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TO SIR WITH LOVE EDUCATION PACK,Introduction 3,Ayub Khan Din adaptor 4. E R Braithwaite writer 5,Mark Babych director 6 7,Mike Britton designer 8 9. Model Box Images 10,Historical and Social Context 1948 11. On Racism 12,Meet the Actors Mykola Allen 13,Meet the Actors Paul Kemp 14. Devising From Stimulus 15,Text Activity 16,Text Resource and activity 17.
Review Writing Evaluation of a Performance 18,For more images and resources go to. http theatrecloud com to sir with love,TO SIR WITH LOVE EDUCATION PACK. Introduction, There are interviews with the creative and production teams and accounts of. rehearsal room practice to enable students to gain an insight into the process. of developing the work from page to stage, The pack will be of interest to teachers and students of vocational performing. arts including BTEC National Diploma in Acting or Technical Theatre AS A. level Drama and Theatre through to degree level Drama Acting Directing. Theatre Design and Music, The material in this pack may be reproduced for classroom use only and not.
for resale or reproduction in print or electronically without the prior permission. of the authors,About the play, It is just after the Second World War and we are in a secondary school in the East End. of London We meet black Cambridge graduate and ex RAF pilot Ricky who moves to. London after the war and faces prejudice at every turn Unable to get a toehold in his. chosen profession of engineering he becomes a teacher in a school where like him. the pupils have been marginalised and ignored While some of the teachers believe in. a tough approach Ricky finds a better way and the support of a forward thinking. headteacher He has his allies and enemies among the other teachers and the. students will end up surprising him, This play has been written by Ayub Khan Din writer of East Is East He has re visited. ER Braithwaite s autobiography to tell the story which was made famous in 1968 with. a film starring Sidney Poitier,Interview with Ayub Khan Din. playwright adapter of To Sir With Love,TO SIR WITH LOVE EDUCATION PACK. What drew you to want to adapt the in film In many ways it s a better storytelling device. piece because you re allowed to play around with words. you re allowed to take your time and play around,with characters and discover the situations.
I think for me it was about reading the book and,seeing what resonated For me that was the. discussion about education Especially today as Were there any particular challenges in. everyone is so concerned about the way we re adapting To Sir With Love. educating our children the style we re using and, how we re all worrying about the schools we can get Explaining the theories of education To do that you. our children into have to go through a process of writing very large. speeches Once you ve got what you want to say, The thing about To Sir With Love is that it talks about you have to start cutting the speeches down but still. a radical form of education In this school they try to retaining the ideas It s difficult to write two people. get children involved in the decision making of the arguing about education the theories they are. school and to have a say in the way they are talking about aren t necessarily engaging for all You. educated The school is given a responsibility to look need to find the drama in it and the action in it. beyond formal education and has a vision to send,children out into wider society fully able to. participate in the decision making of that society What s it like being in the rehearsal room. That s what fascinated me and made me excited and seeing the actors with the text. about the book and the ideas that I wanted to put, into the play It s fantastic It s exactly what a writer needs You.
cant just go here s a play rehearse it do it It doesn t. How do you start dramatising a novel work like that it s an organic process I ve been. into a play working on it for a year I ve delivered three drafts. People make comments on those drafts and it,changes Then in the rehearsal room actors are. It s about listening to emotions of the piece listening working on it and mouthing the words and your. to the characters Obviously in this piece you start hearing the structure of sentences and scenes and. with Rick he s our main protagonist Then you start what might have been right in my head suddenly. thinking who s going to be playing against him isn t right anymore and I have to start changing. who s going to be playing with him You look at the things. other characters and think about where the story is. So it s Rick the classroom the people he s working. with the headmaster especially He s the one who is Do you have any advice for aspiring. advocating the style of education so there will be writers. friction between him and Rick due to Rick s, inexperience and their theories of education rubbing Sit down and write You don t need a computer You. against each other Automatically you re beginning to need a pen and a piece of paper and an idea. build dramatic action and you work through the play. Does writing for theatre limit you in any,I don t think it gives you any limitations at all. Because it s theatre you can tell stories In film,you re being told to show all the time show me. show me don t tell me In theatre you need to be, able to tell so if you want a character to express.
