Teachers' Guide to Performing Arts Trips 2012-13

TEACHERS’ GUIDE TO

PERFORMING ARTS TRIPS

2012–13

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08/10/2012 11:09:44

In-Depth Acting | £14.99 Dee Cannon An expert guide to the Stanislavski method from a former RADA coach ‘A book that will stand the test of time’ Pierce Brosnan

The Oberon Glossary of Theatrical Terms | £14.99 Edited by Colin Winslow ‘A God-send… comprehensive, detailed and accurate… a must-have’ Teaching Drama

‘An overview of contemporary theatrical thinking, distilling into a single volume a lifetime of wisdom’ British Theatre Guide

How To Direct A Play | £12.99 Braham Murray

How To Do Accents | £18.99 Jan Haydn Rowles & Edda Sharpe

How To Do Standard English Accents | £18.99

‘One of the best practical discussions of how to approach a play both as text and performance’ Culture Wars

‘Excellent and easy-to-follow... invaluable to professionals and students alike’ Lyn Darnley, Head of Voice, RSC

Jan Haydn Rowles & Edda Sharpe

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The Well Read Play | £14.99 Stephen Unwin

‘Detailed, practical and witty...

Brilliant!’ Jeannette Nelson, Head of Voice, National Theatre

04/10/2012 12:25:35

NST

Contents

Features

School theatre trips

4

Editor’s pick

10 Loserville

5

Road trip

12 Shakespeare’s Globe

6

I WILL survive!

14 Shrek the Musical

8

A trip of a lifetime

16 The Royal Court 18 The 39 Steps 20 V&A

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Teachers’ Guide To Performing Arts Trips 2012–13

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08/10/2012 11:11:39

Editor’s pick Last October, to my dismayed envy, my niece went on a school trip to the Large Hadron Collider: a fact I approached with incredulity and a ‘not-in-my-day’ reminiscence about a visit to a rainforest on the M25. The years have been kind to students in terms of understanding the importance of extra-curricular furthering and widening of horizons. That said, I do remember

being allowed to buy a quarter of cola pips to take on the coach to the Unicorn Theatre in London, where unfortunately my enjoyment of the play was somewhat marred by indignation about my classmates’ need to chat during the performance. I was one of the lucky ones whose parents took me to the theatre anyway: for those who aren’t, I think it’s essential that their teachers afford them that experience instead.

There are a number of excellent productions available to take students to at the moment, and this guide features the pick of the best. I also have a few suggestions to add to make it up to a top ten.

Top 10 school theatre trips My thoughts on the finest shows and theatre companies of the moment are as follows: The Lion King has excellent education resource packs, which we’ve previously reviewed in TD, and come highly recommended (p.8). I am a huge advocate of Shakespeare’s Globe (p.12): one of my defining theatre visits as a teenager was on a school trip to see Hamlet, all four hours of which I stood through as a groundling, without noticing my feet. The education programmes there are excellent and the historical aspect, which is central to a study of Shakespeare, is admirably catered for by the exhibition and theatre tours.

The 39 Steps (p.18) and Wicked have both been running for a very long time in the West End now, and students continue to love both. I myself took 22 university students to see Wicked and once we’d overcome the hurdle that three of them had lost their tickets on the way, they were captivated.

It is a great credit to the Royal Court (p.16) that so many productions have in recent years had sellout runs and then transferred into the West End. I’m hugely excited about the new Jez Butterworth play The River, having been fortunate enough to see Jerusalem from the front row of the intimate theatre. It’s important for drama students, who are themselves devising, to see absolutely up-to-date new writing in action, and I’m sure the experience I had of being doused gloriously with the sweat of the extraordinary Mark Rylance from the stage would be one few drama students would forget.

A few further suggestions for ones-to-watch: Loserville (p.10) is transferring to the West End from its summer run at the West Yorkshire Playhouse. Commissioned by YMT (Youth Music Theatre), this is a particularly interesting prospect for students because of the necessarily young cast it features: one, I suspect, to whet the aspirations.

