Sparkle

Stand in a circle and get the group to rub their hands together
Then instruct them to rub different body parts
Ask the group if they can start to feel their hands or finger tips tingling
The idea is to focus this energy into a clap around the circle
As the clap comes to you simply send it on round the circle with as much energy and focus as possible
Give the instruction that the clap can be reversed around the circle
Also the clap can be sent across the circle.

Variations:
Try and play this game with your eyes closed, with the idea to not catch anyone out but rather keep the clap going.
(You will need a pair of eyes open to act as adjudicator)

Gesture Name Game

In a circle ask each person to think of a gesture that represents who they are.
Go around the circle one by one with each person saying their name and showing their gesture.
Go round the circle again and each time after someone shares their name and gesture the whole circle must repeat it together.
This time go round the circle with the whole group doing each persons name and gesture. The person who is having their gesture done must stand still and not show them. (The name can be dropped at this stage if you like - Put it in your pocket)

Progression
You can play a game where someone must show their gesture and then pass it to someone else by doing theirs as well.
That person then does their own gesture and passes it to someone else and so on.
When someone is unable to do this for whatever reason then they must sit out.
The winner is the last person left in.

Group people together who have similar gestures or even gestures that contrast in an interesting way.
This group must present some kind of movement or drama using each of their gestures.
You could also give the group a well known story/nursery rhyme to act out and each of their gesture must be contained within the story.

Comment: I have used this many times and it is an excellent way to get a group to learn each others names and open up to one another. I tried this with a group of ordinands recently and although the group new each other quite well, individuals revealed things about themselves through their gesture that they had never previously shared.
No matter what the person shows always accept their gesture, although at times you may need to reflect it back to them or accentuate something they show you to make it clearer.

Stroboscopic Image

In a group of 4 tell one another a personal story about yourself.
As a group agree on 3 images for each story
The narrator (and author) of the story sits on a chair to the side but cannot speak while the remaining 3 perform the image for each part of their story.
Rehearse the sequence so that moving from one image to the other becomes seamless.
The leader (Joker) instructs the audience to close their eyes whilst the first image is being made and then to open them to view it.
This is repeated for each image

Ask the narrator how they felt whilst their story was being shown?
Ask the audience how they felt watching he story? What was it about?

Swapping places

Stand in a circle and look at who's in the circle.
Observe what you see
As you catch someones eye agree with them and swap places
(Nb This may require quite big body gestures)

Ask- What "ing" things were needed for this activity to work (Really spend time teasing them out as there is a lot of non verbal contact in this game)

Progression
Look, agree and swap places with someone but keep eye contact until you cross one another
Repeat this but keep eye contact all the time
Repeat above but agree for one of you to close there eyes so the other has to direct you verbally
Look agree and met in the middle, create a shape, then return to your place. (You can ask what the group saw or noticed in the middle. Any interesting shapes.)

Look up, Look down

In a circle everybody look at the floor.
The leader then clicks fingers or says "Look up!" and everyone must look at somebody in the circle.
If two people are looking at one another they can sit down or step back from the circle to show they are out
The leader then says Look Down! and everyone looks down and on the Look up command the process is repeated.
The object of the game is to get out first so you want to get eye contact with someone.
Emphasize that once you have looked up you cannot change your focus onto someone else.

At the end of the exercise it is good to ask everyone how they felt playing the game.
Was there any anxiety about not catching peoples eyes?
How did it feel when you connected with someone who was looking back at you?
Did anyone find the game uncomfortable? Why?

Progression
see Swapping Places

7 up

Sit the group in a circle
Count around the circle 1,2,3,4,5,6,7. On each number the person simply points with their hand in the direction the count is going.
On 7 the person must point in the same way but with their hand above their head.
If they want they can also reverse the direction.

Progression:
You can get the group to keep counting upwards and the hand must then be raised above the head on 7 and multiples of 7
You can introduce fists on 5's or multiples of 5, which can be holding both fists out in front of your body and this can be used to reverse the direction.
Fists and pointing must be done with one fist out and a hand pointing above the head where you get a number that is both a multiple of 5 and 7.
The game can also be played silent (not counting out loud) with only the hand gestures.

Balloon Games

Sit on chairs or stand in a circle.
Introduce a balloon and instruct the group to pass it around the circle without holding it and without it touching the floor.
Introduce another balloon and tell the group that at any time a person can take hold of the balloon and walk to someone in the circle say their name and hand it to them after they have too said their name back.
You can add more balloons to the circle and if the passing of the balloon around the outside is too difficult to sustain at the same time then people can simply walk with the balloon to someone else and say their names.

Once there are a number of balloons in the circle the challenge can be given to the group to keep all the balloons up in the air without holding them for any time. Each time a balloon is batted up into the air the person calls out their name.

Variation
Have only one balloon in the circle and like the game above someone bats the balloon up into the air but then calls out someone elses name in the circle. They must then come in and stop the balloon hitting the floor while calling someone elses name in the circle and so on..

Oppression - Group sculpture

In a group of 4 or 5 each person take it in turns to sculpt the group into an image of oppression.
You should have 4 or 5 images to show
Rehearse linking up each sculpture to create one piece of images
Show your composition back to the rest of the group.
Feedback through the following stages
1. Objectively - Ask the group literally what they see i.e Miles is reaching out towards Lily with his knees bent. Lily's eyes are closed.
2. Subjectively - Interpret what you see, The relationships between individuals, What emotions are evoked by these relationships or some of the images and shapes.
3. Create a scenario or story from the images before you. hat is happening? Who is who? Where are they? etc.

Build a Society - Group Sculpture

Pick one person from the group to position everybody in whatever shape he/she wants in the room to represent what society looks like.
Ask the group what they see?
Is it an accurate picture of society?
Give everyone in the group a chance to sculpt their idea of society
Choose a smaller group and give them the job of moving whatever image is left before them to an ideal picture of society (give a time limit i.e. 30 seconds)
As a group discuss what was the difference s observed between the images of society and the final last ideal image.

Injury tag

Everybody spreads out in the room
This is a simple game of tag but where ever the person is tagged they must hold that part of their body (as if it is injured)while trying to tag people.
The person on it can tag someone in more than one place so that that person is then on it having to hold on to two areas of their body

Person to Person body parts

Instruct the group to find a space in the room
The leader calls out two body parts.
The group must find a partner and put those body parts together. i.e. "Elbow to Head"
You can make things more interesting by adding the command "Stick" So that the pair stay together for the next command.