themselves you can give them a long speech,Theatre isn t a naturalistic form it s heightened. naturalism you can get away with a lot more than,Ayub Khan Din. Interview with E R Braithwaite,writer of the novel To Sir With Love. TO SIR WITH LOVE EDUCATION PACK, What inspired you to write To Sir With What do you think is the relevance of. Love your book for today s young people, It was the label on the packet of the gift I received When some young people read my book they.
from the students It was simple comprehensive sometimes totally miss the point They find no. spontaneous yet it said everything they wanted relevance to their lives They seem to think that. to say their birth ushered in a new experience of living. They cannot readily accept that nearly everything,has in some form or another happened before. What are the biggest lessons you Can we accept the prevailing paradox that there. learnt as a teacher at St George s is nothing new under the sun. What advice would you give to 15 year, To pay careful attention to anything the children olds living today. said in the classroom whether it was said for my, attention or not No advice 15 year olds generally do not. welcome advice gratuitously sprinkled on them, What do you think is the relevance of If a 15 year old needs specific advice I hope he. she will be fortunate enough to be able to turn to. your book for today s teachers someone whose guidance they will accept. Any teacher reading my book may find an E R Braithwaite Guyana 2013. occasional instance or two when a light goes on,E R Braithwaite was born in Guyana at that.
time British Guiana in 1920, He studied in New York and served as a fighter pilot. 1941 45 in the RAF After the war he received an, advanced degree in Physics from Cambridge University. Prevented from pursuing his chosen career in engineering. because of the colourof his skin he finally took a job as. teacher in a tough London secondary school, To Sir With Love is his best known novel based on that. experience, When he left teaching in addition to being a writer he was. It sold very well in England because, a social worker and in the 1960s became a diplomat and.
they rushed to a second printing,was Guyanese Ambassador to the United Nations. because of the demand For a long,time I had the feeling that it was not. In 2012 he received the Cacique Crown of Honour from. real for a while I would wake up and,the President of Guyana. find I was dreaming The newspapers, Further Reading Caryl Philips The Guardian http were calling me for interviews And. www theguardian com books 2005 jul 23 the book seemed to have a life of its. featuresreviews guardianreview20 own it seemed to teach all the right. Guyanese news online http points to people who had an interest. www kaieteurnewsonline com 2012 08 26 to sir with love in the lives of young people. author e r braithwaite is a special person,E R Braithwaite.
Interview with Mark Babych,TO SIR WITH LOVE EDUCATION PACK. How did you get into directing producer and another producing. I did a Drama and Theatre Studies degree at the, University of Kent at Canterbury and in my first year The main difference is that my sole responsibility is. was asked to direct a production of Epsom Downs to this production and delivering for the people I am. by Howard Brenton I d never considered employed by the very best work that I can within. directing as a career until then and even after that I the resources available As an artistic director of a. was still more interested in performing it wasn t theatre you are responsible for the artistic direction. until the final year of my degree when I specialised of travel for the entire organisation developing and. in directing as a subject that I discovered that I setting policy and the job extends way beyond the. really wanted to pursue it as a career I was very rehearsal room and direction of plays my current. inspired by the work of Peter Brook and the Market role as Artistic Director of Hull Truck includes a. Theatre of Johannesburg and a lot of my early work complete review of policy and practice working with. was really influenced by the work of these amazing the board and staff to deliver a cultural organisation. people I spent a lot of time developing and that truly connects with the city and the. broadening my practice by working in a variety of communities we serve and developing. roles in arts centres and regional theatres I spent partnerships with other artists and organisations on. time in schools colleges working on small scale a local regional and national level. touring and community theatre projects and, gradually moved into working with professional What is the difference between. actors when I got my first Associate Director job at. Worcester Swan Theatre I spent several years as a directing for TV which you have done. freelance director working with a broad range of Coronation Street and directing for. companies from regional producing theatres to theatre. small scale touring and got the chance to work in, Europe and Estonia which further broadened my I d say the main difference is time the theatre. experience and skills until I got my first Artistic process is a lot slower and time is given through the. Director job at the Octagon Theatre Bolton where I rehearsal period to develop staging and. spent ten really rewarding and fulfilling years interpretation and deepen everyone s. understanding of the psychology of the world you, What qualities do you think someone are trying to create and inhabit there s a lot of.
