IT’S DARK
0UTSIDE BY TIM WATTS, ARIELLE GRAY & CHRIS ISAACS
EDUCATION RESOURCE PACK
WRITTEN BY LIBBY KLYSZ
CONTENTS
TYPE OF ACTIVITY
CURRICULUM LINKS
PAGE
CONTENTS
2
BACKGROUND
INFORMATION
3
CREATING THE
SHOW
ANALYSING THE
SHOW
AFTER THE
SHOW
Activity 1: Masks
The Arts: Arts Ideas, Arts Skills & Processes, Arts in
Society
Society & Environment: Culture
Drama Course: Voice & Movement, Drama Processes,
Drama Forms & Styles, Drama Conventions, Cultural
Values & Practice, Historical & Social Knowledge, Design &
Technologies
6
Activity 2:
Puppets
The Arts: Arts Ideas, Arts Skills & Processes
Technology & Enterprise: Technology in Society
Drama Course: Voice & Movement, Drama Processes,
Drama Forms & Styles, Drama Conventions, Cultural
Values & Practice, Historical & Social Knowledge, Design &
Technologies
9
Activity 3: Playing
with Light and
Shadows
The Arts: Arts Ideas, Arts Skills & Processes
Drama Course: Voice & Movement, Drama Processes,
Drama Forms & Styles, Drama Conventions, Cultural
Values & Practice, Historical & Social Knowledge, Spaces
of Performance, Design & Technologies
15
Activity 4: Mime
The Arts: Arts Ideas, Arts Skills & Processes
Drama Course: Voice and Movement
17
Activity 5: Multiart form Theatre
The Arts: Arts Ideas, Arts Skills & Process, Arts Responses
Technology & Enterprise: Enterprise, Technology in
Society
Drama Course: Drama Processes, Drama Forms & Styles,
Spaces of Performance, Design & Technologies
18
Activity 6: Issuebased
Playbuilding
The Arts: Arts Ideas, Arts Skills & Processes, Arts in
Society
Drama Course: Voice & Movement, Drama Processes,
Drama Forms & Styles, Historical & Social Knowledge
19
Activity 7:
Westerns
The Arts: Arts Ideas, Arts Skills & Processes, Arts
Responses, Arts in Society
English: Viewing, Writing
Society & Environment: Culture, Time Continuity &
Change
Drama Course: Drama Processes, Historical & Social
Knowledge
21
Activity 8:
Reviewing the
Show
The Arts: Arts Responses
English: Processes & Strategies, Viewing, Writing
Drama Course: Drama Processes, Cultural Values &
Practice
22
CONTACT INFO
It’s Dark Outside Education Resource | Perth Theatre Company 2012
26
2 BACKGROUND INFORMATION
ABOUT PERTH THEATRE COMPANY
Perth Theatre Company is the leading provider of professional, contemporary theatre for audiences who
want to be entertained, moved and challenged.
Perth Theatre Company grew from the SWY Theatre to become the State’s first professional theatre company in
1983. In 1994 under the direction of Alan Becher, Perth Theatre Company became resident company at the
Playhouse Theatre. In 2008 Melissa Cantwell was appointed Artistic Director and in 2011 Perth Theatre Company
became a resident company at the prestigious State Theatre Centre of Western Australia.
Perth Theatre Company has developed a strong artistic relationship with It’s Dark Outside creators (Tim Watts,
Arielle Gray and Chris Isaacs) since taking on the role of producer of the international award winning The
Adventures of Alvin Sputnik: Deep Sea Explorer by Tim Watts and Weeping Spoon Productions in 2009. It’s Dark
Outside was commissioned by Perth Theatre Company in 2010 and premiered as part of the company’s 2012
season.
ABOUT IT’S DARK OUTSIDE
The creators of the international multi-award winning production The Adventures of Alvin Sputnik: Deep Sea
Explorer have created another heartfelt adventure. Using puppetry, mask, animation and live performance, they
deliver a grand epic western about death, redemption and dementia.
As the sun sets, an old man and his noble tent go wandering into the wild. He is losing his mind. Swept up in a
surreal world, he is on the run. Meanwhile a mysterious tracker has caught the scent, and is hell bent on hunting
him down. But while he can try and run away from the life he once knew, he can't hide from everything.
“A rare triumph of theatrical ingenuity and human compassion.”
The West Australian
“Memory loss has rarely had such a novel treatment, approached with poetic insight and lightness of
touch that makes it moving and uplifting to watch.”
The Australian
A wonderful combination of live theatre, puppetry and animation… 5 out of 5 stars
Arts Hub
FROM THE CREATORS | TIM WATTS, ARIELLE GRAY & CHRIS ISAACS
An extract from the It’s Dark Outside program:
Sundowning Syndrome is a psychological phenomenon associated with confusion and restlessness in patients
experiencing forms of dementia. The term ‘Sundowning’ comes from the unexplained nature of a multitude of
behavioural problems which begin to occur in the evening or while the sun is setting. One of these behavioural
problems involves a person wandering off into the surrounding areas of a home, house or care facility. This
unexplained departure from the domestic, a voyage into the wild, has become the starting point for It’s
Dark Outside.
