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Neutral vs Natural Stances

Learn the difference between “standing neutral” (ready to act) and “standing natural” (how you normally stand).

Physical Warm-Up (inspired by Laban/LeCoq)

Stretch, move, and loosen up the body.

Explore how movement can show energy, weight, and direction.

Voice Warm-Up (inspired by Linklater/Classical Training)

Breathing exercises.

Sound and resonance work.

Playing with pitch, pace, and projection.

Nursery Rhyme Projection Game

Use short rhymes to practice speaking loudly and clearly so everyone can hear.

1-Minute Monologue (About You or a Topic)

A quick personal performance.

Practice speaking confidently in front of the group.

Dramatic Nursery Rhyme Reading

Perform a nursery rhyme while adding a given emotion (e.g. angry, joyful, scared).

Work in pairs to explore how emotions change performance.

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Physical Characterisation – Activities

1. Neutral vs Natural Stances

Compare “neutral” (ready to perform) with “natural” (how you usually stand).

2. Physical Warm-Up

Stretch and energise the body.

Get ready to move with freedom and control.

3. Leading with Body Parts

Walk while leading with different body parts (head, chest, hips, knees, etc.).

Notice how this changes your walk and suggests different characters.

4. Leading with Stereotypical Characters

Try the “leading” exercise again, but this time as clear types (e.g., detective, villain, superhero, clown).

5. Laban Effort Actions – Exploring movement qualities through actions and character types:

Punch – Strong, sudden, direct → aggressive, military, angry characters.

Press – Strong, sustained, direct → determined, stubborn, authoritative characters.

Slash – Strong, sudden, indirect → chaotic, destructive, passionate characters.

Wring – Strong, sustained, indirect → tormented, conflicted, strained characters.

Flick – Light, sudden, indirect → playful, cheeky, dismissive characters.

Dab – Light, sudden, direct → precise, fussy, quick-thinking characters.

Float – Light, sustained, indirect → dreamy, gentle, carefree characters.

Glide – Light, sustained, direct → elegant, calm, in-control characters.

6. Daily Task Scenarios (silent solo work)

Perform everyday tasks in character, but with obstacles:

Making tea (kettle boiling over).

Tying shoelaces (laces keep snapping).

Unlocking a door (someone blocking it).

Searching for something (you keep losing it again).

7. The Lost Key (Scripted Pair Work)

Work with a partner on a short scene.

Apply physical characterisation and Laban techniques to bring the script to life.

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Vocal Characterisation – Activities

1. Vocal Warm-Up (20 mins)
a. Breath & Resonance (7 mins)

Diaphragmatic breathing (hand on stomach, inhale for 4, exhale for 6).

Humming from chest → mask (face) → head voice.

Sustain sound and project without shouting.

b. Articulation & Consonant Drills (7 mins)

Exaggerated consonant patterns: “Puh-tuh-kuh”, “Buh-duh-guh”, “Fuh-vuh-thuh”.

Tongue twisters for clarity: “Crisp crusts crackle crunchily”, “She sells seashells…”.

Aim for clear, precise, open speech.

c. Pitch, Pace & Volume (6 mins)

Take a line like “I can’t believe this is happening!”.

Play with:

Pitch: low → mid → high

Pace: slow → normal → fast

Volume: whisper → normal → loud

Notice how these choices change character and meaning.

2. Voice as Character (20 mins)

Choose a character type (e.g., nervous teen, pompous king, mischievous child, confident detective, secretive spy).

Create a vocal profile:

Pitch (high/low)

Tempo (fast/slow)

Volume (loud/soft)

Rhythm (flowing, hesitant, clipped, etc.)

Repeat a short line (e.g., “Hello, what are you doing?”) in character.

Classmates guess the character based on the voice alone.

3. Emotion Through Voice (20 mins)

Use the line “I can’t find it!” in different emotions:

Fear → shaky, high pitch, quick pace

Anger → loud, sharp, clipped

Sadness → slower, softer, lower pitch

Excitement → rapid, varied pitch, bouncy volume

Discuss how emotion changes only through voice.

4. Dialogue & Interaction (20 mins)

Paired vocal improvisations (no physical actions). Scenarios could include:

Ordering food in a busy café.

