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.

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.

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.

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.

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?

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?

• 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

- 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.