Devising from an image: Narrative approaches

Waiting: an introduction to drama conventions

Acting Shakespeare: Monologues from A Midsummer Night's Dream

Practising physical and vocal skills

Live theatre responses: Becoming a critic

Narrative structures using poetry: Developing monologues

Who Cares?: A devising unit

Acting Shakespeare: Twelfth Night

Posture, gesture and voice in performance

Live theatre responses: Using social media

Approaching text: Bringing it to life

One text, different approaches

The journey: a verbatim project

Study of text in contemporary, cultural contexts

Live performance responses: Evaluating stagecraft

Understanding roles and responsibilities of the creative team

Commedia dell'arte: an introduction

Using Drama conventions to explore contemporary issues

Drama

Y9 Drama

Key Stage 3

Year 9

UNIT

In this lesson, we learn about some introductory Drama conventions and use these to set the foundations for explorative work next lesson using contemporary issues.

A person and a tree (part 1)

In this lesson, we continue to learn about Drama conventions but deploy them in specific scenarios that relate to a central character we developed in the previous lesson.

A person and a tree (part 2)

In this lesson we learn about the significance of a place and what it means to lose that. We also explore the feelings associated with seeking refuge.

A person and a place (part 1)

﻿Hello, and welcome to drama. This is using drama conventions to explore contemporary issues. This is lesson three of six, a person and a place part one. This unit covers topics such as seeking asylum, leaving home and being a refugee. If these are sensitive topics for you, we recommend checking with an adult before starting this lesson. Or completing the lesson with a trusted adult nearby. My name is Mr. Wood, and I'm going to be your teacher for this lesson. If you're ready, let's get started. For today's lesson, you're going to need a pen and paper and plenty of space. So you can pause the video now to get those things and click resume if you're ready to move on. Well done if you've already completed your introductory quiz. If you haven't, you can go back and do that. Now we're going to start with meeting the character. Okay, that will all make sense in a moment, then we're going to understand the scenario. Similar to what we did in our very first lesson. Then we'll continue looking at developing that character, before we finish up with our exit quiz. Keywords for today's lesson are character, and that is of course, a person with qualities distinctive to them. Refugee, and this is a person who is fleeing conflict or persecution. Okay, so someone that's in danger. Scenario is an outline of a scene or play, with its own setting. And visualisation, a drama strategy that allows you to imagine the details of something. So that could be setting, it could be an object. It could be a new location. Now we're going to be meeting our character for today. This is Taylor, Taylor is 13 years old. They have a family and they are happy. You must now work in role as Taylor for the next activity. I'd like you to think of a last name for Taylor. Do that now, have you got one? Let's move on. So this is your life as Taylor. You are happy and you're settled. You have many friends, you and your family all look out for each other and that's all you need. Taylor lives in Libya, North Africa. Libya is situated in the Sahara desert, if you've ever heard of that place. And there has been conflict between government and the public, where many people have been killed. That may not be pleasant, but that is your life. Okay, that is the background of Taylor, and that's where they come from. To them, they know no different. Trouble in your home has never been too far away. The area can at times be dangerous but that's okay because you're used to it. You know what to look out for, you know what to avoid. Risk and fear have just become part of your everyday life. I'd like you to close your eyes now, think about what it is you can see. What's in front of you, what's directly beneath you? Can you feel the rubble beneath your feet? Some paths can be really tricky to walk on. Can you hear that sound in the distance? of rioting is it? You can hear bottles being smashed. That is the sound of chaos. What can you smell? You know what that smell is don't you? You've smelt that before. You're well accustomed to that. It's the smell of smoke. Something not too far away is burning. What can you touch? If you had to reach down to the ground, what was it you would be able to touch? What would it feel like? Are you looking for something within the rubble? Is there something of yours there? What can you taste, on the tip of your tongue what is that sensation? Adrenaline, hunger? Okay, well done. It's late one evening and you're asleep. Your mother is saying that you and your family are leaving home tonight. It is too dangerous to stay where you are. You're home, you have no idea where you are going but you do need to leave all of your things behind and become a refugee. What might you be feeling at this time? What's going through your head. There is tension rising in this scenario. Is that true or is that false? Three, two, one, of course, the answer is true. There is pace increasing, there's a sense of severity. So what's going to happen if they don't go? Is the scenario going to get a lot more severe for that person, for poor Taylor? So let's meet this character properly. This is Taylor, they're not from around here. They're 13, as you know, they have family. They don't get to see their friends anymore. And sometimes they get very sad. You just experienced a brief few moments of Taylor's life, in a very quick, very consolidated way. So this is a role on the wall. This is an example of the sort of ideas for Taylor. Okay, their the name's at the top there. On the outside, we've got external factors. So we have, always worrying about their sister. Dislikes new places, likes the sunshine. Tired most of the time and on the inside, we've got the internal factors. So things that affect their personality. Caring, kind, so this is one example of a role on the wall for Taylor and a role on the wall is something that we should be quite used to, as we looked over them in the last set of lessons. So you're going to have a go now at creating both the outside and the inside of the role on the wall for Taylor. You decide their background and their personality. And this information must have both the internal and external factors. So think about feelings, think about personality traits. Think about their family, their friends, their appearance, their likes, their dislikes and hobbies. Okay, you don't need to rush this. The more detail you have, the better because it will help you understand in your mind, who Taylor is. Okay, so pause the video to be able to complete this. Once you've given it a go, click resume and we'll move on. Now we move on to understanding the scenario. So in the last year, Taylor fled Libya with family. Libya is listed as one of the three most dangerous countries on earth at present. They've had to relocate to new accommodation multiple times. Would you be comfortable moving frequently? Would you be okay with it? Would you do it if you have to? What about if your life depended on it? What about if your family's lives depended on it? There are many decisions, many choices in life that aren't obviously clear, they aren't easy. And it's clear to me that Taylor had to make some decisions that they were first of all, not comfortable with. And secondly, they realised they had to do. Taylor has had multiple fresh starts, new friends and goodbyes. There were occasions when saying goodbye were not possible. To leave somewhere at the drop of a hat. Like the very last part of the introduction, where they had to leave their food, regardless of how tired and hungry they were. Taylor has seen many new places and travelled through many different countries, all in an effort to escape war, death, violence and catastrophe, very, very negative. And refugee is someone who is fleeing conflict or persecution. Is that true or is it false? Three, two, one of course, the answer is true. They seek refuge in a sanctuary and this can be anywhere at all. Okay, so a refugee is someone who is trying to escape the conflict and escape the danger and anywhere that doesn't have that immediate danger or conflict, is seen as a sanctuary. Okay, it's a safe