Higher Revision Activities

Hang Man Purpose To check prior learning Ensure you stop to think before you speak Resources Blank Hangman worksheet/laminate Pen Concept list Method Divide into two teams Team A choose a concept and put lines on the laminate/worksheet to represent the letters in the concept Team B take it in turns to guess the letters. Incorrect letters are listed and body parts are added to the diagram. If the feet are reached, the team lose. If the team guess all the letters correctly, the team win.

Incorrect letters Concept:

Concept Examples monologue status pitch Use of levels Voices in the head Timing soliloquy blocking register Volume fluency Hot seating stance characterisation masking pace emphasis subtext intonation corpse pause movement accent tone rhythm Body language tension Facial expression posture Thought tracking Environmental sfx Naturalistic sfx projections period Building tension Actor/audience relationship Variation in voice Changes in mood/atmosphere Scenic flats set Multi-role acting Use of abstract ideas Personality Working as an ensemble Non-text direction Staging choice form colour Use of props Visual imagery of set Actor interaction Expectation created by sound On stage world related to a character Occupation Off stage world Off stage world related to imagined world Overall production concept Expressionistic ideas Stage positioning sightlines Visual images Pre-show experience Relationship between text and movement Sources Actors use of movement location Directors interpretation Text direction Releasing tension Use of furniture and set dressing Direction of characterisation Stage cloths Set changes cyclorama Impact of set On stage world Overall directorial concept texture Performance venue Use of rostra Back cloths proportion Use of soundscapes occasion Quality of characterisation Use of music Suggestion created by sound Representational approach Immediate circumstances fabrics/materials style metaphor Acting style Live sound fx Recorded sound fx Performance venue atmosphere

Go for Goal Purpose Revision and review Method Divide into two teams and choose captains. Toss a coin to see which team goes first The aim of the game is to reach the goal by answering questions correctly. Teams take it in turn to answer a question within 5 seconds. If they get it correct they can pass to the nearest player towards their goal. Draw a line on the pitch to show this. As a group, decide how many passes are needed to score a goal. If they get it wrong, the question is passed to the other team, who get a free shot. The game continues until one team scores a goal A foul is committed if someone shouts out, cheats, or answers more than one question Purpose Revision and review Increase concentration and focus Encourage team work Resources Football pitch laminate/worksheet. Blu tac, sticky labels, post-its or tacks to represent players Questions

Questions for “Go for Goal” Give a definition of monologue and one activity you could use as a director to develop an actor’s monologue Describe the status your character had in your latest performance How would you as an actor use pitch to communicate fear in your most recent performance? As a set Designer how would you use difference levels in your most recent performance? How as an actor would you use Voices in the head to develop a scene involving your most recent character? As a lighting or sound designer, give an example of how you would use Timing in your drama As a Director, state how you could use soliloquy to enhance a key moment in your drama. Describe how you used blocking to enhance a key moment in your drama As an actor, how would you use register to demonstrate your character’s status in relationship to another character in your drama? As an actor, how would you use volume to communicate a character’s feelings in a key moment of your drama? Describe an example of how you have used fluency in your work as an Actor, Director or Designer As a Director, how would you use Hot seating to develop your actor’s understanding of their character in your drama?

Questions for “Go for Goal” As an actor, how do you use stance to demonstrate your relationship with one other character in the drama? What characterisation techniques did you use to develop character in your drama? How as a Director/Actor have you used masking to communicate your drama to an audience? How have you used pace in your drama as an Actor/Director/Designer? How did you use emphasis to enhance a key moment in your drama? As a Director or Designer, how did you communicate subtext to the audience? As an Actor, how have you used intonation to communicate your character’s relationship or reaction to another character in the drama? How could you, as a Director use ‘corpsing’ as a technique to communicate an important piece of information to an audience? Describe how you could use pause to highlight an important moment in your drama Describe what you did to build tension in your drama. What was important about your actor/audience relationship in your drama and how did you create this? What variation in voice did you show as an actor in your drama?

Questions for “Go for Goal” What were the key changes in mood/atmosphere in your drama and how did you show this? How did/would you use Scenic flats in your drama? What was the most important item of set in your drama and why? Describe an instance of Multi-role acting you have seen in a drama recently. Describe an instance of use of abstract ideas you have recently seen in a drama What key aspects of personality did you as an actor need to communicate about your character and how did you do this? Describe how the cast were Working as an ensemble in a recent piece of drama you have seen As a Director, how did you use Non-text direction in a recent piece of work? How has Staging choice recently affected your work as an Actor/ Designer/Director? What Drama form did you choose for your drama? Why did you choose this form? Describe your use of colour to communicate the overall mood/atmosphere of your drama. As an actor, how did you use props to communicate a significant relationship/moment in your drama?

