This basic template created in Microsoft Word can be used as a starting point for your next script. Sam Graber will show you how to create styles and templates so that your script has that look. Fun and laughs included. So again, the rejoinder, before you delve through my missive, is that there is no single, go-to standard script format standard.
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.
|Using Masks as a Creative Teenage Drama Tool||A very busy week had by all!|
|Upper Key Stage 2 (Y5/6) English Plans - Set B | Hamilton Trust||The last Book groups have held their dragon inspired days of stories and craft activities, schools and libraries have sent photos of busy children wearing dragon masks and making wonderful displays, and across the country, dragon stories have been enjoyed by all. We are sorry there are not enough prizes for you all!|
Toby Wilshire of Trestle Theatre Company said: There is a difference between controlling the mask and being controlled by it. Students should grasp that.
They have to work harder physically to convey expression and meaning when masks take away their facial and vocal communication. Masks for Devising Drama Teaching has a simple starter student mask lesson. A Trestle schools mask workshop uses the following or related exercises.
Get students to imagine a piece of string attached to the nose is leading you round the room. What are you like? Find a voice for the face; then a body for the face and voice, then simple movements for face, voice, body.
This whole creature is a mask.
Exaggeration, even comedy will ensue. Next, build the idea that a character wearing a mask must always be facing audience directly. Periodic discussion is essential to carry them with you. The dead-pan, cheap, thin plastic type masks could now be used to repeat scenes just made up.1.
We can only say what we can think. 2.
We can only write what we can say. 3. But if we can say it, we can write it. What does this tell us about the importance of speech?
Now that sounds excellent doesn’t it? But what does it actually mean? If my first statement, “we can only say what we.
It is based on The Lion the Witch and the Wardrobe. It is very short, pupils can then complete the mini discussion activity to help them think about the structure/5(33).
Responding to a set brief. Every professional writer is used to writing to a brief. Whether they are a journalist writing a newspaper article, a screenwriter writing a script or a novelist writing.
J2Code meets all of the coding elements of the National Curriculum computing programmes of study for KS1 and KS2, If a play is experimental, creative script formatting can be a clue to the reader as to how the writer envisions the play. However, in most cases the important thing to consider is will the reader have an easy time reading the play.
Creator of the book Young Playwrights and the course Introduction to Playwriting, Jonathan Dorf is available as a script consultant. Table of Contents The Play's the Thing and Types of Plays.