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I am hoping to review the RSC’s production of Matilda for a forthcoming issue of TD, and heartily recommend it in the meantime. Close on the heel of the recent news that Blood Brothers is to close in the West End, came the announcement of its first replacement: a production of Goodnight Mr Tom, for which I have high hopes. Originating from the extremely reliable Chichester Festival Theatre, the novel has been adapted by children’s playwright David Wood (in one of whose plays I played my first ever role, as a maggot …) and plays a nine-week season at the Phoenix Theatre from 22 November, before embarking on a UK tour.

On the subject of UK tours, two final show suggestions – this issue of TD features the touring production of Our Country’s Good, a drama examboard staple and a must-see revival, and the RSC’s Young People’s Shakespeare production of King Lear, both of which we have reviewed for you.

These productions have the advantage of travelling the country, representing a possible saving on costs and logistics as against making a trip to the West End. Both are also, of course, seminal texts and specifically aimed at school students. Neither, in my opinion, can be a bad investment.

If you do plan to travel to London however, on page 20 you’ll find reference to the Victoria & Albert Museum in South Kensington, which holds a fascinating permanent theatre exhibition: highly recommended to make a full day of your trip when coming to London from afar for an evening performance.

Once you’ve chosen your production, this guide features some top tips from our contributors on how to maximise on your school theatre trip, whether it be with primary or A-level students, and we wish you all the best of luck! www.teaching-drama.co.uk

08/10/2012 11:12:02

Road trip O

rganising a school trip can be a stressful process – from researching and arranging travel and accommodation, to taking advantage of group deals on theatre tickets, organising meals in restaurants and booking additional activities for your students – there are an intimidating number of factors to take into account.

Fortunately, there are companies out there prepared to take the stress away and manage it all for you. With someone else to take care of the nitty gritty, you’re free to spend your time preparing your students for the trip: ensuring that everyone gets the best out of their experience.

NST has been organising schools tours since 1967 and sends 100,000 students on trips each year.

Nowhere is out of bounds for an educational tour, but the most popular destinations for young people studying drama unsurprisingly are: London, home to the West End; Stratford-upon-Avon, headquarters of the Royal Shakespeare Company; and Manchester, Northern England’s theatre hub. The company also organises school trips to New York for teachers wishing to introduce their students to the bright lights of Broadway.

NST’s standard two-day UK package (though tailor-made trips can be arranged) includes coach travel, to and from school and throughout the stay, one night in bed & breakfast accommodation and group travel insurance. Prices start at £95 per person for London, and £89 for Stratford and Manchester – although between loyalty rewards and a free place ratio of one to eight on all coach trips, there are additional savings to be made.

Teachers then add a package of activities to suit their students, either opting for NST’s suggested itinerary (from £23 for the Shakespeare’s Globe package and increasing for the West End, Manchester and Stratford) or building their own.

There are companies out there prepared to take the stress away and manage it all for you www.teaching-drama.co.uk

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NST

School trips can be a handful, Jo Caird explains how touring companies can give you a helping hand

With someone else to take care of the nitty gritty, you’re free to spend your time preparing students for the trip Suggested two-day itineraries include a show, a workshop, an evening meal (which can be pre-paid if required, to save teachers hassle on the day) and some free time, but there are lots of different options available within this format.

Students attending a performance of War Horse in London, for example, might enjoy the workshop ‘Puppetry Now’, while those visiting Stratfordupon-Avon for a performance by the RSC might benefit from a curriculum-linked workshop such as ‘An Introduction to Shakespeare’. NST Stage School workshops are delivered by teaching artists and, in the case of those taking place in London and Manchester, include a 30-minute Q&A with a performer.

In London a further programme of workshops devised by the Central School of Speech and Drama are available. Taking place at the acclaimed drama school itself, these workshops have the potential to truly inspire your students, as well as help them explore some more challenging techniques such as the Stanislavski method.

In addition to workshops and theatre performances, NST can organise backstage tours at theatres including Theatre Royal Drury Lane and the National Theatre and visits to leisure attractions such as the London Eye and Old Trafford. Walking tours are also an option and the company can arrange for a Blue Badge Guide to join you on your coach as you go about the city.

