Mack and Mabel: Audition

MACK AND MABEL AUDITION

"Something Wonderful" - The King and I

Published: 1951

Writer: Oscar Hammerstein

Composer: Richard Rodgers

If he walked into my life" - Mame

Published: 1966

Writer: Jerry Herman

Composer: Jerry Herman

I have chosen this song "Something Wonderful" because the audition brief  first of all stated that we should choose a song that is a traditional piece and also stating is should be pre 1960's

Dance Unit: Urban Dance CAPOEIRA

What is Capoeira?

Capoeira is a Brazilian art form which combines fight, dance, rhythm and movement. Capoeira is a dialog between players - a conversation through movement which can take on many shades of meaning. The details of capoeira's origins and early history are still a matter of debate among historians, but it is clear that african slaves played a crucial role in the development of the artform. Some historians claim that slaves used capoeira's dance-like appearance as a way to hide their training of combat and self defense. Capoeira's many styles come out of the context of two principle branches that were formalized in the first half of the twentieth century following capoeira's legalization.

Beginning:

26th January 2016

Intermediate:

9th February 2016

Advanced:

23rd February 2016

Term 2: 2nd Half #Schedule, @PJ

Term 2: 2nd Half

Hello Diary, I am afraid my first half of my practice journal wasn't as great as I expected it to be. I weren't aware that I would be struggling with posting up two videos at least every week, I have realized I am such a perfectionist as I would record a video of me doing some of the vocal exercises however I wouldn't manage to post them up, as I am shy, insecure and quite wary of how I'd sound or even look sometimes. 

This is literally what I struggled with and I know it has cost me to probably not even get a pass in this unit which is a huge disappointment for me as I am aware now that singing is my strongest point and also practicing everyday could make me become a even better singer.

I sing everywhere I go, on the bus, in a lesson and even in my living room and I treat it as a stage but I've let myself down. I hope this second half of my practice journal helps to boost my grade up. I know what I need improving on and it is sticking to my word and also wear a thicker skin which will enable me to be less embarrassed.

yours sincerely Ruth Martino

For this term I would like to improve on my vocal range:

A way to to do this is by...

Sing each semitone down until you cannot comfortably and clearly hit the notes, this is your lowest note. Then work your way up the keyboard from middle C, singing along with each semitone to find your uppermost note.Practice singing your natural range daily via “friendly exercises.” LINK

My weekly schedule for my vocal warm up...

Monday: HUMMING

Abdominal pulsing while holding a comfortable note; the one-one-two-one scale (start on middle C, working up or down one octave with each note having a different number. Once you've done this, reverse it with eight-eight-seven-eight etc); humming a comfortable note and pitch-bending it, going a little higher/lower each time.

Tuesday: VIBRATION IN SOUND

I need to focus on getting a more smaller sound, paying attention on the vibration in my mid range which will help me unlock my 'falsetto notes' practicing words like "WOW, SNEH, YAY" using a softer sound and then eventually getting louder only if I don't feel like I am straining my voices


Wednesday: NASTY NAYS

This is done be using the word 'nay in a bratty or Wicked Witch-type sound'. This exercise also assists in cord closure, while the exaggerated sound makes it easier to ascend into the upper register without cracking or flipping into random notes

Singing Exercises & Scales

• Stand with your shoulders relaxed, arms by your side.


• Breath in slowly.


• Start with the Scales singing Ooh, Eee, Aa, Aah to each scale.


• Sing one note, holding the note for as long as you can without becoming short of breath.


• Do NOT suck in your stomach!


• Repeat the exercise with different notes using doh, ray, me, far, so, la, te, doh.


• Use different mouth shapes like "ooh", "ee", "a" and "aah" - Practice to OEAAH.


• Try singing up and down a scale (called an arpeggio).  Practice to each of the scales listed below.


• Sing short notes (known as Staccato) as well as long ones - Practice to Staccato.


• Record your efforts, notice the notes that do not sound right and concentrate on those until they do!


• Listen to the difference in your recordings over the next few weeks practice sessions to hear the improvement in your voice.

LINK

The story of Dania and her family...

Five months ago, Dania and her family were sitting in their home in Aleppo, Syria, about 60 miles south of here, when a bomb dropped from the sky. Her grandmother, aunt, uncle and two cousins were killed instantly. Another cousin lost his legs. Dania was mangled.