place. Now that we understand the scenario which Taylor finds themselves in, regardless of their choice, we now need to develop the character in line with that scenario. In order to show a successful character, you need to understand them, okay. You need to know that character inside and out to be able to show an audience the best possible version of that character. So we're going to develop our understanding of them through various drama strategies. What information would you like to know about Taylor? What parts of their life have I not alluded to, have I not given you? What questions would you need to ask in order to find out this information? You're going to have a go at jotting down these questions between 10 and 15 in hot seating. Okay, these are questions that should provide us with key information about the character. And you may choose to find out about their background, relationships and they don't need to be romantic relationships. They can be relationships that were positive or negative. Okay, so with family, with friends, with an environment. You can have a relationship with an environment, whether it's positive, as I said before, or negative, Something that makes you happy or sad and you can have a range of questions for history, okay. To try and figure out where they were at a particular time in history, and then why they moved. It could be that you have a range of questions on family, heritage, where they came from and so on. Okay, so click pause to be able to complete this task and jot down your questions in a list and then click resume when you're ready to move on. Now you have your questions, it's time to find out the answers. So in your interpretation of Taylor's character, answer these questions that you have written down, as Taylor would. Okay, so this is going to involve your own imagination and interpretation of Taylor's character. Stay in role and answer creatively. And you can use a piece of costume to help you stay in role if that's helpful. Okay, it could be a scarf, it could be hat. It could be a jacket, a jumper, a shoe, whatever you like. Experiment with the character through your use of vocal and physical skills. Okay, so think about how Taylor would speak, how they would look around the space. How they would interact with certain things in the space and how they would present themselves to a new audience. Pause the video, to be able to complete this task and click resume when you're ready to move on. If you were able to observe Taylor on their journey from danger to sanctuary, seeing what they went through, how on earth would you describe it? What sorts of things do you think they've witnessed? If you could be on the journey with them from start to finish, as an object. We look at the idea of a coat, boots, bag or a string bracelet, what would you say? If these are items were able to observe that journey, how would their perspective offer new light to the character and the situation? Pick one of them for me, either option one, two, three, or four. It's been a long journey. Yeah, I'm Holey, that's right. Yeah, been well-worn, well-worn. Well, someone's got to be positive haven't they? This has not been an easy ride and trust me, I'm not the first one to do this job. My brothers and sisters have done this before me. Let's just say, they were well used too. But it's okay because we're fine now, we've done the journey, it's been long and it's been tough, but it's okay 'cause now I can rest. I get to sit and think about, not having to think about the journey. It was cold. It was tough. It was tough, it was a real challenge. I didn't really do much. I didn't really see, a great deal of what was going on there but I felt the issues. Taylor would pull at me when they were nervous. Yeah, I've broken many times, just frayed away. Each time I thought, that's it. I'm just in an extra piece of fragility and weakness, but now I don't look like that. I've got marks of where I've been put back together again and tied back into one. And I look back on those parts of myself as strength. I mean, literally, they are moments of strength because it shows where I've fallen apart and been put back together again. And I've seen the stresses of Taylor's life and they've all come through me. And I like to think that I have helped Taylor make themselves strong. There was one time when we were moving late at night and we got separated from the rest of the family and it felt like forever away from them. Somehow we bumped back into them. And at that point, I was there with them. I was almost tethering them together, like chains, chains taking us to a place where they have the key and they can take them away 'cause we never need to worry about parting again and not seeing one another. So it was scary, it was terrifying. But now there's hope. And there are symbols of strength in us, that live through us as we've seen this journey and we've been through it together. Now we're going to use speaking objects to understand multiple perspectives. So you've chosen one of your following options, coat, boots, bag or string bracelet. And you're going to speak as if you are that object. Talk about what they've seen from their perspective about the truth of the journey Taylor has been on. You need to pause the video to be able to complete this task and click resume when you're ready to move on. Okay, how did you get on? Did you enjoy that activity, was it quite challenging? I hope that you've found a way around being sensitive with this. I hope there were moments that you could connect with on an emotional level and also on a very appropriate level as well. Okay, so understanding more about the scenario and also appreciating that this is a scenario that's real for a lot of people. Okay, so speaking objects can allow you into a main character's head. Is that true or is that false? Of course, the answer is false. Speaking objects gives us many outsider perspectives on a situation that we might be quite close to when we work in role. So now consider how these descriptors might change the way you speak as that object. So you can choose the same object for the last activity or you can choose a new one, it's entirely up to you but we have for the coat, heavy, wet, torn with some patchwork. For boots we have durable, dirty, practical, strong. For the bag, we have saggy, slow, sluggish and for the string bracelet, we have tired, worn and frayed. When we talk about speaking objects, we're now going to give them a hint of character as well. Okay, so that when we speak as that object, we can start to understand which object it is. So, we need to develop your understanding of that object. Use the descriptors to inform how you speak in role, consider the range of vocal skills you could use. Okay, pause the video to be able to complete this task and then click resume when you're ready to move on. Okay, now that you've done that and you've given it a go, I want you to contrast this by picking another option. So either the coat, boots, bag or string bracelet. Speak as if you are that object, talk about what they have seen from their perspective and their thoughts on the scenario. Try to notice different aspects to your previous object. A recap of them, the coat is heavy, wet, torn, patchwork. Boots, durable, dirty, practical, strong. Bag, saggy, slow, sluggish. String bracelet, tired, worn, frayed. Pause the video to be able to complete this task and click resume when you're ready to move on. Okay, how did you get on? We've reached the point in the lesson now where we're at the end. And today you've worked brilliantly to meet a character and build them using a role on the wall, just like we did in our previous lesson. You've understood the scenario that might contribute to the character. And you developed the understanding of the character through things like hot seating and speaking objects, to gain multiple perspectives. Those drama strategies are incredibly useful when building a character and developing your understanding. So great work, well done. As always, you can share your work with us on Twitter. Just make sure you ask your parent or carer for permission first. They can tag us on Twitter using @OakNational and hashtag Learn with Oak. Until our next lesson, which is a person and a place part two, take care, and I will see you then, bye-bye.

In this lesson we explore the situations one can find themself in throughout fault of their own in an attempt to understand truthful realities across the world.