room for trial and error and for improvising round an. needs in order to be a good director idea in tv time is much shorter particularly soap. where there is virtually no rehearsal the director. The best directors I know are incredibly creative would work out where the actors would be in. imaginative resourceful tenacious intelligent and relation to where he she wants to place the. are really good with people they have a deep cameras and have already worked out where the. passion and respect for the skill and craft of the broad moves of the scene would be prior to the. people they work with actors designers actors getting there which means the degree of. composers choreographers etc they are really collaboration is considerably lessened there is a. good at assembling and building a brilliant team large team of people working on a soap all of whom. and enabling that team to do the very best work require you to be really clear about how a scene. that they can It s the director that sets the tone and works from lighting to camera to sound to props. bar and the conditions in which creativity can thrive to make up and the turnaround for scenes is. and flourish sometimes this means quietening incredibly quick often shooting up to 30 pages of. your own voice so that others can be heard and script a day. harnessed but also knowing when to fight for,something that you passionately believe in and. holds onto the integrity of the piece you are working What is it about TO SIR WITH LOVE that. on interests you and how did you develop,a concept for how to stage it. What are the differences between, running your own theatre as you did at I was interested in the central characters journey in. the story how he arrives at the school with a, Bolton Octagon and working with a certain set of pre conceptions and prejudices and. Interview with Mark Babych, emerges at the end with a different view of the young and stops you resting on your laurels.
people he works with and himself there is also a, contemporary relevance in the story about how we Be interested in actors and other artists who you will. educate our young people and the role that creativity form close working relationships with it is they that. and culture plays in our society The staging concept will translate ideas into reality and a good. really came out of the need to keep the action active understanding of what makes them tick and an. and fluid without the need for cumbersome scene appreciation of the skill and craft that goes into their. changes which meant a certain simplicity in the way area of specialism will make you a better director. scenes are located and set up by our on stage, ensemble Be well read know what s been before and what is. emerging and current,What are the key stages in taking a script. If you can do some training at an established and, from first draft to final dress rehearsal on respected course there are many available now. stage but look at who the alumni are who s been on the. course who is now making a successful career for, Once I ve read the first draft there is some discussion themselves.
amongst the director and producers to gather initial. responses to how the story is revealing itself through Put high quality productions on where you can be. the choices the writer is initially making I would then it in a pub bar shop theatre anywhere you can. collate these in my mind and then work closely with demonstrate your commitment and creativity. the writer to tease out the next path towards the next. draft Because Ayub and I have worked together Get to know the professional theatre makers in your. before this process is relatively straight forward as I orbit and make yourself interested and known to. think we were completely in tune with what needed to them after a while if you show initiative and talent. be developed what the strengths were and what they will take notice. could be adapted and simplified in this case the task. was to condense the characters for the number of Be persistent. actors available and flesh out the character of Florian. the headmaster Once in rehearsal we ll take another. look at how what s on the page is working in action. and things will be revealed to us throughout the, process that Ayub will want to respond to and adapt. so it really is a living and breathing organism that will. grow as we work and fine tune this might include, changes of location and adapting lines to trimming. certain section There then comes the transition from. the rehearsal room to the stage which is always an. exciting moment because then the choices you have,made in a small room then have to stand up in a. large auditorium and we keep on refining The, process doesn t stop there because the one element. we have never had up until the opening night is the. audience and they will tell us far more than anything. if what we have dreamt up connects and has,meaning and intelligence.
