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Education Resources Pack Key Stage 2 Contents Page 3 About this education pack 4 5 5 6-9 7 9 10-16 11-12 15-16 17-23 18-19 24-29 25 27-29 About the show About the artist About the Producer Favourite Stories Photocopiable resource: Book cover template Photocopiable resource: Review writing frame Re-building Stories Photocopiable resource: Hansel and Gretel cloze worksheet Photocopiable resource: Story spinner Traditional Stories Photocopiable resource: The Spinning Contest Personal Stories Photocopiable resource: Story teller Photocopiable resource: The Soundtrack of My Life 29 Sources 2
About this education pack This guide is intended to support Key Stage 2 teachers who would like to use a performance of The Day I Fell into a Book as a starting point for work with students aged 8-11. Learning activities utilise reading, writing and communication skills. The aims of this pack are to: Encourage pupils to enjoy reading and to explore their personal responses to texts. Encourage pupils to explore different ways to tell and re-tell stories. Resources are organised in four sections: Favourite stories Re-building stories Traditional stories Personal stories Resources cover a number of activity types, including: Discussion Reading Writing Making Presentation The pack contains student-focused instructions, preparation guidance and photocopiable worksheets. Learning activities can be followed as a sequence, or cherry-picked to extend learning within an existing scheme of work. 3
Produced by Alexandra Melville for Fuel Theatre 2017 About the show The Day I Fell into a Book is an immersive theatre experience that explores the wonder of reading. At the front of the space is a man, examining books. He is trying to work something out he is scribbling diagrams and lists, making notes and recording data. He is from The Institute. The audience have been called in by The Institute to identify dangerous books for the Red List. Once a story makes the list, it is banned from all schools, libraries and bookshelves, never to be read again. As they dive into a patchwork world of fairy tales, adventures and legends, can they save our much-loved stories from being destroyed, before it s too late? Welcome to a world where stories seep into space, a storm blows leaves from the woods right through the window, and footsteps scuttle in the dark. It s an adventure into a world of lost tales. 4
The Day I Fell into a Book has been created by Lewis Gibson and is for 8-12 year olds and their teachers, families and carers 5
About the artist Lewis Gibson is a sound designer, composer and theatre maker. He has worked with Complicite, Graeae Theatre, Uninvited Guests, Fuel and Sulayman Al-Bassam amongst many others. His previous work for young people has been made with The Royal Exchange, The Unicorn and Tangere Arts, including his production of Tin Soldier which won an OFFIE for Best Production for Young People in 2012, and A Thousand Slimy Things, The Pardoner's Tale and The Chair, all of which he adapted, directed and composed. About the producer Fuel produces fresh work for adventurous people by inspiring artists. Founded in 2004 and led by Kate McGrath, Fuel is a producing organisation working in partnership with some of the most exciting theatre artists in the UK to develop, create and present new work for all. Fuel is currently working with artists including Clod Ensemble, Inua Ellams, Fevered Sleep, David Rosenberg, Uninvited Guests, Gyre & Gimble, Melanie Wilson, Lewis Gibson, Racheal Ofori, Andy Smith and Melly Still. 6
Favourite Stories Aims: To explore responses to favourite stories. To explore ways of sharing favourite stories. Discussion 1: What are your favourite stories? Why? What stories would you like to come to life and really happen to you? Why? What stories would you not want to turn into reality? Why? If you could be one character from a film or book, who would you be? Why? If you could visit one place from a book or film or story where would you visit? Why? Activity 1: Think about your favourite story. Sum up this story in 10 bullet points. Read the summary out loud to a partner. What do they think are the best parts of the story? Do you agree? Activity 2: Create a book cover for your favourite story. You need to include: Ø The title of the story. Ø A main picture which gives the reader a clear idea of what the story will be about. Ø A blurb the writing on the back that tells the reader a little bit about the story. The blurb should make the reader want to find out more. Plan: What pictures could you draw to give the reader clues about the story? What kind of writing and letters should you use to write the title? For example, a fairy tale title might look good with old fashioned-looking letters. Now create the book cover for your story. You can use the template on page 6. Remember to: Ø Give the reader a clear idea of what will be in the story. Ø Make the reader want to read the story. 7
About this book: Title: Title: My Name: 8
