First Steps in Drama Spring 2006
First Steps in Drama
s
Spring 2006
bbc.co.uk/schoolradio
A series provided by the BBC at the request of the Educational Broadcasting
Council for the United Kingdom
Age: 7-9
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Audio on demand. These programmes are also available as audio on demand
from the School Radio website for 7 days following the original date of
transmission. Refer to programme titles overleaf to find out when programmes
are available as audio on demand.
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be copied or reproduced for use in schools and colleges without further
permission.
1
First Steps in Drama Spring 2006
First Steps in Drama
Spring 2006
These programmes are available as audio on demand from the School Radio
website. Refer to dates below to find out when each one is available.
Introduction
3
Unit 1: Silver shores
6
1. Part one
AOD 12/01/2006 – 18/01/2006
2. Part two
AOD 19/01/2006 – 25/01/2006
7
Unit 2: The wreck of the Zanzibar
12
3. Bryher
AOD 26/01/2006 – 01/02/2006
4. The turtle
AOD 02/02/2006 – 08/02/2006
5. Endings and beginnings
AOD 09/02/2006 – 22/02/2006
14
Unit 3: Dinosaur camp
A new take on the classic story...
22
6. A hole in time
AOD 23/02/2006 – 01/03/2006
7. Dinosaur eggs
AOD 02/03/2006 – 08/03/2006
23
Unit 4: Jason and the Argonauts
27
8. A ship called Argo
AOD 09/03/2006 – 15/03/2006
9. The haunt of the Harpies
AOD 16/03/2006 – 22/03/2006
10. Guardians of the Fleece
AOD 23/03/2006 – 30/03/2006
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9
17
20
25
31
33
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First Steps in Drama Spring 2006
Introduction
Aims of the series
First Steps in Drama aims:
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to develop imagination and creative responses
to provide opportunities for careful, focused listening using a range of voices
and a variety of styles
to enable children to see issues and dilemmas from a number of points of
view
to build pupils' confidence in drama, gradually introducing more complex
tasks
to engage pupils in drama activities involving:
discussion and sharing of ideas and co-operation
planning and enacting responses
presenting ideas to other members of the class
to provide opportunities for ‘teacher in role’ to extend pupils' vocabulary,
speaking skills and imagination
to offer a flexible cross-curricular resource, meeting drama and other subject
goals. Most units have a clear link with at least one other subject and can
often be used to initiate activities in PSHE, citizenship, art, music, etc.
School Radio series for drama in the primary school
There are three radio series that develop drama skills for different primary agegroups. All three can make a significant contribution to skills in speaking and
listening; they can also make a significant contribution to PSHE and Citizenship
as well as other curriculum areas:
Let’s Make a Story, for infants, uses simple movement and drama to stimulate
creative involvement in a story, usually told by a single voice.
First Steps in Drama, for KS2A, offers creative drama opportunities based on
stories that usually relate to other curriculum areas.
Drama Workshop, for KS2B and lower KS3, relates to other curriculum areas
and extends skills of imagination and group co-operation.
Why use radio drama?
Radio drama provides carefully structured language and drama activities that
encourage imaginative, co-operative work. It provides a rich stimulus to fully
support teachers who are less confident in using drama and can be adapted and
developed by those with more drama experience.
It targets key areas of the National Curriculum that can be explored and
supported by the programmes.
Radio drama contributes to the requirements for English and drama in the
National Curriculum and 5-14 Guidelines. Pupils are ‘…given opportunities to
participate in a wide range of drama activities, including improvisation, roleplay…’ building on their use from the earliest years of ‘…imaginative play to
explore, order and make sense of themselves and the world around them.’
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First Steps in Drama Spring 2006
Before the programme
Programmes and equipment:
• Listen to the programme and read through these notes in advance –
assess suitability and note areas for development or extra support.
• Use the best equipment available – it makes a real difference to the
children’s concentration and work.
Space and time:
• You will need a fairly large, cleared space.
• Allow at least 40 minutes to complete the work for each programme.
Larger groups may need longer to allow time for everyone to feed back
and participate. The amount of time allowed for groups to show each
other their work is a key factor in determining how long the material will
take to complete.
Preparation:
• Pupils should dress to allow easy movement. They do not need PE kit.
• No warm-up is necessary as the programmes build in a progressive
development but settle the pupils in the correct groupings quietly to
listen at the start – the notes for each programme give details of the
activities.
During the programme
Refer to the programme notes. They provide:
• A brief synopsis of the story
• The programme structure – the activities that will take place during the
programme
• Teacher guidance – ideas for teacher involvement intended to get the
most out of the programmes
In most programmes you will hear:
• Short, dramatised scenes with a narrator – these set the scene and give
instructions
• Sections of background sound effects – these provide a stimulus for pupil
activities
• Instructions from the narrator – these tell pupils what to do and the
groupings to work in
• The stop signal – usually music – used to indicate either that it’s time to
bring an activity to a close (stop the programme and focus the children to
hear the next part of the programme) or that the programme should be
stopped so pupils can perform an activity, often discussion or enactment,
following the narrator’s instructions
• Short pauses in the narration – so that pupils can get organised (switch
off and start the programme as necessary)
Assessing your group’s use of the series
Speaking and listening skills:
• How well do pupils listen to the ideas of others and contribute their own?
• Do some pupils find it hard to talk about a situation or solution if asked?
• Are they using new vocabulary introduced during the unit?
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First Steps in Drama Spring 2006
Drama skills:
Are pupils
• Using their imaginations as they become part of the situation and act out
aspects of the story?
• Showing empathy with the characters and their situation?
• Joining in with acting activities? All or some?
• Able to translate the ideas that arise from discussion into drama?
• Using the information they have gained from the programmes to
appropriately inform their work - e.g. with regard to language?
Social skills:
• How well do pupils work together in twos, larger groups, with the whole
class?
• Are they able to see things from another point of view?
Cross-curricular skills:
• Are the pupils thinking in a historical or scientific way if required by a
unit?
• In relation to PSHE, how are they responding to the ethical dilemmas
posed in many programmes?
• In relation to Citizenship, how do they respond to the challenges offered
by the programmes such as decision making and working as part of a
community?
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First Steps in Drama Spring 2006
Unit 1: Silver Shores
by Gordon Lamont
Curriculum area: History – the Victorians.
Learning outcomes: to explore a significant local industry and its importance
to the community and, in particular, to consider what should happen when the
industry changes.
NB. The programmes in this unit comprise several CD tracks, allowing
you to navigate the programmes. Refer to the content tables below for
details.
