This guide explores the roles, skills and knowledge needed to become an effective drama teacher. It combines practical advice on planning, teaching and assessing with the best teaching practices. It also offers lesson plans for years 7-9 students to use intheir teaching.

Our story begins as the mischievous Goldilocks flees from the Three Bears into the deep, dark wood. As she stumbles down a rabbit hole to escape, she finds herself in Wonderland! And all is not well... Teaming up with The Three Musketeers and a whole host of fairy tale favourites (with a little help from the audience), can Goldilocks rescue Wonderland and live happily ever after before it's too late? With original live music, songs and plenty of chances to join in, Goldilocks and The Three Musketeers is a madcap festive adventure that will keep young audiences spellbound.

Can a theatre class textbook be both inspirational and informative? Yes! This holistic book on directing and acting does it all. Students will keep it as a lifelong career reference on how to make things work. Written subjectively, it's based on nearly a half-century of teaching and directing. A text that compels involvement in all the layers of creating memorable theatre. Thirty-five chapters in seven sections with assignments and convenient section summaries make it a complete semester course. This text is far more than "how-to." It's a narrative about artistic discovery. Experientially it reveals how to joit lagging imaginations into an ensemble of lively and involved performers. Adaptable for use by student directors and actors from secondary to graduate level. Recommended by leading theatre educators as the text they've been waiting for. Sample chapters: The Nature of Theatre, Finding Dramatic Action, Pinter Sketches, Rehearsal Rhythm, Memorization, Scenes from Waiting for Godot, Introduction to Style, Comedy Nuts and Bolts, Theatrical Space.

This classic short novel gets a classic Mark Wheeller treatment. An adaptation of a George Eliot novel might seem something of a departure, but as the play contains only words used in the novel the production exhibits narrative characteristics of other Mark Wheeller plays. He has created a beautifully taut and compelling script with immense skill. Karen Robson. Southern Daily Echo. Silas Marner, a member of a strict religious community, is wrongly accused of theft and is forced to move to the faraway village of Raveloe. A robbery at his new home leaves Marner without his hard earned gold and in the depths of depression. A mysterious, drug addicted woman is later found dead in the woods outside Marner's cottage. That same night he thinks his gold has returned... but it proves to be something very different... Silas Marner was originally performed as a Promenade production. It offers opportunities for imaginative staging that has become the hallmark for all the best known Wheellerplays. It will serve as a great read around the class script in English lessons because of its narrative style. The book is one of those allowed on various English GCSE Syllabi and is a set text for Edexcel GCSE English.

Four inspirational tales of Essex resilience intertwine to make an unmissable world premiere by the region's most exciting playwrights. The Essex Princess by Anne Odeke It's 1908 and Joanna's planning to provoke the attention of Southend and the whole of the nation, by becoming the first black woman to compete in a beauty pageant. Fiza by Guleraana Mir Fiza's moved home with her parents. Under dire circumstances... At nearly 40. Will she pick herself up in time for the dreaded school reunion? Never Never Land by Kenny Emson Tag's out with the lads in 1998 - it's his last night as a proper Essex boy. But there are last nights, and there are last nights. Everybody Gets Born by Sadie Hasler Daisy's having a baby. Yep, right now. Actually having a baby. The drugs kick in, the room goes fuzzy, and Daisy finds herself back in 1978... in her mum's glam band.

When Whiskers the kitten is lost on Sodor, Thomas asks his friends Flynn the Fire Engine and Harold the Helicopter to help find him. Can they work together as a team and save Whiskers?

The Really Useful Stories series is designed to support toddlers' development and explore key preschool themes including sharing, fear of the dark, making friends and teamwork. Each book includes suggestions for grown-ups about ways of using the story to help their child talk about new experiences.

Thomas has been teaching children lessons about life and friendship for over 70 years. Children aged 2 years and up will love meeting classic characters such as Percy, James, Gordon, and Toby down on The Fat Controller’s railway. Thomas ranks alongside other beloved character such as Paddington Bear, Winnie-the-Pooh and Peter Rabbit as an essential part of our literary heritage.

