FlexiEd Solutions

Complete Lesson Plans + Student Materials | Ages 9–11 | Grades 4–6 | 10 x 45 Minutes | No Drama Experience RequiredMost drama resources give you activities. This series gives you a framework for understanding what drama is. Ten lessons. Ten conventions. A deliberately sequenced arc that begins with the most familiar forms, narration and chorus, and builds toward the most demanding and most ancient: masks. By the end, students can name ten conventions, use them deliberately in performance and dev

Most drama resources give you activities. This series gives you a toolkit. Ten lessons. Ten techniques. A deliberately sequenced arc that moves from the most visual and spatial techniques to the most interior and complex. By the end, students are creating performances where levels, proxemics, pace, pause, physicality, vocal variation, direct address, thought tracking, hot seating, and freeze frame are working together as an integrated craft rather than a collection of separate tricks. Every less

Most drama resources give you activities. This series gives you a curriculum. Ten lessons. Ten drama features. A deliberately sequenced arc that starts with the most physical and immediate elements and builds toward the most complex. By the end, students are creating original performances where voice, movement, space, symbol, contrast, mood, tension, focus, and time are all working together in service of character. They can name what they are doing and explain why it works. Every lesson follows

This bundle brings together two resources in the Macbeth programme: the Macbeth Activity Bank and the Shakespeare in Depth: Macbeth Scene by Scene Companion. The Activity Bank is for what happens in the room. Seventy-two structured non-writing activities across all 18 lessons: discussion structures, drama conventions, sorting and ranking tasks, and quick-response openers and closers. Everything is ready to run with a teacher setup and student instructions already written. The Scene Companion is

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

Reading Macbeth closely is hard. The language rewards attention, and students need scaffolding that asks them to look carefully without telling them what to find. This companion gives every scene in Macbeth its own entry: a brief summary of what happens, one specific thing to notice while reading, at least one creative task, and one analytical question that cannot be answered by surface reading alone. The creative tasks ask students to step inside the scene: write the letter Macbeth sends from t

Hot seating is one of the most demanding performance techniques because it requires a performer to sustain character under conditions they cannot control: unpredictable questions, unexpected angles, and the pressure of real-time response. This lesson teaches students both how to sit in the hot seat and how to ask questions that produce genuinely revealing answers. In hot seating, a performer takes on the role of a character and answers questions from the class while remaining fully in character.

Complete Lesson Plan + Student Materials | Ages 9–11 | Grades 4–6 | 45 Minutes | No Drama Experience RequiredMime is not a novelty or a party trick. It is one of the most disciplined forms of performance that exists. Every mime performer is required to know the physical world more precisely than an actor who can use words. This lesson teaches students that precision. Mime is performance without words, using the body, gesture, and movement to communicate narrative, character, emotion, and the phy

Every time a character in a film looks directly at the camera, every time a narrator steps out of the story, every time a performer breaks the fourth wall, they are using direct address. It is one of the oldest theatrical techniques and one of the most powerful, because it does something no other technique can: it makes the audience feel chosen. Direct address is the moment a performer breaks away from the drama's fictional world and speaks directly to the audience. Used well, it creates immedia

Complete Lesson Plan + Student Materials | Ages 9–11 | Grades 4–6 | 45 Minutes | No Drama Experience RequiredMask is where the series ends because it asks the most fundamental question: what is performance? When the face is removed, what remains? The body, the choice, the commitment, the relationship between the performer and the space and the audience. Mask strips theatre back to its origins. This final lesson in the Drama Conventions series asks students to bring everything they have learned t

Complete Lesson Plan + Student Materials | Ages 9–11 | Grades 4–6 | 45 Minutes | No Drama Experience RequiredThe monologue is the most personal thing a drama can offer an audience: one person, speaking honestly, alone. That simplicity is also its greatest demand. There is nowhere to hide, no other actor to share the moment with. The quality that makes a monologue compelling is not technique. It is the willingness to say something real. A monologue is an extended speech delivered by a single perf

Complete Lesson Plan + Student Materials | Ages 9–11 | Grades 4–6 | 45 Minutes | No Drama Experience RequiredBefore you write a single line of dialogue, build the wall. The character will write themselves. Role on the wall is a visual convention in which the outline of a character is drawn on paper. What others see and know about them is written on the outside of the outline. What the character actually thinks, feels, and knows is written on the inside. The gap between the two is where drama liv

Complete Lesson Plan + Student Materials | Ages 9–11 | Grades 4–6 | 45 Minutes | No Drama Experience RequiredEvery difficult decision has two sides that are both true at the same time. Conscience alley makes that double truth visible and physical. The character does not choose between right and wrong. They choose between two rights, two fears, or two loyalties. That is what makes a decision dramatic. Conscience alley externalises internal conflict. A character walks slowly between two lines of p

Complete Lesson Plan + Student Materials | Ages 9–11 | Grades 4–6 | 45 Minutes | No Drama Experience RequiredForum theatre does not require a solution. It requires exploration. A spect-actor's intervention that makes the situation worse is as valuable as one that improves it. What matters is what each intervention reveals about the nature of the problem. This lesson teaches students to think that way. Forum theatre was developed by Brazilian theatre practitioner Augusto Boal as part of his Theat

Complete Lesson Plan + Student Materials | Ages 9–11 | Grades 4–6 | 45 Minutes | No Drama Experience RequiredA ritual performed quickly with half-focus looks like a group of students doing arbitrary actions. The same actions performed with complete attention and deliberate pace look like a ritual. The content is secondary. The quality of attention is everything. This lesson teaches students what that quality is and how to produce it. Ritual is the structuring of action into a repeated, formal pa

Complete Lesson Plan + Student Materials | Ages 9–11 | Grades 4–6 | 45 Minutes | No Drama Experience RequiredA tableau is a visual argument. Every compositional choice, where to stand, how high, how close to the centre, how the hands are positioned, where the eyes look, is a claim about power, relationship, and feeling. The audience reads the argument whether the performer intends it or not. The skill of tableau is making every choice deliberate. Tableau is the construction of a deliberately com

Complete Lesson Plan + Student Materials | Ages 9–11 | Grades 4–6 | 45 Minutes | No Drama Experience RequiredWhen a chorus speaks in unison, a single sentence carries the weight of a community. When it fragments, the same words become a crowd trying to deflect blame. The words do not change. The form does. This lesson teaches students that form produces meaning. Chorus is one of the oldest theatrical conventions in the world, originating in ancient Greek drama where it served as the collective v

You have now studied ten drama techniques. Every one of them is a tool you can use deliberately in any performance you create or any text you explore. The difference between a student who knows about drama and one who can do drama is this: technique. Technique is what lets you repeat the brilliant thing you did by accident. You have the techniques now. The next part is yours. Freeze frame is the practice of stopping a performance or improvisation at a significant moment and holding it completely

What a character says to another character and what they are actually thinking are rarely the same thing. Thought tracking is the technique of making that gap audible. Thought tracking is the practice of voicing a character's inner thoughts aloud, spoken either to the audience or neutrally into the space, while the dramatic action pauses. It sits between direct address and soliloquy. It is the character's inner voice becoming audible: rawer, less structured, and more honest than anything they wo

Instinct gets a performer started. Technique makes it repeatable. This lesson teaches the difference. Physicality as a technique goes beyond movement as a broad element. It is the precise, conscious use of the whole body as an expressive instrument in a specific performance context. It is what a director gives notes on. It is the difference between a student who has good instincts and one who has technical control. The lesson focuses on three specific physicality skills students can apply immedi