Name tag hug

This essentially is a name game and a good way to break down inibitions quickly.
One person is on it and everyone else must avoid from being tagged by that person.
However if te person on it calls out someones name then that person must stand still.
The person on it must now try and run to that person to tag him/her.
If two people are able to hug the person standing still then they are safe and cannot be tagged.
This game requires a certain amount of team play and watching out for one another

Tag and safety in twos

Everyone spreads out in the room and one person is chosen to be on it.
Instruct the rest of the group that they are only safe if they are hugging another person.
You are only allowed to hug for 3 seconds.
If someone is tagged then that person is on it.

Fear and Desire

Group stand randomly spaced out in the room
Instruct them to pick someone they are scared of and someone they are attracted to
On the command "Go!" they must try to get as close to the person they are attracted to, whilst also avoiding the person they are scared of.

Variation.
You can instruct the group to try and use the person they are attracted to as a shield
This is a good exercise to create a big ensemble picture.

Touch Tag Drama

Pick two people from the group to play the tag game
label them A and B
Both A and B put their hand on their back so their palm is facing outwards.
The aim is to tag the others palm with their other hand.
At any point a mediator can call out freeze.
The mediator asks the group: Who are they? What is going on?
The group answer according to what they see. Encourage them to speak out whatever comes into their head. - A night club scene, A lover looking on at a wedding etc

Nb Theatre is made up of wants and desires, I want what you want or I want something different. That is the aim of this game.

With the rest of the group build a picture around the two in the middle. i.e show disapproving uncle at the wedding, What are they saying? etc
With other members of the group create a scene of what happened before. i.e In the bedroom. What is in the room? What happened? or even after this wedding scene.
Illicit questions from the group to create even more scenes and design a piece of theatre.

Voice warm up 1

Relaxation:
Breathe in and on the out breath roll down slowly from head until your hands are dangling by your toes. (Do this with a slightly bent back) and you are fully exhaled
Breathe in and roll up, straightening your legs first and then each vertebrae of your back.
Repeat above exercise but this time add arms. As you beathe in lift your arms above your head and on the exhale drop down quickly (but don't neglect to roll and with slightly bent legs)
Then on inhaling roll your body back up to standing straight

Head isolation's: Rotate head left and right slowly through centre. When head is rotated bring head down and up slowly.

Breathing:
With a partner label yourselves A and B
B stands behind A and gently places their hands on A's rib cage.
A inhales and exhales gently.
You are encouraging A to breathe using their intercostal muscles, which should cause sideways lateral expansion of the rib cage, so pushing B's hand out.
B can place their thumbs on A's spine to encourage the back part of the rib cage to also be filled with air and to ensure that their is more sideways motion that backward
Change over roles.

Stand with your back against a wall with knees slightly bent.
Breathe in and out pushing back of rib cage into wall
Again you should notice that sideways motion is more than backward.
Place back of hands on rib cage to assess sideways movement.

Voice:
Open and close mouth with loose jaw and floppy mouth
Open mouth wide as in a yawn to stretch back of mouth
Breathe in and out with open mouth and make an O sound. Repeat then with other vowel sounds, a, e, i, o, u.

Out of the chair

Someone from the group sits in a chair which is placed in the middle of the room.
The group's aim is to convince the person sitting on the chair to get out of it.
The person in the chair must accept whatever is suggested to them and is not allowed to dismiss their offer.
For Example:
Someone may say "There is a bomb under your seat." The person in the chair could reply: "Yes I know, my life is too much for me I want to end it all now."
They are not allowed to block the offer by saying "No there isn't"
The person who successfully ousters someone from the chair then goes and sits in the chair and the game continues.

Variation:
You can send more then one person in
You can create a scenario using a number of people, rather than just having one chair.
Scenarios, images that work particularly well could be used to progress the improvisation into a scene or produce a story.

Leadership Game

In a circle everyone closes their eyes.
One person is secretly picked to be the leader. (Maybe tap someone on their shoulder while everyones eyes are closed).
Open eyes and everyone must workout who is the leader.
Instruct leader not to obviously do anything
Show it in your eyes, shoulders, posture, breath.
Ask the group who they think the leader is.
Once the leader is established ask the group to say how could they tell/not tell who was the leader.

Progression:
You can have more than one leader
You can make everyone the leader
Don't make anyone the leader

French Telephone

Allocate each person in a circle to look at, so that everyone is looking at someone and everybody is being looked at by someone.
Instruct each person to really observe the person they are looking at and to imitate any movements they do.
Keep encouraging the group to stand still.
You will find that in the circle there is continual movement and it is almost impossible for it to be completely still for any period of time
Tell the circle to exaggerate any movements they see and the circle will quickly become very animated.

Creating images out of words

In a circle facing out, someone shouts out a theme/word i.e. Love
After a count of 3 turn and create an image.
Add a noise/word/sentence/Gesture to the shape
Go to people similar to your shape/sound and interact/improvise with them.
An external leader can observe and put in more people/groups to create an interesting impro/story.
This could be developed into a scene.

Progression
The group can be encouraged to call out 2 words ( eg. noun and an adjective) and then form a shape from that.
You can get people to perform the shapes at different levels of intensity. So a caller would say Jealous Love Level 8 (Highest)

Find the sound and feel the hand.

Stand in a circle and number the group 1 and 2
1's stand opposite 2 (On their right) and say a noise/rhythmical sound that repeats
The stand opposite the person on your left and do the same.
Each person should now have their own sound and be familiar with the sound of the person on their left and right.
All hold hands in the circle and practise your sound. While you do this examine the hands of the people each side of you.
Everyone is to close their eyes and walk slowly around the room making their noise.
The aim is to find the sounds of the people from each side of you in the circle and get back into the circle as a whole group
You can feel peoples hands to help you with identifying if the sound is not conclusive for you.

Body Sculpture - Complete the image

In pairs shake hands
One pull away and interact in a different way
Introduce making a noise with new interaction.
Then a word
Then a sentence
Introduce running a scene and interaction with each other.

Nb Boal teaches we are mechanical beings, our bodies influenced by our emotions. This type of activity aims to de-mechanise us from negative influences.

Rythym Factory

Stand in a circle
Someone goes into the middle and intoduces a sound and movement.
Everyone does it and moves around the room doing it.
On the command "change" create a new sound and movement where ever you are.
On the command "Meet" pair up and do you new sound and movement with someone else.
On command "return" come back into a circle and try to do all the same noise and movement but without orchestrating or forcing it to happen.