We’re sorry to say it, but this show is sad. It’s a sad topic. Ultimately dementia is a slowly decaying disease and
like other diseases can seem almost impossible to combat. With It’s Dark Outside we do not look to share insight
into the mind of a dementia patient, nor do we pretend to understand the complexities of a disease which affects so
many. What we present is a story; a tale of an old man who has gone wandering into a wilderness. Whether that
wilderness is the world outside, the old man’s own mind or a haunting form of the disease – it’s up to you. What we
can say for certain is the topic of discussion deserves respect, and although it lends itself to ultimately sad
conclusions perhaps we have found something beautiful, hopeful and comforting in the telling of this old man’s tale.
It’s Dark Outside Education Resource | Perth Theatre Company 2012
3 BACKGROUND INFORMATION
CAST AND CREW
Tim Watts CREATOR/PERFORMER
Tim Watts is a performer, deviser, director, producer, puppeteer and animator.
He is a founding member of Weeping Spoon Productions, an international multiaward winning independent theatre company based in Perth, Western Australia.
He has performed/devised/directed theatre and participated in workshops all
around Australia and the world, including Adelaide, Melbourne, Brisbane,
Beijing, Shanghai, Prague, Montreal, Ottawa, Toronto, London, California, and
New York. Some credits include Deathtrap (PICA, Perth), Red Lashes (UNIMA
2008, Perth), Greed (Canada Fringe), Hope Is The Saddest (Brisbane
Festival), Duck, Duck Goose! (The Blue Room, Perth), Oscar (Perth), Heart of
Gold (PICA, Perth) and in February 2012 co-directed Pollyanna (FringeWorld,
Perth). Most recently he has been performing sell-out seasons of his solo
show The Adventures of Alvin Sputnik: Deep Sea Explorer all around the world
including Perth, Sydney, Melbourne, Edinburgh, Dublin, Seoul, Taipei, Auckland,
Denmark, United Kingdom and New York receiving numerous awards
including ‘Outstanding Solo Show’ at the New York International Fringe Festival,
"Best Theatre" at Auckland Fringe Festival, "Best Puppetry" at the Adelaide
Fringe Festival, and "Best Male Performer" at Dublin ABSOLUT Fringe.
Arielle Gray CREATOR/PERFORMER
Arielle Gray graduated in 2005 with a BA (Contemporary Performance). She is
a performer/theatre-maker/puppeteer/improviser. Arielle’s theatre credits
include devising and performing in Pollyanna, a large scale interactive,
promenade work first performed at FringeWorld 2012, performing in They Ran
‘Til They Stopped with The Duck House, Black Swan State Theatre
Company’s A Midsummer Night’s Dream directed by Kate Cherry, Hope Is
The Saddest for Mythophobic Productions at the Brisbane Festival ‘Under the
Radar’, Duck, Duck, Goose! (Winner ‘Member’s Choice’ at The Blue Room
Theatre Awards), & solo show Nobody Cares But You at The Blue Room
Theatre & Adelaide Fringe Festival (for which she was nominated ‘Best
Actress’ at The Actor’s Equity Guild Awards). Arielle also assisted in the
creation of The Adventures of Alvin Sputnik: Deep Sea Explorer with Tim
Watts. In 2009, Arielle was a part of The Black Swan State Theatre
Company’s HOTBED program, performing in Pool [No Water] by Mark
Ravenhill & The Darkroom by Angela Betzien (nominated ‘Best Supporting
Actress’ for both shows at the Actors Equity Guild Awards). Arielle is also a
member of THE BIG HOO HAA improvised comedy group, and has been a
proud member of equity since 2007.
It’s Dark Outside Education Resource | Perth Theatre Company 2012
4 BACKGROUND INFORMATION
CAST AND CREW
Chris Isaacs CREATOR/PERFOMER
Chris is a performer, writer, director, devisor, composer, lighting designer and
stage manager. Recently he was devisor/performer for Weeping Spoon
Productions’ Pollyanna on at FringeWorld 2012. He is the touring and
technical manager of The Adventures of Alvin Sputnik: Deep Sea Explorer
and a member of the creative team behind the show. Other Credits include:
As writer; for Weeping Spoon Production’s The Forlorn (2006), under JUMP
mentoring programme (Mentor: Kate Mulvany) the full length piece The Black
Goat (2010), a member of The Black Swan Young Writer’s Programme for two
years. As writer and director for Summer Nights Solo Spot An Ambitious
Truth and A Sour Reminder (2011). As performer; Portrait Strange
Productions Blue (2012 – Short Film), Fish in Vortex’s House of Fun (2010),
Longwood Productions and Deckchair Theatre Company’s Refractions (2009).
