TIM BOWLER S. Starseeker. based on the novel by Tim Bowler Adapted by Phil Porter. Scheme of work and teaching resources. Paul Bunyan and Ruth Moore

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1 TIM BOWLER S based on the novel by Tim Bowler Adapted by Phil Porter Scheme of work and teaching resources Paul Bunyan and Ruth Moore

2 Heinemann is an imprint of Pearson Education Limited, a company incorporated in England and Wales, having its registered office at Edinburgh Gate, Harlow, Essex, CM20 2JE. Registered company number: Pearson Education Limited 2008 First published 2008 British Library Cataloguing in Publication Data is available from the British Library on request. Copyright notice All rights reserved. The material in this publication is copyright. The duplicating masters may be photocopied for one-time use as instructional material in a classroom by a teacher, but they may not be copied in unlimited quantities, kept on behalf of others, passed on or sold to third parties, or stored for future use in a retrieval system. If you wish to use the material in any way other than that specified you must apply in writing to the publishers. Typeset by Phoenix Photosetting, Chatham Kent Acknowledgements Every effort has been made to contact copyright holders of material reproduced in this book. Any omissions will be rectified in subsequent printings if notice is given to the publishers. Drawing by Kay Dixey of Mrs Little s house, first appearing in NATE Drama Pack, (2005), by permission of the National Association for the Teaching of English (NATE), Extract from by Tim Bowler (OUP 2003) Copyright Tim Bowler Reprinted by permission of Oxford University Press. The authors and publisher would like to thank Robert Day for permission to reproduce photographs. Hotlinks There are links to relevant web sites in these resources (Activity 15). In order to ensure that the links are up-to-date, that the links work, and that the sites aren't inadvertently linked to sites that could be considered offensive, we have made the links available on our website at < When you access the site, the express code is 3433T.

3 Contents Introduction iv Activities 1: Sounds and images 1 2: Introducing a character 2 3a: Setting a context and introducing sounds 3 3b: Developing the context and introducing text 4 4: Exploring the character of Mrs Little 5 5: Introducing and investigating the play 6 6: Exploring tension sculpting the scene and the characters 8 7: Luke s conscience 10 8: Further exploration of the text 11 9: Placing the text unpacking the past 13 10: Talking techniques 15 11: Exploring the adaptation process from novel to script 18 12a: Placing the writer and the reader 20 12b: Placing the playwright 22 12c: Placing the director 23 12d: Does the writer have a role in the script and the performance? 25 13: Characters ghosts 26 14: Choosing life 30 15: Dramatic Hypertexts creating a physical website 31 16: How music and images bring together the beginning and end of the play 33 Resources 35 Glossary 44 Photographs 46 iii

4 Using Drama to develop an analytical approach to the play, Introduction Teaching and learning in this guide The activities and approaches outlined below show how, through drama, students come to a greater understanding of the textual features and dramatic structures in. They explore the writing process, style and writer s technique as well as the thematic, content-based issues and ideas. Students develop their analytical skills as well as the capacity to apply this critical thinking to other texts, ideas or issues. The participatory nature of the activities, and the critical thinking developed, demand that students explore and respond to the play both in relation to its staging and performance, as well as in relation to the original Tim Bowler novel from which it has been adapted. Exploring and analysing the adaptation process allows students to examine the decisions, techniques and imagination required to move them from prose to script and from page to stage. In the same way that pupils learn to analyse media productions through the creation of their own media products, their analysis of scripts and performances is developed through the use of role and drama conventions. Creating, developing and sustaining roles, and the practical exploration of how gesture, sound, language, direction and structure affect the audience s understanding, encourage pupils to read for meaning. They come to see scripts not as written texts but as plans for performance where actors, directors and performance elements have an effect on meaning. NATE Drama Packs introduction Activities and approaches The activities comprising the scheme of work described here are included at the back of the student book. It is intended that, rather than working independently, students will collaborate in pairs and groups throughout under the guidance of the teacher. It is important that students are aware of their own learning process and understand the aims and objectives of each session. The student book addresses the students directly. Each activity begins by listing the learning outcomes so that the students are conscious of the skills they are trying to develop and can see the bigger picture. The teacher should share and discuss this with them and refer to it throughout the work. Each activity concludes with questions to encourage the students to evaluate their own learning and appraise the development of their skills. Teachers can choose to approach these questions through class discussion, pair or group work or written responses, as appropriate. Recording the teacher s and students thinking will help to inform the work and written responses as they develop. iv

