pz +hyr 4h[lyphsz - pearson · pdf filedoes philip pullman have a role in the script? 23 11:...
TRANSCRIPT
Heinemann Educational PublishersHalley Court, Jordan Hill, Oxford OX2 8EJPart of Harcourt Education
Heinemann is the registered trademark of Harcourt Education Limited
© Harcourt Education, 2005
First published 2005
10 09 08 07 06 0510 9 8 7 6 5 4 3 2 1
British Library Cataloguing in Publication Data is availablefrom the British Library on request.
ISBN 0 435 23339 4
© Harcourt Education Limited 2005. All rights reserved. The material in this publication is copyright.The duplicating masters may be photocopied for one-time use as instructional material in aclassroom by a teacher, but they may not be copied in unlimited quantities, kept on behalf of others,passed on or sold to third parties, or stored for future use in a retrieval system. If you wish to use thematerial in any way other than that specified you must apply in writing to the publishers.
Designed and typeset by Tek-Art
Original illustrations © Harcourt Education Limited 2005
Illustrated by Dave Smith
AcknowledgementsEvery effort has been made to contact copyright holders of material reproduced in this book. Any omissions will be rectified in subsequent printings if notice is given to the publishers.p37, Alethiometer, David Finkling Books; p41 Extract from The Amber Spyglass by Philip Pullman ©Philip Pullman, 2000 the third book in His Dark Materials trilogy, published by Scholastic Children’sBooks. All rights reserved. Reproduced by permission of Scholastic Ltd. piv extract from NATE dramapacks and p47 Glossary, National Association for the teaching of English (NATE) 2005.
The publishers would like to thank the following for their permission to use photographsp26–7 Getty Images/Photodisc; p48–52 Catherine Ashmore.
Contents
Introduction iv
Activities1: Introducing daemons 12a: Setting a context and exploring the two worlds of Oxford 22b: Introducing the play and developing the context 43: Role of Northern Lights: exploring the character of Lord Asriel 64a: Introducing and investigating the play – images of Lyra 84b: Images of Lyra 105a: Sculpting the characters – Describing the Space and motivation 125b: The daemons speak the characters’ thoughts 135c: Exploring motivation in the scene – Action Narration 145d: Placing the text 156: Further exploration of the text – the significance of the knife 167: From personal to universal – exploring the adaptation process 198: Placing the Writer and the Reader 209: Placing the Playwright 2210: Does the writer remain? Does Philip Pullman have a role in the script? 2311: The final scene – Communal Voice to make a single decision 24
ResourcesActivity 1 Animal photographs 26Activity 2a Illustration of Lyra’s Oxford 28
Illustration of Will’s Oxford 29Activity 2b Extract pp100–101 from His Dark Materials 30
Extract pp112–113 from His Dark Materials 31Activity 3 Photograph of the Aurora Borealis 32
Alethiometer words 33Activity 4b Image of the alethiometer 39Activity 6 Illustration of the knife 40Activity 7 Extract from The Amber Spyglass 41Activity 11 Lyra’s lines pp279–280 from His Dark Materials 45
Will’s lines pp279–280 from His Dark Materials 46
Glossary 47Photographs 48
denotes where resources are available in this Scheme of Work.
© Harcourt Education, 2005
Rp00–00
His Dark Materials Scheme of Work
Cutting through to New Worlds: using Drama to develop ananalytical approach to the play, His Dark Materials
IntroductionTeaching and learning in this guideThe activities and approaches outlined below show how, through drama, students come to a greaterunderstanding of the textual features and dramatic structures in His Dark Materials. They explore thewriting process, style and writer’s technique as well as the thematic, content-based issues and ideas.Students develop their analytical skills as well as the capacity to apply this critical thinking to othertexts, ideas or issues.
The active nature of the activities, and the critical thinking developed, demand that studentsexplore and respond to the plays both in relation to their staging and performance, as well as inrelation to the original Pullman novels from which they have been adapted. Exploring and analysingthe adaptation process allows students to examine the decisions, techniques and imagination requiredto move them from prose to script and from page to stage.
In the same way that pupils learn to analyse media productions through the creation of their ownmedia products, their analysis of scripts and performances is developed through the use of roleand drama conventions. Creating, developing and sustaining roles, and the practical explorationof how gesture, sound, language, direction and structure affect the audience’s understanding,encourage pupils to read for meaning. They come to see scripts not as written texts but as plansfor performance where actors, directors and performance elements have an effect on meaning.
NATE Drama Packs introduction
Activities and approachesThe activities comprising the scheme of work described here are included at the back of the studentbook. It is intended that, rather than working independently, students will collaborate in pairs andgroups throughout under the guidance of the teacher. It is important that students are aware of theirown learning process and understand the aims and objectives of each session. The student bookaddresses the students directly. Each activity begins by listing the learning outcomes so that thestudents are conscious of the skills they are trying to develop and can see the ‘bigger picture’. Theteacher should share and discuss this with them and refer to it throughout the work. Each activityconcludes with questions to encourage the students to evaluate their own learning and appraise thedevelopment of their skills. Teachers can choose to approach these questions through classdiscussion, pair or group work or written responses, as appropriate. Recording the teacher’s andstudents’ thinking will help to inform the work and written responses as they develop.
© Harcourt Education, 2005 iv
Helping pupils see the ‘bigger picture’As teachers, we are acutely aware of where we are leading pupils and the intended end result ofour teaching, but how often do we convey these intentions to our pupils? This understanding ofthe ‘bigger picture’ is important for all pupils… It is helpful to be able to see the ‘bigger picture’into which their current learning fits and to be able to locate the current lesson in the scheme ofwork.
Pedagogy and Practice: Teaching and Learning in Secondary Schools,Unit 4 Lesson design for inclusion (DfES, 2004)
Teaching and learning commentaryThe various approaches to texts, from the use of drama conventions to the more formal essay writing,should complement each other so that the students (and the teacher) can make clear links betweenthem. The practical work leads to a more detailed analysis and understanding of the play and theadaptation process. The written work is very much informed by the earlier practical work and analysis.The ‘Role of Northern Lights’, described in Activity 3, can be used throughout the work to record studentideas and teacher/student thinking and responses. This provides a useful prompt and recap tool at thebeginning of a session as well as providing a valuable resource for written responses to the text.
Resources
Supplied
The play of His Dark Materials(Heinemann, 0435 23339 4)
Illustrations of Lyra and Will’s Oxfords
Illustration of a dagger
Photograph of the Aurora Borealis (Northern Lights)
Photographs of the performance at the National Theatre, 2005
Illustration of the alethiometer
Words from the alethiometer
PlanningThe planned scheme of work offered here provides a structure which enables students to build theirlearning and understanding. Using activities or conventions in isolation would not allow for the in-depthapproach to learning that is required. A structured and layered approach, which is carefully planned bythe teacher and understood by the pupils, is needed therefore to ensure progression and thedevelopment of high-level skills. Time, space, resources and equipment will need to be well managed.
When teachers and students become confident with the approach, more detailed planning takesplace where additional scenes, themes and techniques are explored in a similar way. The students arethen able to become more independent in their own learning and, as described at the end of thescheme of work, can plan their own approach to the text, selecting their own scenes and identifyingthe learning outcomes that are required. The scheme of work should therefore be seen as a structuredframework, which pupils can add to, adapt and develop. Although the approaches are related tospecific scenes and aspects of the play, the conventions and techniques can clearly be used in relationto other aspects of the play and/or other texts.
© Harcourt Education, 2005 v
Not supplied
Overhead projector
Appropriate music
Cassette/CD player
Cassettes/CDs of the unabridged audio recording of the trilogy(BBC Audio books; Northern Lights, 1855491923;The Subtle Knife, 1855491931The Amber Spyglass, 185549194X)
Plain paper and pens
Large cardboard clock hands (alethiometer)
Preparing for performanceFrom the initial planning to the final staging and performance of the play, the activities described canbecome an important part of the performance process. Observing actors in the group activities willoften provide more information about their potential as performers and their understanding ofcharacter, techniques and approach than a formal audition.
Using the scheme of work as part of the process from rehearsal and development through toperformance:• develops understanding of drama conventions and staging• enables detailed analysis of the ways in which action, character, atmosphere and tension are
conveyed.
© Harcourt Education, 2005 vi
© H
arco
urt
Educ
atio
n, 2
005
1
Act
ivit
ies
and
appr
oach
es
1A
sk t
he s
tude
nts
to s
it in
a s
emi-c
ircl
e. R
ead
the
extr
act
belo
w fr
om t
he p
lay,
whi
lst
disp
layi
ng t
he t
ext
on a
scr
een
or a
sk t
he s
tude
nts
to r
ead
the
extr
act
from
the
ir b
ooks
.
Line
s 10
1–11
8 fr
om P
art
1, A
ct O
ne, S
cene
4 (
page
s 22
–23)
from
LOR
DA
SRIE
LLe
t’s s
tart
wit
h da
emon
s . .
.
toLO
RD
ASR
IEL
. . .
And
why
, if w
e w
ere
sepa
rate
d, w
ould
we
die?
2A
s a
clas
s, d
iscu
ss w
hat
the
stud
ents
hav
e di
scov
ered
abo
ut d
aem
ons
from
thi
s ex
trac
t.•
Why
mig
ht t
he d
iffer
ent
char
acte
rs h
ave
diff
eren
t an
imal
s as
the
ir d
aem
ons?
• W
hy m
ight
the
se p
arti
cula
r an
imal
s be
cho
sen?
3D
ivid
e th
e st
uden
ts in
to p
airs
and
ask
the
m t
o si
t ba
ck t
o ba
ck. G
ive
one
of t
he s
tude
nts
(A)
a pi
ctur
e of
an a
nim
al, w
itho
ut t
he o
ther
stu
dent
see
ing
it, a
nd t
he o
ther
stu
dent
(B)
a pe
ncil
and
a pi
ece
of p
aper
.
4S
tude
nt A
begi
ns t
o de
scri
be t
he a
nim
al b
y ex
plai
ning
its
char
acte
rist
ics
rath
er t
han
its
appe
aran
ce. F
orex
ampl
e, w
hen
desc
ribi
ng a
bea
r th
ey m
ight
say
, ‘a
stro
ng, i
nqui
siti
ve a
nim
al’.
They
mus
t co
ntin
ue t
ode
velo
p th
eir
desc
ript
ion
wit
hout
des
crib
ing
the
anim
al’s
app
eara
nce,
men
tion
ing
its
nam
e or
sho
win
gth
e pi
ctur
e to
Stu
dent
B. S
tude
nt B
eith
er d
raw
s w
hat
they
thi
nk is
bei
ng d
escr
ibed
or
wri
tes
dow
n th
ean
imal
’s n
ame.
Exp
lain
to
the
stud
ents
tha
t Stu
dent
Bm
ust
not
reve
al t
heir
dra
win
g or
ani
mal
nam
eun
til y
ou a
sk t
hem
to
stop
.
5A
sk t
he s
tude
nts
to s
top
and
shar
e th
eir
thou
ghts
abo
ut t
he a
nim
als/
draw
ings
. If t
hey
have
the
sam
ean
imal
, ask
the
m w
hich
des
crip
tion
s le
d th
em t
o th
is. I
f the
y ha
ve d
iffer
ent
anim
als,
ask
the
m w
hich
char
acte
rist
ics
led
them
to
this
.
6As
k th
e st
uden
ts to
mov
e in
to a
larg
e ci
rcle
, pla
cing
all
the
anim
al p
ictu
res
in th
e ce
ntre
for e
very
one
to s
ee.
7Th
en a
sk t
he s
tude
nts
to c
hoos
e a
daem
on fo
r th
emse
lves
and
exp
lain
the
ir c
hoic
e. Y
ou m
ight
als
o lik
eth
e cl
ass
to d
iscu
ss w
hich
dae
mon
s th
ey w
ould
sel
ect
for
each
oth
er.
Teac
hing
and
lear
ning
out
com
es
By
read
ing
the
text
to th
e st
uden
ts in
the
first
inst
ance
, you
can
mod
el th
e de
liver
y to
them
and
str
ess
part
icul
ar w
ords
and
mea
ning
s. T
he s
tude
nts
can
also
hav
e th
e in
divi
dual
scr
ipts
tofo
llow
the
text
but
it is
hel
pful
to p
roje
ct th
e te
xt o
nto
the
scre
enw
ith th
e O
HP
as th
is a
llow
s th
e pu
pils
to fo
cus
on w
hat i
s be
ing
said
. The
idea
of ‘
wra
ppin
g te
xt a
roun
d’st
uden
ts a
nd m
odel
ling
the
read
ing
proc
ess
is a
feat
ure
of th
e ac
tiviti
es.
Act
ivit
y 1:
Intr
oduc
ing
daem
ons
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p284
–285
Acti
vity
1: L
earn
ing
Out
com
es
Stud
ents
will
:
•id
enti
fy t
he a
utho
r’s u
se o
f the
dae
mon
s in
His
Dar
k M
ater
ials
•de
velo
p an
und
erst
andi
ng o
f sym
bolis
m•
desc
ribe
and
exp
lain
acc
urat
ely
•lis
ten
to, o
rgan
ise
and
pres
ent
idea
s.
If th
e st
uden
ts a
re u
nfam
iliar
wit
h th
e te
rm ‘s
ymbo
lism
’, th
en it
wou
ld b
e us
eful
to
intr
oduc
e it
her
e by
tal
king
abo
ut w
hat
the
anim
als
mig
ht r
epre
sent
sym
bolic
ally
.
You
mig
ht n
eed
to m
odel
the
app
roac
h fir
st b
y sh
owin
g th
est
uden
ts h
ow y
ou w
ould
des
crib
e a
part
icul
ar a
nim
al’s
char
acte
rist
ics.
Keep
thi
s ac
tivi
ty s
hort
. The
aim
is t
o pr
oduc
e a
quic
k sk
etch
,no
t an
acc
urat
e dr
awin
g. T
he p
hysi
cal a
ctiv
ity
of s
ketc
hing
focu
ses
the
stud
ents
mor
e on
wha
t is
bei
ng s
aid
and,
the
refo
re,
help
s th
em t
o de
velo
p th
eir
liste
ning
ski
lls.
Ask
thr
ee o
r fo
ur s
tude
nts
to c
hoos
e a
daem
on fr
om t
hepi
ctur
es, r
emin
ding
the
m o
f the
ext
ract
the
y ha
ve ju
st r
ead.
Prom
pt t
hem
by
enco
urag
ing
them
to
focu
s on
cha
ract
eris
tics
that
cou
ld b
e us
ed s
ymbo
lical
ly.
Rp2
6–7
Act
ivit
ies
and
appr
oach
es
1Si
t th
e st
uden
ts d
own
in fr
ont
of t
he w
hite
scr
een
or p
lain
wal
l and
pro
ject
the
tw
o O
HTs
of t
he O
xfor
dB
otan
ic G
arde
ns. (
Alt
erna
tive
ly, p
hoto
copy
the
imag
es fr
om t
he R
esou
rces
and
han
d th
em o
ut t
o th
ecl
ass)
. One
pic
ture
dep
icts
Lyr
a’s
Oxf
ord,
wit
h a
sign
post
giv
ing
dire
ctio
ns t
o Jo
rdan
Col
lege
, whi
le t
heot
her
depi
cts
Will
’s O
xfor
d. It
is c
lear
tha
t bo
th p
ictu
res
are
of t
he s
ame
plac
e bu
t th
at t
here
are
som
esu
btle
diff
eren
ces.