Discussion 2: Which other people s book covers make you want to read their chosen story? Why? Activity 3: Write a review of your favourite story. A review will: Ø Give key information about people (characters) in the story. Ø Give key information about where and when the story takes place. Ø Give key information about events in the story (the plot). Ø Give opinions about the story what are the best bits and why. A review will NEVER, EVER, EVER: Ø Give away the ending! It would ruin the story! You can use the writing framework on page 8 to help you. Extension Activity 1: Once you have looked at other students book covers/reviews of their favourite stories, pick one of the stories you haven t read before suggested by another student and read it. You can read it together with them, or on your own. After you have read another student s favourite story, you can decide whether you agree with them that it s really great! Extension Activity 2: Class reading investigation: As a class, write up a list of your favourite stories right now. In a month s time, write down your favourite stories again. How many people have changed their mind? Repeat the investigation again the next month. How many people have changed their mind twice? How many people still see their original favourite story as their favourite story now? 9
Writing A Review Name: The main characters in the story are My favourite character is because The story takes place in The main events in the story are My favourite part of the story is when because I think that other people would love this story because I would rate this story out of 10! 10
Re-building Stories Aims: To explore the building blocks of stories. To build understanding of vocabulary from context clues. To explore different ways of re-telling and combining elements of stories. Discussion 1: What are the key ingredients or building blocks you need to make a story? How is a story different from a description? What makes a good story in your view? Activity 1: Write a definition for each of the following terms: a) Plot b) Character c) Setting Activity 2: In the show, parts of the stories are missing. Can you help to put one of them back together? On page 10 is the story of Hansel and Gretel. But some of the words are missing. Work out each missing word by thinking carefully about the rest of the sentence and the ideas in the surrounding paragraph. Choose from the words in the box at the bottom of each page to find the correct missing words. Careful! Not all of the words in the box are correct! Only pick the right words. 11
Fill in the 15 gaps in the story using the words in the box at the bottom of page 11. Careful! Two of the words in the box are wrong! Only choose the right words. Hansel and Gretel Once upon a, a very poor woodcutter lived in a tiny cottage in the forest with his two children, Hansel and Gretel. His second wife often bullied the children and was forever nagging the woodcutter. "There is not enough food in the house for us all. There are too many mouths to feed! We must get rid of the two brats. Leave them in the forest!" she declared one night. Hansel overheard his stepmother s words, and comforted Gretel. "Don't worry! If they do leave us in the, we'll find the way home," he said. Slipping out of the house he filled his pockets with little white pebbles, then went back to bed. At dawn, the w led Hansel and Gretel away into the forest. But as they walked, Hansel dropped little white one by one on the ground. When they were deep in the forest, the woodcutter left them all alone. Night fell but the woodcutter did not return. began to sob. Hansel showed her the trail he had left. The tiny white pebbles gleamed in the moonlight, and the children found their way home. Next day, when their stepmother discovered that Hansel and Gretel had returned, she went into a rage. The wicked stepmother kept Hansel and Gretel locked up all day with nothing for supper but a sip of water and some stale bread. Hansel could not get out to fill his pockets with more pebbles. When dawn came, the woodcutter again led the c into the forest. Hansel, however, had not eaten his, and as he walked through the trees, he left a trail of crumbs behind him to mark the way. But the little boy had forgotten about the hungry birds that lived in the forest. When they saw him, they flew along behind and ate up all the crumbs. Again, the woodcutter left his two children a in the woods. When night fell, the children saw to their horror that the trail of crumbs had gone. They were well and truly lost. On they walked and walked, till suddenly 12
they came to a strange cottage. "This is gingerbread!" gasped as he broke a piece from the wall. "And this is icing!" exclaimed Gretel, putting another piece of wall in her mouth. The hungry children began to eat pieces of c broken off the cottage. However, the sugar candy cottage belonged to an old witch, her trap for catching her victims. She came out and invited the two children inside. But as soon as they entered, she locked the door. "You're nothing but skin and bones!" said the witch, to Hansel. I shall fatten you up and eat you!" She locked Hansel in a cage and forced Gretel to do all the cooking and c g. Eventually the witch was ready to eat Hansel. "Light the oven," she told Gretel. "We're going to have a tasty roasted boy today!" Gretel returned, whimpering: "I can't tell if the is hot enough or not." Angrily, the witch screamed at the little girl: "Useless child! All right, I'll see for myself." But when the witch bent down to peer inside the oven, Gretel gave her a huge push and slammed the oven door. Gretel ran to set her brother free. They filled a large basket with food and treasure they had found in the cottage and set off into the forest to search for the way. On the second day, they saw their father come out of the house towards them, weeping. "Your stepmother is dead. Come home with me now, my dear children!" The two children hugged the woodcutter. Hansel opened the casket. "Look, Father! We're rich now. You'll never have to chop wood again." And they all lived together ever after. bread forest shut oven candy home Gretel time children chicken alone happily apple Hansel cleaning woodcutter pebbles 13
