Drama Workshop Spring 2006
Drama Workshop
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: 9-12
These programmes are available to order (for UK schools only) on pre-recorded
CDs or cassette from:
BBC Schools’ Broadcast Recordings
Tel: 08701 272 272 Monday to Friday 0800 to 1800
Or visit www.bbc.co.uk/schoolradio/howtoorder.shtml for more information
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.
© This publication contains only BBC copyright material: its contents may
be copied or reproduced for use in
1 schools and colleges without further
permission.
Drama Workshop Spring 2006
Drama Workshop
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: Gawain and the Green Knight
The Arthurian legend is brought to life.
6
1. The court of King Arthur
AOD 13/01/2006 – 19/01/2006
2. The castle of Sir Bercilak
AOD 20/01/2006 – 26/01/2006
8
Unit 2: Ironbridge
A unit linking to History and a milestone of industrial development.
13
3. 1708: The Darbys
AOD 27/01/2006 – 02/02/2006
4. 1750: The Barkers
AOD 03/02/2006 – 09/03/2006
5. 1775: The Ironbridge
AOD 10/02/2006 – 23/02/2006
14
Unit 3: Seurat
Linking drama to art and the story of a great painting...
18
6. Part one
AOD 24/02/2006 – 02/03/2006
7. Part two
AOD 03/03/2006 – 09/03/2006
20
Unit 4: Climate crisis
Links to Geography and environmental issues.
24
8. Flood tide
AOD 10/03/2006 – 16/03/2006
9. Stranded
AOD 17/03/2006 – 24/03/2006
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10
16
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22
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27
Drama Workshop Spring 2006
Introduction
Aims of the series
Drama Workshop 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 KS2 A, offers creative drama opportunities based on
stories that usually relate to other curriculum areas.
Drama Workshop, for KS2 B 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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Drama Workshop 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 these 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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Drama Workshop 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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Drama Workshop Spring 2006
Unit 1: Gawain and the Green Knight
by Rob John
Curriculum area: English / PSHE
Learning outcomes: to become familiar with the broad outline of this classic
mythological tale and to consider some of its themes, e.g. honour and honesty.
The unit links to learning objectives of the National Literacy Strategy at Years 5
and 6 and in particular Year 5 Term 2 ‘myths, legends and fables’.
Programme 1: The court of King Arthur
Synopsis
Our narrator is Rachel, who explains that she is compiling an anthology of the
greatest stories ever written and who needs the help of the listeners to
determine whether the story of Gawain and the Green Knight should be
included. Rachel then begins to tell the tale…
It is Christmas at the court of King Arthur. Celebrations are in full sway when
the door to the great hall is thrown open and a mysterious knight enters, riding
a green horse and completely clad in green. The Green Knight throws down a
challenge to the Knights of the Round Table: he, the Green Knight, will allow any
one of them to strike a blow at him with his massive axe, so long as they agree
to allow him to return the blow in a year’s time. The court is silent, but the
youngest of the knights – Gawain – is eager to take up the challenge. Arthur is
reluctant to consent at first, but finally Gawain persuades him.
The Green Knight passes Gawain his axe and kneels, ready to receive the blow.
Gawain raises the axe and strikes the Green Knight’s head clean from his
shoulders. But the Green Knight is not dead; he picks up his head, places it
under his arm and reminds Gawain of the terms of their challenge: in one year’s
time it will be Gawain’s turn to receive a blow.
Programme 2: The castle of Sir Bercilak
Synopsis
Christmas one year later. Gawain rides from Camelot to find the Green Knight to
fulfil the terms of the challenge. After searching without luck for many days he
meets Sir Bercilak – who mysteriously knows both Gawain’s name and his
purpose. He persuades Gawain to spend a night at his castle with the promise
that he will lead him to the Green Knight the following day.
