Like all texts, stories also have their own basic 'recipe' called 'genre conventions'. Opening This part of your story must work to engage your reader, beginning to absorb them into your 'story-world'. You should aim to hook the reader into the story with the 'plot hook'. Whether you choose to start the story by giving the end away just like Shakespeare did in his play Romeo and Juliet; or you start in the middle of lots of action; or even with very little action at all, you will definitely need to start in a way that hooks your reader — and do so pretty quickly.
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.Although the title says ” 8 Things to Hate About Kumon-A review” in reality it has promoted Kumon program on the web and I’m not surprised that some people who have never heard of Kumon are planning to enroll their child in the program.
Wordle is a toy for generating “word clouds” from text that you provide. The clouds give greater prominence to words that appear more frequently in the source text.
KS3/KS4 Maths English Social Skills Autism Spectrum Disorders SENCo Information and Useful Forms Classroom Management PSHE Speech, Features of a Play Script Writing Checklist (9 member reviews) A handy checklist for the key features of a play script. (1 member review) More languages.
Mar 06, · 4) Round up your review Summarise some of your thoughts on the book by suggesting the type of reader you’d recommend the book to. For example: younger readers, older readers, fans of relationship drama/mystery stories/comedy.
Gymnastics, Water play and The New Site! Learning in and out of school has continued this week. Annabel and Lauren took part in a gymnastics competition with Annabel winning bronze and Lauren getting gold - fantastic achievements where hard work and commitment have paid off.
Jan 20, · How to Write a Play Review. Three Parts: Sample Play Reviews Preparing to Write the Review Writing the Review Community Q&A. The performance of a play is a live experience, so it can be an exciting but difficult task to review.
You have to be both the spectator, taking in and enjoying the performance, and a critic, analyzing 93%(55).
|CBBC Newsround | Teachers | Literacy | Text | Film review||As she writes each section of her argument she sends it to him. This demonstrates the process of building up a piece of writing.|
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|The Live Coding Music Synth for Everyone.||Script formatting is highly conventionalised, so you need to acquaint yourself with the correct format; this will differ for theatre, cinema, television or radio. Internet sites offer downloadable original screenplay drafts:|