STRATEGIES IN TEACHNG DRAMA Storytelling is one of the simplest and perhaps most compelling forms of dramatic and imaginative

activity. A good place to start is by telling stories to your pupils and encouraging them to share stories with one another. All of us can become engaging storytellers with a little practice. There may also be members of staff who are particularly skilled at telling stories, or you could invite a professional storyteller (such as Hugh Lupton in the video below) into the school. Listen to each other, watch videos of storytelling and encourage the children to identify techniques they could use in their own stories. In a tableau, participants make still images with their bodies to represent a scene. A tableau can be used to quickly establish a scene that involves a large number of characters. Because there is no movement, a tableau is easier to manage than a whole-group improvisation yet can easily lead into extended drama activities. It can be used to explore a particular moment in a story or drama, or to replicate a photograph or artwork for deeper analysis. How do you do it? Students stand in a circle, or around the performance area and a theme is given. One by one, they step into the space and establish still images in relation to one another until the tableau is complete. At this point, thought tracking can be used to find out more about each of the characters. The scene can also be brought to life through improvisation, with the teacher clapping her hands to signal the beginning and end of the action. Once students are familiar with the technique, they can also work in small groups on different aspects of a theme. The class can discuss each groups tableau in turn, mentioning what they can see happening, what they would like to know more about and what they think could happen next. Afterwards, each group can comment on how these viewpoints compared with their initial intentions. Still images and freeze frames are both a form of tableau. With freeze-frame, the action in a play or scene is frozen, as in a photograph or video frame. Still images, on the other hand, require individuals or groups to invent body-shapes or postures, rather than freeze existing action.

Groups can be asked to tell a story through a series of prepared still-images. This can be an effective method for students who are less inclined to improvise dialogue. The still images can also be brought to life through improvisation. Freeze-frames and still images can be usefully combined with Thought Tracking, Forum Theatre or Flashbacks and Flash Forwards.

Examples Still images provide one of the most flexible methods of working in drama. They can easily be used across the curriculum, for example:

Groups can tell a story by using three images to create a beginning, middle and end. You can help to improve students' vocabulary skills by asking them to illustrate a word or phrase in a story using a still image. Fun can be had making group objects that turn from one thing into something else for example Cinderellas pumpkin turns into a coach, mice into horses, a rat into a coachman, and lizards into footmen.

In Science, groups can develop a series of images showing the process of metamorphosis (e.g. caterpillar to butterfly or frogspawn to frog).

Spotlighting is a useful teaching technique for sharing improvised drama when you have divided the class into smaller groups. When it is time to show their work, ask all the groups to sit on the floor. Explain that you will walk around the room and as you get closer to each group, that group will stand up and show their performance. As you move off towards the next group, they will stop the drama and quietly sit down again so that they can watch other groups. Why use it? This is an effective way of controlling the time each group takes to show their work and overcomes the problem groups often have of not knowing how to end an improvisation. The teacher controls the time taken by each

group and the order in which they perform. Just like a real spotlight, the technique focuses the attention on one part of the room at a time and makes it clear as to which group is taking its turn. Soundscape The leader or one member of the group acts as conductor, whilst the rest of the group are the 'orchestra'. Using their voices (and body percussion if appropriate!), the group paints asoundscape of a particular theme or mood, for example the seaside, a city, a jungle. The leader can control the shape of the piece by raising her hand to increase the volume or bringing it to touch the floor for silence. You may also use simple percussion instruments for this exercise.

Thought tracking A group makes a still image and individuals are invited to speak their thoughts or feelings aloud - just a few words. This can be done by tapping each person on the shoulder or holding a cardboard 'thought-bubble' above their head. Alternatively, thought tracking (also called thought tapping) can involve other members of the class speaking one character's thoughts aloud for them. The technique is most often used in conjunction with image theatre or freeze-frames. Equally, thought-tracking is useful preparation for improvisation.

Teacher in role (TiR) is an invaluable technique for shaping the dramatic process. Simply put, the teacher assumes a role in relation to the pupils. This may be as a leader, a peer, or a subservient role - whatever is useful in the development of the lesson. The teacher may ask questions of the students, perhaps putting them into role as members of a specific group and encouraging them to hot-seat her in return. How to do it Teacher in Role does not require great acting skills. A role can be adopted quite simply to communicate the key attitudes and emotions of a particular

character. A token piece of costume, a hand prop or special chair can be useful to denote when the teacher steps into and out of role. If you are unsure how to begin, try hot-seating first. This will give you valuable experience of assuming a role in relation to the students and responding to their comments and questions. You can progress to teacher in role by encouraging the students to participate and becoming more active as the character. Reply to their questions as though they are also in role and encourage them to become involved in occupational mime activities.