What advice would you give to anyone,who is interested in pursuing directing. as a profession Mark Babych in rehearsal for To Sir With Love. See as much theatre as you can be diverse and, adventurous in your choices and don t just stick to. one particular palette learn as much as you can,and keep on absorbing and learning this is a life. long task and part of what makes this job exciting. Interview with Mike Britton, Tell us about the value of design Can you explain your thinking and the. TO SIR WITH LOVE EDUCATION PACK,training process behind the design for To Sir.
On leaving school I first did a general art, foundation course for one year at Falmouth School The design process simply starts with reading the. Of Art I then went to Wimbledon School Of Art and play With the first reading I look at it just as a. did a degree in Theatre Design for three years story trying not to consider the design at all From. this I would hope to get a good feel of the play and. I think the training is necessary as it s probably the how the story has affected me I will then reread. only time you will get to experiment and try out and make notes and start considering the general. different aspects of design It s when you really themes and mood and what I need to try and. start to develop your style and your thoughts on portray with the design From this come some. how to approach a piece of theatre without the initial sketches and visual references It is usually. pressure of actually having to stage it It lasts a at this point I meet the director and we discuss the. short time and you need to work very hard to get play in depth. the most out of it These first thoughts and discussions are very. important as they usually form the grounding of, It s also having time to mature as a person as I everything we will go on to do I m a. think you need the chance to have some life great believer in an initial gut reaction to. experience before you can even begin to think something which will go on to inform the design. about designing something like King Lear for, example The design is then developed through rough. models drawings and discussion which are, What qualities do you think you need presented in the form of a final model and. technical drawings for the set with sketches, to be a great theatre designer or references for the costumes.
Thats tricky I believe a great design is not For To Sir With love it reads like a film script with. necessarily one that is very showy and lots of shorter scenes fourteen in the first half. superficially great to look at In fact it may be one alone going from staff room to classroom to a few. that you may not instantly be aware of The theatre external scenes on the bus and at the V A. designer s job is done if you have managed to help Museum The biggest challenge is to keep the. the audience completely connect and in some action moving and to not get bogged down with. way be moved by the drama It s the ability to constant scene changes so illustrating each scene. take an internal emotion and portray it in three in a naturalistic manner was quite clearly not an. dimensions What makes it very hard is that there option The key for me is the energy of the kids in. are no hard and fast rules about to how to do this the play It is they who we felt would be able to. anything is possible drive the story forward, It works when everything falls into place the play. the actor what the actor is wearing what The general context of the play is important these. surrounds them from set light and sound A good kids exist in post war East End London in poor and. designer needs to be a bit like a sponge and deprived circumstances So I looked at lots. absorb all types of visual reference and of photos of blitzed London and the fallout of World. influences You need to be able to think sideways War II which all of them had lived through and. A lot of what we do is down to practical problem from these I came up with a general surround to. solving as well keeping your eye on the grander hold the play This is a landscape of a bombed. scheme and what you are trying to achieve skyline and broken windows which shows little. visually hope of recovery and it is through this the kids. improve themselves and develop The general,landscape is then blurred into the context of the. school the blackboards used as a,physical illustration of learning. See the photos of Mike s model,box for To Sir With Love. on page 10,continued overleaf,design interview continued.
