Blocking has two distinct meanings in theatre. Traditionally it refers to the positioning and movement of actors on stage. It is also used to describe a refusal to accept ideas in improvisation. See Have You Tried Blocking?

A useful strategy for exploring any kind of dilemma faced by a character. The class forms two lines facing each other. One person (usually the teacher/leader) takes the role of the protagonist and walks between the lines as each member of the group speaks their advice. It can be organised so that those on one side give opposing advice to those on the other. When the protagonist reaches the end of the alley, she makes her decision. 

• Read an example of how you could use this in a lesson

Established in 16th Century Italy, commedia dell'arte was a form of improvised theatre performed outdoors by a company of masked actors, including stock characters such as Arlecchino (Harlequin) who improvised the whole show using a list of scenes (scenario) and comedy sequences (lazzi). The style has had a lasting effect on contemporary theatre and comedy.

• Read more about commedia dell'arte

Cross-cutting (also called split-screen) is a technique borrowed from the world of film editing, where two scenes are intercut to establish continuity. In drama and theatre the term is used to describe two or more scenes which are performed on stage at the same time. This makes it possible to juxtapose scenes or snippets of scenes that happen at different times or in different places, using separate areas of the performance space.  The technique is used to highlight or contrast a particular theme or aspect of the story. Using different groupings, both scenes could happen at the same time, or one could be frozen while the other comes alive.  This can have a similar effect to spotlighting particular areas of the stage or using a split-screen in a film.

Performers in a scene are asked to improvise scenes or incidents which take place seconds, minutes, days or years before or after a dramatic moment. This enables the exploration of characters' backgrounds, motivations and the consequences of their actions. The technique can be combined with image theatre or still images.

A technique pioneered by Brazilian radical Augusto Boal . A play or scene, usually indicating some kind of oppression, is shown twice. During the replay, any member of the audience ('spect-actor') is allowed to shout 'Stop!', step forward and take the place of one of the oppressed characters, showing how they could change the situation to enable a different outcome. Several alternatives may be explored by different spect-actors. The other actors remain in character, improvising their responses. A facilitator (Joker) is necessary to enable communication between the players and the audience.

Still images and freeze frames are both a form of tableau. With freeze-frame, the action in a play or scene is frozen, as in a photograph or video frame. Still images, on the other hand, require individuals or groups to invent body-shapes or postures, rather than freeze existing action.

 A character is questioned by the group about his or her background, behaviour and motivation. The method may be used for developing a role in the drama lesson or rehearsals, or analysing a play post-performance. Even done without preparation, it is an excellent way of fleshing out a character. Characters may be hot-seated individually, in pairs or small groups. The technique is additionally useful for developing questioning skills with the rest of the group. It can be used as part of Teacher in Role.

Another technique developed by Augusto Boal. Participants rapidly sculpt their own or each others' bodies to express attitudes and emotions. These images are then placed together and 'dynamised' or brought to life. The method is often used to explore internal or external oppression, unconscious thoughts and feelings.

Traditionally, theatre is presented 'end-on', with the performers on a stage or performing area at one end of a room. Theatre in the round is performed in the centre of a space with the audience all around.  The performing area could be circular, rectangular or even triangular. This style of performance enables more intimate contact between the performers and the audience. However it also requires a different approach to design, blocking and performing, as sight-lines need to be considered carefully so that no section of the audience is neglected.

Developed by British drama guru Dorothy Heathcote in the 1970s, Mantle of the Expert (MoE) is a process-drama technique involving the creation of a fictional world where school children assume the roles of experts in a particular field. A problem or task is established and the teacher and children use imagination and role-play to explore the issue. The children may be involved in mimed activities, improvisation, research or discussion. The teacher's role is to guide the drama, stepping in and out of role as necessary, providing encouragement and motivation to the experts. The technique gives pupils an opportunity to assume responsible roles and can be a highly effective method of interactive learning. In the UK, many primary and some secondary schools are adopting Mantle of the Expert as a cross-curricular approach.

Marking the moment is a dramatic technique used to highlight a key moment in a scene or improvisation.  This can be done in a number of different ways: for example through slow-motion, a freeze-frame, narration or thought-tracking. It has a similar effect to using a spotlight to focus attention on an area of the stage during a performance.

Narration is a technique whereby one or more performers speak directly to the audience to tell a story, give information or comment on the action of the scene or the motivations of characters. Characters may narrate, or a performer who is not involved in the action can carry out the role of 'narrator'.

Physical theatre is broadly used to describe a style of performance where the emphasis is on the visual aspect, such as the movement of the actors and the use of objects. Physical theatre can include mime, dance, clowning and movement, although speech, sound and music can often be part of the performance. Physical images and games are often used in rehearsal to explore the text. The term is used to describe a diverse range of performance styles and includes the work of such artists as Jacques Lecoq, Etienne Decroux, Philippe Gaulier, John Wright, Theatre de Complicite, Frantic Assembly, DV8, Steven Berkoff, Kneehigh Theatre and Hoipolloi.

A technique for fleshing out a character in a drama. The outline of a body is drawn on a large sheet of paper, which is pinned to the wall. This is usually done by drawing around one of the participants.  Words or phrases describing the character are then written directly onto the drawing. This can be done as a group activity or by individuals writing about their own character. You can include physical appearance, age, gender, likes/dislikes, job/hobbies, friends/enemies, motivations, secrets and other useful facts.

Role play is the basis of all dramatic activity. The ability to suspend disbelief by stepping into another character's shoes comes quite naturally to most children. Through the structure of the drama lesson this can be used to great effect, challenging children to develop a more sensitive understanding of a variety of viewpoints whilst sharpening their language and movement skills. By adopting a role, children can step into the past or future and travel to any location, dealing with issues on moral and intellectual levels. Thus role play can be easily utilised to illuminate themes across the curriculum.

Teacher in role (TIR) is an invaluable technique for shaping the dramatic process. Simply put, the teacher assumes a role in relation to the pupils. This may be as a leader, a peer, or any other role which is useful in the development of the lesson. The teacher may ask questions of the students, perhaps putting them into role as members of a specific group and encouraging them to hot seat her in return. A token piece of costume, a hand prop or special chair can be useful to denote when the teacher steps into and out of role.

A group makes a still image and individuals are invited to speak their thoughts or feelings aloud - just a few words. This can be done by tapping each person on the shoulder or holding a cardboard 'thought-bubble' above their head. Alternatively, thought tracking (also called 'thought tapping') can involve other members of the class speaking one character's thoughts aloud for them. The technique is most often used in conjunction with image theatre or freeze-frames. Equally, thought-tracking is useful preparation for improvisation.

Traverse theatre describes a performance where the audience sits on two sides of the acting area, as opposed to End-on or In the round.

The leader or one member of the group acts as conductor, whilst the rest of the group are the “orchestra”. Using their voices (and body percussion if appropriate!), the group paints a soundscape of a particular theme, for example the seaside, a city, a jungle. The leader can control the shape of the piece by raising her hand to increase the volume or bringing it to touch the floor for silence.

Visualisation is a focussing technique which helps the group to imagine a particular character, place or atmosphere. One way to do this is to play a piece of music or read a poem which the group listens to with their eyes closed.  Afterwards, ask for their subjective responses, for example colours, images or stories that came to mind.  This can often lead to a wide and rich variety of responses.