NST will quote for a tour free of charge and once a trip is booked, teachers are paired with a dedicated educational tour co-ordinator with whom they’ll work throughout the process. Further confidence is assured by the fact that the company is bonded through ABTA and ATOL, so you know that parents’ money is protected. So on with the show!

For more information about booking a school tour with NST, visit www.nstgroup.co.uk.

Teachers’ Guide To Performing Arts Trips 2012–13

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08/10/2012 11:13:12

I WILL survive On a school theatre trip, you’re bound to be put through your paces, Peter Jolly offers some tips to keep you one step ahead

I

t took me three tries to get to the end of The Woman in Black and, to be frank, the two occasions on which I found myself sitting in the stalls bar with a poorly child and a very friendly woman in black awaiting her cue to enter through the auditorium, took away the mystery forever. Just when you think you’ve seen everything on a school theatre trip the unexpected happens, but to look on the bright side I would never have been inside Charing Cross police station or The Royal London Hospital’s A&E department if I hadn’t been taking students on trips – neither would I have so many excellent anecdotes. You can’t guard against the unexpected happening, no matter how many risk assessment forms you fill out, but you can make some choices that make your life easier ... so here in no particular order are my tips for theatre trip survival:

y Choose the right show

If you have younger students go for the interesting venue, the sure fire hit – or both, Lord of the Flies in the open air can hardly fail (thanks Regent’s Park)

y Know when to call it a day

Some of the sophisticated plays I have most looked forward to with students have been turkeys. I’m

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The rustling of sweets from 60 students was just too much to bear

not going to name them, but if you’ve got a sixth form group don’t be afraid to cut your losses and go home, theatre shouldn’t be an endurance test

y Don’t pay too much

I’m always hesitant to pay more than £15 for a ticket; there’s too much good stuff on at small interesting venues to make it worth paying more.

This sounds like a London-centric view, but every city has small fringe venues that deliver extraordinary value for money and often introduce your students to intimate theatre

y Seating

Although it’s not always possible to do anything about this, it is more important to get decent seats than to go to a well-known show. Students mainly get the worst seats in the house: seats that adults avoid at any price, for instance the highest gallery or those seats round the side of the Globe that actors (apart from Mark Rylance) never seem to be aware of and certainly have never sat in. It is no wonder that kids can find more interest in chatting to each other than watching the play if they can’t engage with what’s happening on stage. Some theatres, like the Young Vic, avoid this problem by seating groups within the main audience

y Paying

This might just apply to me, but I suggest that you avoid the temptation of paying a deposit and the remainder later. A production of your own or a GCSE assessment will fog your mind and there’s the possibility of forgetting to pay the remainder. www.teaching-drama.co.uk

08/10/2012 11:15:07

Down in front!

Fortunately you can normally recover the situation, but it can lead to hairy moments. If possible, get somebody else to deal with collecting the money!

y Tickets

Don’t put 50 tickets on top of the car and then drive off to the theatre. Normally the box office is excellent at supplying duplicate tickets, but make sure you keep a list of the seats you have been allocated about your person. I found out the hard way …

y Colleagues: part one

Do take more colleagues than you think you’ll need – there will always be a teacher of another subject who will come along for a cheap seat and surprise students with their interest. They do have to do work though, don’t allow colleagues to sit together chatting to each other and ignoring chatty students. Plant teachers among the students, or preferably behind them

y Colleagues: part two

I once had tickets for a well-known show and gave one to a colleague to help supervise. She put it on eBay for a huge mark up – adults can be more extraordinary in their behaviour than students

y Avoid the concession stalls

Now I might be a bit of a fascist on this one, but the rattle of sweet papers and the cracking of plastic cups as kids put them to their lips and create a nice vacuum makes me cringe. A particular favourite of the Criterion Theatre is to put www.teaching-drama.co.uk

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Maltesers in plastic cups. I presume this is to avoid the crackle of unwrapping the sweets, but the effect of Maltesers being rolled around a plastic cup by little fingers is deafening

y Make sure students sit in the seat they have a ticket for This might seem obvious but I still can’t seem to get this message through. Kids do like swapping tickets to sit with their mates when you’re not looking, without any sense of the consequences.

