Music and performing arts
Stage blocking planner
Map stage positions from an actor’s point of view, block four moments from a sample scene and copy lighting and sound cues into script order. The planner gives pupils a shared vocabulary for discussing where performers move and what the audience sees or hears.
Read the stage from the actor’s viewpoint. Keep the stage plan, audience position and symbol key together.
Read the complete materialRead the material
Map stage positions from an actor’s point of view, block four moments from a sample scene and copy lighting and sound cues into script order. The planner gives pupils a shared vocabulary for discussing where performers move and what the audience sees or hears.
Activity. Use the preview for diagrams and layout.
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NAME CLASS DATE LEARNING GOAL Plan where actors stand and move, and when the lights and sound change, using the language of the stage. SUCCESS CRITERIA I can name the nine stage areas from the actor’s point of view. I can record blocking on a stage plan using a key. I can write lighting and sound cues in script order. 1 Map the stage Scene and stage-blocking planner Block the scene DRAMA AGES 13 TO 16 STAGING AND BLOCKING Stage blocking planner Stage blocking planner Map the stage, block four moments of a scene, then write the lighting and sound cues. PLACES, PLEASE! Bird’s-eye view: back wall at the top, audience at the bottom. USR Upstage right USC Upstage centre USL Upstage left SR Centre stage right CS Centre stage SL Centre stage left DSR Downstage right DSC Downstage centre DSL Downstage left FRONT EDGE · DOWNSTAGE IS NEAREST THE AUDIENCE, UPSTAGE IS FURTHEST AWAY A U D I E N C E Stand on the stage and face the audience: your right hand points to stage right. The audience is at the bottom of this plan, so stage right is on the left of the drawing. STAGE RIGHT the actor’s right STAGE LEFT the actor’s left Key: blocking symbols T Actor: a circle with the first letter of the name. Move: an arrow from start to finish. Number the moves. Entrance: a gap in the side of the stage, with an arrow. Prop or set: a square. Write what it is beside it. Quick check: write the abbreviation Tess sits at the back, in the middle. Jamie stands at the front, on his own right. Seen from your seat: at the back, on your left. NEXT 1 2 3 Page 1 of 3
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2 Storyboard four moments Frame 1 is a model. In frames 2 to 4: draw the actors and props, add move arrows, then write the moves and cues. CUE WORDS fade up fade out blackout spotlight wash cross-fade sound effect underscore volume up or down Scene and stage-blocking planner Cue sheet DRAMA BLOCKING FRAMES Block the scene: The Envelope Block the scene: The Envelope ACTION! Model · Opening, line 1 (TESS at the table. JAMIE comes in.) JAMIE: Found this in the recycling. USR USC USL SR CS SL DSR DSC DSL A U D I E N C E T J 1 MOVES J enters SL and crosses to DSL (1). T stays seated at the table, CS. LX LIGHTING LX 1: slow fade up, cold blue evening light. SQ SOUND SQ 1: soft rain on the window, under the scene. Lines 4 to 5 · the grab (TESS stands, reaching out.) Give it here, Jamie. (JAMIE steps back.) USR USC USL SR CS SL DSR DSC DSL A U D I E N C E MOVES LX LIGHTING SQ SOUND Line 8 · the refusal (TESS sits again, quietly.) I’m not going. So there’s nothing to tell. USR USC USL SR CS SL DSR DSC DSL A U D I E N C E MOVES LX LIGHTING SQ SOUND Lines 15 to 16 · the end (JAMIE puts the letter down. TESS does not pick it up. The lights fade.) USR USC USL SR CS SL DSR DSC DSL A U D I E N C E MOVES LX LIGHTING SQ SOUND NEXT 1 2 3 4 Page 2 of 3
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3 Write the cue sheet Copy every cue from your frames in script order: LX 1, LX 2 ... and SQ 1, SQ 2 ... Circle LX or SQ. CUE LINE LX OR SQ WHAT HAPPENS TIMING LX 1 Start LX SQ Slow fade up: cold blue evening light on the kitchen. 5 seconds LX SQ LX SQ LX SQ LX SQ LX SQ LX SQ LX SQ GO FURTHER Mum walks in after line 16. Where does she enter? How do Tess and Jamie move? Add a cue. Scene and stage-blocking planner Teacher page DRAMA CUE SHEET Cue sheet: lighting and sound Cue sheet: lighting and sound GO! NEXT Page 3 of 3
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Stage blocking planner Teacher companion Drama | Pupils aged 13 to 16 Use with the exact 3-page original file. Keep pupil or staff activity pages separate from this teacher companion. When to use it Use this with a drama scene when pupils need to map entrances, movement and production cues before rehearsal. It suits a lesson in which the teacher can introduce the stage vocabulary and pupils have time to test whether the plan can be followed. Purpose Name stage areas, represent actors and movement on a plan, and record lighting and sound cues clearly against moments in a scene. Start here Explain the audience-facing stage plan: upstage is furthest from the audience, downstage is nearest, and stage right and left refer to the actor facing out. Work the quick-check example together. A teaching sequence 1. Use the nine labelled stage areas and key to mark where each actor begins, where they move, and any prop or entrance. Number each movement in order. 2. Read the sample scene “The Envelope” and study the completed first storyboard frame. Notice how the movement, lighting and sound notes connect to a line or action. 3. Block the remaining moments in frames 2 to 4. Draw actors and props, number movement arrows and describe the action in the cue boxes. 