Examples of Teacher in Role can be seen in the drama lessons on The Gruffalo and The Evacuees.

Macbeth Summary
How It All Goes Down On a dark and stormy night in Scotland, Macbeth, a noble army general, returns home after defending the Scottish King, Duncan, in battle. (Macbeth, by the way, was totally awesome on the battlefield he's good at disemboweling his enemies and he's proved himself to be a loyal, standup guy.) Along the way, Macbeth and his good pal, Banquo, run into three bearded witches (a.k.a. the "weird sisters"), who speak in rhymes and prophesy that Macbeth will be named Thane of Cawdor and King of Scotland. There's good news for Banquo, too he'll be father to a long line of future kings of Scotland, even though he won't get to be a king himself. Suddenly, the witches vanish into the "foul" and murky air. Whoa, think Macbeth and Banquo. Did that just happen or have we been nibbling on the "insane root"? (Banquo really does say "insane root.") The next thing we know, a guy named Ross shows up to say that, since the old Thane of Cawdor turned out to be a traitor and will soon have his head lopped off and displayed on a pike, Macbeth gets to take his place as Thane of Cawdor. OK. That takes care of the first prophesy. We wonder what will happen next Macbeth reveals to us that the witch's prophecy has made him think, briefly, about "murder" but he's disgusted with the idea and feels super guilty about his "horrible imaginings." He says he's willing to leave things to "chance" if "chance" wants him to be king, then he doesn't have to lift a finger (against the current king) to make it happen.

But later, when King Duncan announces that his son Malcolm will be heir to the throne, Macbeth begins to think about murder once again. He writes a letter to his ambitious wife, Lady Macbeth, who immediately begins to scheme about how to kill Duncan. (The first thing she needs to do is berate Macbeth and make him believe that he's not a "man" if he doesn't kill Duncan.) The King just so happens to be scheduled to visit the Macbeth's at their castle so that seems like a good time to take him out. Later, Macbeth hesitates about murdering the King after all, it's Macbeth's job to defend the guy, especially when he's a guest in Macbeth's home. But, Lady Macbeth isn't having any of his excuses. She tells Macbeth to stop being a wimp and to act like a "man." Besides, it'll be a piece of cake to drug the king's guards and then frame them for the murder. That night at Macbeth's castle, Macbeth sees an imaginary floating dagger pointing him in the direction of the guestroom where the king's snoozing away. After he does the deed, Macbeth trips out a little bit he hears strange voices and his wife has to tell him to snap out of it and calm down. (Lady Macbeth, by the way, says she would have killed the king herself but the guy looked too much like her father.) When Macduff (yeah, we know, there are more "Macsomebodies" in this play than an episode of Grey's Anatomy) finds the king's dead body, Macbeth kills the guards and accuses them of murdering the king. (How convenient. Now nobody will ever hear their side of the story.) When King Duncan's kids, Donalbain and Malcolm, find out what's happened, they high tail it out of Scotland so they can't be murdered too. Macbeth, then, is named king and things are gravy until Macbeth starts to worry about the witch's prophesy that Banquo's heirs will be kings. Macbeth's not about to let someone bump him off the throne so, he hires some hit-men to take care of Banquo and his son. Fleance, (Banquo's son) however, manages to escape after poor Banquo is murdered by Macbeth's henchman. For Macbeth, things continue to go downhill, as when Banquo's ghost haunts him at the dinner table in front of a bunch of important guests. (Thats never fun.) Macbeth then decides to pop in on the Weird sisters for another prophesy. The witches reveal the following: 1) Macbeth should watch his back when it comes to Macduff (the guy who discovered the king's dead body); 2) "None of woman born shall harm Macbeth," which our boy takes to mean "nobody shall harm Macbeth" since everybody has a mom; 3) Macbeth has nothing to worry about until Birnam Wood (a forest) moves to Dunsinane. The sisters also show how has Macbeth a vision of eight kings, confirming their earlier prophesy that Banquo's heirs will rule Scotland. Rats! Banquo's heirs just won't go away. Macbeth resolves to do whatever it takes to secure his power, starting with killing off Macduff's family (since he can't get his hands on Macduff, who has run away to England). By now, nobody likes Macbeth and they think he's a tyrant. They also suspect he's had a little something to do with the recent murders of Duncan and Banquo. Meanwhile, Macduff and Malcolm pay a visit to the English King, Edward the Confessor, who, unlike Macbeth, is an awesome guy and a great king. (Shakespeare's English audience totally dug this flattering portrayal of King Edward, by the way.) When Ross shows up in England with news that Macbeth has had Macduff's wife and kids murdered, Macduff and Malcolm get down to the serious business of plotting to overthrow Macbeth with the help of English soldiers, who will do

