Teacher Workshops
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Please note that all our workshops and presentations are available as stand-alone packages, in combinations, or with an ArtsInsight IB workshop or other INSET service.


These workshops are only a sample of what we can offer, and all ArtsInsight’s workshops are adaptable to your own requirements.


If what you require is not available below, please contact us


In-School Programmes:

- for other curriculum requirements such as Key Stage 3, GCSE and IB MYP programmes.


This package includes:

  • An in-house review of current programme and practice

  • Identifying areas for improvement, including curriculum analysis and development

  • Training and resolution of the identified issues would be left to the school

In-School Programmes - Enhanced:

Some teachers/schools find themselves struggling mid-way through a year: this programme is particularly designed to help you. This is more intensive INSET, with hands-on training and consulting (one-on-one if required).

  • As above, but with follow-up training in identified areas, with the aim of significantly improving curriculum delivery, co-curricular activities and teacher confidence

  • Available on an individual basis

Other workshops: 

Drama as a Road to Rigour (half-day – three days)

– true understanding goes beyond facts.

Drama is an important subject in its own right, is an essential part of a sound Arts programme and complements a comprehensive Middle School Arts programme as a tool for learning. 

The workshops would last typically two days but they can be condensed and extended as required. 

Sample two day workshop 

Day One

Session One - the place of drama in the secondary curriculum

  • Organising and developing a drama programme.

Session Two - Middle School drama programme

  • Focus, aims, objectives, assessment, links
  • Understanding the role of drama in the school
  • Drama as a physical, intellectual and introspective subject.

Day Two

This can include extensions on any of the first sessions or include specific workshops in the following areas: 

The Role of Drama as a Teaching Tool

  • Many assessment tasks require students to ‘get into role’.  How can students understand the potential of role-play without the skills to develop or understand ‘role’?

Assessment – the necessity for varied and valid assessment

  • If Drama is to survive in an atmosphere of assess, assess, assess, then assessment strategies must be developed to complement the philosophy of the subject.

Drama in its role as a complementary subject

  • Drama can play a vital role in cross-curricular activities


  • Taking the agony out of performance – from the classroom to the stage

Drama in the Elementary/Primary Curriculum (half day - three days)

Drama should be at the heart of the elementary/primary curriculum. These workshops are designed for teachers who wish to either refresh their drama teaching, or learn to use drama techniques to explore both curricular and personal issues in the elementary school. 

It is a series of practical workshops which allow teachers to experience both the rigour and fun of drama.  Alongside the practical work the consultant can work with the teachers in their planning giving ideas on incorporating drama into existing planners. 

The workshops would last typically two days but they can be condensed and extended as required. 

Sample two day workshop 

Day One

Session One - creating an ensemble

  • Activities and games to get teachers and students working together.
  • How ensemble work teaches us how to work and live in mutual support.

Session Two - Drama Conventions

  • At examination of  different techniques to both vary and extend drama work.


Session Three

  • Making Drama More Physical

Session Four - Starting Points - soundscapes

  • There are as many ways to start drama work as there are lessons  - sounds for example!

Day Two

Session One

  • More Starting Points

Session Two - The Director

  • How to plan rehearsals, get support, time frames etc.


Session Three - performance skills

  • An introduction to voice skills, projection, stage vocabulary, blocking etc.

Session Four - Putting It All Together

  • ‘A Little Story’ - How to produce a play in 65 minutes!

Workshops – for teachers and/or students:

Speech and Drama 

Acting Shakespeare (students and teachers of all ages - half a day ++)

How do we get past the 'language barrier’? What DO we mean when we say that Shakespeare is difficult? How do we bring him to life in the classroom? Can Shakespeare be made accessible for young people? How does the verse work? How do actors work with Shakespeare? How can teachers work physically if they are not trained actors or even drama teachers?

By taking methods directly from a rehearsal room into an educational situation, it is possible to see that the problems encountered in the classroom by students are very similar to do with those encountered in the rehearsal room by actors, and also that the methods used to bring a play to life are simple, exciting, and very accessible! (Max.  30 participants)

Acting Techniques (older students and teachers - half-day ++)

What is an actor's process? Is there only one? What is acting? What is a 'character'? How is the body involved in the process? What can we use to help us work? How do we create clear, strong and exciting work? What if the text is dense or daunting?

These workshops can be used as simple training processes, specifically on a text, or by students studying plays in a non-physical way (though some physical work will be necessary.) Simple methods used by actors in their work, both inside the rehearsal room, as well as in preparation for playing a role are explored. They can be stretched over several days, or compressed into a single workshop session of two hours. Generally they are useful for older students or those with a keen interest in the acting process. (max. 30 participants)

Approaches to Text (older students (14+) and teachers of all ages - two hours ++)

How do we unlock the words in front of us? What does the writer give us to help us 'see' the play in our heads, or to enable our process of bringing the play to life? How can we structure our approach to deciphering/simplifying a difficult text? What happens if we don't understand what a character is saying? How do we make all those words helpful to an actor? 