Programme 1: Part one
Synopsis
This unit of two programmes tells the story of a fictional Scottish herring fishing
village in the year 1900. It explores the life of the village, the fishing method
and the dependence of the villagers on the ‘wee shinies’, their term for the
herring. As the story opens, Euan - the fisherman who tells the story - explains
that no herring have been caught for some time and the village is facing a crisis.
The first programme in the unit introduces the life of the village and explores
how the whole community depends on a regular supply of fresh herring to feed
themselves and to create income. The key characters - Euan, Revd Buchan,
Robbie and Dougal - are introduced and the process of herring fishing is explored
in some detail through the drama activities. At the heart of the episode is the
problem of what the villagers should do now that the fish appear to have left
their waters.
Programme 2: Part two
Synopsis
Things go from bad to worse in the village because no fish are being caught. A
new tension emerges between Nanny Morag, (a village ‘wise woman’) and the
Revd Buchan. She tries to persuade the villagers to travel further than ever
before into dangerous waters in response to a dream; whereas the Revd is
convinced that if the villagers stick together and support one another, the fish
will return.
Euan and Robbie respond Nanny Morag’s challenge and set sail far out to sea
heading for dangerous waters. Meanwhile the Revd disappears, leaving the
village more demoralised than ever. This is compounded when Euan and Robbie
return empty-handed after a fierce storm at sea. The villagers turn on Nanny
Morag but Revd Buchan arrives back just in time to explain that he has been
involved in scientific research which suggests that, just as he predicted, the fish
will return to Silver Shores if the villagers can just hold on a little longer.
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First Steps in Drama Spring 2006
Programme 1: Silver shores, part 1
CD
track
1
Activities
Teacher guidance
Music: ‘Neptune’ from The Planets Suite
by Holst (used throughout the
programmes)
Gather the children in one group
to listen.
Introduction to Silver Shores by Euan (the
narrator)
2
Whole group: listening and
responding
Village sound effects montage: waves on
seashore, boat launched from beach,
barrels loaded, horse and cart, church
bell.
Euan asks the children to discuss what
they have heard and to consider the life of
the villagers.
STOP SIGNAL
3
4
5
6
Individuals: movement
Working alone children carry out jobs in
the village: repairing a boat or sail,
unloading fish, packing salted herring into
barrels, loading barrels of salted herring
onto a cart.
Individuals: movement
Children carry out boat repairs; sawing
and hammering, fish unloaded from boat,
barrels loaded onto cart, horse and cart
moving. Accompanied by a sound track.
Pairs: movement
Euan narrates an interactive sequence:
lifting heavy net into boat, pushing the
boat across shingle and into the sea,
clambering aboard, raising the sail, sailing
to fishing grounds.
Pairs: still pictures
Two still pictures: one showing the nets
being pulled up and the other, by
expression, whether they are full or
empty.
SIGNAL
7
The sequence is short so you may
choose to play it a second time.
How many sounds can the
children identify? What clues do
they provide about the life of the
villagers?
You might choose to pause before
the activity to ensure that
everyone is clear about the tasks
and has chosen their job.
If there is time you could split the
group into two and ask each half
to perform to the other while the
sound effects sequence is
repeated.
Look for detailed mine – does the
sail seem heavy and
cumbersome; is the boat difficult
to push across the shingle? Can
the viewer easily tell what is being
enacted?
If there is time, allow the pairs to
show their pictures to the rest of
the group, perhaps three or four
pairs at a time. Encourage the
children to use facial expression
to show their joy or sorrow.
Discuss how many groups had full
nets and how many were empty.
First Steps in Drama Spring 2006
7
Whole group: listening
Listening to the story as the villagers
wrestle with their dilemma.
8
Groups of 3 or 4: talk in role
In role as a village family the children
discuss what they should do: leave Silver
Shores and seek work elsewhere…ask the
Laird for help…or keep on with fishing in
the hope that things will improve?
SIGNAL
Encourage careful listening in
groups of three or four ready for
the next activity.
Go round from family to family
listening to the discussion.
Afterwards, draw together the
different ideas from each family
group about what should happen.
What are the range of opinions?
Is the group overall swayed in
one particular direction?
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10
Whole group: listening
Listening to the programme as the
villagers prepare for an important meeting
in the church.
Whole group: talk in role
The group takes on the role of the
villagers meeting to discuss what should
be done.
Encourage careful listening in one
large group ready for the next
activity.
Encourage the children to think
about the harsh realities of their
situation: this is a case of life or
death for the villagers.
Ensure that each family has a
chance to state its view.
This is a good opportunity to use
formal speech and carefully
considered ideas.
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First Steps in Drama Spring 2006
Programme 2: Silver shores, part 2
CD
track
Activities
11
Whole group: listening
Euan welcomes the listeners back to Silver
Shores and reminds them of the villagers’
desperate situation. We then hear the
church meeting with an intervention by
Nanny Morag telling of her dream and
challenging the fishermen to set sail for
far-off dangerous waters in search of the
herring.
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Teacher guidance
Whole group: discussion
Who is right? Morag (who wants them to
believe in her dream of an ocean filled
with wee shinies) or the minister (who
believes the village should hold together
and wait)?
SIGNAL
Pairs: listening
Reluctantly the Revd Buchan persuades
Euan to attempt the dangerous voyage,
even though he does not agree with it.
Robbie and Euan prepare for their
journey.
Pairs: movement and speaking
In role as Robbie and Euan, getting the
boat ready and talking together as they do
so.
Whole group: still picture
This shows the activities and mood of the
villagers as Robbie and Euan set sail.
SIGNAL
Individuals: speaking thoughts from
still picture
SIGNAL
9
Gather everyone in one group to
listen.
Briefly recap the events of the
previous episode before starting
the programme. What do the
children remember from last
time?
Be prepared to put the opposite
point of view if you feel the
argument is one-sided.
This is a good opportunity to
practise persuasive speech with
well thought-out arguments.
The children should sit in twos to
listen to this section, ready for
the next activity.
Encourage the children to think
carefully about what they’ll need
for such a dangerous voyage. You
could discuss this as a whole
group before the activity begins.
Organise the group so that two
are Robbie and Euan while the
rest are villagers on the shore,
with Nanny Morag praying in the
church. Encourage children to
consider the thoughts and feelings
of the villagers and to express
these in their still picture.
The children speak their thoughts
out loud. You should orchestrate
this, perhaps by pointing or by
touching on the shoulder. Repeat
what each child says for clarity
and to add emphasis.
First Steps in Drama Spring 2006
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Pairs: listening
Euan continues the story. Revd Buchan
disappears and there is much talk and
gossip concerning his whereabouts. There
is a storm out at sea and Euan and Robbie
return with no fish.
Pairs: enactment
In role as Robbie and Euan, enacting the
storm at sea and discussing whether to
give up and head for home.
