Viewed through the eyes of those on the ground, Black Watch reveals what it means to be part of the legendary Scottish regiment, what it means to be part of the war on terror, and what it means to make the journey home. This book contains Gregory Burke's award-winning script, with production notes by the director John Tiffany and colour photographs that capture the powerful and inventive use of movement in this urgent piece of theatre. The National Theatre of Scotland's production of Black Watch opened at the Edinburgh Festival Fringe in 2006, where it won a Herald Angel, a Scotsman Fringe First, the Critics' Circle Award and the South Bank Show Award for Theatre. During a world tour it won the Laurence Olivier Award for Best New Play and the New York Drama Critics' Circle Award for Best Foreign Play.

There is no one-size-fits-all way to keep pace with the changes affecting students and those who educate them. That's why Joan Lazarus has gathered here the insights of hundreds of theater teachers and teaching artists on how they have responded to the shifting demands of theater education in today's schools. She paints a portrait of active, dynamic professionals who build vibrant programs and confront challenges in a variety of ways--from inclusive, interactive lessons to comprehensive programs that address the impact of poverty, race, gender, and spirituality on students' lives. In the process, she shows how real teachers bring about real change. An accessible and up-to-date guide to best practices in theater education, this expanded and revised edition encompasses new hands-on activities--drawn from the author's in-depth interviews and research.

Scores of women feel excluded from Shakespeare Studies because the sound of this field (whether it is academics giving papers at conferences or actors sharing performance insights) is predominantly male. In contrast, women are well represented in Shakespeare podcasts. Noting this trend, this Element envisions and urges a feminist podagogy which entails utilizing podcasts for feminism in Shakespeare pedagogy. Through detailed case studies of teaching women characters in Hamlet, A Winter's Tale, The Merchant of Venice, and As You Like It, and through road-tested assignments and activities, this Element explains how educators can harness the functionalities of podcasts, such as amplification, archiving, and community building to shape a Shakespeare pedagogy that is empowering for women. More broadly, it advocates paying greater attention to the intersection of Digital Humanities and anti-racist feminism in Shakespeare Studies.

"As a guest gift for the wonderful wine, I will eat you last," yawns Polyphemus the Cyclops, in Joanne Keegan's wonderous, phantasmagoric comedy based on Homer's epic poem, the "Odyssey."

Laying down a comedic play for school-age students on a classical substrate may seem ambitious for some, but for others, it is an opportunity to expand the imagination.

The result is more than just a clever piece of drama-it is an inspired work of art in its own right, a wild ride to open up students' dramatic talents and expose them to an age-old classic.

"The Odyssey" provides age-appropriate and accessible material, parts for over twenty students, and strong roles for both male and female actors, all while retaining the flavor of Homer's classic in the context of an original and imaginative play, with adventure, humor, and, of course, a cast of colorful characters

Dave is just another sixteen-year-old who's run away from home. New to London, he falls in with Ginger and, calling himself Link, begins to learn how to survive on the streets. However, a maniac is out there, stalking homeless young people and hell-bent on cleaning up the city...

Sherlock Holmes and his faithful companion Watson receive a visit from a young lady who tells them a curious tale about her uncle, an eminent zoologist. To her evident dismay, he has returned from the Far East with a suspicious stranger and an odd-looking whip. Holmes smells a rat and the game is afoot...

A practical, hands-on resource to help students tackle the Live Theatre Evaluation aspect of their Drama GCSE. // Covers the different elements of theatre performance and the Evaluation requirements from each awarding body // Includes advice on how to prepare before viewing a performance // Provides guidance on analysing and evaluating acting, sets, costume, lighting and sound // Support for developing writing skills such as expressing and ordering ideas, plan making and common problems // Contains sample practice questions // Suitable for AQA, Edexcel, OCR and WJEC/Eduqas GCSE Drama specifications

No, Alice, I don't want to become a man, I just want to stop trying to be a woman. It's New Year in Rotterdam, and Alice has finally plucked up the courage to email her parents and tell them she's gay. But before she can hit send, her girlfriend reveals that he has always identified as a man and now wants to start living as one. Now Alice must face a question she never thought she'd ask . . . does this mean she's straight? A bittersweet comedy about gender, sexuality and being a long way from home. Rotterdam received its world premiere at Theatre503, London, in October 2015, before transferring to Trafalgar Studios, London, in May 2016. This volume contains introductory commentary and notes by Stephen Farrier from the Royal Central School of Speech and Drama, London. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, this volume contains: - an introduction outlining the plays themes, context and performance history - the full text of the play - extensive textual notes - questions for further study.