5 Helping pupils see the bigger picture As teachers, we are acutely aware of where we are leading pupils and the intended end result of our teaching, but how often do we convey these intentions to our pupils? This understanding of the bigger picture is important for all pupils It is helpful to be able to see the bigger picture into which their current learning fits and to be able to locate the current lesson in the scheme of work. Pedagogy and Practice: Teaching and Learning in Secondary Schools, Unit 4 Lesson design for inclusion (DfES, 2004) Teaching and learning commentary The various approaches to texts, from the use of drama conventions to the more formal essay writing, should complement each other so that the students (and the teacher) can make clear links between them. The practical work leads to a more detailed analysis and understanding of the play and the adaptation process. The written work is very much informed by the earlier practical work and analysis. The Role on the Spectrum, described in Activity 4, can be used throughout the work to record student ideas and teacher/student thinking and responses. This provides a useful prompt and recap tool at the beginning of a session as well as providing a valuable resource for written responses to the text. Resources Supplied The play of Spectrum image House illustration Extract from the novel of Not supplied Projector CD player Plain paper and pens The novel of Original music for use as the piece composed by Luke Photographs of the performance at the Royal and Derngate Theatre Glossary of terms used in the scheme of work Planning The planned scheme of work offered here provides a structure which enables students to build their learning and understanding. Using activities or conventions in isolation would not allow for the indepth approach to learning that is required. A structured and layered approach, which is carefully planned by the teacher and understood by the students, is needed therefore to ensure progression and the development of high-level skills. Time, space, resources and equipment will need to be well managed. When teachers and students become confident with the approach, more detailed planning takes place where additional scenes, themes and techniques are explored in a similar way. The students are then able to become more independent in their own learning and can plan their own approach to the text, selecting their own scenes and identifying the learning outcomes that are required. The scheme of work should therefore be seen as a structured framework, which students can add to, adapt and develop. Although the approaches are related to specific scenes and aspects of the play, the conventions and techniques can clearly be used in relation to other aspects of the play and/or other texts. v

6 Preparing for performance From the initial planning to the final staging and performance of the play, the activities described can become an important part of the performance process. Observing actors in the group activities will often provide more information about their potential as performers and their understanding of character, techniques and approach than a formal audition. Using the scheme of work as part of the process from rehearsal and development through to performance: develops understanding of drama conventions and staging enables detailed analysis of the ways in which action, character, atmosphere and tension are conveyed. vi

7 p96 97 Activity 1: Sounds and images Activities and approaches 1 Ask the students to sit in a large circle. Give each student a card showing a word (or words) from the opening lines of the play (page 7). Sometimes, I hear a sound. I hear a lot of sounds, But sometimes... Like a humming sound. Like machinery in a basement. Or sometimes like a roar. Or sometimes just a murmur, Like the water on the weir. 2 Ask the class to read out all the words around the circle, thinking carefully about what they mean. Play the music (composed by Luke and his father) throughout the reading and continue it once the reading has stopped. 3 Discuss as a class what they think the lines suggest about the character who says them and why they might be important when studying the play. 4 Explain that in groups of three or four they need to think carefully about the opening lines and music that they have listened to and present a Still Image that they feel best illustrates their response to the text and music. The Still Image may be symbolic, using just shapes and heights, or realistic by presenting frozen characters. 5 Ask the students, in their groups, to choose a colour that they would associate with their Still Image and select a ribbon closest to the colour they have chosen. Explain that they are to incorporate the ribbon into their Still Image, thinking carefully about whether it should be wrapped around particular people, laid randomly on the floor or used to circle the group. Activity 1: Learning Outcomes Students will: develop their understanding of image, sound and colour in the play question the ideas introduced at the beginning of the play develop the use of space. Introducing the text in this way gives the students some ownership over it and encourages them to think about a key aspect of the play. You will need to have an understanding of what synaesthesia is and, at an appropriate stage later in the activities, share this with the students. The music composed as part of the play is to be used throughout the activities to provide a specific link with the sights and sounds created. Keep the ideas as wide-ranging as possible at this stage to allow the students to develop their own responses. You might need to model this first by suggesting to the students how they might interpret the text. After a couple of minutes stop the students and ask them to show you their Still Images by counting them down from five to one and then saying Freeze. Once they have all frozen, ask them to sharpen the pictures to show the tension/ideas that exist. 1

