# data[].attributes.body
"To whom it may concern

I would like to report that Victoria has attended West Park School for a total of 7 days, it was unfortunate that her placement was cut short due to the Covid- 19 pandemic. Victoria made a great impression as soon as she introduced herself at West Park School.  She was very easy to get on with, sociable and polite. Victoria asked questions and as a result found out a lot about how the drama curriculum is delivered, she showed a genuine interest not only to the subject but to the teaching of it. In the classroom she was very confident and carried out any task I asked her to do without any issues. She had a great report with the pupils and was not afraid to help them during lessons. Victoria showed initiative a number of times through out her placement, particularly on the last day when we had the email to say Ofsted were arriving the next day. Victoria quickly started tidying the classroom and sorting out the cupboards, it was a real help! If Victoria chooses teaching to be her career path I think she will be very successful, I would gladly have her back at West Park in a heart beat."

Catherine Straw
Director of Performing Arts
West Park School
Spondon
Derby

# data[].attributes.headline
LO4 - Evaluation of Workshop Leadership:

# data[].attributes.subject
LO4 - Evaluation of Workshop Leadership:

# data[].attributes.attachment_link.title
Task 4 - Evaluation of Workshop Leadership

# data[].attributes.body
"Drama is only a statutory requirement in English and not as a 'stand alone' subject, it is however at least recognised for its learning benefits. This is my first year teaching key stage 3 so my course has been roughly blocked out but I'm sure there are things that will change as we go through the course. I have designed my Key Stage 3 curriculum with what they need to know at GCSE in the back of mind. I have also spoken to a number of schools and have done a lot of research to ensure my curriculum is on par with everybody else's.

Drama is only taught once a fortnight but I'm hoping this will soon increase to once a week to be in line with the music and art classes. Most of my schemes of work are only 4/5 lessons at the most otherwise you feel like you are doing them for a long time. The schemes of work tell you an overview of the ideas and the objectives, whereas your lesson plans are more detailed. Although full lesson plans are only wrote out for any sort of observation I may have. I just normally use my teaching planner to write my ideas down for my lessons.

At GCSE we do the OCR GCSE Drama specification. We study Blood brothers as the set text and are currently doing DNA for the performance module.

All school policies should be easily found on the school website."

# data[].attributes.headline
Questions asked by myself to Catherine Straw:

# data[].attributes.subject
Questions asked by myself to Catherine Straw:

# data[].attributes.body
- How do you plan your lessons?
- How do you plan your assessments?
- What schemes of work do you follow?
- What specifications do you teach from?
- What are the school behaviour policies?
- What are the safeguarding policies?

# data[].attributes.headline
What I have discovered when researching local theatre companies:

# data[].attributes.subject
What I have discovered when researching local theatre companies:

# data[].attributes.body
It has come to my attention that there are more opportunities for dance than there are acting, locally. However, saying this, the companies that do specifically specialise in acting showcase professional capability in teaching their students skills and techniques relevant to that of the modern day performing arts industry.

A controversial issue that I have come across during every company finding is the fees. Although the company must create revenue to continue their practice, I believe that companies such as stagecoach are extortionate compared to that of Theatretrain.

Most companies separate groups and classes by age, from 4-6 being 'minis' and 6-18 being the adult class. However, I believe that this is not efficient due to the age of 6-18 being so broad. Despite the fact that this will enable students to work within a variation of ages during team efforts, it is almost impossible for older students to touch upon relevant material and current issues within performance due to this not being suitable for younger ages.

Companies tend to train students in acting, dance and musical theatre, but Derby Academy of Acting specialises in the teaching of various different acting styles which is necessary within the performing arts industry.

Overall, companies are specific to their students needs; depending on what a prospective students want to specialise in or learn will be how they decide what company to attend.

# data[].attributes.headline
Secondary schools within the local area that provide drama within the curriculum:

# data[].attributes.subject
Secondary schools within the local area that provide drama within the curriculum:

# data[].attributes.body
- Saint Benedict Catholic Voluntary Academy
- Lees Brook Community School
- Chellaston Academy
- Littleover Community School
- Murray Park Community School
- City of Derby Academy
- Ockbrook School
- West Park School
- Merrill Academy
- Allestree Woodlands School
- Old Vicarage School

# data[].attributes.body
Situated in Derby, this company provides professional acting classes for those committed to studying the art and maximising their talent and potential.

Within these classes, students study the craft of acting, including healthy and effective voice use, improvisation, movement, analysis of text and audition technique.

Not only this, but they aim to improve skills such as team working, confidence, and understanding of different acting styles. Additionally, presentation and communication skills for businesses & corporate clients are taught.

They hold both public and private classes and these are weekly, for ages 16 upwards.

A Freshers class takes place to introduce beginners and new students to the processes and basic techniques and provides bespoke workshops for schools.

There is an audition process for members but their acting workshops are available to both members and the public.

Furthermore, Derby Academy of Acting has a pool of talent available for professional work. They are happy to submit CVs and photos to Casting Directors and TV, Film and theatre companies, who are also invited to attend classes and showings. They take pride in the professional attitude and enthusiasm of their actors and have experienced, registered chaperones to work alongside them.