Gawain enjoys a welcome evening’s hospitality, at the end of which he retires to
bed. However, he is disturbed in his chamber by Sir Bercilak’s beautiful wife,
who claims to be sorry that the young knight is not staying longer. She asks
Gawain for a kiss to remember him by – but Gawain refuses, saying that it
would be contrary to a knight’s code of conduct and would dishonour his host.
Lady Bercilak then offers Gawain what she says is a magic belt. She tells Gawain
that if he wears it in the morning he will be protected from the Green Knight –
but there is a price to pay: the kiss. Gawain considers his certain doom at the
hands of the Green Knight, then kisses Lady Bercilak once on the cheek and
accepts the belt.
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Drama Workshop Spring 2006
The following morning Sir Bercilak leads Gawain to the Green Chapel, where the
Green Knight is waiting. Gawain kneels to accept the blow of the Green Knight –
but all he receives is a slight nick on the neck. When Gawain jumps to his feet
he finds himself confronted not by the Green Knight but by the Bercilaks. They
explain that Sir Bercilak is subject to the magic of an evil witch who sometimes
sends him forth to test the courage and honesty of other knights. They tell
Gawain that he has passed this test and that the kiss is but a minor
transgression for which he has been repaid with the small cut on his neck. But
Gawain is not so sure: although he is fêted when he returns to Camelot he feels
he has broken the knights’ code of conduct and thus is a failure.
Further reading:
One of the most popular retellings of the story for children is:
Sir Gawain and the Green Knight by Selina Hastings, published by Walker Books.
The paperback version is ISBN 0744520053.
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Drama Workshop Spring 2006
Programme 1: The court of King Arthur
Activities
Teacher guidance
Whole group: discussion
(CD1 Track 1)
Discussing what makes a great story with a
view to deciding whether the story of Sir
Gawain and the Green Knight should be
included in a collection called The Greatest
Stories Ever Told.
The ‘pause programme’ signal for this
unit is a short burst of medieval music.
Individuals: mime
(CD1 Track 2)
Working individually the group take on the
role of servants, musicians, etc getting the
great hall ready for the Christmas
festivities.
Lead the discussion and begin by asking
the group to name some of their favourite
stories. Ask what they like about each story
as a means of beginning to determine what
the elements of a great story should be.
Try to get a range of genres covering
comedy, mystery, adventure, etc. Relate
the group’s ideas to their work on story
writing and, in particular, their analysis of
the elements of fiction including
beginnings, middles, endings, character,
plot, setting, tone, complications to the
narrative, etc.
Some suggestions for activities are given
within the programmes. You may wish to
pause the programme to remind the group
of some of these: carrying food from the
kitchens; laying the tables with food,
crockery, cutlery; decorating the hall with
holly and ivy; musicians practising for the
festivities.
The activity is accompanied by a sound
track to give an aural stimulus to the
activity. The sound track runs from 02 17
to 03 00 of CD1 Track 2 (and ends with the
pause programme signal).
Extend the activity by freezing the scene
and moving among the group to hear their
spoken thoughts as they prepare for the
feast.
Groups of 3 or 4: still pictures
(CD1 Track 3)
Making two contrasting still pictures of the
servants and / or guests to show how the
mood changes when the Green Knight
enters.
The aim is to create two still pictures
showing the maximum degree of contrast:
the first shows a happy and relaxed scene
with everyone enjoying themselves; the
second shows the anxiety and disbelief
shortly after the Green Knight enters.
Do not allow the groups to show the Green
Knight directly: instead tell the groups they
can suggest his presence by where they
choose to look.
Relate the elements of the story back to
the children’s own study of the elements of
fiction.
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Drama Workshop Spring 2006
Pairs / whole group: discussion
followed by talk corridor
(CD1 Track 4)
Working in pairs the group discuss whether
or not Arthur should allow Gawain to accept
the Green Knight’s challenge. Then the
group forms a talk corridor, with one
member of the group taking on the role of
Arthur to walk between the lines and listen
to the views for and against.