As Lighting Designer; The Wet Weather Ensemble’s Adam and Eve (2011),
The Duck House’s Oscar. (2008), Mythophobic Productions’ Hope is the
Saddest (Brisbane 2008, Perth 2007) and Rusulka Thread (2008), Red
Lashes Artist’s Red Lashes (2008 UNIMA International Puppet Festival). Chris
has also been a proud member of the improvised comedy troupe THE BIG
HOOHAA for five years now.
Rachael Dease MUSIC COMPOSITION
Rachael Dease’s artistic practice encompasses the realms of pop culture
and art music. Graduating with honours from WAAPA in composition, Dease
is known as front woman and songwriter for the critically band Schvendes,
receiving 12 WAMi award nominations, and as the composer and chanteuse
in Matt Lutton's Antigone. In 2012 Dease won the inaugural Martin Sims
Award for most promising work at FringeWorld for her haunting song cycle
City of Shadows, which tours the US in August. Current projects include her
debut solo record, collaboration with dub producer YLEM, and a commission
for new music ensemble Decibel. Anthony Watts SET CONSTRUCTION
Anthony assisted with the building of the props and set for various performances by Weeping Spoon Productions
including Love Pirate, Greed, Specks in the Black, The Adventures of Alvin Sputnik: Deep Sea Explorer and
Pollyanna.
Julie Watts RESEARCH ASSISTANT
Julie Watts is counsellor and poet. She has had academic and personal experience in the area of ageing and
dementia. Julie believes a greater understanding of the ageing experience can help those who struggle move from
Despair to Integrity - an important and final developmental task.
It’s Dark Outside Education Resource | Perth Theatre Company 2012
5 CREATING THE SHOW
Activity 1: Masks
It’s Dark Outside saw Arielle Gray perform in a mask. Mask is the essence of drama - the art of putting on a face
and becoming someone (or something) else.
Mask work can be tricky because the audience can’t see any facial
expressions other than the one of the mask. Actors wearing masks
need to show emotion and action through their body language.
There are three basic kinds of masks:
1. Fixed Focus Masks
Often symbolise or represent a single, known character within a
cultural tradition (including pop-cultural icons or politicians). Their
theatrical expression is very narrow because they are created to show
one attitude only. Halloween masks are usually fixed focus masks.
2. Half-Masks (or commedia dell’arte masks)
These are characterised by having the mouth free to speak. They are
often one colour with exaggerated nose and eye structures.
3. Full Masks (sometimes called Rehearsal Masks):
These are characterised by being one colour (often white) and texture
to allow theatre light and shadow to help animate the features.
There are two types of full masks:
• Neutral Masks show no facial expression, presenting a
challenge to actors who must create expressiveness in spite of
a neutral facial expression.
• Expression Masks emphasise certain character features, yet are abstract enough to perform a range of
emotions. The challenge is to work with them to discover the mask’s best feature or focus.
ABOUT MASK MAKING
Mask making can be as complex or as simple as you like. Latex masks are the most effective and realistic. The
mask used in It’s Dark Outside was latex. You can purchase latex masks, or for instructions on how to make them,
have a look at:
The Special Effects Supply Corporation website
http://www.fxsupply.com/mask/mask.html
You can also use plaster of Paris to make your mask more rigid. If you are using plaster of Paris, think about using
a balloon as the base shape, or using a liberal amount of Vaseline on the model’s face (especially the hairline and
eyebrows)!
You can also use the attached template for a basic neutral mask shape. Photocopy it onto cardboard, and attach
elastic to fit around the back of the head.
ACTIVITY
Step 1: Decide on a script excerpt you will perform in mask or devise a short scene. Make sure the characters are
contrasting and that there is a clear conflict and resolution.
Step 2: If you are creating your own masks, think about what sort of characteristics your mask needs - scary
eyebrows? A pointy nose? A smile? Do you need to speak in your mask? If so, make sure it is only a half mask.
It’s Dark Outside Education Resource | Perth Theatre Company 2012
6 CREATING THE SHOW
Activity 1: Masks
Step 3: Practise working with masks: working with a partner, rehearse how to show the emotions of happy, sad,
angry, tired, surprise, love and hate whilst wearing the mask. You will need to think about posture, gesture and
movement.
Step 4: Walk around the room wearing your mask, leading with the nose. Communicate with your partner in
charcter. Then try this leading with other body parts, such as stomach, pelvis, one shoulder, forehead or knees,
and see how this changes your masked character. Observe your partner in this activity carefully, so you can give
each other detailed feedback.
Step 5: In groups of four, rehearse the script excerpt or scene developed in Step 1 OR use the suggested
sequence below:
•
•
•
Boyfriend/ girlfriend meet in a park, he gives her flowers;
Her ex boyfriend/ girlfriend enters the scene and causes an argument;
A passer-by notices and calls for a policeman.
Focus on showing the emotion of each character during the story. Join up with another group and perform with
each other, so you can get feedback on your mask technique. You could also film your performance and review it
afterwards.
Step 6: Rehearse your scene with the following mask techniques in mind:
•
•
•
•
•
Aim the mask at the audience, so that they can always see the face clearly. Keep your chin up!