Their fees variate depending on being a member, having a private agent and attending workshops. See website for more details.

https://www.daacting.co.uk/

# data[].attributes.body
Situated in Derby, Theatretrain provides drama classes, dance classes and singing classes that run during Saturday day time during school terms.

These classes are held for 6-18 year olds; their ethos as a company is for all students to take part in all productions whatever their level of ability. They state that they believe this not only gives their students skills and confidence within performance but also respect and appreciation for each other. This gives them the responsibility of not just working for themselves but also in a team.

The company accepts students from areas in and around Derbyshire, with no audition necessary as they aim to teach them all that they require.

Sessions cost £17 for 3 hours, per student, which compared to Stagecoach's prices, is very reasonable.

https://www.theatretrain.co.uk/derby/

# data[].attributes.body
Situated in Derby, this company aims to give every child the opportunity to develop self-confidence, poise, co-ordination and musicality in a fun, creative yet highly professional environment.

As their students develop their skills, they will have the opportunity to learn other dance forms, take classes in singing and drama and participate in performances and competitions.

The company is a Council for Dance Education & Training recognised school and their students are entered for RAD, ISTD, Rambert, NATD and Acrobatics Arts examinations.

Musical Theatre pupils are entered for LCM exams.

Students are trained in Ballet,Tap, Modern/Jazz, Acro, Contemporary, Drama, Singing, Musical Theatre &  Cheerleading; exams are taken up to 3 times a year and they stage a Show at a large Theatre in Derby every year. They also enter Festivals, and dance at many other prestigious venues around the  country.

Although the company offers enhanced training and has proved successful, due to its lack of acting focused work, other than musical theatre, I do not think that this company would be something, like stagecoach, that would benefit me in my line of work.

https://cgdta.co.uk/

# data[].attributes.body
Situated in Derby, Statecoach provides quality part-time training in the performing arts for the ages of 4-18 years. Their aim is to nurture and develop potential in young performers throughout singing, acting and dance classes; they also help aid performers in reaching their individual goals.

Additionally, alongside teaching these performers techniques essential to the art form, they allow performers to build confidence, physical awareness and the skill of communication.

These classes are led by a team of experienced teachers that are enhanced DBS checked.

However, this company rely on funding sourced by fees charged to students attending the school.

https://www.stagecoach.co.uk/derby

# data[].attributes.body
My three workshops consisted of:

- Script
- Technique
- Devising

Script:
Working with script within lessons allowed pupils to understand within reflection of performance, the difference between having a script to hand and stage and not. From this, the pupils understood learning the script was of most importance as it enabled them to perform with character, and connect with an audience and their peer cast members, instead of focusing on script during performance.

Technique:

When exploring techniques within several lessons, the pupils were able to broaden their set of skills within performance and their understanding of how to implement techniques to better performance. Since these lessons, the pupils have shown great progress within performance, imposing techniques without realising due to its repeated nature within the working environment.

Devising:

When devising, I found that pupils initially found it difficult to focus on the task at hand due to their various contributions to produce material and the inability to choose one; despite this, with guidance, they produced material and seemed passionate about doing so due to it being their own work. Allowing pupils to express themselves through performance allows them to feel accomplishment through constructive feedback.

# data[].attributes.body
How do you run your drama class?

I run my drama lessons dependent on what is planned and the curriculum. For example, when focusing on 'Charlie and The Chocolate Factory', this is due to it being a resource in both Drama and English - linking the two subjects allows for a broadened pupil understanding of the stimulus. Additionally, I aim for the pupils to learnt and implement drama techniques in their performance in order to gain experience in using them, in preparation for further lessons and examination.

The style of the classes variate but still have the same level of discipline and control.

Whilst a lesson focused on script is very structured and has a thorough set plan, devising their own material doesn't due to the nature of the method.

The pupils will receive feedback from both myself and other class members at the end of every lesson to ensure that they are consistently reflecting on their own contribution in the working environment and how to improve this. The use of writing this in their school books also allows them to begin self-evaluating, which is necessary for performers to understand how to improve or develop their skills within lesson.

What teaching style have i adopted?

During my work placement, I have evolved my own teaching style; I would say that I expect a lot from my students in terms of attitude and effort due to me knowing their capability. My main aim was for the pupils to realise their potential.

To successfully do this, I practically involved myself within lesson, suggesting pathways for performance and skills I had learnt in my recent experience within acting, which will allow them to progress at a more efficient rate.

The most prominent factor of lesson that I noticed was the lack of etiquette in class. I decided to adopt a strict approach when  outlining inappropriate behaviour; an example of inappropriate behaviour was pupils laughing at their peers performance. Implementing consequences when this behaviour continued, such as detention, meant that the students knew that I was serious.

Moving on, I believe that despite this strict approach, I built a healthy relationship with both classes of year 7, in which they felt as though they could approach me for guidance or support within lesson. This allowed for development of my teaching within the placement and development of the pupils skills as I was able to offer insight and advice when needed.

# data[].attributes.body
Use effective and safe teaching methods

Consider:

the type of class (community, social, school, studio, professional etc)

participants' age, stage and needs

the dance style/genre

class size and venue.

Lesson planning

Consider:

the aim of class or teaching program

pre-testing for prior knowledge/understanding

skill levels and age

logical, suitable and safe progression beginning with warm-up and stretching

students’ emotional, physical and intellectual development and/or limitations

a graduated workload, i.e. frequency, intensity, duration and type of dance.