Arguing over a lost item.

Sharing exciting news.

Focus on how pitch, tempo, rhythm, and volume shape character.

Twist option: Switch character status mid-scene (shy → confident, low → high status) and explore how the voice shifts.

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Improvisation – Activities

1. Warm-Up Games (15 mins)

Yes, Let’s / Yes, And? → Build scenes by always agreeing and adding on.

Emotion Throw → Pass emotions around the circle while delivering a line.

What Are You Doing? → One student acts out an activity, another asks, “What are you doing?”, and the first must say something different from what they’re doing.

2. “Whose Line”-Style Games (50 mins)

a. Scenes from a Hat (10 mins)

Pull a random scenario (e.g., “Two aliens learning about Earth”, “Haunted bakery”).

Perform short scenes in pairs or trios.

Focus on bold choices, silly voices, and fun characters.

b. Party Quirks / Character Switch (10 mins)

One student is the party host.

Guests enter with secret quirks/traits (e.g., only asks questions, thinks they’re a superhero).

Host must guess while staying in character.

c. Sound Effects / Voice Over (10 mins)

Two students perform silently.

Rest of the class provides sound effects, narration, or commentary.

Focus on timing, energy, and vocal creativity.

d. Scenes with a Twist (10 mins)

Perform a scene. Instructor interrupts with:

“Genre change” → comedy, horror, soap opera, sci-fi.

“Emotion change” → angry, scared, excited, jealous.

Actors must switch instantly.

e. Props as Anything (10 mins)

Use random objects (scarf, bottle, book) as something completely different.

Build a scene around the new prop idea.

3. Group Improvisation / Finale Game (15 mins)

Alphabet Scene

In pairs/trios, improvise a scene where each new line starts with the next letter of the alphabet.

Example:

A: “Apples are my favourite snack.”

B: “But bananas are even better!”

A: “Careful, I’ll eat them all!”

Add funny voices, exaggerated emotion, and bold character choices.

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Stagecraft & Blocking – Activities

1. Warm-Up: Spatial Awareness (10 mins)
a. Walk the Space

Explore levels (high / medium / low), directions (forward / backward / diagonals), and speeds.

Respond to instructor prompts: “Freeze! Move like you’re sneaking… Carry something heavy!”

b. Stage Quadrants

Divide stage into four sections.

Move between them while thinking about audience sightlines.

Discuss: Where should actors stand to be most visible?

2. Introducing Blocking (15 mins)

Blocking = planned movements, entrances, exits, and positioning.

Example scene (from “The Lost Key”):

A enters stage left, searches a table.

B enters stage right, watches A.

A kneels, B steps forward.

Students annotate scripts with:

Stage directions (“A enters SL”).

Movement (“kneels centre stage”).

Focus points (“B looks at A silently”).

Emotional notes (“A frantic → pacing quickens”).

3. Blocking Workshop (25 mins)
a. Partner Scene Blocking (15 mins)

Work in pairs with a short script (30–60 seconds).

Block all actions clearly for audience view.

Add stage directions, props, and emotional notes.

b. Sharing & Feedback (10 mins)

Perform blocked scenes for the group.

Feedback on:

Clear entrances/exits.

Audience visibility.

Emotional impact of movement.

4. Stagecraft Concepts (20 mins)

1. Levels

High = power (standing on chair).

Medium = neutral (standing).

Low = vulnerability (sitting/kneeling).

Mini-task: Perform the same line at different levels.

2. Proximity & Focus

Explore how standing close or far changes relationships.

Move across stage while keeping focus on another actor.

3. Sightlines & Audience Awareness

Half the group watches as audience.

Others perform.

Discuss visibility: “Who was blocked from view?”

5. Extended Scene Blocking Application (15 mins)

Work with a longer script (1–2 minutes).

Fully annotate with:

Entrances/exits.

Movement paths.

Levels, focus, sightlines.

Props usage.

Rehearse with emphasis on clarity, visibility, and expressive staging.

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Character Research & Development – Activities

1. Introduction: Stanislavski’s Given Circumstances (10 mins)

Definition: All the facts the playwright gives about a character.

Includes:

Who they are (age, job, relationships).