The activity is liable to take some time and
organisation without tight control, so begin
by placing a time limit of just a couple of
minutes on the initial discussion between
pairs.
The aim of the activity is to explore the
complexity of Arthur’s feelings and, in
particular, to begin to tease out the tension
between basic human instinct (in this case
to protect the young and to steer clear
from obvious peril) and the knights’ code of
conduct (to accept a challenge whatever,
to seek glory etc).
When pairs have discussed quickly form
two lines with a passageway between.
Choose one member to be Arthur and walk
between the two lines, listening to the
advice given (which, to encourage the
sense of ritual, should be offered quietly
but persuasively). Pass by any members of
the group who do not feel able or wish to
contribute.
At the end, Arthurs can say how they
would decide and which the most
persuasive arguments were.
Whole group: still picture
(CD1 Track 5)
Making a still picture of Arthur’s court at
the very moment the Green Knight
departs, leaving Gawain to ponder his
future.
To make the picture members of the group
will need to be allocated to Gawain, Arthur,
Guinevere, the servants, the knights and
ladies.
You may wish to choose someone from the
group to act as ‘conductor’, allocating roles
from the group and positioning them to
create the picture. The main focus of the
picture should be Gawain – coming to
terms with the realisation that he has not
harmed the Green Knight.
Once you have created your picture explore
what each person would like to say to
Gawain. Does Arthur feel a sense of
responsibility for allowing Gawain to take
the challenge? Does anyone feel that
Gawain can ignore the challenge (and, if
so, is there any difference between what
the knights have to say and the others
do?)
Whole group: discussion
(CD1 Track 5 – very end of track)
Discussing the story so far.
Talk about the main events of the story
and what everyone thought of it. Is it a
‘good’ story?
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Drama Workshop Spring 2006
Programme 2: The castle of Sir Bercilak
Activities
Teacher guidance
Groups of 3 or 4: still pictures.
(CD1 Track 6)
Making still pictures of some of the most
significant moments from the first episode
as a means of recalling the main events of
the story so far.
There are a variety of ways of approaching
this:
- allow each group to make just one still
picture
- allow each group to choose a number of
pictures to make – say 2 or 3
- prescribe which events will be turned into
still pictures and which group will work on
them
When you come to show the pictures there
are again a number of options:
- allow groups to strike their pictures one
after the other by pointing to each group in
turn
- if you’ve determined which pictures
should be shown, call out each picture in
turn with groups participating as their
pictures are called
At the end ensure that everyone has a
clear recall of the main events of the story
so far.
Groups of 3 or 4: thought tracking
(CD1 Track 7)
Children stay in their groups to explore
Gawain’s thoughts during the night
immediately before he must return the
challenge.
One child takes on the role of Gawain, lying
in bed. He summons the others to express
his thoughts by pointing at them in turn.
The crux of Gawain’s thoughts – fear at
what he will face in the morning – should
be clear to all. So encourage groups to
think creatively about how they can
present this scene: perhaps by Gawain
returning constantly to one over-riding
thought, or by gradually accelerating
between thoughts as Gawain becomes
more fevered.
Allow time for groups to show their work to
each other and for those watching to say
what they liked and why they found it
effective.
You might also wish to allow some of
Gawain’s nightmares to be explored
through movement. If so, encourage
groups to aim for a stylised presentation,
using techniques such as slow motion.
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Drama Workshop Spring 2006
Whole group: discussion.
(CD1 Track 8)
Discussing what Gawain will do when Lady
Bercilak offers him the belt…and what he
should do.
Remind the group of Gawain’s precise
circumstances before commencing the
discussion: Gawain believes he can protect
himself against the Green Knight by
accepting the belt…but the kiss that he
must give Lady Bercilak for it will mean
breaking his knightly code of conduct.
This dilemma is the crux of the story:
Gawain believes he must either surely die,
or he must compromise his behaviour and
dishonour his host.
