Writing a Study Guide That Brings School Performances to Life
A study guide for school groups does more than explain a production. It helps students arrive prepared, gives teachers practical ways to connect a performance with classroom learning, and creates space for thoughtful discussion after the curtain falls. The strongest guides make theatre feel accessible without reducing the work to a single interpretation.
For a performing arts organisation such as Figueres a Escena, the process can support audiences across theatre, music, dance, cinema, opera, circus, and family programming. Whether a class is visiting Teatre El Jardí, Sala La Cate, or attending an ATEB-related activity, the guide should respect the artistic experience while making the visit manageable for teachers and students.
Start with the audience and the learning purpose
The first stage is to identify who will use the resource. A guide for Prep students will need short sentences, visual prompts, movement-based activities, and clear explanations of theatre etiquette. A resource for Year 10 students can explore form, character development, social context, and the choices made by directors, designers, and performers. Age range affects vocabulary, activities, page length, and the level of interpretation expected.
Teachers also need information they can use quickly. Include the running time, content notes, accessibility details, venue information, arrival expectations, and any materials required for classroom activities. In Australia, this may mean considering school excursion approvals, bus arrival windows, wet-weather planning, and the difference between a metropolitan visit to Melbourne or Sydney and a regional trip where travel time is substantial.
The learning purpose should be specific rather than ambitious. A guide might support students to analyse how sound creates tension, recognise the conventions of circus, explore a local story, or discuss how a character responds to power. A small number of clear outcomes will produce more useful activities than a long list of curriculum terms.
Research the production without closing down interpretation
A writer needs reliable source material before drafting. Read the script if one exists, attend a rehearsal or performance, speak with the creative team, and review the director’s notes. Gather accurate information about the performers, design elements, music, language, cultural references, and production history. Distinguish confirmed facts from your own response to the work.
The guide should give students a lens, not a solution. Explain what they might notice, then leave room for disagreement and discovery. For example, a section on comedy can ask how timing, exaggeration, silence, or physicality changes the audience’s response. A resource exploring humour and serious topics can help students recognise that laughter may create relief, discomfort, solidarity, or critical distance.
Context needs careful handling. If a production engages with migration, First Nations histories, disability, war, gender, religion, or trauma, avoid presenting a single simplified explanation. Use appropriate terminology, acknowledge whose voices are represented, and flag sensitive material clearly. Australian teachers often work within diverse classrooms, so cultural context should invite respectful discussion rather than assume every student shares the same background.
Build a clear pathway before, during, and after the visit
A useful study guide follows the rhythm of the audience experience. Before the performance, students can learn key vocabulary, examine an image from the set, make predictions, or complete a short practical exercise. During the performance, they should be encouraged to observe rather than complete worksheets. Afterward, reflection can move from immediate reactions to evidence-based analysis.
The following structure helps writers balance artistic insight with classroom practicality:
| Guide element | What students might do | What teachers need |
|---|---|---|
| Before the show | Explore themes, predict character relationships, learn audience etiquette | A short activity with clear timing and materials |
| During the show | Notice sound, movement, design, language, and audience response | Prompts that do not distract from the performance |
| Immediately after | Share first impressions and identify memorable moments | Discussion questions suitable for pairs or small groups |
| In the classroom | Create, research, debate, write, or perform | Links to learning areas and adaptable extension tasks |
| For assessment | Use production evidence to develop a response | A clear task, criteria, or reflection framework |
Each activity should include an approximate duration and preparation note. “Discuss the theme” is too broad to be useful. “In pairs, choose one moment when a character’s status changes and describe the performance choices that show it” gives students a starting point and gives teachers a manageable 10-minute task.
Include a mix of verbal, written, visual, and practical activities. Some students may respond through drawing a stage picture, mapping sound, improvising a scene, or creating a movement sequence. This is particularly valuable for students who are learning English, are reluctant writers, or engage more confidently through performance.
Make the resource accessible in real classrooms
Accessibility begins with the format. Use readable type, strong contrast, descriptive image captions, logical headings, and a tagged digital document where possible. Avoid relying on colour alone to communicate meaning. If the guide includes video or audio, provide captions, transcripts, or a written alternative. A downloadable resource should work on school devices and remain usable when internet access is limited.
Content accessibility matters just as much. Explain specialist terms such as dramaturgy, tableau, diegetic sound, chorus, or fourth wall in plain English. Give teachers options rather than assuming every class has a drama room, specialist equipment, or time for a long workshop. A regional school in Tasmania or Western Australia may need activities that can be completed in an ordinary classroom after a full day of travel.
Plan for the Australian school calendar and curriculum environment without forcing a local reference into every page. A guide may connect with the Australian Curriculum through English, Drama, Media Arts, Humanities, or Personal and Social Capability. For senior students, optional links to VCE, HSC, or other state-based assessment practices can be useful, provided the resource remains relevant to schools outside Victoria or New South Wales.
Before publication, test the guide with a teacher and, if possible, a small group of students. Ask whether the instructions are clear, whether the tone feels age-appropriate, and whether the activities can fit within an actual lesson. Teachers will quickly identify unrealistic assumptions, such as requiring extensive printing, specialist costumes, or several uninterrupted periods.
Refine the guide through collaboration and feedback
A study guide is strongest when the writer works with the organisation rather than in isolation. Invite the director, education staff, venue team, performers, and access consultant to review relevant sections. Their feedback can correct factual errors and reveal production details that an outside writer may miss, such as a recurring sound motif, a touring adaptation, or a deliberate choice to keep the set minimal.
Separate essential information from optional enrichment. The opening pages should help a busy teacher prepare for the visit in minutes. Deeper material can follow, including interviews, creative exercises, historical background, vocabulary, and extension tasks. Digital guides can use expandable sections or linked resources, while printed versions benefit from concise page design and clear navigation.
Useful recommendations for the drafting and editing stage include:
- Write activities around observable moments rather than abstract themes.
- Provide a short version of every major activity for limited class time.
- Include content notes, accessibility information, and venue logistics near the beginning.
- Offer multiple response modes, including discussion, writing, drawing, movement, and making.
- Review the finished resource with a classroom teacher before distribution.
After the season, collect feedback from teachers and education staff. Ask which pages were used, which activities generated discussion, and what information was missing. Track practical details as well: whether the PDF opened easily, whether teachers could find the running time, and whether students understood the pre-show preparation. This evidence can improve the next guide without relying only on personal impressions.
A guide also has a longer life when it is written in adaptable language. Avoid references that become obsolete after one season, unless they are central to the production. Keep the focus on transferable skills: close observation, interpretation, collaboration, critical thinking, and creative response. These are valuable whether students attend a school matinee in Figueres, join a workshop through ATEB, or encounter a touring production in an Australian arts centre.
When the guide is ready, share it early enough for teachers to plan. A short email summary, a clearly labelled download page, and a contact for access or education enquiries can make the difference between a resource being opened and being overlooked. A well-made guide extends the performance beyond the venue, giving students language for what they have seen and teachers a practical pathway into further learning. Develop it with care, test it in real classrooms, and let it become part of the conversation around the stage.