their best to help save Scotland from the tyrannous Macbeth. Meanwhile, Lady Macbeth isn't doing so hot. She sleepwalks, can't wash the imaginary blood from her hands, and degenerates until she finally croaks. Macbeth famously responds to news of his wife's apparent suicide by saying that it would have been better if she had died at a more convenient time, since he's a tad busy preparing for battle. He also goes on to say that life is "full of sound and fury, signifying nothing." (William Faulkner liked this line so much he used it for the title of one of his greatest works, The Sound and the Fury.) Oh well, at least Macbeth is safe because the witches have said "none of woman born shall harm" him, right? Not so fast. Macduff and Malcolm have recently shown up with a big army that's looking to put Macbeth's head on a pike. Then, Malcolm orders the troops to cut the branches from the trees in Birnam Wood for camouflage. Remember what the weird sisters said about Birnam Wood moving to Dunsinane? You know where this is headed, right? Macduff corners Macbeth in the castle, calls him a "hell-hound," and tells Macbeth that he, Macduff, was "untimely ripped" from his mother's womb. So much for Macbeth not being killed by any man "of woman born." (Apparently, being delivered via cesarean section doesn't count as being "born" in this play.) Macbeth says something like "Oh, no!" (he doesn't have much to say at this point) just before Macduff slays him and carries his severed head to Malcolm, who will soon be crowned king.

A Devil of a Date
By John McNeil
Summary

Four very un-angelic beings set out to destroy the dating habits of humans. Note: There are two versions of this script. The second, adapted by Kenneth Swee of Singapore YWAM, provides an alternative Christian perspective.

Characters: Sergeant Beelby Private Wormwood Private Gall Private Foulbane

Script

Scene: Enter at the march Sergeant Beelby, followed by three otherworldly privates. They are dressed in mismatched bits of soldiers uniforms, each carrying a longhandled trident. Sgt: Left-right-left-right. Squad, halt! (They crash into each other.) Sgt: (Faces them with a roar) Right, that's another 300 years in purgatory. Until you fiends can learn to march properly. Good grief, what kind of motley crew do they keep giving me. Well, I'll knock you scruffy lot into shape good and smart. AND STAND UP STRAIGHT WHEN I'M TALKING TO YOU! Now, from the right, name yourself. W: Wormwood. Sgt: Wormwood, SIR! W: Sir. G: Gall (pause), Sir. F: Foulbane, Sir. Sgt: Right, have they told you what today's programme is? (They shake their heads) I thought not. Co-operation is not a strong point in this place. Well, then, listen carefully. Today is Lesson Six in the series you have been doing on Destroying Lives. A series very dear to the heart of our Leader. How you do in this series will play a big part in determining your next millenium. (To Gall, who is gazing around) WILL YOU PAY ATTENTION! Or you'll be stoking the fires for the next thousand years. As I said, Destroying Lives, and today we're focusing on that strange human activity, love. Now, I have here the names of three human couples who are about to go on a date. (Hands each a sheet of paper) One couple each. If you look at the screens over there (points out over audience, the screens are imaginary) you can each see your pair now. Your mission is to destroy that relationship and, if possible, the humans too. Right, Wormwood, tell me what you see.