Always turn your back to the audience to remove or put on a mask, or make those movements
offstage. This will help your audience believe in your masked character. Likewise, you should never
touch your mask in performance.
Don’t speak in a full-face mask. Your voice will be muffled.
Movements and gestures must be large and exaggerated to compensate for your lack of facial
expressions. Slow and deliberate movements work best.
Small eyeholes in masks can limit your vision- rehearse and perform carefully!
EXTENSION: RESEARCH
Masks have a very long tradition in theatre, with their most well known origins in Ancient Greek Theatre. Choose
between Africa, Asia and Europe and research their cultural and historical use of masks.
It’s Dark Outside Education Resource | Perth Theatre Company 2012
7 CREATING THE SHOW
Activity 1: Masks
It’s Dark Outside Education Resource | Perth Theatre Company 2012
8 CREATING THE SHOW
Activity 2: Puppets
LOOK
Tim, Arielle and Chris constructed all of the puppets and masks used on stage. Arielle kept an online blog of the
construction process. Read on for details.
FROM ARIELLE:
“Tim and I have been attempting to make a puppet for It’s Dark Outside. Tim is making the head and I am using my
very basic sewing skills to try and sew together the body. The hardest part is finding a way to make the joints
(knees, elbows, shoulders, hips) move in a realistic way (i.e. no backwards knees).
I’m using calico at the moment and attaching the body parts together with safety pins until we can test it properly,
and then I will sew it.”
“We also had our housemates help by making some clay hands
and shoes which we were going to try and cast. They are super
cute.”
It’s Dark Outside Education Resource | Perth Theatre Company 2012
9 FROM ARIELLE:
“Tim and I have been working on making the puppet’s head from silicone and after many experiments, we decided
to make the head out of latex and fill it with foam latex.
I will explain how we made it below and not focus too much on
the rejected prototypes.”
Step 1: Make an amazing head out of clay and put a
protective wall around it so that when you do the next step
you don’t get plaster everywhere. Also Vaseline the inside
so it doesn’t stick.
Step 2: Plaster it up.
Step 3: This is the latex head final and the latex painted (with latex
and acrylic paint mixed together). Looks pretty snazzy!
It’s Dark Outside Education Resource | Perth Theatre Company 2012
10 FROM ARIELLE:
“This is the fancy head mechanism Tim made out of PVC
piping and inside the head there is a little bit of a tent pole
so that the head can swivel up and down.”
“Here are some shots of us practicing with the puppet and a
closer picture of the puppet with the new hands that Tim
made out of foam and latex."
It’s Dark Outside Education Resource | Perth Theatre Company 2012
11 CREATING THE SHOW
Activity 2: Puppets
WORKSHOP AND PERFORM
As well as 3D puppets, It’s Dark Outside
made use of shadow puppetry. Shadow
puppetry is a very old form of theatre. It is
perhaps best known in the Balinese puppetry
shows, called wayang kulit. If you would like
to explore more information about wayang
kulit, some great online sources are listed
below:
Wayang Puppet Theatre
http://en.wikipedia.org/wiki/Wayang
Wayang Kulit
http://www.discoverindo.tierranet.com/wayang.htm
Step 1: In small groups, choose a traditional story or fairy tale you would like to explore with shadow puppets.
Step 2: The It’s Dark Outside team make great use of storyboards to
keep track of their shows in development and rehearsal.
•
Use the template provided to storyboard your own
puppet show. It might be helpful to photocopy the
template to A3 size. Think about the images you will
create, as well as any dialogue or sound that may be
used.
Step 3: Now you know which characters and settings you need, it is time to start designing your puppets. Don’t
forget that any detail you wish to show will need to be in the outer silhouette or cut out - the shadows will be solid
shapes! Think about what size your puppets need to be: how big is your screen? How far away from the light
source will you be? Are you using scenery? If so be wary that your puppets are not bigger than the houses in which
they live… unless your story is about giants!
Step 4: Trace your designs onto cardboard. Paper can get floppy - you don’t want your puppets flopping over
halfway through your show! Carefully cut them out.
Step 5: You can add articulated joints (so arms can wave, legs can walk and snakes can slither) by using split pins.
Add sticks so you can hold the puppets in place - bamboo skewers can be very useful here! You might also like to
experiment with cellophane for added colour highlights.
Step 6: Rehearse your show. You will need a sheet strung up, and a light source. An overhead projector can be
just the thing to use here. If you use an overhead projector, or a data projector, you can play with projecting
settings using transparencies or pictures. Think about how you will use your voices to portray the characters.
Remember the audience won’t be able to see their faces move if/ when they talk.
Step 7: Perform your show to your class!