2A
sk t
he s
tude
nts
to id
enti
fy w
hat
they
see
in t
he t
wo
pict
ures
. Onc
e th
ey h
ave
desc
ribe
d w
hat
they
actu
ally
see
, ask
the
m t
o in
terp
ret
the
pict
ure.
• W
hat
sort
of p
lace
is it
?•
Wha
t ar
e th
e di
ffer
ence
s be
twee
n th
e tw
o pi
ctur
es?
3D
ivid
e th
e st
uden
ts in
to p
airs
and
exp
lain
tha
t st
uden
ts w
ill b
e in
volv
ed in
a G
uide
d To
ursi
tuat
ion.
A
sk t
hem
to
deci
de w
hich
stu
dent
is A
and
whi
ch is
B.
4Fu
rthe
r di
vide
the
cla
ss in
to h
alve
s. S
tude
nt A
in o
ne h
alf o
f the
cla
ss s
houl
d be
allo
cate
d w
ith
the
pict
ure
of L
yra’
s O
xfor
d, a
nd S
tude
nt A
in t
he o
ther
hal
f, th
e pi
ctur
e of
Will
’s O
xfor
d. T
his
is t
heen
viro
nmen
t th
at t
hey
will
exp
lore
wit
h th
eir
part
ner
on t
he G
uide
d To
ur.
5B
efor
e th
ey b
egin
the
Gui
ded
Tour
, pro
vide
a fe
w s
econ
ds o
f nar
rati
on a
bout
the
pla
ces,
usi
ngin
form
atio
n th
e st
uden
ts g
ave
you
whe
n lo
okin
g at
the
pic
ture
s. S
tude
nt A
s no
w im
agin
e th
at t
hey
know
the
plac
e w
ell a
nd, u
sing
the
det
ails
in t
he p
ictu
re, t
ake
thei
r pa
rtne
r (S
tude
nt B
)on
a ‘G
uide
d To
ur’,
desc
ribi
ng a
nd c
omm
enti
ng o
n th
e th
ings
aro
und
them
. Stu
dent
Bs
keep
the
ir e
yes
clos
ed a
nd a
llow
them
selv
es t
o be
gui
ded
arou
nd, l
iste
ning
to
the
desc
ript
ion
and
aski
ng a
ppro
pria
te q
uest
ions
whe
rene
cess
ary.
6A
s th
e pa
irs
wal
k ar
ound
, pla
y ap
prop
riat
e m
usic
to
deve
lop
the
atm
osph
ere.
© H
arco
urt
Educ
atio
n, 2
005
2
Teac
hing
and
lear
ning
out
com
es
It i
s im
port
ant
that
stu
dent
s an
alys
e th
e de
tails
of
the
pict
ure
firs
t. H
old
them
bac
k fr
om i
nter
pret
atio
n un
til
they
hav
ean
alys
ed t
he p
ictu
re,
then
allo
w t
hem
to
mov
e to
a n
arra
tive
-dr
iven
app
roac
h.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p286
–287
Act
ivit
y 2a
: Set
ting
a c
onte
xt a
nd e
xplo
ring
the
two
wor
lds
of O
xfor
d
Acti
vity
2a:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•an
alys
e pi
ctur
es•
inve
stig
ate,
in r
ole,
the
con
text
and
set
ting
of t
he p
lay
•de
scri
be a
nd e
xpla
in a
ccur
atel
y•
liste
n to
and
sel
ect
info
rmat
ion.
As
the
pupi
ls le
ad e
ach
othe
r, th
ey e
xplo
re t
he e
nvir
onm
ent
inth
eir
imag
inat
ion
and
begi
n to
dev
elop
the
ir r
oles
. At
the
sam
eti
me
they
exp
lore
the
spa
ce o
f the
cla
ssro
om a
nd t
heir
colla
bora
tive
rel
atio
nshi
p.
An
unde
rsta
ndin
g of
the
con
text
set
ting
pro
cess
and
the
use
of
mus
ic is
bei
ng d
evel
oped
whi
ch c
an t
hen
be t
rans
ferr
ed t
o an
anal
ysis
of t
he s
tagi
ng o
f the
pla
y.
Rp2
8–9
Act
ivit
ies
and
appr
oach
es
7A
fter
a c
oupl
e of
min
utes
ask
the
stu
dent
s to
‘Fre
eze’
. The
y sh
ould
sto
p qu
ickl
y an
d ke
ep v
ery
still
and
sile
nt in
the
ir p
osit
ions
.
8A
fter
a fe
w m
inut
es, s
top
the
acti
vity
and
ask
the
stu
dent
s to
exp
lain
wha
t th
ey w
ere
‘sho
wn’
as t
hey
mad
e th
eir
way
thr
ough
the
gar
den.
Ask
for
feed
back
from
a v
arie
ty o
f pai
rs, c
over
ing
both
pic
ture
s, s
oth
at a
des
crip
tion
of b
oth
wor
lds
is fe
d ba
ck t
o yo
u at
the
sam
e ti
me.
In A
ctiv
itie
s 1
and
2a t
he s
tude
nts
are
imm
edia
tely
invo
lved
and
wor
king
tog
ethe
r. Th
e im
port
ance
of
imag
e an
d m
usic
is in
trod
uced
and
the
focu
s on
the
ani
mal
s/da
emon
s al
low
s fo
r li
nks
wit
h th
e ot
her
dram
a ac
tivi
ties
late
r on
.
© H
arco
urt
Educ
atio
n, 2
005
3
Teac
hing
and
lear
ning
out
com
es
You
mig
ht w
ant
to g
ive
spec
ific
prom
pts
here
, by
aski
ng w
hat
soun
ds t
hey
hear
d or
wha
t sm
ells
the
y re
mem
ber,
as w
ell a
sge
ttin
g th
em t
o de
scri
be s
peci
fic a
spec
ts o
f the
land
scap
e.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p286
–287
Act
ivit
ies
and
appr
oach
es
1Se
t th
e st
uden
ts o
ff o
n th
e G
uide
d To
ur a
gain
, thi
s ti
me
reve
rsin
g th
eir
role
s so
tha
t th
e B
s im
agin
e th
atth
ey k
now
the
pla
ce a
nd t
he A
s ar
e se
eing
it fo
r th
e fir
st t
ime.
2B
efor
e th
e st
uden
ts b
egin
, nar
rate
info
rmat
ion
abou
t th
e la
ndsc
ape
and
thei
r ‘T
ours
’, us
ing
info
rmat
ion
and
idea
s fr
om t
he fe
edba
ck y
ou h
ave
just
rec
eive
d in
Act
ivit
y 2a
.
3Te
ll th
e st
uden
ts t
hat
whe
n th
ey h
ear
you
say
the
wor
d Fr
eeze
, the
y m
ust
stop
exa
ctly
whe
re t
hey
are,
stay
com
plet
ely
still
, and
list
en t
o w
hat
is s
aid.
4W
hile
the
y co
ntin
ue t
he G
uide
d To
ur, p
lay
mus
ic.
5Sh
out
‘Fre
eze’
and,
whi
le t
he s
tude
nts
rem
ain
com
plet
ely
still
and
qui
et, r
ead
the
follo
win
g tw
o ex
trac
tsfr
om t
he p
lay.
Extr
act
1: li
nes
332–
343
from
Par
t 1,
Act
Tw
o, S
cene
3 (
page
s 10
0–10
1)
LOR
DA
SRIE
LTh
ere
are
as m
any
wor
lds
as t
here
are
pos
sibi
litie
s. I
toss
a c
oin.
It c
omes
dow
n he
ads.
But
in a
noth
er w
orld
, it
com
es d
own
tails
. Eve
ry t
ime
that
a c
hoic
e is
mad
e, o
r a
chan
ceis
mis
sed,
or
a fo
rk in
a r
oad
is t
aken
… a
wor
ld is
bor
n fo
r ea
ch o
f the
oth
er t
hing
s th
atm
ight
have
hap
pene
d. A
nd in
tho
se w
orld
s th
ey d
o. S
omew
here
out
the
re, i
n on
e of
thos
e w
orld
s, is
the
ori
gin
of d
eath
, the
sin
, the
mis
ery,
the
des
truc
tive
ness
in t
he w
orld
.I’m
goi
ng t
o de
stro
y it
.
© H
arco
urt
Educ
atio
n, 2
005
4
Teac
hing
and
lear
ning
out
com
es
By
usin
g na
rrat
ion
you
are
able
to
brin
g th
eir
idea
s to
geth
eran
d m
ove
the
stud
ents
tow
ards
the
‘rea
l’co
ntex
t of
the
pla
y.
The
mus
ic h
elps
to
deve
lop
the
cont
ext
furt
her
and
allo
ws
the
stud
ents
to
be c
ompl
etel
y fo
cuse
d on
the
Gui
ded
Tour
.W
hile
you
are
rea
ding
the
ext
ract
s, it
wou
ld b
e he
lpfu
l to
proj
ect
the
text
ont
o a
scre
en. T
his
allo
ws
the
pupi
ls t
o fo
cus
on w
hat
is b
eing
sai
d.
Whi
le y
ou a
re r
eadi
ng t
he e
xtra
cts,
it is
hel
pful
to
proj
ect
the
text
ont
o a
scre
en. T
his
allo
ws
the
pupi
ls t
o fo
cus
on w
hat
isbe
ing
said
.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p290
–291
Act
ivit
y 2b
: Int
rodu
cing
the
pla
y an
dde
velo
ping
the
con
text
Acti
vity
2b:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•fu
rthe
r in
vest
igat
e th
e co
ntex
t an
d se
ttin
g of
the
pla
y•
desc
ribe
and
exp
lain
acc
urat
ely
•lis
ten
to a
nd t
hink
car
eful
ly a
bout
the
tex
t.
R p30
Act
ivit
ies
and
appr
oach
es
Extr
act
2: li
nes
53–6
3, P
art
1, A
ct T
wo,
sce
ne 6
(pa
ges
112–
113)
SER
AFI
NA
All
acro
ss t
he N
orth
, rag
gedy
doo
rs a
nd w
indo
ws
have
ope
ned
that
wer
e ne
ver
ther
ebe
fore
. Dus
t is
falli
ng t
hrou
gh t
hem
into
a v
oid,
an
abse
nce,
and
so
it w
ill g
o on
, wor
sean
d w
orse
, till
not
hing
is le
ft, n
ot a
bre
ath,
not
a g
asp,
unl
ess
the
child
of t
he p
roph
ecy,
true
to
her
secr
et n
ame,
bri
ngs
not
the
defe
at o
f Dus
t, n
ot t
he lo
ss o
f the
love
liest
gift
of
the
star
s, b
ut it
s jo
yful
ret
urn.
Tha
t’s w
hy w
e m
ust
guar
d an
d pr
otec
t he
r, ti
llth
epr
ophe
cy h
as r
un it
s co
urse
.
By
sett
ing
the
cont
ext
thro
ugh
the
use
of p
ictu
res
and
defi
ning
an
envi
ronm
ent,
the
stu
dent
s w
ill h
ave
com
e to
a g
reat
er u
nder
stan
ding
of t
he p
layw
righ
t’s/d
irec
tor’s
cho
ice
of im
age
and
soun
d du
ring
the
play
.
© H
arco
urt
Educ
atio
n, 2
005
5
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p290
–291
R p31
Act
ivit
ies
and
appr
oach
es
1G
athe
r th
e st
uden
ts t
oget
her
in a
sem
i-cir
cle.
As
a cl
ass,
rea
d th
e fo
llow
ing
thre
e ex
trac
ts fr
om t
he p
lay.
The
text
cou
ld b
e fo
llow
ed in
the
stu
dent
boo
k or
dis
play
ed o
n a
scre
en.
Extr
act
1: li
nes
112–
136
from
Par
t 1,
Act
One
, Sce
ne 2
(pa
ges
13–1
4)
from
FRA
PAV
ELW
hy w
as I
not
info
rmed
of L
ord
Asr
iel’s
vis
it?
toM
AST
ERI’l
l do
as y
ou s
ay. B
ut u
nder
pro
test
.
Extr
act
2: li
nes
15–1
9 fr
om P
art
1, A
ct O
ne, S
cene
3 (
page
15)
from
HO
PCR
AFT
Gen
tlem
en, g
entl
emen
! Wha
t’s g
oing
on?
to1S
TSC
HO
LAR
Wel
l, so
me
of u
s do
.
Extr
act
3: li
nes
113–
225
from
Par
t 1,
Act
One
, Sce
ne 4
(pa
ges
23–2
7)
from
LOR
DA
SRIE
LYe
t a
child
’s d
aem
on c
an c
hang
e w
hene
ver
it w
ants
to.
toPR
OW
hat
did
you
say?
Wha
t di
d yo
u sa
y? (
etc.
)
2Pr
ojec
t a
larg
e im
age
of A
uror
a B
orea
lis (
the
Nor
ther
n Li
ghts
) on
to t
he w
all o
r ha
nd o
ut c
opie
s of
the
imag
e. P
lace
d in
the
cen
tre
of t
he c
ircl
e fo
r ev
eryo
ne t
o se
e, a
re a
ll th
e w
ords
whi
ch s
urro
und
the
alet
hiom
eter
(e.
g. p
erse
vera
nce,
fear
, nat
ural
wis
dom
, hon
esty
, pow
er).
The
se a
re p
rint
ed o
n pi
eces
of
card
in t
he s
hape
of a
kni
fe.
3U
se t
he R
ole
on t
he W
allc
onve
ntio
n to
exp
lore
the
cha
ract
er o
f Lor
d A
srie
l. Th
is is
don
e by
ask
ing
the
stud
ents
to
iden
tify
from
eac
h ex
trac
t w
hat
they
kno
w a
bout
him
. The
n as
k th
e st
uden
ts t
o ch
oose
wor
ds w
hich
the
y fe
el d
escr
ibe
Lord
Asr
iel a
nd p
lace
the
m o
nto
the
imag
e of
the
Nor
ther
n Li
ghts
. The
ysh
ould
thi
nk c
aref
ully
abo
ut w
here
the
y m
ight
pla
ce t
he w
ords
bea
ring
in m
ind
the
colo
ur o
f the
ligh
tsbe
neat
h it
.
© H
arco
urt
Educ
atio
n, 2
005
6
Teac
hing
and
lear
ning
out
com
es
If yo
u as
k st
uden
ts t
o re
ad t
he e
xtra
cts
wit
h yo
u, it
isim
port
ant
that
you
cho
ose
the
appr
opri
ate
stud
ents
so
that
mod
ellin
g of
the
rea
ding
con
tinu
es a
nd t
he m
eani
ng o
f the
extr
acts
is n
ot lo
st in
any
way
.
By
enco
urag
ing
the
stud
ents
to id
entif
y sp
ecifi
c w
ords
, you
are
not o
nly
intr
oduc
ing
the
idea
of t
he a
leth
iom
eter
but
als
o as
king
them
to th
ink
abou
t par
ticul
ar w
ords
and
the
effe
ct th
ey c
anha
ve. Y
ou m
ay li
ke to
intr
oduc
e th
e id
ea o
f the
ale
thio
met
erbe
fore
beg
inni
ng th
is a
ctiv
ity b
y pr
ovid
ing
the
stud
ents
with
mor
ede
taile
d in
form
atio
n fr
om th
e te
xt. A
ltern
ativ
ely,
you
may
sim
ply
intr
oduc
e it
in th
e w
ay d
escr
ibed
and
pro
vide
mor
e de
tail
late
r.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p291
–293
Act
ivit
y 3:
Rol
e of
Nor
ther
n Li
ghts
:ex
plor
ing
the
char
acte
r of
Lor
d A
srie
l
Acti
vity
3: L
earn
ing
Out
com
es
Stud
ents
will
:
•in
vest
igat
e th
e ch
arac
ter
of L
ord
Asr
iel
•se
lect
app
ropr
iate
info
rmat
ion
•na
rrow
dow
n, o
rgan
ise
and
pres
ent
idea
s.