Questions for “Go for Goal” Describe how you used Visual imagery in your set design to communicate key themes with your audience. As a Director, how did you direct Actor interaction to communicate a key theme to your audience? As a designer, how did you use sound to create expectation in your drama? What information was important for the audience to see in the on stage world related to a character and why? Describe the occupation of a character with low status in your drama. How did you show this occupation, as an actor or designer? What information was important for the audience to be aware of in the Off stage world, (related to a character) to reinforce the theme of the drama? How did you as a Director/Actor/Designer communicate this? What information was important for the audience to be aware of in the Off stage world, (related to the imagined world) to reinforce the theme of the drama? How did you as a Director/Actor/Designer communicate this? What was the Overall production concept of your drama and how did you communicate this as a Director? What Expressionistic ideas were included in your design ideas for your drama? How did you as a Director use Stage positioning to communicate the relationship between characters? As an actor, how di you consider sightlines when acting in the key moment of your drama? As a designer, what Visual images were important to include in your drama and how did you do this?

Questions for “Go for Goal” What Pre-show experience did you have at a recent performance you attended? How did this affect your understanding of the performance? As a director, what Relationship between text and movement did you focus on and how did you do this? What Sources did you use to research key information for your drama? As an actor, how did you use movement to communicate your feelings towards another character in your drama? How did you as a Director, develop movement in your drama? As an actor, what activities did you use to develop an appropriate accent for your drama? How did you use tone to communicate your relationship with another character in your drama? Give an example of appropriate and effective rhythm you have seen used by actors recently. How did you, as a director, develop the use of Body language to enhance a key moment? How did you as a Director use tension to tell the story of your drama? How did you as a Director, develop the use of Facial expression to enhance a key relationship between characters? How did you as an actor use posture to communicate status?

Questions for “Go for Goal” How did you as a Director use Thought tracking as a device for actors to understand character? As a Designer, how did you use Environmental sfx in your drama? As a Designer, how did you use Naturalistic sfx in your drama? As a Designer, how di you use projections in your drama? How did you, as a designer, communicate the period of your drama to the audience? How did you as a Director, create a sense of location for your audience? What was the Directors interpretation of your recent drama? As an Actor, what Text direction did you receive from your Director? How did you, as an Actor, Director or Designer Release tension at the key moment in your drama? As a Designer, how did you use furniture and set dressing to enhance key themes/issues in your drama? How did you direct characterisation in your recent drama? Give an example of use of Stage cloths in a recent piece of drama you have seen.

Questions for “Go for Goal” Evaluate the set changes you saw in a recent piece of drama. How did these affect your experience as an audience member? How would you use a cyclorama to reinforce the themes/issues of your drama? Describe the Impact of set a recent piece of drama had on you as an audience member. Evaluate the effectiveness of the On stage world presented to you in a piece of drama you recently watched. What was the Overall directorial concept of a recent piece of drama you watched? How was this evident? Describe how you, as a Designer would use texture in your design to communicate the key themes/issues of your drama. What Performance venue would you choose for a performance of your drama? Why? How would you use rostra as a Designer/Director to reinforce the themes/issues of your drama? Describe how you experienced use of Back cloths in a recent performance you watched. As a Designer, how would you use proportion to emphasise mood and atmosphere in your drama? As a Designer, how would you use soundscapes to emphasise mood and atmosphere of the key moment in your drama? As a Director, how would you use occasion to communicate the relationship between characters?

Questions for “Go for Goal” As a Director, what activities might you engage your actors in to ensure depth of Quality of characterisation As a Director, how would you Use music to emphasise the relationships between characters? As a Designer, how would you create suggestion through sound? As a Designer, how would you use a Representational approach to emphasise the key themes/issues of your drama? As a Director, how would you use Immediate circumstances to develop the relationships between your characters? Describe the use of fabrics/materials in a recent performance you watched. Describe the style of a recent performance you watched. Describe the use of metaphor in a recent performance you watched Describe the Acting style in a recent performance you watched Describe the impact of Live sound fx on you as an audience member recently. Describe the impact of Recorded sound fx on you as an audience member recently. Describe the impact of the Performance venue atmosphere at a performance you recently attended.

Criss Cross Revision Purpose Warm up to connect to learning Method Sit in rows Decide which row should stand first Ask a question. The first person in the row to put their hand up and answer correctly sits down. If they get it wrong, the rest of the row sits down but the horizontal row stands up. It if is someone in the corner that gets it wrong then the diagonal row stands up (If all questions are answered correctly the last person left standing in the row in the link). Repeat the game until everyone has answered a question Purpose Warm up to connect to learning To gain focus Resources Questions

Questions for “Criss Cross Revision” Give a definition of monologue Give an example of status State how you could use pitch to communicate fear How could levels be used to communicate status? Define Voices in the Head How could timing be use in sound to enhance expectation of the audience? Give an example of a soliloquy from a play seen or studied Describe an activity to experiment with blocking as a director Describe how register can be used to show power over another character. Describe a feeling that can be communicated through volume. Give an example of fluency of movement you have seen in recent acting What can hot seating be used for?