8 p97 98 Activity 2: Introducing a character Activities and approaches 1 Ask the students to sit in a large circle. You are seated in the centre of the circle with a box. In role, gradually take the items out of the box, one by one. Music will be played while everyone watches how you, in role as the character, react to the objects. As they are watching you, the students will think about the significance the objects might have. 2 Discuss as a class why these objects might be kept in a box and what they might tell us about the person who owns the box. What have they just witnessed? 3 Ask the students, in pairs, to choose one of the objects from the centre of the circle and decide what colour they would associate with it. This might be in terms of how the owner felt at the time or the atmosphere that is created by it. They select a ribbon closest to the colour they have chosen. 4 Sit in the centre of the circle with the box. Explain to students that you will be in role as the character again. Ask the students to bring the objects out to you; and as they do so, a pair at a time, they need to complete the following two lines: She remembers I see the colour because Explain that they will also bring one end of the ribbon out with the object, leaving the other end of the ribbon in the circle where they were sat. Music will be played while everyone in the circle completes this task. Activity 2: Learning Outcomes Students will: investigate a character and question the significance of her possessions develop their understanding of colour and its significance in the play develop their understanding of symbolism and props in the play listen to, organise and present ideas. The objects become significant as the work on the play continues. You will want them to consider the significance of the objects. If the students are unfamiliar with the term symbolism, then it would be useful to introduce it here by talking about what the objects might represent symbolically as well as discussing how they might provide clues to a character s life. You might need to model this first by showing the students how you would decide to link an object with a colour. Again, you might need to model this first to show how the phrases can be completed and the objects and ribbons used effectively. 2

9 p Activity 3a: Setting a context and introducing sounds Activities and approaches 1 Sit the students down in front of the projected image of the house. 2 Ask the students to identify what they see in the picture. Once they have described what they actually see, ask them to interpret the picture: What sort of place is it? What atmosphere is created by it? 3 Divide the students into pairs and explain that students will be involved in a Guided Tour. Ask them to decide which student is A and which is B. 4 Before they begin the Guided Tour, provide a few seconds of narration about the place, using information the students gave you when looking at the picture. Student As now imagine that they know the place well. Using the details in the picture, Student A takes their partner (Student B) on a Guided Tour, describing and commenting on the things around them. Student Bs keep their eyes closed and allow themselves to be guided around, listening to the description and asking appropriate questions where necessary. 5 As the pairs walk around, play appropriate music to develop the atmosphere. 6 After a couple of minutes ask the students to Freeze. They should stop quickly and keep very still and silent in their positions. 7 After a few minutes, stop the activity and ask the students to explain what they were shown as they made their way through the garden of the house. Ask for feedback from a variety of pairs so that a description of the place is fed back to you. Activity 3a: Learning Outcomes Students will: analyse a picture investigate, in role, the context and setting of the play describe and explain accurately listen to and select information. It is important that students analyse the details of the picture first. Hold them back from interpretation until they have analysed the picture, then allow them to move to a narrativedriven approach. As the students lead each other, they explore the environment in their imagination and begin to develop their roles. At the same time they explore the space of the classroom and their collaborative relationship. An understanding of the context setting process and the use of music is being developed, which can then be transferred to an analysis of the staging of the play. You might want to give specific prompts here, by asking what sounds they heard or what smells they remember, as well as getting them to describe specific aspects of the landscape. 3

10 p Activity 3b: Developing the context and introducing text Activities and approaches 1 Set the students off on the Guided Tour again, this time reversing their roles so that the Bs imagine that they know the place and the As are seeing it for the first time. 2 Before the students begin, narrate information about the landscape and their Tours, using information and ideas from the feedback you have just received in Activity 3a. 3 Tell the students that when they hear you say the word Freeze, they must stop exactly where they are, stay completely still, and listen to what is said. 4 While they continue the Guided Tour, play music. 5 Shout Freeze and, while the students remain completely still and quiet, explain that they are to think carefully about the description they have given and heard. Explain that as a pair, they need to decide on an important word or phrase that they think best describes the atmosphere in the garden or a particular feature in it. When you tap them on the shoulder they are to begin repeating the word or phrase in such a way that creates a particular sound effect. They need to think about whether they are to say it slowly or quickly, loudly or in a whisper, or in a varied tone. After providing the students with a few seconds to discuss what they are going to do, ask them to freeze again. Walk around the room, tapping people on the shoulder. As you do so, they begin to say the words or phrases until a complete soundscape has been created with everyone saying the words and phrases. 6 Move round the room again and as you tap a student on the shoulder they stop speaking and freeze. Once the room has become silent, you read (page 8): A grey light picks out Mrs Little, an old and peculiar-looking woman, standing by a high window, looking out. She is holding a box. The box has a black velvet exterior, thick silver beading on its lid and a brocade tassel. From somewhere behind Mrs Little comes the sound of a girl crying. The sound is not piercing or harrowing, just a sad and steady, heartfelt cry. Cradling the box with great tenderness, Mrs Little lifts its lid and looks inside. She has seen its contents many times before. To look at them brings both pain and relief. The light on Mrs Little becomes hotter and the girl s cry becomes just slightly more urgent. Mrs Little closes her eyes for a moment. She opens her eyes and closes the box gently. The light and the crying fade away. Activity 3b: Learning Outcomes Students will: further investigate the context and setting of the play describe and explain accurately listen to and think carefully about the text. By using narration you are able to bring their ideas together and move the students towards the real context of the play. The music helps to develop the context further and allows the students to be completely focused on the Guided Tour. It might be appropriate to ask one pair to demonstrate their use of a sound to establish how the process can be developed. Otherwise ensure the first pair you select is one that will model the approach effectively. While you are reading the extract, it would be helpful to project the text onto a screen. This allows the students to focus on what is being said. 4