As schools have become more aware of their role in addressing personal and social issues, the importance of 'values and attitudes' have begun shaping education and curricula worldwide. Drama in Education explores the six fundamental pillars of the national curriculum guide of Iceland in relation to these changing values and attitudes. Focusing on the importance of human relations, this book explores literacy, sustainability, health and welfare, democracy and human rights, equality and creativity. It demonstrates the capability of drama as a teaching strategy for effectively working towards these fundamental pillars and reflects on how drama in education can be used to empower children to become healthy, creative individuals and active members in a democratic society. Offering research-based examples of using drama successfully in different educational contexts and considering practical challenges within the classroom, Drama in Education: Exploring Key Research Concepts and Effective Strategies is an essential guide for any modern drama teacher.

Fiona Finkelstein was born to be a ballerina--if she can get over her stage fright, that is. The first in the feisty and endearing Not-So-Ordinary Girl trilogy.
More than catching fireflies, more than eating triple-hot fudge sundaes, and even more than waking up on the first day of summer vacation, Fiona Finkelstein wants to become a ballerina. There's just one problem: In her last recital, she starred as the unforgettable Fiona VOMITstein--her "performance" went all over the stage, and all over Benevolence Castles's cancan costume.
Can Fiona overcome her fears and blossom as a big-time ballerina in "The Nutcracker," even in a snowstorm? Or will she be the only person in her family to have the flat-out worst case of stage fright ever?
"Originally published as "Fiona Finkelstein, Big-Time Ballerina .""

This book will be of major interest to student teachers, teachers, lecturers and researchers. It provides a case for an integrated approach to the teaching of drama in primary and secondary schools that will help practitioners develop a theoretical rationale for their work. It also offers practical examples of lesson plans and schemes of work designed to give pupils a broad and balanced experience of drama. These are presented within a framework that argues for an integration of content and form, means and ends, and internal and external experience.
Whereas the author's previous work argued for an inclusive approach that reconciled polarized views about performance drama and improvisation, this book shows how those activities can be related to each other in practice in an integrated curriculum.

This book is of great interest to all teachers and student teachers who wish to harness the power of drama and story for the purposes of social and moral education and in support of the National Literacy Strategy. It provides documented schemes of work in the form of lesson plans for each of the primary year groups, with clearly defined objectives and criteria for assessment, a step-by-step guidance through the drama work, clear links with individual objectives specified by the National Literacy Strategy, and further classroom activities to support the objectives of a curriculum for social and moral education.

In proposing an analytical framework for the contribution drama can make to the moral education of children, the author draws upon classroom examples and provides teachers with straightforward guidance to support their own whole-school planning.

Most students encounter drama as they do poetry and fiction - as literature to be read - but never experience the performative nature of theater. How to Teach a Play provides new strategies for teaching dramatic literature and offers practical, play-specific exercises that demonstrate how performance illuminates close reading of the text. This practical guide provides a new generation of teachers and theatre professionals the tools to develop their students' performative imagination. Featuring more than 80 exercises, How to Teach a Play provides teaching strategies for the most commonly taught plays, ranging from classical through contemporary drama. Developed by contributors from a range of disciplines, these exercises reveal the variety of practitioners that make up the theatrical arts; they are written by playwrights, theater directors, and artistic directors, as well as by dramaturgs and drama scholars. In bringing together so many different perspectives, this book highlights the distinctive qualities that makes theater such a dynamic genre. This collection offers an array of proven approaches for anyone teaching drama: literature and theater professors; high school teachers; dramaturgs and directors. Written in an accessible and jargon-free style, both instructors and directors can immediately apply the activity to the classroom or rehearsal. Whether you specialize in drama or only teach a play every now and again, these exercises will inspire you to modify, transform, and reinvent your own role in the dramatic arts. Online resources to accompany this book are available at:https://www.bloomsbury.com/how-to-teach-a-play-9781350017528/.