How much research did you do into the How many people are involved in make. TO SIR WITH LOVE EDUCATION PACK, historical period for To Sir With Love your design a reality on stage and. what do they do What is the role of, The more experience you have the more familiar you the lighting designer. become with different time periods I have worked on. productions before set in the 1940 s but research is This completely depends on the size of the project as. still important especially with a play which is a piece can fluctuate from just a handful of people up to. of our social history I get as much background as hundreds With To Sir With Love on the set side of. possible from photographic and written references things there is the production manager who has the. and from film and artists of the time It s important to overall responsibility of realising the production the. create something that fits the mood of the piece you workshop of three or four carpenters which is quite. are not making a documentary But to deconstruct a small plus one or two painters You will then have. period you need to know what it is supposed to look the stage management team who run rehearsals. like to start with and will be responsible for sourcing all the props for. the production alongside managing the production,on stage The wardrobe supervisor will coordinate. Can you outline the stages of the making hiring or buying of costume In the. development from the Model box to the theatre you will then have the stage crew who will. final Design on stage put up the scenery as well as the lighting and sound. departments, Once you have a finished design and it s been costed. so that it works within the available budget you will Lighting designers are incredibly important to set. have a meeting with the workshop who will be and costume designers as their work can enhance. constructing the set This may be one or more yours tremendously or in equal amounts destroy it. companies depending on the size of the project With So there should always be good communication. To Sir With Love this is principally the in house between you to make sure you are all working. workshop at the producing theatre Northampton but towards the same goal. some elements are being built with another,commercial company As well as discussing the look.
and requirements of the set you will also speak to the To Sir With Love is a touring production. painter who will usually do samples of all the different to what extent does this effect the. paint techniques and textures within the scenery design. Once building has started there will be one or two. points where you will visit the workshop to see the. There are obviously lots of practical considerations. build in progress This is so you can make sure it is. when a production needs to tour to different,how you imagined it would be and if necessary any. theatres from the time it takes to put up and take. changes are made at this stage, down the set and to how it is transported as well as. From the workshop the set will then be fitted up on. physically being able to fit into all the different sized. stage ready for the technical rehearsal period which. venues it may go to When considering the initial, is when everything is put together for the first time. design it is important to be aware of the smallest. actors light sound and design, theatre the production is going to so that the general. footprint of the set will work there either as it is or. with a simple modification,Follow up Activities, Research the period and setting of To Sir With Love see Synopsis and create a mood.
board of colours textures and images, Research the highlighted theatre production roles above and create a chart which. summarises the role each one plays in putting on a show. The Model Box,The whole classroom is laid out against the. backdrop of bombed out buildings,TO SIR WITH LOVE EDUCATION PACK. The natural wooden flooring and sloping,desks are typical of the post war period. Type to enter text,Changes in location can be,demonstrated by different pieces of.
The entire set including scenery is furniture without the need for complex. created in miniature to show the creative scene changes. and production teams how the design will,look when it is fully realised. Historical and Social Context,Life in London 1948,TO SIR WITH LOVE EDUCATION PACK. I suppose I had entertained some naively romantic ideas about London s East End. with its cosmopolitan population and fascinating history I had dreamed of walking. along the cobbled Street of the Cable Makers to the echoes of Chancellor and the. brothers Willoughby I wanted to look on the reach of the Thames at Blackwall from. which Captain John Smith had sailed aboard the good ship Susan Lawrence to found. an English colony in Virginia I had dreamed, But this was different untidy irregular picket fence of slipshod shopfronts and. gaping bomb sites There was rubble everywhere and dirt and flies And there. were smells They flowed from the delicatessen shop with its uncovered trays of. pickled herrings and the small open casks of pickled gherkins and onions dried fish. and salted meat and sweaty damp walls and floor from the fish shop which casually. defied every law of health,E R Braithwaite To Sir with Love. London s first ever Living Conditions,supermarket opens.