Stuck in the Mud

Somebody is it and their job is to tag everybody in the room, which immediately freezes them.
Once someone is tagged they must stand still with their legs a stride.
If someone else is able to crawl through their legs then they are free again.
Once the person on it has managed to freeze everybody then the game is over.

Progressions
To make it a bit harder for the runners you can use two or even three taggers.
You can also make the space smaller to play their game.
If you start with more people on it then you can limit them by making them crawl like crabs

Benefit
This is a great game for getting a group to work together as a team unknowingly and would work as a great warm up if the group had been experiencing division of some kind

The Odd Number

The group walk around the room.
The facilitator shouts out 1. Everybody has to hold a shape/Position.
If 1 is shouted out again instruct everybody that they are to return to that exact part of the room and hold the same shape.
People walk around the room and shout 2. They must now found another pose/shape.
Instruct them if 2 is shout they must return to that same place and pose.
As you add numbers 3, 4. 5 stipulate that they must form a shape in 3’s or 5’s. (Choosing an odd number means someone will be left out.)
As a leader be aware of the group shape this can create, where some one is isolated from the rest.
If you get a particularly good design call out that number and draw the group’s attention to it. Generally be aware of the design the different numbers throw up and see if you can pull a narrative out of it
Ask the group what they think might be happening. Who are the group? Why is the person separated?

Progression
This can be progressed by splitting up the room into groups that have been created and giving each group the task of creating a short drama on their scenario which they have decided on from the shape that has been created.

Lonely shapes

Each student thinks about a lonely moment in their lives and creates a shape that it might represent.
Ask the group to walk around the room and on a clap everyone holds their pose.
One half of the group can stay frozen while the others move around the room and have a look at the shapes.
Try to work out what their shape represents.
Then get the other half of the group to view the rest.
Put the participants into groups of 3 or 4 and using their shapes they are to devise a performance, which shows inclusion/togetherness.
They must use their shapes as a starting point. But have a finishing shape where they are united.
Show the different sketches and discus them with the group.
How did it feel moving from isolation to inclusion?

On Trial

Stand the group in a circle and put one person in the middle.
Get the people on the outside to come up with accusations about the one in the middle. .
The person in the middle is only allowed to respond with actions or gesture to defend themselves but not words. (You can get the circle to walk around to make it more accusatory.)
After a while stop and ask the group if they think the person in the middle is guilty or not of the accusations. (You could select a smaller group to sit out and watch who act as the jury)
If they can understand his/her mimed actions then they are cleared of those charges but if not they are guilty.
Ask how did the accused feel in the middle?
How did the accusers feel?

Yeh But!

In pairs instruct one partner to have an argument accusing the other of having done something bad to them.

The second partner must come up with an excuse but cannot say “Yeh” or “but” or “Yeh but”

Ask the pairs how it felt being limited in using language. (You can choose to take out other words too)

You're the Man

Walk around the room in any direction at an even pace.
Explain that as they catch eye contact with others they say, “You’re the Man!” the other person says back “No! You’re the man” then they walk on.
Then explain that on the command “Show me the love” everybody is to go into a huddle, except the last person who is pushed out and must stand on their own. (The facilitator may need to judge this - A variation on this is to call out someone’s name.)
The group then whisper to each other and talk about the person on their own.
Observe how they react.
The facilitator then shouts again “walk” and everybody goes back to walking around the room.
Repeat this a few times and then bring the group together to have a discussion about how people felt being separated from the group and how people felt being part of the group.

Progression
You could develop a scenario pretending to be a teacher arriving on the scene and ask the group “What is going on here?” Force someone to respond and then ask “Why?” and so on to build up a mini scene.

Playback Theatre

Someone retell an incident that happened to them.
In pairs try to show it in a simple repetitive action.
Make it as visual/Physical as possible and only use a few words
The adjudicator asks the person who originally shared the experience if the feeling was encapsulated
If not they can suggest how it might be changed to be more accurate
Experiment with performing the piece in different positions/direction to one another.

Progression
Use more actors to create the playback piece
Use props, percussion etc

Wa!

Group stands in a circle.
A person starts by pointing at someone and saying "Wa"
That person points arms upwards and says"Wa"
The people either side chop arms inwards to person reaching up and say "Wa"
The person pointing upwards then continues game by throwing the Wa to someone else in the circle.
The last two remaining in the game are the winners.
They can then play each other by holding their hands up opposite each other and playing the game as if their hands were people in the circle using the same principle - Chopping sidewards or pointing upwards.

Bang (Splat)

The group stands in a circle
Someone says the name of someone else in the circle
That person must duck.
Two people either side fire gun at each other and say "Bang!"
If the person ducking doesn't duck in time they are out.
Otherwise the person who fires last is out.
When you get down to the last 2 people they stand back to back.
An adjudicator then counts 1 to10 and the two pace away from each other.
When the adjudicator skips a number the first one to turn and fire is the winner

Working with Text through Physical movement

Walk around space as a group trying not to bump into anyone and changing direction.
Place a selection of texts/plays in the middle of the room and ask the group to look at them and pick a short line from one of them.
Walk around space again repeating line to yourself
As you pass people tell your line to someone, then listen to theirs
Say your line out loud one after another
Try to picture a gesture that represents your line
Start to think of a character who would say your line. Physicalize the character so it affects your walk.
Move from level one to eight and try to find the right level for your character
Get into a circle and one after another take turns to go into the middle and say your line with your gesture.
As a group decide on which gestures should be paired together, either because they are similar or they make a nice contrast.

Create a short Performance
With your partner find a way to say your lines.
Think of shape position, levels, order.
It may be abstract or have a narrative.
Do not use any other words and only use your line.

Progression
Get into a group of 4 and do the same.
Add other words to create a narrative
Say each others lines
Do movement without words

Yes! No! - With Shakespeare

In pairs try different ways of saying Yes! and No! to one another.
Don't move any part of your body just use your voice
Only allowed to move arms and feet
Allowed to move any where in space.

After each stage feed back to group

Try the same exercise with "You will do it" "I will do it"

Look at portion of script from Macbeth where he gets up from the Kings table.

Ask the group would they get up from the Kings table in this way?

Study the text as with the working with the Shakespeare text exercise and use the activity here to inform Macbeth's and Lady Macbeth's dialogue.