It’s Dark Outside Education Resource | Perth Theatre Company 2012
12 CREATING THE SHOW
Activity 2: Puppets
STORYBOARD
1. Set the scene
Introduce the characters
2. Introduce the conflict
3. Rising action
Conflict intensifies
Image:
Image:
Image:
Sound/dialogue:
Sound/dialogue:
Sound/dialogue:
4. Climax
Turning point where situation
changes, for better or worse
5. Falling action
Characters overcome conflict
6. Ending
Issues are reconciled
Image:
Image:
Image:
Sound/dialogue:
Sound/dialogue:
Sound/dialogue:
It’s Dark Outside Education Resource | Perth Theatre Company 2012
13 CREATING THE SHOW
Activity 2: Puppets
EXTENSION
Now you have perfected your storytelling skills, try retelling your story using ‘found objects’ as your puppets. It’s
Dark Outside featured everyday objects such as tents and cushion stuffing to create puppets.
One form of inspiration for the It’s Dark Outside creators is the
work of animation company Pixar, and in particular the film
Wall-E.
WALL-E Theatrical Trailer
http://www.youtube.com/watch?v=ZisWjdjs-gM
This film uses lots of everyday objects as characters. What can you use to tell your story? A vacuum cleaner? An
iPod? A plastic bag? Experiment with bringing objects to life. Remember the fundamentals of puppetry: always
watch your puppet when they are animated so the audience does not focus on your face, think about how they
would move, and give your puppet life - if they are “alive” they are not still.
A great video to learn about eye focus can be found here:
Basic Puppetry Lesson – Eye Focus (Henson Company)
http://www.youtube.com/watch?v=xWFIFLBmLq0
In fact, all of the Henson Company puppetry lesson videos are great resources for you to view! Search YouTube for
more!
It’s Dark Outside Education Resource | Perth Theatre Company 2012
14 CREATING THE SHOW
Activity 3: Playing with Light and Shadows
WORKSHOP AND EXPLORE 1
Working in groups of three, explore the effect that positioning lighting has on mood and atmosphere. One student is
the illuminated actor, one holds a torch at specific angles towards the actor, and the other observes the effect on
the torch position. Work through the following list, and write down your observations in the chart below:
Hold the torch:
•
•
•
•
•
At face level, from the front
Above the head
Below the face
At face level, from the side
At face level, flickering on and off
Now add different coloured cellophane, or lighting gels over the torch and observe the effects different colours have
on the audience’s perception of the actor. Try blue, green, red and yellow/pink.
White
Blue
Green
Red
Yellow/Pink
Face level
Above head
Below face
Face level, from
side
Face level,
flashing
It’s Dark Outside Education Resource | Perth Theatre Company 2012
15 CREATING THE SHOW
Activity 3: Playing with Light and Shadows
WORKSHOP AND EXPLORE 2
Now gather the following items:
o
An overhead projector
o
A white sheet
o
A cup of water
o
Some food colouring
o
Some transparency sheets
Step 1: Hang the white sheet from a frame, so that it forms a screen on which to project the overhead beam. The
screen must not be attached against a wall, as students need to be able to easily stand both in front of and behind
the screen. An alternative is to tape together large pieces of butcher’s paper, and attach this to some string
reaching across the ceiling.
Step 2: Set the overhead up about three metres away from the screen, and aim the overhead light at the screen.
What happens when you hold objects in the beam of light closer to the screen? Or closer to the projector? How can
you make objects bigger or smaller?
Step 3: Now put yourself behind the screen. Explore the notion of perspective - can you create a picture in which
the audience sees a life-size backpack for you to “climb” into? Can you create a giant to rule over little munchkin
people? What happens if you draw or photocopy a background environment onto a transparency? Can you walk
the streets of London in your classroom? Or swim under the sea?
Step 4: Using a data projector, play animations and video files. Can you position yourself so that you are “in a film”?
Step 5: Stand in front of the white sheet, with the overhead projector light aimed at you. Place a clean
transparency sheet on the overhead projector, and using an eyedropper or a toothpick, get a classmate to carefully
drop three to five drops of water onto the transparency. Be very careful to keep the cup or bottle of water far away
from the overhead projector- water and electrical motors do not mix well! What effect does this have on your
appearance in front of the white sheet? What if you use coloured liquid? See what happens if you put another clear
transparency over the one with liquid on it - interesting effects!
Step 6: You could also explore shadow puppetry using the white sheet and overhead projector. It’s Dark Outside
used shadow puppetry to show the hunter character interacting with puppets.
It’s Dark Outside Education Resource | Perth Theatre Company 2012
16 CREATING THE SHOW
Activity 4: Mime
WORKSHOP AND PERFORM
It is said that 80% of meaning is gathered from non-verbal communication. It’s Dark Outside has no dialogue at all.
The story is told purely through images, live action and song. Let’s play with telling stories without words.
Mime is unconvincing when it lacks detail. Audiences notice when objects appear out of thin air, or if you walk
where a table was just mimed. Working in pairs, investigate how to mime everyday activities, such as drinking a
glass of water. Closely observe your partner drinking an actual glass of water. Can you break this activity into
separate actions?