11 p Activity 4: Exploring the character of Mrs Little Activities and approaches 1 Gather the students together in a semi-circle and re-read the extract that you used at the end of Activity 3b. 2 Project a large image of the spectrum or have a large picture that the students are able to see. Adapt the Role on the Wall convention to explore the character of Mrs Little on the spectrum. To do this, you need to ask the students to identify from the extract what they know and choose a word that they feel best describes her. Write the word on a piece of card and give it to the student. They then place the selected word on to the spectrum, thinking carefully about where they might place the word according to the colour beneath it. 3 Return to this Role on the Spectrum throughout the scheme of work by adding words and discussing previous choices at different stages in the play. You might also want the students to record their responses, ideas and comments about the play as a whole, on the image, in the same way that is described above. Activity 4: Learning Outcomes Students will: investigate the characters of Mrs Little select appropriate information organise and present ideas analyse the way that colour has different meanings. If you ask a student to read the extract, it is important that you choose the appropriate student so that modelling of the reading continues. By encouraging the students to identify specific words, you are asking them to think about the particular words and the effect they can have as well considering how colour can be used symbolically. This Role on the Spectrum will be referred to throughout the work by adding words and discussing previous choices at different stages in the play. Responses, ideas and comments about the play as a whole, can also be recorded on the image, in the same way that is described above. This provides a useful prompt and recap tool at the beginning of each session and a valuable resource for written responses to the text. You will need to decide at the most appropriate points to return to the Role on the Spectrum throughout the work. 5

12 p Activity 5: Introducing and Investigating the play Activities and approaches 1 Divide the class into small groups of between three to five students and give each group an extract from Act One, Scene 1 (From page 8 Luke stands at the bottom... to page 12 Skin Just as soon as I ve taught you a lesson in respect ) Extract 1: pages 8 9, stage instruction before line 24 to line 35 from Luke stands at the bottom of the drainpipe to SKIN I reckon she keeps it there Extract 2: page 9, lines from DAZ Obsessed with that box to SKIN She ll be back soon. (pause) Oi! Extract 3: pages 9 10, stage instruction after line 43 to stage instruction on page 10 from The sound of crying remains to She begins to cry again as he runs down the stairs. Extract 4: pages 10 11, stage instruction on page 10 to line 57 from Luke is now climbing a large oak tree to SKIN You got to face us soon enough, Lukey Boy! Extract 5: page 11, lines from SKIN Shut up, Daz. to LUKE All right, Skin? Extract 6: pages 11 12, stage direction after line 63 to line 72 from Luke thinks about making a run for it but Daz is behind him. to DAZ Whether you like it or not. Extract 7: page 12, lines from SKIN We re meeting tomorrow morning to SKIN Just as soon as I ve taught you a lesson in respect. Activity 5: Learning Outcomes Students will: develop the use of space, facial expression, gesture and tone investigate and analyse the script question critically the ideas and issues introduced at this stage of the play. By exploring these extracts, the students begin to select and sort the relevant information. They also begin to take a real interest in the material and want to know more. By Action Reading the extracts, they have to consider some of the initial issues that directors and actors need to address. 6

13 p Activities and approaches (Activity 5 cont.) 2 Ask the students to produce a short Digital Video Clip of this extract. They begin with a Still Image followed by an Action Reading of the script and then Freeze at the end in a final Still Image. To do this the students will need to investigate the script and search for clues about the characters, story and setting. 3 Produce this as Rolling Theatre. Use music to guide the students. a All the groups freeze in their initial Still Image. b The first group unfreezes, adds the action and then freezes again. When they freeze, the next group knows that they can begin. c This continues with all the groups producing their Digital Video Clip until all groups have shown their pieces. 4 Ask the students to choose the most significant sentence from the extract they have been working on and present this as a Still Image. Stand between two of the characters and ask the class to try to describe the space between the characters. They might suggest various alternatives the space of hatred, fear, or loyalty. After a couple of minutes stop the students and ask them to show you their first Still Images by counting them down from five to one and then saying Freeze. Once they have all frozen, ask them to sharpen the pictures to show the tension that exists. This approach can be repeated later to get them to develop their final Still Images. You will need to explain the process to the students, emphasising the need for them to remain in their frozen positions. Explain that when they are not presenting their Digital Video Clip, they can become a Spectactor. This means that while their bodies remain frozen in the Still Image, their heads can turn to follow the action so that they can see and hear the work of the other groups. They should remain in their places, in order for all the groups to freeze in their final Still Image at the end. It is important that when you are asking them to describe the space that you actually stand in the space you are referring to. This enables the students to understand the physical significance of this activity and allows them to think of more complex words and ideas. 7