STOP SIGNAL
The children should sit in twos to
listen to this section, ready for
the next activity.
Encourage the children to show
the strength of the storm in their
actions and how they speak. If
time allows, share a few of the
enactments with the rest of the
class.
Invite the children to comment on
what they thought was effective
in the performance.
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Groups of 4: listening to the ending
The villagers turn against Nanny Morag
but Revd Buchan arrives just in time with
news of his research – the fish will return
and if the villagers can just hold on and
support each other there will soon come a
time when they can fish the wee shinies
again.
Groups of 4: still pictures
The pictures show:
i) a family of hungry villagers as they
share a tiny meal
ii) family members setting sail on a fishing
trip and hoping for success
iii) a village celebration as, at last, the
fishermen return with good catches
The children should sit in groups
of four to listen to this section,
ready for the next activity.
Encourage the children to show
the mood of their pictures as well
as the events portrayed;
encourage a smooth transition
between pictures.
If time allows share the pictures
perhaps by splitting the class into
two halves.
You could also ask for key words
that reflect the feelings and
thoughts portrayed in each still
picture.
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First Steps in Drama Spring 2006
Background information used in the creation of this story:
The story takes some liberties with reality regarding the migration of herring
since most herring fishermen at the turn of the century knew of the migratory
nature of their catch and followed the shoals of herring around the coast. The
story imagines a small village - and an unusually prolonged and far-spread
migration - in order to explore how a community deals with a dilemma beyond
its control and the increasing understanding during this period of scientific
rationalism.
Many British coastal villages relied on herring fishing at the turn of the century
and although there were regional and local variations similar methods were
employed, usually in small sail-powered fishing boats, often family-owned. The
fishing method used weighted ‘curtain’ nets, so called because they hung
vertically over the side of the boat taking advantage of the herring’s habit of
rising to the surface to feed on plankton. This took place at dusk so, in many
places, the nets were dipped in alum to make them white so that the fishermen
could see them on the dark waters.
The fish were returned to the shore as quickly as possible in order that they
could be gutted and cured, either smoked or salted as in our fictional village.
Over the next few years as the 19th century gave way to the 20 th, this type of
fishing all but disappeared as larger steam powered boats took over.
A useful source of information on this type of herring fishing can be found at:
www.scran.ac.uk/learning/schools/primary/elementsofsaltcoatsourtownnotes.pdf
This provides a downloadable booklet suitable for the First Steps in Drama age
range in pdf format giving the history of Saltcoats, a Scottish fishing village with
many similarities to Silver Shores.
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First Steps in Drama Spring 2006
The wreck of the Zanzibar
by Michael Morpurgo, adapted for radio by Alan Lambert
Curriculum area: English / PSHE
Learning outcomes: to become familiar with the action and themes of a
modern children’s classic; to explore the themes and other elements of the story
as a means of supporting children’s own work on story-writing
NB. The programmes in this unit comprise several CD tracks, allowing
you to navigate the programmes. Refer to the content tables below for
details.
About Michael Morpurgo:
In 2003 the award-winning children’s author Michael Morpurgo became the third
Children’s Laureate, a scheme he helped to establish with the late Poet Laureate
Ted Hughes. The title honoured a lifetime contribution to children’s literature.
Morpurgo strongly believes that ‘literature comes before literacy’ and wants all
children ‘…to discover the secret pleasure that is reading and to begin to find
their voice in their own writing.’ Stories are paramount. As Laureate he
‘…wanted to remind people of all ages of the power of stories.’
With his wife, Clare, he set up ‘Farms for City Children’ in Devon, Wales and
Gloucestershire which are open to inner city school children. In 1999, the
Morpurgos were jointly awarded the MBE for services to youth.
You can hear Michael Morpurgo talking about his work on the School Radio
website in an interview he gave to primary school children. Go to:
http://www.bbc.co.uk/schoolradio/english/meettheauthors_summer06_prog03_
michael_morpurgo.shtml
Find out more about Michael Morpurgo (including a full list of his books) at:
www.michaelmorpurgo.com
Programme 1: Bryher
Synopsis
Laura Perryman grew up on Bryher in 1907, one of the Isles of Scilly off the
coast of Cornwall. Now she looks back on some of the most dramatic and
exciting scenes of her childhood and invites us to relive them with her.
She tells us of her life working on the family farm with twin brother Billy and of
the furious arguments Billy has with his father. We hear of Billy’s decision to run
away to sea and of the fierce storm that wreaks destruction on Granny May’s
house and the rest of the island.
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First Steps in Drama Spring 2006
Programme 2: The turtle
Synopsis
Bryher has been devastated by the storm. Homes are ruined. Father’s herd of
cows has been swept out to sea. There’s very little food and people are always
hungry.
Yet, in the middle of all the sadness, a most wonderful thing happens to Laura.
She finds a giant turtle alive on the beach.
Programme 3: Endings and beginnings
Synopsis
It looks as if everyone will have to leave Bryher and build a new life on the
mainland. Granny May says she’s not going. Laura doesn’t want to go either but how can they stay? The storm has destroyed the crops. There are no cows to
give milk. Help comes in the unlikely shape of another great storm. It drives a
sailing ship – the Zanzibar - onto the rocks, with a cargo full of surprises!
Publication details:
The wreck of the Zanzibar by Michael Morpurgo.
Heinemann Young Books and Mammoth.
ISBN 0 7497 2620 2
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First Steps in Drama Spring 2006
Programme 3: Bryher
CD
track
Drama activities
Teacher guidance
21
Whole group: listening to the
sounds of the island.
Laura invites the children to sit and
listen to the sounds she heard as a
girl on Bryher. It may help them
build a picture of the setting for her
story.
Sound effects sequence: sea
breaking on rocks, ship in rough sea
with sails flapping, seagulls, cows.
SIGNAL
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23
Pairs: listening
Laura paints a picture of life during
the storms for the islanders on
Bryher in 1907. Scene between
Father, Billy and Laura.
Pairs: movement
Laura tells us about some of the
daily tasks on the family farm,
which the children then mime: lifting
heavy bales of hay and carrying
them to the manger to feed the
cows, collecting the milk in buckets
and pouring it into the churn.
Ask the children to close their eyes as
they listen if you think it would focus
attention.
At the end of the sequence, ask the
children about what they they heard.
If time allows, listen a second time: do
they hear other sounds now that will
help to paint a fuller picture of the
location? Can they describe what they
think Bryher is like in their imagination?
Sitting in pairs.
Look for children’s ability to work
collaboratively on these mimed tasks.
Does each child give the work the
appropriate kind of effort?