London Olympics at Wembley rationing,The ship the Empire Windrush bomb sites. communities and families,arrives at Tilbury with 500. still recovering from the, Jamaicans who have answered dislocation of wartime. the invitation to come and work,in Britain,TO SIR WITH LOVE EDUCATION PACK. FROM the book TO SIR WITH LOVE, Braithwaite I had just been brought face to face with something I had either forgotten.
or completely ignored for more than six exciting years my black skin It had not. mattered when I volunteered for aircrew service in 1940 it had not mattered during the. period of flying training or when I received my wings and was posted to a squadron it. had not mattered in the hectic uncertaintites of operational flying of living and loving. from day to day brothered to men who like myself had no tomorrow and could not afford. to fritter away today on the absurdities of prejudice. I had grown up British in every way As a boy I was taught to appreciate English. literature poetry and prose classical and contemporary and it was absolutely natural. for me to identify myself with the British heroes of the adventure stories. Belief in an idea dies hard I had believed in an ideal for all the twenty eight years of. my life the idea of the British Way of Life It had sustained me when as a youth in a. high school of nearly all white students I had had to work harder or run faster than they. needed to do in order to make the grade I came to England for post graduate. study in 1939 I felt that at long last I was personally identified with the hub of fairness. tolerance and all the freedoms It was therefore without any hesitation that I. volunteered for service with the Royal Air Force in 1940 willing and ready to lay down. my life for the preservation of the ideal which had been my lodestar. The West Indian colonials who lived worked and reared their children through. the rigours of slavery and the growing pains of gradual enfranchisement according to. the only example they knew the British Way The ties which bind them to Britain. are strong and this is very apparent on each occasion of a Royal visit when all of them. young and old rich and poor join happily together in unrestrained and joyful. demonstrations of welcome Yes it is wonderful to be British until one comes to. Who can predict the end result of a land lady s coldness a waiter s discourtesy or the. refusal of a young woman to dance,Meet the Actors,Mykola Allen playing Denham. TO SIR WITH LOVE EDUCATION PACK,What s the biggest challenge of this job. Developing a character and learning how to approach their character journey This must be achieved whilst. working with other members of the company who s roles dictate certain actions that can hinder your. progressive journey or arc,What s the thing you love most about this job. The ability to create an entirely new world We are given the opportunity to be put in places and circumstances. we wouldn t normally go to or be involved in It gives you an appreciation for other walks of life and the. struggles people can face day to day, Can you describe a day in the life of being an actor in rehearsal. Get up Have a decent breakfast to give myself enough energy for the upcoming day Read the scenes that I. will be rehearsing that day to consolidate my knowledge and recap on any notes given to me on a previous. Am Warm up in the rehearsal room both physical and vocal this is crucial to the work we will be doing in the. day Generally recap on previous notes and usually discuss the agenda for the day. Lunch Dependent on the stage in the rehearsal period we may do a run of a particular act Transitions. between scenes need to be cemented in your mind way in advance of the shows they are surprisingly hard to. get to grips with After the run you ll often be given notes on how to improve the next time you perform this. includes the opportunity for you to speak up about any issues or difficulties you are having. Pm This time can be used for all manner of different things Quite often this can be another run through or. even a stagger through of specific scenes On particular days such as on this tour we will have a dance or. fight call This is vital as these are the only times we can correctly rehearse certain sections scenes with only. dialogue can be rehearsed without direct supervision. Evening Recap on the events of the day to consolidate the notes you ve been given and to make sure you can. take them on board Read the scenes necessary for the next rehearsal day too so that you are fully on top of. the next days actions Make sure you have some time to relax though. Go to bed Make sure you get a good night s sleep as rehearsals often begin very early in the morning and can. potentially finish very late at night Read your script again. Was there any person or anything you did in school or when you were younger. which influenced what you do now, The support of my family was the most important factor in how I got to where I am today The assurance that.