(During the following, sound effects and/or music could be used to give added dimension to the events the characters are "seeing" on the imaginary screens.) W: They're getting in a car ... looks like they're heading downtown ... maybe to a restaurant. Sgt: So what are you going to do about it? W: Poison the food!? Sgt: And how will you do that? You've only got the power of suggestion. W: Suggest the food's bad? Sgt: Idiot! (Aside) Beyond belief! (To Wormwood) Look, this is a teenager driving a coffin on wheels, trying to impress a girl. They don't come easier. W: Hey, yeah, he's speeding up, dragging off one of his friends. And she thinks it's cool, too. Go man, wipe him out. Oh, bummer, they're slowing down, pulling into a supermarket. What a wimp! Obviously, they're not paying much attention to us yet. Sgt: All is not lost, yet, my dear fiend. See! W: You're right, he's bought a couple of six packs. Sgt: And even better, he's opening a couple of cans while he's driving. With any luck the tab will stick and .... yes! did you see how he nearly wiped out that marker post while he tried to free his finger. W: And he didn't even notice. How many of those cans do you think we can get them to drink on the move? Sgt: Plenty, I'd think. You keep at it, while I see how Gall here is getting on. G: Bit of a party going on here, Serge. Heavy metal ... dancing ... Sgt: That's dancing! Looks more like epilepsy. Things have changed since my day. What's the group they're listening to? G: AC/DC...or something like that. No, I've got it....DC Talk. Sgt: Aaagh, no!

G: What's wrong, Serge? Sgt: That's one of the enemy's groups! We've got to put a stop to that. Why should Heaven have all the good music? G: Someone's pulled out another disc. Smashing Acid Heads, or someone like that. Will that do? Sgt: Perfect. That will get them in the right frame of mind. That was a close call, I tell you. G: I suggested to some of the partygoers that they bring along some crack, Serge. Figured it might go well with the booze. Sgt: Good thinking, Gall. Maybe you've got the makings of a subversive after all. G: Hold on, Red Alert! There's a partypooper there. It's the one that brought along the DC Talk album. He's trying to talk them out of swapping drugs. What do I do, Serge? Sgt: Stay calm, you fool. Strategy number one is to reinforce the individual's personal freedoms. You know the sort of thing: 'What right have you got to tell me how to live my life,' or, 'I'm not doing anybody any harm.' G: It's not working, Serge. Some of them are starting to listen to him. Sgt: Okay, move to Strategy number two. Call him names. Hypocrite, killjoy, dogooder, God-botherer. G: That's not working, either. Now he's threatening to call in the cops. Sgt: Good. G: Good!? How come? Sgt: Some of those guys are really....high...stoked...whatever they call it. That threat might just tip them over the edge. Yes! Someone's pulled a knife, he's threatening the do-gooder. G: Wait, a girl's trying to intervene. She wants him to put the knife away. But that's making him even angrier. He lunges at the do-gooder. (Pause) Well, I didn't expect that to happen.

Sgt: I have to congratulate you, Gall. That's a good lot of panic, you've sown there. With any luck, they're so muddled they won't get an ambulance to her in time. G: Will she die? Sgt: We can hope. If she does, it will look very good on your report. Now, Foulbane. Can you maintain the high standard being set...I admit, somewhat surprisingly... by Wormwood and Gall? F: I'm afraid it's very quiet in my neck of the woods, Sergeant. Just two of them, walking along a beach in the moonlight, holding hands.... laughing at little nothings. Sgt: Are you a closet romantic, Foulbane? F: (in confusion) Uh, no, Serge. Sgt: Good. So how do you plan to develop a satisfactory outcome from this situation? F: I'm baffled, Serge, there doesn't seem to be anything in our favour. Sgt: (In despair) Spare me! Can't any of you see more than two inches in front of your face? What's on any young male human's mind in a situation like this? F: Uhh..... um... Sgt: Go on ... you're allowed to say it. The 'S' word. F: Uh..... sex, Serge. Sgt: Right. SO GIVE THEM SOME ENCOURAGEMENT, FOR HELL'S SAKE! F: Doesn't look like they need it. Sgt: Haven't you read the dossier on these two? How do you expect to win if you don't do your homework? Research, man! It's vital. F: (Consults paper) It says, she's very attracted to him. Sgt: But ... F: But she wants a long-term relationship. She's fed up with one night stands. Sgt: And is that what he wants?