"A master at engaging students in the process of performing a Shakespeare scene." Janet Field-Pickering, head of education, Folger Shakespeare Library Richard III: The 30-Minute Shakespeare This edition of Richard III features seven scenes, opening with the Duke of Gloucester's villainous "Winter of our discontent" speech and followed by his audacious wooing of Lady Anne. Queen Margaret's chilling curses, Richard's string of murders, and the haunting chants of his victims' ghosts are stage drama at its best. The climax is a gripping battle in which the Earl of Richmond slays Richard and becomes King of England. There is also an essay by editor Nick Newlin on how to produce a Shakespeare play with novice actors, and notes about the original production of this abridgement at the Folger Shakespeare Library's annual Student Shakespeare Festival. The edition includes a preface by Nick Newlin, containing helpful advice on presenting Shakespeare in a high school setting with novice actors, as well as an appendix with play-specific suggestions and recommendations for further resources.

From the bestselling author of The Right to Speak and The Need for Words comes this Bloomsbury Revelations edition of the essential guide to voice work: The Actor Speaks. Beginning with what every first-year acting student faces in class and ending with what leading professional actors must achieve every night on stage, Patsy Rodenburg's celebrated work as one of the world's foremost voice and acting coaches is fully revealed in this thoughtful and inspirational book about acting. Written for the training and working actor, Rodenburg's book brings to life a wide range of exercises and methods to release the actor's voice, covering everything from posture, breath and the body, performing in specific spaces, previews and first performances, managing different length runs, using microphones and dealing with an ageing or sick voice. This book allows the reader to perform every night, reaching the pitch, passion and vocal intensity that the best roles require.

The Play Guide provides structured support for the three Sections that are all part of Component 1: Understanding Drama in the AQA GCSE Drama specification: / Section A Theatre Roles and Responsibilities. / Section B Study of a Set Play / Section C Understanding Drama - Live Theatre Production. / Fully supports the written examination and helps students develop their key knowledge and understanding of the set plays. / Knowledge and understanding are developed alongside the key drama skills through a range of practical ideas and activities, tasks and exercises. / Includes a dedicated section on how to improve exam and writing skills with a number of practice exam-style questions.

Hierdie opwindende nuwe versameling dramas bevat die wendrama Swewende maan deur Cecilia du Toit en die naaswenners Plettervat deur Abraham van der Vyver en Woesklip deur Maretha Maartens. Du Toit, Van der Vyver en Maartens is almal pryswenners van vorige Maskew Miller Longman Letterkunde-kompetisies. Terugvoering van die bekende dramaturg, Malan Steyn: Swewende maan: Die dialoog is speelbaar, vlot en kreatiewe woordspeletjies dra by tot die komiese inslag. Plettervat: Die drama is tematies relevant en lewer kommentaar op 'n sisteem waarin prestasiebeheptheid en die magsmisbuik van gesagsfigure uiteindelik leerders korrupteer en van 'n ware opvoeding ontneem. Woesklip: Die Woesklip (die spreekwoordelike klippe wat uitskree teen onreg) gee 'n interessante magiese element aan die teks. Leerders kry die geleentheid om die elemente van dramas aan die hand van eietydse, moderne dramas te bestudeer. Die bundel sluit ook 'n leesgids met opsommings, vrae, uitdagings en aktiwiteite oor elke drama in. Die universele, aktuele temas sal leerders boei en bespreking aanmoedig.

In "Julius Caesar," Rome serves as the setting for a tragic tale of betrayal, murder, and vengance.

Drama Start 2 is a collection of drama activities and plays suitable for children between the ages of nine and twelve. This book is also suitable for anyone working with children in a setting where drama is used, such as community groups, out-of-school care facilities, therapeutic group work and so on. The book is accessible and easy to follow. It is divided into two parts: Part 1 - Drama Games Part 2 - Plays Each section provides educators/leaders with a variety of creative and imaginative ideas to stimulate drama activities in many different settings.

In this book Mark Wheeller reflects on his ongoing career as a secondary school drama teacher after 30 years in the profession. The book is interspersed with some fascinating biographical detail which will make this an interesting read and a useful resource for both those already familiar with Mark Wheeller's output, and those discovering his work for the first time. Drama Schemes also features a section in which Mark discusses the crucial role of the much-maligned school production. Throught this chapter he shows how he developed many of his plays, which have become staple parts of the curriculum, both in the UK and overseas. Two of the schemes also focus on his use of drama across the curriculum, including his growing admiration for the Mantel of the Expert system of learning.

The State of the Art: Teaching Drama in the 21st Century presents cutting-edge scholarship from leading drama education in New South Wales. This collection features discussions that are directly relevant to drama teachers in primary and secondary schools, artists and theatre makers, drama education researchers and those interested in the relevance of arts and drama education in reforming the curriculum. The book reminds of the connection between practice and research in drama education, and reflects changes in curriculum and new areas of research on: playwritingimprovisation and play buildingyoung people as audiencestechnology and drama educationdialogue in drama educationthe opportunities for drama as a curriculum change event The scholarship assembled here reflects some of the best and most insightful reflections on how research can directly inform the transformation of learning and teaching.