R p32 R
p33–
8
Act
ivit
ies
and
appr
oach
es
4Re
turn
to
this
Rol
e on
the
Nor
ther
n Li
ghts
thr
ough
out
the
sche
me
of w
ork
by a
ddin
g w
ords
and
disc
ussi
ng p
revi
ous
choi
ces
at d
iffer
ent
stag
es.
5A
sk t
he c
lass
to
deci
de, f
rom
the
info
rmat
ion
gain
ed s
o fa
r, w
hat
daem
on L
ord
Asr
iel w
ould
hav
e if
itw
ere
not
Stel
mar
ia (
a sn
ow le
opar
d). T
he s
tude
nts
can
then
sel
ect
pict
ures
of t
he a
nim
als
(fro
m t
heco
llect
ion
in A
ctiv
ity
1) a
nd p
lace
the
m o
n th
e N
orth
ern
Ligh
ts im
age,
just
ifyin
g th
eir
choi
ce fr
om t
he t
ext
and
prov
idin
g a
quot
atio
n fr
om t
he t
ext
extr
acts
.
© H
arco
urt
Educ
atio
n, 2
005
7
Teac
hing
and
lear
ning
out
com
es
This
Rol
e on
the
Nor
ther
n Li
ghts
will
be
refe
rred
to
thro
ugho
utth
e w
ork
by a
ddin
g w
ords
and
dis
cuss
ing
prev
ious
cho
ices
at
diff
eren
t st
ages
in t
he p
lay.
Res
pons
es, i
deas
and
com
men
tsab
out
the
play
as
a w
hole
, can
als
o be
rec
orde
d on
the
imag
e,in
the
sam
e w
ay t
hat
is d
escr
ibed
abo
ve. T
his
prov
ides
a u
sefu
lpr
ompt
and
rec
ap t
ool a
t th
e be
ginn
ing
of e
ach
sess
ion
and
ava
luab
le r
esou
rce
for
wri
tten
res
pons
es t
o th
e te
xt.
Choo
sing
Lor
d A
srie
l’s d
aem
on b
ring
s th
e ac
tivi
ties
tog
ethe
ran
d en
cour
ages
the
stu
dent
s to
see
the
link
s th
at e
xist
.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p291
–293
Act
ivit
ies
and
appr
oach
es
1D
ivid
e th
e cl
ass
into
sm
all g
roup
s of
bet
wee
n th
ree
to fi
ve s
tude
nts
and
give
eac
h gr
oup
an e
xtra
ct fr
omth
e pl
ay (
see
extr
acts
1–7
bel
ow).
Extr
act
1: li
nes
176–
233
from
Par
t 1,
Act
One
, Sce
ne 5
(pa
ges
34–3
6)
from
MA
STER
One
mom
ent,
Lyr
a.
toLY
RA
We’
re g
onna
res
cue
him
. I s
wea
r it
.
Extr
act
2: li
nes
1–53
from
Par
t 1,
Act
One
, Sce
ne 7
(pa
ges
39–4
2)
from
LYR
AI e
n’t
neve
r be
en p
rett
y be
fore
.
toM
RS
COU
LTER
One
can
be
bett
er k
now
n th
an o
ne is
aw
are
of.
Extr
act
3: li
nes
15–4
9 fr
om P
art
1, A
ct O
ne, S
cene
8 (
page
s 47
–48)
from
FRA
PAV
ELLy
ra h
as r
un a
way
.
toFR
APA
VEL
Wai
t in
you
r st
udy.
You
will
sho
rtly
rec
eive
a v
isit
.
Extr
act
4: li
nes
138–
216
from
Par
t 1,
Act
One
, Sce
ne 1
1 (p
ages
78–
81)
from
DR
SAR
GEN
TG
entl
emen
, wha
t ve
ry g
ood
tim
ing.
toM
RS
COU
LTER
He’
s Lo
rd A
srie
l.
Extr
act
5: li
nes
1–63
from
Par
t 1,
Act
Tw
o, S
cene
2 (
page
s 86
–88)
from
SER
AFI
NA
Are
the
chi
ldre
n as
leep
dow
n th
ere?
toM
RS
COU
LTER
But
if s
he a
cts
in ig
nora
nce,
out
of h
er o
wn
true
impu
lse
then
she
. . .
© H
arco
urt
Educ
atio
n, 2
005
8
Teac
hing
and
lear
ning
out
com
es
By
expl
orin
g th
ese
extr
acts
, the
stu
dent
s be
gin
to s
elec
t an
dso
rt t
he r
elev
ant
info
rmat
ion.
The
y al
so b
egin
to
take
a r
eal
inte
rest
in t
he m
ater
ial a
nd w
ant
to k
now
mor
e. B
y A
ctio
nRe
adin
g th
e ex
trac
ts, t
hey
have
to
cons
ider
som
e of
the
init
ial
issu
es t
hat
dire
ctor
s an
d ac
tors
nee
d to
add
ress
.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p293
–296
Act
ivit
y 4a
: Int
rodu
cing
and
inve
stig
atin
gth
e pl
ay –
imag
es o
f Lyr
a
Acti
vity
4a:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•de
velo
p th
e us
e of
spa
ce, f
acia
l exp
ress
ion,
ges
ture
an
d to
ne•
inve
stig
ate
and
anal
yse
the
scri
pt•
ques
tion
cri
tica
lly t
he im
ages
of L
yra.
Act
ivit
ies
and
appr
oach
es
Extr
act
6: li
nes
46–8
6 fr
om P
art
1, A
ct T
wo,
Sce
ne 3
(pa
ges
103–
105)
from
LOR
DB
OR
EAL
No,
you
may
not
.
toFR
APA
VEL
Seiz
e he
r!
Extr
act
7: li
nes
68–1
21 fr
om P
art
1, A
ct T
wo,
Sce
ne 9
(pa
ges
129–
131)
from
WIL
LI’m
look
ing
for
my
fath
er.
toW
ILL
I’ll m
eet
you
back
her
e.
2A
sk t
he s
tude
nts
to p
rodu
ce a
sho
rt D
igit
al V
ideo
Cli
p of
thi
s ex
trac
t.Th
ey b
egin
wit
h a
Sti
ll P
ictu
refo
llow
ed b
y an
Act
ion
Rea
ding
of t
he s
crip
t an
d th
en F
reez
eat
the
end
ina
final
Sti
ll Pi
ctur
e. T
o do
thi
s th
e st
uden
ts w
ill n
eed
to in
vest
igat
e th
e sc
ript
and
sea
rch
for
clue
s ab
out
the
char
acte
rs, s
tory
and
set
ting
.
3Pr
oduc
e th
is a
s R
olli
ng T
heat
re. Y
ou m
ight
wan
t to
use
mus
ic t
o gu
ide
the
stud
ents
.a
All
the
grou
ps fr
eeze
in t
heir
init
ial s
till
pict
ure.
bTh
en t
he fi
rst
grou
p un
free
zes,
add
s th
e ac
tion
and
the
n fr
eeze
s ag
ain.
Whe
n th
ey fr
eeze
, the
nex
tgr
oup
know
s th
at t
hey
can
begi
n.c
This
con
tinu
es w
ith
all t
he g
roup
s pr
oduc
ing
thei
r D
igit
al V
ideo
Clip
unt
il al
l gro
ups
have
sho
wn
thei
rpi
eces
.
© H
arco
urt
Educ
atio
n, 2
005
9
Teac
hing
and
lear
ning
out
com
es
You
will
nee
d to
exp
lain
the
pro
cess
to
the
stud
ents
,em
phas
isin
g th
e ne
ed fo
r th
em t
o re
mai
n in
the
ir fr
ozen
posi
tion
s. T
hey
can
rela
x ju
st e
noug
h to
be
able
to
look
at
and
liste
n to
the
oth
er g
roup
s, b
ut t
hey
mus
t no
t go
and
sit
dow
nas
all
grou
ps n
eed
to fr
eeze
in t
he fi
nal f
roze
n im
age
at t
heen
d.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p293
–296
Act
ivit
ies
and
appr
oach
es
1W
orki
ng in
the
sam
e gr
oups
as
for A
ctiv
ity 4
a, a
sk th
e gr
oups
to u
se th
e ex
trac
t the
y w
ere
give
n to
pre
sent
aSt
ill P
ictu
re, t
hat d
escr
ibes
how
Lyr
a is
see
n at
this
sta
ge in
the
play
. The
y ca
n ei
ther
pre
sent
an
imag
e of
Lyr
aas
see
n by
the
othe
r cha
ract
ers,
or o
ne th
at s
ugge
sts
the
audi
ence
’s v
iew
of L
yra
as s
he p
rese
nts
hers
elf.
2O
nce
they
hav
e fin
alis
ed t
heir
Sti
ll Pi
ctur
e, e
xpla
in t
hat
they
nee
d to
cho
ose
a w
ord
from
the
alet
hiom
eter
in A
ctiv
ity
3 to
des
crib
e th
eir
imag
e. T
he s
tude
nts
then
tak
e th
e w
ord
wri
tten
on
a pi
ece
ofca
rd a
nd p
lace
it in
fron
t of
the
ir S
till
Pict
ure.
3D
ivid
e th
e cl
ass
in h
alf.
Ask
hal
f of t
he c
lass
to
free
ze in
the
ir c
hose
n im
ages
, whi
le t
he o
ther
hal
f ‘re
ad’
the
imag
es a
nd t
he w
ords
. Whe
n th
ey h
ave
done
thi
s, t
he s
tude
nts
shou
ld t
hen
swap
ove
r so
tha
t th
eot
her
half
of t
he c
lass
free
ze w
hile
the
res
t ex
plor
e th
e im
ages
.
4A
sk t
he s
tude
nts
to t
ake
up t
heir
pos
itio
ns in
the
ir g
roup
s ag
ain
and
to fo
rm a
larg
e ci
rcle
aro
und
the
room
wit
h yo
u in
the
mid
dle.
Get
the
stu
dent
s to
free
ze in
the
ir S
till
Pict
ures
sho
win
g th
eir
imag
e of
Lyr
a.Pr
ojec
t th
e im
age
of t
he a
leth
iom
eter
ont
o a
scre
en (
or p
ut a
n im
age
of it
in t
he m
iddl
e of
the
cir
cle)
.Th
en p
lace
a la
rge
arro
w s
hape
, lik
e a
cloc
k ha
nd, p
oint
ing
outw
ards
from
the
cen
tre
of t
he c
ircl
e.
5A
sk a
gro
up o
f stu
dent
s to
dec
ide
whe
re t
he a
rrow
wou
ld p
oint
in t
erm
s of
the
‘tru
est’
imag
e of
Lyr
a.W
hich
imag
e w
ould
the
y sa
y pr
esen
ts t
he ‘t
ruth
’abo
ut h
er?
aW
hen
a su
gges
tion
is m
ade,
ask
ano
ther
gro
up t
o m
ove
the
arro
w a
nd ju
stify
the
ir c
hoic
e.
© H
arco
urt
Educ
atio
n, 2
005
10
Teac
hing
and
lear
ning
out
com
es
Coun
t th
e st
uden
ts d
own
(5 …
1)
into
the
ir S
till
Imag
es a
nd a
skth
em t
o fr
eeze
. You
mig
ht t
hen
sugg
est
that
the
y ‘t
wea
k’th
eim
ages
furt
her
to e
mph
asis
e th
e te
nsio
n.
The
stud
ents
hav
e to
thi
nk v
isua
lly a
bout
an
impo
rtan
tch
arac
ter
and
the
diff
eren
t w
ays
that
she
can
be
repr
esen
ted
inth
e pl
ay. T
hrou
gh t
he u
se o
f que
stio
ning
, you
can
pro
mpt
the
stud
ents
to
pres
ent
diff
eren
t in
terp
reta
tion
s.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p296
–297
Act
ivit
y 4b
: Im
ages
of L
yra
Acti
vity
4b:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•de
velo
p th
e us
e of
spa
ce, f
acia
l exp
ress
ion
and
gest
ure
•in
vest
igat
e an
d an
alys
e th
e sc
ript
, sel
ecti
ng r
elev
ant
info
rmat
ion,
and
exp
lore
the
use
of s
tilln
ess
and
sile
nce
in a
pro
duct
ion
of t
he p
lay
•ex
plor
e a
spec
ific
char
acte
r an
d co
nsid
er t
he a
ctor
’s a
ndpl
ayw
righ
t’s r
espo
nse
to t
he c
ompl
exit
y of
the
rol
e.
Rp3
3–8
R p39
Act
ivit
ies
and
appr
oach
es
bFu
rthe
r ar
row
s (a
s w
ith
the
alet
hiom
eter
in t
he s
tory
) sh
ould
the
n be
add
ed t
o th
e ci
rcle
.c
Ask
the
oth
er s
tude
nts
whe
ther
the
y ag
ree
wit
h th
is p
osit
ioni
ng a
nd g
et t
hem
to
mov
e th
e ar
row
s to
whe
re t
hey
feel
the
y ar
e be
st p
lace
d. T
he t
hree
arr
ows
help
to
expl
ore
the
diff
eren
t as
pect
s of
Lyr
a’s
pers
onal
ity
that
mak
e up
her
cha
ract
er.
6A
dis
cuss
ion
can
then
tak
e pl
ace
abou
t th
e m
ulti
ple
aspe
cts
of p
eopl
e’s
char
acte
rs a
nd t
he c
ompl
exit
y of
deve
lopi
ng t
hat
in a
pla
y or
nov
el.
© H
arco
urt
Educ
atio
n, 2
005
11
Teac
hing
and
lear
ning
out
com
es
By
disc
ussi
ng t
he S
till
Pict
ures
, and
the
diff
eren
ces
betw
een
them
, the
stu
dent
s ha
ve t
o th
ink
care
fully
abo
ut t
he t
ext
extr
acts
and
how
Lyr
a w
ould
be
seen
on
stag
e. T
hey
need
to
sele
ct e
vide
nce
to s
uppo
rt t
heir
idea
s. T
hey
have
to
thin
kab
out
the
play
wri
ght’s
aim
s an
d th
e dr
amat
ic t
echn
ique
sre
quir
ed o
n st
age.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p296
–297
Act
ivit
ies
and
appr
oach
es
1G
athe
r th
e st
uden
ts in
to a
cir
cle
and
read
line
s 1–
86 fr
om P
art
2, A
ct O
ne, S
cene
4 (
page
s 15
6–16
0)
from
LYR
AW
hat
do y
ou t
hink
?
toLO
RD
BO
REA
LO
h, n
o. A
ltho
ugh
I’m s
ure
she’
ll sc
ream
and
sho
ut a
nd c
ause
an
appa
lling
sce
ne.
2Ch
oose
four
stu
dent
s to
tak
e th
e ro
les
of L
ord
Bor
eal,
Mrs
Cou
lter
, Lyr
a an
d W
ill.
3A
sk t
he s
tude
nts
to S
culp
t th
ese
four
cha
ract
ers
into
the
sce
ne a
t th
is p
oint
. Em
phas
ise
that
the
y w
illne
ed t
o co
nsid
er t
heir
froz
en p
osit
ions
, fac
ial e
xpre
ssio
ns a
nd g
estu
res.
Enc
oura
ge t
he o
ther
stu
dent
s to
adju
st t
he p
osit
ions
unt
il a
final
scu
lptu
re is
agr
eed.