Consider the rigid code of behaviour
required of the knights. Do the group feel
there are times when it would be right to
‘break the rules’ of the code? Where do
they feel Gawain’s responsibility lies – to
himself or to Sir Bercilak? And are there
any other elements of the story that might
inform Gawain’s behaviour (for example,
the Green Knight is clearly a supernatural
figure – should that influence his decision
at all?)
Assessing what Gawain will do (as opposed
to what he should do) means assessing
what we have learnt of his character so
far…and whether he’s the kind of character
who is likely to compromise.
Groups of 3 or 4: still pictures.
(CD1 Track 9)
Making still pictures of the statues which
line the path to the Green Chapel,
commemorating past deeds of the Green
Knight.
For these still pictures to be effective the
groups will need to think beyond simple
depictions of the Green Knight overcoming
another knight in combat – for a start, a
significant role must be found for each
member of the group. Kick-off the activity
with some discussion of some of the other
confrontations the Green Knight might
have been involved in – for example, with
dragons or other creatures.
When you come to display the pictures
there are a number of options:
- allow each group to show their work in
turn
- create the pathway of statues as Gawain
would see it, with each statue ‘more
terrifying than the last’
- choose someone to be Gawain and walk
along the line of statues, with each statue
momentarily coming ‘alive’ as Gawain
passes.
The overall emphasis is to increase the
tension as Gawain approaches the Chapel.
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Drama Workshop Spring 2006
Whole group: discussion
(CD1 Track 10)
Discussing Gawain’s feelings at the end of
the story and what they might indicate.
Determining whether this is a good story.
A final opportunity to discuss the story and
its main themes.
When Gawain returns to Camelot his
‘achievement’ is celebrated by Arthur and
the court. But are they missing the point?
Gawain feels sad because - to some extent
- he has failed in his challenge. In
accepting the belt from Lady Bercilak at the
price of a kiss he has proved ‘only human’.
But, according to Sir Bercilak the kiss
matters little: Gawain has proved himself
substantially courageous and honest and
the minor transgression of the kiss is easily
forgiven and forgotten.
So which of the characters is right? Is the
knights’ code of conduct any way to behave
in the real world? Is Sir Bercilak’s more
flexible approach right? Can anyone ever
be so perfect as to live up to the knights’
ideals?
End by considering the merits of the story
in relation to the group’s own work on story
writing, particularly with regard to the
elements of fiction such as beginnings,
middles, ending, character, plot, setting,
etc.
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Drama Workshop Spring 2006
Unit 2 :Ironbridge
by Jim Belben
Curriculum area: History / Geography
Learning outcomes: To explore a significant technological event and its
influence on the locality, including the people who live there.
Programme 3: 1708 – The Darbys
Synopsis
10 year-old Elizabeth Barker and her father take Abraham Darby I along the
winding path into Coalbrookdale in an old horse-drawn cart. It is rough and hilly
territory. They arrive at the old iron-works. It is derelict, seemingly beyond
repair. Abraham Darby is determined to get it working again…but will he succeed
where others have failed?
Programme 4: 1750 – The Barkers
Synopsis
The cooking pot was a very successful invention. Just as Abraham Darby I had
predicted, demand was enormous. Coalbrookdale was famous and Darby and his
family became rich.
Now we fast forward to 1750. The business is run by Abraham Darby II. It has
many blast furnaces and makes many products - grates, kettles, cooking pots,
wheels. Directly or indirectly it also provides jobs for all the Barker family.
Elizabeth Barker, now a grandmother aged 52, takes us on an exploration of the
dale and her family. What do the Barkers think of their lives?
Programme 5: 1775 – The Ironbridge
Synopsis
It is twenty five years later and Elizabeth Barker is 77, possibly the oldest
person in the dale. Certainly she has outlived Abraham Darby II who has worked
himself into an early grave. Now Abraham Darby III is in charge.
The fortunes of the Darby family and the Barker family seem more intertwined
than ever before as Elizabeth sees her by own grandson drawn into the building
of Abraham Darby III’s pet project - the Iron Bridge across the River Severn.