14 p Activity 6: Exploring tension sculpting the scene and the characters Activities and approaches 1 Read the following extract from Scene 6 (pages 27 29): Luke stands at the bottom of the drainpipe that runs down the side of Mrs Little s house Luke sees the box on the other side of the room. 2 Props from Mrs Little s dressing table are laid randomly on a table. Ask the students to place the props on another table exactly as they think they would be placed on Mrs Little s dressing table. This designated drama space in front of the table and the projected extract will become the set in which the drama takes place. Read (page 29): He moves silently across to it and picks it up. 3 Choose a student to take the role of Luke. Ask the students to Sculpt the character into the scene at this point. Emphasise that they will need to consider his frozen position, facial expression and gestures. Encourage the other students to adjust the positions until a final sculpture is agreed. The students freeze as you read (page 29): As he does so, Mrs Little appears behind him. She has a stick in one hand and a cordless phone in the other. 4 Choose another member of the class to take the role of Mrs Little. She is sculpted into the scene and freezes while you re-read: As he does so, Mrs Little appears behind him. She has a stick in one hand and a cordless phone in the other. 5 Ask the students which of the two characters would speak next and what they would say. a The characters remain frozen, while the student who has suggested the next line goes to stand behind the character they will speak for. b Re-read the extract, at the end of which the student will speak the next line. c Then ask the students what they think the characters would say next. The individual students go and stand by the character that they think they can speak for. Activity 6: Learning Outcomes Students will: explore the relationship between characters in the play explore the tension created use their understanding of the play so far to approach the activity with skill and integrity demonstrate an understanding of the drama process. The students may have different ideas about how the characters should be placed. By physically moving the characters until the group is happy with the positioning, the students are visualising their thoughts, discussing the possibilities and, therefore, beginning to explore the text, characters and ideas in detail. This activity needs to remain tightly structured. Work through the process in stages so that the students fully understand the technique and recognise what is expected of them. 8

15 p Activities and approaches (Activity 6 cont.) 6 The scene is frozen again, after you have explained that one by one the people behind the sculpted characters will continue the scene by speaking for the characters. Using Communal Voice continue the conversation between Luke and Mrs Little. What will Mrs Little decide to do? At an appropriate point, the voices can be stripped away and the two characters continue the conversation until you freeze the action. You do not need to work out any order for students to speak in. They will establish the order themselves by using the silences. Explain that they can speak more than once. This is an effective way of allowing the students to recognise the importance of silence and the discipline of the drama process. Remind the students that there will be silences at times and that they should not talk until they are standing behind one of the Sculpted characters. 9

16 p Activity 7: Luke s conscience Activities and approaches 1 Gather the students into a large semi-circle. Read the following extract from Act One, Scene 6 when Mrs Little asks for Luke s help (lines 47 94, pages 30 32): from LITTLE I ve been hearing a lot about you and your gang. to LITTLE (to Luke. Cold) Please come back. 2 Project the image of the tree and ask the students to stand facing it. 3 Ask the students to stand in two parallel lines, facing each other down the length of the room, representing the branches that Luke has to climb to get to his space where he can make a decision. You will stand in between these lines at one end of the room looking down the lines towards the projected tree. The Conscience Alley convention will be used to explore Luke s conscience at this point. 3 You will adopt the role of Luke. As he walks down in between the two lines, he will hear his conscience speaking to him. One line of students will speak the negative thoughts of Luke as he struggles against the branches to reach his decision. The other line of students will speak his positive thoughts as the branches help him to climb towards a positive solution. 4 As you become level with the students, they will speak your (Luke s) thoughts, thinking carefully about the text they have just explored and what they feel are the character s motivations. They should speak in first person to narrate his thoughts. Activity 7: Learning Outcomes Students will: continue to explore and analyse the tension in the play make reasoned judgements and organise and present their ideas investigate and analyse the text to identify the character s thoughts and motivation. It is important that before you begin, the students are given an opportunity to talk to the students around them to discuss what the thoughts might be and rehearse what they are going to say. You might need to provide them with some examples. Speaking negatively they might say, I can t help her, why should I? Skin would kill me if he knew I d spoken to her. Or, speaking positively, they might say, My Dad would want me to help her but what can I possibly do to help?. 10

