Category Archives: KS3/4 drama ideas

Journey’s End resources.

These resources for reading Journey’s End have come to me from one of my colleagues: @missjboyle. They cover acts 1 and 2 at the moment and have a distinct Osborne focus.
I apologise if I am unwittingly presenting slides without due credit – I hope they are useful.

They relate to other posts on the blog:
https://jwpblog.wordpress.com/2015/09/01/journeys-end-intro-mp3/

https://jwpblog.wordpress.com/2015/09/18/journeys-end-beginning-to-analyse/

intro-to-wwi_2je-l2

je-l5

je-l6

je-l7

je-l8

je-l9-1

je-l11

je-l12

je-l13

je-l14

je-l15

je-osborne-l3

je_l1_2014

je_l4-1

je_l10

osborne-and-raleighs-behaviour-before-the-raid-table

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Hunting the (JLS) Snark

Following on from an earlier post in which I looked at a draft outline for an approach to the Hunting of the Snark, here are my draft teaching materials for my class in the 7 class activity to recreate the Snark as part of the 140th anniversary of the founding of the school.

The rationale:

  • First published in Easter 1876, Lewis Carroll’s Hunting of the Snark is a classic piece of Victorian nonsense poetry. It is easy to imagine the new boys at The John Lyon School being in receipt of this book as a present and learning to recite the verse among their friends. There meaning of the poem is obscure – if it has one at all! Certainly the original group of travellers are left in little doubt that the “Snark IS a boojum, you see”. The suggestion is that the object of our desire is somehow a deceit – a fantasy which will cause the finder to disappear entirely – perhaps to lose their individuality in the faceless world of a wider society.
  • Today, in our anniversary year, we are revisiting this text in Years 7&8 and electing to find our JLS Snark in 2016. A Snark is some form of scholarly success – certainly not solely academic – that might be the boojum- a one-trick pony who offers little to society than an obsession with personal achievement ion a narrow academic context. Our Snarks seek a wide range of skills and activities and learn that failure is only deferred success and that risk-taking in the name of progress is vital to the development not just of young minds, but of all humanity.

My class are working on Fit 2:  the Bellman’s speech.  I hope my ideas work and that anyone reading this might be inspired to develop something of their own…

 

Hunting of the snark

Fit the Second

snark teaching idea for 7B

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To what extent is the end of MAAN satisfactory?

This is part of a year 11 lesson when we discussed an essay that had recently been written by the group.  Since several boys missed the lesson due to rehearsals for the school play, I have put the sound file on here for them to sue.  Feel free to join in…

 

 Lesson excerpt.

 

 

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Much Ado: presentation of women

Year 10 silent essay planning table tops. Download your PDFs here.

women in MAAN table planning

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Much Ado: Honour and Dishonour

 

Yr 10, please download your work on this theme here.

honour dishonour worrk

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Journey’s End: beginning to analyse

This is another version of a post which can be found elsewhere, relating to PEARL paragraphs and zooming in to analyse.  This time it is aimed at a Year 9 group reading Sherriff’s Journey’s End and beginning to analyse literature closely.

Journey’s End PEARL

In it, I address the PEARL structure and zooming in, as well as referencing JANUS sentences as presented by the peerless John Thomsett.  http://johntomsett.com/2014/02/01/this-much-i-know-about-teaching-students-how-to-plan-stonkingly-good-essays/

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Journey’s End intro MP3

Two audio files and a short PDF from Leicester University make up my intro pack for Sherriff’s play in Yr 9.

School and Journey’s End

Journey’s End Intro.

2JourneysEnd

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CIE: notes on a Literature passage question

The following sound file is a “give back” for my year 11s based on a close study of the following passage from All MY Sons, Act 2:

George: (To Ann) What more do you want! (There is a sound of footsteps in the house).
Ann: (turns her head suddenly toward house) Someone's coming.
Chris: (to George, quietly) You won't say anything now.
Ann: You'll go soon.  I'll call a cab.
George: You're coming with me.
Ann: And don't mention marriage, because we haven't told her yet.
George: You're coming with me.
Ann: You understand? Don't... George, you're not going to start anything now! (She hears footsteps) Shhh!
Mother enters on porch. She is dressed almost formally. Her hair is fixed. They are all turned toward her. On seeing George she raises both hands, comes down toward him.
Mother: Georgie, Georgie.
George: (he has always liked her) Hello, Kate.
Mother: (cups his face in her hands) They made an old man out of you. (Touches his hair) Look, you're grey.
George: (her pity, open and unabashed, reaches into him, and he smiles sadly) I know, I...
Mother: I told you when you went away, don't try for medals.
George: (laughs, tiredly) I didn't try, Kate. They made it very easy for me.
Mother: (actually angry) Go on. You're all alike. (To Ann) Look at him, why did you say he's fine? He looks like a ghost.
George: (relishing her solicitude) I feel alright.
Mother: I'm sick to look at you. What's the matter with your mother, why don't she feed you?
Ann: He just hasn't any appetite.
Mother: If he ate in my house he'd have an appetite. (to Ann) I pity your husband! (To George) Sit down. I'll make you a sandwich.
George: (sits with an embarrassed laugh) I'm really not hungry.
Mother: Honest to God, it breaks my heart to see what happened to all the children. How we worked and planned for you, and you end up no better than us.
George: (with deep feeling for her) You... you haven't changed at all, you know that, Kate?
Mother: None of us changed, Georgie. We all love you. Joe was just talking about the day you were born and the water got shut off. People were carrying basins from a block away... A stranger would have thought the whole block was on fire! (they laugh. She sees the juice. To Ann) Why didn't you give him some juice!
Ann: (defensively) I offered it to him.
Mother: (scoffingly) You offered it to him! (thrusting glass into George's hand) Give it to him! (To George, who is laughing) And now you're going to sit here and drink some juice... and look like something!
George: (sitting) Kate, I feel hungry already.
Chris: (proudly) She could turn Mahatma Ghandi into a heavyweight!
Mother: (to Chris, with great energy) Listen, to hell with the restaurant! I got a ham in the icebox, and frozen strawberries, and avocados, and...
Ann: Swell, I'll help you!
George: The train leaves at eight thirty, Ann.
Mother: (to Ann) You're leaving?
Chris: No, Mother, she's not...
Ann: (breaking through it, going to George) You hardly got here. Give yourself a chance to get acquainted again.
Chris: Sure, you don't even know us anymore.
Mother: Well, Chris, if they can't stay, I don't...
Chris: No, it's just a question of George, Mother, he planned on...
George: (gets up politely, nicely, for Kate's sake) Now wait a minute, Chris...
Chris: (smiling and full of command, cutting him off) If you want to go, I'll drive you to the station now, but if you're staying, no arguments while you're here.
Mother: (at last confessing the tension) Why should he argue? (she goes to him. With desperation and compassion, stroking his hair) Georgie and us have no argument. How could we have an argument, Georgie? We all got hit by the same lightning, how can you...? Did you see what happened to Larry's tree, Georgie? (She has taken his arm, and unwillingly he moves across the stage with her.) Imagine? While I was dreaming of him in the middle of the night, the wind came along and...
Lydia enters on porch. As soon as she sees him:
Lydia: Hey, Georgie! Georgie! Georgie! Georgie! Georgie! (She comes down to him eagerly. She has a flowered hat in her hand, which Kate takes from her as she goes to George)
George: (As they shake hands eagerly, warmly)

The question:  How does Miller use dramatic devices and language to convey the character of mother in this extract?

150506_001  The Give back
 all my sons  The CIE marking criteria

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Mockingbird Monologues

My colleague Sarah Capponi has made an excellent resource for revision and teaching To Kill a Mockingbird. As half term approaches, I have used it to revise Part 1.
The students write a dramatic monologue to explore their character and to shed light on the issues that affect them in Maycombe.

I attach the worksheet and some of the responses from my Year 10 class. Please feel free to listen and send comment on the performances – possibly not too detailed a critique of the Alabama accent – which I can pass on to the student performers. I will add more sound files as the students complete the task!

This has been a very entertaining couple of lessons as well as one that has shown my students at their best – working independently to produce something really worthwhile. Happy listening.

Sound file 1: 150210_001

Text 1 tom Heck Tate

Teaching worksheet TKAM Monologue

sound file 2: 150211_003

sound file 3: 150211_008

Sound file 4:

Sound file 5 Boo articulated:

Text 3,2,4: monologues, written version 2,3,4

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All My Sons: Revision Resource

I found a resource online which addressed All My Sons.  I have long lost the original and will be very happy to give credit where due, if the original writer contacts me.

I have added comments about Tragedy and the American Dream, links to Miller discussing his work and further detailed comment about contexts and symbolism.

I hope it is of use.

all-my-sons-revision

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