4Th
e ch
arac
ters
rem
ain
froz
en. Y
ou s
houl
d st
and
betw
een
two
of t
he c
hara
cter
s an
d as
k th
e ot
her
stud
ents
to
try
to D
escr
ibe
the
Spac
ebe
twee
n th
em. S
ugge
st o
ptio
ns, e
.g. t
he s
pace
of u
nhap
pine
ss,
igno
ranc
e, a
nger
. Usi
ng t
he a
leth
iom
eter
, ask
the
stu
dent
s to
iden
tify
a w
ord
that
exp
lain
s w
hat
mot
ivat
es a
spe
cific
cha
ract
er a
t th
is p
oint
in t
he p
lay.
5Se
lect
thr
ee fu
rthe
r st
uden
ts t
o ta
ke o
n th
e ro
les
of t
he t
hree
dae
mon
s. A
sk t
he r
est
of t
he c
lass
, who
are
wit
hout
rol
es, t
o sc
ulpt
the
m in
to t
he fr
ozen
imag
e at
the
sam
e po
int
in t
he s
cene
. To
do t
his
the
stud
ents
nee
d to
pre
sent
the
dae
mon
s in
suc
h a
way
tha
t th
ey s
ugge
st c
erta
in c
hara
cter
isti
cs o
rfe
elin
gs, r
athe
r th
an p
rese
ntin
g th
em a
s pa
rtic
ular
ani
mal
s.
6A
ll th
e ch
arac
ters
free
ze w
hile
you
rea
d lin
es 8
7–89
.
MR
SCO
ULT
ERSh
e’ll
lear
n to
beh
ave
whe
n I’v
e go
t her
und
er lo
ck a
nd k
ey, I
can
ass
ure
you
of th
at.
L YR
A(t
o W
ill)
Blo
ody
old
cow
.
© H
arco
urt
Educ
atio
n, 2
005
12
Teac
hing
and
lear
ning
out
com
es
The
pupi
ls m
ay h
ave
diffe
rent
idea
s ab
out h
ow th
e ch
arac
ters
shou
ld b
e pl
aced
. By
phys
ical
ly m
ovin
g th
e ch
arac
ters
unt
il th
egr
oup
is h
appy
with
the
posi
tioni
ng, t
he s
tude
nts
are
visu
alis
ing
thei
r tho
ught
s, d
iscu
ssin
g th
e po
ssib
ilitie
s an
d, th
eref
ore,
begi
nnin
g to
exp
lore
the
text
, cha
ract
ers
and
idea
s in
det
ail.
By
Des
crib
ing
the
Spac
e be
twee
n th
e ch
arac
ters
, stu
dent
s ar
eas
ked
to q
uest
ion
the
rela
tion
ship
s an
d re
spon
sibi
litie
s an
dar
e, t
here
fore
, exp
lori
ng s
ome
of t
he d
ecis
ions
tha
t a
dire
ctor
has
to m
ake.
You
mig
ht n
eed
to m
odel
the
scu
lpti
ng o
f the
dae
mon
s. R
efer
back
to
the
wor
k th
ey d
id in
Act
ivit
y 1
on s
ymbo
lism
and
ask
them
to
scul
pt t
he c
hara
cter
in s
uch
a w
ay t
hat
they
rep
rese
ntth
e ch
arac
teri
stic
rat
her
than
the
ani
mal
.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p298
–299
Act
ivit
y 5a
: Scu
lpti
ng t
he c
hara
cter
s –
Des
crib
ing
the
Spac
e an
d m
otiv
atio
n
Acti
vity
5a:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•de
velo
p an
alyt
ical
ski
lls•
inve
stig
ate
the
mot
ivat
ion
and
thou
ghts
of p
arti
cula
rch
arac
ters
•de
velo
p un
ders
tand
ing
of t
he w
rite
r’s t
echn
ique
s an
din
tent
ions
.
Act
ivit
ies
and
appr
oach
es
1A
sk t
he s
tude
nts
to r
emai
n fr
ozen
in t
he s
cene
from
Act
ivit
y 5a
wit
h th
eir
daem
ons.
Exp
lain
tha
t th
eda
emon
s ar
e to
spe
ak t
heir
cha
ract
er’s
thou
ghts
, rev
ealin
g th
e tr
uth
abou
t w
hat
they
are
thi
nkin
g at
any
poin
t in
the
sce
ne. W
hile
the
tho
ught
s of
som
e of
the
cha
ract
ers
may
be
exac
tly
wha
t th
eir
lines
are
, the
thou
ghts
of t
he o
ther
s m
ay b
e ve
ry d
iffer
ent.
Tho
ught
s w
hich
are
unc
onne
cted
to
the
cont
ent
of t
hesc
ene
(e.g
. tho
ught
s ab
out
Roge
r) m
ay a
lso
ente
r th
eir
head
s.
2A
sk t
he s
tude
nt in
rol
e as
Mrs
Cou
lter
to
read
line
s 90
–91
from
Par
t 2,
Act
One
, Sce
ne 4
(pa
ge 1
60)
‘I sh
all n
ever
forg
ive
you
for
send
ing
her
into
tha
t te
rrib
le S
pect
re-w
orld
.’a
Ask
the
stu
dent
s w
hat
Mrs
Cou
lter
wou
ld b
e th
inki
ng a
t th
is p
oint
.b
Aft
er t
akin
g a
num
ber
of s
ugge
stio
ns, a
sk t
he s
tude
nt in
rol
e as
Mrs
Cou
lter
’s d
aem
on t
o ch
oose
one
of t
he t
houg
hts
and
to s
ay t
he li
ne. S
ugge
stio
ns c
an t
hen
also
be
give
n as
to
wha
t th
e ot
her
char
acte
rs a
re t
hink
ing.
cA
sk t
he s
tude
nt p
layi
ng M
rs C
oult
er t
o re
peat
the
line
s 90
–91
from
the
scr
ipt.
Her
dae
mon
the
nsp
eaks
her
tho
ught
s, fo
llow
ed b
y on
e of
the
oth
er d
aem
ons.
This
pro
cess
con
tinu
es w
ith
a re
adin
g of
the
scr
ipt
extr
act
and
the
daem
ons
spea
king
the
tho
ught
s.
3O
nce
the
proc
ess
has
been
mod
elle
d, t
he s
tude
nts
can
form
into
gro
ups
of fi
ve t
o se
ven
in o
rder
to
expl
ore
the
scen
e us
ing
the
sam
e te
chni
ques
. If y
ou g
ive
diff
eren
t pa
rts
of t
he s
cene
to
diff
eren
t gr
oups
,th
en t
he s
cene
s, w
ith
thou
ghts
, can
be
pres
ente
d th
roug
h th
e Ro
lling
The
atre
tec
hniq
ue d
escr
ibed
inA
ctiv
ity
4a.
© H
arco
urt
Educ
atio
n, 2
005
13
Teac
hing
and
lear
ning
out
com
es
You
will
nee
d to
giv
e sp
ecifi
c ex
ampl
es h
ere
to m
odel
the
diff
eren
t ty
pes
of t
houg
hts
that
mig
ht b
e he
ard.
Enco
urag
e th
e st
uden
ts t
o sp
eak
the
thou
ghts
usi
ng t
he fi
rst
pers
on n
arra
tion
, as
if sp
oken
by
the
char
acte
r.
It is
impo
rtan
t th
at y
ou s
truc
ture
the
act
ivit
y in
thi
s w
ay b
yta
king
eac
h lin
e a
step
at
a ti
me.
Dem
onst
rati
ng a
nd r
epea
ting
the
proc
ess
secu
res
the
stud
ents
’und
erst
andi
ng o
f the
conv
enti
on b
efor
e m
ovin
g on
wit
h th
e dr
ama.
By
brea
king
the
sce
ne u
p in
thi
s w
ay, y
ou e
nabl
e th
e st
uden
tsto
pre
sent
the
ir id
eas
and
teac
h ea
ch o
ther
abo
ut p
arti
cula
ras
pect
s of
the
pla
y.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p300
–301
Act
ivit
y 5b
: The
dae
mon
s sp
eak
the
char
acte
rs’t
houg
hts
Acti
vity
5b:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•ex
plor
e th
e te
nsio
n in
the
pla
y•
mak
e re
ason
ed ju
dgem
ents
and
org
anis
e an
d pr
esen
t id
eas
•in
vest
igat
e an
d an
alys
e th
e te
xt t
o id
enti
fy t
he c
hara
cter
s’th
ough
ts a
nd m
otiv
atio
n.
Act
ivit
ies
and
appr
oach
es
1W
orki
ng a
s a
clas
s, t
he s
tude
nts
retu
rn t
o th
e sc
ulpt
ed c
hara
cter
s in
Act
ivit
y 5a
. You
nee
d to
tak
e th
epl
ace
of M
rs C
oult
er in
ord
er t
o de
mon
stra
te t
he A
ctio
n N
arra
tion
conv
enti
on. F
irst
, cla
p yo
ur h
ands
(dir
ecti
ng t
hat
all t
he a
ctor
s sh
ould
free
ze a
t th
at p
oint
) an
d th
en s
ay w
hat
the
char
acte
r is
goi
ng t
o do
next
and
why
. For
exa
mpl
e, ‘I
am
goi
ng t
o m
ove
tow
ards
Lor
d B
orea
l as
I spe
ak b
ecau
se I
am a
nnoy
ed b
yw
hat
he d
id t
o Ly
ra.’
You
then
cla
p yo
ur h
ands
aga
in t
o in
dica
te t
hat
the
acto
rs in
rol
e ca
n co
me
to li
fe.
Then
, in
role
as
Mrs
Cou
lter
, tur
n to
Lor
d B
orea
l, lo
ok a
nnoy
ed a
nd s
peak
line
s 90
–91
(pag
e 16
0), ‘
I sha
llne
ver
forg
ive
you
for
send
ing
her
into
tha
t te
rrib
le S
pect
re-w
orld
.’
2Ex
plai
n to
the
stu
dent
s th
at e
ach
of t
he c
hara
cter
s ca
n cl
ap t
heir
han
ds t
o fr
eeze
the
act
ion,
in o
rder
to
Act
ion
Nar
rate
wha
t th
ey a
re g
oing
to
do a
nd/o
r sa
y ne
xt a
nd w
hy. T
he a
im is
tha
t no
one
mov
es o
rsp
eaks
wit
hout
firs
t re
veal
ing
thei
r m
otiv
es. C
onti
nue
the
Act
ion
Nar
rate
d sc
ene
unti
l all
the
char
acte
rsha
ve r
evea
led
thei
r m
otiv
es fo
r th
eir
acti
ons
and
dial
ogue
s.
3O
nce
the
stud
ents
hav
e se
en t
his
proc
ess
bein
g m
odel
led,
the
y ca
n m
ove
into
gro
ups
of fi
ve t
o se
ven
and
expl
ore
the
scen
e th
emse
lves
in t
he s
ame
way
.
© H
arco
urt
Educ
atio
n, 2
005
14
Teac
hing
and
lear
ning
out
com
es
This
act
ivit
y ne
eds
to r
emai
n ti
ghtl
y st
ruct
ured
. W
ork
thro
ugh
the
proc
ess
in s
tage
s so
tha
t th
e st
uden
ts f
ully
und
erst
and
the
tech
niqu
e an
d re
cogn
ise
wha
t th
e m
ovem
ents
are
bef
ore
they
are
aske
d to
just
ify t
hem
.
The
use
of A
ctio
n N
arra
tion
has
a d
irec
t ef
fect
on
the
stud
ents
’un
ders
tand
ing
of t
he p
lay
in p
erfo
rman
ce. D
iscu
ss w
hat
role
sth
e pl
ayw
righ
t, a
ctor
or
dire
ctor
hav
e in
rev
ealin
g an
d/or
deci
ding
on
the
char
acte
rs’m
otiv
atio
n. H
ow d
o th
ey a
chie
veth
is?
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p301
–302
Act
ivit
y 5c
: Exp
lori
ng m
otiv
atio
n in
the
scen
e –
Act
ion
Nar
rati
on
Acti
vity
5c:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•an
alys
e th
e m
otiv
atio
n of
the
cha
ract
ers
•id
enti
fy a
nd r
efin
e th
e ac
ting
ski
lls r
equi
red
to e
xpre
ss t
hech
arac
ters
’mot
ivat
ion
•co
nsid
er t
he r
oles
of t
he p
layw
righ
t, a
ctor
s an
d di
rect
or.
Act
ivit
ies
and
appr
oach
es
1Re
turn
to
the
scul
pted
cha
ract
ers
in A
ctiv
ity
5a a
nd a
sk t
he s
tude
nts
to r
ead
lines
92–
147
from
Par
t 2,
A
ct O
ne, S
cene
4 (
page
s 16
0–16
2)
from
LOR
DB
OR
EAL
She’
s in
no
dang
er.
toM
RS
COU
LTER
And
wha
t m
akes
him
so
rem
arka
ble?
All
the
char
acte
rs s
houl
d th
en fr
eeze
. At
this
sta
ge, L
yra
will
be
outs
ide
the
scen
e so
you
will
nee
d to
ask
the
stud
ents
to
scul
pt h
er n
ear
to w
here
the
y be
lieve
the
win
dow
mig
ht b
e.
2H
old
a bl
ank
piec
e of
pap
er u
p in
var
ious
pos
ition
s w
ithin
the
scen
e an
d as
k th
e st
uden
ts w
hat t
hey
thin
kw
ould
be
on th
e pi
ece
of p
aper
. Dep
endi
ng o
n w
here
the
piec
e of
pap
er is
pos
ition
ed, t
hey
shou
ld m
ake
diffe
rent
sug
gest
ions
as
to w
hat m
ay a
ppea
r on
it. F
or e
xam
ple,
if it
is p
lace
d in
Lor
d B
orea
l’s d
esk
they
mig
htsa
y it
is a
n of
ficia
l doc
umen
t fro
m th
e ch
urch
, or i
f it i
s pl
aced
in o
ne o
f Lyr
a’s
pock
ets
or s
crew
ed u
p an
dth
row
n at
thei
r fee
t, th
ey m
ight
sug
gest
that
it is
a le
tter
to h
er fa
ther
or a
n ex
trac
t fro
m W
ill’s
fath
er’s
rese
arch
.
3A
sk t
he s
tude
nts
to w
ork
in p
airs
to
crea
te a
pie
ce o
f tex
t th
at c
ould
app
ear
in a
ny o
f the
pla
ces
in t
hesc
ene.
It is
impo
rtan
t th
at t
hey
crea
te t
wo
iden
tica
l ver
sion
s of
thi
s pi
ece
of t
ext.
4W
hen
the
stud
ents
hav
e co
mpl
eted
the
pie
ces
of t
ext,
set
up
the
scul
pted
cha
ract
ers
agai
n an
d as
k th
est
uden
ts o
ne b
y on
e to
pla
ce o
ne c
opy
of t
heir
tex
t w
here
the
y th
ink
it w
ould
be
foun
d in
the
sce
ne.
aO
nce
all t
he p
iece
s of
tex
t ha
ve b
een
plac
ed, t
he s
culp
ted
char
acte
rs g
radu
ally
com
e to
life
and
, one
at
a ti
me,
tur
n to
look
at
or o
pen
the
piec
es o
f tex
t.b
As
they
com
e ac
ross
eac
h pi
ece
of t
ext,
the
y Fr
eeze
and
the
stu
dent
who
has
pro
duce
d th
e te
xt r
eads
itou
t fr
om t
he id
enti
cal c
opy
they
hav
e re
tain
ed.
cTh
e dr
ama
cont
inue
s, s
topp
ing
at e
very
pie
ce o
f tex
t whi
le d
iffer
ent s
tude
nts
read
them
out
, unt
il al
l the
writ
ten
piec
es h
ave
been
incl
uded
. You
mig
ht w
ant t
o us
e m
usic
to in
trod
uce
and
to c
lose
the
sequ
ence
.