Questions for “Criss Cross Revision” How can stance be used to communicate feelings towards another character? Name a characterisation technique What effect can masking have on actor/audience relationship? Describe an example of pace you have seen in a recent piece of drama How can emphasis be used as an actor? How can subtext be communicated to an audience? How can relationships be shown through intonation? What positive effect could ‘corpsing’ have? What can pause be used for? How can tension be built in drama?. Define actor/audience relationship State one voice concept?

Questions for “Criss Cross Revision” What were the key changes in mood/atmosphere in your drama? Describe the scenic flats used in a recent performance you viewed? What was the most important item of set in your drama? Describe an instance of Multi-role acting you have seen in a drama recently. Name one piece of character information the audience found out about your character. What is Ensemble acting? Define Non Text Direction Give an example of type of staging Give an example of drama form How can mood/atmosphere be created through colour? How can props be used to show relationships?

Questions for “Criss Cross Revision” What is Visual Imagery? What is actor interaction? How can sound create expectation? What is important about the onstage world related to character? How can occupation of a character be shown? What is important about the offstage world related to a character? What is important about the offstage world related to the imaginary world? What does overall production concept mean? Give an example of an Expressionist idea? How can stage positioning communicate status of characters? Why are sightlines an important consideration for an actor? How can visual images communicate theme?

Questions for “Criss Cross Revision” Why is pre-show experience important? How can relationship between text and movement be shown? Name a source of key research information How can movement communicate character feelings? How can a Director develop movement in rehearsal? How can an actor develop their use of accent? How can tone communicate character relationship? Give an example of use of rhythm in acting How can body language be developed in rehearsal? How can tension be used to engage an audience in storytelling? How can facial expression be workshopped in rehearsal? How can posture communicate status?

Questions for “Criss Cross Revision” How can Thought Tracking be used to enhance understanding of character? Give an example of Environmental SfX Give an example of Naturalistic SfX How can projections be used in a performance? How can period be communicated to an audience? How can location be communicated to an audience? What do we mean by Director’s interpretation? What text direction can be given by the director to actors? How might Tension be released? How can furniture/set dressing be used to communicate key themes? What impact can a director have on characterisation? Give an example of use of Stage cloths in a recent piece of drama you have seen.

Questions for “Criss Cross Revision” What can be the effect of a slow set change? What is a cyclorama? What is the purpose of set? Give an example of an overall directorial concept. Name a type of performance venue What are rostra? What is a back cloth used for? What is a sound scape? What do we mean by occasion?

Questions for “Criss Cross Revision” Name a Directorial activity you have recently used. How can music emphasise relationships? How can sound create suggestion? How is immediate circumstances used in rehearsal? How can fabrics/materials be used to communicate period? Give an example of performance style How might Metaphor be used in Drama? Identify a style of acting Give an example of live sfx Give an example of recorded sfx

Fizz Buzz Purpose Fun warm down Method Stand or sit in a circle. Decide on the focus – e.g. Voice, Movement, Lighting, Sound, Props, Costume, Make up etc Decide on multiples 3s, 4s or 5s. Each pupil says a number in sequence, but if a multiple of 3 (or 4 or 5) lands on a particular pupil they must say a concept that relates to their title. Each time, a different concept should be used. The object of the game is to see how high you can go. If someone says a concept in the wrong multiple, or is too slow or says a wrong concept, the whole team must begin again! To further complication, you may choose two multipliers and two categories of concept! Purpose Fun warm down Practicing quick thinking and vocabulary Resources None

Walkabout Talkabout Purpose Help take ownership of learning Method Put heading on each flip chart sheet Place sheets around the room with pens Split participants among the sheets. Read Tick what you agree with Add anything you think is missing X and change anything you do not agree with. 3 minutes at each station Key roles Quality control: to ensure quality of work Time keep: to ensure task is completed on time Scribe: Write for the group Checker: ensures everyone is participating Negotiator: Go to other groups if unsure what they have written Walkabout Talkabout Purpose Help take ownership of learning Increase sharing of knowledge Team Work Respect for ideas Quality conversation Resources Flip chart paper Pens

Headings for “Walkabout Talkabout” Uses of monologue Demonstrating status Use of pitch to communicate feelings What levels can communicate Use of timing Blocking difficulties Use of register Use of volume Use of Hot Seating in rehearsal Set change – difficulties and how to overcome them Colour to create mood/atmosphere How props can be used to show relationship

Headings for “Walkabout Talkabout” What can be communicated through stance Characterisation techniques Effects of masking Examples of use of pace Use of emphasis Communication of subtext Use of intonation Corpsing as a drama tool Use of pause Building tension Actor/audience relationship Voice concepts

Headings for “Walkabout Talkabout” Changes in mood/atmosphere Use of scenic flats Multi-role acting Communicating character information Use of Ensemble acting? Use of non-text direction Types of staging Drama forms

Headings for “Walkabout Talkabout” Use of visual imagery Experiment with actor interaction How sound can create expectation? The importance of the onstage world in relation to character Communicating occupation of character The importance of the offstage world related to character The importance of the offstage world in relation to the imaginary world Overall production concept examples Expressionist idea examples Use of stage positioning to communicate character relationships Uses of the cyclorama What is the purpose of set?