1. Wrap hand around glass
2. Lift glass
3. Tilt glass against bottom lip
4. Open mouth
5. Tilt back head
6. Close mouth
7. Lower head again
8. Swallow water
9. Move glass away from mouth
10. Put glass down
Now try to repeat these actions without the glass. You’re miming! You can also explore other common actions,
such as opening a door and walking through, removing a piece of paper from a drawer, or dialling a number and
speaking on the phone. YouTube videos are also a great source of ‘how-to-mime’ tutorials.
A funny video showing what poor mime skills would look like in real life can be found here:
How To Spot An Improviser
http://www.youtube.com/watch?v=3b1ZJBgJ5LM
Step 1: Create a short silent scene in which your character attempts to complete an everyday activity but comes up
against obstacles. Examples include making a meal (lots to go wrong - cutting a finger, burning a pan, splashing
water everywhere, knocking over a bowl etc.) walking the dog, doing laundry etc. The scene does not need to go
for very long - one to two minutes is fine. Ask your partner to watch carefully for any mime inconsistencies. Try to
have some form of resolution at the end of your scene.
Step 2: Experiment with some of the scenography methods outlined in Activity 3. Can you find a background or
visual effect to add to your scene?
Step 3: Finally, look at adding a soundtrack to your scene. Focus less on specific sound effects to your actions
(like a glass smashing when you knock it over) and more on generating mood and atmosphere. What are the
effects of playing happy music when your character is very frustrated? Does it make a difference if you use
instrumental music or music with lyrics? Be sure to get feedback on your ideas after you have shown them to your
partner.
Step 4: Using an audio editing program like Audacity can help you edit your track. Audacity is freeware and easy
to use, with many online tutorials available. It will help you cut and paste audio, add effects to music (like echos,
fade in/out or pitch changes), and layer different tracks (for example, rain falling during a song). Are you using
video footage, or animation? Windows Movie Maker or iMovies are great for connecting visual and audio
elements.
Step 5: Perform your solo piece for your class. Are they able to follow what is going on? What emotional reaction
did they have to your performance? Was it what you intended?
It’s Dark Outside Education Resource | Perth Theatre Company 2012
17 ANALYSING THE SHOW
Activity 5: Multi-art form theatre
BRAINSTORM & DISCUSS
What makes theatre “theatre”? Is it just actors saying lines? The creators of It’s Dark Outside use lots of different
elements to create their shows: live actors, puppetry, film, animation, music, and multi media.
There are many companies around the world creating work using multi-art form approaches. Can you find other
companies that fit this description? Here are some companies, practitioners and websites to give you some ideas:
1927
http://www.19-27.co.uk/
Mr Bunk
http://www.mrbunk.com
Theatre Ad Infinitum
http://www.theatreadinfinitum.co.uk/
Blind Summit
http://www.blindsummit.com/
Robert Le Page
http://lacaserne.net/index2.php/robertlepage/
Aphids
http://aphids.net/
Complicite
http://www.complicite.org/flash/
My Darling Patricia
http://www.mydarlingpatricia.com/company/
The Wooster Group
http://thewoostergroup.org/blog/
Version One Point Zero
http://www.versiononepointzero.com/index.php/about/
RESEARCH AND TAKE NOTES
Select two companies from the list above. Research their work and methods, making note of similarities and
differences. Below is a table to assist you:
Company One
Company Two
Country of origin
Year of origin
Training of members
Art forms used in
performance
Objectives of group
Methods of devising/
rehearsing
WORKSHOP AND PRESENT
Working in pairs or small groups, make an entertaining and practical presentation of your research for your class.
You could use video clips, pictures, slides, short excerpts or run a short workshop exercise in the style of the
companies.
It’s Dark Outside Education Resource | Perth Theatre Company 2012
18 ANALYSING THE SHOW
Activity 6: Issue-based Playbuilding
It’s Dark Outside was inspired by the artists research and personal experience of Alzheimer’s disease. The
psychological phenomenon referred to as ‘Sundowning Syndrome’ (where behaviour problems occur in the evening
of while the sun is setting) was a starting point for the creation of the show.
BRAINSTORM AND RESEARCH
Working in small groups, choose a current social issue that you would like to explore. Suggestions include
dementia, refugees, bullying, social media, school exams, or one that you would like to choose.
Working as a dramaturge, brainstorm what your group already knows and your opinions about the topic. You can
use the chart provided to track your thoughts. Be sure to research what you still need to find out!
WORKSHOP AND EXPLORE
How can you present this material in an interesting way?
•
Use Hot Seat to develop characters that are affected by your group issue.
How Hot Seat works:
One person sits in a chair (the hot seat) in front of the audience. The audience then asks questions e.g.
‘What is your name?’ ‘How old are you?’ ‘Where did you grow up?’ The person in the hot seat answers
these questions in character, revealing information about their character to the audience. This activity is
great for developing characters as often you make great discoveries! Your response really depends on the
questions and the imagination of the audience. The audience needs to know your group issue so that they
can develop their questions around this. For example if your issue was bulling they might ask, ‘Do you
know someone who has experienced dementia?’