© H
arco
urt
Educ
atio
n, 2
005
15
Teac
hing
and
lear
ning
out
com
es
The
tech
niqu
e of
add
ing
text
to th
e dr
ama
(Pla
cing
the
Text
) can
be u
sed
in m
any
diffe
rent
situ
atio
ns. I
t hel
ps th
e pu
pils
tode
velo
p th
e dr
ama
at th
e sa
me
time
as th
ey a
re h
avin
g to
thin
kab
out t
he la
ngua
ge, s
tyle
and
form
at n
eede
d fo
r spe
cific
pie
ces
of te
xt w
ith s
peci
fic a
udie
nces
in m
ind.
It is
als
o a
usef
ul w
ay fo
rst
uden
ts to
‘pla
ce’t
exts
with
in a
n hi
stor
ical
or s
ocia
l con
text
, as
they
hav
e to
thin
k ca
refu
lly a
bout
thes
e as
pect
s.
Giv
e th
e st
uden
ts t
ime
to d
ecid
e ho
w t
hey
will
rea
d th
eir
piec
eof
tex
t. W
hat
tone
and
pac
e w
ill t
hey
use?
Will
the
y re
ad it
toge
ther
or
indi
vidu
ally
? W
hat
tens
ion
or a
tmos
pher
e do
the
yw
ant
to c
reat
e an
d ho
w w
ill t
hey
do t
his?
If se
vera
l pie
ces
of t
ext
have
bee
n pl
aced
in t
he s
ame
plac
e th
esc
ulpt
ed c
hara
cter
cou
ld r
ead
out
the
first
line
of t
he t
ext,
befo
re t
hey
free
ze, t
o in
dica
te t
o th
e st
uden
ts w
hich
pie
ce o
fte
xt t
hey
are
reve
alin
g.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p303
–304
Act
ivit
y 5d
: P
laci
ng t
he t
ext
Acti
vity
5d:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•w
rite
for
a sp
ecifi
c au
dien
ce, w
ith
a sp
ecifi
c pu
rpos
e•
sele
ct a
ppro
pria
te in
form
atio
n fr
om t
he t
ext
•ex
plor
e th
e th
emes
and
ten
sion
s in
the
pla
y•
orga
nise
and
pre
sent
idea
s ap
prop
riat
ely.
Act
ivit
ies
and
appr
oach
es
1D
ivid
e th
e cl
ass
into
sm
all g
roup
s of
thr
ee t
o fiv
e st
uden
ts. A
s w
ith
the
prev
ious
ext
ract
s th
at e
xplo
red
Lyra
’s c
hara
cter
in A
ctiv
ity
4a, g
ive
each
gro
up a
n ex
trac
t fr
om t
he p
lay
(see
ext
ract
s 1–
9 be
low
).
Extr
act
1: li
ne 4
5, S
cene
12,
to
line
23, S
cene
13,
from
Par
t 1,
Act
Tw
o (p
ages
138
–141
)
from
WIL
LG
ive
it b
ack
to u
s.
toPA
RA
DIS
IN
ow it
has
pas
sed
to y
ou.
Extr
act
2: li
nes
24–6
4 fr
om P
art
1, A
ct T
wo,
Sce
ne 1
3 (p
ages
141
–143
)
from
WIL
LLo
ok, t
he o
nly
reas
on I
got
mix
ed u
p in
thi
s …
to
PAR
AD
ISI
And
in t
he w
ar t
hat
is t
o co
me,
you
may
be
calle
d to
aim
it e
ven
high
er.
Extr
act
3: li
nes
59–9
6 fr
om P
art
2, A
ct O
ne, S
cene
2 (
page
s 15
4–15
5)
from
HA
RD
BA
LLCL
ERIC
But
the
re’s
a k
nife
thi
s ti
me.
toW
ILY
CLER
ICW
hat
wou
ld b
e w
rong
wit
h th
at?
Extr
act
4: li
nes
1–35
from
Par
t 2,
Act
One
, Sce
ne 4
(pa
ges
156–
157)
from
LYR
AW
hat
do y
ou t
hink
?
toLY
RA
Whi
le I
stay
her
e?
Extr
act
5: li
nes
1–25
from
Par
t 2,
Act
One
, Sce
ne 8
(pa
ges
173–
174)
from
SER
AFI
NA
Stop
! Thi
s is
whe
re w
e’ll
rest
for
the
nigh
t.
toW
ILL
. . .
I th
ink
ther
e’s
Spec
tres
the
re a
s w
ell.
© H
arco
urt
Educ
atio
n, 2
005
16
Teac
hing
and
lear
ning
out
com
es
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p305
–307
Act
ivit
y 6:
Furt
her
expl
orat
ion
of t
he t
ext
–th
e si
gnif
ican
ce o
f the
kni
fe
Acti
vity
6: L
earn
ing
Out
com
es
Stud
ents
will
:
•de
velo
p th
e us
e of
spa
ce, l
angu
age,
faci
al e
xpre
ssio
n an
d ge
stur
e•
inve
stig
ate
and
anal
yse
the
scri
pt, s
elec
ting
rel
evan
tin
form
atio
n to
exp
lore
the
sig
nific
ance
of a
kni
fe in
the
pla
y•
anal
yse
and
ques
tion
cri
tica
lly o
ther
s’pe
rfor
man
ces
•de
duce
and
pre
dict
wha
t ev
ents
and
the
mes
are
impo
rtan
tin
the
pla
y.
Act
ivit
ies
and
appr
oach
es
Extr
act
6: li
nes
1–71
from
Par
t 2,
Act
One
, Sce
ne 1
1 (p
ages
183
–186
)
from
JOPA
RI
Giv
e m
e yo
ur h
and.
toW
ILL
Fath
er?
Extr
act
7: li
nes
25–6
9 fr
om P
art
2, A
ct O
ne, S
cene
17
(pag
es 2
01–2
03)
from
WIL
LI’l
l sho
w y
ou. I
cha
lleng
e yo
u to
figh
t m
e in
sin
gle
com
bat.
toW
ILL
But
firs
t, I’
ve g
ot t
o re
scue
Lyr
a.
Extr
act
8: l
ines
90–
109
from
Par
t 2,
Act
One
, Sce
ne 1
9 (p
ages
210
–211
)
from
MR
SCO
ULT
ERA
srie
l!
toLO
RD
ASR
IEL
Lyra
! Lyr
a!
Extr
act
9: li
nes
127–
168
from
Par
t 2,
Act
Tw
o, S
cene
2 (
page
s 21
9–22
0)
from
I OR
EKLe
t m
e se
e it
.
toIO
REK
I’ll b
uild
a fi
re.
2A
sk t
he s
tude
nts
to p
rodu
ce a
sho
rt D
igit
al V
ideo
Clip
of t
heir
new
ext
ract
. Rem
ind
them
tha
t th
ey n
eed
to b
egin
wit
h a
Still
Pic
ture
, fol
low
ed b
y an
Act
ion
Read
ing
of t
he s
crip
t, a
nd t
hen
Free
ze a
t th
e en
d. T
odo
thi
s th
e st
uden
ts w
ill n
eed
to in
vest
igat
e th
e sc
ript
and
sea
rch
for
clue
s ab
out
the
char
acte
rs, s
tory
and
sett
ing.
Giv
e a
sym
bolic
kni
fe t
o ea
ch g
roup
and
exp
lain
to
the
stud
ents
tha
t th
is p
rop
shou
ld b
ein
clud
ed in
the
Dig
ital
Vid
eo C
lip.
3Ex
plai
n to
the
stu
dent
s th
at in
stea
d of
the
ext
ract
s be
ing
pres
ente
d as
Rol
ling
Thea
tre,
a s
light
lydi
ffer
ent
tech
niqu
e is
to
be u
sed.
a
Colle
ct a
ll th
e kn
ives
in fr
om t
he g
roup
s.
bTh
e gr
oups
free
ze in
the
ir in
itia
l Sti
ll Pi
ctur
es.
cYo
u m
ove
to o
ne g
roup
and
pla
ce t
he k
nife
in t
heir
sce
ne, h
oldi
ng o
n to
all
the
othe
r kn
ives
.d
This
gro
up u
nfre
ezes
, add
s th
e ac
tion
and
the
n fr
eeze
s ag
ain.
e
Whe
n th
ey fr
eeze
in t
heir
fina
l im
age,
one
mem
ber
of t
he g
roup
tak
es t
he k
nife
to
anot
her
grou
p an
dpl
aces
it in
the
ir s
cene
and
ret
urns
to
thei
r ow
n gr
oup.
The
nex
t gr
oup
know
s th
at t
hey
can
begi
n.
This
con
tinu
es u
ntil
all t
he g
roup
s ha
ve s
how
n th
eir
piec
es. U
se m
usic
aga
in t
o gu
ide
the
grou
ps.
© H
arco
urt
Educ
atio
n, 2
005
17
Teac
hing
and
lear
ning
out
com
es
By
intr
oduc
ing
a pr
op a
t th
is s
tage
, you
are
enc
oura
ging
stud
ents
to
cons
ider
the
impo
rtan
ce o
f the
kni
fe t
hrou
ghou
tth
e pl
ay. I
t al
so p
rovi
des
an o
ppor
tuni
ty t
o pr
esen
t th
e w
ork
ina
stru
ctur
ed w
ay.
Pres
enti
ng t
he w
ork
in t
his
way
not
onl
y pr
ovid
es s
truc
ture
and
dire
ctio
n to
the
per
form
ance
but
als
o en
cour
ages
stu
dent
s to
mak
e lin
ks b
etw
een
the
perf
orm
ed e
xtra
cts
and
exam
ine
the
sign
ifica
nce
of t
he k
nife
thr
ough
out.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p305
–307
R p40
Act
ivit
ies
and
appr
oach
es
4W
hen
all t
he g
roup
s ha
ve s
how
n th
eir p
iece
s an
d ha
ve fr
ozen
in th
e fin
al im
age,
a m
embe
r of t
he fi
nal g
roup
brin
gs th
e kn
ife to
war
ds y
ou a
nd p
rese
nts
it to
you
. Hol
ding
the
knife
, you
read
from
the
follo
win
g ex
trac
t.
Line
s 9–
85 fr
om P
art
2, A
ct T
wo,
Sce
ne 4
(pa
ges
228–
231)
from
IOR
EKW
hat
will
you
do
wit
h th
e kn
ife?
toW
ILL
Let’s
go.
© H
arco
urt
Educ
atio
n, 2
005
18
Teac
hing
and
lear
ning
out
com
es
You
will
nee
d to
thi
nk c
aref
ully
abo
ut t
he w
ay in
whi
ch y
ouac
cept
the
kni
fe a
t th
e en
d of
the
Dig
ital
Vid
eo C
lips
so t
hat
you
are
able
to
mai
ntai
n th
e ro
le d
urin
g th
e re
adin
g th
at is
to
follo
w.
You
coul
d at
thi
s st
age
choo
se t
o se
lect
the
rea
ding
of t
hesa
me
scen
e fr
om t
he n
ovel
(Ch
apte
r 15
‘The
For
ge’f
rom
Th
e Su
btle
Kni
fe),
in o
rder
to
esta
blis
h a
link
wit
h th
ead
apta
tion
pro
cess
wor
k th
at fo
llow
s in
Act
ivit
y 7.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p305
–307
Act
ivit
ies
and
appr
oach
es
1G
athe
r th
e st
uden
ts in
to a
larg
e se
mi-c
ircl
e. R
ead
the
follo
win
g ex
trac
t fr
om C
hapt
er 2
1 (‘
The
Har
pies
’)fr
om t
he n
ovel
The
Am
ber
Spyg
lass
(pag
es 2
94–3
00, f
rom
‘The
n su
dden
ly t
here
was
the
boa
t’to
‘ .
. . e
ach
of t
hem
saw
the
ir o
wn
expr
essi
on o
n th
e ot
her’s
face
’).
2D
ivid
e th
e cl
ass
into
sm
all g
roup
s of
thr
ee t
o fiv
e st
uden
ts a
nd g
ive
each
gro
up a
sec
tion
of t
he e
xtra
ctyo
u ha
ve ju
st r
ead
alou
d. E
xpla
in t
hat
they
hav
e to
con
side
r ho
w t
hey
wou
ld a
dapt
thi
s ex
trac
t in
to a
scri
pt/p
lay.
•H
ow w
ill t
hey
use
the
desc
ript
ion
in t
he n
ovel
?•
Wha
t w
ill t
hey
do a
bout
the
boa
t?•
How
will
the
y pr
esen
t da
emon
s?
3A
sk t
he s
tude
nts
to c
reat
e a
scri
pt a
nd p
rodu
ce a
n A
ctio
n Re
adin
g of
the
pla
y as
it is
to
be a
cted
. Onc
eth
e ad
apta
tion
s ar
e co
mpl
ete,
pro
duce
the
m a
s Ro
lling
The
atre
(de
scri
bed
in A
ctiv
ity
4a).
© H
arco
urt
Educ
atio
n, 2
005
19
Teac
hing
and
lear
ning
out
com
es
The
unab
ridg
ed a
udio
rec
ordi
ng is
an
exce
llent
res
ourc
e to
use
here
and
ena
bles
the
rea
ding
to
be m
odel
led
effe
ctiv
ely
for
the
stud
ents
. As
wel
l as
the
OH
Tof
the
tex
t, y
ou w
ill n
eed
indi
vidu
al p
hoto
copi
es o
f the
ext
ract
s fo
r th
e st
uden
ts t
o w
ork
on a
nd r
efer
to.
This
sec
tion
ena
bles
the
pup
ils t
o ex
plor
e an
d an
alys
e th
ead
apta
tion
pro
cess
as
wel
l as
cons
ider
the
diff
eren
t ai
ms
and
tech
niqu
es o
f the
wri
ter,
play
wri
ght
and
dire
ctor
. It
isim
port
ant,
the
refo
re, t
hat
the
wor
k be
gins
wit
h th
e or
igin
alw
ritt
en t
ext.
You
will
nee
d to
be
fam
iliar
wit
h th
e w
ay t
hat
the
nove
l has
bee
n ad
apte
d fo
r th
e st
age.
The
ext
ract
has
bee
nch
osen
del
iber
atel
y to
exp
lore
the
ten
sion
tha
t ex
ists
but
the
appr
oach
es c
an b
e us
ed o
n ot
her
scen
es fr
om t
he n
ovel
/pla
y.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p308
Act
ivit
y 7:
From
per
sona
l to
univ
ersa
l –ex
plor
ing
the
adap
tati
on p
roce
ss
Acti
vity
7: L
earn
ing
Out
com
es
Stud
ents
will
:
•an
alys
e th
e de
cisi
ons
and
tech
niqu
es u
sed
duri
ng t
head
apta
tion
pro
cess
•se
lect
, org
anis
e an
d pr
esen
t re
leva
nt in
form
atio
n an
d id
eas
in s
crip
t an
d pe
rfor
man
ce•
deve
lop
anal
ytic
al s
kills
and
exp
lore
the
wri
ter’s
inte
ntio
ns.