4. Copy each lighting and sound cue into the cue sheet in script order. Include a cue number, what changes and when it happens. Then use the final prompt to add a possible entrance and cue, then explain how the staging supports the scene. Checking guidance Check that stage-right/left labels are from the actor’s perspective, every movement number has a clear start and finish, and cue notes can be matched to the scene. Ask a pupil to point to the stage plan and explain one cue’s timing. Check an entrance or cue against its line/action in the scene. Have another group walk through the plan to see whether start positions, movement numbers and timing are understandable. Support Use a small paper stage or classroom floor grid and move one figure through a single transition. Give pupils cards for upstage, downstage, stage left and stage right before adding abbreviations. Allow oral cue descriptions before pupils record them. Take it further Ask pupils to compare two blocking choices and explain how distance, orientation or timing changes the audience’s attention. Add a sound or lighting cue only when it has a clear purpose in the scene. Things to keep in mind Stage equipment should be operated only under the venue’s normal supervision and safety procedures. Keep rehearsal paths clear, agree who may operate equipment and walk through entrances and transitions before adding lighting or sound cues. Stage blocking planner Teacher companion | Page 1
A teaching sequence
Name stage areas, represent actors and movement on a plan, and record lighting and sound cues clearly against moments in a scene.
Read the stage from the actor’s viewpoint. Keep the stage plan, audience position and symbol key together.
Read the complete materialMap actor positions and numbered moves
Use the nine labelled stage areas and key to mark where each actor begins, where they move, and any prop or entrance. Number each movement in order.
Where is stage right from the actor's viewpoint on this plan?
Study The Envelope's opening model
Read the sample scene “The Envelope” and study the completed first storyboard frame. Notice how the movement, lighting and sound notes connect to a line or action.
Which line or action triggers the model movement, lighting or sound cue?
Read the stage from the actor’s viewpoint. Keep the stage plan, audience position and symbol key together.
Read the complete materialBlock the remaining three moments
Block the remaining moments in frames 2 to 4. Draw actors and props, number movement arrows and describe the action in the cue boxes.
Do actor and prop symbols match numbered movement arrows?
Order cues and review an entrance
Copy lighting and sound cues in script order with cue numbers, changes and timings. Plan the optional entrance and explain how the staging supports the scene under venue supervision.
Does each cue name what changes, when, and how it supports the scene?
Before you teach
Look for the thinking behind an answer, choose the support your class needs and leave room for an independent response.
What to look for
Check that stage-right/left labels are from the actor’s perspective, every movement number has a clear start and finish, and cue notes can be matched to the scene. Ask a pupil to point to the stage plan and explain one cue’s timing. Check an entrance or cue against its line/action in the scene. Have another group walk through the plan to see whether start positions, movement numbers and timing are understandable.
Give a little support
Use a small paper stage or classroom floor grid and move one figure through a single transition. Give pupils cards for upstage, downstage, stage left and stage right before adding abbreviations. Allow oral cue descriptions before pupils record them.
Take the idea further
Ask pupils to compare two blocking choices and explain how distance, orientation or timing changes the audience’s attention. Add a sound or lighting cue only when it has a clear purpose in the scene.
Things to keep in mind
Stage equipment should be operated only under the venue’s normal supervision and safety procedures. Keep rehearsal paths clear, agree who may operate equipment and walk through entrances and transitions before adding lighting or sound cues.
Keep the idea. Make it yours.
Bring your topic, learning goal and class context to PLAI™, then review what you create.
Ideas to try with your class
Sample teaching perspectives on what to try, what to adapt and what to watch for.
Meet The Creators
Meet the creators whose teaching interests connect with this template. Find an approach to try with your class.
Rachel Sim
I use roles, movement, voice and short improvisation to give quieter pupils a way into Drama, with supported participation and room to build on one another’s ideas.
Meet the creatorPriscilla Amoah
As Head of Drama, I look for devising stimuli that give students something to respond to and help them move into practical exploration.
Meet the creator
Coffee Before Copies
This three-page drama planner for ages 13 to 16 asks pupils to name nine stage areas from the actor's viewpoint, map positions and movement with a key, and record lighting and sound cues in script order.
Little Lightbulbs
The page links stage vocabulary to a plan and then to technical cues, helping a group communicate where a moment happens and what changes around it. The actor's viewpoint gives a consistent orientation.
Gentle Reminder
Label the stage plan together, use arrows for one movement at a time and align each cue with a line or moment in the script. Rehearse the plan in a safe, accessible space before adding technical elements.
Clear Example
A paper plan does not confirm that a movement, lighting state or sound cue is safe or technically available. Check the venue, equipment, access needs and supervision before staging the scene.