A note from the author: Included here are a selection of resources for the exploration of Theatre Practitioner Constantin Stanislavski. I use his methods in many units with my students, and have created a plethora of resources for them to use. Included: Role on the Wall Worksheet - Stanislavski Given Circumstances Role on the Wall Comparison Sheet Hot Seating Assessment Year 8 Example Lesson Assessment of KS3 Unit on Stanislavskian Techniques Constantin Stanislavski Techniques Document - Detailed analysis of techniques Units, Objectives & Super Objectives - My own created Diagram plus information on these elements. Information on the theatre styles: Realism and Naturalism Quotes from ‘An Actor Prepares’ A good script to use for exploration is Love & Information by Caryl Churchill or any of the Naturalism playwrights (Ibsen, Checkhov, Strindberg, O’Casey, Shaw etc.) Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the author: I crafted this 50-lesson SOW after teaching DNA successfully for 7 Years. It includes helpful resources, lessons activities and some example questions and mock papers. Overview of SOW: Lessons One & Two – Intro Booklet & Ice-Breakers Lesson Three – Immersive Session Lesson Four – Forum Theatre Lessons Five, Six & Seven – Section One Lessons Eight, Nine & Ten – Section Two Lessons Eleven, Twelve & Thirteen – Section Three Lesson Fourteen – Section Four Lesson Fifteen – Plot & Structure Lessons Sixteen & Seventeen – Themes Lessons Eighteen & Nineteen – Context & Playwright’s Intentions Lesson Twenty – Genre & Style Lesson Twenty One – Mood & Atmosphere Lessons Twenty Two, Twenty Three & Twenty Four – Directing Intro, Character Rehearsal Techniques Lessons Twenty Five & Twenty Six – Relationship Rehearsal Techniques Lesson Twenty Seven – Physical Rehearsal Techniques Lesson Twenty Eight – Vocal Rehearsal Techniques Lesson Twenty Nine – Directing Questions Lesson Thirty – Acting Intro & Character Motivations Lesson Thirty One & Thirty Two – Acting Intro & Vocal Acting Skills Lessons Thirty Three & Thirty Four – Physical Acting Skills Lesson Thirty Five – Interaction Acting Skills Lesson Thirty Six & Thirty Seven – Acting Questions Lesson Thirty Eight – Design Intro & Locations Lesson Thirty Nine and Forty – Colour Lesson Forty One & Forty Two – Costume, Hair & Make Up Design Lesson Forty Four – Staging Types Lesson Forty Five – Mood & Atmosphere Lesson Forty Five & Forty Six –Set Design Lesson Forty Seven – Lighting Design Lesson Forty Eight – Sound Design Lesson Forty Nine & Fifty – Design Questions Included: SOW - 50 lessons over 56 Pages (plus some ideas for further lessons) Lesson Resources (worksheets, handouts, guides, tables etc.) Mock Exams & Additional DNA Questions 99 Documents in Total Please note: You will need to purchase a copy of ‘DNA’ by Dennis Kelly to accompany this SOW as there are no script extracts included due to copywright. There are also other resources that are useful to complement this SOW such as props, set, costumes and stationery. Only documents are included in this SOW pack. Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the author: Included here are a selection of Contentless Scenes for use in lessons. Contentless Scenes (sometimes known as ‘Open’ or ‘Ambiguous’ scenes) are scenes that have very little detail on character or narrative plot leaving it open for the actors or directors to use their creativity and imagination to add detail to the scene with endless possibilities. I use these to explore: Character Creation Character Motivation Character Relationships Character Interactions Narrative Structures Subtext Themes & Issues Naturalistic Acting / Stanislavski They are so useful and I use them with each year for different reasons. I have written 35 scenes here that are all different and useful for a variety of reasons. I tend to photocopy them on different coloured pages and split them between different years so that as we use the scenes for different reasons as the students move up through the school they always have fresh stimuli. Included: 20 Duologue Contentless Scenes (ranging from half a page to a full page) 10 Quick-fire Contentless Scenes (suitable for 2 or three actors each) Four are very short (2/3 lines), 6 are longer (4/6 lines) 5 Contentless Scenes for Three Actors (full pages) It works out as less than 29p per scene! Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the author: In this resources pack are images and information to aid students with devising a Brechtian piece of drama in conjunction with my Brecht SOW. I use this SOW and these resources with my Year 9 classes, but would work equally well with KS4 and KS5 classes and high ability Year 7/8 classes. Included: Extracts from 1984 by George Orwell Social Media / Modern Technology Facts & Information A selection of Images Brechtian Techniques Sheet Assessment Task Sheet Please note: Whilst I have included extracts from 1984 by George Orwell, it is advisable that a copy of the book is purchased to give students more freedom over the chosen extracts. Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the author: This is one of my favourite plays. I studied it at KS5 and love exploring the complex themes and characters with my students. I have adapted and honed this SOW over the past two years, and it not only includes a detailed SOW, but also lots of handmade worksheets and other useful resources. The only other thing you will need are copies of the text itself! Enjoy… SOW Overview A scheme of work spread over 24 lessons focusing on an in-depth study of A Doll’s House by Henrik Ibsen. These resources not only cover analysis of the text, but also a practical exploration of how students can bring the text to life as an actor, director and designer. There are also Stanislavskian techniques used throughout the exploration to grasp the style of naturalism, and other practitioner’s methods are explored as well such as Cecily Berry, Jacques Lecoq. This scheme of work is primarily for A Level students but could work well with high ability GCSE students. Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the author: I use this scheme of work with my high ability Year 7 class, as not only does it offer a historical perspective on theatre, but it also allows for complex exploration into characters, staging types, language and stage combat. The students seem to want to get fully involved in all aspects and I have developed this scheme over three years of teaching it. It involves a rich variety of activities, and supports the development of Shakespearean Language and promotes positive working relationships in my students. These resources are suitable for KS3-5 teaching. Objective Overview of Shakespeare SOW § To realise a variety of Shakespearean extracts in performance. § To visually and aurally create an assortment of locations and atmospheres based on Shakespearean plays § To grasp a sound understanding of Shakespearean language within the performance context § To analyse and explore major themes in relation to social, cultural, political and historical context within selected Shakespeare works § To consider the importance of names and personality traits in the exploration and representation of characters § To explore staging types, with particular reference to blocking, tension and audience interaction § To be able to demonstrate a range of stage combat techniques in a secure and safe manner § To consider the differences between Comedies, Tragedies and Tragi-Comedies § To create a group re-staging of an extract from the selected works, with a number of the previous lesson objectives influencing and aiding creative decisions Shakespeare Plays explored: The Taming of the Shrew (1593-1594) Romeo & Juliet (1594-1595) As You Like It (1599-1600) Twelfth Night (1599-1600) King Lear (1605-1606) Macbeth (1605-1606) Included: In-depth Scheme of Work Lesson Resources (Worksheets, Handouts, Whoosh! for Macbeth ) Scripts (extracts from a number of plays explored) Assessment Instructions Please note: You may want to purchase the main scripts for the 6 plays selected (or you can find free versions online. I have included key extracts in the SOW. Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the Author: I have adapted the comic master piece ‘Twelfth Night’ into a school production with an additional 20 Gods/Goddesses, 3 servants of Olivia, and 6 extra Feste’s. My additional play ‘Illyrian Elysium’ tells the story of the 20 Gods/Goddesses above Illyria who cause havoc down below for the mortals, which lead to the story of Twelfth Night unfolding. Illyrian weaves effortless between Shakespeare’s scenes and adds depth and explanation for younger audience members. New characters include ‘Love’, ‘Silence’, ‘Music’, ‘Revenge’, ‘Harmony’, ‘Fire’… Please note that the ‘Goddess’ parts may be exchanged for ‘Gods’ in a mixed school setting. Twelfth Night Brief Synopsis Viola has been shipwrecked in a violent storm off the coast of Illyria; in the process she has lost her twin brother, Sebastian. She disguises herself as a boy and assumes the name Cesario for protection. Thus disguised, Viola comes into the service of Orsino, the Duke of Illyria. Orsino is having little luck courting the Countess Olivia, who is in mourning for the deaths of her father and brother. Orsino sends Viola to Olivia’s court with love letters, and when she arrives, Olivia becomes intrigued by the impudent young “boy,” and contrives to get “Cesario” to return by sending her butler, Malvolio, after her with one of Olivia’s rings. Viola realizes to her dismay that Olivia has fallen for her Cesario rather than Duke Orsino — this is further complicated by the fact that Viola has started to fall herself for Orsino. Elsewhere, Sebastian (Viola’s twin, presumed dead) comes ashore in Illyria thinking that Viola has drowned in the shipwreck. His devoted and loving friend, Antonio, rescued him from the surf, and continues to aid him—at some risk to himself, as Antonio fought against the Duke at one time. Meanwhile, in Olivia’s court, Sir Toby Belch (her uncle) has hoodwinked a foppish Sir Andrew Aguecheek into supporting him (and giving him money) by convincing him that he could be a suitor to Olivia. There is also a running feud between Malvolio and Belch, and with the help of Maria (Olivia’s cook), and the band of Feste Fools, Belch plots to make a buffoon of the butler. Maria writes a love letter to Malvolio that will make him think Olivia has fallen for him…And thus begins the realm of discord descending upon Illyria…

