FlexiEd Solutions

Most students aged 11 to 14 can stand up and speak. Very few can stand up, control how they sound and look, construct a three-point argument, adapt it for their audience, deploy a rhetorical technique, and then defend it when someone pushes back. Speaking Foundations: Lower Secondary is the complete course that takes students from the first to the second. All 16 lessons. Four levels. One coherent arc. The course is built on a single principle: every skill taught is the foundation for the next on

Sixteen lessons. Four levels. One complete course that takes students from standing up and saying their name to disagreeing with someone's idea kindly, clearly, and under pressure. Speaking Foundations (Primary Edition) is a full public speaking course for Grades 3 - 6 with no prior experience required. Every lesson assumes a beginner. Every skill is taught before it's expected. And every lesson is self-contained, so whether you're teaching the full sequence or picking the lessons your class nee

Speaking is only half of communication. Level 4 of Speaking Foundations (Primary Edition) is the most transferable unit in the entire course. Students who can already speak with structure and persuasion now learn to listen properly, summarise fairly, ask questions that take a conversation forward, and disagree with an idea without making it personal. These are not just speaking skills. They are life skills. What's IncludedAll four complete lessons with teacher's guides, facilitation notes, and t

Children persuade the people around them every day, and often don't know they're doing it. This level names what they already know, gives them the tools to do it honestly, and builds to a complete three-minute persuasive talk. Level 3 of Speaking Foundations (Primary Edition) is a complete four-lesson unit on persuasion. Students move from understanding what persuasion actually is, through the techniques that make arguments stick, to a fully assessed talk on something they genuinely believe. Wha

Your students have learned to stand up and speak. Now let's give them the tools to structure something worth saying well. Building Ideas is the complete Level 2 bundle from Speaking Foundations (Primary Edition). Here are four carefully sequenced lessons that take students from rambling to structured, reasoned, and confident. They'll learn to organise their ideas, back them up, open with impact, and close with intention. What's Included Lesson 2.1: Beginning, Middle, End: The three-part structu

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredThe notes session closes the loop between rehearsal and performance. It also teaches one of the most valuable skills in the programme: how to give and receive specific, actionable feedback professionally. Students who learn this skill will carry it into every creative and collaborative context they encounter, long after the production has finished. A

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredStage presence is often described as an innate quality that some performers have and others do not. This is not true, and the lesson says so directly. Stage presence is the visible result of committed attention, genuine engagement with the world of the play, and the confidence to simply be present without doing anything to earn attention. Every stude

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredSight lines are the most practically correctable problem in student productions, and the most commonly ignored until performance day when it is too late to fix. This lesson solves sight line problems before performance day by teaching students to audit their own staging from the audience's perspective. The warm-up makes sight line problems visible th

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredA scene that worked perfectly in rehearsal can fall flat in performance. A scene that felt rough in the last rehearsal can come alive in front of an audience. The difference is almost always performance energy, and most students do not know what it is or how to generate it deliberately. This lesson teaches both. Performance energy is not louder or fa

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredThe dress rehearsal is a full production run under performance conditions where the show continues no matter what happens. That rule, the no-stopping rule, is the most important thing students will learn in Unit Four, and it is what this lesson teaches before anything else. Recovery is a performance skill. This lesson builds it. The preparation befor

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredTiming is the synthesis skill of Unit Three. It draws on projection, articulation, pace, pause, physicality, ensemble awareness, and listening simultaneously. A performer with good timing deploys all of these skills in service of a single moment. It is not a technique to add to a list. It is what emerges when all the other techniques are working toge

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredA common failure mode in technically competent student performers is this: they are listening for their cue rather than listening to the scene. They appear to be paying attention. They look at their scene partner. They are ready on time. But their response is the same regardless of how the other performer delivers the line, because they prepared thei

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredIndividual excellence is not enough. A production where one performer makes brilliant choices while everyone else mentally exits the scene is not a strong production. Ensemble performance requires every performer to subordinate individual preference to collective storytelling. This is the most challenging concept in Unit Three for students at this ag

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredThere are two common physicality problems in student performance. Some students are over-physical: large gestures, exaggerated expressions, nothing specific to the character. Others are under-physical: the voice does all the work while the body stands neutral. This lesson addresses both by teaching the distinction between habitual physicality, what a

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredThe pause is the most underused tool in student performance and the one that produces the most dramatic improvement when used well. Students fill silence because silence feels like failure. But a pause where the character is visibly thinking, feeling, or deciding holds an audience completely. A gap, where nothing is happening internally, loses them.

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredPace problems in student performance regularly go in one direction: too fast. Nervous students rush. Students who have not fully learned their lines rush. Students who are not listening to their scene partners rush. The solution to all three is the same: slow down and listen. But the more sophisticated teaching point is that pace should vary delibera

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredProjection gets the voice across the room. Articulation makes sure words are understood when they arrive. These two lessons solve different halves of the same problem and they are taught in sequence for that reason. A student who projects well but drops their final consonants will frustrate an audience that can hear them but cannot follow them. Most

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredA voice that cannot be heard is a problem for your audience, and a problem for your performance. Students who project from the throat tire quickly and produce a thin, harsh sound. Students who project from breath, posture, and intention produce a fuller, more carrying sound with less effort, sustained through an entire production. This lesson teaches

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredEvery performance has an invisible boundary between the world of the play and the world of the audience. Most of the time, characters behave as if no one is watching. Then a character turns and speaks directly to the room, and everything changes. The fourth wall is one of the most powerful tools in theatre precisely because of what happens when it br

Teacher guide and student book | 45-minute lesson plus 15-minute independent activity | Grades 5 to 8 | Ages 10 to 14 | No drama background requiredA student who has only ever rehearsed their lines knows what their character says. A student who has improvised their character in three different situations knows who their character is. That difference is audible in performance, and it is the difference this lesson builds. Improvisation for Character uses improvisation as a rehearsal tool, not as a