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!

The aim of this scheme of work is to introduce students to the devising process through practical exercise, research and log book entry, using Commedia Dell’Arte and Pantomime as a stimulus. This could be used in Year 9 to get a ‘taste’ of devising a full length piece at KS3 ready for GCSE KS4 or could be used as a practise or assessed devised component in Year 10 or 11. This is especially helpful for weaker students who need a firmer underpinning in devising or would benefit from a more structured approach. Included in this comprehensive scheme of work are: Full scheme of work / overview week by week Log book for students, which includes key vocabulary and even tips for analyse and evaluate live theatre. Full set of lesson plans, starting lesson by lesson, then week by week as students devise / rehearse. Powerpoint presentations on both Commedia Dell’Atre and Pantomime with links to video clips. In the first instance students look at ‘Alota Chocolata’ from 10 GCSE Plays However any Commedia / Melodrama script could be used. If you enjoy my resources I’d be grateful for any feedback or reviews. Happy Drama!

This unit takes its inspiration from the painting Guernica (1937) by Pablo Picasso. The unit makes cross-curricular links with Art and History and shows pupils how other art forms and historic events can be a powerful stimuli for dance. The unit focuses on an emotive, moral issue. The pupils analyse and interpret the painting, using both the visual imagery of the shapes and a discussion of events that inspired the artist. A key focus of this unit is the development of expressive skills. Pupils are asked to empathise with the people of Guernica and portray images, such as chaos, pain, outrage and brutality, within their own dances. The use of focus and facial expression, contracting, twisting and arching the spine and forming geometric shapes with the body, aid the powerful and vivid expression of the work. Choreographically, pupils will reflect the composition of the painting, using devices such as overlapping and changes of level to represent the work. The dance progresses from duet to small group work. As they work, pupils should make connections between their movements, body shapes and expressions and the content and meaning of the painting. Performance skills: Demonstrate clarity and expressive use of the spine when performing (eg twisting, arching and contracting positions are taken to their extreme). Demonstrate good technique when jumping, falling and rolling at speed (eg take-off and landings show control and clarity of shape in the air; flight actions have an ‘explosive’ quality, showing power and vitality; falling and rolling actions use the floor safely). Demonstrate appropriate facial expression/characterisation showing emotion (eg open mouths as if screaming, eyes wide-open as if terrified) Composition Skills: Create movements that reflect key shapes, images and emotions within the painting (eg out-stretched hands and upward focus, use of torso [twisted, arched, contracted] when creating key shapes and phrases of movement). Compose various tableaux in small groups that reflect the compositional structure of the painting (eg the use of over-lapping and contrasting levels to show the chaos and juxtaposition of body parts). Create a dance based on a given narrative (eg dance to show the bomb being dropped and the response to this). Appreciation skills: Identify and interpret what is seen in the painting, offering explanations for responses (eg describe key motifs and point to objective features of the work to support answers). Discuss the moral issues surrounding the events depicted in the painting and how this is shown in the dance (eg describe how the fleeing woman in the painting might feel). Evaluate the success of other groups in communicating the dance idea (eg success at depicting chaos, pain and outrage).

This booklet is designed to help rehearse and evaluate within Year 7, 8 & 9 Drama. It has space to put the title of the topic at the top of each page and has notes pages and useful drama terminology. It can also be used for revision of a topic or a homework booklet. Please review if you like it. Enjoy!

This unit is inspired by Looney Tunes Cartoons. Pupils will explore common features of cartoons, such as the suspension of reality, the indestructible nature of the characters, the sticky situations they encounter and how, eventually, good always triumphs over bad. This theme is accessible. Great fun and will instantly engage the pupils. The content is action packed and demands a high level of energy, plus pupils will have the opportunity to use their imagination to create and interpret various cartoon storylines. Throughout the unit, pupils work on creating dances based on cartoons. Technical skills—The unit focuses on refining and developing technical skills in a variety of basic whole body actions. The attention to characterisation and concentration on extreme dynamic contrasts develops pupils’ expressive skills. Choreographically, pupils concentrate on creating and developing movements that relate to the themes of the cartoons, structuring a simple narrative duet and using dynamic contrast to enhance communication of the dance idea. As they work, they identify and interpret the storyline of various cartoons, explain their choice of actions in relation to the dance idea and describe what they see using descriptive and dynamic vocabulary. Includes worksheets, set dance, full lesson plans, scheme of work.

This worksheet can be used as a stand alone written lesson for students studying ‘The Demon Headmaster’ or as part of our full scheme of work. Enjoy!

Inspired by professional dance works, Petrushka, River dance and Walt Disney’s Fantasia. The unit makes cross-curricular links with music and history taking on a social and cultural theme and setting. The unit focuses developing an awareness of social/folk dance in a cultural context. Technical skills Introduction to folk dance technique using a Russian theme. Development of characterisation. Transference of their technical skills to typical Russian dance structures. Expressive skills Pupils will be asked to play contrasting roles, taking on a variety of roles depicting characters at the social setting of a fairground, as in Petrushka. Use of focus and facial expression to assist in the telling of a narrative and to support the mood of the dance. Choreographic skills pupils will reflect the structure of the dance work and the narrative. Pupils will use a variety of group sizes and relationships, with some opportunity solo, duet and trio work. Appreciation skills Pupils are provided with the opportunity to interpret and analyse the professional performance, they will discuss the social and cultural influences surrounding the event gaining a greater awareness of the influences of folk dance throughout Europe. The work will also introduce students to a basic knowledge and understanding of the development and changes in Ballet in the early 20th Century. Diaghilev’s Ballets Russes etc.