Rp4
1–44
Act
ivit
ies
and
appr
oach
es
1A
sk t
he c
lass
to
sit
in a
larg
e ci
rcle
. Ret
urn
to t
he p
age
298
in t
he n
ovel
The
Am
ber
Spyg
lass
, the
poi
nt a
tw
hich
Lyr
a pu
shes
Pan
tala
imon
aw
ay.
I sw
ear
we’
re c
omin
g ba
ck –
I w
ill –
tak
e ca
re, m
y de
ar –
you
’ll b
e sa
fe –
we
will
com
e ba
ck, a
nd if
Iha
ve t
o sp
end
ever
y m
inut
e of
my
life
findi
ng y
ou a
gain
I w
ill, I
won
’t s
top,
I w
on’t
res
t, I
won
’t –
oh
Pan
– de
ar P
an –
I’ve
got
to,
I’ve
got
to
…A
nd s
he p
ushe
d hi
m a
way
, so
that
he
crou
ched
bit
ter a
nd c
old
and
frig
hten
ed o
n th
e m
uddy
gro
und.
2Ch
oose
a s
tude
nt t
o be
in r
ole
as L
yra.
Ask
the
oth
er s
tude
nts
to S
culp
t he
r in
to t
he p
osit
ion
they
bel
ieve
she
wou
ld b
e in
whe
n th
e ac
tion
tak
es p
lace
.
3A
sk fo
r vo
lunt
eers
or
choo
se o
ther
stu
dent
s to
be
in r
ole
as W
ill, P
anta
laim
on a
nd t
he b
oatm
an. T
hey
are
all s
culp
ted
by t
he r
est
of t
he c
lass
into
the
sce
ne a
nd fr
eeze
whi
le y
ou r
ead
the
follo
win
g ex
trac
t fr
ompa
ge 2
98.
And
she
pus
hed
him
aw
ay, s
o th
at h
e cr
ouch
ed b
itte
r an
d co
ld a
nd fr
ight
ened
on
the
mud
dy g
roun
d.W
hat
anim
al h
e w
as n
ow, W
ill c
ould
har
dly
tell.
He
seem
ed t
o be
so
youn
g, a
cub
, a p
uppy
,so
met
hing
hel
ples
s an
d be
aten
, a c
reat
ure
so s
unk
in m
iser
y th
at it
was
mor
e m
iser
y th
an c
reat
ure.
4A
sk fo
r a
volu
ntee
r or
cho
ose
anot
her
stud
ent
to t
ake
the
role
of t
he ‘w
rite
r’(P
hilip
Pul
lman
).
aA
sk t
he p
upils
to
Pla
ce t
he W
rite
rin
the
pic
ture
whe
re t
hey
thin
k he
sho
uld
be. T
he s
tude
nts
mig
htus
e va
riou
s cr
iter
ia fo
r th
is, i
nclu
ding
the
wri
ter’s
dis
tanc
e fr
om c
erta
in c
hara
cter
s, t
he e
mpa
thy
crea
ted,
the
eve
nts,
the
wri
ter’s
inte
ntio
n an
d w
hat
cont
rol t
he n
arra
tor
has.
bA
sk t
he s
tude
nts
to ju
stify
the
ir c
hoic
es, u
sing
evi
denc
e fr
om t
he t
ext
to s
uppo
rt t
heir
idea
s.c
Dis
cuss
the
pos
itio
ning
as
a cl
ass.
Ask
oth
er s
tude
nts
whe
ther
the
y ag
ree
wit
h th
is p
osit
ioni
ng a
ndge
t th
em t
o m
ove
the
wri
ter
to w
here
the
y fe
el h
e is
bes
t pl
aced
. Enc
oura
ge t
he s
tude
nts
to ju
stify
thei
r ch
oice
wit
h ev
iden
ce fr
om t
he t
ext.
© H
arco
urt
Educ
atio
n, 2
005
20
Teac
hing
and
lear
ning
out
com
es
Whe
n sc
ulpt
ing
Pant
alai
mon
, enc
oura
ge t
he s
tude
nts
to s
culp
thi
m in
a w
ay t
hat
expr
esse
s th
e em
otio
n, t
ensi
on a
ndre
lati
onsh
ips
rath
er t
han
the
part
icul
ar a
nim
al fo
rm h
e is
to
take
. The
ani
mal
form
he
is li
kely
to
be a
t th
is p
oint
sho
uld,
how
ever
, be
part
of t
he d
iscu
ssio
n du
ring
the
scu
lpti
ng o
f the
char
acte
rs.
By
phys
ical
ly P
laci
ng t
he W
rite
r an
d/or
Rea
der,
the
stud
ents
ques
tion
the
sty
le, l
angu
age
and
auth
oria
l con
trol
as
wel
l as
disc
ussi
ng w
hat
the
read
er b
ring
s w
ith
them
to
the
stor
y. S
uch
wor
k ha
s a
dire
ct e
ffec
t on
the
ir a
bilit
y to
wri
te a
bout
thi
s an
dus
e ev
iden
ce fr
om t
he t
ext
to b
ack
up t
heir
idea
s.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p309
–311
Act
ivit
y 8
: Pla
cing
the
Wri
ter
and
the
Rea
der
Acti
vity
8: L
earn
ing
Out
com
es
Stud
ents
will
:
•an
alys
e au
thor
ial i
nten
tion
and
tec
hniq
ues
and
expl
ore
the
role
of t
he r
eade
r an
d em
path
y in
the
tex
t•
sele
ct a
nd p
rese
nt e
vide
nce
from
the
text
to ju
stify
com
men
ts•
liste
n w
ith
disc
rim
inat
ion,
wei
gh v
iew
poin
ts a
nd q
uest
ion
crit
ical
ly.
Rp4
1–44
Act
ivit
ies
and
appr
oach
es
5A
sk fo
r a
volu
ntee
r or
cho
ose
anot
her
stud
ent
to b
e th
e ‘r
eade
r’.
aA
sk t
he p
upils
to
Pla
ce t
he R
eade
rin
the
pic
ture
whe
re t
hey
thin
k s/
he s
houl
d be
. The
stu
dent
sm
ight
use
var
ious
cri
teri
a fo
r th
is, i
nclu
ding
the
rea
der’s
dis
tanc
e fr
om c
erta
in c
hara
cter
s, t
heem
path
y fe
lt, t
he e
vent
s, a
nd t
he r
eade
r’s u
nder
stan
ding
of a
par
ticu
lar
idea
.b
Ask
stu
dent
s to
just
ify t
heir
cho
ices
.c
Dis
cuss
the
pos
itio
ning
of t
he r
eade
r as
a c
lass
. Ask
oth
er s
tude
nts
whe
ther
the
y ag
ree
wit
h th
ispo
siti
onin
g an
d ge
t th
em t
o m
ove
the
read
er t
o th
e pl
ace
they
feel
is b
est.
Enc
oura
ge t
he s
tude
nts
toju
stify
the
ir c
hoic
e w
ith
evid
ence
from
the
tex
t.
6A
sk t
he s
tude
nts
to t
ry t
o N
ame
the
Spac
ebe
twee
n th
e re
ader
and
wri
ter.
© H
arco
urt
Educ
atio
n, 2
005
21
Teac
hing
and
lear
ning
out
com
es
The
mov
ing
and
posi
tion
ing
of t
he w
rite
r an
d re
ader
ena
bles
the
stud
ents
to
visu
alis
e th
eir
idea
s an
d he
lps
them
to
disc
uss
com
plex
aut
hori
al t
echn
ique
s. H
igh-
leve
l rea
ding
ski
lls a
rebe
ing
deve
lope
d, t
oget
her
wit
h th
e ab
ility
to
sele
ct a
ndpr
esen
t ev
iden
ce.
Nam
ing
the
Spac
e en
able
s th
e st
uden
t to
exa
min
e th
ere
lati
onsh
ip t
hat
exis
ts b
etw
een
the
read
er a
nd t
he w
rite
r.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p309
–311
Act
ivit
ies
and
appr
oach
es
1Re
ad li
nes
145–
190
(and
all
the
stag
e in
stru
ctio
ns) f
rom
Par
t 2, A
ct T
wo,
Sce
ne 6
of t
he p
lay
(pag
es 2
44–2
45)
from
WIL
LI’l
l go
first
.
toLY
RA
I’m g
onna
pus
h yo
u aw
ay n
ow. I
’m s
orry
.
2A
sk t
he s
tude
nts
to fo
rm a
larg
e ci
rcle
. Usi
ng t
he s
pace
wit
hin
the
circ
le, t
hey
shou
ld a
gain
Scu
lpt
the
char
acte
rs in
to t
he s
cene
at
this
poi
nt in
the
pla
y.
3D
iscu
ss w
ith
the
stud
ents
the
diff
icul
ty in
tak
ing
the
jour
ney
from
scr
ipt
to s
tage
. How
wou
ld t
he d
irec
tor
know
wha
t is
mea
nt b
y ‘L
yra
and
Pant
alai
mon
feel
the
pai
n of
sep
arat
ion’
wit
hout
hav
ing
read
and
unde
rsto
od t
he n
ovel
? W
hat
does
thi
s sa
y ab
out
the
adap
tati
on p
roce
ss?
Is it
the
pla
ywri
ght,
the
dire
ctor
or
the
acto
rs w
ho m
ake
the
deci
sion
s ab
out
posi
tion
ing,
faci
al e
xpre
ssio
ns, a
nd g
estu
res?
Doe
sth
e pl
ayw
righ
t in
clud
e m
any
stag
e in
stru
ctio
ns?
4Ch
oose
ano
ther
stu
dent
to
be t
he ‘p
layw
righ
t’(N
icho
las
Wri
ght)
. a
Ask
the
stu
dent
s to
Pla
ce t
he P
layw
righ
tin
the
froz
en s
cene
whe
re t
hey
thin
k he
sho
uld
be.
bTh
e st
uden
ts s
houl
d ju
stify
the
ir c
hoic
e, g
ivin
g ev
iden
ce fr
om t
he t
ext
to s
uppo
rt t
heir
idea
s. D
iscu
ssth
e po
siti
onin
g as
a c
lass
. Ask
oth
er p
upils
whe
ther
the
y ag
ree
wit
h th
is p
osit
ioni
ng a
nd g
et t
hem
to
mov
e th
e pl
ayw
righ
t to
whe
re t
hey
feel
he
is b
est
plac
ed. E
ncou
rage
the
stu
dent
s to
just
ify t
heir
choi
ce w
ith
evid
ence
from
the
tex
t.c
Dis
cuss
whe
ther
thi
s di
ffer
s fr
om t
he p
osit
ion
of t
he w
rite
r pl
aced
ear
lier.
Why
?d
Choo
se a
stu
dent
to
be t
he ‘a
udie
nce’
. The
aud
ienc
e ca
n no
w b
e pl
aced
in t
he s
ame
way
. Dis
cuss
the
diff
eren
ce b
etw
een
plac
ing
the
read
er a
nd p
laci
ng t
he a
udie
nce.
Is t
here
any
? D
iscu
ss w
ith
the
clas
sw
hat
this
mig
ht t
ell u
s ab
out
the
adap
tati
on p
roce
ss.
© H
arco
urt
Educ
atio
n, 2
005
22
Teac
hing
and
lear
ning
out
com
es
By
phys
ical
ly P
laci
ng th
e Pl
ayw
right
, the
stu
dent
s qu
estio
n th
edi
ffere
nt ro
les,
aim
s, in
tent
ions
and
pur
pose
s of
this
writ
er a
ndth
e w
ays
in w
hich
pla
ys d
iffer
from
nov
els.
Suc
h w
ork
has
adi
rect
effe
ct o
n th
eir a
bilit
y to
writ
e ab
out t
he a
dapt
atio
npr
oces
s an
d us
e ev
iden
ce fr
om th
e te
xts
to b
ack
up th
eir i
deas
.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p311
–312
Act
ivit
y 9:
Pla
cing
the
pla
ywri
ght
Acti
vity
9: L
earn
ing
Out
com
es
Stud
ents
will
:
•an
alys
e th
e ad
apta
tion
pro
cess
and
dis
cuss
the
com
plex
deci
sion
s th
at a
re in
volv
ed•
anal
yse
the
play
wri
ght’s
inte
ntio
n an
d te
chni
ques
and
expl
ore
the
role
of t
he a
udie
nce
in t
he p
lay
•m
ake
deci
sion
s an
d se
lect
evi
denc
e to
sup
port
dec
isio
nsan
d id
eas.
Act
ivit
ies
and
appr
oach
es
1Re
turn
to
the
Scul
pted
sce
ne fr
om t
he p
lay
desc
ribe
d in
Act
ivit
y 9,
whi
ch in
clud
es t
he p
layw
righ
t an
d th
eau
dien
ce. A
sk t
he s
tude
nt, w
ho r
epre
sent
ed t
he w
rite
r ea
rlie
r, to
sta
nd a
t th
e si
de o
f the
sce
ne. A
sk t
hest
uden
ts w
heth
er t
hey
shou
ld p
lace
Phi
lip P
ullm
an, t
he w
rite
r, in
to t
he s
crip
ted
scen
e an
d, if
so,
whe
re?
Doe
s th
e or
igin
al w
rite
r re
mai
n pa
rt o
f the
tex
t? Is
he
left
out
side
the
sce
ne?
Is h
e ne
ar t
o th
e pl
ayw
righ
tor
doe
s he
hav
e a
diff
eren
t pe
rspe
ctiv
e? A
sk o
ther
stu
dent
s w
heth
er t
hey
agre
e w
ith
this
pos
itio
ning
and
get
them
to
mov
e th
e w
rite
r to
whe
re t
hey
feel
he
is b
est
plac
ed.
2D
iscu
ss w
heth
er t
he o
ther
stu
dent
s ag
ree
wit
h th
e po
siti
onin
g. T
hrou
ghou
t th
e di
scus
sion
, oth
erst
uden
ts s
houl
d de
mon
stra
te t
he p
osit
ion
they
feel
is m
ost
appr
opri
ate
by m
ovin
g an
d pl
acin
g th
e‘w
rite
r’an
d ju
stify
ing
thei
r ch
oice
s. D
iscu
ss w
hat
this
mig
ht t
ell u
s ab
out
the
adap
tati
on p
roce
ss.
Wou
ld t
his
be t
he c
ase
wit
h al
l ada
ptat
ions
?
3D
iscu
ssio
n ca
n al
so t
ake
plac
e ab
out
the
sens
e of
loss
cre
ated
in t
his
scen
e.
4St
rip
away
the
wri
ter,
play
wri
ght
and
audi
ence
, lea
ving
just
the
froz
en s
culp
ted
char
acte
rs o
f Lyr
a an
dW
ill. R
ead
from
the
follo
win
g te
xt. Y
ou m
ight
wan
t to
pro
ject
thi
s on
to a
scr
een.
Line
s 1–
34 fr
om P
art T
wo,
Sce
ne 1
2 (p
ages
266
–267
)
from
WIL
LJu
st b
reat
he.
toJO
PAR
IB
ecau
se fo
r us
, the
re’s
no
else
whe
re.
© H
arco
urt
Educ
atio
n, 2
005
23
Teac
hing
and
lear
ning
out
com
es
Prov
ide
exam
ples
of o
ther
ada
ptat
ions
, inc
ludi
ng t
hose
of ‘
true
stor
ies’
, to
add
to t
he d
iscu
ssio
n.
Dis
cuss
ion
shou
ld a
lso
take
pla
ce a
bout
the
sen
se o
f los
scr
eate
d in
thi
s sc
ene.
Wha
t as
pect
s of
the
stu
dent
s’ow
n liv
es,
or o
ther
s, c
an b
e re
late
d to
the
feel
ings
in t
his
scen
e?