Hay bales are big and bulky: buckets of
milk need to be carried carefully so that
not a drop gets spilled.
Step in and model appropriate actions if
you think it necessary.
Maybe, ask some pairs to demonstrate
how well they’re making the task come
to life.
Ask the children what they think it
would have been like to be Laura and
Billy working on the farm in 1907.
24
Whole group: listening
Scene between Laura and Billy.
14
Sitting in one big group to listen in
readiness for the following activity.
First Steps in Drama Spring 2006
25
Whole group: talk in role
Billy has been in another terrible
row with his father. Now, he’s
threatening to leave home and join
the crew of a sailing boat that’s
anchored in the harbour. Laura can’t
bear the thought of being separated
from her twin brother. She begs him
to stay.
SIGNAL
One person takes Billy’s place in this
discussion. Either take on the role
yourself, or ask an articulate child to
talk for Billy, someone who can handle
the situation and come up with counterarguments to Laura’s pleading. The rest
of the group speaks for Laura.
‘Billy’ will say why he’s decided to go:
rows with father, no future on Bryher, a
big world to see, etc. ‘Laura’ says why
he should stay; he’s needed on the
farm, there are terrible dangers at sea,
they’ve never been apart before, etc.
Listen out for other reasons and ask
children to develop these contributions
further.
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Individuals: listening
Laura describes the storm.
Sitting in their own space.
Individual: movement
A terrible storm has hit the island.
In spite of the dangers, Laura sets
out to Granny May’s cottage to
bring her grandmother back to the
safe haven of the family farm.
The children will be working to
instructions from Laura, against a
sound effects sequence of the
storm.
Make sure the children understand the
need to listen out for Laura’s
instructions. She will tell them what to
do at each stage of the journey. They
will need to push forward and bend
their bodies against the force of the
wind. Sometimes they’ll need to crouch
down to protect themselves from flying
debris. They’ll need to maintain their
footing on loose stones and shield
themselves from waves and stay on the
narrow, cliff-edge path.
Look for those who can handle this
extended movement sequence with
commitment and control. Who can
create convincing images of the
journey? Maybe, replay the sequence
and ask those individuals who can meet
these challenges to model their work for
others.
28
Whole group: listening
Scene at Granny May’s cottage.
15
Sitting in one big group.
First Steps in Drama Spring 2006
29
Whole group: discussion
Talking about the scariest moments
of the storm. Granny May is rescued
just in time: her cottage roof rips
apart in the wind!
Later, there are lots of stories to be
told about the events of that terrible
night.
SIGNAL
Ask for volunteers to recount their
scariest moment in the journey across
the island. You can set this up as
formally or informally as you like: in a
circle, with each taking turns to say
something - or passing to the next
person; or as a group activity where
individuals raise their hand if they’ve
something to say.
Listen out for descriptive word pictures
- in the first person. What happened –
and how did they feel? Why did they
reckon these to be the scariest
moments?
30
Individual: writing Laura’s diary
Laura tells us that she was able to
remember so much from her
childhood, because she kept a diary
as a young girl.
SIGNAL
What would the children write if they
were Laura about the events they’ve
experienced in the imaginative world of
the drama?
Which episode would they write about?
Life on the farm, Billy leaving the
island, the storm, the destruction of
Bryher, etc.
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First Steps in Drama Spring 2006
Programme 4: The turtle
CD
track
31
Drama activities
Teacher guidance
Whole group: listening
Laura recaps the story so far.
It may be helpful to show children a
picture of a turtle before the
programme, so that they have an
image of the kind of creature at the
centre of today’s drama.
The web link below, shows a picture of
a large leatherback turtle on the beach
with some children:
http://www.speciesatrisk.gc.ca/search/specie
sDetails_e.cfm?SpeciesID=274#photo
32
Individuals: movement
As Laura, the children roam the
beach looking for driftwood to make
a fire for the farmhouse.
Laura says that wood lies all along
the beach. There are some small
pieces, some much bigger ones.
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34
Individuals: listening
As Laura finds the turtle on the
beach.
Individuals: movement
When Laura finds the turtle it is on
its back, stranded on the beach. If
she can turn it over, it may be able
to find its way back to the sea. How
to do it, though? This is a big, heavy
creature.
Look out for children showing a variety
of effort in their task.
Would you and the others watching
them be able to tell the size and weight
of the wood being carried by each
individual?
Sitting in a space.
The children will need to listen out for
Laura’s instructions. She will tell them
what to do at each stage of the rescue.
Join in alongside the children to
demonstrate your own commitment to
the shared fiction.
The rescuers walk round the turtle to
gain an idea of its size. (The picture
might be useful here). They’ll need to
scoop a hole in the sand with their bare
hands, use a strong piece of driftwood
to act as a lever, and use all their
strength to tip the creature into the
hole – right way up.
17
First Steps in Drama Spring 2006
35
Whole group: speaking
thoughts
Laura feels that the turtle is almost
capable of understanding what she’s
thinking. It’s as if he can sense her
great sadness, now that Bryher is so
damaged and her brother has run
away to sea.
SIGNAL
If you’re happy to stand in for the
turtle, you’ll be ideally placed to push
children to develop their contributions
to this discussion.
There’s absolutely no need to take on a
‘turtle’ demeanour or ‘voice’! All you
need to do is quietly listen and
question and maybe probe a little
deeper to see how well the children can
identify Laura’s point of view.
It’s a chance for them to recap on
what’s happened to date and to retell
significant events of the story – in the
first person - as Laura.
What would Laura want to tell you
about? Why is she feeling sad? What
does she think will happen to the
islanders now? What are her fears for
Billy? What would she want to say to
him now?
36
Individuals: listening
To the scene between Granny May
and Laura on the beach.
37
Individual: movement
The turtle is too weak to reach the
sea. Granny May arrives on the
beach and tells Laura that turtles
will happily feed on jellyfish - and
there are plenty of those in the
water. They pick up their shrimping
nets and wade into the sea in search
of the turtle’s supper.
38
Whole group: listening
As the turtle crawls back to the sea.
18
Sitting in a space.
Look to see how well children are
‘wading’ against the weight of the
water, at how they ‘look’ for the
jellyfish before netting them. Watch
how carefully they carry the nets and
their contents back to the turtle.
As ever, ask individuals who are doing
well at this to show their mimes to the
rest of the class.
Sitting in one big group.
First Steps in Drama Spring 2006
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40
Whole group: imagining the
turtle’s thoughts
The turtle returns to the sea, helped
on by Laura and Granny May’s
encouragement and care. As she
walks back to the farm, Laura tries
to imagine what the turtle might be
thinking now it’s swimming once
again in the sea.