Create a positive learning/teaching environment

Make sure that the:

teaching is supportive, encouraging and non-threatening

goals are clearly stated

students respect the rights of others to be taught and to learn

students are given equal opportunities to learn and develop their dance skills

teachers encourage students to accept reasonable challenges and to take risks with teacher support

students support each other in challenging or risk-taking activity

cultural, gender and age differences and different physical and learning abilities are reflected in fair and inclusive teaching/learning practices.

Demonstrate positive communication skills

Discuss your goals and expectations of a class, program or course.

Give clear instructions, explanations and demonstrations in verbal, non-verbal, audiovisual and written forms.

Create a safe, friendly and positive atmosphere.

Adapt your language to suit the age and experience of students

Give regular verbal feedback that respects students and helps them develop as independent learners.

Help students to reflect, evaluate and share knowledge.

Be a positive role model

Show your love for dance with energy and enthusiasm.

Set clear goals and expectations.

Use language that shows respect for students and staff.

Teach safe dance principles; non-judgemental attitudes; positive body image; punctuality, planning and preparation.

Developing and using acting teaching practices

Level 1

Respect students’ personal space.

Encourage a healthy awareness and understanding of the nature of acting.

Use verbal explanations and show correct technique.

Before any physical contact, tell the student why and how contact is needed.

Show different approaches to a task, movement or problem solving exercise.

Allow exploratory learning by encouraging students to talk about ideas and processes.

Use positive approaches that give students information, confidence, encouragement and a willingness and desire to practice and improve their performance skills.

Be sensitive to social, economic and cultural contexts, expectations, language and themes.

Level 2

Recognise and be sensitive to the external lives/pressures that students (particularly adolescents) are experiencing.

Monitor issues that relate to actor training.

If needed, discuss issues with colleagues, parents and carers, while being sensitive to a student’s right to privacy.

Be aware and adhere to teacher responsibility to Mandatory Reporting regulations (check your state legislation).

Use terminology and explanations which are understood by students.

Include assessment as an informal or formal gauge of progress.

Place acting as an art form in its historical, social and cultural contexts according to the style taught, and the training level.

Help students learn to relate performance practice and theory.

Give students learning opportunities which develop and recognise different learning styles.

Use various teaching resources and modes of learning.

Self-development and career development

Level 1

Invite and welcome honest feedback from parents, students and colleagues.

Make time to talk with students, course leaders, school or institution leaders and parents or carers about issues affecting individual students, classes or groups.

Find opportunities for learning and development.

Find opportunities for learning.

Learn about lifelong learning practices.

Professional development

Maintain knowledge and expertise in styles of acting; develop a broad knowledge of performance; enrich your qualifications.

Level 1

Attend performances and read performance and theatre-related material.

Develop your awareness and knowledge of different stage crafts.

Enrol in teaching, stage craft, health, fitness and business management courses.

Encourage employed staff to do professional development.

Level 2

Make sure your professional knowledge is current and qualifications are upgraded through a teaching or syllabus organisation.

Attend professional development workshops or short courses.

Maintain or subscribe to a professional journal or library.

Encourage self-expression and creativity

Level 1

Include regular times for students to use imagination, expressive skills and creativity.

Teach students the elements of composition using the relevant style or genre.

Use different creative stimuli and models of self expression.

Use a developmental approach (creative scaffolding) to build creative skills along with technique development.

Include time to develop performance skills.

Give students access to other teachers or artists (workshops, summer schools and special events) to stimulate creativity through new ways of thinking about acting.

Recognise the subjective nature of creativity.

Level 2

Help students develop independence, problem-solving and decision-making skills.

Recognise individual learning styles and offer choices so each student has practice with problem solving and decision-making.

Make sure that programs/curriculum let students choose class tasks, projects or electives that allow creative growth.

Use technical training as a tool for expressive development and creative growth.

Give students tools to assess their expressive and creative development.

Give students opportunities and support their interest in acting experiences beyond their educational setting

Encourage use, review and criticism of performance and theatre-related material

Facilitate or encourage attendance at rehearsals, performances, exhibitions and performances in acting and other art forms

Support students to audition for events or performances or take part in activities/workshops where they can work with other teachers, choreographers or directors to enhance their understanding of creative processes, performance and professional expectations.

Use assessment and reporting procedures

Assess the work of students against criteria

Level 1

Give students regular verbal or written feedback that includes praise and identifies areas for improvement.

Let students discuss and receive feedback about work in development (technique, creative work and theory).

Give progress reports to parents and students.

Before assessment, make sure students understand the assessment measures.

Use external standards or assessors to moderate your assessment process.

Deal privately with sensitive assessment and achievement issues.

Give parents and students an accurate assessment of dance potential

Level 2

Give regular verbal and written descriptive assessment (which includes marks or grades), and some independent assessment.

Give honest opinions about a actors potential or readiness to pass an exam or succeed in an audition.

Use criterion-based assessment which can be complemented by subjective opinions, references and statements.

Provide vocational support for training and careers

Level 2

Encourage students to complete their school education and to develop interests both within and outside acting.

Give students resources, structures, educational counselling that helps them complete Year 12 and receive university admission ranking.

