Year 8 is left without a teacher. To relieve the boredom they launch an expedition - two students who never break the rules are sent to steal something from the headteacher's office. The unlikely criminals return as heroes and set about re-enacting the theft. In the ensuing chaos, one student discovers that he too has been the victim of theft.

Hope Springs is a correctional facility for teenagers. Sent to the remote island by their parents, students are subjected to draconian discipline in the attempt to 'cure' them of their delinquent ways. When communication with the island breaks down, two inspectors turn up to discover the students have taken over the island. The students confront the regime, their experiences and the tragedy which resulted in the students taking matters into their own hands. A thrilling play for use in either English or Drama. The script can be studied for: * author's craft * plot * structure * characterisation * analysis of language * performance text * creating dramatic tension and suspense.

Inquiry based play; Centers for reading; writing; mathematics and science

Play is serious business. Whether it's reenacting a favorite book (comprehension and close reading), negotiating the rules for a game (speaking and listening), or collaborating over building blocks (college and career readiness and STEM), Kristi Mraz, Alison Porcelli, and Cheryl Tyler see every day how play helps students reach standards and goals in ways that in-their-seat instruction alone can't do. And not just during playtimes. "We believe there is play in work and work in play," they write. "It helps to have practical ways to carry that mindset into all aspects of the curriculum." In Purposeful Play, they share ways to: optimize and balance different types of play to deepen regular classroom learning teach into play to foster social-emotional skills and a growth mindset bring the impact of play into all your lessons across the day. "We believe that play is one type of environment where children can be rigorous in their learning," Kristi, Alison, and Cheryl write. So they provide a host of lessons, suggestions for classroom setups, helpful tools and charts, curriculum connections, teaching points, and teaching language to help you foster mature play that makes every moment in your classroom instructional. Play doesn't only happen when work is over. Children show us time and time again that play is the way they work. In Purposeful Play, you'll find research-driven methods for making play an engine for rigorous learning in your classroom.

"Playful experiences create pathways in the brain that enable us to consider more readily unusual, inventive, creative, resourceful ways of doing the things we need to do. These are also the pathways needed to solve problems that haven't been solved before and to create things that didn't exist before. These benefits combine and work together to feed a mindset that is flexible, creative and courageous. Our survival as humans depends on a complex set of skills, and the variety of human play reflects that complexity. We play with language in order to learn how it works, and doesn't work, as effective communication with our social groups. In play we learn what our bodies can and can't do. Through play we learn how things work in the world around us-how objects feel and fit together, what they do when they're hit, thrown, banged together. This book shows teachers how to use play as an opportunity to learn"--

The closing of the theatres by Parliament in 1642 is perhaps the best-known fact in the history of English drama. As the Parliamentary Puritans were then in power, it is easy to assume that all opponents of the theatre were Puritans, and that all Puritans were hostile to the drama. The reality was more interesting and more complicated. Margot Heinemann looks at Thomas Middleton's work in relation to the society and social movements of his time, and traces the connections this work may have had with radical, Parliamentarian or Puritan groups or movements. In the light of the recent work of seventeenth-century historians we can no longer see these complex opposition movements as uniformly anti-theatre or anti-dramatist. The book suggests fresh meanings and implications in Middleton's own writings, and helps towards rethinking the place of drama in the changing life of early Stuart England.

A group of students arrange a sponsored 24-hour fast to raise money for charity. Two of the students, Charlie and Holly, brag that they could carry on, and in refusing to back down they end up embarking on a dangerous fast that lasts for days. The national media picks up the story, setting up a donations hotline and spurring the two on until a story breaks that threatens to ruin everything. Played out entirely through chats in the school canteen, the script relies on the realistic and often hilarious dialogue that is David Grant's trademark. What's the hook? Snappy, comic dialogue and hugely relevant issues. What are the themes? Celebrity, media and friendship. Teaching points Perfect for reading around a classroom, full-blown performance or for close analysis as a text, this is a play about a range of important issues presented with humour and sensitivity. * Realistic dialogue coupled with witty insights make this the ideal play for Key Stage 3. * Explores interesting topics in a way that is accessible to Key Stage 3 students. * Supported by back-of-book activities and free online teaching resources including lesson plans mapped to the Framework.

Drama Worlds examines the complex improvised event called process drama and identifies it as an essential part of today's theatre. Cecily O'Neill considers process drama's sources and its connections with more familiar kinds of improvisation: the texts it generates, the kinds of roles available, its relation to its audience and dramatic time, and the leader's function in the event. She provides examples of several process dramas and identifies dramatic strategies and characteristics. The explicit associations between theatre form and process drama make O'Neill's approach accessible and its purposes and possibilities easy to understand, particularly to those working in actor training and theatre. Teachers and directors alike will discover effective ways of initiating and maintaining the drama world, achieving a significant dramatic experience for all participants.

Using a tissue sample she believes is from one of her father's experiments in genetic engineering, Frankie accidentally creates a baby monster, which begins to grow at an alarming rate.

I could have done a much better job of empowering my students with language had I had this book as a young teacher. - Carol Ann Tomlinson Author of The Differentiated Classroom Vocabulary is key - to comprehension, to deep academic understanding, to communication. But with so many words and so little instructional time, how can teachers ensure that students do more than merely memorize word lists? That they make words their own and use them well in all their reading, writing, and speaking activities? In Word Play, Sandra Whitaker, a National Board Certified Teacher, leads the way to effective, meaningful vocabulary instruction that helps students in every subject area. With Word Play you'll teach so that students don't just what know what words mean, but how they convey meaning and what their appropriate uses are. Three aspects of learning must work together for successful vocabulary instruction, and Whitaker details what they are and how to teach them: Morphemic structure - where words come from, how they are formed, and how they can be changed to form new words Conceptual meaning makers - the small but important group of context-specific terms that support meaning making within assigned texts but are rarely used outside those texts Academic vocabulary - cross-discipline and discipline-specific words that support learning by helping students determine meanings in relation to the subjects they study and use precise language to communicate their thinking. Whitaker makes the theoretical practical, presenting the theory and research behind high-quality instruction, then following up with engaging, interesting ways for students to practice all three aspects of vocabulary. You'll replace monotonous memorization with enjoyable activities that capitalize on adolescents' natural interest in words and language. Illustrating her strategies with student samples and stories from real classrooms, Whitaker even presents ideas for differentiation that make vocabulary instruction accessible for all students. Give the gift of language. Put away the boring word lists and teach in ways that promote usage, not memorization. You'll encourage a deeper understanding of texts across the curriculum and provide avenues for students to express their thinking more precisely. Put joy into words with Word Play.