Headings for “Walkabout Talkabout” The importance of pre-show experience How can relationship between text and movement be shown? Key research sources How can movement communicate character feelings? How can a Director develop movement in rehearsal? How can an actor develop their use of accent? How can tone communicate character relationship? use of rhythm in acting How can body language be developed in rehearsal? How can tension be used to engage an audience in storytelling? How can facial expression be workshopped in rehearsal? How can posture communicate status?

Headings for “Walkabout Talkabout” How can Thought Tracking be used to enhance understanding of character? Examples of Environmental SfX Examples of Naturalistic SfX Examples of use of projection How can period be communicated to an audience? How can location be communicated to an audience? How might Tension be released? How can furniture/set dressing be used to communicate key themes? What impact can a director have on characterisation? Examples of use of Stage cloths Types of performance venue How rostra can be used

Headings for “Walkabout Talkabout” Directorial Activities Use of Music Sound to create suggestion Rehearsal activities Use of fabrics/materials Performance style Use of metaphor Acting style Live SfX Recorded SfX What is a back cloth used for? Examples of sound scape

Graffiti Purpose Builds emotional engagement Method Rearrange the room into 6 groups of tables, put a large sheet of A2 on the tables, covering the tables like a table cloth. Write a question in the centre. Ensure pens for everyone Divide class into 6 groups Make sure everyone has a felt tip pen Each group will spend only 1 minute at each table During that minute they can all scribble one or two words When the teacher says, they must move round to the next group of tables By the end of the 6 minutes, the sheets are covered with colourful graffiti Hang them on the walls. Students visit the ‘art gallery’ and take notes before returning to the 6 groups to compose an answer to a posed question Graffiti Purpose Builds emotional engagement Allows a change of context in which to explore a topic Visual and Kinaesthetic Involves everyone Resources A2 sheets of paper for each group Felt tip pens for everyone Note taking facility at the end

Headings for “Graffiti” Uses of monologue Demonstrating status Use of pitch to communicate feelings What levels can communicate Use of timing Blocking difficulties Use of register Use of volume Use of Hot Seating in rehearsal Set change – difficulties and how to overcome them Colour to create mood/atmosphere How props can be used to show relationship

Headings for “Graffiti” What can be communicated through stance Characterisation techniques Effects of masking Examples of use of pace Use of emphasis Communication of subtext Use of intonation Corpsing as a drama tool Use of pause Building tension Actor/audience relationship Voice concepts

Headings for “Graffiti” Changes in mood/atmosphere Use of scenic flats Multi-role acting Communicating character information Use of Ensemble acting? Use of non-text direction Types of staging Drama forms

Headings for “Graffiti” Use of visual imagery Experiment with actor interaction How sound can create expectation? The importance of the onstage world in relation to character Communicating occupation of character The importance of the offstage world related to character The importance of the offstage world in relation to the imaginary world Overall production concept examples Expressionist idea examples Use of stage positioning to communicate character relationships Uses of the cycolorama What is the purpose of set?

Headings for “Graffiti” The importance of pre-show experience How can relationship between text and movement be shown? Key research sources How can movement communicate character feelings? How can a Director develop movement in rehearsal? How can an actor develop their use of accent? How can tone communicate character relationship? use of rhythm in acting How can body language be developed in rehearsal? How can tension be used to engage an audience in storytelling? How can facial expression be workshopped in rehearsal? How can posture communicate status?

Headings for “Graffiti” How can Thought Tracking be used to enhance understanding of character? Examples of Environmental SfX Examples of Naturalistic SfX Examples of use of projection How can period be communicated to an audience? How can location be communicated to an audience? How might Tension be released? How can furniture/set dressing be used to communicate key themes? What impact can a director have on characterisation? Examples of use of Stage cloths Types of performance venue How rostra can be used

Headings for “Graffiti” Directorial Activities Use of Music Sound to create suggestion Rehearsal activities Use of fabrics/materials Performance style Use of metaphor Acting style Live SfX Recorded SfX What is a back cloth used for? Examples of sound scape

Questions for “Graffiti” Identify and describe the overall production concept of Acting in a recent production you have seen. How did this help create the main climax? Describe the changes in mood and atmosphere in a recent production you have seen. How did this help create the main climax? Describe the actor/audience relationship in a recent production you have seen. How did this help create the main climax? Describe the actor’s use of props in a recent production you have seen. How did this help create the main climax? Describe how the company worked as an ensemble in a recent production you have seen. How did this help create the main climax? Describe the interaction actors had with other actors during a recent production you seen. How did this help create the main climax? Describe the relationship between the spoken text and physical movement/gesture in a recent production you have seen. How did this help create the main climax? Describe the different ways actors used their movement in a recent production you have seen. How did this help create the main climax?