Encourage students to gain experience in acting and theatre related work.

Give students access to professional career counselling.

Give students work, career and transition planning tools.

# data[].attributes.body
After a few sessions, I can involve the students themselves in classroom management by helping to establish clear rules. Asking them what they think would help the sessions to run smoothly.

Brainstorm rules and guidelines and writing them onto large pieces of paper could be put onto the wall of the space. These could be edited with the students consensus into a list of rules and guidelines which each student is given a copy of, or which is displayed in the space.

Then, when I point out inappropriate behaviour, I can refer to the rule or guideline that the students have agreed to.

# data[].attributes.body
One reason why pupils may become unfocused is through lack of confidence. 'Freeze frames' can be a very effective technique for introducing students to performance and instilling confidence.

Composing and selecting freeze frames is a very focused activity which does not involve remembering lines or movement. However, once pupils are familiar with the technique, I can introduce thought tracking, then bring the scene alive for a few moments.

This is a useful step for moving from the use of still images to improvised drama. The action begins with the still image and ends at a suitable moment of mine or the pupils choice – before the performers run out of steam. After a few sessions of working in this way students will become more confident about improvising and presenting short scenes.

# data[].attributes.body
If the drama activity involves performing or sharing work that groups have prepared, then I will need to help students develop good audience skills. While groups are waiting to show their own work, they may prefer to continue discussing their ideas instead of watching and listening to each of the other groups. One way around this is to encourage groups to make positive comments about each other's work. When the first group is in place, I may nominate another group whose task it will be to feedback on the performance. When the first group has finished showing the work, I may ask for three positive comments from the nominated group. In this way groups will be encourage to watch one another, to give supportive comments and to notice what they could do to improve their own work.

# data[].attributes.body
When introducing activities to pupils, I will explain explain the steps involved clearly before they start. I do not plan to immediately tell students if working within a group or pair as this will lose students’ attention because they focus on who they want to work with.

Instead, I will explain what should be achieved through the activity, how they will be expected to do this, how much time they should take and finally whether they will be working on their own, with a partner or in a group.

# data[].attributes.body
Pupils need to be aware of mine and other teachers expectations of acceptable and unacceptable behaviour during drama activities.  Establishing a routine from the start creates framework for this.

When students arrive, I should communicate to them how they should behave from the beginning.

In the drama lesson there will be a different level of noise and movement than in other lessons, so it helps to establish a signal in which lets the students know to be silent or stop what they are doing. This could be as simple as you raising one arm in the air, which should be followed as quickly as possible by all the students stopping what they are doing.

# data[].attributes.body
As in any teaching, it is essential that I prepare for the lesson with clear aims and objectives. If I just go into the class with a file of drama games and the idea of having fun, chances are that I will end up with a lively and out of control group before very long.

However, drama games and techniques can be used productively if they are put in the right context.

If I am clear about what the class should achieve with lesson, I can communicate this to the students so that they understand the purpose of the lesson and individual tasks.

Each child needs to understand what their role or responsibility is in the drama.

I plan to outline the session at the beginning, then clarify each activity as I proceed.

# data[].attributes.body
Drama lessons encourage free expression, which could lead to noise, and over-excitement. With my planned approach, I will lead productive and rewarding drama lessons where students can learn to express themselves emotionally, verbally and physically whilst following a lesson plan.

Tips to follow:

1. Begin with clear aims and objectives and let these guide the activities.

2. Is the content right? Will it grab students’ attention and imagination, challenge and extend their learning?

3. Establish a calm atmosphere with explicit expectations of behaviour.

4. Give unambiguous explanations and cues to the students and keep them on task.

5. Encourage students to respect one another’s work by giving and receiving feedback to each other.

6. Be aware that students need to grow in confidence and give them the techniques and support for this.

7. Consult the students about acceptable guidelines for working in the space.

8. Allow time for reflection so that students can discuss, write about or otherwise process their learning. (31)

# data[].attributes.body
Holding all students to standards of work, performance and integrity, will mean a consistent response to material and respect of the lesson.

# data[].attributes.headline
Classroom management: Following through with consequences. 

# data[].attributes.subject
Classroom management: Following through with consequences. 

# data[].attributes.body
If rules are broken or expectations are not met, this must be acknowledged and the consequences must be imposed. If these consequences aren't imposed then the students may become more idle to the rules due to them not believing that they will be punished.

# data[].attributes.headline
Classroom management: Response to consequences.

# data[].attributes.subject
Classroom management: Response to consequences.

# data[].attributes.body
Having students suggest consequences for rule breaking means that they begin to understand how their actions have affected the lesson and also their peers.

# data[].attributes.body
If rules are broken, I should make sure there are appropriate consequences. This lets students know that I am serious about discipline in your classroom.

# data[].attributes.headline
Classroom management: Gaining student feedback on rules.

# data[].attributes.subject
Classroom management: Gaining student feedback on rules.

# data[].attributes.body
Allowing the students to provide feedback on classroom rules and expectations allows them to feel empowered to encourage their peers to follow those rules.

# data[].attributes.headline
Classroom management: Being aware of school rules and boundaries.

# data[].attributes.subject
Classroom management: Being aware of school rules and boundaries.

# data[].attributes.body
Ensuring that I know what should take place in and outside the classroom, and understanding my own responsibility is vital. This means that I am able to aid the students to practising safety evaluation in performance, such as learning that lifting other students is not appropriate and can cause injury.