Activity 3: One way to build an interesting version of a story is through sound. Choose 10 words from across the story. Try to pick one from every paragraph Highlight or underline your 10 words. Decide an interesting way you will say each of your 10 words. For example, you might choose to hiss the word witch, or SHOUT the word slammed or say the word pebble with a really small mouth shape! Practise saying your 10 words in their interesting way with a partner. Finally, the teacher will read the story aloud. Every time they come to one of your words, say it out loud in the interesting way you chose. Ø How does the story sound when performed out loud in this way? Ø Did anyone else choose to say some of your words in a different way? Activity 4: Building a sound performance can be done in another way: Choose 5-10 actions from the story that you could perform a sound to. For example, when the birds eat the crumbs you could make a tweeting noise, or when the children eat the cottage you could make munching noises, or when the oven door is slammed shut you could clap your hands or stamp your feet. The teacher will read the story aloud. Every time they come to one of the actions you picked, make your sound effect while they are reading that part. Ø How does the story sound when performing sound effects in this way? Ø Did anyone else choose to perform some of your actions in a different way? Extension Activity 1: In groups of 3-4 create your own sound performance of the story: One or two people should narrate the story, choosing certain words to say in an interesting way. One person could do the different voices of Hansel, Gretel, the witch etc. Another person could perform the sound effects of various actions in the story. If you have access to musical instruments, you could even play different tunes for different parts of the story. 14
Discussion 2: If you took the story of Hansel and Gretel, but added in the characters of Little Red Riding Hood and the Wolf, how would the story change? If you took the story of Hansel and Gretel, but changed the setting of the forest to a desert, how would the story change? Activity 5: You can build a new story by putting together key parts of different stories. Ask the person to your left who their favourite character is. Ask the person to your right where their favourite setting for a story would be? Think about your favourite kind of plot do you like mysteries? Happy endings? Superhero adventures. In ten minutes, invent a quick story to tell your partners using your plot and your partners character and setting. Ø What kind of story did you come up with? Ø How did you find the challenge of telling a story like this? Activity 6: Story Spinner! Create a story spinner to mix and match characters, settings and plots to choose the ingredients to build a new story of your own! Activity Preparation Notes: Ø Follow the instructions on pages 14-15 to create a story spinner. Ø An adult will need to photocopy and cut out the parts. You will also need a pencil. Activity instructions: 1. Spin the arrow on the spinner as many times as you need to get the following ingredients for your story: a) Three or more characters b) Three or more character features c) Two or more settings d) One event 2. Write a 2-page story including all of the ingredients. 15
Story Spinner Step 1: Photocopy this sheet and glue the back onto a piece of card. Once it is glued firmly to a card backing, cut out the arrow below. Please take care using scissors. Carefully make a hole through the card-reinforced arrow. The hole should be slightly bigger than a pencil. Step 2: Photocopy the story spinner wheel (page 15) and colour in the four sections in four different colours for characters, features, settings and events. Put a pencil through the hole in the cardboard arrow. Place the pencil (with the arrow on it) point down in the centre of the story spinner wheel and hold it vertically. Make sure the arrow is low down on the shaft of the pencil and spin it around with your finger. Wherever the point of the arrow stops, that is the next ingredient for your story! You may have to spin the arrow several times to get all the ingredients you need from the list on page 13, Activity 6. 16
Story Spinner Wheel A. Characters D. Events B. Features C. Settings 17
Traditional Stories nb teachers: This might be a good exercise to use to explore the specific themes of The Day I Fell Into A Book: freedom of thought and censorship. Aims: To explore traditional stories. To plan and write a myth. Discussion 1: What is a traditional story? How were stories passed on before writing was invented? Why do people pass stories down from one generation to another? Activity 1: In groups of 4-5, find out who knows a traditional story about their own family or their culture. Tell each other the stories in your group. Then share the most interesting ones with the rest of the room. Ø Why do you think these stories were passed down? Extension Activity 1: Start a research diary to find out more about traditional stories from your own family or community. Interview your older siblings, parents, grandparents, aunts or uncles, or older people in your community. Write down any stories they can tell you about: Their past Their family Their culture Share the most interesting stories with your class. Discussion 2: Ø Why do you find these stories the most interesting? What is the difference between a myth and a fairytale? What myths have you already heard of? What cultures do these myths come from? What are myths for? Why do you think people traditionally pass these stories on? Activity 2: 18
