The Drama

Everything you need to get dramatic in the classroom This easy-to-use, comprehensive teacher-resource book has lesson plans and practical activities that integrate theater into language learning. Plus ten original scripts so you can put the activities into action immediately! Drama and play scripts can be used to teach pronunciation, pragmatics, and other communication skills, as well as provide grammar and vocabulary practice! Conveniently organized into two parts, Part 1 includes pragmatics mini-lessons, community builders, drama games, and pronunciation activities. There are also lesson plans for producing a play (either fully-staged or as Reader's Theater), as well as guidelines and activities for writing plays to use with (or without students,) and suggestions for integrating academic content. You’ll even find rubrics and evaluation schemes for giving notes and feedback. Part 2 includes 10 original monologues and scripts of varying lengths that can be photocopied and used in the classroom. Specifically designed to feature everyday language and high frequency social interactions, these scenes and sketches follow engaging plot arcs in which characters face obstacles and strive to achieve objectives. With a foreword by Ken Wilson, this book is a must-have for anyone interested in using the performing arts to help students become more confident and fluent speakers.

From Raina Telgemeier, the #1 New York Times bestselling, multiple Eisner Award-winning author of Smile and Sisters! Callie loves theater. And while she would totally try out for her middle school's production of Moon over Mississippi, she can't really sing. Instead she's the set designer for the drama department's stage crew, and this year she's determined to create a set worthy of Broadway on a middle-school budget. But how can she, when she doesn't know much about carpentry, ticket sales are down, and the crew members are having trouble working together? Not to mention the onstage AND offstage drama that occurs once the actors are chosen. And when two cute brothers enter the picture, things get even crazier!

In exactly one hour, eighteen minutes, and thirty-five seconds, Mina Mooney will be dipping her pink Nellie timbs into the infamous frosh pit. . . Hoping Del Rio Bay High will live up to her greatest expectations, Mina has big plans for infiltrating the school's social glitterati. After all, she's been mad popular for as long as she can remember—and she isn't about to go from Middle School Royalty to High School Ambiguity. But Del Rio Bay is a big school, so it'll take some plotting to avoid getting lost in the crowd. Good thing she isn't afraid of a little hard work and that her playground peeps—Lizzie, Michael, and JZ—have got her back. But it isn't long before Mina's big plans for securing her social status take a back seat to some drama that was so not expected. Lizzie's scored an invite from the beautiful people that Mina can only dream about, and not only is Michael tripping about being back in school, but now he's beefing with JZ. Worst of all, Mina's sociology class experiment to rid the world—or at least Del Rio Bay High—of prejudice is about to backfire. . .because it might just mean she'll have to rid herself of her very best friend. A novel about friendship, betrayal, and how far some will go for popularity, So Not the Drama takes a fresh and wickedly funny look at planet high school.

It wouldn’t be the theater without a few theatrics… Becoming a famous playwright is all Winnie ever dreamed about. For now, though, she'll have to settle for assisting the celebrated, sharp-witted feminist playwright Juliette Brassard. When an experimental theater company in London, England, decides to stage Juliette's most renowned play, The Lights of Trafalgar, Winnie and Juliette pack their bags and hop across the pond. But the trip goes sideways faster than you can say "tea and crumpets." Juliette stubbornly butts heads with the play's director and Winnie is left stage-managing their relationship. Meanwhile, Winnie's own work seems to have stalled, and though Juliette keeps promising to read it, she always has some vague reason why she can't. Then, Juliette's nephew, Liam, enters stage left. He's handsome, he's smart, he is devastatingly British…and his family ties to Juliette pose a serious problem, forcing Winnie to keep their burgeoning relationship on the down-low. What could go wrong? Balancing a production seemingly headed for disaster, a secret romance and the sweetest, most rambunctious rescue dog, will Winnie save the play, make her own dreams come true and find love along the way—or will the slings and arrows of outrageous fortune get the best of her? Don't miss Kate Bromley's next delightful rom-com, Ciao for Now—coming June 2023!

This complete companion to the study of drama, theatre and performance studies is an essential reference point for students undertaking or preparing to undertake a course either at university or at drama school. Designed as a single reference resource, it introduces the main components of the subject, the key theories and thinkers, as well as vital study skills. Written by a highly regarded academic and practitioner with a wealth of expertise and experience in teaching, Mangan takes students from studio to stage, from lecture theatre to workshop, covering practice as well as theory and history. Reliable and comprehensive, this guide is invaluable throughout a degree or course at various levels. It is essential reading for undergraduate students of Drama, Theatre and Performance Studies at universities, drama schools and conservatoires, as well as AS and A Level students studying Drama and Theatre who are considering studying the subject at degree level.

This analysis of twenty published texts by David Hare employs definitions from contemporary semiotic literary theory as a means of describing typologies of political drama. By tracing the incorporation of stylistic devices from agitational propaganda (caricature, self-referentiality, the frisson between oral and visual signification) throughout the typologies, the study illustrates how each text subverts audience expectation based on established dramatic genres. The collection of texts is seen as inherently self-referential and politically subversive. At the centre of each typology is a protagonist who functions as a martyr to or parodic emblem of contemporary society. Consistently, the hermeticism of public institutions which represent the political status quo makes them immune from any form of individual protest from the Left or Right. In the satirical anatomy, the emblem of political dissent is coopted by involvement within the institution, or the stage is dominated by a conservative who controls the action. In the demythology, private individuals are seen as incapable of altering the public frame of history; but here private suffering subverts the collective mythology of the historical construct. In the martyrology, the emblem of dissent is associated with a moral virtue which is inimical to contemporary society, the audience's expectation of the triumph of the individual being subverted when he/she is expelled from the onstage world on the grounds of political ideology. It is only in the final typology, the conversion, that a conservative emblem is seen as directly influenced by such martyrdom, and the audience is provided with an actual example of political change. Thus, the study describes how each typology builds on the construction of the previous, and all generate from agitational propaganda.