If there is any question about an activity or a script, I should run it by a superior first.

# data[].attributes.body
Students will be reminded of expectations of them, whether this be communicated through direct speech or written on the board.

This goes for performance and academic expectations, as well as discipline.

# data[].attributes.body
In preparation of teaching or assisting lessons, I plan to create lesson plans to follow; additionally, as stated within secondary education (column), there are tasks and activities that can be used if these fail or tasks do not run for the duration planned.

Unit plans and criteria will allow me to plan, and if these lessons did not go according to plan, then I am able to evaluate them and alter them.

# data[].attributes.body
Utilising the space of a classroom to its maximum potential will allow for a more efficient working environment for learners.

I intend to prepare the space for either practical or theory work planned for the lesson. This preparation will allow me to reduce distractions, including the elimination of places where students may hide or stray from task.

The classroom will have designated performance space in response to the task and group sizing.

# data[].attributes.body
The use of drama in the curriculum for children with special needs is sometimes automatically equated with dramatherapy. Such an assumption may arise from the mistaken belief that if a child has some kind of learning disability, the only type of drama of any value for them must be designed to help them with their particular individual need. Dramatherapy is a developing approach to the treatment and education of specific groups based on the work of J. L. Moreno. While some children with special needs might benefit from the approach, it should not be assumed that any child needs dramatherapy any more than they need physio or electroconvulsion therapy (Kempe, 1996, pp. 10–11). Indeed, as Irwin (1979) has argued, to make such an assumption is contrary to the belief that any well structured and carefully monitored work in drama can be ‘therapeutic’ by merit of the fact that it can give the individual a greater sense of competence in the activity being focused upon resulting in heightened self worth. Given that drama is a social art form (as opposed to something that can productively be engaged with in a solitary way), active engagement in dramatic activity can facilitate positive social outcomes such as a sense of belonging to a group. While the generation of such feelings may be seen as beneficial to all (Gallagher, 2007), they may have particular importance for children who, because of their particular needs, may be excluded from a number of social situations that others take for granted. '

Full book available: https://link.springer.com/chapter/10.1007/978-94-6091-332-7_27

(28)

# data[].attributes.headline
The Inclusive Classroom - Drama Class for Students with Special Needs:

# data[].attributes.subject
The Inclusive Classroom - Drama Class for Students with Special Needs:

# data[].attributes.body
“Special needs” is a broad term that describes individuals who require assistance for disabilities that may be medical, mental, or psychological. Every student with special needs is different, and their needs are entirely unique. Students with autism or Asperger’s syndrome, dyslexia and other learning disabilities, blindness or vision impairment, ADHD, epilepsy or cerebral palsy may be considered to have special needs. But there are many more clinical diagnoses for special needs as well.

With the advent of relaxed performances at professional theatres around the world (where shows are performed with reduced sound and lighting levels and the option to move around or leave and return to the performance as needed), and wonderful productions such as Deaf West Theater’s Broadway production of Spring Awakening, which featured actors who are hearing-impaired as well as actors who use wheelchairs, theatre is proving to be a wonderful place for all – regardless of abilities or disabilities. As drama educators, we have the opportunity to really encourage students to explore the world of theatre and to take steps to make sure it is accessible for any student who desires to learn more about it, to participate in it, and to grow a life-long love for theatre! Here are some tips to get started.

1. Identify the unique needs of each student.

Every student is different, and any student with special needs is going to have different abilities and things that they can and cannot do. Make it a priority to meet with your students (or their families, if necessary) to discuss what their goals are and what they’d like to achieve by taking drama classes or participating in a production. The more information you have ahead of time, the better prepared you are to help your students to succeed.

2. Use proper language.

Using correct language is important. There is some debate about whether people-first language or identity-first language is preferential. In people-first language, the aim is to not define students by a disability or health issue because it is considered to dehumanize them and define them as something that they are rather than a condition or trait that they have. In this case, it is proper to use terms like “student with autism” or “student with ADHD” rather than “autistic student” or “ADHD student.” On the other hand, identity-first language is also frequently used, particularly by those in Deaf culture, since being culturally deaf considered to be a source of positive identity and pride. Overall, it is a personal preference for each student.

It is also important to avoid negative and ableist terms when referring to students with special needs. Avoid saying things like “he suffers from x diagnosis” or “she is a victim of x diagnosis.” Students with special needs are not victims or are suffering, and must not be patronized or treated in a way to bring shame or embarrassment. Nor are they worse-off or inferior for having special needs or a disability. A disability descriptor is simply a medical diagnosis.

3. See what you can do to help students succeed in drama.

There are lots of ways you can assist students with special needs in the drama classroom. Focus on what your students can do, rather than on what they can’t do. Consider the following:

Ensure that your classroom or auditorium has the necessary infrastructure for students who use wheelchairs or walkers, such as ramps or lifts.

Provide large-print, Braille, or audio scripts for students who are blind or have vision impairment.

Provide visual cues such as signs or hand gestures for students who are deaf or hard of hearing. If possible, a video feed would be wonderful to help students who can’t hear auditory cues know when they need to go onstage.