A person and a place (part 2)

﻿Hello, and welcome to Drama. This is using drama conventions to explore contemporary issues. It's less than four out of six, a person and a place part two. And this unit covers topics such as seeking asylum, leaving home and being a refugee. If these are sensitive topics to you we recommend checking with an adult before starting this lesson or completing the lesson with a trusted adult nearby. My name's Mr. Wood. And I'm your teacher for today. If you're ready, let's get started. For today's lesson you're going to need some space so clear things out of the way so that you can work safely and then let's continue. You've completed your intro quiz? Well done. We're going to start today's lesson with a recap of the last before we move on to adapting to a new scenario and then we'll look at developing the character further, before we finished the lesson with the exit quiz. The keywords for today's lesson are refugee. And that is a person who is fleeing conflict or persecution. Magic if that is a drama technique used to understand what your character would do in new situations. Conscience alley which is a drama strategy used to give the character ideas when making a choice. And lastly internal monologue. And that is the a drama strategy used to tell the audience what the character is thinking. So let's recap last lesson. This is Taylor, and we met the character last lesson. We understood that their situation was quite challenging and we developed the character using roll on the wall, hot seating and speaking objects. So how do we view Taylor? Let's establish very clearly who they are. They're 13 years old. They're human being. They have thoughts and feelings and they come from a turbulent background. Although there are specific qualities that make them who they are, they're just like everybody else, okay? Taylor has the same rights as you and I. So we needs to consider that and bear that in mind when we work through today's activities. Now let's adapt to a new scenario, okay? Let's see how the character responds to new settings. So our new environment. How do you feel when you're in a new scenario personally? Well, imagine you were Taylor and you've just walked into a shop. From your perspective, you don't stand out. However, the other people in the shop, they're staring. You have no idea why you look yourself up and down and you think I'm wearing clothes and I'm not covered in paint, so why are they staring? You don't know why. Consider what it is Taylor might be thinking. How many different thoughts could be going through their head at this moment in time, as they try to figure out why these people are staring. Other shoppers' thoughts. Delve into the other shoppers minds, what might they be thinking, okay? So this is similar to our speaking objects activity from last lesson, because we're seeing a new perspective around the central character of Taylor. They clearly know something. What is it? Is it potentially, "Who is that?" "I haven't seen them here before and I've lived here all my life," "Whoever they are, they look on edge." And things like that, okay? So just consider the different ideas that are going through the other shoppers' minds right now as they see Taylor. You need to pause the video to be able to do this. You can practise them verbally and then click resume when you're ready to move on. Adapting to a new scenario. Let's visualise for a moment, Taylor relaxing in accommodation, okay? So wherever they're staying at the moment even if that's temporary or something a bit more permanent, we're trying to visualise that now, okay? So what is in the room? For this activity, I'd like you to close your eyes. Do that for me now, listen to what I say and try and come up with your own interpretation for the room. What can you see? Is there a bed? Is it a mattress on the floor? Is it a pillow and a sleeping bag? Is there a quilt, duvet? Are they throws, blankets, cushions? Is it colourful? As you look at the walls, can you touch them? Is it rough? Is it wallpaper or is it painted smooth? And what colour it is? Is it dull? Is it bright? Do you have any windows? Is there much light coming through? Do you have curtains or blinds to shut out the lights for privacy? Can you hear the noises in the rest of the house from your bedroom? Do you hear people walking upstairs? Do you hear doors closing or is it quite soundproof? What does it smell like? Is it fresh? Does it smell clean? Can you smell nature outside if you have a window and it's open? Does it smell homely? Is there anything cooking downstairs that you can smell? What's the surface area like? Does it feel warming? Does it feel cold? Does it feel calm? Are you able to relax in this environment? What does it taste like? And I don't mean tasting the things in the room. I mean, the feeling in your mouth, the enzymes and the natural chemical reactions in your mouth. Are you tasting adrenaline through fear or excitement? Are you thinking about the next meal you're going to eat and what it might taste like? Have you not eaten for quite a while? In which case are you trying to hold on to the lingering sensation of that meal? Have you had to drink recently or do you feel quite dry in the throat? Start to think about what relaxation means to Taylor with these items and the clear specification of the room, okay? Do they get much quiet? Are they always hearing some form of noise? Do they see relaxing colours and textures in the space? Is it comfortable to be able to lie down or sit down and feel at peace? Or is there always a taste of fear in the body? Okay well done. We're now going to start to develop the character in line with what we can visualise and what we interpret in terms of Taylor's accommodation. What are your three favourite things about where you live? As Taylor, what are the three favourite things about where you live? Doesn't matter what they are? But let's have three clear things. You have many friends now, okay? You've built up some rapport with people around you and you've got two best friends. What are their names? Where are they from? What's good about them? What are their best qualities? Now, although your life may not be easy and by no means perfect, you can see your future ahead of you, okay? You're settled. And again, you feel a vague modicum of hope, okay? Because you've got some features around you that allow you to feel at ease and comfort, okay? The parameters are there to be able to feel relaxed. Without them, you can't, okay? So although your life is not perfect, you can see yourself having a future. Now we're going to explore magic if. And this is a technique used in drama specifically for the performer, okay? It's enables you as the performer to ask the character you're playing questions about how you react in a certain situation, okay? It gives you the depth you need for the character's choices, actions and reactions. It allows them to be prepared if they were plunged into a new scenario, okay? If you were on the stage and someone said the wrong line having the background information of the character is really useful because it shows how you might respond in a new situation, okay? So in role as Taylor, what would you do if, you had to choose between eating a Mars bar and an apple? What does Taylor do? Do they go for the Mars bar, because they really liked sweet things? Do they go for an apple, because they know it's healthy and they respect their body? Do they choose neither would rather go without because chocolate gives them migraines and apples make them ill? Or do they go for both 'cause that's a little bit greedy and they love eating? What would your character do, what would Taylor do if you have the choice of eating a three-course meal to yourself or sharing it with someone less fortunate than yourself? Think about their background, think about where they've come from, the things they may have seen along the way and consider what they might do. Is there a new alternative? Something that you might not have thought of straight away? What would Taylor do if you see someone in front of you drop a five pound note? Would they quickly pick it up because they've never really had money themselves? Would they follow the person and give it to them? Would they follow them to wait to see if they were a good person or if they're rude to people in the street in which case they'll keep it? Or would they pick it up go to give it to the person realise they don't know who actually dropped it they can't see them anymore and would they put it in a charity box? Okay, there are many options to consider. What would Taylor do in your opinion if you are alone and see a stranger up ahead? How do they react? And lastly, what would Taylor do if you were lost in the dark and cannot locate your family? It's quite a sensitive one there, so be considerate. Think about their guttural feelings and how they might respond instinctively to that feeling. So I'd like you to create five hypothetical magic if scenarios for Taylor's character. The aim is to know what they would do in that situation. Then in role consider the appropriate responses, okay? So you might pose your question and then you might step to the other side of the room. You might wear a particular piece of costume or hold a prop to be able to signify the difference in Taylor's character