As Drama becomes a very popular way of encouraging creative learning in the early years, this highly practical book shows early years practitioners how to teach drama and stagework to children from 3 – 5 years. Full of suggestions, actitivies and sample session plans that are set alongside intended ‘learning objectives’ of the Foundation Stage, the book prepares practitioners to lead and develop dramatic work with confidence and enthusiasm, whilst ensuring they understand the theory and the value behind each activity.
Everybody wants to win the lottery. A million pounds, perhaps five million, even ten million. How wonderful! Emma Carter buys a ticket for the lottery every week, and puts the ticket carefully in her bag. She is seventy-three years old and does not have much money. She would like to visit her son in Australia, but aeroplane tickets are very expensive. Jason Williams buys lottery tickets every week too. But he is not a very nice young man. He steals things. He hits old ladies in the street, snatches their bags and runs away . . .
That Shakespeare thematized time thoroughly, almost obsessively, in his plays is well established: time is, among other things, a 'devourer' (Love's Labour's Lost), one who can untie knots (Twelfth Night), or, perhaps most famously, simply ‘out of joint’ (Hamlet). Yet most critical commentary on time and Shakespeare tends to incorporate little focus on time as an essential - if elusive - element of stage praxis. This book aims to fill that gap; Wagner's focus is specifically performative, asking after time as a stage phenomenon rather than a literary theme or poetic metaphor.
Gatsby's mansion on Long Island blazes with light, and the beautiful, the wealthy, and the famous drive out from New York to drink Gatsby's champagne and to party all night long. But Jay Gatsby, the owner of all this wealth, wants only one thing - to find again the woman of his dreams, the woman he has held in his heart and his memory for five long years.