Give scripts to students who have dyslexia or difficulty reading ahead of time, so they can prepare in advance.

Designate a quiet area for students with sensory concerns so they can relax or decompress during a high-energy or over-stimulating exercise or theatre game.

Learn more about augmentative and alternative communication methods for students with speech or language problems. For example, a student could use a voice recorder or iPad application (such as iConverse) to help them perform their lines.

Find out if your student would benefit from an aide, assistant, or interpreter.

Offer a relaxed performance of your next school show for audience members who could benefit from it.

Don’t rule out a student with special needs from performing in a production. If they are the best actor for the part – cast them!

Look for and study shows that feature characters with special needs. For example, the character Archie in 13: The Musical uses crutches because he has muscular dystrophy. The lead character Christopher in The Curious Incident of the Dog in the Night-Time has autism.

Treat all of your students equally. A student with special needs may need some specific accommodations at times, but mostly they want to be part of what everyone is doing. (27)

# data[].attributes.headline
How to empower students with SEN through Drama:

# data[].attributes.subject
How to empower students with SEN through Drama:

# data[].attributes.body
Last week, Labour started an investigation into access to the arts to look into what prevents working class people from entering the world of drama. Not only are actors from less privileged backgrounds underrepresented, so are those with special educational needs.

Drama can be an effective tool to facilitate SEN learning. Every year the cultural education charity Shakespeare Schools Foundation (SSF) uses Shakespeare to bridge the gap between special and mainstream schools. SSF offers special school teachers creative techniques to empower their students through their annual Festival, the world’s largest youth drama project.

The results are truly transformative. After embedding the SSF process, resources and training into their curriculum, special school teachers saw an 80% increase in their students’ resilience and a 79% increase in their students’ confidence.

Through years of experience, the charity has honed different techniques and activities to enable children with special educational needs to develop their learning, to engage with the world around them and to access Shakespeare’s stories. Here are 7 tangible tips on how to empower students and educators through drama based on the charity’s process.1. A play is play: Start with games, and let your students guide you

The best way to begin working on your play is to play. Games and improvisation activities are a fun way to introduce the story and characters in a relaxed environment that students will enjoy.

It can be tempting to start your project by thinking of what the very end will look like: what exactly your students will do in their performance or the last session. It’s tricky and daunting to make all of these decisions right at the beginning. Your students are the theatre company for your project, and the very best people to help with this. Their ideas, choices and preferences will provide the most specific, creative ideas to shape your project or performance, and ensure students feel a real sense of ownership and pride in their work at the end. You can discover this through games.

At our Special School teacher CPD workshop in 2016, we taught the game ‘Double Double’. Everyone makes a circle as a group and taps their knees to a rhythm. The group sings the words ‘Double double, toil and trouble, fire burn and cauldron bubble. Now it’s time for [student’s name] to tell: what’s he/she putting in the spell?’ Students invent an ingredient which they would put in a witches’ spell – for example, frogs’ legs, or fairy’s breath – or simply an action for that ingredient, which everyone copies.

During games, your job is to watch closely whilst you play – make notes about students’ great ideas, what holds their attention, or makes them laugh, and which characters and actions they especially like to watch or perform. This will prompt lots of thoughts about where to go next.

2. Explore the worlds of the play: sensory approaches and music

The worlds of your story will provide rich and interesting opportunities for your students to learn about the the play. Think about all of the settings in your story, and write them down in a list. Does the action happen inside or outside? Does the place change over time, for example, does a forest become more overgrown, or a battlefield muddier and bloodier, as the story progresses? What might you feel underfoot: a rich, velvet carpet in a castle, or a squelchy swamp? Once you have thought about these questions, write down everything else that you might see, hear, feel, taste and touch in this location.

Sensory exploration is a great way into drama for many students: Turn your classroom into the world of the play so that students can experience it. Teachers taking part in the Shakespeare Schools Festival working on the play The Tempest, for example, tried projecting a big picture of a storm on the wall of the classroom and then used a fan along with water sprays to experience what the weather would feel like. You might set up a series of small sandboxes, with wet sand and dry sand, to think about the difference between a stormy and a sunny beach. Inexpensive sensory resources to explore include feathers, bubbles, pipe cleaners, pillows, fabrics, and torches. You can use any part of your school creatively to create an environment: how about featuring the playground as a battlefield for Henry V – could students look out of the classroom window and watch a King giving a rallying prep talk before a fight?

Creating playlists with music which remind you and your students of the world of the play, enables you to experience the atmosphere in that world better. Along with music we suggest using a particular scent or perfume to conjure up the setting: you can spray this smell, for example lavender, every time you rehearse, so that students feel really comfortable with the increasingly familiar scent and world of the play.

Sensory exploration isn’t just for school: your sensory props can work well onstage in a performance. For example, find a large umbrella and tie strips of blue fabric to the sides so that they hang down. Your student can open the umbrella to show rain falling, and hide behind it if they need a quiet moment onstage too.

3. Build your ensemble: use your staff team too!

One key aspect about making theatre with your students is that they will learn more about working together cohesively and becoming an ensemble. This is an amazing challenge for many groups, and one that can often have a meaningful legacy in your other projects and teaching, and often in students’ lives too. To work on creating an ensemble, challenge the group to make a big shape together using just themselves: everyone can take part. For example, you could make a ship, with students as the bow, rigging and wheel – use different levels and make sure that everyone is linked to someone else in the shape. Other staff members in the classroom are a vital part of your creative team, so make sure that they have a part to play too, whether it’s taking photos so that you can market your production, or being a part of the action on stage too!