and the questioner, okay? What would you say and how would you say it? It's really important to bear in mind Taylor's background. So pause the video to give this your best go and then click resume when you're ready to move on. Here are some answers to magic if in reverse, okay? So we're going to pull apart this technique, we're going to deconstruct it. I would like you to come up with some magic if questions that match these answers. So if Taylor was to say they would find its owner, what would a possible question or phrase be in a magic if scenario to that answer? You might say, what would you do Taylor, if you were walking in a park and you came across someone's dog? You knew it was someone's dog because it has a collar with a name on it, but not a contact number. So what would you do if you were in that scenario? Their answer could be, find its owner, okay? So you see what I mean there? Have a think now what the magic if questions would be for option two, be silent, option three, run away or option four, help youngest siblings first. Now, if you consider their background and where they've come from and the things they've seen, think about last lesson as well, then it might be quite helpful and useful to construct your magic if scenarios. Pause the video to be able to do this it won't take long and then click resume when you're ready to move on. Change is daunting. And as Taylor I'd like for you to imagine that you're relaxing in your accommodation, just like we did before. Can you hear that? There was a bang and sounds of panic downstairs. Someone shouts up that you're leaving in the next three minutes. You think it was your father, but you cannot be sure. What are you feeling? What's coming through your head right now? You have a bag, what are you going to take with you? You've only got three minutes. In role as Taylor, you have three minutes to pack your bag. You know what you're taking. Try to build tension in your movements. Improvise the actions of packing the bag while speaking an internal monologue to the audience about what the items mean to you and why you're taking them. Okay? So don't forget your internal monologue is the commentary going on inside your head. So, one us going on, what why are we leaving? I'm going to need that, that's really important. I can't leave that, I've got this blah, blah, blah because of this blah, blah, blah, you know? So it's continual thought going on through your head and you're just speaking out loud, okay? So consider what you need to say. And then how you say it will depend on what those items mean to you and what feelings you are currently holding within you, okay? So pause the video to be able to complete this task. It's not a quick task, so take your time there's no rush and click resume when you're ready to move on. Magic if can help a performer to come out of role. Is that true or false? 'Cause the answer is false. Magic if allows a performer to build the understanding of the character so they're prepared for more scenarios. I will offer to take you to England in this boat. You will not address me by my name. You will keep your head down at all times. The fee must be paid in full prior to departure. I am not responsible for any injury during this time. I am not liable for any loss or death during this journey. You step onto this boat as your choice. By stepping onto this boat in escape of war you agree to my terms. But this is your scenario. You are in the role of Taylor and there is a boat. You were led to believe that it will take you to a sanctuary to flee the conflict you've been brought up in. Your choices are either to stay and risk living amongst terrifying dangers or go and hope that the place you journey to is as safe as you have been told. First of all, do you believe that comment? That the place you journey to is a safe as you've been told? Or do you think it's probably more appropriate that it's safer than where you currently are? There's no promise that it is safe. In other words, can you afford not to believe this? For example, is it worth the risk? I would like you to create a still image of the dangerous world Taylor was born into. Consider it from their perspective. So it's going to be Taylor in a still image and aim to show how they feel in this scenario in the world that they know. You should also consider the five senses in your image. What can you see? What can you hear? What can you smell? What can you touch? And what do you taste? Physical skills such as facial expressions and body language will be very important for your still image, okay? So pause the video to complete this task. You may need to do this in front of a mirror to see how it looks, okay? You may need to exaggerate certain features. Click resume when you're ready to move on and we'll carry on with the rest of the lesson. Okay, now that you have this well done, let's create a still image of how Taylor perceives the sanctuary, okay? So the ideal world similar to that of a utopia. So if they've been born into a world which is the still image you've just created which is quite negative, let's juxtapose this let's contrast it with something that is positive, okay? The sanctuary. Think about what it might mean to them. What would be there? You should consider again the five senses. Physical skills like facial expressions and body language are still important, okay? Use the mirror if you've got one or any reflection, you may need to exaggerate certain parts of the image. Pause the video, give it your best go and then click resume when you're ready to move on. So conscience alley is a technique used in drama for the performer. It's enables you to offer advice about what the character should do in a certain situation. So think of it like an angel and a devil on your shoulders giving you advice about what you should do. It allows us to have depth to the characters choices and their actions, okay? So it allows us to know what we might do in a future scenario. And therefore, we can be more prepared. So does Taylor have a choice in the boat scenario? Yes! Okay? There's either a choice to stay or to go. And regardless of the scenario, we always have a choice. So you are a conscience to Taylor. The boat is going to sanctuary or so we're led to believe and that's just up ahead. You need to suggest as many reasons as possible as to why they should get on the boat and leave where they currently are. I would like you to consider your tone of voice, emphasis on key words and volume when speaking, okay? Those three things. Pause the video to have a go, really do consider what it means to combine those skills, okay? In the delivery of your conscience and then click resume when you're ready to move on. Now you are a different conscience to Taylor. The second part of conscience alley. You can see that the boat is going sanctuary just up ahead like before, but now you need to suggest as many reasons as possible as to why they should not get on and simply stay where they are. Again, consider your tone, emphasis and volume when you're speaking. Pause the video to be able to complete this task and click resume when you're ready to move on. Okay, well done. We've got to the point where it's now the end of the lesson, so well done for your hard work today. We've worked on developing a character in new scenarios. We've looked at working through magic if, conscience alley, internal monologue and visualisation, all in an attempt to understand this character from different perspectives and to appreciate that their scenario and their character is not as easy as we may have first thought, okay? So well done for your hard work today. There is a great deal of relevance in today's lesson and that of last as well setting up these themes. We currently live in a world where there are many people like Taylor making decisions that they should not have to. And it's because they are exposed to situations that they never asked to be a part of. They may have had their basic human rights infringed or removed through no fault of their own. And I would like you to be aware of that. That's why this content has come about. And it's key to remember that in every scenario there is always a choice. You know yourself better than anybody else. And if you were faced with an opportunity where you meet a Taylor of this world, someone who through this scheme of work has been representative of a range of people in similar circumstances that are far less fortunate then I am or you may be, what would you choose to do? How do you react to a person like that? How do you engage with them on a daily basis? I would like to think that given the chance you engage as someone who is sensitive and someone who is accepting and someone who is aware, not only aware but also compassionate to that type of scenario. So consider this lesson as opening a door to issues that are in the world around us and things that we might need to be aware of. As ever, if you have created work that you think is particularly poignant or relevant to today's task, something that you're proud of, you can of course share it with us. So ask your parent or carer for permission first where they can tag us on Twitter, using @OakNational and #LearnwithOak. I look forward to seeing you in lesson five which is all about a person and a choice part one. Until then take care and goodbye.

