This Book Is Not About Drama

" Part food for thought, part instruction manual, part stories and scripts to explore, and part encouragement to recharge, this practical book offers a comprehensive approach to using role play and discussion to build meaningful language experiences. It explores issues around storytelling, silent speech, writing, and imagination and shows teachers how to be effective observers and support the deeper meaning that comes from working inside and outside the text. This authoritative resource is full of simple strategies and texts that have been chosen for their ability to engage students, get them out of their chairs, and let them learn actively and socially. The strategies begin with simple games, and evolve into more complex learning opportunities. The model texts give teachers a great place to start, and anecdotes from real classrooms put them into context. These classroom glimpses illustrate the real power that students can bring to their learning as they share within groups and find ways to involve their audience."--Publisher.

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.

Overcome the interpersonal challenges holding your business back Is your workplace riddled with gossip, power struggles, and confusion? Do you seek clarity in your management and cohesiveness in your team? Do you have a personal obstacle affecting your professional success? If so, there is good news-help is on the way. Stop Workplace Drama offers down-to-earth, practical methods to help business owners, entrepreneurs, and private practice professionals maximize success, increase productivity, and improve teamwork and personal performance. Identify "drama" barriers and help your employees break free to experience higher personal effectiveness and increased productivity Each of the eight points is full of universal and practical principles any business leader, sales director or entrepreneur can put to use immediately Author Marlene Chism has shared her signature process with organizations such as McDonalds and NASA When you're in the thick of business competition, you and your team need to function freely without internal conflicts, confusions, or rivalries. Stop Workplace Drama ensures that your employees will be able to give their best to create a healthy, profitable workplace.

The New York Times bestselling author of Reality-Based Leadership rejects the current fad of "engaging" employees and the emotional drama of "meeting their needs"--returning leadership to leaders and productivity to businesses. For years now, leaders in almost every industry have accepted two completely false assumptions--that change is hard, and that engagement drives results. Those beliefs have inspired expensive attempts to shield employees from change, involve them in high-level decision-making, and keep them happy with endless “satisfaction surveys” and workplace perks. But what these engagement programs actually do, Cy Wakeman says, is inflate expectations and sow unhappiness, leaving employees unprepared to adapt to even minor changes necessary to the organization’s survival. Rather than driving performance and creating efficiencies, these programs fuel entitlement and drama, costing millions in time and profit. It is high time to reinvent leadership thinking. Stop worrying about your employees’ happiness, and start worrying about their accountability. Cy Wakeman teaches you how to hire “emotionally inexpensive” people, solicit only the opinions you need, and promote self-awareness in your whole team. No Ego disposes with unproven HR maxims, and instead offers a complete plan to turn your office from a den of discontent to a happy, productive place.

Drama queens come from all walks of life, regardless of age, gender, race, sexuality or socioeconomic status. Drama queens perceive danger where there is none. They personalise things that aren't personal. They spend hours trying to control things they have no control over. This book provides solutions for those who are trapped in 'drama queen' mode. They learn how to say goodbye to unnecessary response styles that make them feel unhappy and stressed out. Partners also learn how to cope with - and understand - their behaviour, and learn how to support them.

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!

How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)

Dyan Sheldon's vain, melodramatic, and utterly lovable Lola will appeal to any young reader who has angled for acceptance. Mary Elizabeth Cep (or Lola, as she prefers to be called) longs to be in the spotlight. But when she moves to New Jersey with her family and becomes a student at Dellwood "Deadwood" High, Lola discovers that the role of resident drama queen is already filled--by the Born-to-Win, Born-to-Run-Everything Carla Santini. Carla has always gotten everything she wants-that is, until Lola comes along and snags the lead in the school play. Can Lola survive Carla's attempts at retaliation? Will Lola and her best friend, Ella, find a way to crash their favorite band's concert hall and farewell party in New York City--to which Carla has already gained entrance? And once the curtain goes up on the school play, which drama queen will take center stage?