Presentation in which I contributed and moderated discussions and additional audience ideas about marketing ideas that were both creative and got great results. Presenting with me were Julie LaRoche, David Henderson, Alexandra van der Zee, Corinna Graham and Mary Jane Dodge.
Presentation in which I contributed and moderated discussions and additional audience ideas about marketing ideas that were both creative and got great results. Presenting with me were Julie LaRoche, David Henderson, Alexandra van der Zee, Corinna Graham and Mary Jane Dodge.
CENTRAL YOUTH THEATRE
Over the years thousands of young people have passed through our youth theatre and taken part in productions,
specialist workshops, summer schools and international projects. The skills they have learned have taken our members
into many different careers, including working professionally in acting, technical theatre, film and television.
A webinar about how small organizations with limited funds can use online video of live dance performance, and be successful in attracting paid subscribers and viewers.
Sarah Wilke, Managing Director, On the Boards
On the Boards has created the first-of-its-kind website offering streaming and download access to high quality full-length videos of contemporary performances. They have faced interesting issues about how to translate the integrity and beauty of a live dance into an online video, and especially about how companies can use technology to increase their revenue and support artists.
During the webinar, Sarah Wilke, Managing Director of On the Boards, will talk about their approach, share hints and discuss the pitfalls that arose in creating it, and tell us what they’ve learned so far about answering these important questions. In advance, she will share examples of their high def multi-camera videos of performances.
The audience in a theatre production has numerous responsibilities. The audience is central to the action in a production, and production circumstances may change the audience's interpretation and critique of the action they are viewing.
CENTRAL YOUTH THEATRE
Over the years thousands of young people have passed through our youth theatre and taken part in productions,
specialist workshops, summer schools and international projects. The skills they have learned have taken our members
into many different careers, including working professionally in acting, technical theatre, film and television.
A webinar about how small organizations with limited funds can use online video of live dance performance, and be successful in attracting paid subscribers and viewers.
Sarah Wilke, Managing Director, On the Boards
On the Boards has created the first-of-its-kind website offering streaming and download access to high quality full-length videos of contemporary performances. They have faced interesting issues about how to translate the integrity and beauty of a live dance into an online video, and especially about how companies can use technology to increase their revenue and support artists.
During the webinar, Sarah Wilke, Managing Director of On the Boards, will talk about their approach, share hints and discuss the pitfalls that arose in creating it, and tell us what they’ve learned so far about answering these important questions. In advance, she will share examples of their high def multi-camera videos of performances.
The audience in a theatre production has numerous responsibilities. The audience is central to the action in a production, and production circumstances may change the audience's interpretation and critique of the action they are viewing.
A guide for GCSE Drama students on how to prepare their 500 words of notes for Section B of the Component 3 written exam. The example features 'As You Like It' by Shakespeare, performed by the RSC in the 2018 season at Stratford upon Avon
GCSE Drama: PPE revision 1 Section B - 9 markGareth Hill
Lesson one in a series aimed at revising the written exam for Y11 GCSE Drama (Edexcel) studying As You Like It for Section B and The Crucible for Section A
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
1. KS4 & KS5
Drama Enrichment
• Accessing Live Theatre
• Thanks to D Hill for putting this together and sharing it with me
• There is loads here to get involved in, and the final slide contains
tasks that Y11 students may wish to do if they are going on to study
Drama in Y12.
2. Watching Live Theatre
Live Theatre Opportunities
• Studying Drama and watching live theatre helps young people to
understand the world around them.
• Drama students explore a range of different themes and are introduced to
a variety of real and imaginary situations sparking their interest in the
world in which they live.
• Through watching live theatre the audience can be transported to that
faraway place and research has proven that this helps to develop our
empathy, tolerance and understanding.
• Theatre Venues have allowed access to some of their performances during
the closure period.
3. Snow Mouse (The Travelling Light Theatre
Company)
• Although this is Children’s
Theatre and aimed at the under-
fours – Drama students can
study Drama’s theatre as a genre
for creating their own work.
• This is worth watching to see the
strategies that the company use.
• https://vimeo.com/204511734
4. The Wind in the Willows Musical
• Julian Fellowes, George Stiles and
Anthony Drewe teamed up to
deliver a merry new version of
Kenneth Grahame’s classic, staged
at the London Palladium in 2017
with Rufus Hound wearing 50
shades of green as Mr Toad.
• It’s available to stream online for
free, with the option to donate to
help provide financial and
emotional support to theatre
workers.
https://www.willowsmusical.com/
5. First Encounter King Lear
• Another lovely RSC show geared
towards introducing theatre to a
younger audience, this time
taking the tragic story of King
Lear and making it more
accessible and fleet. The perfect
way to kick off a love of theatre.
https://www.youtube.com/watc
h?time_continue=18&v=zP_g-
ODJ2SM&feature=emb_title
6. Girls Like That
• London’s Unicorn theatre has a
world-class reputation for theatre
for young audiences and its
production of Evan Placey’s Girls
Like That gripped the roomful of
teenagers I watched it with in
2014. It’s online in full and offers a
raw account of adolescent anxiety,
slut-shaming and self-belief. In-
your-face theatre that stays in your
mind.