Questions for “Graffiti” Identify and describe the period of a recent production you have seen. How did this help create the main climax in terms of acting? Describe the pre-show experience of a production you have recently seen. How did this help create the main climax? Identify and describe the acting style of a production you have recently seen. How did this help create the main climax? Identify and describe the audience response at a production you have recently seen. Identify and describe the Dramatic impact of a production you have recently seen. Identify and describe the climactic points in a recent production you have seen. Describe the different ways actors used their voice in a recent production you haver seen. How did this help to create the main climax? Analyse the number of parts played by actors in a recent production you have seen. How did this help create the main climax? Describe the quality of characterisation in a recent production you have seen. How did this help create the main climax?

Token Listening Purpose Encourages teamwork Method Set tables in groups of 4/5 Split the class into groups of 4/5. Give each person a specific number of tokens. Each person in a group should have a different colour of token. Whenever someone makes a contribution to the discussion, they have to put a token in a container in the middle of the group. Before anyone makes a contribution to the discussion, they have to summarise what the person before them said and then add to it. This means they have to listen to the contributions of others before they can enter the debate. When someone has used up all their tokens, they must not speak again – this means that, with practice, people learn to think about their contribution before using their token. Token Listening Purpose Encourages teamwork Makes people think before they speak Ensures everyone is heard Helps everyone stay focused and on task. Resources Tokens Handouts

Collaborative listening Method Work in pairs. People take it in turns to read the text to one another. Each listens for key words and phrases and take note of them while their partner is reading, or if they prefer, once they are finished. When they have finished, then discuss how as a Director, Actor or Designer, they would use this for a specific purpose. Share and compare with another pair, a larger group or whole class Purpose Develops sophisticated listening skills Helps focus and concentration Gives sense of purpose to listening Introduce more sophisticated concepts of supposition and persuasive argument Resources A copy of text for everyone Highlighters or colour pens

“Collaborative Listening” Key words/ phrases/concepts Monologue Character status Use of pitch Use of levels Use of ‘Voices in the Head’ Use of timing Soliloquy Use of blocking Use of register Use of volume fluency Hot seating

“Collaborative Listening” Key words/ phrases/concepts Stance Characterisation techniques Masking Pace Emphasis Subtext Intonation Corpsing Pause Build Tension Actor/Audience relationship Variation in voice

“Collaborative Listening” Key words/ phrases/concepts Key changes in mood/atmosphere Scenic flats Use of set Multi role acting Abstract ideas Aspects of personality Working as an ensemble Non-text direction Staging choice Drama Form Use of colour props

“Collaborative Listening” Key words/ phrases/concepts Visual imagery Actor Interaction Sound to create expectation Onstage world related to a character Occupation of a character Off stage world related to a character Off stage world related to imaginary events Overall production concept Expressionistic ideas Stage positioning Sightlines Visual images

“Collaborative Listening” Key words/ phrases/concepts Pre-show experience Relationship between text and movement Research Movement to communicate feelings Use of movement Accent rehearsal activities Use of tone Use of rhythm Use of Body language Use of tension Facial expression Posture

“Collaborative Listening” Key words/ phrases/concepts Thought tracking Environmental sound fx Naturalistic sound fx Projections Period Location Directorial interpretation Text direction Release of Tension Furniture and set dressing Characterisation Stage cloths

“Collaborative Listening” Key words/ phrases/concepts Set changes Cyclorama Impact of set. On stage world Overall directorial concept Texture Performance Venue Rostra Back cloths Proportion Soundscapes Occasion

“Collaborative Listening” Key words/ phrases/concepts Characterisation activities Use of music Sound to create suggestion Representational approach Immediate circumstances Use of fabrics/ materials Style of performance. Use of metaphor Acting style Live sound fx. Recorded sound fx. Performance venue

“Collaborative Listening” Key words/ phrases/concepts To enhance a key moment To show character status To show character feelings To develop character To enhance mood and atmosphere To demonstrate significant relationships To illustrate key themes To create dramatic impact To elicit audience reaction

Drama Bingo Purpose Motivates and increases focus and concentration Method At the beginning of the lesson, give out bingo cards Go through the lesson and as the words or phrases come up, try not to emphasise them in any way As soon as someone or a group think they have got a line, double line or full house, they shout “Bingo!” Check to see if they’ve got it right. If they have, a reward! Purpose Motivates and increases focus and concentration Adds a fun element Increases retention and recall Resources Higher Bingo Cards www.osric.com/bingo-card- generator

Method Clear desks and chairs to the side as much as possible, so that 4 relay teams can line up in front of the board Divide the class into 4 teams and stand one behind the other. Divide the board into 4 clear sections, one section per team Give each team a pen to write with – this is their baton The aim is for each team to write as much as they can about the topic in the allotted time. The first member of the team writes something then, as quickly as possible, passes the baton to the next person. The relay continues until all the pupils in the row have written something then sit down. At the end of the task, there should be several words and phrases on the board. Review with the whole class. Work out a scoring system of 1 for a duplicate or something that is easy, and 2 for more difficult answers. Team with the highest score wins! Relay Review Purpose Reviews a topic prior to moving on or before exams Extracts prior knowledge Introduces brainstorming and fast thinking Encourages team work Resources Board to write on 4 colours of marker Questions