SIGNAL
A big imaginative leap is needed here to
make this piece of dramatic licence
work to best effect. Taking turns, the
children voice the turtle’s thoughts
about the experience on the beach and
its return to the ocean.
If a sentence or two proves too difficult
for some, maybe turn this into a oneword contribution. Each person uses
just one word to sum up the turtle’s
view of the events and of the happy
outcome.
Individual: writing Laura’s diary
Writing as Laura, what will the children
include in today’s entry?
(The day Laura saved the turtle, turning
it over, catching the jellyfish, helping it
back to the sea.)
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First Steps in Drama Spring 2006
Programme 5: Endings and beginnings
CD
track
41
42
43
44
Drama activities
Teacher guidance
Whole group: listening
Laura recaps the story and tells the story
of the harsh winters on Bryher.
Individuals: movement
People are starving. The group take on the
role of Laura who is sent down to the
beach to gather limpets for supper.
Whole group: listening
To the scene between Father and Granny
May talking about leaving Bryher.
Whole group: talk in role
Laura is devastated by the thought of
leaving Bryher. She wishes that Billy
would come home to help make things
better. She wonders what she would tell
him if he came home.
SIGNAL
Gather the children in one big
group ready to listen.
It may help to explain that
limpets are tiny shellfish. They will
need to be prised off the rocks.
Look for detailed work here,
carried out to Laura’s instructions.
In one big group.
Someone needs to sit in Billy’s
place for this activity. The rest of
the group takes on Laura’s role to
take turns at telling him what has
happened since he went away and what’s going to happen next.
If you’re in Billy’s role, question
them about the facts. This will
provide an ideal opportunity to
find out what they consider to be
the most significant parts of the
story. Ask also about their
feelings. Maybe, everyone could
contribute a one-word answer
here.
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46
Groups of 3 or 4: listening
To the rescue of the Zanzibar’s crew from
the storm.
Groups of 3 or 4: still pictures
There’s a ship running aground on Seal
Rock. The villagers launch the gig: the
rescue boat. For the very first time, Laura
is allowed to help.
Picture 1 - the boat being carried,
standing two by two with the boat raised
on their shoulders.
Picture 2 - rowing out to sea, using all
their strength to row through the heavy
swell, the wind and the rain.
Picture 3 - the rescuers reaching out to
lend a helping hand to the sailors.
SIGNAL
20
In groups of four.
You’ll be asked to tell groups
when to change from one picture
to the next. Look for collaborative
effort here in giving the pictures a
dramatic appearance, one that
can be sustained sensibly. Ask the
groups to use what they’ve heard
in the sound effects to give them
the right kind of feeling for their
work. Show good examples of the
finished pictures to the others.
First Steps in Drama Spring 2006
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Whole group: listening
To the scene in which Laura rescues Billy.
Whole group: movement
All sorts of treasures have bobbed in from
the wreck of the Zanzibar - including a
herd of cows. Now, they need to be
rounded up.
SIGNAL
In one big group.
This activity is based on the game
‘Grandmother’s Footsteps.’
One person stands with his or her
back to the rest of the class. The
others creep forward, slowly and
quietly and freeze when the
object of their stealthy approach
turns round. Any movement, and
they are sent back to start again.
The game is used here to mirror
the way that the villagers herd
the frightened and nervous cows.
Stealth and silence are the
qualities to aim for. No one needs
to pretend to be a cow!
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50
Whole group: listening
To the scene on the beach with the turtle.
Staying in one big group.
Individual: writing Laura’s final diary
entry
There’s so much to write about
here. Not only has Bryher been
saved, but the wreck has also
thrown up one other, priceless
treasure: Billy. What will feature
most highly in Laura’s diary entry
today?
Or the children could choose any
episode from the story to write
about. Or they might like to write
the diary from Billy’s point of
view, describing his time at sea
and the rescue (how proud he
was to see his sister row the gig,
etc).
21
First Steps in Drama Spring 2006
Unit 3: Dinosaur camp
by Alan MacDonald
Curriculum area: English / PSHE
Learning outcomes: the main focus of this unit is an exciting adventure that
becomes a means for introducing some of the basic drama techniques of the
series (if you are not a regular user of the series you may wish to undertake this
unit first with your group)
NB. The programmes in this unit each comprise a single CD track (CD2
tracks 1 and 2).
Programme 6: A hole in time
Synopsis
The fantasy adventure begins as two children – Tessa and Carl - are catapulted
into the dinosaur age when they discover the remains of a dinosaur nest while at
a summer camp. They find themselves back in the Mesozoic period (245 – 65
million years ago) when creatures like Triceratops, Stegosaurus and the
fearsome Tyrannosaurus Rex roamed the earth.
Their immediate problems are to stay safe and to find a way back to their own
time. They find themselves face to face with a female Tyrannosaurus who is
protecting her nest. The children escape and hide after encountering further
dangers.
Programme 7: Part two
Synopsis
In the morning they find themselves looking down on a valley where many
species of dinosaur are hunting for food. They decide to follow a male
Tyrannosaurus to find out if it will lead them back to the nest which covered the
hole in time. They make a difficult journey back to the nest, only to be
confronted by another awkward problem – the mother Tyrannosaurus is still
guarding her eggs. Their only hope of getting back home is to find a way to
distract the dinosaur so that they can dig in the nest and uncover the hole in
time.
During the programmes the listeners will mainly keep in the roles of the two
children in the story, providing opportunities for movement, listening, recall and
problem-solving. It may be helpful to do some background work on dinosaur
eggs and fossils before the programmes.
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First Steps in Drama Spring 2006
Programme 6: A hole in time
Drama activities
Teacher guidance
Individual: movement
The children arrive at their school summer
camp. Working on their own, they help to
set up camp, including putting up tents and
fetching water and firewood.
Sound track ends with SIGNAL (a short
vocal effect)
Join in alongside everyone else in order to
establish the context and show your
commitment to the drama.
Encourage everyone to work quickly and
carefully – darkness is coming on.
The activity is accompanied by a sound
track (which ends with the signal). Extend
the activity by playing the sound track
again or pausing at the signal to continue
in your own time.
Pairs: movement
Working in pairs, children slip away from
the camp fire to the spot where the fossil
was found. One leads, leaving a trail for the
other to follow. When they arrive at the
mound where the fossil was found they
must dig in the earth to see if they can find
any others.
Pairs: still pictures
Remaining in their pairs, children make still
pictures of the moment they discover the
Tyrannosaurus looking down on them. Ask
the children to be ready with some words
describing how they are feeling.
SIGNAL.
After the signal the pairs are invited to
show their still pictures at the moment they
hear the dinosaur roar (which is followed by
the SIGNAL to pause the programme).