4. Show not tell

As the teacher and director, you are also the ‘Storyteller in Chief’. Students will imitate your energy and ideas, and you are their single biggest motivator. So, bring brilliant enthusiasm to the room, and make sure that you model what you would like to happen: show your students how the ghost or fairy might move, so that they can copy you and feel confident to add their own ideas too.

5. Get to the heart of the story

Once you’ve done lots of exploration, think about the story that you want to tell in its simplest form. You can add in the parts which your students are particularly interested in, and then work on how to tell them best. One way to do this is to make pictograms for each main character or event. You can create these using a widget software like ‘Communicate in Print’, photos of your students in action as the characters, or pictures from the internet. With your group, invent an action for each picture. Read a simple summary of the story, and perform each action when you hear the word. You will find that students remember what is coming next and enjoy the actions that they have created.

6. Communicate!

Every way which human beings can communicate is a part of how the audience will understand and enjoy your story. So, if your students use BSL, Makaton, switches, PECS, eye contact, or singing, make sure that these are part of how their character communicates onstage! For example, a wonderful chorus in A Midsummer Night’s Dream in our Festival used Makaton to tell Puck’s story. In a battle scene, a student can stop the fight with a single look to portray a really powerful character. In another production, a washing line on stage showed clothes drying after a thunderstorm, but pictures also hung from the line: students chose their picture as a way of remembering what their character wanted to say.

7. Be surprised by what your students can and will do.

Your students will surprise you with their interests, talents, and enjoyment of the story you are telling together. One of the best places to be after a Shakespeare Schools Festival performance is in the foyer, when I hear teachers and parents turn to their young performer and say, ‘I didn’t know you could do that’. Suddenly, that person’s perception of what the student can do has changed, and for the student that means a huge boost in confidence and aspiration for the future too.

Seeing a pupil who is afraid and dislikes touching others take the hand of a facilitator to walk along the castle’s trail, or witnessing another pupil who is largely non-verbal speak the words ‘double, double, toil and trouble!’ are just two of the beautiful moments and surprises that I have been fortunate enough to experience, and conclusive proof that theatre is, and should be, for absolutely everyone. (26)

# data[].attributes.headline
The Performing Arts Industry - Theme and Topic Release:

# data[].attributes.subject
The Performing Arts Industry - Theme and Topic Release:

# data[].attributes.body
(23)

# data[].attributes.attachment_link.title
The Performing Arts Industry - Theme and Topic Release

# data[].attributes.body
(23)

# data[].attributes.body
(23)

# data[].attributes.headline
Student Assessment Submission and Declaration:

# data[].attributes.subject
Student Assessment Submission and Declaration:

# data[].attributes.body
(23)

# data[].attributes.attachment_link.title
Student Assessment Submission and Declaration

# data[].attributes.body
(23)

# data[].attributes.body
(23)

# data[].attributes.body
(23)

# data[].attributes.body
(23)

# data[].attributes.body
(23)

# data[].attributes.body
(23)

# data[].attributes.body
(23)

# data[].attributes.headline
Pearson Higher Nationals in Performing Arts - Specification:

# data[].attributes.subject
Pearson Higher Nationals in Performing Arts - Specification:

# data[].attributes.body
(23)

# data[].attributes.attachment_link.title
Pearson Higher Nationals in Performing Arts - Specification

# data[].attributes.headline
Higher NationalsPerforming Arts (2018) - RQF, Diploma:

# data[].attributes.subject
Higher NationalsPerforming Arts (2018) - RQF, Diploma:

# data[].attributes.body
Qualification type:

BTEC Higher National

Qualification title:

Pearson BTEC Level 5 Higher National Diploma in Performing Arts

Level:

Level 5

Accreditation status:

Accredited

Credits:

240

Qualification number (QN):

603/2375/9

Loan funded via:

Higher Education Funding Council for England (Hefce)

Pathways:

Acting
Musical Arts
Dance
Technical Arts

Availability:

UK and international

First teaching:

2018

Review date:

31 August 2023 (23)

# data[].attributes.headline
Higher NationalsPerforming Arts (2018) - RQF, Certificate:

# data[].attributes.subject
Higher NationalsPerforming Arts (2018) - RQF, Certificate:

# data[].attributes.body
Qualification type:

BTEC Higher National

Qualification title:

Pearson BTEC Level 4 Higher National Certificate in Performing Arts

Level:

Level 4

Accreditation status:

Accredited

Credits:

120

Qualification number (QN):

603/2377/2

Loan funded via:

Higher Education Funding Council for England (Hefce)

Pathways:

Acting
Musical Theatre
Dance
Technical Arts
Performing Arts (General)

Availability:

UK and international

First teaching:

2018

Review date:

31 August 2023 (23)

# data[].attributes.headline
Higher Nationals Performing Arts (2018) - RQF, Specification:

# data[].attributes.subject
Higher Nationals Performing Arts (2018) - RQF, Specification:

# data[].attributes.body
The new BTEC Higher National qualifications in Performing Arts are designed to address an increasing need for high-quality professional and technical education pathways at Levels 4 and 5, thereby providing students with a clear line of sight to employment or to progression to a degree at Level 6.

