• This lying down warm-up will focus on relaxation to help the breath drop.
• It will further focus letting the throat and nose take a rest from the breathing process.
  • If not already, check in re: consent to contact
  • Start with Michael’s rib stretching warm-up
  • Find a book to put under your head to help keep your breathing passage level.
  • Find a chair.
  • Lie down with the book under your head
  • Put your legs up on the chair.
  • Feel your back flat on the floor.
  • Breathe
  • Check in with your breath
  • Use imagery, physical cues, or thoughts to coax it down
  • Once your breath is down, see if you can relax your throat, so it’s not helping air down
  • See if you can remind your nose to stay out of it
  • Aiming for pure intake, from the impulse
  • IAN: remove chairs from under legs
  • Coach them through a relaxed shift to bent over
  • Slow roll-up to align
• Discussion
  • What did you discover about your breath?
• Teaching points
  • You help your breath in lots of ways unconsciously, but your breath can actually take care of itself
  • Know that you can do this, if you need to

1:05 pm
1:20 pm
15 minutes
90 minutes remaining

• The tip-toe diver grounding exercise
• Other exercises if time permits

1:25 pm
1:30 pm
5 minutes
80 minutes remaining

• Walking the sentence
• Changing direction

Have them do these in groups of four or two fives and a six.

Give feedback to each group.

Ask the students to observe for the effect of what they see.

Remind them this is all research and exploration, not setting anything in stone.

Those who just went, make notes.

1:20 pm
1:35 pm
15 minutes
75 minutes remaining

• Moving the metre (Houseman 77)
  • Stage 1: simple movement to pure iambic pentameter
    • one line (that comes to a sense of an ending)
    • two lines (with sense of not finished yet on first and and ending on the second)
    • three lines (with sense of not finished yet on the first and second, and a definite ending on the second)
    • etc.
    • ask Ahmed how he heard lines end so we knew it was verse?  Can he/we apply that to this?
  • Stage 2: apply pure iambic to your speech
• What did people discover?
• Prompts:
  • Did all lines make sense using that rhythm only?  Examples?  These are irregular lines
  • Did some lines seem to have more than 10 syllables?  Examples?
  • Did some have less? Examples? Is it a pause or a cue?
  • OR is it an “ed” or “tion” that completes the metre?
  • Contractions?  What about them?
  • Weak endings?
  • So what, then is a regular line?
  • Is a regular line always regular?
    • Except when you can choose to make it irregular
    • Except when there may be pronunciation differences between Elizabethan and our modern English
    • Except when there is an exclamation that might need to be stressed but is in a weak position

• Do we always speak the speech with the same stress?  No, in real practice, the difference in weight is relative.
• We always want the sense of moving forward, rather than stomping on the spot (trippingly on the tongue!)

1:35 pm
2:15 pm
40 minutes
35 minutes remaining

• Play a few minutes of the rhythm exercise from Boal (89)

2:15 pm
2:25 pm
10 minutes
25 minutes remaining

• Walking the verse (Houseman 95)
• Snapping your fingers
• Kicking a chair (Berry)

2:25 pm
2:35 pm
10 minutes
15 minutes remaining

• Clothing advisory
• What have we learned so far?
• What have we experienced so far?
• Pronunciation: dost and doth.

2:35 pm
2:40 pm
5 minutes
10 minutes remaining

• Allow the students some time to work on their word definitions and translations

2:40 pm
2:50 pm
10 minutes
0 minutes remaining