• https://www.youtube.com/watch?
v=Cx2KDNusk9E
7. Gecko Theatre
• Physical theatre pros Gecko have
put a wad of their shows on
YouTube for free, including The
Time of Your Life, a collaboration
with the BBC.
• https://www.youtube.com/watc
h?v=5PQpxi7h_rc
8. Royal Shakespeare Company
I, Cinna
• Tim Crouch is a legend at the
best of times, so seeing his solo
show hosted by the RSC is a
great chance to watch theatre at
its best.
https://www.rsc.org.uk/julius-
caesar/education
• You can also watch his
production of I, Malvolio here.
9. Royal Shakespeare on the BBC
• The BBC has announced further programming for
its "Culture in Quarantine" scheme to run while
arts venues are locked down.
• The company will broadcast six of the RSC's recent
productions on BBC Four and BBC iPlayer:
• Macbeth with Christopher Eccleston and Niamh
Cusack
Othello with Hugh Quarshie in the title role and
Lucian Msamati as Iago
Romeo and Juliet with Bally Gill as Romeo and
Karen Fishwick as Juliet
The Merchant of Venice with Makram J Khoury as
Shylock
Much Ado About Nothing with Edward Bennett as
Benedick and Michelle Terry as Beatrice
Hamlet with Paapa Essiedu in the title role
• They will be on iPlayer from 23 April, Shakespeare's
birthday.
10. Theatre on the BBC
• The BBC will also collaborate with
The Space to present new filmed
recordings of Mike
Bartlett's Albion, Emma Rice's Wise
Children and Battersea Arts
Centre's Frankenstein: How to
Make a Monster, as well as
BalletBoyz's new piece Deluxe. On
top of this, Russell T Davies' TV
version of A Midsummer Night's
Dream and Anthony Hopkins' King
Lear will be repeated.
11. National Theatre
• We’re all about experiencing theatre together ❤
• At a time when many theatre fans around the
world aren’t able to visit National Theatre Live
venues or local theatres, we’re excited to introduce
#NationalTheatreAtHome.
• Every Thursday from 7pm UK time, you will be able
to watch some of the best British theatre from the
comfort of your living room, via YouTube for free
for one week.
• Thank you to all of the amazing artists who have
helped make this happen.
It all kicks off on a Thursday at 7pm UK time.
• One Man Two Guv’nors
• Jane Eyre
• Treasure Island
• Twelfth Night
13. Kneehigh Workshops
• #KneehighWindows
• The playlist is
here https://www.youtube.com/playlist… so you
can catch up with all the challenges you’ve missed
so far.
• Let your sitting room be your stage. Your kitchen
be your props store. Unclip your imagination and
join our creative club. In the past weeks we’ve
been inspired and moved by the incredible
creativity of those in isolation all around the world.
From shadow puppet shows in Bologna, to mass
singing in Spain, people are harnessing the power
of creativity and bringing connection, hope, and
moments of joy to people stuck inside, all from
their windows. To support our community in the
coming weeks, we invite you to look through our
Windows to the World. We’ll be setting you some
bonkers and brilliant creative challenges over the
next few weeks. From puppet making to poetry,
one of Kneehigh’s talented team will demonstrate
a creative skill and set you a challenge at 9am on
our YouTube channel. Share your results with
#KneehighWindows and we’ll share our favourites.
14. Frantic Assembly Workshops
• 📢 ANNOUNCING: Frantic Digital 📢
Everything shut down pretty quickly last month as the world isolates
to limit the spread of the corona virus, but we wanted to find a way to
continue to connect with our audience and supporters in these
difficult times, wherever you are!
• FRANTIC DIGITAL is our new digital resource exploring our work and
inviting you from wherever you are to get creative and participate and
share your ideas.
• Each week we will use a Frantic Assembly show as a theme and we'll
aim to present
• * A weekly Workout (to keep us all moving)
* A FRANTIC FLASHBACK with Scott Graham talking through the
creation process of the show of the week, using never before seen
content.
* A weekly CREATIVE TASK for you at home to join in with, respond and
share.
* A heap of resources and content around the show and our methods.
• We're also hoping to add to this interviews, discussions and video
content - do bear with us, we're doing our best.
• https://www.franticassembly.co.uk/frantic-digital
15. TASK - As you reflect upon the performances you have
watched consider the following questions –
1. Research the company and look up any theatre reviews of the performance.
2. Read through the aims of the company and discuss whether in your opinion
the piece achieved their intentions. What influenced the creation of the
piece? Is the work in response to something specific?
3. How do you think the social, cultural, historical and political context of the
piece was communicated to the audience? What there a strong political
message? Was the piece socially specific? Do you think the piece has a
specific target audience?
4. Consider the form, structure and performance style of the piece. Identify
key moments? Was the structure of the piece significant to the message of
the piece? Identify significant aspects of the work that you believe was
effective.
5. Have you been inspired by the work? Identify creative ideas that you might
develop for your own performance work in the future