This workshop is most useful for those who are currently studying a play. They are particularly helpful for Shakespeare, but can be used in conjunction with any text. Again, they can be stretched over several days or compressed into a single session. (max. 30 participants)

Devising (students from 11 upwards - one day ++)

How do we make a play/musical/happening out of our imaginations? How do we structure a devising process in order to give a voice to young people? What techniques can they use to create mature, thoughtful and exciting work? How can directors balance this freedom with a focus for the work?

This workshop takes participants through a version of the process used by 27 11-19 year olds for the production of Nos Vies En Rose created by the National Youth Music Theatre at the Birmingham Hippodrome in August 2003. (Max. 30 participants)

Ensemble Acting

(students and teachers from 11 upwards - half-day/full day - often combined with Greek Theatre (see below))

How do we create a company? How do we get people to listen, think, move, breath and speak together? What are the fundamental forces necessary for a group in order to create a tight ensemble?  How can a large group of bodies exist in the acting space? What techniques can be used to train students in the basic disciplines of ensemble theatre?

This workshop examines various techniques of successful ensemble acting. A minimum of 12 participants is necessary for this workshop. (max. 30 participants) 

‘From page to stage’ (half-day to two days – all ages)

These workshops are a journey of discovery, and begin by lifting the text from the page and exploring the vocal possibilities to create an appropriate and believable character. Investing the character with the participants’ own thought processes and body language is also examined, placing the character into their situation and exploring how they react to others, resulting in theatre with a uniform focus and style. 

Greek Theatre

(students and teachers from 11 upwards - half-day/full day - often combined with Ensemble Acting  (see above))

What is a chorus? How does it exist as a group of individuals but function as a unit? How does it enter a space? How do we use it within a play? What is a protagonist? How do the two bodies relate to each other? How do we make these plays mighty?

This workshop looks at simple, physical techniques for approaching Greek Theatre, looking specifically at Aeschylus' great trilogy The Oresteia. These workshops are best suited to students aged 11 upwards, and some knowledge of text is necessary. It is also helpful if students can learn short passages from the plays in advance, in order to allow for physical work with the text. (max. 30 participants)

Ibsen and the Hidden Text

(students and teachers of all ages (two hours - two days)

Ibsen was the great master of domestic tragedy - but how do we lift the plays out of the living room and into the realm of mighty tragedy? How do we tackle seemingly dry, difficult and austere text like Ibsen and Shaw? How do we get young people engaged with the drama in the plays? Is it possible to open up the plays and see vividly the snakes of despair, anger and bitterness that lie inside them? What do we really mean by 'subtext'?

This workshop explores simple, play-based methods to unlock the conflict in the text, and find the people within the plays. These workshops are, like the plays themselves, best suited to older students, and need to be tied into a specific text of which the participants have a reasonable knowledge . (max. 30 participants)

Storytelling in the Theatre (students and teachers of all ages - two hours ++)

How do we create theatre out of thin air? What tools can we use to tell our stories? How do we create a robust, theatrical language for our work - especially if we have no budget! How can we make an audience gasp? What are the live, physical and imaginative elements of theatre that we need to harness in order to make our work truthful and exciting? How can we unlock difficult texts in order to get the story clear? 

This workshop examines various aspects of this important topic, using a range of techniques and processes that allow for a story to be clearly communicated to audiences.

Musical Theatre/Film 

 ‘With a smile and a song’ (half-day to two days - all ages)

Is the sung-character presented in Music Theatre the same as our ‘spoken’ character? How do we evaluate the musical style required in performance, and how do we achieve these varied styles? Why is ‘focus’ so important? When do we sing to another character, to our audience, to ourselves? And why?

All of these questions are considered and examined by constantly referring to the material and intention, whilst exploring if the technique, sound and style are ’right’ for the material being considered.

Music, Word and Image (students and teachers all ages - half -day/full day)

How do we marry together the forces of image and music? What is the difference between music for film and music for theatre? What can music do in a play? How can we create music for a play without skilled musicians? Is underscoring a dirty habit?

These workshops are suitable for students at all levels, and can be workshops for film as well as for theatre. Ideally resources would include a video/DVD player, CD player, instruments of any sort, as well as participants' CD collections. (Max.  30 participants)

Television/Film Acting. - ‘Lights, camera, action! (half-day to two days - 16+)

Generations of actors have attempted to make the transition from stage to screen. Some ‘have it’, and some struggle. Why? The misconception has sometimes been that we make things smaller and don’t act. Wrong! We have to ‘feel’, ‘believe’ and ‘intensify’.  Don’t we?

This workshop attempts to find the truth of the text and then transfer this to screen by analyzing how to adapt our ’technique’ to this very personal, and sometimes intimidating medium. 



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