A Short Itza Maya Vocabulary by Erik Boot

By Erik Boot

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Although an emergency measure, and much against the grain, this turned out to be most fruitful. After one lesson the classes quickly picked up the fact that they were all doing exactly the same learning, and homework, and began to swop results, in the time-honoured fashion of learners everywhere. This informal interchange began to snowball. As time went on, their desire to outstrip each other knew no bounds. Every day they would leap (literally) into the classroom demanding to know what marks the last class had received for the last piece of work.

G. ) I call all scripts ‘initial’ because they have inevitably to be modified in rehearsal to suit the capabilities of the actor. ). The lines in themselves tell you little about the creation of the play. I use the word ‘creation’ deliberately. It is a joint project, changing all the time as it grows organically out of what the children bring to it in terms of their own imagination, talent and hard work. The success of one of these plays depends entirely on the action, not on the lines, and the scope is infinite.

But what can be done in the school hall, perhaps in front of parents, has nothing to do with what can be done on television and video. Script for ‘Carl’s Christmas Catastrophe’ (totally English) Of course an entertaining piece about France does not have to be in French at all, mainly or otherwise. For a quick scene on something like the Christmas concert, anything is possible. (Although I must admit I have always liked the idea of doing a French nativity). ‘Carl’s Christmas Catastrophe’ (see below) was written with a particular boy in mind.

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