Dis
cuss
wit
h th
e st
uden
ts w
hat
the
acto
rs o
r di
rect
or m
ight
gain
from
tak
ing
part
in s
imila
r ac
tivi
ties
? A
sk t
hem
who
the
yfo
und
mos
t di
ffic
ult
to p
osit
ion?
Why
?
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p313
–314
Act
ivit
y 10
: Doe
s th
e w
rite
r re
mai
n?
Doe
s P
hili
p P
ullm
an h
ave
a ro
le in
the
scr
ipt?
Acti
vity
10:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•tr
ansf
er u
nder
stan
ding
of t
he a
dapt
atio
n pr
oces
s of
His
Dar
kM
ater
ials
to t
hink
cri
tica
lly a
bout
the
rol
e of
the
wri
ters
inot
her
adap
tati
ons
•an
alys
e th
e re
lati
onsh
ip b
etw
een
wri
ter
and
scri
ptw
rite
r an
dth
e di
ffer
ence
s/si
mila
riti
es b
etw
een
the
role
of t
he r
eade
ran
d th
at o
f the
aud
ienc
e•
mak
e de
cisi
ons
and
sele
ct e
vide
nce
to s
uppo
rt d
ecis
ions
and
idea
s.
Act
ivit
ies
and
appr
oach
es
1Fo
r th
is la
st a
ctiv
ity,
you
will
nee
d to
pro
ject
the
tw
o im
ages
of t
he B
otan
ic G
arde
ns, u
sed
at t
hebe
ginn
ing
of t
he w
ork,
ont
o w
alls
at
oppo
site
end
s of
the
roo
m. (
Alt
erna
tive
ly, p
hoto
copy
the
imag
esfr
om t
he R
esou
rces
and
han
d th
em o
ut t
o th
e cl
ass)
.
2Re
ad li
nes
1–33
from
Par
t 2,
Act
Tw
o, S
cene
15
(pag
es 2
76–2
77)
from
LYR
APa
n! O
h, P
an, y
ou’re
bac
k!
toS
ERA
FIN
A. .
. al
l tha
t is
goo
d w
ill d
ie u
nles
s yo
u st
op it
.
3A
sk fo
r a
volu
ntee
r or
cho
ose
a st
uden
t to
be
in r
ole
as S
eraf
ina.
Ask
the
stu
dent
s to
Scu
lpt
her
into
the
posi
tion
the
y be
lieve
she
will
be
in, w
hen
the
acti
on t
akes
pla
ce.
4O
ther
vol
unte
ers
or c
hose
n st
uden
ts b
ecom
e Ly
ra a
nd W
ill. T
hey
are
all S
culp
ted
into
the
sce
ne a
ndFr
eeze
whi
le y
ou r
ead
lines
34–
52:
from
LYR
AH
owis
it fl
owin
g?
toW
ILL
If I c
an’t
cut
a w
indo
w, t
hen
we
…
5A
sk t
he s
tude
nts
who
the
y th
ink
wou
ld s
peak
firs
t an
d w
hat
they
wou
ld s
ay.
aTh
e ch
arac
ters
rem
ain
froz
en, w
hile
the
stu
dent
who
has
sug
gest
ed t
he n
ext
line
goes
to
stan
dbe
hind
the
cha
ract
er t
hey
will
spe
ak fo
r. b
Re-r
ead
the
end
of t
he e
xtra
ct, a
t th
e en
d of
whi
ch t
he s
tude
nt w
ill s
peak
the
nex
t lin
e.c
Then
ask
the
stu
dent
s w
hat
they
thi
nk t
he c
hara
cter
s w
ould
say
nex
t. T
he in
divi
dual
stu
dent
s go
and
stan
d by
the
cha
ract
er t
hat
they
thi
nk t
hey
can
spea
k fo
r.
© H
arco
urt
Educ
atio
n, 2
005
24
Teac
hing
and
lear
ning
out
com
es
At
this
sta
ge in
the
wor
k, y
ou m
ight
cho
ose
stud
ents
to
do t
here
adin
gs.
If yo
u ha
ve n
ot s
tudi
ed o
ther
asp
ects
of t
he p
lay,
you
mig
htne
ed t
o pr
ovid
e th
e st
uden
ts w
ith
som
e ad
diti
onal
info
rmat
ion
or e
xplo
re m
ore
of t
he p
lay
befo
re a
ppro
achi
ng t
he fi
nal s
cene
.
This
act
ivit
y ne
eds
to r
emai
n ti
ghtl
y st
ruct
ured
. Wor
k th
roug
hth
e pr
oces
s in
sta
ges
so t
hat
the
stud
ents
fully
und
erst
and
the
tech
niqu
e an
d re
cogn
ise
wha
t is
exp
ecte
d of
the
m.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p314
–317
Act
ivit
y 11
: The
fina
l sce
ne –
Com
mun
alVo
ice
to m
ake
a si
ngle
dec
isio
n
Acti
vity
11:
Lea
rnin
g O
utco
mes
Stud
ents
will
:
•ex
plor
e th
e en
ding
of t
he p
lay
•an
alys
e th
e si
gnifi
canc
e of
the
tw
o w
orld
s an
d ho
w t
hest
agin
g of
bot
h w
orld
s at
onc
e ca
n be
ach
ieve
d•
use
unde
rsta
ndin
g ga
ined
from
all
the
othe
r ac
tivi
ties
to
appr
oach
the
end
ing
of t
he p
lay
crit
ical
ly a
nd w
ith
inte
grit
y•
dem
onst
rate
an
unde
rsta
ndin
g of
the
dra
ma
proc
ess.
Rp2
8–9
Act
ivit
ies
and
appr
oach
es
6Th
e sc
ene
is fr
ozen
aga
in, a
fter
you
hav
e ex
plai
ned
that
one
by
one
the
peop
le b
ehin
d th
e sc
ulpt
edch
arac
ters
will
con
tinu
e th
e sc
ene
by s
peak
ing
thei
r th
ough
ts o
r sp
eech
. Usi
ng C
omm
unal
Voi
ceco
ntin
ueth
e co
nver
sati
on b
etw
een
Lyra
, Will
and
Ser
afin
a. W
hat
will
the
y de
cide
to
do?
7Th
e sc
ene
is fr
ozen
aga
in. H
and
out
the
lines
from
the
pla
y th
at L
yra
and
Will
spe
ak t
owar
ds t
he e
nd in
the
Bot
anic
Gar
dens
. Giv
e th
e st
uden
ts w
ho h
ave
been
Will
’s v
oice
Will
’s li
nes,
and
giv
e Ly
ra’s
line
s to
the
stud
ents
who
hav
e pr
ovid
ed h
er v
oice
. Ask
the
stu
dent
s to
tur
n to
face
the
pro
ject
ed p
ictu
res
at e
ithe
r en
dof
the
roo
m, a
nd h
ave
the
lines
in o
rder
. The
tw
o sc
ulpt
ed c
hara
cter
s of
Lyr
a an
d W
ill r
emai
n fr
ozen
thro
ugho
ut in
the
cen
tre
of t
he r
oom
. Mus
ic c
an b
e pl
ayed
qui
etly
in t
he b
ackg
roun
d.
8Th
e fir
st s
tude
nt s
teps
tow
ards
the
pic
ture
(Ly
ra’s
Oxf
ord)
on
the
wal
l tha
t th
ey a
re fa
cing
.a
As
they
do
so, s
ay li
nes
90–9
3 fr
om P
art
2, A
ct T
wo,
Sce
ne 1
5 (p
ages
279
–280
)fr
omL Y
RA
I wan
t to
kis
s yo
u an
d lie
dow
n w
ith
you
... u
ntil
I die
bTh
e fir
st s
tude
nt o
n W
ill’s
sid
e (w
ith
his
back
to
Lyra
’s fi
rst
stud
ent)
the
n st
eps
tow
ards
the
pic
ture
(W
ill’s
Oxf
ord)
the
y ar
e fa
cing
and
say
s lin
es 9
3–95
: ‘I’l
l alw
ays
love
you
. And
whe
n I d
ie, I
’ll d
rift
abo
ut fo
reve
r,al
l my
atom
s, t
ill t
hey
mix
wit
h yo
urs.
’c
The
seco
nd s
tude
nt o
n Ly
ra’s
sid
e th
en s
teps
tow
ards
Lyr
a’s
Oxf
ord
and
says
line
96:
‘Eve
ry a
tom
of y
ou,
ever
y at
om o
f me.
’d
The
proc
ess
cont
inue
s un
til t
he fi
nal t
wo
stud
ents
rea
ch li
nes
113–
114:
LYR
AG
oodb
ye.
WIL
LG
oodb
ye.
The
stud
ents
rem
ain
froz
en fo
r a
few
sec
onds
and
the
n ap
prop
riat
e m
usic
cou
ld b
e pl
ayed
.
This
dra
ws
the
wor
k to
a c
oncl
usio
n, b
ut in
doi
ng s
o pr
ompt
s fu
rthe
r di
scus
sion
and
act
ivit
ies
rela
ted
to t
he‘t
exts
’. W
ritt
en w
ork,
dis
cuss
ion
or fu
rthe
r dr
ama
acti
viti
es c
an, t
here
fore
, fol
low
on
from
thi
s.
His
Dar
k M
ater
ials
can
be u
sed
alon
gsid
e ot
her
text
s an
d/or
pla
ys a
nd fi
lms
to d
evel
op c
ompa
rati
ve s
kill
s.
The
wor
k de
velo
ped
here
can
pro
vide
a fo
unda
tion
for a
mor
e de
taile
d st
udy
of th
e pl
ay o
r the
ada
ptat
ion
proc
ess.
© H
arco
urt
Educ
atio
n, 2
005
25
Teac
hing
and
lear
ning
out
com
es
You
do n
ot n
eed
to w
ork
out
any
orde
r fo
r pu
pils
to
spea
k in
.Th
ey w
ill e
stab
lish
the
orde
r th
emse
lves
by
usin
g th
e si
lenc
es.
This
is a
n ef
fect
ive
way
of a
llow
ing
the
pupi
ls t
o re
cogn
ise
the
impo
rtan
ce o
f sile
nce
and
the
disc
iplin
e of
the
dra
ma
proc
ess.
You
need
to
ensu
re t
hat
the
lines
are
giv
en o
ut in
the
rig
htor
der
to e
nabl
e th
e re
adin
g of
the
scr
ipt
to r
emai
n co
rrec
t.En
cour
age
the
stud
ents
to
spea
k th
e lin
es c
lear
ly a
nd lo
udly
so
tha
t ev
eryo
ne c
an h
ear.
His
Dar
k M
ater
ials
Sch
eme
of W
ork
His
Dar
k M
ater
ials
p314
–317
Rp4
5–46
Rp2
8–29
Lyra
and
Will
Proj
ecte
dIm
age
– W
ill’s
Oxf
ord
Proj
ecte
d Im
age
–Ly
ra’s
Oxf
ord
Stud
ents
sta
nd in
line
wal
king
/fac
ing
tow
ards
the
pro
ject
ed im
ages
• • • • • •
• • • • • •
© Harcourt Education, 2005 26
Activity 1: Introducing daemonsHis Dark Materials Scheme of Work
© Harcourt Education, 2005 27
Activity 1: Introducing daemonsHis Dark Materials Scheme of Work
© Harcourt Education, 2005 28
Act
ivit
y 2a
: Set
ting
a c
onte
xt a
nd e
xplo
ring
the
tw
o w
orld
s of
Oxf
ord
His
Dar
k M
ater
ials
Sch
eme
of W
ork
1
© Harcourt Education, 2005 29
Act
ivit
y 2a
: Set
ting
a c
onte
xt a
nd e
xplo
ring
the
tw
o w
orld
s of
Oxf
ord
His
Dar
k M
ater
ials
Sch
eme
of W
ork
2
LORD ASRIEL There are as many worlds as there arepossibilities. I toss a coin. It comes downheads. But in another world, it comes downtails. Every time that a choice is made, or a chance is missed, or a fork in a road istaken … a world is born for each of the other things that might have happened. And in those worlds they do. Somewhere out there, in one of those worlds, is the origin of all the death, the sin, the misery, the destructiveness in the world. I’m going to destroy it.
© Harcourt Education, 2005 30
335
340
Activity 2b: Introducing the play and developing the contextHis Dark Materials Scheme of Work
Part 1, Act Two, Scene 3 (pages 100–101)
© Harcourt Education, 2005 31
SERAFINA All across the North, raggedy doors andwindows have opened that were never there before. Dust is falling through theminto a void, an absence, and so it will go on,worse and worse, till nothing is left, not abreath, not a gasp, unless the child of theprophecy, true to her secret name, brings not the defeat of Dust, not the loss of theloveliest gift of the stars, but its joyful return.That’s why we must guard and protect her,till the prophecy has run its course.
55
60
Activity 2b: Introducing the play and developing the contextHis Dark Materials Scheme of Work
Part 1, Act Two, Scene 6 (pages 112–113)
32© Harcourt Education, 2005
Act
ivit
y 3:
Rol
e of
Nor
ther
n Li
ghts
: exp
lori
ng t
he c
hara
cter
of L
ord
Asr
iel
His
Dar
k M
ater
ials
Sch
eme
of W
ork
1
33
Dea
thCh
ange
Aut
hori
ty
Trut
hS
ubm
issi
onG
race
Gui
leN
atur
al w
isdo
mCr
aft
© Harcourt Education, 2005
Act
ivit
y 3:
Rol
e of
Nor
ther
n Li
ghts
: exp
lori
ng t
he c
hara
cter
of L
ord
Asr
iel
His
Dar
k M
ater
ials
Sch
eme
of W
ork
34
Ach
ieve
d w
isdo
mS
tead
fast
ness
Dis
obed
ienc
e
Prot
ecti
onN
arro
w v
isio
nS
wee
tnes
s
Ligh
tM
yste
ryW
orsh
ip
© Harcourt Education, 2005
Act
ivit
y 3:
Rol
e of
Nor
ther
n Li
ghts
: exp
lori
ng t
he c
hara
cter
of L
ord
Asr
iel
His
Dar
k M
ater
ials
Sch
eme
of W
ork
35
Kno
wle
dge
Vani
tyS
acri
fice
Dil
igen
cePo
wer
Hon
esty
Fait
hLe
arni
ngH
ospi
tali
ty
© Harcourt Education, 2005
Act
ivit
y 3:
Rol
e of
Nor
ther
n Li
ghts
: exp
lori
ng t
he c
hara
cter
of L
ord
Asr
iel
His
Dar
k M
ater
ials
Sch
eme
of W
ork
36
Gre
edPa
tien
ceIn
noce
nce
Ord
erFa
me
Fort
itud
e
The
Chur
chW
atch
fuln
ess
Cour
age
© Harcourt Education, 2005
Act
ivit
y 3:
Rol
e of
Nor
ther
n Li
ghts
: exp
lori
ng t
he c
hara
cter
of L
ord
Asr
iel
His
Dar
k M
ater
ials
Sch
eme
of W
ork
37
Jour
neys
Fide
lity
Pers
ever
ance
Char
ity
Ente
rpri
seM
alle
abil
ity
Hel
ples
snes
sM
athe
mat
ics
Sci
ence
© Harcourt Education, 2005
Act
ivit
y 3:
Rol
e of
Nor
ther
n Li
ghts
: exp
lori
ng t
he c
hara
cter
of L
ord
Asr
iel
His
Dar
k M
ater
ials
Sch
eme
of W
ork
38
Phi
loso
phy
She
lter
Fert
ilit
y
Lust
Fear
Spri
ng
Sum
mer
Aut
umn
Win
ter
© Harcourt Education, 2005
Act
ivit
y 3:
Rol
e of
Nor
ther
n Li
ghts
: exp
lori
ng t
he c
hara
cter
of L
ord
Asr
iel
His
Dar
k M
ater
ials
Sch
eme
of W
ork
© Harcourt Education, 2005 39
Activity 4b: Images of LyraHis Dark Materials Scheme of Work
Alethiometer
© Harcourt Education, 2005 40
Activity 6: Further exploration of the text– the significance of the knifeHis Dark Materials Scheme of Work
© Harcourt Education, 2005 41
Then suddenly there was the boat.It was an ancient rowing boat, battered, patched, rotting, and the figure rowing it
was aged beyond age, huddled in a robe of sacking bound with string, crippled andbent, his bony hands crooked permanently around the oar-handles, and his moistpale eyes sunk deep among folds and wrinkles of grey skin.