Working with Shakespeare text

Prologue to Romeo and Juliet

1. Read the text around the circle (1 line each)

2. Ask what is the Prologue's function?
Discern what it's about
Sets the scene
Introduces Characters
Use imagination
(Shakespeare written to be performed not just read)

3. Go around circle again, What does your line mean to you?
i.e "A pair of star-crossed lovers take their life."
Zodiac sign - Love sick in the God's. Commit Suicide.

4. "From ancient grudge break to new mutiny."
Modern day examples Israel, N Ireland. Personal examples

5. Look for ways to deliver the text - Find a gesture or a series of gestures for your line.

6. Exaggerate or heighten it.

7. Try again - Pick up what was said about each line and use this to keep story moving along. Allow actions to influence voice.

What is the difference between the first reading and last i.e. energy, Is it clearer to understand?

Trust run game

The whole group lines up at one end of the room.
One person then faces them on the other side of the room.
That person then closes their eyes and runs to the group stopping when they think they have reached the group.
If it looks like the person is not going to stop in time then the overall leader shouts stop (but several metres from the group).

Nb
It is important that the overall leader does not take part but observes from the side so their complete concentration is on the runner.

It is also good to give the catching group some simple guidelines for stopping someone i.e Hold arms out in front, stand with legs astride and receive the runner into you hands first, with your body weight forward on the front foot. Make sure your head is positioned to the side so your shoulder will take their weight.

Follow up
Ask the group how they felt doing the exercise and whether they surprised themselves or not.

Budge

Budge

Everyone sits in a circle on a chair.

One person starts by making eye contact with another person e.g. Dave and then they say 'Dave Budge' and walk towards his chair.

Dave has to make eye contact with another person e.g. Kat and say 'Kat Budge' before the first player reaches his chair.

Each player sits in the chair of the person who they 'budged'

This process continues.

The game can involve elimination if you want.

It is really good way to learn names.

Grandma's footsteps

Some one is selected to be Grandma and they position themselves at one end of room facing the wall.
Everyone else lines up at the other end of the room with the aim of creeping up on Grandma and touching her on the back without her realising.
Grandma can turn around at any time and if she sees anyone moving then she can send people back to the beginning.
The game is over once someone has managed to creep up and touch Grandma. That person then takes over as the Grandma.

Variations/Progressions
The game can be made more complex by the following additions:

Introduce clothing: For example a hat, so that a person can only win if they touch Grandma wearing the hat. (This can create extreme competition between people or have the other affect of them working as a team)

Introducing an assault course: For example put a chair in the room and items of clothing laid out on the floor. The aim now is to get to Grandma but everyone must sit in the chair and put on a piece of clothing before getting to her.

Introduce the aim of touching Grandma in pairs or even threes. (This creates a lot more team work and cooperation as a group)

As a character: Choose a character or style that every body must get to Grandma in. E.g. as a cowboy, a Policemen, a sniper etc

Distraction: You can give people (Or Grandma) the task of reciting a poem or nursery rhyme throughout which tests peoples ability to multi-task.

Observe:
Whilst the group is playing the game it is good to observe them and see how they respond to the rules and conditions you put on.
Focus
Team work
Strategies
Body Tension

Also many interesting shapes and group tableau's can be thrown up. This can be used as a starting point to explore themes for stories and creating scenes.

Who am I?

Individually on a piece of paper make a spider diagram of groups and communities you belong to.
Get together in groups of 3 and share the content of what you have written with each other.
One person is picked to sit on a chair and speak about the connections they have written down and justify why they have written them.
The other two sit either side of the person speaking with their back to them and write down what they say.
Choose one of the writers to go away and write a poem or short account of what they had heard and recorded.
The other writer works with the speaker to devise a short sketch or scene using the text as a source to work from.
Perform the scenes and writings back to the group

Wool connections

Sitting in a circle, give a ball of wool to someone.
That person says something about themselves and then anyone who can agree, throw the ball to and connect the wool around a finger.
Once the connection stops break off the wool and start a new thought with someone else.
Ask individuals to explain their connection
At the end of the task lay the strings of wool on the floor and comment on the shape and patterns the wool makes.
(Using different colour wool for each new connection enable you to better see the different connections)
A scribe can record the connections on paper

Progression:
Try and split into small groups of 4 or 5 where you all shared the same connection
Agree on 3 still images that will represent what all of you in the group have in common.
Show this back to the rest of the group and see what they observe.

Memory exercise

Sitting in a circle each person thinks of a memory from the past. Then go around the circle and each person shares their memory with the group.

What happens when asked for a memory?
Searching
Choice
Decision. Where are you? Who are you with?
Associating or not
Good questions
Images
Comparing
Revisiting memory
Getting in touch with self

Go around the circle again and you can try to connect memories that have an association
In that group create an image that reflects and represents the memories. (this can also be done for each individual memory)
Show this back to the group

Composition using body shapes

Three people hold a shape by holding onto one another.
The rest of the group form a circle around them and brainstorm all the things that the image brings to mind.
Someone acts as a scribe and records the observations on paper.
Anyone from the circle can go into the shape at any time but then one person already in the shape must come out and join the circle on the outside.

Rules:
No correction is allowed
The shape must work in silence (No negotiation)
Accept all offers (No censoring)

Observe:
Proximity (spaces between)
Relationships of bodies to one another
Narratives
Question and Answer
Repetition
Shifts from comedy to tragedy

Variations:
You can experiment with different numbers in the middle and even try one with all the group go into the middle.
The outside group can select three interesting shapes from the middle group and try to link them together into a story or small scene. Words can be added.

You can work in smaller groups of 4's numbering yourselves 1 to 4. Three people hold a pose and the 4th person observes and writes on paper what they see. Then 4 joins the shape and 1 comes out from the shape and observes in the same way, and so on.
A scene/story or movement phrase can be composed in the same way as above.

Static Composition and status

Set out in an empty room or space 6 chairs evenly spaced, a table and position a bottle of water somewhere in close proximately to it.
Ask individuals from the group to reposition the objects to create one dominant chair in the picture.
Experiment with placing the bottle in different places

Progression -
Add a person to the picture whose aim is to take the focus
Add another person who tries to take the focus off the first. Ask the rest of the group observing if they think he/she has succeeded in doing this
Add a third person who then tries to take the focus and so on.
Build up a picture which shows lots of different stories. Get the group to observe them and this could be a good stimulus to start a scene.
This exercise could also be done with the aim of taking the lowest status. It is a good exercise to find spatial power and the idea of a relational stage.