Pathways at level 4:

Acting

Musical Theatre

Dance

Technical Arts

Performing Arts (General)

Pathways at level 5:

Acting

Musical Theatre

Dance

Technical Arts (23)

# data[].attributes.headline
What can you do with a Performing Arts Degree?

# data[].attributes.subject
What can you do with a Performing Arts Degree?

# data[].attributes.body
What is performing arts?
Performing arts is a form of creative activity that is performed in front of an audience, which includes drama, music, and dance. Degrees that focus on performing arts are highly practical, and actively immerse you in cutting-edge, interdisciplinary practice which prepare you to enter the competitive industry.

Performing arts tends to include a wide range of specialisms, including acting, dance, voice, physical theatre, music theatre, sound design and digital video. Courses celebrate the array of possibilities within live and digital arts in a range of contexts.

How long does a degree in performing arts take? Well, at undergraduate level, most performing arts degrees are three or four years long but this will largely depend on where you study. They are usually awarded as Bachelor of Arts (BA) degrees, or less commonly, Bachelor of Performing Arts (BPA).

What do you learn in a performing arts degree?

Performing arts degrees are generally either practice-based – involving a great deal of actual performance from day one – or academic, which combines practical work with analysis of the background of the subject. Teaching throughout the degree is therefore likely to be delivered through a mix of practical workshops and lectures (however this will vary between universities).

Many universities also offer an option to undertake work experience during your studies, which is a great opportunity to develop the skills learnt within a professional context. This could also give you a head start upon graduation.

Most performing arts degrees offer an overall foundation spanning various disciplines, before giving students the chance to choose a particular pathway. However some universities do offer dedicated degrees for each of the main three branches of performing arts – music, dance and drama.

There is another option, however, for students who want to keep their options open – or simply enjoy some variety. Some universities offer prospective students a chance to study performing arts alongside another subject as part of a joint honours degree. This is usually within humanities, such as English literature. Usually, it is possible to transfer to a single honours programme at the end of the first year if you require.

What should I study at high school if I want to study performing arts at university?

In terms of academic requirements, some performing arts schools will be more specific than others. Some prefer applicants who have previously studied a similar or related subject at school. However many others are happy to accept students who have not previously studied any of the performing arts before.

Perhaps more importantly, however, prospective students are extremely likely to have to attend an audition to show off their talents. Universities will normally provide information on the audition format and how and what students should prepare. This may be in the form of a solo audition, or you may be assessed as part of a group, or some combination of the two.

Performing artists generally supplement their training, generate opportunities and enhance their creative knowledge through work experience and by participating in voluntary projects. Doing this prior to applying for university courses looks impressive and shows passion for the industry. Although largely unpaid, unless you’re lucky, they are extremely valuable for showing both your interest while allowing you to learn from industry professionals.

What do people who study performing arts do after graduation?

Jobs directly related to a performing arts degree include, among many others: actor, community arts worker, dancer, music therapist or theatre director.

However it doesn’t stop there, and graduates don’t always fall into the main occupations. Other careers include: broadcast presenters, teaching – whether further education or school – scriptwriting and theatre stage management.

The majority of professionals in the industry work within the context of short-term or freelance contracts moving between different jobs and different fields. Due to the way the industry works, many opportunities come from word of mouth rather than job advertisements. Jobs can be found through networking, attending auditions, collaborating with other artists or even putting on your own shows.

Salaries depend largely on the type of role and the size of production and are enormously difficult to calculate. A theatre actor's wage, for instance, depends largely on the size of the theatre. (22)

# data[].attributes.body
(24)

# data[].attributes.headline
Sample Assessment Material - Employment Opportunities in the Performing Arts:

# data[].attributes.subject
Sample Assessment Material - Employment Opportunities in the Performing Arts:

# data[].attributes.body
(24)

# data[].attributes.attachment_link.title
Sample Assessment Material - Employment Opportunities in the Performing Arts

# data[].attributes.headline
Sample Assessment Material - Individual Performance Commission:

# data[].attributes.subject
Sample Assessment Material - Individual Performance Commission:

# data[].attributes.body
(24)

# data[].attributes.attachment_link.title
Sample Assessment Material - Individual Performance Commission

# data[].attributes.headline
Sample Assessment Material - Group Performance Workshop:

# data[].attributes.subject
Sample Assessment Material - Group Performance Workshop:

# data[].attributes.body
(24)

# data[].attributes.attachment_link.title
Sample Assessment Material - Group Performance Workshop

# data[].attributes.headline
Sample Assessment Material - Investigating Practitioners' Work:

# data[].attributes.subject
Sample Assessment Material - Investigating Practitioners' Work:

# data[].attributes.body
(24)

# data[].attributes.attachment_link.title
Sample Assessment Material - Investigating Practitioners' Work

# data[].attributes.body
(24)

# data[].attributes.body
(24)

# data[].attributes.body
(24)

# data[].attributes.body
A useful resource which focuses on audition preparation. (19)

# data[].attributes.body
A selection of activities to develop relaxation, voice projection and breath control. (19)