardi Gras, Notting Hill Caribbean festival have easily accessible images for young people.
Character disguise or dramatic effect are fundamental to drama and a creative opportunity. A mask does not have to be thought to embody a spirit, but it will always transform the wearer, psychologically or in a spiritual sense. The impact on audience, either the class or a full one, is incalculable.
The shock that an Artaud style treatment gives a performance piece, is magnified if the group wear appropriate masks.
In simple terms, pose the questions: Why do we hide behind masks? Highwaymen and thieves, rapists, terrorists, kidnappers, the disfigured, the robotic, the psychologically disturbed, the clinically insane, Ku Klux Klan, executioners, purveyors of magic and dreams are all well served by masking.
Toby Wilshire of Trestle Theatre Company said: There is a difference between controlling the mask and being controlled by it. Students should grasp that. They have to work harder physically to convey expression and meaning when masks take away their facial and vocal communication.
Masks for Devising Drama Teaching has a simple starter student mask lesson. A Trestle schools mask workshop uses the following or related exercises. Get students to imagine a piece of string attached to the nose is leading you round the room.
What are you like? Find a voice for the face; then a body for the face and voice, then simple movements for face, voice, body.
This whole creature is a mask. Exaggeration, even comedy will ensue. Next, build the idea that a character wearing a mask must always be facing audience directly.Writing KS2.
Narrative Writing Year 3; Narrative writing Year 4; Narrative writing – year 5 Could be used across KS2 for both performance and English work on playscripts. Fairy Tales as Play scripts-TES.
Resource A list of features of play scripts that can be cut up.
Persuasive writing, non-chronological-reports, personal writing, play scripts and letter writing using National Curriculum aims and success criteria.
This supports teaching on ‘James and the Giant Peach’ by Roald Dahl. It is designed for Year 4 students to meet the objectives of the National Curriculum. A model to get students to write their 1st script.
33 customer reviews. Author: Created by diamond_raindrops. A whole scheme of work and DIFFERENTIATED resources to teach persuasive writing and presentational devices unit to students. A creative topic that diamond_raindrops This is a project designed for KS3 and 4 revolving anti /5(33).
Assemblies Playscripts KS1, KS2. Over 70 primary school play scripts Year Secondary school plays KS3 KS4 KS5. Short funny scripts for K-3, K-6, K-8, K elementary, high school 1stth grade.
Key Stage 2 history Romans, Greek, science, Tudors, fun. National Theatre Playscripts.
Working in partnership with the National Theatre, these brand-new drama texts take students backstage, on the stage and in the classroom. Tapping into pupils’ own creativity, our unashamedly fun Creative Maths workshops for EYFS - KS4 pupils, engage, motivate and, crucially, challenge the children and young people we work with.