Penguin

Everyone must sit down on a chair spread around the room or space with one chair vacant.
Choose one person to be the penguin. He/she must try to sit in the empty chair, but they are restricted to waddling like a penguin.
They must start from a point furthest away from the empty chair and then start their waddle towards it.
Anybody sitting down can stand up from their chair at anytime and walk normally to sit in the vacant seat and so stop the penguin from sitting down there. However once you stand up from your chair you cannot sit back in it. The aim of the game is to stop the penguin from sitting down
The penguin can sit in any chair that is vacant so you must be careful not to vacate a chair too close to the penguin at any time.
Once the penguin sits down the game is over and a new penguin can be chosen.
The skill of the game is working together as a team, keeping eye contact open at all times.

Marionettes with objects

Pick an object to work with
1. Stand in a space alone with your object for 5 minutes.
Really look at it and imagine it is you
What does it smell like?
How does it move?
Is it rough or smooth?
What Colour is it?
Does it make a sound?

2. Explain your object to a partner

3. In your own space try to move as your object might move and manipulate it at the same time.

4. With a partner give you objects to one another. You partner now manipulates your object and you have to react accordingly. Try doing it while having a conversation on the phone.

5. In fours sit with two of you facing each other. Your partner has your object and manipulates it as you have a conversation with the person from the other pair. Their partner is also holding and manipulating their object.

You can help the conversation to focus by giving them a task to accomplish like asking the other out to dinner, borrowing money off them or challenging them about an annoying habit. It is interesting to See how much the Puppeteers are able to influence the conversation.

Story Telling with objects

In a group of 5 put objects on the floor in the middle that you may have got from home.
Stand in a circle around the objects and nominate someone to go into the middle to start the story.
Give them an object to start with that they must use in the story.
As they are telling the story anyone can take the object off them and give to them another object to continue the story about.
This can be done again at any time by anyone. To make it even harder 2 or even 3 objects can be given to them at a time and they have to try and incorporate them into the story.
Allow every one in the group to have ago.

Variation 1
This could be done with 2 people in the middle who are having a conversation either on the phone or face to face with one another. As objects are given to one person or the other they have to find ways to bring them into the conversation in a natural way

Variation 2
This could be done with two people back to back and each is given 4 items. The idea is to be the first person to include all their items in the conversation in a natural way. To make it even more challenging you can vary it again by saying you have to get the other person to say all your items.

Eye contact

Walk around the room without making any eye contact with anyone else.
Then allow group to only flash eye contact to one another as they walk around the space.
Now allow group to have eye contact for just 2 seconds with anyone they pass
Increase this eye contact to 3 seconds, 5 seconds, 10 seconds.
Ask the group how this process felt.
Have half the group sit and watch while the other half of the group walk around the space and as they pass someone they must hold eye contact for 1 minute.
The group watching must observe the dynamic between the two people holding eye contact.
Who is pushing in the relationship?
Who is pulling?
Who is controlling the space in between?

adaption
You can give each person a specific instruction which they are to try and carry out on the partner they will be holding eye contact with. i.e. Keep half a rooms distance from your partner or Try to get your partner to stand in each corner in the room or See if you can touch noses with your partner etc.

Leading and following

With a partner label yourselves A and B
A has the job of leading B around the room holding their hand
B must keep their eyes closed at all times
(A Take your time to allow B to build up trust and especially be aware of objects and others in the room).
As B gets more confident you can loosen the grip and perhaps just link a finger with them.
Encourage them to move faster and experiment with levels and turning.
Create moments where you completely release their hand so that they are travelling alone.
(But stay close to them so you are able to stop them or guide them should they be heading in a dangerous position).
A swap roles with B

variation
1 Cars
Another method of leading you partner is from behind by simply touching your partner on the left shoulder to turn left, the right shoulder to turn right and in the centre of the back to stop. This means that if you are not touching your partner then they should move forwards. If you touch them twice in the centre of the back then they must move backwards.

2 Voice
Try leading your partner using your voice, either by reciting something or singing a song.
(The partner is now being lead by sound as opposed to touch.)

Throwing balls in a circle - leading to a scene

Stand in a circle and instruct the group to throw a ball to other people in the circle
A connection must be made with the thrower and reciever before the ball is thrown
The aim of those recieving is to be open and receptive to recieve at all times.
Once this is working well more balls can be added. (This increases the need foe the group to connect and be receptive to one another)

Progreesion - Throw ball to someone, say your name and then go to that space. Once the group become more familiar with opne another you can say the persons name you are throwing it to

Variation 1
A ball can be thrown around the circle but the person recieving must remember who threw the ball to them and who they then threw the ball to. The pattern of recieving and passing the ball is then maintained in the circle. Once you have revieved and passed the ball you can fold your arms to help the others know that you have had your turn.
More balls can be added as the group get batter at the activity

With both the above exercises a good question to ask the groups is What is needed for the activity to be succesful?

Variation 2
Throw ball to one another in the circle experimenting with diffrent levels and shapes. i.e. Under arm, over arm, flick it, bounce it etc
How does it change your body position as a thrower? or a reciever?
How does it make you feel?
What affect does it have on the group?
Does any emotion come out of the activity?
Or perhaps a theme for a narrative may be sparked?

It can be useful to have people observing who can be asking the above questions and watching for patterns and shapes.
As shapes, partnerships, groupings become visable they can be frozen and brainstormed for dramatic ideas.
Sound or words can be added by the group and a simple scene can be developed.
Push the group to improvise a scene bearing in mind the same idea of being receptive to offers made tot them. This will help them to build the improvisation.

Shoal of Fish

The whole group is instructed to move around the space together without allowing any gaps between them.
Be aware of:
who is leading at any time
Tempo
Shapes group makes
Patterns of movement
You can allow the activity to run for as long as you want and it may come to a natural end.
It can be useful to have a couple of people observing who can comment to the group afterwards
At the end of the activity ask the group
How the shoal moved? and how they felt?

Walking as a group

Get the group to walk around the space
Be aware of the group dynamics. Are you walking in the same direction? different directions?
Try to continually fill the space and not leave any gaps.
Beware as a group of your speed, rhythym, shapes you are making. (Group may come to a stand still)

Variation
All the group stand still and only one person is allowed to walk at any time
Once that person stops walking then someone else must start walking (No verbal communication)
You can add to the number of people allowed to walk
You can invert the exercise by getting all the group to walk and have one person stationary at all times. Again you can add to this number.