The activity is accompanied by a sound
track.
Look out for those pairs who respond
carefully to the new information provided
through instructions.
Set groups a short time limit for preparing
their pictures – just a few minutes.
Move around pairs as they prepare their
pictures, questioning to establish detail and
supporting as necessary.
There are various options for showing the
pictures:
- every pair makes their pictures together
- several pairs make their pictures together,
while others watch
- pairs make their pictures individually
Look for groups that make interesting use
of space and body shape – e.g. contrasting
high and low positions.
Extend the activity by inviting pairs to
speak their thoughts – perhaps just one
word to sum up how they feel at the
moment.
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First Steps in Drama Spring 2006
Pairs: enactment
Escaping through a dense forest the pairs
run from the Tyrannosaurus. Then one
child falls into a muddy bog and starts to
sink. Working in pairs still, with little time,
children must decide on a plan of action
and effect a rescue.
SIGNAL.
Everyone will need to listen extremely
carefully to this section, which includes a
number of instructions.
At the signal discuss what has been heard
in order to inform the rescue plans that the
children devise.
Allow some time for pairs to show their
rescues.
Pairs: discussion
Darkness is falling and the children need to
find a safe place to spend the night.
Remaining in their pairs, children discuss
what would be the safest place to hide.
Then they explain the reasons for their
decision.
SIGNAL.
Whole group: discussion
The children still face the question of how
to get back to their own time. Sitting
together as a group, help the children to
carefully retrace the sequence of events
that led up to them falling through the hole
in time. Ask them how they think they
might return to their own time again. They
should be encouraged to give reasons for
their plan.
SIGNAL.
24
Allow some time for pairs to talk together
and encourage them to think imaginatively
about possible hiding places (suggesting
aspects of the surrounding habitat etc as
necessary).
Then invite everyone to share their ideas.
Which ideas do they like best? Which do
they think will be the most effective? And
why?
An opportunity to assess the recall of the
group and to fix the main events of the
story in order.
Extend the activity by ‘story boarding’ the
main incidents in small groups, using still
pictures to show the events.
First Steps in Drama Spring 2006
Programme 7: Dinosaur eggs
Drama activities
Teacher guidance
Individual: still pictures
Working alone, children create separate still
pictures of three dinosaurs from
descriptions they hear in the programme.
The 3 dinosaurs are Triceratops,
Pterodactyl and Tyrannosaurus Rex.
The group make their still pictures of each
to the programme sound track. You may
wish to pause the programme before this
starts to remind the group of the
contrasting shapes of these dinosaurs and
to allow some time to prepare their
pictures. There is about 10” to make and
hold each still picture.
Pairs: movement
Working in pairs, children follow a
Tyrannosaurus, taking great care not to be
seen. Each time the dinosaur roars they
must crouch down and hide.
SIGNAL
Pairs: discussion and enactment
The Tyrannosaurus wades through water to
an island. To follow, the children must find
a way across. They discuss the problem in
pairs and then show how their plan is put
into action.
SIGNAL.
An activity based on the game of ‘Granny’s
Footsteps’. Remind the children of the
instructions: when they hear the music it is
safe to proceed, but when they hear the
dinosaur roar they must crouch down and
hide.
Set the group a short period of time to
prepare – just a few minutes.
Move around the pairs listening to
discussions and watching the plans as they
emerge, supporting as necessary. Look out
for groups who have listened carefully to
the information in the programme that
there are tall reeds and canes nearby and
that something will be needed to paddle
with.
Then allow some pairs to show their scenes
to everyone else and allow those watching
to say what they think is most effective
about them.
Individual: movement
The children follow the dinosaur back to the
nest where they watch, fascinated, as eggs
begin to hatch. Working individually,
children show the emerging baby dinosaur
breaking free of its egg.
The activity happens in real time to a sound
track. It begins curled up on the floor; then
slowly arms and legs are uncurled; then the
baby dinosaurs push against the egg shell;
a small hole is made and is working on until
it is big enough for the dinosaur to emerge.
Encourage careful listening. Be ready to
pause the programme to maintain effective
control.
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First Steps in Drama Spring 2006
Pairs: discussion
Working in pairs again, children discuss
how they can get to the nest without being
attacked by the mother Tyrannosaurus. For
example, should one child attempt to lure
the dinosaur away from the nest? The pair
then act out their plan.
Pairs: movement
Digging to try to recover the hole in time
again. Falling through time back to the
present.
As before, set a short time for preparing
the scenes and then allow some time for
some pairs to show their scenes to
everyone else.
You could extend the activity by introducing
still pictures at key moments.
Encourage careful listening – the activity
happens in real time to a sound track of
digging in the programme.
Look for those children who can convey the
increased tension after the Tyrannosaurus
spots them.
Whole group: talk in role
The teacher can take on the role of the
teacher in charge at the camp, who
demands to know where the children have
been. In turn, the children can give an
account of their adventures, trying to
convince the sceptical teacher.
SIGNAL.
26
The children come together in a circle. In
role as Tessa and Carl they try to persuade
the camp leader (teacher in role) that their
story is true.
Taking on the role of the camp leader
allows you to control the drama from
within, assessing the level of recall of the
pupils. How successful are they at
convincing you that their story is true? How
successful are they at sustaining their roles
(e.g. by speaking in the first person)?
First Steps in Drama Spring 2006
Unit 4: Jason and the Argonauts
by June Mitchell
Curriculum area: History – European study unit ‘Ancient Greece’ / English.
Links in particular to NLS range of reading at Year 3 Term 2 (‘myths, legends,
fables, parables’).
Learning outcomes: to become familiar with the main events of this Greek
myth and aspects of ordinary life in Ancient Greece; to relate aspects of this
story to the children’s own work on story-writing.
NB. The programmes in this unit each comprise a single CD track (CD2
tracks 1, 2 and 3).
Programme 8: A ship called Argo
Synopsis
During this unit the group will remain in role as the Argonauts throughout and
the activities arise directly from the drama scenes.
The story is told from the point of view of Jason. Jason invites the listeners to
help to keep his story alive by coming back to Ancient Greece to learn of his
adventure in search of the Golden Fleece.
Once back in Ancient Greece the listeners take on the role of villagers. They are
approached by Jason who tells them that he is their rightful prince, now returned
to his land after he has been banished by his evil uncle Pelius. His uncle has told
Jason that he may claim the crown that is rightfully his if he can prove himself in
an adventure.
The villagers are persuaded to help Jason go in search of the magical goat skin
called the Golden Fleece. First, however, they must build a ship. The villagers
work together to build a ship, which is then named Argo in honour of the leading
villager, Argos. The ship is completed with a magical figurehead – a bird called
Kroo who can speak.