F: (Consults paper) Uhh, no. "Love them and leave them," it says here. And ... (pause) ....o0h. He's got AIDS, Serge. But she doesn't know. Sgt: So what do you do? F:Get the guy to start talking fast. Sgt: Close, but not close enough. Promises, Foulbane. That's the key in this situation. Promise her anything. "Mine is an eternal love....I'll respect you, no matter what...." Even talk of marriage. It doesn't matter whether he believes it or not, it'll come to the same thing in the end. F: She's not very convinced, Serge. I think I'll try the old line, "If two people love each other, why should they wait." Sgt: No, not with this girl, Foulbane. Patience is needed here. Foulbane, I said no... not that ... Oh, you blithering fool. Look what you've done. He's got all excited, made a grab at the girl, and she's run off in a huff. You've done your future in good and proper this time, you little twerp. (Turns to Wormwood) Let's hope you're getting some better results with your drinking driver, Wormwood. W: I think you'll like this, Sergeant. While you were watching the others, my humans finished the six pack, and then bought a bottle of bourbon. Boy, is he smashed. (Gets excited) And now they've met up with a couple of his mates, and they're playing chicken. This could be good. Sound FX: (Car skidding, followed by a huge crash). W: Boy, are they both smashed. (The other two privates crowd round Wormwood, congratulating him, patting on the back, etc.) Sgt: (Calls them to order sharply) Squad! Enough of this ill-discipline. Atten-SHUN! We'll resume after lunch with Lesson Seven in this series. NOW! At the double, quick march. 'eft 'ight, 'eft 'ight, 'eft 'ight. (The three privates exit). Sgt:(Looks at audience, shrugs.) Still, two out of three ain't bad. (Turns and exits marching.)

..............................................................................................................
Version Two Characters:

Sergeant Tan Private Gong Private Seow Private Foo

Script

Scene: Enter at the march Sergeant Tan followed by three otherworldly privates. They are dressed in mismatched bits of soldiers uniforms, each carrying a long-handled trident. Sgt: Left-right-left-right. Squad, halt! (They crash into each other.) Sgt: (Faces them with a roar) Right, that's another 300 pushups. Until you idiots can learn to march properly. Good grief, the morons they keep giving me. Well, I'll knock you scruffy lot into shape soon enough. AND STAND UP STRAIGHT WHEN I'M TALKING TO YOU! Now, from the right, name yourself. S: Seow Sgt: Seow, SGT! S: Seow, SGT! (snicker) G: Pte Gong (pause), Sir, erm SGT! F: Foo, SGT! Sgt: Right, have they told you what today's programme is? (They shake their heads) I thought not. Co-operation is not a strong point in this place. Well, then, listen carefully. Today is Lesson Six in the series you have been doing on Destroying Lives. A series very dear to the heart of our Leader. How you do in this series will play a big

part in determining your next millenium. (To Gong, who is gazing around) WILL YOU PAY ATTENTION! Or you'll be stoking the fires for the next thousand years. As I said, Destroying Lives, and today we're focusing on that strange human activity, called love. Now, I have here the names of two human couples who are about to go on a date. (Hands each a sheet of paper) If you look at the screens over there (points out over audience, the screens are imaginary) you can each see a pair now. Your mission is to destroy each of these relationships and, if possible, the humans too. Right, Seow, tell me what you see. (During the following, sound effects and/or music could be used to give added dimension to the events the characters are "seeing" on the imaginary screens.) S: They're getting in a car ... looks like they're heading downtown ... maybe to a restaurant. Sgt: So how are u going to make them miserable? S: Poison their food!? Sgt: And how will you do that? You've only got the power of suggestion. Geesh! G: Suggest the food's bad? Sgt: Are you really that gong? (To Seow) Look, this is an enemy teenager going out with an unbeliever. They don't come easier. S: Hey, yeah ... ..perhaps I shall get them interested in one another that they will make it a permanent thing. But ... the girl ... she seems so resistant. She has got that ... what you call ... conscience thing. That small little voice that speaks to them so gently that it is wrong! Sgt: It is called the ... Ugg ... I hate to use that word ... Holy Spirit! (shivers) You dumbo! We got to turn it around. All is not lost, yet, my dear fiend. See! F: You're right, she's buying into it! She is getting attracted to him. His looks, his eyes ... .the way he talks, laughs ... haha ... so macho ... .woo hooo ... she's thinking ... its so perfect ... they are so alike ... he's so sensitive, he's so smart ... G: How did you do it, sarge?