Hypnsosis

Stand facing a partner. One is A and the other B
A begins as the hypnotist and B follows A's instructions
A holds hand out in front of themselves as if with a stop gesture.
As A moves hand B must imitate the movement in their body and move accordingly
Try to keep at the same distance from the hand at all times.
A can steer with the right hand and hold the other scrunched up.
If A opens the scrunched hand then B must start to talk until A scrunches it up again.
If A scrunches up both hands then B freezes. A can then move to a position in the room a greater distance away. They then open their right hand again and control B from that distance.
B must try to always be equidistant away.
A can move B around the room to relate to others in the room being controlled.
Swap over the roles of A and B

Counting together

In a circle instruct the group they are going to count up to 10
It must be done with one person speaking at a time and each person can only say one number.
Once someone has said a number they can sit down.
If two people speak at once then you must start again
You can extend challenge to 20 and get them to count from 20 down

Variations
Try and do it with eyes closed
Count while also walking around the room
Do it by simply sitting or kneeling one by one in order.

Chair revelation

Sit on chairs in a circle
One person stands in the middle
He/She says one true thing about themselves
"I am wearing blue socks" or "I have never been to France" or "I don't like cheese"
Other members must change seats if they share the same truth.
The person in the middle must also try to sit down and whoever is left standing becomes the person in the middle.
You are not allowed to move to an adjacent chair.

Soundscapes

Sit in a circle
Explain to the group you are going to create a soundscape of an enviroment using just your voices and bodies.
For example, on a beach, a busy street, a restaurant.
Make sure there are differing sounds within the group
Choose a leader to control the sound by varying the volume and pausing certain sounds allowing others to be heard
If you divide the groups up to create a number of soundscapes then each group can try to work out where the soundscapes are.
Have the guessing group sit in the middle with their eyes closed
The leader can conduct the soundscape in a similar way.

Alphabet

In a group of 2 or 3 create a letter of the alphabet
Think of the clarity for the audience, Spacing and include everyone in the letter
Show your letter to the rest of the group and see if they can guess what it is
Get the rest of the group to stand around the letter and view it from different perspectives
Brainstorm as a group other images, stories, Scenarios that come to mind from observing the shape of the letter and the relationship of the group to one another.

Building on activity
You can add lines/Speech bubbles to the characters in the shape
Get them to say them out loud
Other voices can speak out their "thoughts"
If you want to focus the scenes then choose a topic or theme to locate the shapes in
Try to run a short scene by improvising what happens next.
You can build on this by getting other groups to devise scenes that might go before or after this event.

Sparkle

Stand in a circle
Introduce idea that there is a ball of energy that the group will be passing around the circle
The ball is passed with a CLAP in the direction you want it to travel
It can be passed around the circle, change direction or across the circle
Make sure your clap is clear and pointing at someone specifically.
You can animate your clap to give it the personality you want.
Encourage the group to experiment with different tempos.
Once the group have mastered this you can add a second clap and so on.

Rhythym Factory

Stand in a circle
Someone goes into the middle and introduces a rhythmical sound and movement
Everyone does it and then moves around the room doing it.
On Command "Change!" start doing another different rhythm moving around the space.
On Command "Meet!" partner up with some else and do your rhythms to each other.
On Command "Return!" Come back into the big circle with all your different rhythms and movements.
Without trying make a conscious effort create a unified rhythm and sound.

Making an instant Forum play

The following is an overview of how to devise (as a group) a piece of forum theatre from scratch. The idea is then for an audience to explore in different ways how to change a particular oppression.

1. Decide
Oppression you want to change
Central Character - their wants
Oppressors - their wants
Potential Ally (If you want one)
Where is play set?
What is the conflict? (wants)
What is the crisis? (Danger/opportunity)

2. Make Images in groups
Beginning - Introduce characters and themes
Middle - Conflict
End - Crisis

3. Bring images alive through following stages:
Breath
Movement
Sound
Thought
Words
Full improvisation
(Allow several minutes for group to explore each phase. This can be teacher led to drive process along)

4. Rehearse (Practise scenes, Possible intervention points, Jockering/Facilitation)

5. Perform

6. Forum the play.

The Overcoat

Description
Work in groups of about 5 or 6 to devise a scene where a person goes into a shop to buy a new coat. This is no ordinary coat and the person has never had this opportunity before. All the furniture and fittings of the shop must be made out of people. The group are asked to consider how the person changes physically when s/he buys the coat. The scene does not have any spoken language in it and it can be presented to music.

Rationale
This drama represents a universal theme: the desire to own something that gives a person status. It is an interesting starting point for discussion about aspiration and the significance of acquisitions.
The use of physicality rather than spoken language enables young people who do not share a common spoken language to develop drama skills without barriers.

Development·
As preparation for this task, the young people could explore how they feel about having new things: Each person enters the room demonstrating through mime and physicality that they have something new that they are proud of. The group can guess what the new possession is.
· The initial scene can be developed into a short drama by exploring various developments of the story e.g. “How do other people respond to the new coat?” “What happens to the coat?” “Does the coat cause any problems?” “How does the wearer of the coat change?”
· This is a good approach for group where attendance is inconsistent because the participants can operate as a dramatic-physical chorus and can easily substitute for each other. The chorus can grow and shrink from week to week.
· The story is easy to understand and remember. There are no lines to learn and it can change and develop from week to week building on physical experimentation.

Guidance
To maximise the potential for this style of work, it is necessary to build participant’s confidence in physical expression using approaches like: This is not a Bottle, Faces, Music and Images, and Everyday Actions.
It is sometimes quite effective to hold back on introducing music so that it can ‘lift’ the energy at a point where that is necessary.
The work is most successful when there is an atmosphere of playful experimentation and opportunities for young people to contribute ideas physically rather than through spoken language.

Making objects with your bodies

Description
In groups of 4 or 5, ask the group to quickly make – with their bodies – the shapes and pictures you will show them – without talking. Show pictures of: Circle, square, house, bike, horse, boat etc.

Rationale
It is fun, playful, good for group building – encouraging interaction, negotiation but without needing a common language.

Development·
Give each group a different picture – other groups have to “use” the object. · Objects can make sounds with movement.· Introduce idea of acting as objects.