they will support you in whatever you do really is encouraging in any walk of life My family come from an. entertainment background so this would always have been somewhere in their minds anyway Acting always. has come naturally for me it seemed the obvious choice. Can you briefly describe what training you had for your job. Being to young to have attended drama school I have attended acting classes every week since the age of 7 I. currently attend Derby Academy of Acting an acting class aimed to teach advanced acting techniques This. sort of regular involvement in the arts is crucial to developing the fundamental skills needed. What advice would you give a young person wanting to work in theatre. Work hard Train hard Play hard literally,Meet the Actors. Paul Kemp playing Weston,TO SIR WITH LOVE EDUCATION PACK. Maths teacher at Green Slade School, What s the biggest challenge of this job and being an actor in general. The character is rather rude and bigoted but also quite funny So it s important to strike a. balance so that audiences can laugh at him rather than find him totally obnoxious The. hardest thing about being an actor is finding work. What s the thing you love most about this job, I really enjoy playing my character and it s very exciting to be involved in a brand new play. that has never been seen before I love being an actor because every job presents new. challenges and brings you into contact with new people. Can you describe a day in the life of an actor in rehearsal. Get up Breakfast Look at lines,Am Rehearse, Lunch Just a snack and a chat with fellow cast members.
Pm Rehearse, Evening Rehearse sometimes meet with cast evening meal more line learning. Go to bed Hopefully at a reasonable time if rehearsing first thing in the morning. Was there any person or anything you did in school or when you were younger. which influenced what you do now, I had an English teacher at secondary school who introduced me to acting by starting. classes outside school hours I ended up acting in several productions that he directed. which were performed in the school, Can you briefly describe what training you had for your job. I studied drama for two years after I had been to university. What advice would you give a young person wanting to work in theatre. It s hard so make sure it is absolutely what you want to do You need a burning desire to do. it in order to cope with all the job insecurity and disappointments that will inevitably. accompany all the enjoyable aspects, What is the feeling you hope audiences will leave the theatre with after watching To. Sir with Love, Primarily I hope they will be delighted and entertained by this story For some people it may.
also provoke some interesting discussions related to the themes of the play. Devising From Stimulus, Read the song lyrics below They were created for the 1968 film of To Sir With Love by Don Black he is writing. about love but it s not romantic love or sexual love it s about how we love the people who have helped us. TO SIR WITH LOVE EDUCATION PACK,because they believe in us. Those schoolgirl days of telling tales and biting nails are gone. But in my mind,I know they will still live on and on. But how do you thank someone who has taken you from crayons to. It isn t easy but I ll try, If you wanted the sky I would write across the sky in letters. That would soar a thousand feet high,To Sir with Love.
The time has come,For closing books and long last looks must end. And as I leave,I know that I am leaving my best friend. A friend who taught me right from wrong,And weak from strong. That s a lot to learn,What what can I give you in return. If you wanted the moon I would try to make a start. But I would rather you let me give my heart,To Sir with Love.
Group Devising Task, Create Character A use a large piece of flip chart paper and draw a stick figure on it This person is the. ideal teacher or youth worker or youth theatre leader Write all the qualities that this person would have. around the stick figure Across the middle of the figure write all the feelings that person has which they. don t necessarily express, Create a second stick figure on another piece of paper Character B This person will block Character A. from doing their job Give this person attributes and feelings too. Create Character C the voice of the song lyrics above who is she Who are her friends. Decide what situation Character A is in the classroom the staff room the car park and create a scene. including a range of other people of your choice Character B enters the scene and somehow blocks A. from doing their job,Improvise the scene and see what story emerges.


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Aktiwiteit 3: Liggaamlike opvoeding Balans Verdeel die klas in vier groepe. Vorm geometriese patrone (driehoeke, vier-kante, sirkels en reghoeke) met toue (springtoue) waarop die leerlinge kan loop, huppel en hardloop. (ONH JURHS ORRS RS JHRPHWULHVH YRUP Leerlinge loop een-een oor die vorm. 5RWHHU VRGDW HONH JURHS EHXUW NU\ RP RS GLH YRUP WH ORRS Terwyl een leerling op die tou loop, kyk die ...