Where they are (location/environment).

When the play happens (time period/context).

What happened before (backstory).

What the character wants/needs (objective).

2. Text Analysis Exercises (25 mins)

a. Highlight the Facts (10 mins)

Use a short scene (e.g., Jamie & Sam).

Highlight all given circumstances: names, ages, place, time, events, relationships, obstacles.

Group discussion: How do these facts change the way we perform?

b. Line by Line Objectives (10 mins)

In pairs, go through each line and ask:

What does my character want? (Objective)

What’s in their way? (Obstacle)

Example:

Jamie: “I knew I shouldn’t have stayed up so late last night!”

Objective = express worry

Obstacle = pressure of being late/test anxiety

c. Subtext & Emotion (5 mins)

Annotate lines with what the character is really thinking but not saying.

Use words, symbols, or emojis for emotion/tone.

3. Applying Analysis to Performance (20 mins)

Rehearse lines using annotations.

Focus on:

Voice (pitch, pace, volume).

Emotion (anxious, calm, frustrated, supportive).

Intention (what they want each line).

Experiment with choices:

What happens if Jamie plays the anxiety quietly vs. over-the-top?

How does Sam respond differently?

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Actioning – Activities

1. Introduction to Actioning (10 mins)

Concept: Breaking down text into actionable verbs (what the character is doing with each line).

Every line = an action, aimed at an objective.

Example actions: persuade, reassure, intimidate, comfort, provoke, encourage, challenge.

Practice line: “I can’t believe this happened.”

Are they blaming? Pleading? Questioning?

Brainstorm possible action verbs.

2. Script Analysis for Actioning (15 mins)

Scene (Jamie & Sam):

Jamie: “I knew I shouldn’t have stayed up so late last night! Now I’m going to be late for the exam!”

Sam: “Relax, you still have five minutes. Just breathe.”

Jamie: “Breathe? How am I supposed to breathe when everything is going wrong?”

Steps:

1. Identify each character’s objective.

2. Assign an action verb to every line.

3. Annotate script with the actions.

Example:

Jamie → complain / persuade self / seek reassurance.

Sam → reassure / calm / support.

3. Applying Actioning in Performance (25 mins)

a. Action Line Rehearsal (15 mins)

In pairs, rehearse the scene.

Play each line with its chosen action (e.g., Jamie panics, Sam reassures).

Adjust voice (tone, pace, volume) to show the action.

b. Action Variation (10 mins)

Run the same scene, but swap one action.

Example: Jamie challenges Sam instead of panicking.

Notice how the whole scene changes.

4. Group Actioning Game (20 mins)

Line: “I can’t believe this is happening!”

Each student performs it with a different action (persuade, accuse, reassure, provoke, charm, intimidate).

Discuss: How do the same words feel completely different depending on the action?

5. Reflection & Discussion (10 mins)

Group circle chat:

How did actioning help clarify motivation?

Did switching actions change your partner’s reaction?

How could actioning improve monologues, duologues, or improvisations?

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Skills audit 1 Complete at the start of the unit

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Skills audit 1 Complete at the start of the unit

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Skills audit 2 Complete at the end of the project

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Skills audit 2 Complete at the end of the project

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Skills audit 2 Complete at the end of the project

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Skills audit 2 Complete at the end of the project

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You need to complete a Minimum of 6 log books entries, You could complete this in your chosen format, some examples include.

Write directly onto the template provided and produce 6x these

Take the questions and type the answers onto your Padlet Page

Type the answers onto a Canva/ PowerPoint page (you do not need to present this)

You can voice record/ video the responses to the questions

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- Evaluate the rehearsal process - taking into consideration professionalism and self-discipline?

- How did you work with others during the rehearsals and performance?

- What was your role within the piece?

- What Skills did you learn?

- Is there any way you can improve these skills to show more professionalism? Explain how

- What character did you portray?

- Was this successful?

- How do you feel your performance went? Strengths and Weaknesses? What would you improve?

- How did you incorporate the chairs and the movement of these?

- What performance qualities were displayed? (voice, Acting Skills etc.)

- Overall make general comments about the performance and your performance: Mood, intention, atmosphere, character, costume, set, props, audience reaction etc.