For teachers and lovers of Shakespeare, ShakesFear and How to Cure It provides a comprehensive approach to the challenge and rewards of teaching Shakespeare and gives teachers both an overview of each of Shakespeare's 38 plays and specific classroom tools for teaching it. Written by a celebrated teacher, scholar and director of Shakespeare, it shows teachers how to use the text to make the words and the moments come alive for their students. It refutes the idea that Shakespeare's language is difficult and provides a survey of the plays by someone who has lived intimately with them on the page and on the stage.

Roald Dahl's children's classic will be rediscovered with wonder and delight in this handsome gift edition with all-new black-and-white illustrations by Caldecott Honor Book artist Lane Smith (who also designed the characters for the Disney animated film). How James escapes from his miserable life with two nasty aunts and becomes a hero to his new insect family, including Miss Spider, the Old-Green-Grasshopper, the Centipede (with his 21 pairs of gorgeous boots), is "Dahl-icious fantasy at its best"This newly-illustrated edition of an avowed children's favorite has all the makings of a classic match-up: Milne had Shepard, Carroll had Tenniel, and now Dahl has Smith...author and illustrator were made for each other, and it's of little consequence that it took almost 35 years for them to meet" --"Kirkus.

Ga le batswadi ba selo ke tiragatso ya bophelo gare ga batswadi le bana, kudu lehlakoreng la tlhoriso le go kata. Mathata a ke ao a aparetsego naga gomme a keka bosego le mosegare bjalo ka hlaga. Setongwane o e nameditse thaba ge a laetsa gore Pulane ga se madi a gagwe ka go mo gapeletsa go rekisa bjala mola a swanetse go dira mosomo wa sekolo ka gae. Nkareng tsa mmago ngwana o swara thipa ka bogaleng o di lekile le ge ka nako ye ntsi a be a fahlwa ke lerato la gagwe go Setongwane. Bonganga, kgang le lenyatso la Setongwane di dirile gore Moruti Moloki a lebale ka Setongwane ka ge a nyaditse dikeletso tsa gagwe. Go tsena le go tswa ga bagamodi ka ga Setongwane go bea Pulane bothateng ka ge mafelelong a katwa ke Phafana yo a mo hweditsego a nnosi ka gae. Go rata tshelete ga Setongwane go dirile gore Phafana a mo fe R20 000 ya pipa molomo. Sephiri se utollotswe gomme Setongwane, Nkareng le Phafana ba llelwa ke ditshipi. Setongwane o swaretswe go hlorisa ngwana le mmagwe, go re Pulane a rekise bjala a le ka tlase ga mengwaga ye lesomeseswai gape le go sireletsa mosenyi elego Phafana go kata Pulane. Nkareng o swaretswe go dumelela Pulane a hloriswa; go rapeletsa lenyalo le go se bege tlhoriso maphodiseng ka nako. Phafana o swaretswe go kata Pulane. Pulane o isitswe lefelong la tlhokomelo ya bafsa. Ka nnete batswadi ba, ga se batswadi ba selo. Pulane's life is in a mess. Her family is unstable and as a result, her studies are affected. She also has to start working long hours in the shebeen. But when her stepfather insists that she goes to initiation school, her life becomes more distressing. She even thinks of committing suicide. This eBook is a digital version of the printed, CAPS-approved book. Benefits of the ePUB format include: The ability to view on a desktop computer, notebook or tablet.; As learners adjust fonts, rotate and flip pages, content reflows to fit the device's screen giving the user a more flexible experience; and Learners can take notes, highlight and bookmark, and access video and audio for visual learning.

The revised second edition of this practical manual is filled with easy-to-follow exercises and activities designed to facilitate creative drama sessions for people with learning difficulties. The activities in this book bring together music, theatre, movement and storytelling to not only develop fun and engaging group sessions, but to build confidence, increase self-esteem, and develop social and emotional awareness in group members. Highly sensitive to the range of learning needs and physical abilities of group members, the activities have been created to be engaging for a broad range of individuals regardless of age and ability, and can be adapted for use in a multitude of sectors such as education, psychology and speech and language therapy. Key features of this edition include: * New chapters exploring mindfulness, and the importance of reflection * Fully photocopiable resources including a session notes template to evaluate the impact of the creative drama group and collect useful data for the writing of reports * Activities organised around key elements of creative drama, such as sensory work, life skills role-play, improvisation and de-roling With its wealth of guidance, practical and adaptable activities and easy-to- follow structure, this is an invaluable resource for anybody leading or supporting children, young people and adults in creative drama.