Every route asks for the same opening target from LESSONS.md: a deliberate dramatic-language choice, exact evidence and a bounded interpretation. They are available to everyone; do not allocate by a presumed “learning style” or diagnosis. A neutral partner may read text or move cards only under the learner’s direction. Choose movement, sound and public sharing by consent. A written/directing route in this starter is not, on its own, a substitute for an eventual assessed acting performance.
| Day | Opt-in performance | Directing with paper/tactile markers | Quiet script/visual analysis |
|---|---|---|---|
| 1 | Read A’s four lines neutrally and stop before a destination is known; cite one fact/inference. | Put four exact line cards in order and place KNOWN/INFERRED labels; ask an audience question. | Underline A’s stated facts, bracket an inference and cite the supporting line. |
| 2 | Emphasise one A line for an informing purpose; explain why a viewer might notice it. | Put PURPOSE and AUDIENCE cards by a chosen line, then direct a focus marker without inventing outcome. | Fill purpose/audience/evidence columns in the decision log for A. |
| 3 | With consent, try a single MIN or JO turn at the chosen line; explain changed focus. | Turn one labelled role card toward ledger or door on the stage map; justify with dialogue. | Draw one arrow on B’s map and write which line makes the turn meaningful. |
| 4 | Narrate NOTICE, VERIFY, HOLD while changing a blank paper object’s placement; explain gained information. | Arrange three raised event cards in D order, test missing middle beat, restore and explain. | Annotate the beat board with what the audience can know after each beat. |
| 5 | Opt in to read new G with one chosen pause/turn, preserving all stated facts, then analyse effect. | Move G map/model markers under your own direction and place one focus or pause card; cite a line. | Mark G facts/unknowns and write a focus or pause decision with line evidence. |
| 6 | Use a quiet tone or counted silence before JO’s deadline line, then explain which serves purpose. | Place SOFT, FIRM or SILENT cue card inside the same two-count window; justify the timing. | Compare three cue options on F’s time line and state one possible effect and limit. |
| 7 | Narrate D in order then E with EARLIER captions; explain changed first question. | Arrange raised 1–2–3 and 3–EARLIER 1–EARLIER 2 cards; cite information order. | Annotate both rows of E’s order board and justify a preferred opening. |
| 8 | Opt in to read one A line while showing one paper-card turn; explain the combined cue. | Direct one line card and one ledger/door marker on the map, then log purpose/evidence. | Annotate A plus B map with one language/space combination and its limit. |
| 9 | Read titles of two first-authority pages, ask a permission question, then opt in to A line emphasis. | Place SOURCE, RIGHTS UNKNOWN and OWN CHOICE cards; direct an original A paper-card move. | Record publisher, permission limit and an independent original A directing decision. |
| 10 | Opt in to new H reading with a changed opening, then explain what hook/card/model facts remain. | Arrange three H object markers in two clear orders; direct a focus or pause without moving model onto hook. | Mark H facts, script two opening orders, and justify one possible audience question. |
If silence, speech or movement changes access, keep the same design reasoning target while documenting the route used. Do not infer heard tone, acted technique or a real audience response from written planning alone. Allow additional time for text, motor or communication access.