Tutor in Role and Development of a Narrative

Description
Explain or indicate, by putting on a bit of costume (e.g. coat, veil) and picking up a prop, (some airmail letters with addresses on the back), that you are assuming a role. As the group sit round, move around them and ask for help pointing to an address. Explain with as few words as possible that you are looking for your child who left and came to this country some years ago. He used to write often, but stopped writing some months ago. Maybe they know your child? Individuals may offer help and you might engage some in an anxious discussion about why the child has not written - imparting some information about his age and what he was doing. Leave and lay down the costume and prop. There are many ways that the drama might be developed - allowing for different interpretations of the narrative. The child’s gender need not be fixed.For example, the tutor takes on the role of the parent again, poised on the doorstep of the child’s home. She addresses the group - asking for suggestions about what has happened to the child and worrying about how she might be received. Volunteers take it in turns to play the child, drawing on the suggestions. This scene need not have many words, actions work - e.g. a hug or door slam.

Rationale
Roles that are low status and appear vulnerable help to empower the group, and are engaging. This drama gives the students the opportunity to be the experts - to offer advice about a situation that they may recognise from their own experience. In role you can prompt everyone to get involved in a gentle way that is not exposing. There is no need for individuals to stand up and act, they need only respond to the role in the simplest of ways and they become part of the drama - their actions as well as words can inform the story. Through tutor in role even the most difficult groups can find a common language or understanding in their development of a story together. Emotional engagement is often the key to this. Watching the tutor assume a role and acting alongside her can also provide a useful model for a group that is learning to do drama.
In terms of the content of this drama, there is scope to explore what it feels like to be lost in a new city and concerned about loved ones - in a safe, fictional context.

Development
One of the benefits of developing a story with a group is that it can be sustained over a series of sessions. The group will maintain their engagement if they feel that their ideas have helped inform the narrative. A mystery helps to maintain engagement, so it works to delay the appearance of the child. Before that, the group could develop the parent’s nightmare at his arrival in a new city - using music to create atmosphere, and different or made up languages to generate a sense of confusion. They could improvise situations that the parent might find bewildering in a new city, e.g. crossing at a zebra or encountering authority figures. There is scope to create scenes from the past - flashbacks or memories.

Guidance
The group may not be able to work alone in small groups, because it is hard to negotiate ideas without a common language. It is easier to create scenes spontaneously and if you model or demonstrate then others can follow your example - without it being prescriptive. Once the group recognises the outline of a scene or encounter, individuals can have a go at doing it their way.

Everyday Action/Movements

Description
1. In a circle, ask each individual to choose an everyday movement or action e.g. brushing teeth, combing hair, sweeping, lifting something heavy, climbing stairs. With music, each person shows their movement and everyone else copies it and repeats it twice so that it acquires a rhythm with the music.

2. Split the group into pairs and ask them to select four of the movements they have seen in the circle. Then ask them to use the four actions to create a movement phrase to the music, in unison, that they can remember and repeat. Depending on the length of the session, ask each group to show their movement phrase at this point – if there is not a lot of time, just ask them to make sure they can remember it.

3. Now ask the pairs to create a second sequence by making the following changes to their first movement phrase:
i) Make one movement very fastii) Make one movement very slowiii) Use a change of directioniv) Use a change of level
(The groups can combine changes if they wish e.g. they might make one movement both very fast and in a different direction. They may also naturally start to experiment with timings and facings which can be encouraged e.g. one person moving after another instead of in unison, one person moving behind another instead of at their side. In the process of doing these changes the groups may also notice that a story or an emotional content starts to be generated and they might wish to make further changes/adaptations to develop it.)

4. Ask the groups to show both their pieces and encourage the other pairs to observe and comment on how the changes made in the second phrase affected the performance. Some useful questions to ask might be:

i) What difference(s) did it make to the phrase when you made the changes? ii) What kind of ‘story’ or emotion/ ‘feel’ did the movement phrase start to express (if at all)?
Rationale· Accessible because based on movements chosen by participants rather than using ‘given’ movements· Movement with music is often enjoyable and fun in itself and has the additional benefit of not requiring language to achieve successful outcome· Encourages cooperative and collaborative working which enables young people who speak different languages to get to know each other through ‘doing’ rather than ‘talking’· Participants can develop the tasks with more or less complexity, which allows for different levels of experience/skill within the group

Development
· Experimentation with a range of ‘manipulations’ of movement can lead to a range of interesting and potentially more complex outcomes e.g.
Speed – fast, slow, varying pace Dynamics – smooth, hesitant, jerky, tense, erratic. Repeating, reversing, adding, subtracting movementsAdding more people, removing peopleUnison, canon, solo, different phrases at the same time. Staging - perform in different spaces, different facings
· Putting phrases to different kinds of music (different moods, feels, instrumental, non-instrumental) to see how it affects what is conveyed by the movement and how the movement might need to change to work with the new music.
· This task can be a good starting point from which to develop both dance work and physical theatre with young people. Experimenting with familiar/everyday movement can lead into both abstract and more narrative work depending on the interests/needs of the group. You may decide to work with very specific everyday movements as a particular theme/issue is being explored e.g. movements from work situations (typing, lifting etc).
i) For example, using the ‘manipulations’ suggested above can take the movement further and further away from the original ‘source’ material into more abstract movement work e.g. the action of typing may no longer be recognisable as it has become part of a choreographed sequence of movements which are engaging to watch because they effectively complement the chosen music.
ii) Alternatively, it might be that a group wants to create a physical section within a more narrative drama – by creating a ‘choreographed’ sequence of everyday movements associated with the theme/idea of the drama, the movements can acquire a powerful symbolic impact which heightens the dramatic moment.

Music and Image as a stimulus

Description
In a circle, the leader starts to mime he/she is holding an object and passes it to the next person. Then when we pass the object it changes shape and when you pass it to the next person to you add a sound.

The group are asked to spread around the room and listen to four different tracks (songs) they move to the rhythm of the music in different ways and think about doing something of their daily routine.

Leader: “Ok now all of you are ready to come with me to my specials trips, the only think you need is to know that in this table you can find thousands of items you will need for each trip; you can take a maximum of 3 items for each trip” The leader has a selection of pictures of different places s/he picks one and shows the picture to the group and asks them to prepare the bag for the first trip; when they are ready to go s/he put one of the tracks and explains to them when they hear the music they should imagine themselves in the place and when they hear the music turning down very slowly they should freeze and make a picture. They can talk to each other, they can play any games, or if they want they can be by themselves. After the picture ask each of them to tell you about they journey and the experience.