Sgt: Do I have to teach you everything! Don't you ever look into your handbook? G: It says ... .Yoke the enemy with unbelievers. Get them attracted to their surface. They don't see anything deeper. Emotions tend to get in the way ... Love is blind ... .. S: Hold on, Red Alert! She's thinking about what her friends, bible study leader, pastor might say. Sgt: Stay calm, you fool. Strategy number one is to reinforce the individual's personal freedoms. You know the sort of thing: 'What right have you got to tell me how to live my life,' or, 'I'm not doing anybody any harm., 'I've been alone too long.' G: It's not working, Serge. Sgt: Okay, move to Strategy number two. Tell her, maybe he'll come to share her faith ... . God is using her to reach out to him. F: What?!! Sgt: Don't You know anything! Lull them into a false sense of security. That they are doing something right. They all love that. All those do-gooders. S: I don't get it! F: Me neither! Sgt: Arrgh! The things I have to put up with! You obviously haven't done your readings! Gong! Read the book! G: Umm ... The picture is that if you hitch up two couples like a cow ... Umm ... cows who haven't pulled a plow together before, or a cow and a camel, they end up pulling in different directions or at different speeds ... .. It just wouldn't work ... What has this (points to the screen) got to do with farming? (points to the book, scratches his head) Sgt: Idiots! This is like, an illustration! Gosh! (sighs) ... .get them interested in each other. Sooner or later ... who knows? They'll marry. One would want to think only about cars, his stomach, basketball, he'll have no time for church, ha! He'll even laugh at her for being religious. He'll have no time for spiritual matters. She'll be miserable ... haha ... and what was she wanting to be? G: (Looking at the dossier) A missionary! But ... He is so sweet now!! (flicks his hair up)

S: They all are. Courting you see ... .? G: But won't there be a possibility that he might ever become ... . Sgt: Yes! But only if the enemy intervenes. By that time, she will have spent many years miserable, useless and regretful. Seow! S: Yes, Sgt! Sgt: Carry on with them! Sgt: Now, Foo. Can you set a higher standard with the next couple? (second screen opens) F: I'm afraid it's very quiet here, Sergeant. Just two of them, walking along a beach in the moonlight, holding hands.... laughing at little nothings. Sgt: Are you a closet romantic, Foo? F: (in confusion) Uh, no, Sarge. Sgt: Good. So how do you plan to develop a satisfactory outcome from this situation? F: Uhh..... um... Sgt: Go on ... you're allowed to say it. The 'S' word. Go on ... . F: Uh..... sleep, Serge.? Yeah ... .I am pretty tired out myself ... Sgt: Sex foo! Sex! (sighs and shakes his head) Right. SO GIVE THEM SOME ENCOURAGEMENT! G: Doesn't look like they need it. Sgt: Haven't you read the file on these two? How do you expect to win if you don't do your homework? Research, man! It's vital. G: (Consults paper) It says, she's very attracted to him and him, her. Sgt: But ... F: But she wants a long-term relationship. She's not into one night stands.

Sgt: And is that what he wants? G: (Consults paper) Uhh, no. 'Love them and leave them,' it says here. And ... Sgt: So what do you do? F: Get the guy to start talking fast. Sgt: Close, but not close enough. Promises, Foo. That's the key in this situation. Promise her anything. 'Mine is an eternal love....I'll respect you, no matter what....' Even talk of marriage. It doesn't matter whether he believes it or not, it'll come to the same thing in the end. F: She's not very convinced, Serge. I think I'll try the old line, 'If two people love each other, why should they wait.' Sgt: No, not with this girl, Foo. Patience is needed here. Foo, I said no... not that ... Oh, you blithering fool. Look what you've done. He's got all excited, made a grab at the girl, and she's run off in a huff. You've done your future in good and proper this time, you little twerp. (Turns to Seow) Let's hope you're getting some better results with your couple. S: I think you'll like this, Sergeant. While you were watching the others, my humans decided to commit themselves to a relationship. She's bought in! Sgt: Congratulations, Pte Seow. You are showing more sense than the others. Hmm..maybe you have a good potential to become a subversive after all. (The other privates crowd round Seow, congratulating him, patting on the back, etc.) Sgt: (Calls them to order sharply) Squad! Enough of this ill-discipline. Atten-SHUN! We'll resume after lunch with Lesson Seven in this series. NOW! At the double, quick march. 'eft 'ight, 'eft 'ight, 'eft 'ight. (The three privates exit). Sgt: (turning to the audience) Hmm ... . 1 out of two isn't that bad after all eh? Hehhe ... ..(walks out rubbing hands gleefully)