Mohammad Amroosh, her father, says that after what Syrian President Bashar al-Assad's military did to them, he can't go back. When Dania is ready to leave the hospital, the family will stay in Turkey, joining nearly 700,000 other Syrians who have taken shelter in the country.

"This is our home now," he says.

Explaining the Syrian Refugee CRISIS

#FACTS 

There are 2,354,447 Syrian refugees.

The Turkish government has spent more than $2.5 billion to care for refugees. Syrian patients are now the majority in many hospitals and clinics. Schools are running two or three shifts a day to keep a generation of Syrians from going uneducated


Before the Syrian war, Kilis was a quiet outpost of about 80,000 people on the Syrian border. Now its population is at least 130,000. At Kilis State Hospital, with pretty, salmon-colored walls, surgeons have operated on Syrians at least 11,000 times this year, in five operating rooms that run nonstop. Bomb and bullet wounds account for most of the injuries.
More than 530 refugees have died in the hospital this year, and more than 1,500 Syrian babies have been born. Doctors keep photos of the grotesque wounds they have treated, including one that shows a fetus with a bullet wound to its foot. The hospital's surgeons saved Dania Amroosh's life.

Her father survived the blast that maimed her, and he immediately started digging in the rubble for his family. Neighbors and rescuers arrived. Mostly he was finding dead bodies.

The details of that night come to him now in disconnected bits: Dania at an Aleppo hospital. Her stomach flayed. His daughter's intestines.

Doctors telling him to go to Turkey immediately. Kilis State Hospital was an hour away, just over the border. Dania's best chance was there. He rode with her in an ambulance. A phone call to his wife. Dania was in surgery. He was still in his pajamas.

"I didn't expect her to live," says Amroosh, who worked as a tailor in Aleppo. "I still can't believe what happened. Sometimes I think it couldn't have happened."

For five months, he has been sleeping on the floor in the hall, or sometimes outside on the grass. His son Mahmoud, 8, sleeps where he can find space.

They have no money. The hospital gives them food. Their only possessions are a few clothes stuffed into a small plaid bag.

Dania's mother, Ghada Amroosh, has slept every night in the armchair beside her daughter's hospital bed. She doesn't mind.

"After what happened, nothing is really difficult anymore."

LINK

The Washington Post: Syrian Refugees

UNHCR LETTING THEIR VOICES BE HEARD In October, Washington Post photographer Linda Davidson and I set off for Turkey, Jordan and Lebanon to report on the Syrian refugee crisis, one of the largest forced migrations of people since World War II. Our goal was to document the size and complexity of the crisis, showing its effects on the lives of individual refugees as well as the lasting impacts on the countries hosting them. We broke the crisis down into 18 personal stories of a wide range of refugees. Linda and I interviewed and photographed widows and orphans, the wealthy, the wounded, children and the elderly, those surviving in camps, and those suffering in urban slums. To capture the full range of refugee life, we witnessed a birth and a wedding, classrooms and operating rooms, and we visited a cemetery where families mourned not just for their dead, but for the fact that they are buried in foreign soil. We saw terrible misery and inspiring stories of resilience and survival. We hope the portraits of these refugees, and the nations struggling to help them, will further an understanding of one of the most daunting human crises in recent memory. These people, and these countries, will never be the same. — Kevin Sullivan LINK UNHCR and our partners are currently addressing the concerns of 4,598,691 refugees who are directly affected by the violence in Syria. Unfortunately, the projections in 2013 indicate a continued outpouring of refugees to neighboring countries with an uncertain timetable for return. HCR and our partners are currently addressing the concerns of 4,598,691 refugees who are directly affected by the violence in Syria. Unfortunately, the projections in 2013 indicate a continued outpouring of refugees to neighboring countries with an uncertain timetable for return.  and our partners are currently addressing the concerns of 4,598,691 refugees who are directly affected by the violence in Syria.

Unfortunately, the projections in 2013 indicate a continued outpouring of refugees to neighboring countries with an uncertain timetable for return.

BALLET BLACK

History of Ballet Black

2001

Ballet Black was founded by Cassa Pancho. The purpose of the Company was to provide dancers and students of black and Asian descent with inspiring opportunities in classical ballet. Together with founding Ballet Master Denzil Bailey, Ballet Black’s first audition was held at the Royal Academy of Dance in London. After several months of searching, six dancers joined Cassa and Denzil to became the first members of Ballet Black: Frederic Claudel, Celia Grannum, Florence Kollie, Sia Kpakiwa, Gerrard Martin and Jake Nwogu. Ballet Black held its first performance at the Royal Academy of Dance, featuring choreography by Pancho and Bailey, as well as musical performances by Celloman and students from Trinity College of Music.