Rationale
1. Objects: To find different ways to pass and pick up the object also we can see how the people of the group start working as a team, the object can be big and heavy or fragile and long or is a baby. The objective is to stimulate the creativity and trust of the group through changing the shape and adding a sound.

2. Music: Through the music is very easy to engage the attention of the young people, is a good way to stimulate the creativity because they feel the freedom of expression and they want to follow their own internal rhythm.

3. Music and image: This particular exercise helps us to explore creativity and concentration also gives us the chance to share different experiences going back in time and space looking for traditional events or typical activities from the countries where the young people come from.

Guidance
Objects: Nobody is allowed to change the object till it arrives to the leader to start again.

Music: Participants should be encouraged not to dance, only walk, run, talk, jump, or do any movement of their daily routine. If you identify the nationality of the group you may want to try to find music from their country, it will help to create a good atmosphere. The tracks need to be poles apart for example: Tango, Reggae, Classical, and Jazz.

You could give the chance to each member to organise a trip, in that way every time it is more difficult to guess what kind of items they need.

Faces

Description
Show participants a series of 5 simple pictures of faces on A4 card with clear emotional expressions (happy, sad, angry, surprised and confused). Encourage them to copy the expressions changing the shape of their own mouth and eyebrows. Once the group has tried all the expressions, place a chair on one side of the room and ask for a volunteer to stand on the other side of the room and hand them a letter. With the facilitator sitting in the chair beckon to the volunteer to walk to the chair as themselves with no particular emotion, hand over the letter then go back again. Ask them to repeat the action this time choose an emotion/expression for them to ‘play’. Next ask the volunteer to sit in the chair then choose someone else to be the giver of the letter and select emotions for them both. Repeat the scene with all or as many participants as possible.

Rationale
By starting the session with a simple copying task all participants will have engaged in the session immediately. Non-verbal interaction in a scene with a very clear activity is easily achievable, fun to watch and fun to do. It engages participants on a variety of levels from simply taking part, to actively exploring the use of movement and physical expression. The pictures are a strong visual stimulus indicating universal emotions and instantly communicating with, and involving, everyone simultaneously. Repetition of the same scene creates a sense of familiarity and predictability in the structure allowing room to improvise and play. Starting with non-verbal interaction demonstrates a form of participation which can remain an option throughout.

Development
Each of the expressions can be given simple words, and later phrases, appropriate to the emotion e.g. Happy “yes”, sad “no”, confused “what?” Different languages can be used or English at different levels of ability.More people can be added to the scenes e.g. two people bring in the letter with different emotions. Story development can come from the content of the letter and characters could be based on the emotions.This simple exercise can be the starting point to devising scenes, discussion around themes or introducing the idea of play in a structured way.

Guidance·
Drawings of expressions should depict clear emotions using simple lines with eyebrows, eyes and mouth only, noses tend to indicate character.· A letter is instantly recognisable and has a huge range of dramatic possibilities to inform action and content of the scene - a lottery win, an eviction notice, a school report, a love letter.· Count down 3, 2, 1 to signal a clear beginning to the scenes and encourage applause after each one.· Sensitivity: Participants may feel safer and less inhibited pulling the expressions for the first time, in a seated semi-circle or line facing the facilitator so they are not being directly looked at by others in the group. At first participants may feel safer choosing which emotion to use themselves. At all levels of development non-verbal options to participation should be maintained.

Barrier Wall

Description
The facilitator distributes lots of brick-shaped pieces of paper to the group. On their own, each participant is asked to write down statements in response to the following question:

“What do you perceive to be the barriers to social and educational inclusion for young people who arrive in Britain as exiles?”

When the participants have had time to write about 6-10 statements, the group ‘build a wall’ on the floor with their bricks. This can be done in themes – the first part of the wall could be education, the second social, the third making a new life and so on.

Participants then view the wall and comment on what they notice about it. Then they are asked to choose one statement that they are particularly drawn to (not one they have written themselves). With this statement in mind they think of a question a young person would ask about the issue.
In groups of 6 or 7 the participants form a line and ask the questions in role as young people.

Rationale
This exercise enables to:· have a collective understanding of the background and context of the work;· clarify our reasons for doing the work;· have the tools to justify the work to funders etc.;· set aims and objectives for the work;· have a point to reflect back on when developing project ideas.

Development
This exercise is a good start to planning a programme of work and an excellent way of facilitating a collaborative learning process with adults wanting to do this kind of work.

Guidance·
It is important to acknowledge that this exercise is about our perceptions and not necessarily an accurate picture of how young people feel.· It may be necessary to set some boundaries about how the group respond to statements they do not agree with.· Repetition of statements is an interesting point of discussion: “Why did that thought come up so many times.” Also, ideas that stand out as very different from others are worth noting as they may help us to look at issues from different angles. It may be necessary to seek clarification of some statements and this is another opportunity for people to learn from each other.

This is not a bottle

Description
Group stand in circle. One object is placed in middle (e.g. bottle, coat hanger, piece of material) People take turns to use the object as something else (e.g. bat, phone, baby, toothpick) then return it to centre. When everyone’s had a go introduce a new object.

Rationale
It is a simple, fun, dramatic exercise. It does not need any language. People enjoy observing/guessing what the object is “made into”. Therefore there are opportunities for recognition of shared experience across the whole group and within the group amongst smaller numbers – therefore helping to build and develop group dynamics. Having a prop stimulates and focuses people’s creativity and extends it.

Development
Uses of sound, bits of language, gromolot (nonsense language), can be added to extend it.
Small scenes can develop where the person with the object makes an offer that calls for someone else to participate (e.g. holding the object as a bat so someone can “throw a ball”. This can be modelled by the workshop leader and others will follow.
Introducing two objects would encourage extending exercise towards small scenes.
Give 3 objects to group of 3-5 people and give them 5 minutes to create a scene.

Guidance
People can take random goes or if you want to encourage everyone/ensure equal access then make it taking turns around the circle.
You can model non-naturalistic, absurd uses of object to extend range.

About Creative Toolbox

This blog will be a space to record creative warm ups, games, icebreakers, drama exercises and the like, which have been tried and tested by MA Applied Drama practitioners from Goldsmiths College, University of London. Everything will be categorised in helpful topics to aid easy access to material.