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Drama Workshop Spring 2006
Programme 3: 1708 – The Darbys
Activities
Teacher guidance
Class circle: brainstorming.
(CD2 Track 1)
Brainstorming with the children all that they
know about iron, particularly what is made
from it.
The ‘pause programme’ signal for this
unit is a short flourish of C18th music
– 4” in length.
This introduces a key theme. Each child has
opportunity to contribute and knowledge is
shared through a co-operative activity.
Offer your ideas if necessary. Facilitate
rather than lead.
Individual: mime.
Standing in the ironworks, each child
pumps the bellows the moves quickly away
from a collapsing well.
Join in the activity. It helps build the shared
imagined environment. The mime helps the
children engage with the fiction.
Small groups: enactment.
Deciding upon a possible accident in the
derelict ironworks and then re-enacting it in
slow motion. The movement sequence
starts and finishes with a freeze frame.
Encourage a still start and finish to the
sequence. You could tell them the activity
requires negotiation, co-operation and
physical control.
Small groups: discussion.
Discussing and deciding two safety rules
from the ironworks.
Move between groups listening and possibly
questioning to elicit details. This activity
encourages logical reasoning, negotiation
and problem solving.
Whole class: discussion.
The whole group tries to agree two
essential safety rules.
Try to enable each child to contribute.
Encourage logical reasoning through
questioning their suggestions and
requesting explanations.
Small groups: mime.
With one child in each group they carry the
large bellows to the furnace base opening.
Individual: movement.
Each child, guided by the narrator, pushes
an imaginary barrow full of iron ore up a
ramp and tips it into the furnace followed
by a load of limestone and then coke. They
pump the bellows and lift tongs to open the
furnace.
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Move alongside groups encouraging them
and praising their efforts. One child has
raised status within the group. You may
wish to select which.
This guided mime helps children remember
the process of making iron through
enacting it. They need to listen carefully
and follow instructions. Be aware of
children requiring support.
Drama Workshop Spring 2006
Individual: movement.
Each child chooses one stage of the iron
making process and makes a still picture of
it. The teacher moves between children
asking for information about their picture.
Pairs: mime
Each child mimes making an object mould
in sand. The partner tries to guess the
intended object before swapping tasks.
This is an opportunity to assess their
understanding of the process. Ask
questions that require explanatory
answers. Interacting and answering in role
deepens engagement with the fiction.
Partner a child if necessary. Encourage
careful mime to assist their partner. The
activity requires co-operation and
concentration. It is a challenge set within
an imaginary context.
Whole class: discussion.
Everyone reports back on the object they
made.
Ensure that each child has equal
opportunity to contribute. This activity
provides an audience for their ideas and
enables ideals to be pooled.
Whole class group.
The children try and guess what Abraham
Darby will be making from iron that will
change the world and make them rich.
Each child should have an opportunity to
guess. You may need to remind them of
the clues and match them to the children’s
guesses.
Whole class: discussion.
The group discuss Abraham Darby and
consider his suitability as their prospective
employer.
15
Use this opportunity for character study.
Gather information based on evidence and
inference. Encourage personal response
that is justified.
Drama Workshop Spring 2006
Programme 4: 1750 – The Barkers
Activities
Teacher guidance
Individual: mime.
(CD2 Track 2)
Guided by the narrator, each child enters
the mine through a low entrance and crawls
along a passage before using an imaginary
pick to mine coal. They drag baskets of
coal, load coal onto carts and light an
explosive fuse. They change occupation and
scythe crops.
Individual.
Each child selects a secondary occupation
associated with the ironworks - e.g. a
wheelwright.
Join in alongside the children. This
occupational mime helps children engage
with the drama. A shared imaginary setting
is established which you are part of.
Partner a child and offer suggestions if
necessary. Selecting their own occupation
and watching each other’s mimes
encourages the children to consider the
range of occupations. The guessing game is
a context for learning.