Read the Ancient Greek myth of The Spinning Contest on pages 17-18: The Spinning Contest A long, long time ago, in a place called Lydia, there lived a young spinner and weaver called Arachne. The villages of Lydia had a reputation for producing splendid cloths and tapestries. They were home to some of the finest spinners and weavers in the world, and Arachne was the most gifted of them all. Arachne could spin the finest threads and weave all sorts of beautiful pictures into her cloth. People travelled from far and wide to see her work. Not only were her finished products wonderful to look at, but just watching her spin and weave was a sight to behold. Arachne was very talented, and was proud of her skill. But soon she grew very arrogant. Her work was so beautiful that observers often commented that she must have been trained by Athena, the goddess of wisdom and weaving. Arachne was scornful of this. Why she said, should she, with all her talent, be placed in an inferior place to the goddess? She tipped her nose in the air, tossed her hair and boasted that the goddess Athena herself could not produce work better than hers. The gods and goddesses of Ancient Greece were powerful and vengeful. But Arachne didn t care. When news of Arachne's bold claim reached Athena, she was very angry, but she decided to give the young woman a chance to redeem herself. So one day she disguised herself as an old peasant woman and went to visit Arachne. She gently warned her to be careful not to offend the gods by comparing her talents to those of an immortal goddess. But Arachne laughed and told the old woman to save her breath. She boasted that she would win any weaving contest with Athena. At this, Athena revealed her true form in a flash of blinding light. The visitors who had come to watch Arachne's weaving were very afraid, but Arachne stood her ground. She had made a claim, and she would prove it. 19
It was decided they would compete by each creating a tapestry. The two of them set up their looms back to back and the contest began, the mortal Arachne at her loom and the goddess Athena at hers. They spun their thread and worked their looms from early in the morning until the dead of night, their fingers scuttling across the cloth until they bled. The next day they compared what they had done. Athena had woven a stunning cloth showing the gods and goddesses together on Mount Olympus doing good deeds for people. An astonishing scene had developed from the threads which seemed to shimmer with life-like beauty. The people witnessing the competition marvelled at the work of the goddess. Arachne, however, had woven a cloth that rudely made fun of the gods and goddesses. It showed them getting drunk and behaving very badly. Nevertheless, her work was so skilful that the characters in the scene seemed to leap from the cloth and dance. Despite the beauty of Athena s work, Arachne s was even better. When Athena saw Arachne s weaving, her face clouded like thunder. She was forced to admit that Arachne's work was flawless but the disrespectful choice of subject made her clench her fists and her jaw tightened. With a sudden sweep of fire, Athena destroyed Arachne's tapestry and loom. Then she tapped Arachne s forehead with the tip of her finger. "Spin if you wish to spin!" cried Athena. At this, Arachne's nose and ears disappeared, her arms and legs became long and slender and four new legs grew beside them, then her whole body shrank and shrivelled and turned black, until she was just a tiny little spider. For the rest of her life Arachne was to weave and spin, and the children of Arachne still weave their delicate webs all over the earth today. 20
Discussion 3: Activity 3: What is a moral? What was the moral of The Spinning Contest? Why do you think this story was told and re-told? Exploring endings: Like many myths and fairytales, the story of Athena and Arachne has been told over and over, so there are many different versions of the myth. Read the following alternative ending to the myth: When Athena saw Arachne s weaving, her face grew stormy. She was forced to admit that Arachne's work was flawless but the disrespectful choice of subject angered her. She touched Arachne s forehead, flooding her mind with guilt for her actions. Realising her folly, Arachne was crushed with shame. But she was so overwhelmed by the guilt that filled her mind that she ran into a nearby wood and hanged herself from a tree. Athena took pity on her. She loosened the rope, which became a cobweb; then she said gently, "Spin if you wish to spin". At this Arachne slowly came back to life but in a new form. Her arms and legs became long and slender and four new legs grew beside them, then her whole head and body shrank and turned brown until she was just a little tiny spider. For the rest of her life Arachne was to hang from a thread and spin, and the children of Arachne still weave their magic webs all over the earth today. How is this ending similar to the first version? How is it different? Does it change your view of the moral message of the myth? 21