In this lesson we explore the issues of environmentalism and the respect we have for systems and the planet through choices.

A person and a choice (part 1)

﻿Hello, and welcome to Drama. This is using Drama conventions to explore contemporary issues. It's lesson five of six, and the lesson title is 'A Person and a Choice' part one. My name is Mr. Wood, and I'm your teacher for this lesson. If you're ready, let's get started. For this lesson you're going to need plenty of space. So move anything out of the way that might become a hindrance and let's get going. Well done for completing your intro quiz. We're going to start today's lesson with a quick recap of our last, and then we'll move on to setting the scene for today's work. Then we'll continue with making decisions in the town, all will become clear. Before we finish with our exit quiz today. Your key words for today's lesson are choice, and that is an act of deciding between two or more possibilities. Eye witness, and that is a drama strategy where a character tells their version of events. And litter, that is rubbish left lying around in a public space. So what did we get up to last lesson? Well, we explored a range of drama conventions through Taylor's story. We used Conscience Alley, Magic If, Visualisation and Internal Monologue to develop the character of Taylor and adapt them to new scenarios. So let's begin setting the scene for today's lesson. This is the village of Bowborne. Now, I think you will appreciate how beautiful Bowborne is from the image. It is a very calm place. It is a very happy place. And what's crazy is it's absolutely litter free. It is the only village on earth that can hands down say they have no litter. I would like you at this point to close your eyes and visualise the surroundings of Bowborne. Take inspiration from the image. Look at the beautiful scenery and setting, and think about what could be around the corners in the village of Bowborne. Ah! What is this? You have come across a single piece of litter. In Bowborne? The place where there is no litter. You've literally just arrived, and you found a piece of litter. How on earth did it get there? Now we're going to start creating some backstories. Think about creating three different ways in which this piece of rubbish could have gotten here. Poor Bowborne, of all places. They should not relate to one another. So try and come up with three creative different ideas. And you can be as creative and imaginative as you like. Pause the video to be able to complete this task and click resume when you're ready to move on. So, who found it? It was you. Some villagers have noticed and now this litter is attracting quite a large crowd. As you found it, some are now suggesting it was you who littered in the first place. I don't think you understand what you've done. Do you? Coming in here. Welcome to Bowborne. You've come in here and you've littered all over the floor, throwing your Coke can down on the floor. I know I can suss you out like you wouldn't believe. whoever's responsible for you should be ashamed. You should be ashamed coming around here in Bowborne, and you're throwing around your rubbish on the floor. Don't you dare look at me like that. I could take you down in an instant mate. It's clear to see that the people of Bowborne are very protective of their village. So now it's time to create an alibi to avoid being punished for a crime you didn't commit. This is your claim to what happened. Okay? So you've got to try and come up with reasoning as to how you came across the litter. How can you prove it was there before you, that sort of thing. It will involve what you've done during the day, specifically leading up to the time when you discovered it. All right, be clear, be honest, and consider how someone accused might act. Think about the gestures that they would use. Think about the pitch of their voice. It might go higher. Think about their facial expressions being quite defensive or open. Okay? Pause the video to be able to complete this task. You may want to rehearse this a couple of times, and then click resume when you're ready to move on. Now it's time to make some decisions in the town. Your imagination here is key. So let's imagine we can go back in time to just before the litter was dropped. I would like you to give a person a name and an age. Okay? This is the person who is littered, they are walking along the path, be that conscience in this moment in time. What should they do? And why should they do it? Is it a case of they are reaching for their phone but they've like crumpled up the Coke can, which is also in their pocket. They're trying to get the phone out without dislodging the can. But unfortunately it just falls out. For example, the conscience could be saying get your phone out, get your phone out. You've got a notification. You can get your phone out and not realise the Coke can has fallen out. Okay? So it could be accidental litter. Don't forget that. Okay? There are choices to be made here. And you'll do this through Conscience Allie. So you need to give reason to this crime in the form of advice, whether it is an accidental crime or malicious. Allow your audience to see how you are swaying the characters decision. Consider your vocal skills to do this like tone, pace, emphasis, and pitch. Okay? Pause the video to be able to complete this task, and then click resume when you're ready to move on. So, who picks this up? Because I think we should find out what reasons the litterer had for committing this crime! Regardless if it was malicious or not. If you were given the chance, what questions would you ask the litterer? I think we gave them a name and we gave them an age. So they're starting to become a real person. What would you ask? Part one of Hot-Seating. You're going to write down between 10 and 15 questions that are open as we've discussed before. They need to be elaborate. So, think of the question and then think of the potential answer you might get. If it's a yes or no answer, then you want to rephrase the question. Okay? The aim is to get key information about their actions and the choices that they've made. You may want to find out a bit about their background, their values, their family, and so on. Okay? So pause the video to be able to complete this task and click resume when you're ready to move on. Part two. In your interpretation of this character, answer these questions as you think they would. Okay? You need to stay in role. So you may choose an item of costume or a prop to help you do this. Experiment with the character through your vocal and physical skills. Okay? So the ones that we've listed previously, we now need to think about how we can combine them to show an effective character. Pause the video to do this and click resume when you're ready to move on. Rubbish belongs on the floor? True or false. Three, two, one. What do you think? False, rubbish does not belong on the floor, it should be disposed of correctly and recycled where possible. What? You're joking? You're serious? I don't believe you. Fine. Send me the picture then. Send me the picture and I will be the judge of, you're right. In Bowborne? Well, all right then. Let's do it. Okay. Yeah, I'm ready. Yup. Hello and welcome to news at lunchtime. Here in Bowborne, I come with very distressing news today. I've just been informed, hot off the press that in Bowborne we've got litter. I know? I know, I am as shocked as you are, to be honest I'm still digesting it, but it's happened. If you want to know exactly where to go to see proof for yourself, because I had to ask, go down to the waterfront, turn left, go back round chippies, up to the left, on your right. And then there it is. Okay? You heard it here first. Have a good day folks, keep our streets clean. Yeah. Good day. The news have chosen to broadcast this issue. In the role of a news reporter, choose to deliver a message to the people of Bowborne, informing everyone in the village who doesn't already know. Think carefully about how a news reporter might do this. Obviously you saw an example which leads up to the report. Now, feel free to do that as well. That could be the offscreen moment and the onscreen moment as well. Okay? So the moment of realising might be quite important to the delivery of this character. In the role of the news reporter, informed people of what's happened only moments ago in Bowborne. Consider your use of exaggeration, eye contact, volume, and your facial expressions. Okay? If it's comedic, brilliant. If it's not, brilliant, it doesn't matter. Okay? Do what you can to bring this scene to life and push yourself as far as you possibly can. Okay? Click pause to do this task and then click resume when you're ready to move on. So, how do we stop this from happening again? We need someone with significant power and status to discourage people from accepting and normalising this type of behaviour. So how do we instantly show power and status? Is there anything that we need to think about straight away? And I'm thinking specifically of physical and vocal skills. Improvisation. I would like you to improvise the ideas of power and status in both standing and movement. Consider your use of the following. Posture. You need to have good posture or strong posture. Pace. You could probably bring that pace back a bit. You could slow it down at moments. Okay? To