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.

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.

• Inspired by the professional dance work, ‘Swansong’, (Christopher Bruce 1987) • The unit makes cross-curricular links with citizenship, dealing with the process of false imprisonment and interrogation and Human Rights. • The unit focuses on an emotive and moral issues. • Technical skills are further developed in this unit in particular contact work, lighting and weight bearing, soft shoe tap, the use of props and an introduction to a simple abstracted ballroom technique (tango) • Expressive skills are a key emphasise of this unit. Pupils will be asked to play contrasting roles, taking on the role of the interrogator and that of the victim. As the dance progresses the intensity of each role deepens. The guards are expected to show extremes, one moment being the comedy act, the next a cold harsh interrogator. • Use of focus and facial expression along with the variety of technical movement and repeated phrases support the intensity of the work. • Choreographic skills pupils will reflect the structure of the dance work and the narrative. Pupils will use mainly trio formations and relationships, with some opportunity for a victim’s solo and a duet cane/tango dance.

To display in your dance space, feel free to amend. Enjoy!

This unit of work, lesson plans, set dance and literature is recommended for Year 8 Dance. The unit focuses on the basic techniques of Hip Hop dance and brings in ideas taken from Parkour. • Technical skills Introduction to an urban style of dance and further contact work. Transference of their technical skills to typical style with strict rhythm. • Expressive skills Pupils will be encouraged to use a sound rhythmic structure to their performance, moving on and off the beat precisely. Pupils should also show a clarity and control when landing, moving over and around other dancers. • Choreographic skills Pupils will use a variety of group sizes and relationships, with some opportunity solo, duet and trio work. The use of ‘tagging in’ will be explored for transition. • Appreciation skills Pupils will view pictures and video and describe the key action, spatial, and dynamic relationship features. For example the action of the traceurs as they move around the city. Comment on the views and opinions expressed by leading professionals in parkour and Hip Hop dance.

This resource is recommended for Years 7 or 8. Inspired by the all child musical Bugsy Malone, this unit acknowledges the popularity of musicals. It provides the opportunity for pupils to experience a lively and expressive dance form. • The unit focuses on basic aspects of modern theatre technique and expression and portraying energy and correct tempo. • Technical skills Introduction to modern theatre dance style. Transference of their technical skills to typical musical theatre dance structure. Introducing basic lifts. • Expressive skills Use of focus and facial expression to support the mood of the dance. Use of correct timing and tempo to correctly depict the variance in the music. • Choreographic skills pupils will reflect the structure of the dance work and the narrative. Pupils will use a variety of group sizes and relationships, with some opportunity solo, duet and trio work. • Appreciation skills Pupils are provided with the opportunity to interpret and analyse Bugsy Malone and discuss this in the context of other more modern musicals. The work will also introduce students to a basic knowledge and understanding of the development and changes in musical theatre.

This presentation analysis power, culture and gender in Indian Kathak Dance and would be suitable for anyone studying dance at GCSE / A Level. It explores: Kathak - which dates back to the twelfth century and the North Indian invasion of the Moghuls. How until that point, Natya had dominated and had been a very important part of religious ritual. How it is a fusion of Arabic and Hindu and became popular as a form of entertainment. And how Bharata Natyam is a religious convention passed down from Father to Son. (Southern India) Included is also a video links.

This is a full presentation with findings in to bone density in dancers, which can be used at GCSE, A-Level or Sports Science. It looks at weakening of bones and osteoporosis. The purpose of this PowerPoint was to compare the body composition and distribution of adipose tissue in two groups of female professional ballet dancers. The first group had already been identified as having low BMD and consisted of 10 dancers. The second group had been identified as having ‘normal’ BMD and were of a matching height and weight to the first group.

This presentation can be used at GCSE or A-Level Dance and looks at: How has ‘Political expression and repression’ been communicated historically through dance and what has its conveyance strived to achieve? It aims to: Contextualise the work of the New Dance Group and Anna Sokolow. Convey how repression and political issues have been expressed through dance from the early 20th Century. Relate this to Liedtke’s work in the 21st Century.

This scheme of work and 6 lesson plans explores the genre of Melodrama, starting with the silent movie. By the end of the topic, students have performed a scene in 3’s in the style of melodrama, concentrating on physical elements and vocalisation. The scheme encourages students to explore Physical comedy, Stock characters, Tableau and Narration, whilst concentrating on creating and presenting a character, as well as exploring the use of script, scenario and contextual information. Each lesson in this 6-lesson plan also includes a full break down of practical exercises and activities as well as 2 scripts and links to online video resources, to aid students learning. Enjoy!