2002

Ballet Black made its debut at the Cochrane Theatre, London, dancing in ballets by Stephen Sheriff and Patrick Lewis. German dancer, Silvestre Sanchez replaced Gerrard Martin. At the same time, Pancho opened the Ballet Black School for young children in Shepherd’s Bush, and the Ballet Black Associate Programme for teenage and professional dancers.

2003

Raymond Chai took over as Chief Ballet Master, and the Company returned to the Cochrane theatre once more, with new dancers Neil Totton and Jeremiah Tatum. After a meeting with Deborah Bull, Creative Director for ROH2 at the Royal Opera House, Ballet Black moved its weekend classes and rehearsals to the Royal Opera House, Covent Garden.

2004

The Company held a fundraising performance at the Clore Studio at the Royal Opera House, with new addition to the Company, Camille Fitzworme, and also performed at the Global Fusion Festival, Hastings. The Company achieved Registered Charity Status.

2005

Carlos Acosta, Principal Guest Artist with The Royal Ballet Company became the Patron of Ballet Black. The Company, (Damien Johnson, Carl Paris Adams, Denzil Bailey, Celia Grannum and So-Yeon Kim) had its first season at the Linbury Studio Theatre, with choreography by Antonia Franceschi, Stephen Sheriff and Irek Mukhamedov. After a cancelled tour to Poland left the Company in dire financial straits, Ballet Black returned to the Linbury, and sold out a one-off fundraising performance with just one week’s notice. The Associate Programme reached over 100 members.

2007

Ballet Black (now with dancers Hugo Cortes, Richard Glover, Chantelle Gotobed, Damien Johnson, So-Yeon Kim and Monica Stephenson) returned to the Linbury Studio for a brand new, sell-out season, this time featuring choreography by Liam Scarlett, Antonia Franceschi, Bawren Tavaziva, and Company Ballet Master, Raymond Chai. Ballet Black was also featured in a poll of ‘The Best of Black Britain’ in PRIDE Magazine.

2008

Ballet Black returned to the Linbury Theatre in April with a brand new company of dancers: Darrius Gray, Cira Robinson, Jaime Rodney, Nandita Shankardass, Stephanie Williams and Jazmon Voss. The season was made up of world premieres by Shobana Jeyasingh, Liam Scarlett and Richard Alston. The company was also featured in the March edition of British Vogue and made its debut at the Cambridge Arts Theatre and The Big Mission, Swindon. At the start of the new season in November, BB welcomed new British dancers Sarah Kundi and Jade Hale-Christofi into the company, along with returning dancers Chantelle Gotobed and Hugo Cortes (from 2007) and Cira and Jazz from the April season. 2008 also saw the addition of four new classes to the Ballet Black Junior School and the Associate Programme.

2009

For their 2008/9 season, Ballet Black were able to offer year-round contracts for the first time. The Company was made up of BB veterans: American dancers Cira Robinson and Jazmon Voss, Hugo Cortes from Brazil, and British dancers Chantelle Gotobed, Sarah Kundi and Jade Hale-Christofi. BB commissioned brand new ballets from Martin Lawrance, Antonia Franceschi, Christopher Marney and Will Tuckett, and revived their 2007 ballet by Liam Scarlett, Hinterland. In addition to their sell-out season at the Linbury Theatre at the Royal Opera House and the Cambridge Arts Theatre, the Company also made their debut at the Hackney Empire in London, the Latitude Festival in Suffolk and danced at the G20 summit for guests including Sarah Brown, Michelle Obama and J. K Rowling. The Company received its first nomination at the Critics’ Circle National Dance Awards, for Best Classical Dancer for Sarah Kundi, and won the Dance Europe Award for Outstanding Dance Company of 2009.

2010

For the 2009/10 season, American dancer Damien Johnson re-joined the Company and Ballet Black returned to the Royal Opera House with another programme of world premieres, choreographed by Chief Ballet Master, Raymond Chai, hip-hop dance maker Robert Hylton, and award-winning choreographers Christopher Hampson and Henri Oguike. The Ballet Black Junior School added several new classes to its schedule and the Associate programme grew to 250 members. The Company debuted at East London Dance’s Local, International season, Greenwich Dance Agency’s Cabaret, appeared twice at the Bernie Grant Arts Centre and staged a special performance at the Royal Opera House, hosted by Kwame Kwei-Armah with talks from Richard Alston and Christopher Marney.