The ship is launched in the nick of time: Pelius has changed his mind and has
sent his army to capture Jason. The Argonauts set sail for The Land of the North
to find King Phinneus – the only person they know who may be able to direct
them to the Fleece.
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First Steps in Drama Spring 2006
Programme 9: The haunt of the Harpies
Synopsis
The Argonauts sail for 40 days without any sight of land. Finally, Kroo sees The
Land of the North and the Argonauts row for land. King Phinneus and his people
need some reassuring that Jason has come in peace, then welcome him to their
land.
Jason learns that King Phinneus and his people are starving. Their land is
plagued by the Harpies, foul-smelling creatures that swoop down from the air to
steal the people’s food. Jason promises to rid King Phinneus of the Harpies and,
with the help of the Argonauts, is able to frighten them away.
King Phinneus directs the Argonauts to King Aertes in The Land of the East,
telling them that this is where they will find the Fleece. However, there is a
problem: to get there the Argonauts with have to sail through the Clashing
Rocks.
Programme 10: Guardians of the Fleece
Synopsis
The Argo approaches the Clashing Rocks and Jason reads the scroll which King
Phinneus has given him to open at this moment. It explains how the Argonauts
may pass through the Rocks by using Kroo to fly on ahead.
The Argonauts arrive at The Land of the East where King Aertes gives them a
frosty reception. However, he tells them that if they can amuse him by making
pictures of their adventures he may consider allowing them to take away the
Golden Fleece.
The Argonauts make their series of pictures showing their adventures at that
evening’s feast and Aertes tells them that he will give them the Fleece.
However, they are persuaded by Aertes’s daughter – Medea – that he is lying: in
fact he intends to imprison them all. She tells them that her father is cruel and
uses the magic powers of the Fleece to do harm.
Jason resolves to take the Fleece in order to protect the people of The Land of
the East. That night the Argonauts creep past the dragon which protects the
Fleece and when Jason has it safely in his hands they move quickly back to the
Argo ready to leave. Medea comes with them…and will become Jason’s queen.
Finally we learn that Jason replaces Pelius as King and lives happily thereafter
with Medea…with the Argonauts always close by. Jason ends by inviting the
listeners to keep his story alive by telling it to others.
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First Steps in Drama Spring 2006
Programme 8: A ship called Argo
Drama activities
Teacher guidance
Whole group: discussion
The group take on the role of the villagers
and must decide whether or not to help
Jason by building a boat and setting sail to
find the Golden Fleece.
SIGNAL (the signal for this unit is a short
burst of horn music ending with kettle
drums).
The activity is preceded by some detailed
exposition – some of which it will be helpful
to remind the group of. In particular, Jason
says his Uncle Pelius has seized the throne
by imprisoning Jason’s father and by
banishing him; he says that Pelius is willing
to allow Jason to return if he can prove
himself on an adventure; one of the
villagers – called Argos – says Jason has
been tricked; Jason also says he will make
the villagers rich if they will help him.
Allow the group some time to think about
the situation and then invite responses.
Pairs: movement and still pictures
Working in pairs, the children chop down
trees to create the timbers for the Argo.
Jason is to draw the scene on the villagers’
shields and calls out mid-activity for the
villagers to freeze so that he can draw.
Encourage pupils to co-ordinate their
chopping so that the blows are regularly
spaced. Look for those who are able to
convey the weight of the axe and are
mindful of its blade.
When Jason calls for everyone to freeze
look out for those who are able to hold
completely still in the exact position they
find themselves when Jason calls.
Pairs: movement and still pictures
Marking out the shape of the ship and
sawing the trees to create the timbers.
Freezing when Jason calls out.
This activity begins with Argos calling to the
villagers to come together to mark out the
shape of the ship. You may wish to pause
the programme here to get everyone
together in the shape of the ship, with pairs
still side-by-side.
The activity continues with another sound
track – this time sawing. Look for hard
work and commitment. Again, encourage
everyone to be absolutely still when Jason
calls out to ‘freeze’.
Everyone will need to continue to listen
carefully so that they hear all the
instructions.
Pairs: movement and still pictures
This time the pairs pull on ropes to launch
the Argo into the sea. Making a still picture
for Jason when he calls out for everyone to
do so.
29
Encourage co-ordinated movement from
the whole group to Argos’s instructions
(you could use a visual cue to support each
call to ‘pull’.) A final still picture is made.
First Steps in Drama Spring 2006
Whole group: discussion
Deciding on an appropriate name for the
new ship.
SIGNAL.
This activity feeds into the children’s
literacy work by giving them an opportunity
to come up with a ‘kenning’ – a name
which will convey the properties of the new
ship.
Talk together about what sort of qualities
the group feels the ship should have for the
adventure to come and then invite their
suggestions.
Whole group: talk and movement
The group of villagers now become the
‘Argonauts’: each member of the group
stands, says their name out loud and states
their special skill and then moves to the
ship to take their place.
SIGNAL.
This is quite a complex activity so allow
some preparation time. You may also wish
to mark out the ship before beginning using
benches if available.
Allow the group some time to consider their
special skills – make suggestions as
necessary (e.g. caring, clever, strong, good
at steering, good at rowing, good at
entertaining the others, etc).
When the activity commences try to keep a
sense of pace and movement using your
instructions as necessary to maintain the
drama.
Whole group: movement
The Argonauts escape from the soldiers of
King Pelius by rowing out to sea and
beginning the voyage to The Land of the
North.
Encourage three distinct movements for
each of the instructions ‘pull, down and
reach’. First the heavy oars are pulled
through the water; then hands are pushed
down into laps to lift the oars out of the
water; then the Argonauts reach forward
ready to take another stroke.
If you have time and wish to extend the
activity, pause the programme and move
among the Argonauts (perhaps in role as
Argos) encouraging strong, co-ordinated
rowing.
Pairs: talk in role
As the programme ends, each pair of
Argonauts tells each other which parts of
this extraordinary day they will remember
longest.
Stop the programme and then move among
the Argonauts, listing to their ideas and
offering support and ideas as necessary
(preferably in role).
When you’re ready, make a clear signal
that the drama is ending and that everyone
is returning to the ‘real world’ but that the
adventure will continue next time.
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First Steps in Drama Spring 2006
Programme 9: The haunt of the Harpies
Drama activities
Teacher guidance
Whole group: still pictures and
speaking thoughts
The Argonauts have been rowing for 40
days without sight of land. As they rest
they make a still picture showing how tired
they are and speak their thoughts out loud.
SIGNAL.
Before starting the programme re-arrange
the group in their rowing positions in two
long lines, marking the shape of the ship.