Activity 4: Exploring endings through performance: With a partner read the two endings aloud, at the same time: One of you read the last three paragraphs of the first version of the myth (page 18). One of you read the second ending on page 19. Try get to the end of your readings at the same time. You may need to practise a few times to get the speed right. Ø How does reading both endings together affect your view of the story? Ø Do you notice anything more about their similarities and differences? Activity 5: Show Don t Tell is a technique that makes stories more interesting. If you ve ever seen your mum, dad or teacher angry, you ll know that you don t need someone to tell you they are angry. It shows on their faces and in their voice! When you write, it is often more effective to describe the look or sound of an emotion and let the reader figure it out, rather than tell them directly. Example: Show: Athena s face clouded like thunder. She clenched her fists and her jaw tightened. Tell: Athena was very angry. Take it in turns to make faces and sounds to represent an emotion (no words) whilst your partner guesses which emotion you are showing. Here are some emotions you could choose from to get you started: Anger Happiness Pain Love Sadness Fear Excitement Make notes: How would you describe what your partner is doing in words? Now find and write down 3 or more examples of the Show Don t Tell technique in the story. 22
Activity 6: E.g. We are SHOWN Athena is angry when it says. You are going to weave your own traditional myth. It must include: Ø An imaginary god or goddess. Ø A mortal human. Ø The god must turn the mortal human into something else. Ø The thing the mortal is turned into should be appropriate for what they have done. For example, a very sneaky character might be turned into a snake. Ø You must use the Show Don t Tell technique. Plan your story: Is your god a man or a woman or a creature? What do they look like? What is their personality? Who is your mortal human? What do they look like? What is their personality? What does the mortal do to make the god turn them into something else? How does the transformation (change) happen? What are the results? Is there a moral? Activity 7: Tell the plot of your story to a partner. As you listen to your partner, give them feedback on the following things: Did the plot make sense or were there some things you found confusing? Did the characters seem believable or was it hard to understand why they had done something? Did you have any questions about the events? Or ideas that you think could make the story even better? Tell your partner what they were. Once you have reviewed your story with a partner and you are happy it makes sense, write your myth. Remember to use Show Don t Tell. Activity 8: Check and improve your story: 1. Highlight all the places you have used Show Don t Tell. Could there be more? 2. Have you used 4 or more types of punctuation? 3. Is the punctuation in the right place? 4. Use a thesaurus to make at least 5 words more interesting. 5. Check your spellings. 23
Activity 9: In a group, swap and read each other s myths. Share what you enjoy about each other s stories. Imagine your myths have been told and re-told for thousands of years. There would be lots of slightly different versions of your myths and especially different endings. Write a new ending for a partner s myth. Your partner should write a new ending for your myth. Then read your partner s alternative ending. Ø How is this ending similar to your version? Ø How is it different? Ø Does it change the moral message of your myth? Extension Activity 2: Try reading the two endings of each myth out loud at the same time with your partner. What effects are created? Ask for help from two more people to perform all four endings of you two myths out loud at the same time. What do all the endings share? How do you find this experience? 24
Personal Stories Aims: To explore personal stories. To explore ways of telling personal experiences. Activity 1: Story Tellers! Create a story teller to discover the stories of others in your group! Activity Preparation Notes: Ø Follow the instructions on pages 24-25 to create a story teller. Ø An adult will need to photocopy and cut out the parts. Activity instructions: Place your fingers in the four holes of the story teller and hold it closed. Ask a partner to pick a number. Open and close the story teller the number of times for the number they picked. For example, if they pick the number 4, open and close the teller up-and-down and then sideways 4 times. Ask your partner to pick a colour from the choice revealed on the final opening of the teller. Open and close the story teller the number of times for the number of letters in the name of the colour they picked. For example, if they pick the colour red, open and close the teller up-and-down and sideways 3 times: r e d. Ask your partner to pick a colour again. Lift the flap of the colour they pick. Ask them the question beneath the flap to hear a personal story. Take it in turns to repeat the activity twice more, choosing different numbers and colours to hear different stories. You can do the activity with different people in a group to hear a wider variety of stories. Ø Which personal stories were your favourite? Why? Ø How did you find the experience of telling personal stories? 25