2011

The start of their 2010/11 season saw the Company hire its first Apprentice dancers, Kanika Carr (Central School of Ballet) and Samuel Chung (Tring Park), taking the Company to eight dancers. The season also marked BB’s ten-year anniversary which was commemorated with their first ever narrative ballet, Orpheus, choreographed by Will Tuckett that premiered at the Royal Opera House in February. The Company also toured to new locations, including Canterbury, Winchester, Bury-St-Edmunds, Watford, Southend and Nottingham. British actor and playwright, Kwame Kwei Armah joined Ballet Black as Patron.

2012

For BB’s 2011/12 season, the Company welcomed two new dancers: First Year Apprentice, Joseph Poulton, graduate of the Central School of Ballet, and Senior Artist, Sayaka Ichikawa. In addition to new tour locations in Lancaster and Newbury, the Company also returned to Canterbury, Winchester and new London venue, the artsdepot in Finchley. The Royal Opera House season grew to include seven performance and in April BB embarked upon its first foreign tour to Modena, Italy, as well as a UK tour of the Theatre Royal, Bury-St-Edmunds, Exeter Northcott Theatre, Brewhouse Arts Centre, The Curve, Leicester, Lakeside Arts Centre in Nottingham and the Cambridge Arts Theatre. The repertoire included new works from Jonathan Watkins (The Royal Ballet), Martin Lawrance (creator of Pendulum for BB in 2009) and Jonathan Goddard (Rambert Dance Company). Christopher Hampson also returned with a new narrative work,Storyville, a dark tale of love, corruption and survival, set in the nightclubs of 1900s New Orleans.

2013

BB welcomed Central School of Ballet graduate, Jacob Wye as a First Year Apprentice, and Brazilian dancer, José Alves as a Junior Artist and Autumn touring took the Company to Harlow, Poole, London, Lincoln and Newbury. The annual Linbury Theatre programme at the Royal Opera House featured new creations by choreographers Robert Binet, Ludovic Ondiviela and Javier de Frutos and a new narrative ballet, War Letters by Christopher Marney. The new programme toured to Cambridge Arts Theatre, Exeter Northcott, Bernie Grant Arts Centre, Southhill Park, Salisbury Playhouse, G-Live, The Brunton, Harlow Playhouse, The Stanley and Audrey Burton Theatre, Leeds and Theatr Brychieniog. The Company also won Best Independent Company of 2012 at the Critics’ Circle National Dance Awards, and Founder and Artistic Director Cassa Pancho received an MBE in the New Year Honours for Services to Ballet.

2014

The Company (Cira, Damien, Jacob, José, Kanika and Sayaka) was joined by two new dancers: Isabela Coracy from Brazil, and Christopher Renfurm from Holland. Touring was extended to include Gorizia, Italy, and the Festival for Performing Arts in Bermuda. The Company created three brand new ballets that opened at the Royal Opera House’s Linbury Studio Theatre, Two Of A Kind by Christopher Marney, Limbo by Martin Lawrance and A Dream Within a Midsummer Night’s Dreamby Arthur Pita, followed by a tour of the UK. Senior Artist Cira Robinson received a nomination for Outstanding Classical Dancer at the Critics’ Circle National Dance Awards, and Arthur Pita’s Dreamreceived nominations for Best New Classical Choreography as well as a nomination for Outstanding Achievement in Dance at the Olivier Awards. The Company created its first ever ballet aimed specifically at children and families, Dogs Don’t Do Ballet, choreographed by Christopher Marney and based on the best-selling book by Anna Kemp. At the end of the year, Artistic Director Cassa Pancho became a Patron of Central School of Ballet.

2015

The Company (Cira, Damien, Jacob, Kanika, José, Isabela and Christopher) were joined by new Junior Artist, Marie-Astrid Mence from France. Two new ballets were created: To Fetch A Pail of Water? by Kit Holder (Birmingham Royal Ballet) and their latest narrative ballet, Second Coming, by award-winning dance maker, Mark Bruce, plus the revival of the critically acclaimed Depouillement originally created by Will Tuckett in 2009. International touring increased to include to Sardinia and Naples and the first ever visit to Germany at the Burghof in Lörrach. BB commissioned a new duet Rhapsody in Blue by Christopher Marney for their debut at the Henley Festival performing to over 3,000 people.  In November 2015, Cira and Damien performed as part of the launch of the Black Power List 2016 event at the prestigious V&A Museum. Ballet Black’s A Dream Within A Midsummer Night’s Dream (choreographed by Arthur Pita) was nominated for a South Bank Sky Arts Award. The Company’s family ballet, Dogs Don’t Do Ballet (Christopher Marney) continued to tour the UK. At the beginning of the 2015/16 season, BB welcomed back Sayaka Ichikawa after a year off to have a baby, and new dancers, Mthuthuzeli November from South Africa and Joshua Harriette from the UK.