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Create eight tableaux (frozen pictures) that represent your research opinions on the issue. Remember to
use levels, proxemics, facial expressions and gestures! Use every member of your group in each tableau think creatively! Does every person have to represent a human character? What are some more abstract
ways to use live actors?
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Devise new and interesting ways to present the drama contained in the tableaux. Would shadow puppetry
work? How about using an overhead projector? A short piece of choreography? Or even projected film?
DEVISE, REHEARSE AND PRESENT
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Sequence the new and old material to form a narrative. Do you need to keep all of the scenes? The
creative team used index cards in rehearsal to help sequence It’s Dark Outside.
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Rehearse your performance, including any technical aspects. Pay particular attention to any transition
points - how can these be managed smoothly? Do you need stage crew and/or technical operators to
assist you?
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Perform your devised piece to your class. Talk to them after the show- did they enjoy it? What messages
did they get from the show? Did they have their opinions changed on an issue?
It’s Dark Outside Education Resource | Perth Theatre Company 2012
19 ANALYSING THE SHOW
Activity 6: Issue-based Playbuilding
BRAINSTORMING CHART
FACTS WE KNOW Topic: OPINIONS OF OTHERS ____________________________
_ OUR OPINIONS THINGS WE WANT TO KNOW It’s Dark Outside Education Resource | Perth Theatre Company 2012
20 ANALYSING THE SHOW
Activity 7: Westerns
It’s Dark Outside plays with elements of the Western genre. There is a tracker holding a wanted poster, a desert
setting, and themes of loneliness and journey.
RESEARCH
Working as a dramaturge, either on your own or as part of a team, research some aspects of the Western genre as
outlined below.
Look at the artwork of the following artists. What
impression of the West do you get from each artist’s
representation? With whom are you being positioned
to align yourself? What is missing from each account
of the West? Write down five phrases that describe
each artist’s work.
George Catlin
Albert Bierstad
Thomas Moran
Frederic Remington
Timothy O'Sullivan
Carleton Watkins
Edward S. Curtis
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Watch trailers of some classic Western films. What sorts of characters do you notice appear in many films? Can
you make any general comments about the scenery - colours, settings, lighting? What can you hear in each one what sounds or music are used over and over? To get you started, some film titles are listed below:
A Fistful of Dollars (1964)
The Magnificent Seven (1960)
High Noon (1952)
City Slickers (1991)
True Grit (2010)
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IMAGINE
Think about the sorts of characters that exist in these stories. Choose one, and get your partner to ask you
questions in role. Hopefully, you will be able to explore your character’s history and views. Afterwards, write down
the information you came up with in the interview, and create a character profile.
WRITE
Now write a letter to the editor in role as your character.
Things to consider:
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What issue would be the most pressing for them, and why?
What changes would they be demanding?
Who would they list as allies to their cause?
It’s Dark Outside Education Resource | Perth Theatre Company 2012
21 AFTER THE SHOW
Activity 8: Reviewing the Show
It’s Dark Outside received rave reviews from its Perth Theatre Company season. Here are two reviews, one from
The West Australian and one from Arts Hub.
Theatre Review: It's Dark Outside
David Zampatti | The West Australian | July 6, 2012
As our lives extend, the manifestations of our long declines come from the shadows. Dementia, Alzheimer's,
memory loss and sundowning syndrome (the specific subject of this play) are fearsome, insidious blights on so
many lives.
The team of Tim Watts, Arielle Gray and Chris Isaacs tackle these demons head-on in It's Dark Outside. The
result is a rare triumph of theatrical ingenuity and human compassion.
An old man (Gray performs behind a mask) gingerly takes his seat and gropes for a mug of tea that,
inexplicably, isn't where he thought he left it. It breaks on the floor, and he tries to drink from its shards. The sun
is going down, and his connection with present reality is setting with it.
In the gloom, he goes wandering, and strange and wonderful things happen.
His landscape becomes the wild west of his youthful imagination, a tent becomes his horse, a cloud his dog.
His steps are followed by a moon shadow, a dark shape with a butterfly net. Is it death and oblivion, or is it his
memory of himself as a boy?
When he rises from the tent of his dreams on the "zs" of sleep, while a music box tinkles Somewhere Over the
Rainbow, the stars are brilliant tears. The music in his head forms into a song, the only words in the play: "I'll be
your light/when it's dark outside". It's ineffably sad, and deeply, gently, moving.
I must emphasise what thrilling entertainment this is, because I'd hate you to be discouraged by its sombre
subject matter. Watts and his colleagues play in the theatre of ideas, and they stand or fall on their
inventiveness.
It's Dark Outside has a dazzling multitude of both. The cloud dog is a superbly created delight; a dance to Peggy
Lee's I Love Being Here With You, so sweet and sly it drew spontaneous applause from the audience.
So often, if it weren't so sad, it would be easy to laugh at the quirky brilliance of it all.
None of this will surprise anyone who saw Watts and co's hugely successful The Adventures of Alvin Sputnik:
Deep Sea Explorer. Their ability to play with shapes, sizes, silhouettes and sound effects remains just as
impressive, but It's Dark Outside is a much more coherent and powerful piece than its predecessor.