Headings for “Relay Review” Uses of monologue Demonstrating status Use of pitch to communicate feelings What levels can communicate Use of timing Blocking difficulties Use of register Use of volume Use of Hot Seating in rehearsal Set change – difficulties and how to overcome them Colour to create mood/atmosphere How props can be used to show relationship

Headings for “Relay Review” What can be communicated through stance Characterisation techniques Effects of masking Examples of use of pace Use of emphasis Communication of subtext Use of intonation Corpsing as a drama tool Use of pause Building tension Actor/audience relationship Voice concepts

Headings for “Relay Review” Changes in mood/atmosphere Use of scenic flats Multi-role acting Communicating character information Use of Ensemble acting? Use of non-text direction Types of staging Drama forms

Headings for “Relay Review” Use of visual imagery Experiment with actor interaction How sound can create expectation? The importance of the onstage world in relation to character Communicating occupation of character The importance of the offstage world related to character The importance of the offstage world in relation to the imaginary world Overall production concept examples Expressionist idea examples Use of stage positioning to communicate character relationships Uses of the cyclorama What is the purpose of set?

Headings for “Relay Review” The importance of pre-show experience How can relationship between text and movement be shown? Key research sources How can movement communicate character feelings? How can a Director develop movement in rehearsal? How can an actor develop their use of accent? How can tone communicate character relationship? use of rhythm in acting How can body language be developed in rehearsal? How can tension be used to engage an audience in storytelling? How can facial expression be workshopped in rehearsal? How can posture communicate status?

Headings for “Relay Review” How can Thought Tracking be used to enhance understanding of character? Examples of Environmental SfX Examples of Naturalistic SfX Examples of use of projection How can period be communicated to an audience? How can location be communicated to an audience? How might Tension be released? How can furniture/set dressing be used to communicate key themes? What impact can a director have on characterisation? Examples of use of Stage cloths Types of performance venue How rostra can be used

Headings for “Relay Review” Directorial Activities Use of Music Sound to create suggestion Rehearsal activities Use of fabrics/materials Performance style Use of metaphor Acting style Live SfX Recorded SfX What is a back cloth used for? Examples of sound scape

Password Method Divide the class into two teams. As one pupil from each team to go out of the room. A word or phrase connected with the topic of learning is decided upon by the class. The pupils come back in and stand in front of their teams. Members of each team take it in turns to say one thing about the word/phrase to their team mate to help them guess the answer. This is alternated one team then the other. The first team mate to guess wins Purpose Teaches pupils to communicate what they know in a way others can understand Shows how much or how little is known about topics Resources None

“Password” Examples monologue status pitch Use of levels Voices in the head Timing soliloquy blocking register Volume fluency Hot seating stance characterisation masking pace emphasis subtext intonation corpse pause movement accent tone rhythm Body language tension Facial expression posture Thought tracking Environmental sfx Naturalistic sfx projections period Building tension Actor/audience relationship Variation in voice Changes in mood/atmosphere Scenic flats set Multi-role acting Use of abstract ideas Personality Working as an ensemble Non-text direction Staging choice form colour Use of props Visual imagery of set Actor interaction Expectation created by sound On stage world related to a character Occupation Off stage world Off stage world related to imagined world Overall production concept Expressionistic ideas Stage positioning sightlines Visual images Pre-show experience Relationship between text and movement Sources Actors use of movement location Directors interpretation Text direction Releasing tension Use of furniture and set dressing Direction of characterisation Stage cloths Set changes cyclorama Impact of set On stage world Overall directorial concept texture Performance venue Use of rostra Back cloths proportion Use of soundscapes occasion Quality of characterisation Use of music Suggestion created by sound Representational approach Immediate circumstances fabrics/materials style metaphor Acting style Live sound fx Recorded sound fx Performance venue atmosphere

Right on Track Method Draw three routes with equal numbers of stopping places from one corner of the map to another. Divide the class into three teams and assign each with a route. The aim is to see which team can complete the journey most quickly. Ask a question to the class The first person to raise their hand and answer correctly moves their team on one place to the first stopping place. Ask a different team a question. If they answer correctly they can move forward. An incorrect answer from any team moves them backward. This continues until a team completes their journey Purpose Revision and review of a specific part of a topic Reinforces the idea that learning is a journey To show the big picture and steps along the way Resources Wall map Coloured tacks or pins (two or three different colours) Three coloured markers to draw on the map

Questions for “Right on Track” Give a definition of monologue and one activity you could use as a director to develop an actor’s monologue Describe the status your character had in your latest performance How would you as an actor use pitch to communicate fear in your most recent performance? As a set Designer how would you use difference levels in your most recent performance? How as an actor would you use Voices in the head to develop a scene involving your most recent character? As a lighting or sound designer, give an example of how you would use Timing in your drama As a Director, state how you could use soliloquy to enhance a key moment in your drama. Describe how you used blocking to enhance a key moment in your drama As an actor, how would you use register to demonstrate your character’s status in relationship to another character in your drama? As an actor, how would you use volume to communicate a character’s feelings in a key moment of your drama? Describe an example of how you have used fluency in your work as an Actor, Director or Designer As a Director, how would you use Hot seating to develop your actor’s understanding of their character in your drama?