The other day, at a full house of One Man, Two Guvnors, the lights started to go down and a child was sitting in my seat – like musical chairs, and with no sign of the spare seat, I left them to it and read a book in the bar (I’d already seen it twice)

y Interval

During the interval, station yourself with a view of the exit door, particularly if there are queues for drinks in the theatre and there’s a McDonald’s across the street: you might never get them back in

y Home

Always allow students to take mobile phones so they can call parents ahead of time for collection.

Ultimately, it’s essential to avoid that one lingering student awaiting collection in a cold car park at 11pm

y Finally

Cross-check your dates … never, ever, clash with a parents’ evening. Or with a Champions League Final.

Teachers’ Guide To Performing Arts Trips 2012–13

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08/10/2012 11:15:46

A trip of a lifetime …

Mary Driver champions the impact that theatre trips can have on your students

Tristram Kenton

It has become a rite of passage for our students, and one they all look forward to 8

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08/10/2012 11:17:23

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www.teaching-drama.co.uk

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Tristram Kenton

ow can we inspire children to think creatively when so many of them spend their time on PlayStations and Xboxes and other things I have never even heard of? As a primary school teacher for over 25 years, and a headteacher for the last five years, I am always looking for different ways to inspire children and to provide them with what Ofsted would call ‘awe and wonder’. What better way than to take them to live theatre?

For the last 20 years, we have always given our Year 6 students a ‘London Theatre Experience’.

This has almost become a rite of passage for our oldest students, and one they all look forward to. In recent years we have taken them to see The Lion King.

We start with some dance work after Christmas – listening to the soundtrack and discussing what might be happening in different songs. Most children are familiar with the Disney film, but very few have seen the stage show and we encourage them to forget images of fluffy, cute lions! Before our last visit, we focused on the track ‘Be Prepared’ and students were taught a set motif to start the dance, and then encouraged to choreograph their own parts of the dance. With one session a week, this takes us quite a while to put together, but all are very familiar with it by the time we go to the show in March.

Organising every school trip requires strict guidelines. Our LA has an online recording system for risk assessments which needs to be completed, and a coach needs to be booked. We make a whole day out of the visit, including a short sightseeing trip in London and an opportunity to see live street entertainment in Covent Garden – this all helps to make the day a real experience.

Before we go, we talk to the children about ‘theatre etiquette’ and what we expect from them.

It is a shame not all schools do this. Students are not allowed sweets to rustle during the performance, but we take chocolate for the interval and it keeps everyone happy!

Having seen the show a number of times now, I get almost as much pleasure from watching the children’s faces as they sit in the stalls as the show starts. I have seen tears of emotion as the elephant lumbers her way up the aisle and looks of disbelief as the giraffe gently glides across the stage. From a teacher’s perspective to see a child who is difficult to engage at the best of times completely captivated by everything around them, makes the whole experience worthwhile.

We ensure that there are enough adults with the group so that they can point things out which might get missed and to contain any gasps of excitement. We buy programmes in bulk orders and we seat the children carefully, putting the smaller ones in the front rows so they have better sight lines. All of this pre-organisation helps to

From a teacher’s perspective to see a child completely captivated, makes the whole experience worthwhile make the day run smoothly. Over the years we have got to know the people at Disney Corporation and we are exceedingly well-looked after!

I love the optimism of young children who always ask as we are leaving the theatre: ‘How do you get to be in The Lion King? I’d like to do that!’

My reply always is – ‘By working hard at school’, and the hard work starts once we return.

The first follow-up activity is always writing thank you letters to the cast and anyone else the children met during their visit. We then use the show as the stimulus for a range of cross-curricular activities. Literacy is the starting point – writing a review which includes all aspects of the show and the work done backstage. We ‘hot seat’ characters like Mufasa and Scar and discuss what their similarities are and why Mufasa is the dominant character. They write imaginary scenes between Simba and Sarabi where he tries to explain why Mufasa is dead, and they are introduced to the idea of character analysis.

And of course we return to the dance work.