A note from the author: I use this Guidebook as constructive tool for revision in the preparation for mocks and the summer exam. Overview of Guide DNA Exam Guidebook: Intro Key Areas (Acting, Design & Directing) Original Performance Conditions of DNA General Advice Acting Style Question Guide Directing Style Question Guide(Rehearsal Techniques, Directing Actors) Design Style Question Guide (Lighting, Sound, Costume, Props & Set, Styles, Staging Types) Example Questions Included: A 22 page DNA Exam Guidebook Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the author: I created these posters to add a contemporary feel to my studios and classrooms. They give a real boost to creativity and imagination for my students, especially when they are creatively blocked or stuck. These work well in A4 or A3 as posters / visual displays, or I have also used them as handouts for group devising as A4 and A5 sizes, individually laminated or combined to make a booklet. Included: 1x Luminous Lyrics - Devising Stimuli Poster Please note: This resource is also part of a bundle / collection of all devising posters. Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the author: I love this the comparison between The Pied Piper and Kindertransport and have compiled this SOW to be adaptable and useful for all Drama teachers as an accessible way into: Character Development Stimulus Exploration Truthful Performances Different Interpretations of Character / Theme Collaboration Your students will definitely love this SOW - mine certainly do! SOW Overview: A detailed 8 page, four lesson (90 minute lessons - therefore has enough material for 6 hours of lesson time if you have shorter lessons!) SOW. Lesson Structure (90 Minute Lessons!) Lesson One: The Pied Piper of Hamlyn (Poem) Lesson Two: Kindertransport (Play) Lessons Three: The Ratcatcher (Character Development) Lesson Four: Assessment Lesson - Could be split over a number of extra lessons to tie together everything they have learnt from the SOW. Resources Included: 1 x 8 Page Kindertransport & The Pied Piper SOW Assessment Lesson Resources Please note: You will need to purchase a copy of ‘Kindertransport’ by Daniel Samuels for the SOW due to copyright reasons I cannot include the full script here. Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the author: A Notes Log Handout, for pupils to fill in during the interval and post-performance of a piece of live theatre. This can support Section B of the written exam, and the development of practical work in the devised and text performances. Category: Drama GCSE Complete (also available as part of this bundle) Live Theatre Review - GCSE & A Level (also available as part of this bundle) GCSE Drama Component Three: Written Exam (also available as part of this bundle) Please note: Purchasing this resource allows you to amend it in any way you would like. Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!

A note from the author: 10 pages of 8 cards each, 80 cards in total. For hot seating rehearsal techniques in classes, and as part of production or exam rehearsals. There are two options of how to use these cards: Personally I like to laminate these cards on card (double-sided with the backs) and keep them in bundles 1x Pile of Beginner, 1x Pile of Intermediate, 1x Pile of Advanced. I ensure that I also use the back of the card templates to ensure that the cards work as a whole. You could print out a complete sheet and give one to each pupil. This way they have almost a scorecard to use when working on this technique, depending on the level that the actor wishes to try at. Overview of Resource: 30 x Beginner Cards (For use as a good warm up to hot-seating for all level actors, and for KS3 and lower level KS4 / GCSE) 30 x Intermediate Cards (For KS4 / GCSE above, and high level KS3) 20 x Advanced Cards (for KS5 / A Level, and high level KS4 / GCSE) Category: Rehearsal Techniques (Bundle) Stanislavski (Bundle) Included: 80 x Hot-Seating Cue Cards Please note: Purchasing this document allows you to amend and reproduce the cards in anyway that you wish. Please do comment on my resources so that I can continue to update and expand them. If you need any more information/clarification please comment and I will update my resources ASAP!