'...an important book that deserves the attention not only of drama teachers but anyone concerned with designing the school curriculum...The case is impressively made, and overwhelming.' - Times Educational Supplement

'It is good to read a book that views watching and understanding a play as a two way means of communication.' - Education Review

'A thoughtful and passionate book that fuels the fires of the longstanding process/product debate close to the heart of all drama/theatre practitioners and scholars.' - Canadian Journal of Education

This is an account of a search for ways to teach dance to the profoundly deaf in a variety of schools and settings. The author describes the methods and games she devised with the children to heighten their awareness of rhythm, music and the breath inherent in every dance movement. This work shows the author's gradual realization that knowledge of music is the basis for dance teaching, and that this knowledge can also enhance the training of hearing dancers. This concept led the author to the conviction that, for the hearing as well as for the deaf, dance and music can be an alternative way of knowing, and an opportunity for children to learn to express their unarticulated feelings and thoughts, to communicate, to socialise and to explore the world in which they live. A video cassette is also available.

Richard Lloyd has combined a pastiche of the Robert Louis Stevenson classic with the essential elements of pantomime, including romantic interludes and knockabout fun. The swiftly moving scenes are interchangeable and allow for staging to be as simple or as sophisticated as facilities permit.

This is a practical guide to teaching drama and provides a coherent framework together with a theoretical underpinning which will allow teachers to create their own drama lessons from an informed standpoint and maximize the learning potential. The authors propose a curriculum for drama which combines the diverse references in the various documents of the National Curriculum whilst at the same time identifying the qualities specific to the subject which can form a coherent framework for teachers to adopt. Central to the book are a range of techniques, examples and activities which will provide a firm foundation for the teaching of drama, give confidence to those who have little or no experience and allow development for others who may have already acquired some.

Published in 1983, this book considers how films are used in secondary school as teaching aids in English and Film courses. Based on a dissertation presented to Temple University, the book tackles three main questions: firstly, it explores the ways that film is used be secondary school English teachers as an adjunct to instruction. Secondly it surveys the number and types of courses offered in film study and filmmaking in specific secondary schools. Thirdly it compares and contrasts the extent and degree of teaching about film as an artistic medium of communication.

In the world of reality TV, things aren't always what they seem. Learn how reality TV got its start in the 1950s and how the genre has evolved and surged in popularity over time. Today, there are hundreds of reality shows to choose from with something to interest everyone. Learn everything you ever wanted to know about reality TV with this high-interest informational text that explores contemporary issues. Packed with fun facts and fascinating sidebars and featuring TIME content and images, this nonfiction book has text features such as a glossary, an index, and a table of contents to engage students in reading as they build their comprehension, vocabulary, and reading skills. The Reader's Guide and extended Try It! activity increase understanding of the material, and develop higher-order thinking. Check It Out! offers print and online resources for additional reading. Keep students reading from cover to cover with this captivating text!

It's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone.... You were the glimmer. At the end of the tunnel. And you went out. Earthquakes in London is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe. The play deals, through amplified theatricality, with a range of contemporary issues from population growth to climate change. An all-pervasive fear of the future and a guilty pleasure in the excesses of the present drive Mike Bartlett's epic rollercoaster of a play from 1968 to 2525 and back again. Earthquakes in London first published in 2010 and has subsequently become a much-produced and widely studied drama text. It is published here as a Student Edition alongside commentary and notes by Bridget Escolme. The ancillary material is geared at students and includes: - an introduction outlining the play's plot, character, themes context and performance history - the full text of the play - a chronology of the playwright's life and work - extensive textual notes - questions for further study - an interview with the playwright

The classic bestselling picture book Angelina and the Princess is back in a beautiful, refreshed hardcover edition perfect for Angelina fans new and old! Angelina hopes to dance the starring role in an upcoming performance for the Royal Ballet, but instead is cast in a tiny part. She is so disappointed that she wants to quit ballet. Eventually, though, she decides to work hard for her friends in the performance. Angelina's decision leads to an unexpected turn of events-and a happy ending for everyone!

