This Guide supports students through each unit of the AQA AS Drama and Theatre course and is revised for the 2008/09 specification.  Each unit is clearly laid out with background information, relevant examples and advice about finding further resources.

A Manifesto for Children’s Arts has been published by lobbying organisation Action for Children’s Arts, encouraging the government to provide consistent, long-term funding and strategic support to ensure that all children have full and equal access to the arts. Published on July 21 2008, the wide-ranging document includes recommendations that the arts should have a full place in the training of primary school teachers.

Inspired by the UN Convention on the Rights of the Child, the Manifesto suggests that the Arts Councils should ensure that work for children and families has equal status with work for adult audiences and that local authorities must provide the resources and facilities to enable all children and families to take part in the arts outside school.

This is the third part of an article detailing the successful story behind the publishing of 101 Drama Games and Activities.

Promoting the published book

After several drafts and redrafts, Andy came up with a great looking cover design, with a much more professional finish than the ones I tried before.  After receiving my ISBN from Lulu (and the magic number is 978-1-84753-841-3), I patiently waited for my book to appear on the Amazon listings. I discovered the wonderful http://us.bookbutler.com which automatically tracks listings and prices of books on websites throughout the world.  I checked it frequently.  I also joined the Lulu support forums where I could communicate with hundreds of other people who had already published their books.

Tackling Text (and subtext) is a practical guide to working with the text of a play. Dealing with approaches to classic and modern scripts, the book takes extracts from plays and explores them using a wide range of approaches, each illustrated by practical activities. These include voice and movement exercises which can be done solo or in groups. 

David Farmer is interviewed by Emma Shaw of the Derby Telegraph about Tiebreak's production Jack and the Beanstalk. The play appeared at Derby Playhouse from 22nd - 31st March 2005.

Emma: I think the play was originally used for Christmas 2000, and of course, many people will associate a theatre production of Jack and the Beanstalk with pantomime. How does it differ from pantomime - or what similarities are there?

David: Our version has three storytellers sharing the whole story of Jack between them - they swop characters at the drop of a hat, literally. The three performers happen to be pretty versatile - the show features singing, dancing, playing musical instruments and of course lots of comedy. But we still have a bit of "It's behind you!" for good measure. And plenty of corny jokes.

Can you tell me about the staging: are there lots of bright costumes, lighting set etc...

We have tried to make it as inventive as possible, so there are some very surprising uses of everyday objects in unusual ways. Most important of all is the giant chair (please keep this a surprise from the children!). They don't realise it is a chair until halfway through when Jack's house is turned around and the stage is transformed! There are usually lots of gasps of surprise. We also grow a beanstalk in a surprising way. The design is by Steffie Mueller from Hoipolloi Theatre, who I am currently touring with in the States.

Did you stick to the traditional, well-known fairytale, or is there anything significantly different about the storyline? Why did you decide to pick this story?

I love traditional stories. We all know them so well that in some ways it is a challenge to find exciting ways of telling the story, and the audiences always appreciate that. Mostly I have stuck to the well-known story - it's the way we tell it that is so different.

What kind of music do you use in the production (I read a review that mentioned scrubbing brushes in buckets and flowerpots on strings!)?

The actors play saxophones, guitars, xylophones, drums, broomsticks and a hoover amongst other things. There are some very cool songs, including a salsa number by Milky-White the cow and a heavy-metal version of "Fee-fi-fo-fum".

How important is music in children's theatre?

I love using live music in theatre - after all people go to the theatre to see actors using their skills to act out a story, so to me it seems natural to use live music whenever possible. Its organic!

Do you think children are generally well-catered for in the theatre? Why did you decide to start Tiebreak Theatre Company?

I don't think there is enough good quality work for children - which is why I started Tiebreak. I hope that we have got more inventive over the years, because if there's one thing children don't tolerate, its being bored! So we try to keep it exciting. I always enjoy seeing the reactions of our audiences. If they get bored, we soon know about it!

Why would you encourage parents and teachers to bring children to see Jack and the Beanstalk? What do you think the play can offer that other forms of entertainment (cinema, TV, play stations etc...) cannot?

I think there is something magical about seeing people use traditional skills and talents to tell a story. In some ways it inspires the imagination in the same way that a good book does - and you always know that the performance taking place in front of you is unique. Half the fun can be seeing something go wrong and enjoying the way the actors work together to get over it. Theatre is really a form of storytelling - and having real people tell you a story is something I hope we can all relate to.

March 2005