Remind them of how the drama finished
last time (with the Argonauts setting sail
for The Land of the North).
Pause the programme at the signal and ask
the group to strike a still picture of how
tired they are feeling – slumped on oars,
etc. Then move along the ship inviting the
Argonauts to speak their thoughts –
perhaps by touching each on the shoulder
as you pass. Repeat contributions out loud
to ensure that all can hear, building a sense
of ritual as you do so.
Whole group: movement
The Argonauts row towards land, using the
drum beat to keep in time. They stop when
they arrive at The Land of the North but
continue to listen.
Pairs: discussion
Kroo warns the Argonauts that the people
of the The Land of the North may not
realise that they come in friendship.
Working in twos the group must decide on
the best way to greet the strangers as the
Argo drifts into harbour.
SIGNAL.
A reprise of the rowing activity from the
first episode. Encourage clear mime for the
rowing – separate actions for ‘pull’, ‘down’
and ‘reach’.
Pause the programme at the signal and
remind the group of the situation as
necessary.
Allow pairs just a short time to prepare
offering ideas as necessary: should they
call out, make peaceful gestures, or
something else.
Then invite pairs to share their ideas with
everyone else and end by getting a feel for
what the group thinks would work best –
and why.
Whole group: talk in role
The Argonauts call out to those on the
shore to persuade them that they come in
peace. They chant the words:
We are the Argonauts
We come in peace
We’re searching for
The Golden Fleece!
Join in alongside everyone else, calling out
the chant when prompted to do so (x 3).
You may also encourage everyone to get on
their feet to make the chant more effective.
There are opportunities here to extend the
activity by splitting into two groups and
allowing one group to show the reactions of
those on the shore and how they are
gradually reassured by the Argonauts.
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First Steps in Drama Spring 2006
Groups of 3 or 4: movement and talk
in role
Each group works on a greeting to show
King Phinneus as the Argonauts step
ashore.
SIGNAL
In order to give each group adequate space
you may feel it is best to allow groups to
find their own space (ie move away from
the ship).
Encourage groups to think about the
movements they will use and any words
(and whether they will speak one at a time
or all together).
When groups are ready to show their
greetings you could adopt the role of King
Phinneus standing on the shore and
beckoning each group, one at a time, to
step forth and greet you.
At the end allow some time for discussion.
What did the group think worked best and
why?
Whole group: movement
Pupils lay down to sleep; then imagine that
they are turning into Harpies. Then they
rise to their feet and move with the
Harpies, flying, soaring, swooping. As the
music fades away they gradually sink back
down to the floor again.
Listen carefully for Jason’s instructions. The
activity begins with the group lying down to
sleep. Pause the programme here if
necessary to allow time for everyone to get
organised.
Join in alongside the group as they
gradually turn into Harpies and then swoop
and soar with the terrible creatures.
Extend the activity either by replaying the
music or by pausing the programming so
that the activity can continue in your own
time (and you may also wish to choose
some members of the group to show their
movement).
Whole group: still pictures
To Jason’s instructions the Argonauts stand
up to face the Harpies as they attack; then
they strike still pictures in fearsome shapes
to scare the Harpies away.
Once again, listen carefully for Jason’s
instructions. Join in alongside the group,
demonstrating your own commitment to
the story.
Again there are opportunities here to
extend the drama by pausing the
programme and arranging the group into
two, so that both the Argonauts and the
Harpies can be shown.
Groups of 2 or 3: still pictures
Making pictures to recall some of the
events of the adventure.
This is a chance to fix some of the main
events of the story in everyone’s mind by
making still pictures before ending.
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First Steps in Drama Spring 2006
Programme 10: Guardians of the Fleece
Drama activities
Teacher guidance
Whole group: movement
The Argonauts row through the Clashing
Rocks to safety.
Organise the group in their positions on the
Argo once more – two long lines marking
out the shape of the ship. Then turn on the
programme to listen.
The activity reprises the rowing from
previous episodes. Look for three distinct
movements for ‘pull’, ‘down’ and ‘reach’.
Encourage the group to think about the
situation and show how they are feeling by
the way they look and the way they row.
Whole group: talk in role
The Argonauts must come to Jason’s
assistance and persuade King Aertes to
allow Jason to take the Fleece away.
SIGNAL.
Allow some time for discussion but try to
maintain the sense of moment and the
need to come up with ideas quickly.
An effective way to approach the activity
would be to adopt the role of King Aertes
yourself, inviting the Argonauts to speak in
turn. This will help you to challenge or
support what is said from within the drama.
Groups of 3 or 4: still pictures
The Argonauts rehearse the still pictures
that they will show to King Aertes as
entertainment at the evening feast.
SIGNAL.
Remind the group of some of the scenes
they may wish to show: King Phinneus on
the shore; the Harpies attacking; sailing
through the Clashing Rocks, etc.
Move among the groups to assess their
work and offering guidance as necessary.
At this stage the groups are just rehearsing
so there is no need to show work.
Groups of 3 or 4: still pictures
This time the groups show their pictures to
King Aertes, hoping that if their pictures
are good enough he will allow them to take
away the Golden Fleece.
Once again, adopt the role of King Aertes
so that you can control the activity from
within the drama.
Summon the Argonauts group by group to
show you their pictures. You may wish to
question groups about their pictures,
offering encouragement (or otherwise!)
Also find a means to allow the other
Argonauts to contribute their thoughts on
the pictures as a means of encouraging
other groups. Try to keep in everyone’s
minds on the fact that the Argonauts are
performing for the Fleece.
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First Steps in Drama Spring 2006
Whole group: movement
A sustained movement activity begins with
the Argonauts creeping past Aertes’s
guards outside. Once there they climb a hill
to a tree where the Fleece hangs from a
branch. The Fleece is protected by a dragon
and the Argonauts must stop and crouch
down when they hear the dragon stirring.
When Jason whistles the Argonauts make
their way quickly and quietly to the Argo
and sit on board.
SIGNAL.
Whole group: discussion
The group discusses the story including
favourite moments and who they will tell
the story to in order to ‘keep it alive’.
SIGNAL TO END.
Before starting the activity you will need to
think about the direction of movement and
where the Argo is located.
Encourage everyone to listen very carefully.
When they hear the dragon snooze they will
need to crouch down and then listen for
Jason’s instructions to resume.
Join in alongside everyone else so that your
movements – and pacing – can become a
model for the others.
An opportunity to fix some of the key
events of the story in everyone’s mind and
to relate some of the aspects of the story
to the group’s own work on story-writing.
The elements of fiction that you may
choose to discuss include: beginnings,
middles, endings, characters, plot,
complications to the narrative, resolution,
etc.
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