Children polish their dance routines with ideas they have picked up and they design their own costumes and masks. The masks are on a much smaller scale than the real thing, but it is always clear where their inspiration has come from.

I truly believe that the whole experience is one many of our children will never experience again, so I am proud in the knowledge that for some it is a once in a lifetime opportunity.

To find out more about taking your school to see Disney’s The Lion King, call 020 7845 0949, email group.sales.uk@disney.com or visit www.disneygroups.co.uk

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08/10/2012 11:17:50

A unique opportunity to deliver engaging classroom teaching and learning in drama

Tristram Kenton

New to the Garrick Theatre this October, Loserville the Musical provides schools with a unique opportunity to deliver engaging classroom teaching and learning in drama and PSHE, for students aged 12 and over.

Guided by fantastic feedback from teenage audiences during Loserville the Musical ’s recent run at the West Yorkshire Playhouse, the producers Kevin Wallace Ltd commissioned EBC Education Ltd, a professional resource production company, to create a high calibre, curriculum-focused programme for schools visiting the show.

The result is ‘The Loserville Relationship Academy’, a whiteboard friendly, online resource, which uses video-led presentations to explore a range of drama and PSHE-linked scenarios.

A key feature of this innovative programme, especially for drama students, is the cast interviews, where the lead actors talk about their character’s motivation and reactions as the storyline unfolds. They discuss how their relationships change and the ways they work with the other actors to represent that on stage.

Students explore some classic teenage relationship dilemmas from the show, before discussing how those scenarios relate to their own lives. The presentations are fully supported with teachers’ notes and are age-flexible.

Any secondary group planning to visit the show can use ‘The Loserville Relationship Academy’, the dedicated website for the education programme will be www.loservilleacademy.co.uk which will launch in the next few weeks!

Tristram Kenton

Loserville the Musical

For more information and to buy tickets, call 0844 482 9673 or visit www.loservillemusical.tv.

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www.teaching-drama.co.uk

08/10/2012 11:19:34

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Shakespeare’s Globe At Globe Education, we believe that the best way to learn about the work of Shakespeare is by enjoying it. That’s why we have created so many playful and play-filled ways for you and your students to experience Shakespeare in action.

Every day, hundreds of students come to the Globe to take part in ‘Lively Action’ workshops, lectures and theatre tours. ‘Lively Action’ takes its name from John Marston’s preface to The Malcontent in which he says ‘that scenes invented, merely to be spoken, should be enforcively published to be read’ and asks that the play ‘be pardoned, for the pleasure it once afforded you, when it was presented with the soul of lively action’. This encapsulates the spirit at the core of all Globe Education’s work – that plays should be explored practically rather than read passively as texts.

‘Lively Action’ visits include a guided visit to the theatre and a workshop based on any Shakespeare play of your choice. Workshops are designed for students from Key Stage 2 to A level and can be tailor-made for groups with Special Educational Needs.

Simon Kane

Shakespeare’s Globe Theatre

Pawel Libera

Playful and play-filled ways for you and your students to experience Shakespeare in action

Students take part in a ‘Lively Action’ workshop at Shakespeare’s Globe

For further information and to book, contact Globe Education by calling 020 7902 1433 emailing livelyaction@shakespearesglobe.com or visiting the website shakespearesglobe.com/education.

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08/10/2012 11:21:38

Experience Shakespeare’s

Iconic Theatre Exhibition & Tour

Theatre Season

Open daily throughout the year

Priority booking for Educational Friends from January 2013

Lively Action Workshops for school groups

shakespearesglobe.com Bankside, London SE1 9DT

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04/10/2012 13:06:56

Shrek The Musical Good conquers evil in this timeless story in which being unusual is nothing to be ashamed of, and even the ugliest, grumpiest of ogres finds true love and friendship. Featuring a lineup of fairytale misfits – a wise-cracking Donkey, a biscuit with attitude, an evil Lord with a short temper, a beautiful princess and everyone’s favorite Ogre – this musical is perfect for students of Key Stage 1 and above.

With links to English, history, drama, art and design, media studies, ICT, citizenship, PSHE

and SEAL, the themes in the show will also help students to gain confidence, for instance with some of the insecurities brought on by change at different points of transition. Shrek The Musical explores issues connected with friendship and loyalty, diversity and bullying and moving away from your comfort zone.

