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Girls’ School

Home Learning


Year 7

Lesson One:

Watch the animated short film “Oh Deer!”


In theatre, a monologue is a speech presented by a single character, most often to express their thoughts aloud, though sometimes also to directly address another character or the audience.

Write a monologue of what you think the deer is thinking at the beginning of the film. 

Lesson Two:

Re-watch Oh Deer! and write a scene between the deer and the little girl.  What do you think they would talk about?  Are they happy or scared?  Write about 200 words.

Year 8

Lesson One:

Trestle Masks

Make a trestle mask at home.  Use the attached template and follow the instruction video on how to construct.  The link is below:

Lesson Two:

Using the same link.  Now watch the following 3 videos and complete the tasks set out below under each of the video headings.

States of Tension:
👉Task 1: Watch the video
👉Task 2: Play the video again and this time play along doing the states of tension yourself at home.
👉Task 3: Write down what changes physically in your body as you move through the different stages. Write down 3 things that are affected, e.g speed/posture.
👉Task 4: Think of a character from a play you have read or are reading. Can you identify 2 moments where their tension state would change?

Focus Line Up
👉Task 1: Read the exercise description and watch the video.
👉Task 2: Can you identify 3 moments where different masked characters pass the focus and how they do it?
👉Task 3: Write down the differences you notice from watching the exercise out of mask and watching the exercise in mask.

Group Improvisations:

👉Task 1: Read the exercise description and watch the video
👉Task 2: Write down an emotion connecting to each mask, can you identify an action that links to the mask to help us understand the emotion it shows?
👉Task 3: Can you write an inner monologue for one of the masked characters - what do you think they are thinking in their head from the actions they’re doing?


Year 9

Lesson One:

Watch War Horse NT Trailer


Sketch a ‘Set Design’ for a stage production of War Horse.


The National Theatre’s internationally acclaimed production of War Horse has been seen by over 8 million people in 11 countries, an unforgettable theatrical event which takes audiences on an extraordinary journey from the fields of rural Devon to the trenches of First World War France.

At the outbreak of World War One, Joey, young Albert’s beloved horse, is sold to the Cavalry and shipped to France. He’s soon caught up in enemy fire, and fate takes him on an extraordinary journey, serving on both sides before finding himself alone in no man’s land. Albert, who remained on his parents’ Devon farm, cannot forget Joey. Though still not old enough to enlist he embarks on a treacherous mission to find him and bring him home.

Based on the beloved novel by Michael Morpurgo, this is powerfully moving and imaginative drama, filled with stirring music and songs, is a show of phenomenal inventiveness. At its heart are astonishing life-sized horses by South Africa’s Handspring Puppet Company, who bring breathing, galloping, charging horses to thrilling life on stage.

Lesson Two:

Research at least four different types of puppets. Here is a useful website:

Create two posters for two of the types of puppets. - include, diagram,  positioning, information on puppet operation.

Years 10 and 11

Use of performance space and interaction with other characters

In Noughts and Crosses, there are scenes that are romantic, some that are tense, and others violent.  There are also intimate family scenes and large public scenes.  In order to convey the relationships between the character and the action of the story you must consider how the performance space can be used and how the characters might interact with each other.

Lesson 1

Focus on Act 1, Scene 20 (pages 54-55), when Callum tried to get Sephy out of the shopping centre before the explosion. Below is a thrust staging configuration. Copy the diagram and then draw and label where you would position and move the actors to achieve the following:

  • Where will Sephy be positioned at the beginning of the scene?
  • Where will Callum enter?
  • Where will other characters appear in order to establish that this is a busy shopping centre? How will their movements differ from Callum’s?
  • How can Callum show the urgency of the situation?
  • What interaction will there be between Sephy and Callum?
  • Where will the explosion take place on the stage? How will they react?
  • How can this scene be staged to create tension and also show the destruction of the explosion?


Lesson Two

Look closely at “Sephy: No! No. He’s a friend…..” to “Sephy: Callum, enough!”

Make notes on what movements and actions could be used to create tension.


  • What are the differences between Sephy’s and Callum’s physicality in this scene?
  • What is the effect of Sephy breaking off to speak to the audience in middle of the scene?
  • What is the proximity of Sephy and Callum through this scene? Are there times when they are closer and times when they are farther apart?
  • How will Sephy show that she is finding it difficult to run as fast as Callum?
  • Could special physical effects, such as slow motion, stylised movement or choreography, enhance the scene?

Lesson Three

Focus on Act 2, Scene 8 (pages 76-78).  Copy another version of the staging configuration and consider how the use of performance space and interaction between the character can create tension and excitement.

Use arrows to indicate key moments when the characters might move.

Indicate where:

  • Nought and Cross witnesses are positioned (and whether they will be standing or sitting).
  • The Clerk will be positioned.
  • Ryan will enter.
  • Sephy is when she speaks to the audience.
  • Ryan will stand when the hood is put over his head.
  • The Prison Governor will enter.
  • The ‘riot’ will take place.

Tip: when writing about effects that you want to achieve through performance, some to consider are:  Tragedy, Tension, Romance, Surprise, Terror, Sympathy, Excitement, Pity, Alarm, Anticipation, Comedy and Status.

Lesson Four

Use your knowledge of the play to consider character movements.  Find at least one instance (there might be more than one) when a character displays the following movements or actions:

  • Walks towards a table.           Sephy, Act 1, Scene 6 (page 25)
  • Falls asleep.
  • Falls to the ground.
  • Changes clothes.
  • Covers another character’s head with a hood.
  • Runs with another character.
  • Hides a letter.
  • Hides behind a tree.
  • Punches another character.
  • Rests their head on the shoulder of another character.
  • Steps forward when two other characters are fighting.
  • Grabs another character’s arms.
  • As a family, sit together eating dinner.

Lesson Five

Look closely at Act 1, Scene 2 (page 16-19).

Imagine you are playing Callum and make notes on the following skills.

  • Proximity: How close are you to the rest of your family at the beginning of the scene? Are there moments when you move closer or attempt to move away?
  • Levels: Do the levels you use in this scene change, for example when you are eating supper or when you and Jude square off?
  • Touch: Is there any physical contact between you and your family members, such as when you try to get Lynette’s attention or when you and Jude confront each other? Do you help to pass the food or clear up?
  • Stage positions: Where on the stage are you positioned at the beginning of the scene? At what points do you move to new positions?
  • Pace or style of movement: Do you move quickly? What affects the speed of your movement? Do you pause or change tempo at any point? Is the style of your movement in any way different from how it is in the first scene of the play? Are there non-naturalistic movements, such as still images or slow motion?
  • Reactions: How do you react to Lynette’s behaviour? How do you react when Jude insults you? How do you react to your parents’ different opinions about your attending Heathcroft?

Now answer the following exam-style question:

You are performing the role of Callum

Focus on pages 17 and 18, from “Lynette: What am I doing here?” to “Lynette: I can’t be a Nought. I just can’t”.

Explain how you might use the performance space and interact with the actors playing Jude, Ryan and Lynette to create tension and show their relationships to the audience.

Years 12 and 13

Please note that bespoke work will be set by the subject teachers and emailed to students.