This worksheet can be used as a stand alone set of questions or alongside the full scheme of work on Masked Theatre. It has generic questions which could be used as a quiz or assessment after studying masked work.

This online full unit of work created for online or classroom based learning includes a 32 page / 6 lesson PowerPoint, which introduces and develops students to: Character Traits Mythical characters Stereotypical characters Monologue / short story Tableau / Still image Thought track Using stimuli Storyboard Writing a duologue Flashback Interview Role Play Costume This includes all resources that teachers can use with the students work to build up a picture of progress and tracking in Year 8 KS3 either as a classroom based, blended or virtual learning.

This worksheet is for students at home self-isolating who need to be working from home. There are a selection of 15 tasks based on different learning styles: written, oral and visual in relation to both directing and performing. Recommended for Year 7. Feel free to use it as you wish.

This free worksheet can be used for thinking about analysing live theatre or students own work. It encourages students to think about: Verbal code Symbolic code Narrative Tension Natrualism / Non-naturalism Hope you enjoy!

This resource introduces students of the ‘Brechtian’ technique and also includes exercises. Brecht’s plays had a strong political social function in seeking to promote a Marxists analysis of society. His purpose was not simply to show the world as it was but to change it into a better world for workers and other oppressed groups. Early in his career he wrote a series of plays called Lehrstucke or ‘learning plays’. The Lehrstucke offered very clear and unambiguous lessons to the audience and are an example of didactic theatre. The social function of didactic theatre is clearly educational, often political, rather than for amusement or entertainment.

This resource can be used as an introduction to Stanislavski and includes exercises that can be used in class. Stanislavski believed that the reproduction of life on stage is, for actors, both a challenge and a responsibility toward the people who come to see it. Simplicity and scenic truth became important principles, and the Stanislavski system emerged as a vigorous weapon against overacting, clichés, and mannerisms. With the System’s terminology – super-objective, logic of actions, given circumstances, communion, subtext, images, tempo-rhythm, and so on – a common language has been created.