LINK

AFRICAN AMERICAN BALLERINA MAKES HISTORY...

Misty Copeland

took her first ballet class at the age of thirteen which is known as a late start in the ballet field, months after that first class, Misty was known as a 'prodigy'.

She was just seventeen when she joined the American Ballet Theatre, due to how she looked she weren't accepted quit easily by the rest of the dancers in her class. Her skin ton was a problem, he breast were to big and she was curvy and very most so muscula, which caused her difficulties especially in a ballet like Swan Lake. 

From now she is the first African American ballerina to make history to be the first black person to be the principal of ballerina at he the American Ballet Theatre.

Unit 28: Storytelling 2nd DRAFT

Blind Victory

Cagla: Did you finish your homework before coming out? you know how mum is"

Ruth: Yeah of course I did"

Cagla: Alright, well lets start with the ball game".

*Ruth and Cagla start off with playing playground games, we can see them running around, laughing, screaming etc*.

Ruth: Pass it over here”.

Cagla: No it’s mine”.

Ruth: We’re playing a game, give it, give it”.

*Cagla tosses the ball at Ruth and they continue playing their game centre stage*.

Cagla: You're throwing it too high".

Ruth: No I'm not".

Cagla: I'm bored of this game, lets play hopskotch".

Ruth: You're doing it wrong, this is how you do it".

Cagla: No, you're doing it wrong. You don't start off with two".

Ruth: Whatever, I'm still better than you".

*After one last round they both stop the game*

Ruth: I'm feeling hungry, do you think mums prepared dinner yet?".

Cagla: I think so lets check the time".

*They both pretend to check their watch/alarm and it makes a noise, they move their heads in the same motion*.

“Tick tock, tick tock, tick tock”.

Cagla: Yeah lets go down".

*They make their way back to their home in slow motion but then speed up again as they turn back around*

Cagla: Pass me the remote, lets watch some TV".

Ruth: Here".

*They start to eat dinner in front of the television. A news report sound effect comes on in the back ground, Cagla stands to her feet while Ruth continues eating in slow motion*.

Cagla: There has yet been another one hundred people found dead from the accidental bombing that happened in Syria, it was unintentionally dispatched into the back of a factory, some people have survived the awful incident but have been left seriously injured. Resulting into some of them loosing legs, arms and even eyesight. Our thoughts go out to the victims and the families victims...."

*Cagla then sits back down and starts eating in slow motion, Ruth stands up and gives a news report*

Ruth: According to provincial Governor Talal al -Barazi, two explosion occurred with a difference of a few minutes in the residential area of Al-Zahra. It was placed in a densely populated quarter. Did this happen because the government and opposition groups gathered in Geneva in a bad to start talks aimed at a political solution to conflict? Was the bombing really an accident?".

*Ruth sits back down and they come out of their transition and start to eat and talk normally*.

Cagla: Do you think that'll happen to us?"

Ruth: What?"

Cagla: The bombings, I mean it seems unrealistic".

Ruth: No, I don't think so. It's never happened before so why should it happen now".

Cagla: Yeah.."

Ruth: We're perfectly safe".

Cagla: Wow you ate your food quick".

Ruth: You need to hurry up so we can go out and play".

Cagla: Let's just go now, I'm full".

*They walk away from each other and walk back upstage, they run around and begin to skip towards each other in slow motion as an explosion happens*

*BANG!*

*Ruth and Cagla fall to the ground after the bombing, they lay on the ground for a few moments before trying to sit up and start feeling their face*.

Ruth: I can't see"

Cagla: I can't see"

Ruth and Cagla: God help me, I can't see!"

Ruth: Mum!"

Cagla: Mum!"

Ruth: I can't feel anything"

Cagla: Why are we cursed".

Ruth: Tasnim where are you? I can't see you".

Cagla: I'm coming to help, wait".

Ruth: My eyes, I can't see".

Cagla: Miriam I'm here look, look!".