17 p Activity 8: Further exploration of the text Activities and approaches 1 Divide the class into small groups of between three to five students and give each group an extract from the play (see extracts 1 10 below). Extract 1: (2 characters) pages 14 16, lines 34 79: from MUM What s happening to you? to MUM Or is it because he isn t Dad? Extract 2: (2 characters) pages 20 22, lines : from MIRANDA What happened to your face? to LUKE What is it? Extract 3: (2 characters) pages 23 25, lines 10 57: from HARDING The isle is full of noises. to HARDING The isle is full of noises. Extract 4: (4 characters) pages 25 27, Scene 5 stage instructions to line 25: from A laptop computer glows invitingly to LUKE Why won t you speak to me? (Pause) Send. Extract 5: (3 characters) pages 32 34, lines : from SKIN So? What happened? to SKIN And playing the piano. Extract 6: (2 characters) pages 36 38, line 1 to stage instructions after line 63: from LUKE Miranda? to but she soon relaxes and plays the piece well. Activity 8: Learning Outcomes Students will: develop the use of space, language, facial expression and gesture investigate and analyse the script, selecting relevant information to explore the significance of the star in the play analyse and question critically others performances deduce and predict what events and themes are important in the play. These extracts, and the activities that follow, have been deliberately chosen to explore the importance of the star in the play and the significance of music. Depending on the size of the class you might need to cut some of the extracts. If you do so, you might need to explain the narrative content before moving on to the remaining activities in this scheme of work. 11

18 p Activities and approaches (Activity 8 cont.) Extract 7: (3 characters) pages 40 42, lines 18 62: from MUM I ve never stopped loving your dad. to LUKE I don t think so, Skin. Extract 8: (2 characters) pages 45 47, lines 35 93: from LITTLE Natalie has a learning disability. to LITTLE Anything. Anything you like. Extract 9: (2 characters) pages 55 57, lines 36 87: from LUKE How do you know about the sounds I can hear? to MUM Completely. It s just you and me now. Extract 10: (2 characters) pages 61 63, lines 2 69: from LUKE I can hear sounds. Everywhere. to HARDING And the gateway to another world. 2 Give each group a simple musical instrument, such as a xylophone. 3 Ask the students to produce a short Digital Video Clip of this extract. They begin with a Still Image followed by an Action Reading of the script and then Freeze at the end in a final Still Image. Explain that the Still Images at the beginning and end of the Digital Video Clips should be accompanied by note(s) produced on the instrument. Each group will need to think carefully about what atmosphere will be created by the note(s) they create at the beginning and the note(s) they create at the end. How might they change? 4 Produce this as Rolling Theatre: a All the groups freeze in their initial Still Image. b The first group creates the note(s) on the instrument and unfreezes, adds the performance, freezes again and then creates the note(s) that accompanies the final Still Image. When they freeze and the note(s) is/are heard, the next group knows that they can begin. c This continues with all the groups producing their Digital Video Clip until all groups have shown their pieces and end-punctuated their scenes with the Still Images and note(s). It is useful if the same instrument is given to each group so that the comparison is between different notes and effects, rather than different instruments used. You might need to model how simple notes can be created to suggest a particular atmosphere. As with Activity 5, you will need to explain the process to the students, emphasising the need for them to remain in their frozen positions. Explain that when they are not presenting their Digital Video Clip, they can become a Spectactor. This means that while their bodies remain frozen in the Still Image, their heads can turn to follow the action so that they can see and hear the work of the other groups. They should remain in their places, in order for all the groups to freeze in their final Still Image at the end. 12

19 p Activity 9: Placing the text unpacking the past Activities and approaches 1 As a whole class, Sculpt the scene in Mrs Little s bedroom, described in Act Two, Scene 6 and read: from The effect of the music on Natalie is almost hypnotic. to he walks across to the box and opens it. 2 Ask the students to form a large circle. Using the space within the circle, they should Sculpt Luke into the scene at this point in the play. Read: He takes out a framed photograph and studies it. He puts the photograph down and takes out a letter. 3 Hold a blank piece of paper up in various positions within the scene and ask the students what they think would be on the piece of paper. Depending on where the piece of paper is positioned, they should make different suggestions as to what may appear on it. For example, if it is placed in the box, the students might say it is a newspaper article about Barley. If it is placed in one of Luke s pockets or screwed up at his feet, they should suggest something different, such as a letter from Luke s father or a diary entry. 4 Ask the students to work in pairs to create a piece of text that could appear in any of the places in the scene. It is important that they create two identical versions of this piece of text. 5 When the students have completed the pieces of text, set up the sculpted character again and ask the students one by one to place one copy of their text where they think it would be found in the scene. a Once all the pieces of text have been placed, the sculpted character gradually comes to life and turns to, looks at, or open the pieces of text. b As he comes across each piece of text, he looks at the text and freeze. The student/s who has produced the text reads it out from the identical copy they have retained. 6 The drama continues, stopping at every piece of text while different students read them out, until all the written pieces have been included. Use music to introduce and to close the sequence. Activity 9: Learning Outcomes Students will: write for a specific audience, with a specific purpose select appropriate information from the text explore the themes and tensions in the play organise and present their ideas appropriately. The technique of adding text to the drama (Placing the Text) can be used in many different situations. It helps the students to develop the drama at the same time as they are having to think about the language, style and format needed for specific pieces of text with specific audiences in mind. It is also a useful way for students to place texts within an historical or social context, as they have to think carefully about these aspects. Give the students time to decide how they will read their piece of text. What tone and pace will they use? Will they read it together or individually? What tension or atmosphere do they want to create and how will they do this? If several pieces of text have been placed in the same place the sculpted character could read out the first line of the text, before they freeze, to indicate to the students which piece of text they are revealing. 13