A free teacher resource pack which explores these themes, along with issues such as compassion, empathy, morals and good versus evil is available to download online.

Educational theatre workshops have been specially created for Shrek The Musical, offering students aged 7+ an opportunity to explore the show’s central themes and characters, while learning performance skills.

Download our education resources and find out about our workshops at www.shrekthemusical. co.uk/Education/Bookings.

Groups 10+ just £19.50! One free teacher ticket with every ten tickets booked, plus receive a free poster for your classroom if you book by 30 November. School group rates are valid Monday, Tuesday and Thursday at 7.30pm, Wednesday at 7pm and Thursday at 3pm. Subject to availability.

To reserve or book tickets call 0844 412 4649 or visit www.shrekthemusical.co.uk.

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08/10/2012 11:22:38

JOIN THE

ADVENTURE!

HHHHH

‘SHREKTACULAR’ S U N D AY T E L E G R A P H

SCHOOL GROUPS 10+ JUST £19.50!

THEATRE ROYAL DRURY LANE

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26/09/2012 17:42:33

The Royal Court’s Education Programme Royal Court Education workshop

Helen Murray

The Royal Court is Britain’s leading theatre for new writing; discovering original and provocative new playwrights from around the world. Along with introducing students to ground-breaking plays, the Royal Court’s Education Programme provides opportunities to explore the plays and the theatre in more detail.

Hands-on Study Days enable students to explore the inner workings of the theatre: following the journey of a play from script to stage. Furthermore, Performance Arts Business workshops offer students a unique and fun insight into how one of the UK’s busiest theatres runs day-to-day.

In addition, Production Pre-Show Workshops provide students with the chance to explore a specific play. Forthcoming workshops focus on NSFW by Lucy Kirkwood and In the Republic of Happiness by Martin Crimp.

Young writer’s workshop

In the Republic of Happiness is a provocative roll-call of contemporary obsession. Themes include family, contemporary society, confessional culture.

Suitable for ages 16+.

All workshops are suitable for KS4+ Study Days: £10 per student Arts Business workshops: £10 per student Production workshops: £3.50 per student Tickets for the plays: School groups 8+ £10, £14.

Ben Delfont

NSFW is a sharp new piece looking at power games and privacy in the media and beyond. Themes include media, sexualisation, privacy, feminism, ethics.

Suitable for ages 14+.

NSFW runs 25 October–24 November; In the Republic of Happiness 6 December–19 January.

Workshops take place at the Royal Court at a time and date convenient with your school group.

For more information and to book tickets, visit www.royalcourttheatre.com/education.

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08/10/2012 11:24:08

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26/09/2012 17:49:56

The 39 Steps

Groups 8+ just £15! One free teacher ticket with every ten tickets booked. School group rates are valid Monday–Thursday at 7.30pm, or at £12.50 for Wednesday matinees at 3pm. Subject to availability.

Tristram Kenton

Based on Hitchcock’s spy thriller

Seen by over 3 million people world wide

Tristram Kenton

Take a daring leap into the world of espionage, high drama and rip-roaring comedy with The 39 Steps. The world’s favourite comedy has now been seen by over 3 million people in over 39 countries. The wonderfully inventive Olivier Award winning show is a brilliant stage recreation of Alfred Hitchcock’s classic spy thriller and features just four fearless actors playing 139 roles in 100 minutes of fastpaced, fun and thrilling action.

With links to citizenship, English, history, performing arts and PSHE, The 39 Steps is the perfect school trip for students of Key Stage 3 and above.

A free teacher resource pack featuring interviews with key members of the creative team, production notes and classroom exercises is available to download online.

Exciting education workshops which are uniquely tailored to each school group are also available. Students work with professional actors to learn acting and performance techniques used in actor training and in the rehearsal and creation of The 39 Steps.

Download our education resources and find out about our workshops at www.love39steps. com/london/schools.php.

To reserve or book tickets call Ticketmaster on 0844 248 5156 or email groups@ticketmaster.co.uk.