He let go of an oar and reached his crooked hand up to the iron ring set in thepost at the corner of the jetty. With the other hand he moved the oar to bring theboat right up against the planks.
There was no need to speak. Will got in first, and then Lyra came forward to stepdown too.
But the boatman held up his hand.‘Not him,’ he said, in a harsh whisper.‘Not who?’‘Not him.’He extended a yellow-grey finger, pointing directly at Pantalaimon, whose red-
brown stoat-form immediately became ermine-white.‘But he is me!’ Lyra said.‘If you come, he must stay.’‘But we can’t! We’d die!’‘Isn’t that what you want?’And then for the first time Lyra truly realized what she was doing. This was the real
consequence. She stood aghast, trembling, and clutched her dear daemon so tightlythat he whimpered in pain.
‘They…’ said Lyra helplessly, then stopped: it wasn’t fair to point out that the otherthree didn’t have to give anything up.
Will was watching her anxiously. She looked all around, at the lake, at the jetty, atthe rough path, the stagnant puddles, the dead and sodden bushes … Her Pan,alone here: how could he live without her? He was shaking inside her shirt, againsther bare flesh, his fur needing her warmth. Impossible! Never!
‘He must stay here if you are to come,’ the boatman said again.The Lady Salmakia flicked the rein, and her dragonfly skimmed away from Lyra’s
shoulder to land on the gunwale of the boat, where Tialys joined her. They saidsomething to the boatman. Lyra watched as a condemned prisoner watches the stirat the back of the courtroom that might be a messenger with a pardon.
The boatman bent to listen, and then shook his head.‘No,’ he said. ‘If she comes, he has to stay.’
Activity 7: From personal to universal –exploring the adaptation processHis Dark Materials Scheme of Work
Extract from The Amber Spyglass by Philip Pullman
(Chapter 21 ‘The Harpies’ pages 294–300)
Will said, ‘That’s not right. We don’t have to leave part of ourselves behind. Whyshould Lyra?’
‘Oh, but you do,’ said the boatman. ‘It’s her misfortune that she can see and talkto the part she must leave. You will not know until you are on the water, and then itwill be too late. But you all have to leave that part of yourselves here. There is nopassage to the land of the dead for such as him.’
No, Lyra thought, and Pantalaimon thought with her. We didn’t go throughBolvangar for this, no; how will we ever find each other again?
And she looked back again at the foul and dismal shore, so bleak and blasted withdisease and poison, and thought of her dear Pan waiting there alone, her heart’scompanion, watching her disappear into the mist, and she fell into a storm of weeping. Her passionate sobs didn’t echo, because the mist muffled them, but allalong the shore in innumerable ponds and shallows, in wretched broken treestumps, the damaged creatures that lurked there heard her full-hearted cry and drewthemselves a little closer to the ground, afraid of such passion.
‘If he could come –’ cried Will, desperate to end her grief, but the boatman shookhis head.
‘He can come in the boat, but if he does, the boat stays here,’ he said.‘But how will she find him again?’‘I don’t know.’‘When we leave, will we come back this way?’‘Leave?’‘We’re going to come back. We’re going to the land of the dead and we are going
to come back.’‘Not this way.’‘Then some other way, but we will!’‘I have taken millions, and none came back.’‘Then we shall be the first. We’ll find our way out. And since we’re going to do
that, be kind, boatman, be compassionate, let her take her daemon!’‘No,’ he said and shook his ancient head. ‘It’s not a rule you can break. It’s a law
like this one…’ He leant over the side and cupped a handful of water, and then tiltedhis hand so it ran out again. ‘The law that makes the water fall back into the lake, it’sa law like that. I can’t tilt my hand and make the water fly upwards. No more can Itake her daemon to the land of the dead. Whether or not she comes, he must stay.’
Lyra could see nothing: her face was buried in Pantalaimon’s cat-fur. But Will sawTialys dismount from his dragonfly and prepare to spring at the boatman, and hehalf-agreed with the spy’s intention: but the old man had seen him, and turned hisancient head to say:
‘How many ages do you think I’ve been ferrying people to the land of the dead?D’you think if anything could hurt me, it wouldn’t have happened already? D’youthink the people I take come with me gladly? They struggle and cry, they try to bribe
© Harcourt Education, 2005 42
Activity 7: From personal to universal –exploring the adaptation processHis Dark Materials Scheme of Work
me, they threaten and fight; nothing works. You can’t hurt me, sting as you will.Better comfort the child; she’s coming; take no notice of me.’
Will could hardly watch. Lyra was doing the cruellest thing she had ever done, hating herself, hating the deed, suffering for Pan and with Pan and because of Pan;trying to put him down on the cold path, disengaging his cat-claws from her clothes,weeping, weeping. Will closed his ears: the sound was too unhappy to bear. Timeafter time she pushed her daemon away, and still he cried and tried to cling.
She could turn back.She could say no, this is a bad idea, we mustn’t do it.She could be true to the heart-deep, life-deep bond linking her to Pantalaimon,
she could put that first, she could push the rest out of her mind –But she couldn’t.‘Pan, no one’s done this before,’ she whispered shiveringly, ‘but Will says we’re
coming back and I swear, Pan, I love you, I swear we’re coming back – I will – takecare, my dear – you’ll be safe – we will come back, and if I have to spend everyminute of my life finding you again I will, I won’t stop, I won’t rest, I won’t – oh Pan– dear Pan – I’ve got to, I’ve got to…’
And she pushed him away, so that he crouched bitter and cold and frightened onthe muddy ground.
What animal he was now, Will could hardly tell. He seemed to be so young, a cub, apuppy, something helpless and beaten, a creature so sunk in misery that it was moremisery than creature. His eyes never left Lyra’s face, and Will could see her making herself not look away, not avoid the guilt, and he admired her honesty and her courageat the same time as he was wrenched with the shock of their parting. There were somany vivid currents of feeling between them that the very air felt electric to him.
And Pantalaimon didn’t say, ‘Why?’, because he knew; and he didn’t ask whetherLyra loved Roger more than him, because he knew the true answer to that, too. Andhe knew that if he spoke, she wouldn’t be able to resist; so the daemon held himselfquiet so as not to distress the human who was abandoning him, and now they wereboth pretending that it wouldn’t hurt, it wouldn’t be long before they were togetheragain, it was all for the best. But Will knew that the little girl was tearing her heartout of her breast.
Then she stepped down into the boat. She was so light that it barely rocked at all.She sat beside Will, and her eyes never left Pantalaimon, who stood trembling at theshore end of the jetty; but as the boatman let go of the iron ring and swung his oarsout to pull the boat away, the little dog-daemon trotted helplessly out to the veryend, his claws clicking softly on the soft planks, and stood watching, just watching,as the boat drew away and the jetty faded and vanished in the mist.
Then Lyra gave a cry so passionate that even in the muffled mist-hung world itraised an echo, but of course it wasn’t an echo, it was the other part of her crying inturn from the land of the living as Lyra moved away into the land of the dead.
© Harcourt Education, 2005 43
Activity 7: From personal to universal –exploring the adaptation processHis Dark Materials Scheme of Work
‘My heart, Will…’ she groaned, and clung to him, her wet face contorted with pain.And thus the prophecy that the Master of Jordan College had made to the
Librarian, that Lyra would make a great betrayal and it would hurt her terribly, wasfulfilled.
But Will too found an agony building inside him, and through the pain he saw thatthe two Gallivespians, clinging together just as he and Lyra were doing, were movedby the same anguish.
Part of it was physical. It felt as if an iron hand had gripped his heart and waspulling it out between his ribs, so that he pressed his hands to the place and vainlytried to hold it in. It was far deeper and far worse than the pain of losing his fingers.But it was mental, too: something secret and private was being dragged into theopen where it had no wish to be, and Will was nearly overcome by a mixture of painand shame and fear and self-reproach, because he himself had caused it.
And it was worse than that. It was as if he’d said, ‘No, don’t kill me, I’m frightened;kill my mother instead; she doesn’t matter, I don’t love her,’ and as if she’d heardhim say it, and pretended she hadn’t so as to spare his feelings, and offered herselfin his place anyway because of her love for him. He felt as bad as that. There wasnothing worse to feel.
So Will knew that all those things were part of having a daemon, and that whateverhis daemon was, she too was left behind, with Pantalaimon, on that poisoned anddesolate shore. The thought came to Will and Lyra at the same moment, and theyexchanged a tear-filled glance. And for the second time in their lives, but not the last,each of them saw their own expression on the other’s face.
© Harcourt Education, 2005 44
Activity 7: From personal to universal –exploring the adaptation processHis Dark Materials Scheme of Work
© Harcourt Education, 2005 45
90
95
100
105
110
LYRA I want to kiss you and lie down with you …and sleep … and wake up with you everyday of my life until I die.
WILL I’ll always love you. And when I die, I’ll driftabout forever, all my atoms, till they mixwith yours.
LYRA Every atom of you, every atom of me.
Pause.
WILL It’s time.
LYRA Come on, Pan.
She picks up Pantalaimon.
If we meet someone that we like, later on,we gotta be good to them, and not makecomparisons. But … once a year … justonce a year … we could both come here, tothe Botanic Gardens, on Midsummer nightat midnight, … and talk till dawn, just likenow, as though we were together again.Because we will be.
WILL I will. I promise. Wherever I am in theworld, I’ll come back here.
LYRA At midnight.
WILL Till the following dawn.
LYRA For as long as I live.
WILL For as long as I live.
He cuts a window.
LYRA Goodbye.
WILL Goodbye.
Activity 11: Communal Voice to make a single decision
His Dark Materials Scheme of Work
Part 2, Act Two, Scene 15 (pages 279–280)
© Harcourt Education, 2005 46
90
95
100
105
110
LYRA I want to kiss you and lie down with you …and sleep … and wake up with you everyday of my life until I die.
WILL I’ll always love you. And when I die, I’ll driftabout forever, all my atoms, till they mixwith yours.
LYRA Every atom of you, every atom of me.
Pause.
WILL It’s time.
LYRA Come on, Pan.
She picks up Pantalaimon.
If we meet someone that we like, later on,we gotta be good to them, and not makecomparisons. But … once a year … justonce a year … we could both come here, tothe Botanic Gardens, on Midsummer nightat midnight, … and talk till dawn, just likenow, as though we were together again.Because we will be.
WILL I will. I promise. Wherever I am in theworld, I’ll come back here.
LYRA At midnight.
WILL Till the following dawn.
LYRA For as long as I live.
WILL For as long as I live.
He cuts a window.
LYRA Goodbye.
WILL Goodbye.
Activity 11: Communal Voice to make a single decision
His Dark Materials Scheme of Work
Part 2, Act Two, Scene 15 (pages 279–280)
© Harcourt Education, 2005 47
Action Narration a convention which requires each participant to pause and verbalise motives and descriptions ofactions before they undertake them in improvisation
Action Reading students, in role, walk through a scene, speaking lines and adding gestures and movements, whilereading from scripts
Communal Voice individual members of the group take up positions, one at a time, behind a sculpted character andspeak the words that character says at a chosen moment in the drama; individual voices can speak more than once; adialogue can be staged in this way with sculpted characters facing each other while their ‘voices’ take positions behindeach of them and speak only the utterances of that character; the teacher may speak in role as one of the characters tointroduce a new element or information or play devil’s advocate
Digital Video Clip a short, repeatable dramatic sequence is ‘bookended’ with a Still Image at the start and a StillImage at the end
Describe/Name the Space participants are invited to offer words to describe a physical (or metaphorical) spacebetween two characters at a moment of tension in the drama; the same technique can be used to describe barriersthat exist between character or situations
Guided Tour in pairs, A (with eyes open) leads B (with eyes closed) slowly through an imaginary environment,providing a spoken commentary; the environment or location may be based on text but will usually be stimulated by aprinted or projected map or picture, roles can be reversed to enable parity of experience
Placing the Author in order to help students to appreciate an author’s perspective, a student or teacher representsthe presence, at a defined moment in the drama, of the author; supposedly unseen by the actors (frozen at asignificant moment), the author is sculpted into the scene by individual students who justify the positioning bydrawing on evidence from the text; the act of placing the author is carried out as many times as demonstrates therange of possible author perspectives at any one moment in the drama
Placing the Audience/Reader a similar process to Placing the Author but here a student or teacher represents thepresence and/or perspective of the audience or reader at a defined moment in the drama
Rolling Theatre a means by which groups can share their work on different aspects of a drama, learning from eachother by running several rehearsed sections in a sequence; the theatrical integrity of the sequence will be the result ofeach group taking total responsibility for the start and finish of their section, independent of the need for teacherintervention; this may be achieved through the use of strong Still Images at the beginning and end of the Digital VideoClips signally the contribution of the next group in a pre-arranged theatrical sequence
Role on the Wall this convention is used to help students define character traits at defined moments in a drama;sticky notes or cards with written statements or words are positioned on a large outline of a particular characterusually pinned on a wall or laid on the floor; students may write their own words or statements or the teacher maywrite them. It is important that if students have contributed a word, they are given the card or sticky note to placewhere they think appropriate on the outline (near the head or the heart for example); such a developing image withwords can act as a useful visual stimulus at the beginning or end of discrete sessions
Sculpting participants offer suggestions to place an individual in a significant, frozen position so that consideredanalysis can be made
Still Image/Still Picture/Freeze-Frame a Still Image is created by participants in the drama standing motionless,often at a given sign by the teacher or as a result of being sculpted by other students into the frozen image. Thisconvention is used to mark a significant moment or enable time for reflection
His Dark Materials Scheme of Work
Glossary
48© Harcourt Education, 2005
His
Dar
k M
ater
ials
Sch
eme
of W
ork
Will
, Lyr
a an
d he
r da
emon
Pan
tala
imon
49© Harcourt Education, 2005
His
Dar
k M
ater
ials
Sch
eme
of W
ork
Lord
Bor
eal,
Mrs
Cou
lter
and
her
daem
on t
he G
olde
n M
onke
y
50© Harcourt Education, 2005
His
Dar
k M
ater
ials
Sch
eme
of W
ork
Lyra
, Will
and
the
boa
tman
51© Harcourt Education, 2005
His
Dar
k M
ater
ials
Sch
eme
of W
ork
Will
, Ser
afin
a an
d Ly
ra
52© Harcourt Education, 2005
His
Dar
k M
ater
ials
Sch
eme
of W
ork
Lyra
, Will
, Ior
ek a
nd t
he k
nife
53© Harcourt Education, 2005
His
Dar
k M
ater
ials
Sch
eme
of W
ork
Lord
Asr
iel a
nd h
is d
aem
on S
telm
aria