show that you don't have to move quickly to assume power. Eye contact. Are they looking frantically around the room? No. They might glance around the room periodically. They might directly aim their eye contact frontward. They might directly aim their eye contact facing forwards. Body language. You've got to think about what you're communicating in the body. And if you want to communicate to someone who is strong-willed, someone who can communicate in a room well, who can show power, then that needs to come from the body. You need to be quite controlled with your movement. Okay? And you need to be quite not confrontational but it's almost two steps down from confrontational. Okay? You can hold your space. Well, and then finally, gestures. Are you going to be frantic? And you don't really know what you're doing with the gestures to try and buy time, or are you going to keep them quite minimal and quite reserved? Okay? Pause the video to experiment with this idea. Feel free to do it as many times as you like. And then click resume once you're finished and ready to move on. So, now we've looked at the sense of power and status from the body. Let's put this to a person. Okay? Because luckily, we have found a figure with power and status. It's the mayor and they are choosing to intervene and address the village so that this never happens again. Hello? Fear not people of Bowborne. We will not let this act of gross stupidity topless. This reminds me of a time where we had a problem with Obadiah. Yeah. You know, biscuit beard man. It was like Hansel and Gretel grownup, except Gretel had enough and packed her bags and left. Poor old chap left so many crumbs, you knew where he'd been. Anyway, We will be putting cameras up over the bridge where the can was located. That's all I have to say on the matter. Thank you. As the mayor, use your understanding of power and status to say a few comments about this littering. Assure the people that this will not happen again and explain how you plan to enforce this. So what rules might you put in place? You're going to put cameras up You're going to have a neighbourhood watch. You're going to have a litter patrol. Yeah. Consider your use of posture, pace, eye, contact, body, language, and gestures like we did before to show this. Pause the video to be able to complete this task. You may choose to rehearse this a couple of times before you're happy with it. And then click resume. When you're ready to move on. More litter has been found. This time there are witnesses to the crime. Unfortunately they are all stating different versions of events. We need to unearth the truth. Well, I was walking down the road. And only, I was minding my own business. You know what it's like. I was minding my own business, and I was going to the bakery or something. I think I was going to the butchers. Either way, I was out walking. And I saw this little kid. He was only small. He was out there drinking this can of Coke. I thought that is a very peculiar looking kid. He's there with his can of Coke outside. Either way, I was fine about it. I thought. Oh, pleasant little chap. Anyway. I'm out there, you know, as I said minding my own business. And I see this little thing. Maybe, I don't know, 15 years old. Anyway. He drops the can. Right? And so I'm thinking to myself, if I had done that in my day, I would have got throttled, they would have strung me for that? So I try getting this kid. Right? I'm like, hey, mate, come back here. And off he runs like that. I thought none of my grandsons would be doing that. I tell you that right now, pleasant little chaps they are decent people. Now we're going to have a look at eye witness. You are Deidre. Deidre is an 84 year old grandmother who claims to have seen the truth. In your interpretation of this character, report what you saw as if being interviewed by the news. Consider your physical and vocal skills to show an 84 year old Deidre. Pause the video to be able to complete this task, ready get creative with the character and click resume when you're ready to move on. Contradictions. Oh, oh. Deidre is a loved member of the community, however somebody else has said that she may have lied in her version of events. David, who is a 40 year old teacher claims something entirely different. Anyway. You obviously want to know my story, I imagine. So I was out walking my dog Pip. And Pip and I love to walk. We were going down to the water side, but on the way you've got to go past the butchers. And I was on my way to the butchers, and I see Deidre in there again. She's in there buying all the sausages. So, I say to her Deidre, don't you think you've got enough sausages there? Like, come on my love. Anyway. She says. No! No! Back off Dave, back off. And she actually got quite violent, again. Right? That's not the first time that's happened, I tell you that. Anyway, different story. I'll save that for another interview. I'm sure you want to hear all about it. But Deidre is in there buying the sausages, again. She goes in there like six times a day, the woman is 84. She doesn't need any more sausages. She's not leaving any for anybody else. The kids, the wives, the man, you know, there's nothing, absolutely nothing left. And Deidre has got them all stacked up in the freezer. Sorry. I get really passionate about that because it's not right. Sonita sort of that. But anyway. She said she went and she was on her way to the butcher's. She forgot to say again. And she was going the opposite way. She didn't see that. Okay? I saw her in the butchers when I was walking down and I get to the bridge and I see it plain as day. Right? It was a middle-aged woman. She was blonde. And she was giving me the eye. She says, you. I say, you what? She was talking to Pip. Anyway. Pleasant young lass. She was saying how mean the dog was. And it was all fine. And it was all good. And as she's walking away, I see her with a bag, and she's got so much stuff in there. Long story short, I saw the Coke can fall out of her bag. It wasn't her fault. The person in question here, the person that needs to be dealt with and sanctioned accordingly is Deidre. Okay? For her offensive shopping. She's got a problem. All right? Someone honestly needs to talk to that woman about her shopping. An I witness again. You are all going to have a go at being the role of David, who again was a 40 year old teacher. Report what you saw as if being interviewed by the news. But the only differences is, it must contradict Deidre's story. Okay? Contradict her version of events. By contradict, I mean, show something that proves she's a liar. Okay? So, opposite kind of details. If Deidre says that she was walking there on the bridge at 12 o'clock, you could say, well, no I was in the bakery at 12 o'clock and you were in there buying eight chocolates a glass. Okay? So you see what I'm saying? You've got to show contradictory details. Consider your physical and vocal skills to show the difference between Deidre and David. Pause the video to be able to have a go at this task. Again, you can rehearse this a couple of times then click resume when you're ready to move on. Now we come to the Blame Game. Some residents in Bowborne have suggested they know exactly who it is that is behind the littering. There have been many theories. However, some are just simply ridiculous. And it brings us to choices. These characters have chosen to stir up the story in order to become involved. Almost as if they have nothing better to do. It doesn't solve the problem, however, it does make for an interesting story. So, in the role of Deidre, I'd like you to make a bold accusation about someone who lives in the village. You think they've been littering. In fact, no, you know they've been littering. Use exaggeration to both make and deliver your story. Consider your physical and vocal skills to show the character of Deidre again. It should feel natural to make this comical. So just go for it. Okay? Don't hold back. Pause the video, rehearse this couple of times and click resume when you're ready to move on. Now, choices can be very dangerous. Sometimes characters can choose to lie. This can have a negative effect on many people not just those they're referring to but those that are directly affected and yourself. Choices are something that are presented to us as individuals every single day. We have to make choices and they can be simple choices. They can be complex, they could be high risk, They could be high importance, low risk, low importance et cetera. Okay, we've reached the end of the lesson. So, well done for all of your hard work today. Let's summarise what we've done. So we've looked at choices through many different characters today. We've explored them in different ways through Visualisation, Conscience Alley, Hot Seating, Improvisation, and Eye Witness. I hope you've found some fun in the activities today and I hope you've been able to be creative with what I've given you. I look forward to seeing you in our next lesson and if you've made any work today, which you are particularly proud of here's what you can do to share it. Don't forget to ask your parent or carer for permission first, but they can tag us sharing your work on Twitter with @OakNational and #LearnwithOak. Until our next lesson, which is a 'Person and a Choice' part two, the final lesson in this unit. Take care and goodbye.