20 p Activities and approaches (Activity 9 cont.) 7 When all the pieces of text have been read, Luke unfolds the original piece of paper/letter and you read (from page 67, lines 50 63): from HUTCHINS Dear Mrs Little, it is with regret to HUTCHINS Squadron Leader James P Hutchinson. 8 Ask the students to form a large circle. Sit in the centre of the circle with the box and the items laid out next to it. Read (page 67, stage instruction after line 63 to line 64): from Luke puts the letter on the table. He sees something else in the box an identity bracelet. to LUKE (reads from the bracelet) Barley may Roberts. 9 Carefully place all the items back into the box. Move out of the circle and read (pages 68 69, stage instruction after line 3 to line 18) : from He opens his eyes and opens the laptop. to LUKE Natalie You will need to pick the bracelet out of the box and look at it carefully as you read the extract. It is important that you create a moment of revelation as you read this extract. Build up the tension by thinking carefully about the way in which you place the items back in the box. By moving out of the circle, the students should focus on the box and the bracelet rather than your reading of the text. 14

21 p Activity 10: Talking techniques Activities and approaches 1 Divide the class into small groups of between four to six students and give each group an extract from the play (see extracts 1 6 below). Extract 1: (2 characters) pages 50 51, stage instructions before line 24 to line 67: from The graveyard. Luke sits by his dad s headstone to MIRANDA I m fine. Extract 2: (2 characters) pages 53 55, Scene 3 stage instructions to line 35: from The kitchen. Mum is sitting at the table to MUM You even hear the same sounds. Extract 3: (2 characters) pages 58 60, lines 1 43: from NATALIE Trees to LUKE An amazing five-pointed star. Extract 4: (2 characters) pages 64 65, stage instructions before line 13 to stage instructions after line 32: from Luke is walking over the bridge... to Luke finishes gathering his sheet music and continues on his way to Mrs Little s house. Extract 5: (3 characters) pages 69 70, stage instructions after line 20 to line 56: from Luke picks up the phone and dials... to LUKE Stop it, I m trying to help! Extract 6: (3 characters) pages 70 71, lines 57 75: from MRS R Are you still there? to MR R Just tell us what to do. 2 Ask the students to choose who will be taking on the roles of the characters in the extracts. Explain that in addition to the characters, one person will represent the playwright and another person will represent the audience. Activity 10: Learning Outcomes Students will: investigate and analyse the playwright s techniques analyse and question the audience s response develop the use of space, language and movement. The extracts have been chosen deliberately to enable the students to explore particular techniques used by the playwright to control the audience s understanding and feelings. The size of the groups selected will need to ensure that they are the right size for the number of characters as well as the playwright and audience. 15

22 p Activities and approaches (Activity 10 cont.) 3 Ask the students to produce an Action Reading of their extract, but this time they will freeze the action at four significant points. To do this they will need to identify four key points where the playwright has used a specific technique to control the understanding and/or emotions of the audience. As the group Action Reads the extract, the playwright stands at one side of the action and the person representing the audience at the other side. When the action is frozen, the student representing the playwright will step forward and complete the phrase: As playwright I have deliberately The student representing the audience will then step forward and respond by completing the phrase: As the audience the effect on me was (See diagram on page 17 of these resources) 4 This process will continue, with each group freezing the Action Reading four times and adding the playwright s and audience s commentary until the extract is complete. You will need to model the process for the students before they begin working on the extracts. Use one group to demonstrate the process by adding the comments from the playwright and audience, as illustrated in the diagram on page

23 p Activities and approaches (Activity 10 cont.) As the audience I begin to suspect that there is more to the past than Mrs Little has said. The actors Action Read the extracts, freezing at different points. LUKE: So she can remember things she s seen, from before the accident? NATALIE: Some things, yes. But I don t know how much. LUKE: Does she know my name? Freeze NATALIE: I have told her it but I don t suppose she took it in. As director I deliberately hint at the events to come by showing Natalie is aware of things in the past. LUKE: Do you know my name, Natalie? NATALIE: Funny ears. LUKE: Oh, is that my name? I thought my name was Luke. NATALIE: She d be more likely to remember if you didn t leave it so long between visits. LUKE: I was here yesterday morning. As the audience I want to know more about Natalie s past. The atmosphere seems tense. NATALIE: It was yesterday afternoon she needed you. She was all right for a couple of hours after you went, but then the crying started. It took all day to calm her down. (Pause.) If I make some tea, will you stay to drink it this time? LUKE: Thanks. Mrs Little goes. Luke turns away from the piano. LUKE: What else can you remember from before the accident? (Pause.) Can you remember where you lived? The name of the village? He sits with her on the floor. Freeze LUKE: Can you remember your second name? Or if you had any brothers or sisters? (Pause.) No? (Pause.) Shall I play some more? As director I deliberately have Luke questioning Natalie to increase the tension. Luke moves to play the piano but Natalie clings tight to him and squeals. LUKE: Hey, it s all right, it s okay, I m not going anywhere. We can keep talking if you like. 17