Ø Can you imagine a different ending for one of the stories you heard? Story Teller Cut out the teller below. Turn it over so the writing is face down. Fold each of the four corners up and into the centre so that you have made a smaller square, with the numbers and colours face up. Turn it over. Fold each of the four corners into the centre so that you have made an even smaller square, and so that the questions are inside, with the colours on top. Turn it back over to the side with the numbers. Fold it in half vertically and unfold it again. Fold it in half horizontally and unfold it again. Put your thumbs under the flaps with numbers 2 and 3 on them. Put your forefingers under the flaps 4 and 5. You should be able to move the teller open and closed up-and-down and sideways like a beak. 26
Activity 2: The Soundtrack Of My Life! One way to explore your own personal story is through your relationship with music and pictures. You are going to present an album of your life, with a soundtrack and cover art. Activity instructions: Step 1: Make a list of 3-5 important aspects of your life. You may like to think about the following things: Ø friends/family Ø interests/hobbies Ø likes/dislikes Ø music/food/films/books/tv shows etc. Ø ambitions/the future Ø major events/memorable moments/holidays etc. For each important thing in your life, write down WHY this thing is so important to you and your life. Ø Use the worksheet on page 26 to help you with planning your ideas. Step 2: For each important thing about your life that you want to share, think of a song or tune that represents that part of your life. Explain why that song is linked to that aspect of your life. Ø Use the worksheet on page 27 to help you with choosing your music. Step 3: Create cover art to represent you and your soundtrack. You can draw, paint, or stick on pictures to design your art work. Ø Use the worksheet on page 28 to help you with creating your cover art. Step 4: Present your autobiographical album to the group: Explain the choices you have made in your cover art design and how your picture represents you as a person. Explain the choices you have made about what is important in your life and how different songs represent these aspects of your life. 27
If you have time, you could play your songs to the class. Has anyone chosen the same song for a different reason? Step 1: The Soundtrack Of My Life: Planning Make a list of 3-5 things that have been important to you in your life in the grid below, in the left-hand column. Write down WHY each thing is so important to you in the column on the right. Think about: o friends/family o interests/hobbies o likes/dislikes o music/food/films/books/tv shows etc. o ambitions/the future o major events/memorable moments/holidays etc. Important aspect of my life Why is this important to me? 1. 2. 3. 4. 28
5. Step 2: The Soundtrack Of My Life: Choosing Music For each of the important things in your life, note down how they relate to a song. Is it the lyrics, the music, the story it tells? Was it playing at the time? Is it the mood it creates? Etc. For example, an important aspect of my life might be my Aunty because she told me interesting stories about the old days. A song that reflects my Aunty is Over the sea to Skye because she used to sing it to me, and the song is about Scotland where she grew up. 1. Important part of my life: Song that reflects it: Why/how the song reflects this: 2. Important part of my life: Song that reflects it: Why/how the song reflects this: 3. Important part of my life: Song that reflects it: Why/how the song reflects this: 4. Important part of my life: Song that reflects it: Why/how the song reflects this: 29
5. Important part of my life: Song that reflects it: Why/how the song reflects this: Step 3: The Soundtrack Of My Life: Designing Cover Art Tips: You need to create cover art: a picture to go with your album. Your cover should use pictures and colours that you think represent you as a person or key things about your life. For example, if you love football maybe draw a football on the front or stick on a picture of your favourite player. If you have a lively bold personality then you might make the background a lively bold colour, like red. You can create your cover art in the space below. Don t worry if it s not the best drawing in the world you must just be able to explain the choices you made for your design. My Cover Art: 30
Sources Story of Hansel and Gretel adapted from: Shmoop, 2017, Grimm s Fairy Tales [Online] [Accessed 9 th May 2017] Available from: http://www.shmoop.com/grimms-fairy-tales/summary.html Story of The Spinning Contest adapted from: Myths and Legends, 2006, Arachne the Spinner [Online] [Accessed 9 th May 2017] Available from: http://myths.e2bn.org/mythsandlegends/textonly131-arachne-thespinner.html Story Teller template adapted from Super Teacher Worksheets, 2012, A Printable Cootie Catcher a.k.a Fortune Teller[Online] [Accessed 9 th May 2017] Available from: https://www.superteacherworksheets.com/pinterest/pz-cootie-catcher-blank.html Soundtrack Of My Life activity adapted from: Readwritethink.org, 2017, Soundtrack for my life [Online] [Accessed 15 th May 2017] Available from: http://www.readwritethink.org/parent-afterschoolresources/activities-projects/soundtrack-life-30313.html?main-tab=1#tabs www.fueltheatre.com info@fueltheatre.com +44 (0)20 7228 6688 @FuelTheatre 31