The tenderness with which the performers manipulate their puppets and the eloquence of the narrative is
outstanding, while Rachael Dease's lovely music and Anthony Watts' memorable sets and gadgetry contribute
greatly to the play’s achievement.
There's a touch of genius about these young artists, and it's on display in this, the highlight of the Perth stage so
far this year.
It’s Dark Outside Education Resource | Perth Theatre Company 2012
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Activity 8: Reviewing the Show
It’s Dark Outside
Angela Perry | Artshub | July 6, 2012
It’s Dark Outside transports us on a wild journey into memory, illness, and loss. Created by puppeteers Tim
Watts, Arielle Gray and Chris Isaacs, and based on both personal experience and research, this powerful
production employs puppetry, animation, live performance and music to explore Alzheimer’s. Light and darkness
are a common motif in the production; the trio’s research suggests that during sunset people with Alzheimer’s
will seek adventure, whether it be in their own minds or out in the wilderness.
The adventure begins with an old man sitting drinking tea and contemplating. His teacup, followed by the table
and chair are at the mercy of the three puppeteers who swiftly move these items around in a choreographed
dance. Is he going mad? Is he delusional or hallucinating? It’s up to us to decide.
As his mind continues to wander, minutes later, cotton wool balls drift across the stage to present a variety of
memories from his past. They transform themselves into a very clever dancing poodle and a neon ‘Z’ which
floats across his cot in the nursery. Finally we see his demise as the stuffing falls out of his body. Despite all he
has, he comes to the realization he cannot fight nature’s course. With a ceremonial folding of the old man’s
clothes by a puppeteer, the man is dead.
The puppetry was executed deftly and comically, and included a dancing dome performing its own contortions.
Many memories for me came flooding back when the old man’s alter ego rose out of the dome and performed a
very authentic tap dance. I really appreciated watching the puppeteers manipulate his lower limbs, and oh those
time steps, shuffles, kick ball changes… a real swinger in his day!
Stunning animation, featuring strong use of shadows and empty space, combined with projections of moving
images and stills, complemented the action on stage.
Although the creators apologised for presenting such a sad tale, I had a huge grin on my face throughout, as it
was so beautiful and captivating to watch. It is wise to say that It’s Dark Outside captures the inevitability of
death. Although the production creates a dark atmosphere and lingering tension for the audience, the creators
and puppeteers used the arts with great respect and grace in presenting such a sensitive topic.
The music, composed by Rachael Dease, and the haunting signature tune ‘Take My Hand When it’s Dark
Outside’ stayed in my mind well after the show.
Overall, a wonderful combination of live theatre, puppetry and animation. Congratulations also to Melissa
Cantwell, Artistic Director of Perth Theatre Company, for commissioning this brilliant work.
Rating: 5 stars out of 5
It’s Dark Outside Education Resource | Perth Theatre Company 2012
23 AFTER THE SHOW
Activity 8: Reviewing the Show
Use the following framework to help you write your own review (critique). Write your ideas in note form.
Remember, the more specific details and examples you give, the better!
Following this framework, write your notes into full sentences, to create your review. Make sure that you start a new
paragraph for each section.
State the name of the play, playwright, theatre group, venue, date, director. Briefly give the background
of any relevant person and lead actor/s.
Succinct outline of the plot (story) in enough detail for the reader to understand the story, but brief
enough to avoid ‘rambling’. Briefly explain the initial reaction and impact upon the audience and/or
reviewer.
State the performers’ names (in order of importance or appearance) and the name/s of the character/s
they played. Review the quality of each artist’s performance.
It’s Dark Outside Education Resource | Perth Theatre Company 2012
24 Explain the use of stage design or scenography throughout the performance. Did the play include any set
design and/or props? Was the stage space good or bad for the performers?
Did the play use any lighting, sound/music, costume design or any other technical aspects which were
worthy of mention?
Dramatic Structure - beginning, middle and end. Were some acts/scenes more interesting than others?
Were there any messages, morals or themes presented to the audience?
What is your personal opinion about the play? Do you recommend people to see the play? Do you have
any further comments to add to your review?
It’s Dark Outside Education Resource | Perth Theatre Company 2012
25 CONTACT INFORMATION
Perth Theatre Company
178 William Street
Perth WA 6000
Phone: (08) 6212 9399
Fax: (08) 6212 9398
Email: [email protected]
Website: www.perththeatre.com.au
Facebook: www.facebook.com/perththeatre
Twitter: www.twitter.com/PerthTheatreCo
THE PERTH THEATRE COMPANY TEAM
Artistic Director
Melissa Cantwell
General Manager
Nic Clark
Operations Manager
Sarah Weber
Marketing & Membership Coordinator
Kate Hancock
Administration Officer
Liam Mangan
Finance Officer
Suzanne Fielding
Publicity
Muse Bureau – Grant Capriotti & Lauren Elliott
It’s Dark Outside Education Resource | Perth Theatre Company 2012
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