24 p Activity 11: Exploring the adaptation process from novel to script Activities and approaches 1 As a class, sit in a semi-circle facing the large projected text. Read the following projected extract from Chapter 26 of the novel: Mrs Little s relief at the sight of him was obvious the moment she opened the front door [ ] I m taking you home, Barley, he said. 2 Divide the class into small groups of between four to five students. Give each group the collective role of one of the following: the playwright, novelist, director, teacher or Theatre Publicity Manager. Explain that in their groups, they are to use the extract and the information gained throughout the work so far to provide arguments as to whether they feel the novel is suitable for adaptation. What aspects of the story do they think will be particularly successful and why? Do they foresee any difficulties? Explain that they will present these ideas to the Finance Director at a theatre. 3 A Meetings convention is to be used to discuss the issues involved. You will adopt the role of the Finance Director and will chair the meeting. Ask the students to use the extract and the information gained to provide arguments that they will put to the meeting. 4 Arrange the seating to suggest the space where the meeting will take place. In role as the Finance Director begin the meeting and explain the purpose of the gathering, Thank you for attending the meeting today. As you know we are exploring the possibility of taking on a new adaptation of the novel to be performed at the theatre next year. You will also be aware that the theatre is under great financial pressure at the moment. I need to be convinced that such a project would draw in large audiences and be able to cover its costs. It goes without saying that we also need to maintain the reputation of the theatre for staging high quality productions. Activity 11: Learning Outcomes Students will: analyse the decisions and techniques used during the adaptation process select, organise and present relevant information and ideas in script and performance develop analytical skills and explore the writers intentions consider the difficulties in staging a scene. This extract has been chosen deliberately as it contains high levels of tension and explores the dilemma that Luke faces. Having printed titles of the different roles available will enable you to provide them with a reminder of the collective role they are to take. They will need time to explore the extract, prepare their arguments and consider the role they have to adopt at the meeting. You will need to chair the meeting by provoking responses and arguments and encouraging people to speak either individually or on behalf of a group. 18

25 p Activities and approaches (Activity 11 cont.) 5 Using the Meetings Convention, ask the students to contribute their ideas and arguments, using the evidence they have found, both from the activities on the script and the extract from the novel. 6 Remaining in role as the Finance Director, draw the meeting to a close. Remind the students that they will need to listen carefully to the views of others and decide how they can best present their case. This activity does not require a detailed knowledge of the novel. Students have to use the extract and their knowledge of the script to think about what considerations need to be made when adapting teenage fiction and what difficulties might be faced when adapting a scene such as the one they are to focus on. The activity is not just about exploring the adaptation process, but is about understanding the sort of issues and ideas that have to be considered. 19

26 p Activity 12a: Placing the writer and the reader Activities and approaches 1 Ask the class to sit in a large circle. Return to the extract from the novel. Luke is intending to take Natalie away from Mrs Little s house. He carried her over to the window, both of them still humming, and stopped there for a moment, staring out over the garden towards the forest; then he turned back into the room. Mrs Little was still standing there, her face a mixture of relief and envy. You ve obviously got the magic touch [ ] Because she s not yours, he wanted to shout back at her. Because she s missing her parents and her friends. Because she can t see [ ] But all he said was: Mrs Little, could you make us something to drink? 2 Choose a student to be in role as Mrs Little. Ask the students to Sculpt her into the position they believe she will be in, using the space inside the circle. Other students may question this positioning and will resculpt Mrs Little into a position of their choosing. 3 Ask for a volunteer or choose other students for the roles of Luke and Natalie. The characters are Sculpted into the scene and all the characters freeze while you read the following extract from the novel: I expect Natalie could do with something and I certainly could [ ] Anything ll do. Cup of tea, hot chocolate, whatever. Activity 12a: Learning Outcomes Students will: analyse authorial intention and techniques and explore the role of the reader and empathy in the text select and present evidence from the text to justify their comments listen with discrimination, weigh viewpoints and question critically. When sculpting Mrs Little and Luke, encourage the students to sculpt them in a way that expresses the emotion, tension and relationship. 20