In this lesson we explore the choices people make that are essential to life in positive and negative. We aim to understand life in many perspectives with sensitivity.

A person and a choice (part 2)

﻿Hello, and welcome to drama. This is using drama conventions to explore contemporary issues. Is the final lesson in the unit, "A person and a choice ". This particular lesson contains sensitive themes of child poverty. If these are sensitive topics to you, we recommend checking with an adult before starting this lesson or completing the lesson with a trusted adult nearby. My name's Mr Woods, and if you're ready, let's get started. For today's lesson, you're going to need some space so make sure you've got plenty to work in and if that's all sorted, let's get ready. You've completed your intro quiz, well done. We're going to start today's lesson with a quick recap of the last. We'll move on to understanding the challenge in today's lesson before we look at different viewpoints towards that challenge and then finally, you'll finish with your exit quiz. The key words for today's lesson are waste, and that is a discarded item which is seen as no longer needed. It may not fulfil a purpose, any longer. Challenge, and that is a situation that tests someone's abilities. Perspective, and that is the way someone sees something and responsibility is the duty someone has to be accountable for something. So last lesson, what did we do? We looked at choices and the different forms they took using a range of drama strategies. We looked at visualisation. We looked at conscience ally, hot-seating, improvisation and eye witness. Today, we're focusing on a challenge. So we need to start by understanding, what the challenge is. Let's start by analysing this image. First of all, what is it? Can you identify any items in the image? We see a tree, we see some grass in the background, potentially a pathway in the middle and then we've got this metal cage, which appears to have various, different items of rubbish. So we can see a lot of plastic items there. I see some pump pots, some water bottles, some grow bags, it looks like. I can see a CD, I think, what else can you see? And therefore, what might be going on. What's potentially going on in this image? What are the possible scenarios? And that then brings us to, what are the reasons behind it? Why on earth is this here? Because we've got some discarded items, some which between two elements of natural beauty; grass and a tree, okay? There's lots of colour going on in this image, isn't there? I think we can all agree, there is plastic waste here at the heart of the image, what's going on with it? Clearly there is a sense of littering. What could be the possible reasons behind this; revenge? Where might they go? Where does this particular rubbish go? Anywhere, or is it going to stay here and therefore what damage will it do? Any ideas? In the environment? Because that's where the flooding and the wind is going to take certain items that are lighter and it's going to blow them away into bushes, into water. If it's disposed of in certain ways, by people's choices, it might end up in the landfill. As I say, it could end up in a park, in a bush, in people's drains, before it clogs them up and becomes a problem for them. With the damage that it does, if you think about what plastic is, over time it will start to break down, after many years, and when it does, it spreads toxins into the environment which will essentially disrupt the ecosystem, okay? And some plastics in that mound of rubbish, in that collection of waste, will leach their toxins much quicker than others. So now I'd like you to have a go at improvisation. Find a way, of sharing how the items in the image got there and you could do this through mime, but don't forget that's without speech. You could do this through explaining it as an internal monologue, or you could use both. Oh, this stupid thing's stuck in, stuck on stuff. Great. I don't have another bag. I could just leave it here. Yeah, yup, keep coming, keep coming. Yup, yup, plenty of room, yeah. Wait, wait, no stop, no stop, stop! Well help me pick it up then. You were supposed to avoid it. I didn't know you're going to stop turning the wheel. This is a bit of a mess. I'm not suggesting we carry it home. There's no room in the car, is there? Just leave it. No one saw, leave it! We could look at this from different perspectives. It could be, a waste removal vehicle has crashed. It could be, weeks of littering, sabotage of an award-winning garden and it's all culminated. This could be, the person who's responsible for clearing it up, has collected it all in one place. It was an accident. I didn't. Okay, so it, it wasn't an accident. They deserved it. They're always criticising me, saying that my garden isn't good enough. Well, now their garden is filled with plastic flower pots 'cause that's because they deserve it, okay? They are not good people. Good people don't have bad things happen to them. So they're getting what they deserve. That's just how it is. There's a vast range of different ideas that you could approach here. So pause the video to have a think, have a play, click resume when you're ready to move on. Who do you think, the items in this image might belong to? Any ideas? We're now going to consider this from a different viewpoint. Who is responsible for clearing this up? Who do you think will be tasked with clearing this rubbish? I'd like you to have a go at an internal monologue as if you are a member of the recycling team. You are responsible for cleaning up this particular waste. Even though you did not create it, and it's not your fault that it's here you are paid to remove it, okay? So upon seeing this image, speak your thoughts out loud as you begin to remove particular items and place them into your vehicle. Consider, your use of tone, emphasis, pitch, and pace, okay? When used together, we should have a very interesting perspective here, from a recycling team point of view. This is ridiculous. Have you seen that? I won't be clearing that up. Yeah, there's a job description and then there's that mess. I've never seen a mess quite like that and quite frankly, I don't think that you've got a leg to stand on here. You're asking me, to go clean that up, yet I don't feel comfortable doing it and you're telling me that I get paid to do that, to clean that. Part of me thinks, yes, you're right but also the normal person within me tells me that you are expecting too much, yet again. I can't believe I do this job. There are better jobs out there, than this. There has to be. Pause the video to have a go at this. You may want to rehearse this couple of times and then click resume, when you're ready to move on. How might the person who created this, the litterer, respond to being told to clear it up? If we could put ourselves in their shoes, how might we respond? I'd like you to imagine that you are the person who placed the plastic waste here. You've been instructed by the council to remove it. Now, how do you respond? Speak your thoughts out loud, as you begin to remove items and place them in your own vehicle. Consider your use of tone, emphasis, pitch and pace used together to show your character. Think about how they may differ or be similar, to that of the recycling team, that we tried a moment ago. This is ridiculous! You're an animal. If I can make you pick it up, I would. Just because I don't have a choice right now. If it weren't for the CCTV cameras, I'd have probably gotten away with it. Pause the video to complete the task and then click resume, when you're ready to