Questions for “Right on Track” As an actor, how do you use stance to demonstrate your relationship with one other character in the drama? What characterisation techniques did you use to develop character in your drama? How as a Director/Actor have you used masking to communicate your drama to an audience? How have you used pace in your drama as an Actor/Director/Designer? How did you use emphasis to enhance a key moment in your drama? As a Director or Designer, how did you communicate subtext to the audience? As an Actor, how have you used intonation to communicate your character’s relationship or reaction to another character in the drama? How could you, as a Director use ‘corpsing’ as a technique to communicate an important piece of information to an audience? Describe how you could use pause to highlight an important moment in your drama Describe what you did to build tension in your drama. What was important about your actor/audience relationship in your drama and how did you create this? What variation in voice did you show as an actor in your drama?

Questions for “Right on Track” What were the key changes in mood/atmosphere in your drama and how did you show this? How did/would you use Scenic flats in your drama? What was the most important item of set in your drama and why? Describe an instance of Multi-role acting you have seen in a drama recently. Describe an instance of use of abstract ideas you have recently seen in a drama What key aspects of personality did you as an actor need to communicate about your character and how did you do this? Describe how the cast were Working as an ensemble in a recent piece of drama you have seen As a Director, how did you use Non-text direction in a recent piece of work? How has Staging choice recently affected your work as an Actor/ Designer/Director? What Drama form did you choose for your drama? Why did you choose this form? Describe your use of colour to communicate the overall mood/atmosphere of your drama. As an actor, how did you use props to communicate a significant relationship/moment in your drama?

Questions for “Right on Track” Describe how you used Visual imagery in your set design to communicate key themes with your audience. As a Director, how did you direct Actor interaction to communicate a key theme to your audience? As a designer, how did you use sound to create expectation in your drama? What information was important for the audience to see in the on stage world related to a character and why? Describe the occupation of a character with low status in your drama. How did you show this occupation, as an actor or designer? What information was important for the audience to be aware of in the Off stage world, (related to a character) to reinforce the theme of the drama? How did you as a Director/Actor/Designer communicate this? What information was important for the audience to be aware of in the Off stage world, (related to the imagined world) to reinforce the theme of the drama? How did you as a Director/Actor/Designer communicate this? What was the Overall production concept of your drama and how did you communicate this as a Director? What Expressionistic ideas were included in your design ideas for your drama? How did you as a Director use Stage positioning to communicate the relationship between characters? As an actor, how di you consider sightlines when acting in the key moment of your drama? As a designer, what Visual images were important to include in your drama and how did you do this?

Questions for “Right on Track” What Pre-show experience did you have at a recent performance you attended? How did this affect your understanding of the performance? As a director, what Relationship between text and movement did you focus on and how did you do this? What Sources did you use to research key information for your drama? As an actor, how did you use movement to communicate your feelings towards another character in your drama? How did you as a Director, develop movement in your drama? As an actor, what activities did you use to develop an appropriate accent for your drama? How did you use tone to communicate your relationship with another character in your drama? Give an example of appropriate and effective rhythm you have seen used by actors recently. How did you, as a director, develop the use of Body language to enhance a key moment? How did you as a Director use tension to tell the story of your drama? How did you as a Director, develop the use of Facial expression to enhance a key relationship between characters? How did you as an actor use posture to communicate status?

Questions for “Right on Track” How did you as a Director use Thought tracking as a device for actors to understand character? As a Designer, how did you use Environmental sfx in your drama? As a Designer, how did you use Naturalistic sfx in your drama? As a Designer, how di you use projections in your drama? How did you, as a designer, communicate the period of your drama to the audience? How did you as a Director, create a sense of location for your audience? What was the Directors interpretation of your recent drama? As an Actor, what Text direction did you receive from your Director? How did you, as an Actor, Director or Designer Release tension at the key moment in your drama? As a Designer, how did you use furniture and set dressing to enhance key themes/issues in your drama? How did you direct characterisation in your recent drama? Give an example of use of Stage cloths in a recent piece of drama you have seen.

Questions for “Right on Track” Evaluate the set changes you saw in a recent piece of drama. How did these affect your experience as an audience member? How would you use a cyclorama to reinforce the themes/issues of your drama? Describe the Impact of set a recent piece of drama had on you as an audience member. Evaluate the effectiveness of the On stage world presented to you in a piece of drama you recently watched. What was the Overall directorial concept of a recent piece of drama you watched? How was this evident? Describe how you, as a Designer would use texture in your design to communicate the key themes/issues of your drama. What Performance venue would you choose for a performance of your drama? Why? How would you use rostra as a Designer/Director to reinforce the themes/issues of your drama? Describe how you experienced use of Back cloths in a recent performance you watched. As a Designer, how would you use proportion to emphasise mood and atmosphere in your drama? As a Designer, how would you use soundscapes to emphasise mood and atmosphere of the key moment in your drama? As a Director, how would you use occasion to communicate the relationship between characters?