*After a few attempts, they stand on their feet unable to see with their knees slightly bent looking out towards the audience*.

*They try to walk forward but they fall to the ground, after a few moments of lying on the ground they stand to their feet*.

Cagla: What's the point of living in a country with no democracy? Where no one listens to anything you have to say, all they do is lift up a gun, point it at you and BANG you're dead. I live in Britain, a country where I can vote, I have a voice and I can choose what I want to do as long as it's not illegal. I get to go to school and have a free education, I have free travel until I'm 18, but most importantly I have rights. The government allows me to pick and choose what I don't like. If you came over to Britain you would get a feel of true democracy, it allows us to be a modern and forward country with no restrictions or threats. Direct democracy gives all people the right to participate regardless of religious beliefs, gender, sexual orientation, and physical well being.

Ruth: It's not safe here, I can't stay here I'll die. I've already lost something so vital to me, my eyesight I'm blind for the rest of my life. I can't lose my life either. Democratic prospects have vanished by the devastation of civil war and the deepening fragmentation of Syrian society. All my sources are limited and there's no way I'll even make it to the age of 18 with the way things are happening here. I don't have a chance to express how I feel without being murdered or assaulted in the easiest case. I'm fed up of not having any freedom, I can't go out to play without being attacked, how can I make my own way to school knowing it's not safe? There's no equality in this country, nobody has a voice yet all the citizens seem to be suffering and having to pay for something we never had an opinion in".

Ruth: It's time to go, we must leave".

*We see Cagla and Ruth packing their bags preparing to leave.

Cagla: It's a long journey but they must leave, they're scared for their lives. They decide to take a risk and make their journey to Britain. It's a dangerous journey but they're willing to risk is".

Jesus Christ Superstar: Audition

Drama Therapist

Job Description

 Drama therapist:

Drama therapy is a creative arts therapy that uses the performance arts to promote psychological, emotional and social change. Drama therapists offer a safe environment for an individual or group to explore, address and deal with personal and social difficulties, e.g. grief, anxiety and personal growth.

Description

•      Drama therapists use a variety of interventions with clients, including stories, puppetry, improvisation, drama and movement to allow clients to explore their past experiences.

•      Clients may be of any age and may include people with psychological and/or mental health issues, physical or mental disabilities or behavioural difficulties. Other clients may be people on probation or in secure settings, or people overcoming an addiction.

•      Drama therapists work with a range of other professionals such as psychologists, social workers, nurses, teachers and other therapist staff.

Responsibilities

•      encouraging and supporting clients in creative drama and theatre work, involving the expressive use of movement and objects, using techniques such as improvisation, storytelling, play, role-play, myth, ritual, script work, and devising and presenting performances;

•      encouraging self-awareness, exploration and reflection on feelings and relationships;

•      providing opportunities for clients to learn new skills;

•      initiating spontaneous exploration of personal issues;

•      enabling clients to experiment with new ways of thinking and behaving;

•      using appropriate equipment, materials and therapeutic 'props', such as puppets and other objects;

•      organising a performance resulting from working with a group (although this is not essential);

•      undertaking assessment visits or appointments;

•      taking referrals from other professional staff;

•      maintaining records of clients and activities;

•      writing reports for your employer on activities undertaken and clients seen;

•      managing marketing and finances, when working on a self-employed basis;

•      Attending regular supervision sessions.

Education

•      Masters qualification in drama therapy recognised by health and care professional council

•      Degree in drama or psychology

Skills/Experience

•      You should be interested in helping people

•      Practical experience of drama

•      Work experience or voluntarily jobs, in helping people with difficulties in all areas of life.

Salary

•      The salary varies widely according to the employer, mode of employment and professional qualifications and experiences.

•      Starting salaries for those working in the (NHS) range from £25,783 to £34,530

•      Or a experienced drama therapist may earn between £30, 764 and £40,558

•      Fees in a private practice  are usually between £35 and £60 for a one hour session 

TASK 1: What are British values?

What are British values?

Image: UK Grunge Flag' by Nicolas Raymond

Flag

According to Ofsted, British values are:

• democracy; 
• the rule of law; 
• individual liberty; 
• mutual respect for and tolerance of those with different faiths and beliefs and for those without faith
.

But what are 'British values'?

According to Ofsted, 'fundamental British values' are:

• democracy
• the rule of law
• individual liberty
• mutual respect for and tolerance of those with different faiths and beliefs and for those without faith.

Link