Discover the marvelous land of Oz in this collection of the first three books in L. Frank Baum's classic American fairy tale series.
The first three books of the iconic Oz series, now in one collection
In "The Wonderful Wizard of Oz," Dorothy and her dog, Toto, find themselves in a strange land called Oz after their Kansas house is swept away by a cyclone. Here they meet the Munchkins and join the Scarecrow, Tin Woodman, and the Cowardly Lion on an unforgettable journey to the Emerald City, where the all-powerful Wizard of Oz lives. Can he help Dorothy return home?
In "The Marvelous Land of Oz, " a young boy named Tip escapes from a witch and sets out to explore land of Oz. Along the way, he meets the Scarecrow and Tin Woodman, as well as some new friends like Jack Pumpkinhead and the Wooden Sawhorse. Eventually, Tip's journey takes him to the Emerald City, where he realizes that his life will be changed forever.
In "Ozma of Oz, " Dorothy is sailing to Australia when a huge storm washes her overboard. She only survives by clinging to a chicken crate. Eventually she and a yellow hen named Billina wash up on the magic shore of Ev where they meet the mechanical man Tik Tok. But Dorothy and Billina are taken prisoner by the evil Nome King who has captured the royal family of Ev. Only Ozma of Oz can save them, but will she be in time?

This new book provides a clear and accessible guide on best practice to support teachers when using process drama in establishing creative learning partnerships with their students. It offers a detailed analysis and explores the roles of actor, director and playwright that the teacher must adopt in order to develop the 'thinking on your feet' skills and knowledge necessary to deliver a complete process drama experience. Addressing the dynamic nature of process drama, it provides a clear and rigorous explanation of the theory of process drama and links it to practice. Drawing on a wide range of detailed examples from the authors' international and cross-cultural practice, it demonstrates how an effective process drama operates in action. Written to help practitioners and students produce powerful, artistic and educative experiences, chapters cover: pedagogy and the improvised nature of the art form; the structural framework and making shifts in the drama; the role of actor, director, playwright and teacher; monitoring emotional range; progression and the importance of reflection; the spiral of creative exchange and the complexities of co-creativity. Putting Process Drama into Action will be an essential guide for students undertaking initial teacher training at primary level, in addition to those studying both Drama and English at secondary level. It will also prove to be essential reading for specialist and non-specialist teachers in the primary and secondary sectors who teach, or wish to teach, process drama.

Why teach drama? How can a newcomer teach drama successfully? How do we recognize quality in drama? Starting Drama Teaching is a comprehensive guide to the teaching of drama in schools. Exploring the aims and purposes of drama, it provides an insight into the theoretical perspectives that underpin practice alongside activities, example lesson plans and approaches to planning. Written in an accessible style, the book addresses such practical issues as setting up role play, how to inject depth into group drama, working with text, teaching playwriting, as well as common problems that arise in the drama classroom and how to avoid them. This fourth edition has been updated to reflect the latest educational thinking and developments in policy and includes: a new chapter on researching drama; an extra section on digital technology and drama; guidance on different approaches to drama; advice on how teachers can achieve and recognize quality work in drama; a discussion of drama concepts including applied theatre, ensemble and rehearsal approaches. Acting on the growing interest in drama both as a separate subject and as a teaching methodology, this book is full of sensible, practical advice for teachers using drama at all levels and in all kinds of different school contexts. Written by an internationally recognized leading name in drama education, this book is valuable reading for trainee teachers who are new to drama and teachers who wish to update and broaden their range.

Hornbrook, referring to current legislation, argues the case for an organized curricular framework for drama in the 1990s which develops in children the activities of designing, directing, acting, writing and evaluating - all within the range of the historic context of dramatic work. He asserts that recent drama teaching in Britain has been child-centred and psychological, and viewed as a learning medium rather than as an aesthetic study in itself. This, he believes, has had the effect of cutting children off from the variegated world of the theatre and, in the broader sense, from any collective aesthetic or historical dimension. This book is intended mainly for the use of primary and secondary school teachers.

Oliver really wants to play a princess in Ariana's story. He stops, confused, when some of the other boys laugh. But when Noah, the new boy, refuses to take any notice of the laughter, Oliver discovers that there is another way... This beautifully illustrated story book explores a common situation that arises for children and teachers taking part in Helicopter Stories and allows the children to explore their feelings in a sensitive and supportive environment. The story is accompanied by teacher's notes on how to use the book with young children along with questions and discussion prompts that can be incorporated into the curriculum. In a class where Helicopter Stories take place on a regular basis, It's Only Pretend explores issues around gender that might come up in story acting. It is part of the Helicopter Stories Tale series, a valuable and visually captivating resource for all Early Years educators using storytelling and story acting with their children.