continue. So with this idea of responsibility, do your characters differ in their responses? How so? And then what similarities are there? Was there a particular tone used? Was there a particular pace, that we could see a connection to? I'm sure there are a whole host of differences and similarities between both people, considering what was asked of them. So personally, how do you view this? Would you say it is waste, ready to be thrown away? Okay, then how could it be viewed? Think about other people's perspectives. People that aren't us, people from different walks of life, different backgrounds, different intentions, different priorities. How may some items here be perceived? Now let's consider some other perspectives. So when we approached this idea of the waste in the image, how would someone who ignores it as an issue, react? What about someone who, hasn't left the house in five years? What about someone, who's from a third world country, and what about someone with an interest in the environment? And then lastly, how would an animal look upon this waste? I would like you to imagine you are someone who is too important or too busy to notice issues like littering and pollution. Excuse me. What are you talking about? I don't think I follow, do explain. Right. Okay. And, this is my problem because? In all honesty, I don't care. I still fail to see how this is my problem. I think, I think we're in different ends here, do you agree? I think this is a waste of everybody's time. Yes, well, let's agree to disagree 'cause you see I am very busy. Obviously, there is a great gap between us there. Yes, and if that's everything, if we're all done here, I've got things to do, places to be and be able to see. So, good day, good luck with wait, what was it again? Exactly, stuff I don't care about, good day. You were being interviewed about your thoughts on the waste in the community. Therefore, what would you say and how would you say it? Think very carefully about your response. You need to pause the video, to interpret this task and explore it in your own way, and then click resume, when you're ready to continue. Littering and pollution are issues for our society. Is that a true statement or a false statement? It's a true statement. Everywhere you look, there is some form of litter, everywhere. I could go outside now and I could find at least three things in my local area and I'm talking, the immediate vicinity of where I live. This is Adan. Adan sifts through waste in the Philippines, collecting plastic and metal. The rough, daily payment is two pounds for a day. A day's work. It is dangerous. To people like Adan, waste is money. It can be sold on to China to be recycled. Now, let's weigh up the positives and the negatives here in this scenario. Some days, there may be enough collected for Adan and his family to eat. Adan might slip and get injured. They might make enough to get something luxurious, and when I say luxurious, something that they may really want as opposed to need. It could be a colourful top as opposed to a regular top. One day Adan might have an accident, which sadly they can't overcome, okay? So there really is a sense of understanding for this scenario and there's a lot that we need to bear in mind. Think about hot-seating now. Write between 10 and 15 open questions that you would like to ask Adan. They should be able to provide you with key information about their choices and feelings on a daily basis. Consider your use of vocal and physical skills when you were writing these down, okay? Think about how you would say it, if you were interviewing them. You need to pause the video to complete this task, click resume when you're ready to move on. Now part two is a little bit different. In your own interpretation of Adan, answer these questions as you think they would, or they might. You need to stay in role and answer with sensitivity. That's key. So if it helps you, use piece of costume or even a prop to help you stay in role. Experiment with this character through your use of physical and vocal skills. The job that they do will inform and inspire both of these skills. So think, that job is quite manual, okay? They didn't look to be very old, all right? So think about being sensitive while still exploring this character. Pause the video for now, have a go, and click resume when you're ready to move on. Now, let's be aware of reality here. Adan is very much a symbol for reality in the world we live in, okay? This is symbolic of real people. The job that they have is important but it does come with a whole host of questions. Now I'd like you to develop your hot-seating into an improvised scene. So in the role of Adan, it is your day off. You are going to take us, and imagine we're a film crew, around your home and your local area to show us what your life is like. One thing that I want you to consider in terms of perspective, is that Adan is proud of what they have, okay? That is key. Experiment with the character through your use of physical and vocal skills and again, sensitivity is key to your interpretation, okay? Don't forget, we are experimenting with forms of reality and we're looking at perspective here, okay? Pause the video, have a go, see how you get on, and then click resume to continue. In all honesty, Adan has a dangerous job. I'm sure that's clear by now. It is easy for most of us to offer advice, having not met them. If Adan was about to go to work today, what might their conscience be telling them? 'Cause there could be a range of things that their conscience could say. Imagine you are Adan's conscience. Consider what the daily challenges are, and try to talk Adan out of going to work, okay? Stay home, something bad could happen. It's up to you to be able to appreciate what those things might be and suggest them as a conscience. Experiment with a sense of urgency through your use of both vocal and physical skills. You're trying to discourage them from leaving the door. Sensitivity again is key to your interpretation. So pause the video for now, have a go, experiment with these ideas, don't forget the sense of perspective and then click resume when you're ready to move on. Drama can be a very useful tool in exploring and appreciating issues in today's world. It can teach us how to have humility, being sensitive, showing both understanding and compassion to other people. The topics shown in these past six lessons are very simple in that conception, okay? They're very basic but they're designed to be a starting point. Something that you can go off and develop in your own way, in your own interpretation and when you understand the situation, it can be easier to see a solution to potential challenges, okay? And we've looked at challenges through Adan, Taylor and Alex. We've reached the point now, where we're at the end of this lesson. So well done for all of your hard work today. We've looked very carefully, at internal monologues, eye witness, hot-seating, conscience alley and improvisation and we used them to understand different perspectives and then build the scenario. You've worked really hard to establish a sense of sensitivity and we've worked on that throughout today's lesson, so well done. As this is the last lesson in the unit, if there's anything you'd like to share, please feel free. Just make sure you ask your parent or carer for permission first and they can share your work on Twitter using at OakNational, or hashtag LearnwithOak. Until next time. I look forward to seeing you on a future unit, take care. Bye-bye.

Unit Overview: Using Drama conventions to explore contemporary issues

Lessons: