TEACHERS’ GUIDE TO SCHOOL 2018/19 TRAINING SPECIAL Online resources Equipment Linked to the syllabus short courses For students and teachers Technical apprenticeships For your school-leavers 622667 ISBN 9781910622667 781910 9>

TGST1819_001_Cover [APPROVED].indd 1 01/03/2018 10:46:42 Sound for Drama & Dance

Brilliant for speech reinforcement, live music, music & sound effects playback… Affordable, compact & portable, this PA system is cased for protection and quick to set up. Comprising a professional 12 channel mixer complete with 2 powered 300W speakers, the unit offers 4 radio microphones, CD player and Bluetooth connectivity. Via free Sonar LE software, users are also able to record to or playback from their PC making it ideal for use in school halls, drama and dance studios. Larger and smaller systems are also available.

Contact us to discuss your technical needs sales@-electrics.co.uk Price £3,599 inc VAT stage-electrics.co.uk Correct at time of going to press & until 1 April 2018 03330 142 101

TGST1819.indd 2 06/03/2018 09:37:35 Contents ONGKAN SIM CANETTY-CLARKE

6 10 14

Introduction Features 5 Editorial 6 Lit up Sarah Lambie welcomes readers to Phil Cleaves on making the most the latest edition of the Teachers’ of your sound and Guide to School Theatre equipment 10 The kids are alright A look at the UK’s theatre apprenticeship landscape 14 Shedding some light Mark Glover reviews Stage Electrics’ free online resources

Editor Advertising Printed by Sarah Lambie Tel: 020 7333 1733 HALSTAN UK, Editorial Assistant 2-10 Plantation Road, Rebecca Pizzey Production Amersham, Buckinghamshire, Tel: 020 7333 1759 HP6 6HJ Designer Daniela Di Padova Editorial Produced by Rhinegold Publishing Ltd, Tel: 020 7333 1748 Production Controller Rhinegold House, Gordon Wallis Email: teaching.drama@ 20 Rugby Street, Advertising Executive rhinegold.co.uk WC1N 3QZ George Slater-Walker Website: www.teaching- Head of Design & Production drama.co.uk Beck Ward Murphy Telephone calls may be Marketing Manager monitored for training Alfred Jahn purposes Director of Finance & Operations Teaching Drama Subscriptions Tony Soave Tel: 01293 312236 Publisher Email: teachingdrama@ Derek Smith subscriptionhelpline.co.uk

www.teaching-drama.co.uk Teachers’ Guide to School Theatre 2018/19 3

TGST1819_003_R_Contents [APPROVED].indd 3 06/03/2018 14:56:26 NEW! RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017-18 The ESSENTIAL guide to music and drama education

AVAILABLE IN PRINT & DIGITAL INDePeNDeNt SecONDary, PreParatOry aND JuNIOr SchOOLS UK Conservatoires

HIGHER EDUCATION CHOICES SO YOU WANT TO GO TO DRAMA SCHOOL? Independent Secondary, Preparatory and UK Conservatoires FORMATS © PUMPKIN INTERACTIVE Junior Schools Birmingham Conservatoire programme, at least two thirds of academy provides ‘pre-professional, Buchanan, Dir of Professional Independent Schools Part of Birmingham City University, the credit of each year is focused on u/g and p/g music training of the Studies; Michelle Phillips, Head of Higher education Paradise Place, Birmingham, B3 3HG principal study. highest standards; to engage in Undergraduate Programmes; Fabrice LONDON e [email protected] fees: £2,493 (reception); £2,765 (jr); Awards: Music scholarship t 0121 331 5901 f 0121 331 5906 concert, operatic and research Fitch, Head of the Graduate School. w www.ashbournecollege.co.uk £3,456 (sr). Age range: 3–18. awarded at 11. 16 music e [email protected] Leeds College of Music activities related to the educ of the Courses: BMus Hons perf/comp Alleyn’s School Contact Ms Shaheena Teeluck, head scholarships may be awarded plus w www.conservatoire.bcu.ac.uk Leeds College of Music, 3 Quarry institution; to create and perform (4); BMus Hons Popular Music Townley Road, Dulwich, London of admissions Blackheath High School awards which pay for inst tuition Contact David Saint, acting Hill, Leeds, LS2 7PD new music; and to preserve and (4); GRNCM/MusB Hons – ‘Joint SE22 8SU Awards: Music scholarships GDST in the 6th Form. Music Scholars choices principal; Joy Krishna, mktg t 0113 222 3416 f 0113 243 8798 enrich national and international Course’ (4); MMus/MPerf (1 or 2); t 020 8557 1500 f 020 8557 1462 available Music activities: Vanbrugh Park SE3 7AG must pass the entrance exam and For talented music students wishing for a career in music, there is no clear-cut path to take in regards to & communications mgr; Janet e [email protected] music’. Music Facilities: 110 teaching Advanced PGDip (1); PhD perf/ e [email protected] Ashbourne’s annual Revue – a t 020 8853 2929 f 020 8853 3663 audition. Candidates audition Halfyard, dir of undergrad studies; w www.lcm.ac.uk & practice rooms, The Sir Jack Lyons comp/musicology/mus psych higher education, and each route has its own benefits. Assuming thatw www.alleyns.org.uk; a university-level twitter.com/ course is inperformance order, at Christmas of Drama, e [email protected] on two insts with min standard Shirley Thompson, dir of postgrad Contact Philip Meaden, principal; Theatre, Concert room, recital room, (3). Course Details: The principle alleynsmusic Music and Fashion involving most w www.blackheathhighschool. of Grade 4/5 at 11 (Grade 6 at there are three main options: attending a conservatoire, doing a music degree or doing a degree in another studies. Lis Parry, head of classical music & electronic studios, creative tech lab, aims of the undergraduate and Contact G Savage, Headmaster; Ashbourne students. Ashbourne gdst.net 16 ) on main inst. Outstanding Courses: BMus Hons(4); BMus jazz jazz; Charlotte Orba, head of popular library. postgraduate taught programmes subject (arts-related or otherwise) C Dearmer, DoM; L Mawer, Choir, regular trips to the concerts, Contact Lisa Laws, head. candidates on one inst considered. (4 Hons, 5 with PGCE); GradDip jazz mus & mus production. are to develop performance or comp Admissions operas and of London. Awards: Scholarships for music Music facilities: 9 practice rooms (1); PgCert music (1 p/t); MMus/ Courses: BA Hons music – jazz/ to the standards appropriate to the Alleyn’s is a co-educational Music facilities: Large music are awarded at 11; bursaries are 2 teaching rooms, octagonal recital PgDip music (1 f/t, 2 p/t); AdvPgDip classical/popular music/music Royal College of Music, Prince demands of the music profession, Schools independent day school in South available to top up the value. classroom and practice area with room, school hall with Grotrian production/combined (3); also Consort Road, London SW7 2BS Studying at a conservatoire is increasing all the time. Not to mentionLondon withmusicians over 1000 who pupils have agedsimilar goals. And No of pupils: 650. Termly fees: music (professional perf). Course and to develop the portfolio of skills pno, kb and state of the art computer Steinweg grand pno, 2 iMac Music BA Hons music (accelerated) (2). t 020 7591 4300 f 020 7589 7740 If your child intends to pursue a career as the scope for improving technically 11–18. Musicwhen Scholarships they do graduate, and they are likely £3,005–4,693. Age range: 0–11 Details: The Conservatoire offers necessary to sustain a career in the software, inc recording facilities. No Tech Suites. No of pupils: 900 Foundation certificate in music. PG e [email protected] a performing musician, there is no doubt and musically in an intensely creative Bursariesto are have available the best upon possible entry access to the (co-ed); 11–18 (girls). u/g and p/g courses to about 500 profession. of pupils: On average 200. Termly day. Termly fees: Jr £4,285 and Sr Dip, MA, MMus – performance/ w www.rcm.ac.uk that attending one of the UK’s dedicated environment. Previously non-traditionalinto Y7, Y9network and Y12. of Exhibitionsperformers and performing students. Music Facilities: A member fees: £6900. Age range: 16–19. £5,314. Age range: 4–18. School & Higher Education Further Bromley High School of the Association of European comp. Music Facilities: 350-seat Contact Colin Lawson, dir; Kevin Royal Welsh College of conservatoires is a great first step. Here, genres such as jazz and indigenous musicare also available,organisations offering they free will need toSchool develop type: Co-ed type: Girls instrumental tuition. Typical Award GDST Music Conservatoires. Each student purpose-built concert venue Porter, deputy dir. Music & Drama a relatively small number of students from around the world are now well their career. for student and professional Courses: BMus Hons (4); BSc(Hons) Castle Grounds, Cathays Park, candidates would present two Bishop Challoner School Bromley High School, Blackbrook Buckingham College is supervised by a personal tutor. receive specialised, high-quality training embedded in conservatoire syllabuses. On the other hand, this may be a less performances; extensive library in Physics and Music (4). PG: Cardiff, CF10 3ER instruments; at entry into Y7/Y9, 228 Bromley Rd, Shortlands, Lane, Bromley BR1 2TW School Purpose built building. Facilities inc from people who are often well known in The type of education offered by suitable path for those who have not fully inc jazz archive; recording studios Masters programmes in Perf and t 029 2034 2854; 029 2039 1361; Learning your audition pieces inside out means you can perform in front of the panel with confidence the principal instrument would be Bromley BR2 0BS t 020 8781 7000; 020 8781 7061 Hindes Road, Harrow HA1 1SH the Adrian Boult Hall, Recital Hall, a offering high quality analogue and Comp (1–2); Artist Diplomas in Perf; 029 2039 1422 the industry. Your child’s fellow students conservatoires provides huge advantagesof grade decided5–6 standard, on what and they for Y12 want to dot 020 within 8460 the 3546 f 020 8466 8885 (mus school) f 020 8781 7002 t 020 8427 1220 f 020 8863 0816 specialist library, 50 practice rooms, digital recording consoles, digital Opera; Comp (1–2) and Chamber e [email protected]; admissions@ are likely to be equally talented or more to students with the right temperament:grade 7–8.music Visit industry, the school or website those who doe [email protected] have e [email protected]; bhs@bro. e [email protected]; 4 recording studios and a lecture edit suites; digital audio workstation Music (1); MSc in Performance rwcmd.ac.uk talented than them, which may push them those with ambition, a strong work ethic,for furtherthe infomation potential onto bemusical exceptional wperformers. www.bishopchallonerschool.com/ gdst.net [email protected] theatre. A variety of scholarships are rooms with Logic, ProTools, Reason Science (1); PhD (3–4). Masters The Royal Welsh College of Music & harder, but also leave them in no doubt of some idea of what they want from theiropportunities. Contact Karen Barry, head. w www.bromleyhigh.gdst.net w www.buckcoll.org available for ugs and pgs. and Ableton Live, plus several Mac programme applicants may Drama, the National Conservatoire the work ahead. career and, not forgetting, exceptional raw Awards: Music scholarships are Contact Angela Drew, Contact Simon Larter, head. Bristol Pre-Conservatoire labs; learning resource centre; large graduate with PGDip, MComp, of Wales, and part of the University Ashbourne Independent based on a pupil reaching at least Headmistress; Mrs A M Drew, Termly fees: £3,315–3,845. Three UK conservatoires have drama talent. Students may have the opportunity Studying music at university e bristolpreconservatoire@gmail. collection of musical insts. MPerf or MMus; depending on theSo of South Walesyou Group, competes want to go to Sixth Form College BA, MBA; Mrs C Dickerson, BA departments and one, Trinity Laban, is a to meet and befriend generation- For those students with high gradesgrade 3 who and passing an audition 17 Old Court Place, Kensington, (Anglia), Head of jr school; Ms C Channing School com options taken. Course Details: The alongside an international peer group held by the Head of Music; most London College of Music conservatoire of music and dance, so the defining performers at an early stage Londonof W8might 4PL be considering a career in music Daniel, MA (London), dir of mus, The Bank, Highgate, London w www.bristol-preconservatoire.com college provides educ and training of conservatoires and specialist are worth up to 25% of fees. Termly University of West London, St Mary’s scope for attending arts events, networking their career, gain top-level performing t 020 7937history 3858 orf 020 research, 7937 2207 a BA from a university sr school. N6 5HF An evening school for young to advanced levels for those who arts colleges for the best students and creating cross-genre collaborations experience, and form alliances with other rather than the more specialised BMus classical and jazz musicians, offering Road, Ealing, London W5 5R aspire to be performers, whether globally, enabling students to enter small ensemble training, creative t 020 8231 2220 instrumentalists, singers, orch dramaand influence the world of music, school? workshops, visiting artists and e [email protected] players, conductors or comps. AtDiscover PG theatre some and words related ofprofessions. wisdom Our from the people involved in the application process, both auditionees and

w www.uwl.ac.uk/academic-schools/ Trinity Laban’s music faculty is housed at the Old Royal Naval College in Greenwich sessions on developing general level, practical work is enhancedauditioneers, by ambition who is to canmake offer an ever you more great tips for success and advice on how to avoid some of the common pitfalls … BROMLEY HIGH SCHOOL musicianship. music. scholarly study up to doctoral level. central contribution to the cultural ‘EXCEPTIONAL’ (ISI 2016) Currently offering training in the Contact Sara Raybould, Director life of Cardiff, to Wales, and through following strands: strings and piano, of LCM; David Henson, Head of Royal Conservatoire of our graduates, to the international woodwind, vocal and jazz. Subject – Performance, Composition Scotland So, you’rearts taking industry. the plunge: you’ve very different, and what is the difference training – but what kind of candidate are & Performing Arts. 100 Renfrew Street, Glasgow, G2decided you’d like to train at drama school. is the culture of the organisation. And drama schools in search of? The Liverpool Conservatoire for Drama London College of Music (LCM), part 3DB It’s a hugelyRoyal competitive Welsh College sector to of enter ultimately the only way you can find out Institute of Performing Art’s (LIPA) senior and Dance of the University of West London, t 0141 332 4101 f 0141 332 8901– even theMusic education & Drama and training side of about that institution is to go to the place,’ lecturer in acting Stephen Buckwald says: Tavistock House, Tavistock Square, is the largest specialist music and e [email protected]; Castle Grounds, Cathays Park, things – but there’s no need to worry if says Giles Auckland-Lewis, principal of the ‘We’re not looking for finished products. London WC1H 9JJ performing arts institution in [email protected] Cardiff, CF10 3ER t 020 7387 5101 the UK. The University includes w www.rcs.ac.uk/ you’re nott 029 a fully 2039 fledged 1361 stage star as of Institute of the Arts Barcelona (IAB). If you were a finished product, you have e [email protected]; denis. undergraduate & postgraduate At the Royal Conservatoire of yet: ‘Thee [email protected] process is not based on Paige Round, BA (Hons) acting (musical no need for drama school – go out there [email protected] courses in classical, pop and jazz Scotland we offer a very wide variety“tingle factor”,’w www.rwcmd.ac.uk assures Geoffrey Colman, theatre) graduate from Central, says: ‘As and do it in the industry. We’re looking for w www.cdd.ac.uk/ performance, composition, music of vocational degree programmes.head of actingContact at Admissionsthe Royal Central Department. School an , when you go to one place you get diamonds in the rough: people who have technology, musical theatre, theatre Everything you need to find out of SpeechCourses: and Drama. Acting, ‘One Stage of Mgt, the Designprimary that feeling – wherever you are, whichever the potential of being great , but with Guildhall School of Music & production, music management and about the programmes is right here.things we’refor Performance; looking for atBA drama Hons; 3school years. is drama school you’re at – that you’re kind a bit of training we’ll be able to fine-tune Drama acting for students, all delivered Remember you can contact us tosomeone Acting, who we Musical can train.’ Theatre, Stage and of supposed to be there.’ And with varying them in a way that they’re going to be able Silk Street, Barbican, London EC2Y Trinity Laban’s music faculty is housed at by expert practitioners of national clarify any information or ask any Event Mgt, Design for Performance; cultures and outlooks, an acting course to be prepared to go into the industry.’ 8DT and international renown. Music questions. MA, 2 yrs. Music (perf or comp); the Old Royal Naval College in Greenwich delivered by one institution will be a very Drama schools are in search of students t 020 7628 2571 f 020 7256 9438 Facilities: Teaching & video suites, To study here, we need you to be BMus Hons, BMus Hons Jazz; 4 e [email protected] halls, digital recording facilities, exceptionally talented, dedicated,Finding yrs; the PGDip, school 1 yr or 2and yrs; MA;course 1 different experience from studying acting with great potential, but they also want w www.gsmd.ac.uk 30 rehearsal & practice rooms, TV hungry – and ready. Many applicantsfor youyr or 2 yrs; MMus, 1 yr or 2 yrs; at another, so it’s important to look at people with the right attitude who will Contact Jennifer Kay, asst registrar studio, labs, 2 radio stations & 18 are unsuccessful on the first or evenIt may beMPhil/PhD, the case that 3 yrs. you’re Arts Mgt,entirely MA; the composition and make up of a course. appreciate the experience. Nick Moseley, (admissions & enrolment). computer labs. second occasion, but they work sodecided upon1 yr or what 2 yrs. area Facilities: of drama World- training ‘When I was choosing a drama school to course leader for acting at Central, says: Courses: BMus (4) (validated by City hard in the meantime that they grow,you’re mostclass interested facilities inc in: 450-seat your heart recital apply for, I was researching really heavily ‘We need to firstly know that that person University). MPerf/MMus/PGDip develop and eventually succeed.might behall, set 160-seaton pursuing theatre, musical acting theatre, and into the course structure and what they is going to work hard; that they really in music perf (specialisms in strs, Marylebone Rd, London, NW1 5HT or followingmovement your dream studios, of and becoming exhibition a set taught there,’ says Frankie Payne, a former want the training and they haven’t just ww, br, perc – advanced inst studs t 020 7873 7373 f 020 7873 7374 Royal Northern College of gallery. Performance Opp: Annual designer – but when applying for a course, foundation student from IAB. ‘I also find come along to pick up a few additional OPEN MORNING or orch studs; kb – advanced inst e [email protected] Music performance calendar encompassing Saturday October 7th 2017 studs or pno accomp; vocal studs, w www.ram.ac.uk 124 Oxford Rd, Manchester, M13you’re alsoover making 300 public an important perf inc orch decision it really appealing to look at the alumni vocal skills in order to support what 9.30 am - 1.00 pm opera studs, hist perf, chmbr music Contact Philip White, registrar & 9RD about theconcerts, kind of recitals, institution dramas, you’ll operas, be from that school, to see if there’s actors/ they can already do. The second thing we Co-educational excellence for boys and girls aged 11-18. studs, jazz studs. MComp/MMus/ head of international affairs; Edward t 0161 907 5200 f 0161 273 7611studying at. ‘Drama schools, on the surface actresses that I aspire to be like, or who need to know is that they are generous APPLY ONLINE musical theatre. PGDip in comp; MLead/MMus/ Kemp-Luck, admissions offr & e [email protected]; kaman. Dedicated Hooper , regular performance [email protected] when you look at what is written about are in work that I’m interested in doing.’ and very good at working in a team PGDip in leadership; MA music international co-ord. [email protected] The Conservatoire opportunities and an extensive range of ensembles and choirs. www.bromleyhigh.gdst.net them, all appear to broadly cover the same You may have a very strong idea of collaboratively, that they’re supportive of therapy; DMus/PhD (all validated Courses: BMus (4). MMus in w www.rncm.ac.uk The Conservatoire, 19–21 Lee Road, Financial assistance is available. Visit our website for details. sort of material – but they are all actually what you’re looking for from drama their other actors.’  Girls 4”18 Years by City University). Course Details: performance (2); MMus in comp Contact Linda Merrick, Principal; London SE3 9RQ Principal study and performance lie (2); MA in performance (usually Martin Harlow, Vice-Principal t 020 8852 0234 Music Scholarships available in the Senior School 10 RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017–18 Alleyns.org.uk l @alleynsmusic RHINEGOLDPB BRITISHRHINEGOLD MUSIC BRITISH & DRAMA MUSIC EDUCATION & DRAMA YEARBOOK EDUCATION 2017–18 YEARBOOKat the 11core 2017–18 of the learning experience 2); PGDip (musical theatre); MPhil (Academic); Paul Goodey, Vice- e [email protected] RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017–18 13 020 8557 1500 l Dulwich, London SE22 8SU Blackbrook Lane, Bickley, Bromley Kent BR1 2TW at the Guildhall School. In the UG (2); PhD (3). Course Details: The Principal (Performance); Kate The Conservatoire is Blackheath’s

30 RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017–18 120 RHINEGOLD BRITISH MUSIC RHINEGOLD& DRAMA EDUCATION BRITISH MUSIC YEARBOOK & DRAMA 2017–18 EDUCATION YEARBOOK 2017–18 RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017–18

Written for students and teachers alike, our new directory contains thousands of carefully detailed listings for: Schools | Youth arts | Further & higher education | Resources & courses for teachers | Arts venues | Suppliers & services | Performers in education

DIGITAL EDITION – £19.95 | PRINT EDITION – FROM £34.95

Order now at www.rhinegold.co.uk/bmdey

TGST1819.indd 4 06/03/2018 09:37:36 Editorial Welcome to the Teachers’ Guide to School Theatre 2018/19! In this edition we focus on learning: the learning that you can do, and that which is externally available for your students. Time and again I am told by drama teachers that they lack both the experience and the resources to teach the technical aspects of theatre to their students with the same confidence and knowledge that they can offer on acting and directing. And outside of curriculum drama there are other applications for the technical skills as well, in the practicalities of mounting the school production, for example. As a break from this supplement’s usual norm of features on equipping your school and its studio/theatre space, we look instead at equipping you. Phil Cleaves explores the technical courses that are offered by various institutions and equipment hire companies – opportunities to hear from the horse’s mouth how to get the best out of the lighting and sound apparatus they stock. These courses have potential benefits for both you and your keenest technical students. Meanwhile, Mark Glover offers a review of some online resources designed to help with the curriculum requirements on technical aspects of drama – resources aimed at students but which make for a clear and basic starting point for any drama teacher too. And Mark also looks at apprenticeships – technical theatre is one of those careers in which there is no substitute for hands-on practical experience in the early stages. While a degree may stand your students in good stead for a host of other job prospects, this is the sort of thing where learning on the job is a brilliant opportunity. Some of the most respected theatres in London offer technical apprenticeships and Mark talks both to the people who run them, and a young lady who’s completed one herself. I hope that this education special offers some useful ideas for you and your students.

Sarah Lambie Editor

www.teaching-drama.co.uk Teachers’ Guide to School Theatre 2018/19 5

TGST1819_005_R_Editorial [APPROVED].indd 5 01/03/2018 10:47:48 LIT UP Phil Cleaves shares his tips for making the most out of your sound and lighting equipment

6 Teachers’ Guide to School Theatre 2018/19 www.teaching-drama.co.uk www.teaching-drama.co.uk

TGST1819_006-008_F_Teaching Courses [APPROVED].indd 6 06/03/2018 15:48:06 anaging the technical elements of drama and theatre teaching can pose Ma real challenge. In departments with shrinking budgets, teachers are expected to fulfil the job of a technician alongside all their other duties. Furthermore, the responsibility for exam work falls to teachers as Ofqual no longer demands that lighting or sound candidates control the equipment for a performance; they are more designers than technicians. The added demands on teachers are compounded further as schools invest what little money they have in the technical equipment but cannot often stretch to an expert technician. So how can teachers get the best out of the equipment they have and in turn get the best out of their students? This guide will provide a few strategies and training options to get your skills and knowledge up to speed. As with any powerful electrical equipment, the health and safety of any users should be absolutely paramount in your thinking, especially if students and young people are helping to operate equipment.

Local solutions First, it is important to consider the resources you have: what lighting desk or sound desk does your school use? Begin by seeing if there are any helpful tutorials on video sharing sites online. These will only offer the most basic advice but could be essential for you making a start. Second, you must gauge the expertise of students, parents and other non-drama staff, you may find that there is someone close by who can help you get started – or even better, fulfil all your technical needs. Some schools are lucky enough to have students who have undertaken training outside of school and harnessing their skills is a must. You may even want to consider offering these students paid gap-year positions or apprenticeships on leaving school; it is a very realistic option that will develop a long-term culture of technical expertise in your school. Finally, if all other local options have not satisfied your need for technical support, then consider a trip to your local theatre to see if their technical team would be interested in training you and your team up. The next option is to seek out more bespoke training and continued professional development opportunities from the growing number of specialist training providers. www.teaching-drama.co.uk www.teaching-drama.co.uk Teachers’ Guide to School Theatre 2018/19 7

TGST1819_006-008_F_Teaching Courses [APPROVED].indd 7 20/02/2018 16:35:43 industry-leading training and support. It runs a series of training workshops throughout the year that are designed to provide hands-on experience of lighting, stage, sound, AV and pyrotechnic equipment. As well as these more tailored training opportunities, Black Light also runs regular health and safety workshops which provide accredited training on issues such as working at height. These courses mainly take place in Edinburgh and offer an in-depth look at the very latest in events technology. Again this may suit teachers working in schools that have recently or are considering big investment in performing arts venue technology. If you are lucky enough to be in a school that is investing in this way then these courses provide ample opportunity to get hands-on experience of the technology and a low ratio of instructors to participants shows that sessions are tailored to individual needs.

ETC professional development It is important to consider the resources The final course provider to look at is ETC, available to you and your school which is a global leader when it comes to the manufacturing of lighting and rigging Backstage Academy technology. Alongside the development of One option is Backstage Academy, which professional standard tools, ETC aims to provides short courses, masterclasses and make them accessible to all and has recently bespoke training to fit your needs, on top of introduced training opportunities. being degree-level training within the live Once again ETC is a company to explore if events industry. your school is looking to invest in top-quality Founded in July 2009, Backstage Academy equipment to fit out a studio or theatre space, as is uniquely positioned right at the heart of any equipment will come with ongoing support Production Park, Europe’s leading Live Industry and training opportunities. Its most recent destination. It aims to bridge the gap between training conference took place in the USA – but industry and education, and puts time there could be future training opportunities in into assessing skill shortages so that it can Europe. It also provides streamed versions of write training programmes in line with training sessions covering both software and specific demands. hardware technologies on its website. This sort of bespoke in-house training is To get the most out of whatever technical particularly suited to schools with more purpose equipment you have in your school you need built venues as the cost may be prohibitive for to seek out expert advice. Start with video people with more basic equipment. The short sharing sites for the most basic advice, then courses offered range from first aid for events check more local expertise available to you. If to pyrotechnics, but the people behind it want neither of these options suit your needs then clients to get in touch so that these courses can looking to more bespoke training could be the be tailored to their needs. most cost-effective way to make the most of the technology that you have.

Black Light Useful links Another training solution is by Black Light, www.backstage-academy.co.uk which provides specialist light, stage, sound www.black-light.com and AV services to local authorities, theatres www.etcconnect.com and venues. Based in Edinburgh it offers

8 Teachers’ Guide to School Theatre 2018/19 www.teaching-drama.co.uk

TGST1819_006-008_F_Teaching Courses [APPROVED].indd 8 01/03/2018 10:49:42 Staging, , Audio, Projection & Curtains

Stage Lighting Projection Audio

:: New installations :: Big screen projection :: Portable systems :: Upgrades :: Backdrop projection :: Fully installed systems :: Service & repairs :: Rear projection :: Upgrades, service & repairs

FREE product demonstrations

FREE site surveys

FREE 3 year warranty on LED stage lights

FREE impartial advice

Staging Inspection & Testing We also HIRE a wide range of staging, :: Modular staging systems :: Mechanical & electrical testing stage lighting & audio :: Fixed stage systems :: High level PAT testing equipment :: Bespoke shapes & sizes :: Service & repairs

Please contact us for further details: Telphone: 01952 250166 Active Stage & Lighting, Email: [email protected] 5 High Street, Wellington, Web: www.active4staging.co.uk Telford, TF1 1JW

TGST1819.indd 9 06/03/2018 09:37:36 THE KIDS ARE ALRIGHT The UK’s theatre apprenticeship scheme stretches from London to Stoke and from Manchester to Torquay. Vocations exist in sound and lighting, accounting, marketing and more. Mark Glover sets out the apprenticeship landscape in 2018 and discovers that despite a recent government levy, opportunities for young people have never been better

he whole year was fantastic, I was technician at the New Victoria Theatre in really thrown in at the deep end Woking and is utterly thriving. ‘Tand because it was the West End, Cate Gordon, ATG’s HR business partner and you’d see the actors and be like, “Gosh, apprentice manager, recalls Jennie’s placement there’s Judi Dench”.’ The best way to measure at the London theatre: ‘She was such an ROH technical apprentice Alex Dillon-McQueen the success of an apprentice scheme is to enthusiastic member of the team, she really speak to an apprentice. In 2016, aged 18, got stuck in and she took absolutely every Jennie Trevarthen successfully applied for opportunity that was available to her not just Sharing is caring a place on the Ambassador Theatre Group’s with ATG but she really used it to build her ATG, along with the Royal Opera House, (ATG) technical apprenticeship programme. network with other theatres,’ she says. ‘We Shakespeare’s Globe, Sadler’s Wells, the Having completed the one-year placement were really proud of her when she got the job Roundhouse, the Southbank Centre, technical at the Duke of York’s Theatre she is now a in our Woking theatre.’ solutions rm White Light, the Royal Shakespeare Company and the National Theatre Royal Opera House apprentice Romy Loughman (NT), completes an informal working group of apprenticeship managers in the capital. Set up in 2013 by Kath Geraghty, the NT’s apprenticeships and assessments manager, the group shares best practice, collaborates and generally looks out for others. ‘When I rst started, the Royal Opera House was very supportive, and then I started speaking to others and it came to light that we were all facing the same challenges,’ Geraghty explains. ‘It seemed strange that we would try and re-invent the wheel every time.’ In each of these companies, theatre apprenticeships now straddle an array of vocations: health and safety, IT analysis, marketing, communications – even concrete conservation. However, to adhere to many theatres’ safeguarding procedures, applicants for technical theatre apprenticeships must be over 18 – though ATG’s Cate Gordon is keen to stress that this shouldn’t stop young people perhaps opting for an appropriate skill – such as an electrical course apprenticeship at 16 – that can then be applied to the theatre

SIM CANETTY-CLARKE technical apprenticeship a couple of years later.

10 Teachers’ Guide to School Theatre 2018/19 www.teaching-drama.co.uk www.teaching-drama.co.uk

TGST1819_010-012_F_Technical Apprenticeships [APPROVED].indd 10 20/02/2018 16:37:13 SIM CANETTY-CLARKE

technician at the New Victoria Theatre in Woking and is utterly thriving. Cate Gordon, ATG’s HR business partner and apprentice manager, recalls Jennie’s placement at the London theatre: ‘She was such an ROH technical apprentice Alex Dillon-McQueen enthusiastic member of the team, she really got stuck in and she took absolutely every opportunity that was available to her not just Sharing is caring Siloed structures with ATG but she really used it to build her ATG, along with the Royal Opera House, The NT itself has 13 apprentices on its books: network with other theatres,’ she says. ‘We Shakespeare’s Globe, Sadler’s Wells, the 11 at junior entry-level stage and the other two were really proud of her when she got the job Roundhouse, the Southbank Centre, technical at more advanced levels; one in accountancy, in our Woking theatre.’ solutions firm White Light, the Royal the other in chartered estate management Shakespeare Company and the National Theatre which the theatre recruited for. ‘We’re a levy (NT), completes an informal working group of payer, so now we’re trying to find more ways apprenticeship managers in the capital. of spending our money,’ says Geraghty. Set up in 2013 by Kath Geraghty, the NT’s In April 2017, the government enforced apprenticeships and assessments manager, a levy on companies with a wage bill the group shares best practice, collaborates in excess of £3 million in order to fund and generally looks out for others. ‘When apprenticeships, a change that’s been felt I first started, the Royal Opera House was across theatres: ‘We used to recruit four very supportive, and then I started speaking [apprentices] but some of the changes to others and it came to light that we were brought about by the levy mean our all facing the same challenges,’ Geraghty apprentices will be with us for two years explains. ‘It seemed strange that we would try rather than one, so we are only going to be and re-invent the wheel every time.’ recruiting three people every two years onto In each of these companies, theatre this scheme using our levy money differently apprenticeships now straddle an array of in the “off” years,’ Gordon explains. vocations: health and safety, IT analysis, Geraghty meanwhile fears that the siloed marketing, communications – even concrete structure of the NT’s varied departments conservation. However, to adhere to many means that using the funds to upskill the theatres’ safeguarding procedures, applicants workforce will be difficult. Levy rules dictate for technical theatre apprenticeships must be that any unspent money will be lost. ‘We over 18 – though ATG’s Cate Gordon is keen to often describe our departments as a cottage stress that this shouldn’t stop young people industry; carpentry, metal work. Even the perhaps opting for an appropriate skill – such costume department has five different trades as an electrical course apprenticeship at but we can’t just put seven apprentices into 16 – that can then be applied to the theatre the costume department as there’s no room technical apprenticeship a couple of years later. and no one to manage them, therefore we www.teaching-drama.co.uk www.teaching-drama.co.uk Teachers’ Guide to School Theatre 2018/19 11

TGST1819_010-012_F_Technical Apprenticeships [APPROVED].indd 11 20/02/2018 16:37:30 PHIL ROWLEY

Former ATG apprentice Marianne Nightingale

can’t upscale,’ she says. ‘I suspect in a year’s One solution to increase the diversity and time, when we are getting close to two years geographical range of apprenticeships is to from April 2017, I think we won’t have spent spread the opportunities beyond the capital. it – it’s really hard.’ ATG’s programmes have always stretched As well as the introduction of the levy, across the UK and this year’s intake will be April 2017 also ushered in another change working – not only in the West End, but in to the apprenticeship framework. Keen to do theatres based in Manchester, Bristol, Stoke away with the original pathways and to place and Torquay. ‘It gives people that broader emphasis of standard development at the feet network, that broader experience of working of employers, the government created the on a wider range of different shows with Institute for Apprenticeships (IfA), a body set different touring teams,’ explains Gordon. up to review, develop and produce standards An individual who has already benefitted and assessments. from this outreach is Jennie and when I spoke Seven months on, the IfA created 15 to her for this feature her enthusiasm fizzed industry route panels that filter input from through the phone lines. Perhaps then, it’s sector employee groups (Trailblazers) who only right to finish with another quote from suggest and produce standards before it her, something that affirms the importance of moves up the political chain to be signed off. apprenticeships: ‘When I started I knew literally Geraghty sits on the ‘Creative and Design’ nothing about theatre. The stuff I’d done at panel and she is pleased with effect it has school was minimal. Everything I know today I had on the process: ‘It’s not just employers learnt through my apprenticeship.’ talking to bureaucracy, it’s employers talking to people who are also employers. Everyone Useful links is there to get the job done and is willing to www.gov.uk/topic/further-education-skills/ listen to the opinions of everybody else and to apprenticeships try and put forward what we think is the best www.instituteforapprenticeships.org possible solution.’

12 Teachers’ Guide to School Theatre 2018/19 www.teaching-drama.co.uk

TGST1819_010-012_F_Technical Apprenticeships [APPROVED].indd 12 20/02/2018 16:37:52 Performance Facilities for Education, Leisure, Theatre and Television Tracks - Curtains - Lighting - Sound - Projection - Seating - Staging - Rigging

ASG specialise in the design, supply, installation and maintenance of a variety of Performing Arts Facilities & Audio-visual equipment.

Visit us at www.asgstage.co.uk. Follow us on Twitter @ASG_Stage. Or call us on 01942 718347

ASG STAGE PRODUCTS LIMITED, Redgate Road, South Lancs Industrial Estate Ashton-in-Makerfield, Lancashire, WN4 8DT, UK

Tel: (01942) 718347 Web: www.asgstage.co.uk E-mail: [email protected]

TGST1819.indd 13 06/03/2018 09:37:37 standard, the resources are also useful for SHEDDING SOME LIGHT teachers who need a refresher in the basics of design or simply feel a little lost when it comes to xtures, gobos and cue stacks. For some, the technical and design elements of theatre The site’s layout and navigation are fairly can leave teachers out of their comfort zones. intuitive, with a sidebar listing the three sub-topics: ‘What is DMX’, ‘Stage Lighting Mark Glover reviews Stage Electrics’ education and the Psychology of Colour’ and ‘Theatre Light Explained’. resources, which are free and available online, and can The content on DMX, or digital multiplex (readers will be pleased to know this is the quickly fill the knowledge gap only acronym I came across) sub-heads itself with ‘Stage Lighting 101’, which sets the overall tone for the resources – that this is a rama teachers can be spoilt for choice the Royal Shakespeare Company, Chester basic yet decent dive into the technical side of when seeking out resources and University and the Guildhall School of Music stage production. The page explains the role Dguidance. Bookshops and libraries cater and Drama among others, and have been of a DMX, a standard digital communication for all aspects of drama theory from Aristotle doing so for over 30 years. protocol used to control intelligent lighting to Stanislavski, Brecht to Shakespeare. Yet xtures, which in turn is controlled by a books and resources on stage design – an DMX controller – this is an essential part of essential component of any production – are Firm grounding stage design. less obvious on the same shelves. The Stage Electrics site hosts a range of free Of course, further layers of technical Step forward then Stage Electrics, a Bristol- educational content, giving a rm grounding information exist – after all, this is essentially based rm which supplies lighting and in the practice and fundamentals of stage electrical engineering – but what this sound equipment to a vast array of theatres design. Pitched at students studying drama content does well is focus on the key points and educational establishments including or theatre studies to a BTEC, A level or GCSE without getting bogged down with further, unnecessary information. The workings of a The Stage Electrics’ educational resources homepage DMX are in bitesize pieces, perfectly palatable and give a good overview as to their use.

Psychological approach The ‘Stage Lighting and the Psychology of Colour’ section is an interesting read; theoretical in its approach, the resource explains the emotional resonance of lighting and colour. ‘Stage lighting isn’t just a simple matter of illumination,’ it says. ‘It’s about using light in a way that enhances what’s on the stage and creates the right mood for each component of the story.’ Here the content gives another simple outline of the different types of stage lighting: front lights, side lighting, high-side lighting, back lighting and down lights, and the different impacts they can make – for example, back lighting can create depth in a performer, giving them a multi-dimensional look on stage. Of course, nding the right type of stage lighting is one thing but applying the appropriate shade once you have is a whole new strand of theory, intriguingly, we are advised that choosing the right colour takes a psychological approach. Colour can evoke

14 Teachers’ Guide to School Theatre 2018/19 www.teaching-drama.co.uk www.teaching-drama.co.uk

TGST1819_014-015_F_Stage Elec Resources [APPROVED].indd 14 20/02/2018 16:38:40 standard, the resources are also useful for teachers who need a refresher in the basics of design or simply feel a little lost when it comes to fixtures, gobos and cue stacks. For some, the technical and design elements of theatre The site’s layout and navigation are fairly can leave teachers out of their comfort zones. intuitive, with a sidebar listing the three sub-topics: ‘What is DMX’, ‘Stage Lighting reviews Stage Electrics’ education and the Psychology of Colour’ and ‘Theatre Light Explained’. resources, which are free and available online, and can The content on DMX, or digital multiplex (readers will be pleased to know this is the quickly fill the knowledge gap only acronym I came across) sub-heads itself with ‘Stage Lighting 101’, which sets the overall tone for the resources – that this is a The resource explains that, much like mixing basic yet decent dive into the technical side of paint, light mixing is about ‘adding and subtracting from visible wavelengths of colour’ stage production. The page explains the role of a DMX, a standard digital communication protocol used to control intelligent lighting certain feelings when we experience them. fixtures, which in turn is controlled by a Red, for example, could symbolise danger, DMX controller – this is an essential part of warmth or love; all three are common stage design. emotions that good performances will at Of course, further layers of technical some point aim to transmit to the audience, information exist – after all, this is essentially so selecting the correct shade to suit a electrical engineering – but what this certain scene can make a huge amount content does well is focus on the key points of difference. without getting bogged down with further, ‘All light is coloured,’ the resource explains. unnecessary information. The workings of a ‘This includes white light which is actually DMX are in bitesize pieces, perfectly palatable a mixture of every wavelength of colour that and give a good overview as to their use. is visible to the human eye. Thus, colour mixing for stage lighting is about adding to or subtracting from visible wavelengths of colour Psychological approach (white light).’ The ‘Stage Lighting and the Psychology It’s much like a painter, who mixes paints of Colour’ section is an interesting read; on the pallet to get a desired shade, but theoretical in its approach, the resource instead of a brush a blends explains the emotional resonance of lighting red, green and blue LED lights to illuminate and colour. ‘Stage lighting isn’t just a simple a surface. matter of illumination,’ it says. ‘It’s about Handily, the guide has a link to a visual using light in a way that enhances what’s on glossary of all the types of lighting and also the stage and creates the right mood for each offers a set of interactive quizzes on sound component of the story.’ and lighting as well as safety; the latter a Here the content gives another simple fundamental and important part of stage craft, outline of the different types of stage so I’m pleased to see it included here. lighting: front lights, side lighting, high-side Stage Electrics ultimately, is a business lighting, back lighting and down lights, and trying to sell technical stage equipment, the different impacts they can make – for so you forgive the subtle hyperlinks that example, back lighting can create depth in a are dropped in the text to nudge you in the performer, giving them a multi-dimensional direction of its products, yet despite this, and look on stage. particularly for its simple yet thorough style, Of course, finding the right type of stage this mini-site is definitely worth bookmarking lighting is one thing but applying the on your browser. Oh, and did I mention that appropriate shade once you have is a whole it’s free? new strand of theory, intriguingly, we are advised that choosing the right colour takes www.stage-electrics.co.uk/education-resource a psychological approach. Colour can evoke www.teaching-drama.co.uk www.teaching-drama.co.uk Teachers’ Guide to School Theatre 2018/19 15

TGST1819_014-015_F_Stage Elec Resources [APPROVED].indd 15 20/02/2018 16:38:54

   Theatre Supplies Ltd

Hire & Sales of Lighting & Sound Drapes & Tracking Stage & Tiered Seating Also Technical Support Please call us on 0116 2783084 Or email [email protected] www.upstagesupplies.co.uk

TGST1819.indd 16 06/03/2018 09:37:37 SUBSCRIBE TO TEACHING DRAMA AND SAVE UP TO 30%!*

Drama in the digital age Drama in the digital age

are devised to help people perform, They can follow the Drama route, in These are a few examples of the present and discuss with confidence which the learner’s ability to perform and possibilities which our exams open up and directness in front of a supportive to hold an audience is the main goal. This to our candidates. They assess four main Critical communication listener. route involves: Acting; Verse Speaking; areas of competence: From an early age, we encourage young and Reading Aloud. Or they can choose 1. Communication – did the message s the screenwriter of the likes of people to get involved and channel their the Communication road, in which the come across clearly? In the age of social media, many young people Breakfast at Tiffany’s and The Seven natural enthusiasm to communicating main focus is on presenting information 2. Interpretation – were there deeper AVAILABLE IN have forgotten the importance and vitality of AYear Itch, George Axelrod said their ideas, as well as learning to manage for educational or occupational reasons. feelings than the surface meaning? when he was interviewed in the 1990s: a two-way conversation in which there is This involves: Spoken English; Oral 3. Knowledge/understanding – what putting down their smartphones and talking ‘My movies go from box-office failures social interaction and an exchange of views Communication; and Personal and research is evident? What do you know? to classics, without passing through during the exam. Candidates begin with Professional Communication. 4. Technique – has the speaker thought face-to-face. Nigel Ramage, chief examiner in success.’ He was posing, of course. Early Learning and then choose one of the Both routes share common ground – to about the ‘nuts and bolts’ of the Drama and Communication at the London College At the London College of Music two main roads to further development. perform, to react and to interact with performance? of Music Examinations, tells us more Examinations (LCME) we are creating the others, using heart as well as head. In Understandably, drama teachers seek conditions for communicative success graded exams, this leads candidates to to do the best for their students, which Issue 76 • Spring term 2 • 2017/18 – no posing – sorry, George! Our exams presentations of factual information and is absolutely right and admirable, PRINT & DIGITAL Communication is essential when teaching and learning in a drama setting to increasingly adroit and sophisticated but this desire can topple over into a www.teaching-drama.co.uk performance. reliance on the technical and ‘brain-only’ performance, because this is under the Embracing technology teacher’s control. The use of various forms of social media We are looking for more than technique is now an accepted part of everyday in performance. We are searching for life for most of us. While the benefits, a genuine transaction in the exam accessibility and effectiveness of between the speaker and the listener, platforms such as Facebook, WhatsApp for an exchange of feeling, not merely a FORMATS and Snapchat are numerous, there is display. For example, many candidates a risk that we are losing some of our will happily talk about ‘speech colour’ – interpersonal and interactive skills as listing pitch, pace, pause, inflection, tone, we increasingly embrace technology. We and power – but are less confident about have, I am sure, all witnessed situations explaining how they use these elements where people may prefer messaging to in modulation, such as in relation to talking, and may not interact with other the text, to bring out the meaning of Stand-out people even when they are in the same the words through which they are On course room as the person they are directing transmitting emotion, hidden feelings their comments to. and irony. performances That is why we add to the performance BA Creative Producing of each exam a discussion element in which the candidate can reveal their Acting: How Have we forgotten thoughts and views, as well as a folder of work in which we can see what they to assess the the basics of have researched in their chosen writer or by Susan Elkin being human in period of interest. subjective

At LCME, we offer qualifications in Kevin Wyatt-Lown our adoration ast 15 Acting School’s new BA know how theatre is produced and a Acting; Choral Speaking; Duologue; of technology? Creative Producing course is desire to create the greatest possible Early Learning; Group Performance; recruiting its first cohort ready to impact for new work,’ Main explains. Oral Communication; Personal and E Also available online … start in September 2018.Vocationally- ‘It is obviously not a performance Professional Communication; Reading centred, the course will be based at the degree; rather it’s a programme which The Skip Have we forgotten the basics of being Aloud; Speech and Drama; Spoken drama school’s Southend campus and is will suit those with a combined interest human in our adoration of technology? English; and Verse Speaking. Self-reflectionheaded by Rosemary Klitch, who took up in entrepreneurship, management, One-off David Porter Just as in the past when we had to get The levels of exam are Early Learning; her new post last term. The intention is facilitation and development.’ KS3/4 our pupils to overcome their fear of Steps and Grades; Four Levels of A tech solution for about 20 places to be offered per year. East 15 predicts that applicants to this The course offers students multiple course are likely to have a broad range of workshop public speaking, perhaps now we need to Performance Diplomas; Three levels of encourage people to look at each other Teaching Diplomas. to transform opportunities for creative and practical interests and skills including directing, and connect without a phone in-hand. Above all, we wish our candidates problem solving while also developing filmmaking, scriptwriting, performance, Props their business and entrepreneurial production arts management, The benefits of speech and drama to experience the pleasures of social Teachers will decide if real objects are needed in the skip apart your teachingskills. It replaces, and has evolved from, arts funding, budget and account are legion, and include learning to love interaction, to become assured from people, or whether it will be more fruitful to ask for mimed an earlier course developed by Chris management, business, and marketing. artifacts to further develop those skills. language; learning to listen; learning communicators whose social grace The course will include real-time projects Main, East 15’s head of programmes The school’s website stresses: ‘Some

London College of Music to express what you mean; learning and observant empathy marks them at Southend. ‘In recent years East understanding and experience of a Stories are usually best derived from characters, though this to speak accurately and concisely; out as discerning human beings whose 15 students have created a growing and entrepreneurial skills in a creative performance environment is desirable, suggests the story first. Students could be given a random selection of characters and then put them together. learning to present information; learning confident ease can be relied on in every number of new theatre companies,’ he environment. Second is understanding but not essential.’ to read fluently; learning to use your circumstance in life. explains. ‘These have grown out of the how to develop artistic projects into Devising task (25 mins) body and posture to communicate; collaboration between different degrees viable ventures, and thirdly, introduction In groups of four or five, ask the students to create a scene A one-off workshop making drama from some of the strange with a skip central to the action. The decision must be made at and an ethos which encourages our for stage, screen and live event and learning to breathe well and time www.lcme.uwl.ac.uk Notes for teachers things people throw into skips, including what they shouldn’t. which point is the scene – arrival of the skip, filling it, finding your speech. Causing actors to make a difference. When we production processes. f UCAS code for BA Creative Producing Everything in a skip tells a story, so we create characters to tell it. something in it or taking it away? Then have them decide who looked at how these companies have is W900. Fees are £9,250 per year the characters are and what the effect of the skip’s contents is. Learning objectives Use the grid below as a starting point. been set up it became clear that while Career prospects for UK/EU students and £14,020 for 26 Teaching Drama · Spring term 2 · 2017/18 www.teaching-drama.co.uk www.teaching-drama.co.uk Teaching DramaDrama · Spring term 2 · 2017/18 27 the artistic talent to create the work was ‘We are expecting graduates to become overseas; Working in collaborative groups, students develop their Location of skip Contents of skip Characters needed f East 15 Acting School, which now has characterisation skills by exploring a situation built around the very evident, there was no training for an producers of plays, festival organisers, f Outside a smart f Building waste f People doing around 770 students, was founded in contents of a waste skip and the effects that has on them. individual to support the development short film producers, event managers or ramshackle f Food dumping – what a stir 1961 by Margaret Bury and rooted in house or flats f Sharp metal or and why? When

and dissemination of the work.’ and coordinators, engagement officers, A skip is an open, usually metal container used for the disposal TDSP2-1718_026-027_Drama in the digital age_0501_HB [APPROVED].indd 26 23/01/2018 16:30:08 TDSP2-1718_026-027_Drama in the digital age_0501_HB [APPROVED].indd 27 23/01/2018 16:30:42 the philosophy of Joan Littlewood; f Outside a glass do they do it? Thus the new course was born with development officers, marketing and of materials from buildings and homes, collected by a licensed f In 2000, East 15 became part of building site f Furniture f People finding disposal company. Some are designated for specific contents – f f Everybody’s Talking the intention of training individuals in media relations people, and audience the University of Essex. All East 15 Dumped in road Personal stuff they want – glass, cardboard, wood, landfill, or compostable. theatre making. ‘There will be “real time” development officers – among many f In gardens, on documents of what and why? graduates therefore receive University drives or on value (bank What do they do? projects which will allow students to other possibilities!’ says Main. of Essex degrees; Warm-up (10 mins) verges statements, f Drunk sleeping f In pairs, two people are tipping something bulky into a skip About Jamie develop and test their skills during three f In 2007, East 15 opened its Southend f In depot before passport, IDs) it off and are fed up with doing it. What is the outcome? or after event f Personal f Teenage years of full-time study,’ says Main. Application Campus which has excellent facilities f In the same pairs, they throw something else into the skip f In view of a CCTV treasured runaway(s) and includes the Clifftown Theatre. and notice something vile another person has put in there. Application is through UCAS. Applicants camera or memories f Waste disposal Course content should have achieved BBC at A level or This is in addition to the long- What is their response to that? beyond it (photos, dress, company staff established campus at Loughton; f Delivered to jewellery) f Innocent dog Modules include Context: Performance the equivalent in UCAS tariff points, to What can/cannot be skipped? f Chris Main: ‘Our BA Creative Producing wrong address f Bodies (homeless, walker(s) f One skip company’s assessment and advice on skip use is Culture which provides students with a include two full A levels. In addition, all f Tipped over on drunk youngster, f Innocent joggers is a course that shares the school’s available to view here: www.tinyurl.com/TD-Spring2-Skips grounding in the development of Western applicants are required to have achieved being collected victim of crime, f People who threw vocational principles of conservatoire f Is taking food different? Here is the Guardian’s f Been there so animal) away by mistake theatre. Then there’s a Creating Theatre GCSE English at Grade C or above (or view on people saving food from skips: training. It is offered to those who long it has grass f Living person – what and what module which comes in two sections: equivalent). want to make theatre happen from www.tinyurl.com/TD-Spring2-Guardian growing around it (homeless, do they do? f Taking rubbish is, however, illegal: (40%) and Playwriting Main explains, ‘All applicants are behind the scenes’; f driveway escapee, criminal, f Celebrities with www.tinyurl.com/TD-Spring2-BBC (60%). The Digital Media module will train required to make an additional direct f Contacts: (Loughton) Hatfields Campus, on purpose or victim) interesting mistakenly. f It’s empty. throwaways. students in both producing skills and application to East 15 Acting School Rectory Lane, Loughton IG10 3RY Discussion (5 mins) sound/light. Later in the course students in order to arrange an interview. Tel. 020 8508 5983 or (Southend) A skip sits outside a building for a time. Rubbish is thrown into Elmer Approach, Southend-on-Sea it. We may notice it but assume it’s all legal and sensible and Development points: continue with further modules on these International applicants can interview f SS1 1LW Tel. 01702 328200. Email think no more of it. But what if it’s not? What if it’s left there Time of year, month, day; topics as well as studying film creation. via Skype.’ for too long? Or starts to smell? Or someone steals from it? Or f What the weather is like; [email protected]; @E15actingschool; The three broad tenets of the course ‘We are looking for people with a among the rubbish is a body? Or something sad, like an old f Reason for the skip being used; www.east15.ac.uk wedding dress or family photos? f The event that follows someone looking inside the skip; first involve the development of business strong interest in the arts, a thirst to What’s thrown into a skip is a rich source of ideas for a one-off f How characters are connected to the skip, if at all. piece of devised drama. Ask if any student has experience of a After selected shared scenes, allow time for brief peer, self and skip that could stimulate a scene. teacher comment and assessment. 34 Teaching Drama · Spring term 2 · 2017/18 www.teaching-drama.co.uk PLUS: www.teaching-drama.co.uk Teaching Drama · Spring term 2 · 2017/18 43

Spamalot, Joan Littlewood, East 15, Titus Andronicus, TDSP2-1718_034_On course_0401_HB [APPROVED].indd 34 23/01/2018 16:41:52 Lyric Hammersmith and Digital Theatre +, TDSP2-1718_043_One-off workshop_0401_HB [APPROVED].indd 43 23/01/2018 17:06:29 news, reviews, and more …

TDSP2-1718_001_Cover_BWM0401 [APPROVED].indd 2 24/01/2018 10:33:42

Why subscribe? V Twice-termly magazine packed with news, comment, features and teaching ideas V Access to over 30 online schemes of work (with Teaching Drama Plus only) V Free additional printed supplements including Teachers’ Guide to Performing Arts Trips and Teachers’ Guide to School Theatre

PRINT: £30.49 PRINT PLUS: from £48.49

6 print issues a year delivered direct 6 print issues a year delivered direct to your door to your door + online teaching resources Promotion code: TDTGST18P Promotion code: TDTGST18PX

ORDER NOW AT RHINEGOLD.IMBMSUBSCRIPTIONS.COM OR BY CALLING US ON 01293 312236

* The subscription prices above are for UK customers only. After the first year Direct Debit subscriptions will move to the standard price of £39.99 (print) or £64.99 (print plus) every 6 issues. We also welcome orders from overseas customers: please see online for prices. Orders can also be taken on the phone: 01293 312236.

TDSUBS A5.indd 17 06/03/2018 15:14:25 Designing music and drama spaces for education that exceed expectations without exceeding budgets. (Left) Menuhin Hall, , Surrey. Burrell Foley Fischer Architects. Photo: Dennis Gilbert (Right) The Egg Children’s Theatre, Bath. Haworth Tompkins Architects. Photo: Philip Vile

anne minors 2 St. George’s Court, 131 Putney Bridge Road. London SW15 2PA performance Tel +44 (0) 208 877 5860 / [email protected] consultants www.ampcstudio.com / www.soundspacedesign.co.uk

TGST1819.indd 18 06/03/2018 09:37:38 ‘One of the Seven Wonders of London.’ Time Out

With its iconic architecture, unrivalled South Bank location and truly world-class productions, experience live theatre that your students will always remember.

National Theatre Hire Backstage Tours Bring your show to life with our unique Explore the backstage life of the National collection of costumes, furniture and props Theatre. You’ll visit unseen parts of the building from past NT productions, available for hire. and get an insight into how shows are created. Discounts available to schools Groups of 8 or more: £7.50 each

Waterloo, Southwark, nationaltheatre.org.uk Embankment

Season_TeachersGuide_130314.inddUntitled-1TGST1819.indd 1 19 1 18/03/201406/03/201817/03/2014 09:47:0409:37:38 18:30 MIDDLESEX UNIVERSITY MEDIA CENTRE BLOCK B AND C Architect: BPR Architects Building Constructor: Interserve Product specified: Harlequin Activity sprung floor panels and Cascade vinyl in grey Our products are easy to specify from Photograph: Courtesy of Robin Turner the NBS product selector on RIBA or via the architects page on our website. Experts in PERFORMANCE FLOORS FOR EDUCATION Harlequin Floors are world renowned manufactures and installers of sprung dance floors and vinyls, ballet barres and mirrors for all dance studios and performance spaces. With over 40 years experience, Harlequin has an enviable reputation having worked with some of the world’s most prestigious dance and performing art schools, leading architects and building contractors within the education industry.

Contact us now for our free Guide to Architects, Guide to Dance Floors or samples 0800 28 99 32 [email protected] www.harlequinfloors.com

TGST1819.indd 20 06/03/2018 09:37:39