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08/10/2012 11:25:32

SCHOOL RATE 8+ FROM £12.50 PLUS TEACHERS GO FREE! ‘A GREAT EXAMPLE OF MULTI-ROLE PLAYING’ DANIEL LOCKWOOD I HIGAMS PARK SCHOOL

EDUCATION WORKSHOPS AVAILABLE

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26/09/2012 17:40:29

Theatre & Performance at the V&A The V&A holds the world’s greatest collection of theatre and performance materials – discover the history of theatre and performance today.

Discover objects such as a Shakespeare’s First Folio and hear about this autumn’s blockbuster exhibition, Hollywood Costume with the V&A’s Free Gallery Tours and Exhibition Talks.

Head off to Hollywood – don’t miss the Hollywood Costume exhibition – explore character and costume design through 100 of the most iconic and unforgettable film characters.

There are Practical Workshops in set design, costume design, stage make-up and devising. Work on exciting briefs in the galleries and studio with professional designers and actor-directors.

With Schools Screen you can watch unique recordings of Our Country’s Good, The Street of Crocodiles, The Elephant Vanishes, Lady Windermere’s Fan and Murmuring Judges on the big screen.

Immerse yourself in the world of Chaucer, Shakespeare, Austen, Dickens, Pinter and more, to Theatre workshop at the V&A

experience the lives of writers and their characters

by Stepping into a Period Drama, free at the V&A. Travel Overseas, free, by exploring ceremonial dress, festivals and cultures in China, Islamic Middle East, Japan, Korea and South Asia.

Come and visit for the chance to research, devise, write, design and perform, free!

Discover where writers, actors, directors and designers get their inspiration then research ideas for your own text, character, design or performance.

Contact our Schools Liaison Assistant by calling 020 7942 2622 or by emailing schools@vam.ac.uk.

Sign up to the V&A Schools e-newsletter www.vam.ac.uk/signup.

The V&A’s Schools Screen

For more information and to book a trip to the V&A call 020 7942 2211 or visit www.vam.ac.uk/secondary.

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Teachers’ Guide To Performing Arts Trips 2012–13

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www.teaching-drama.co.uk

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Theatre & Performance at the V&A The V&A holds the world’s greatest collection of theatre and performance materials - from Shakespeare’s First Folio to Hollywood Costume.

Book a workshop, screening or self-guided tour at the Victoria and Albert Museum.

Find out more at www.vam.ac.uk/learning

THE WIZARD OF OZ and all related characters and elements are trademarks of and © Turner Entertainment Co. Judy Garland as Dorothy from THE WIZARD OF OZ. (s12) Costume Designer Adrian.

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SUBSCRIBE TO TEACHING DRAMA AND SAVE £23!

YOUR SUBSCRIPTION INCLUDES: ▶ Unlimited access to our online and downloadable schemes of work ▶ 6 issues of Teaching Drama magazine, packed with news, reviews and teaching tips ▶ FREE delivery, direct to your door ▶ FREE e-news, to keep you updated ▶ Special discounts on Essentials: our handy schemes of work bundles

ALL THIS FOR JUST £65.95!* ORDER ONLINE @ www.rhinegold.co.uk/tdtgp * This subscription offer is limited to UK customers at UK addresses for the first year of subscription when paying by credit/debit card or invoice.

We also welcome orders by Direct Debit, priced at £59.95 (saving £29), as well as orders from overseas customers. Please call us or see online for prices. Regular price £89.40. PROMOTION CODE: TDTGP

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or BY PHONE ON 0844 844 0261 PROMOTION CODE: TDTGP

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Education

Award-winning theatre, workshops, teacher training, and touring productions for schools.

“Extremely impressive... Many of the students came to tell me how much they enjoyed it the next day.” HEAD OF DRAMA, ABBEY SCHOOL, READING

To find out how we can support your work call Beth on 01635 570927 beth@watermill.org.uk

www.watermill.org.uk/takepart The Watermill Theatre, Bagnor, Newbury RG20 8AE 7 mins from M4, Junction 13, 3 minutes from the A34

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Of Mice & Men May 2012

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