Questions for “Right on Track” As a Director, what activities might you engage your actors in to ensure depth of Quality of characterisation As a Director, how would you Use music to emphasise the relationships between characters? As a Designer, how would you create suggestion through sound? As a Designer, how would you use a Representational approach to emphasise the key themes/issues of your drama? As a Director, how would you use Immediate circumstances to develop the relationships between your characters? Describe the use of fabrics/materials in a recent performance you watched. Describe the style of a recent performance you watched. Describe the use of metaphor in a recent performance you watched Describe the Acting style in a recent performance you watched Describe the impact of Live sound fx on you as an audience member recently. Describe the impact of Recorded sound fx on you as an audience member recently. Describe the impact of the Performance venue atmosphere at a performance you recently attended.

Who and What’s in the Bag? Method Prepare the desks in groups of 5 or 6.Split the cards into 5 or 6 equal piles. Split the class into groups of 5 or 6. On the word “Go” from the teacher, one member of the group takes out a card and without showing it to team mates must describe as quickly as possible without gestures one of the words on the card without mentioning the word itself or a word containing the word Once a pupil has done 2 cards, play moves to the next pupil in the group who takes out 2 cards. This continues until all pupils have a go and there are no cards left. As soon as they are finished, the team stands up. The words go back in the bag at the end. Purpose Introduces the element of choice Simulate pressure of exams Identifies knowledge gaps Improves memory Resources Cards

Cards for “Who and What’s in the Bag?” Monologue Status Pitch Levels Timing Blocking Register Volume Hot seating Set changes Colour for mood/ atmosphere Props

Cards for “Who and What’s in the Bag?” Stance Characterisation techniques Masking Pace Emphasis Subtext Intonation Corpsing Use of pause Building tension Actor/audience relationship Voice concepts

Cards for “Who and What’s in the Bag?” Changes in mood/atmosphere Scenic flats Multi-role acting Communicating character information Ensemble acting Non-text direction Types of staging Drama forms Strengths of a character Weaknesses of a character

Cards for “Who and What’s in the Bag?” Visual imagery Actor interaction Expectation created by sound Onstage world in relation to character Character occupation Offstage world related to character Offstage world in relation to the imaginary world Overall production concept Expressionist idea examples Character relationships shown through stage positioning Cyclorama Set

Cards for “Who and What’s in the Bag?” Pre-show experience Relationship between text and movement Research sources Character feelings shown through movement Movement rehearsal activities Accent development activities Tone Rhythm Body language Tension as a story telling device Facial expression rehearsal activities Posture to communicate status

Cards for “Who and What’s in the Bag?” Thought tracking Environmental SfX Naturalistic SfX use of projection Period Location Release of tension Furniture / set dressing Characterisation Stage cloths Performance venue Rostra

Cards for “Who and What’s in the Bag?” Directorial Activities Use of Music Sound to create suggestion Rehearsal activities Use of fabrics/materials Performance style Use of metaphor Acting style Live SfX Recorded SfX Back cloth Sound scape

Charades Purpose Encourages creativity, lateral thinking Method Divide the class into pairs Give one person in each group a card Tell pupils they are going to see if they can get someone else to understand what is on their card without seeing it. They have to do this without talking, but they can act out what it is about, or use non verbal communicating. Just like Charades, they can indicate whether it is first, second, word etc, using their hands. The object is to see if you can get the other person to understand your card. Swap over Purpose Encourages creativity, lateral thinking Ensures depth of thought Resources Cards

Colour for mood/ atmosphere Cards for “Charades” Monologue Status Pitch Levels Timing Blocking Register Volume Hot seating Set changes Colour for mood/ atmosphere Props

Cards for “Charades” Stance Characterisation techniques Masking Pace Emphasis Subtext Intonation Corpsing Use of pause Building tension Actor/audience relationship Voice concepts

Cards for “Charades” Changes in mood/atmosphere Scenic flats Multi-role acting Communicating character information Ensemble acting Non-text direction Types of staging Drama forms Strengths of a character Weaknesses of a character

Cards for “Charades” Visual imagery Actor interaction Expectation created by sound Onstage world in relation to character Character occupation Offstage world related to character Offstage world in relation to the imaginary world Overall production concept Expressionist idea examples Character relationships shown through stage positioning Cyclorama Set

Cards for “Charades” Pre-show experience Relationship between text and movement Research sources Character feelings shown through movement Movement rehearsal activities Accent development activities Tone Rhythm Body language Tension as a story telling device Facial expression rehearsal activities Posture to communicate status

Furniture / set dressing Cards for “Charades” Thought tracking Environmental SfX Naturalistic SfX use of projection Period Location Release of tension Furniture / set dressing Characterisation Stage cloths Performance venue Rostra

Cards for “Charades” Directorial Activities Use of Music Sound to create suggestion Rehearsal activities Use of fabrics/materials Performance style Use of metaphor Acting style Live SfX Recorded SfX Back cloth Sound scape