Whole group: mime.
Each child selects their own occupation and
mimes alongside everyone else as workers
of Coalbrookdale.
Whole group: mime.
The group continues the previous mime but
are asked to focus upon and convey the
hardship and drudgery this time.
Pairs: discussion in role.
As Barker family members they discuss the
problems they face due to pollution and
consider alternative lifestyles. An opening
sentence is offered as a starting point.
Small groups: ritual.
The group divides into conflicting voices in
the mind as heard in a dream. One
subgroup creates a ‘hope’ chant and the
other a ‘despair’ chant reflecting
contrasting views of industrial life.
Whole group: talk corridor.
The hope and despair chanters face each
other in two lines. In turn people walk
between the lines listening to dream
whispers offering opposing viewpoints as
they pass by.
Join in if you wish, possibly moving
between children and interacting through
mime. A shared imaginary environment is
being set and then held as a still image.
Join in alongside. This continued mime is
enacted with increased knowledge and
understanding. It encourages them to
empathise and respond at a feeling level.
Listen in on the discussions to assess the
level of understanding. The children are
being asked to sustain the make-believe
verbally and interact in role while
considering alternatives.
This activity encourages the children to
consider different viewpoints and to
consider character’s stream of
consciousness. You could develop this
performance for each other.
Join in yourself. Direct the children if
necessary to create atmosphere. This talk
corridor enables ideas to be shared within a
stylised dramatic context.
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Drama Workshop Spring 2006
Programme 5: 1775 – The Ironbridge
Activities
Teacher guidance
Individual: mime.
(CD2 Track 3)
The children mime an activity on or near
the busy river - e.g. collecting water,
rowing etc. The teacher gives opportunity
afterwards for children to show their
activity to the class.
Join in alongside the children, interacting in
role. Encourage careful mime. This whole
class occupational mime sets the shared
scene and helps engagement with role.
Whole group: talk in role.
Two lines and one group of 6. The funeral
procession group passes slowly between
the lines of townspeople who speak aloud
their thoughts about the deceased
Abraham Darby II as he passes by.
Join a line and respond using the
opportunity to bring other viewpoints to the
children’s attention. Hold back at first. This
activity encourages reflection on the
previous lesson content and engages them
with a key moment.
Individual: mime.
Each child pulls them self across the river
by rope while standing in an imaginary
rowing boat on rough water.
Join in the activity or move between
children offering words of encouragement.
This mime requires concentration and coordination.
Pairs: still pictures.
The children make a still picture of the
moment before they capsize. The picture
comes alive and in slow motion they reenact the rescue.
Partner a child if necessary. Move between
pairs helping children focus on slow pace. A
key moment is held for reflection through
re-enaction in slow motion.
Small groups: talk in role.
In family groups they discuss the ridiculous
rumour that an iron bridge will be built.
Selected individual children from each
group move between groups spreading and
gathering opinions and information.
You could become a visitor of family groups
thus gathering their ideas and adding any
information or opinion you choose to. This
activity enables each child shared
ownership of the fiction.
Small groups: still picture.
The children design and make the bridge
using their bodies, making sure each child
is securely positioned and supported.
Focus upon safety and stability. Don not
allow lifting. Each child must have body
parts securely on the ground. They are
creating one still image through team work.
Small groups: presentation.
In turn each group presents their still
image of the bridge. The class are invited
to comment upon each design aesthetically
and in terms of safety.
Whole group: enactment.
The children devise a bridge opening
ceremony. They start from a whole group
still picture in which each child selects a
role - e.g. worker, shareholder. The picture
comes alive as the ribbon is cut.
17
Insist on full audience attention. Each
group is performing and should focus upon
a truly still image. Guide the comments
more towards the positive aspects of each
bridge.
Support the children in structuring their
ideas into one ceremony involving ritual.
You could precede the ribbon cutting with
your own commentary or simply join in
alongside.
Drama Workshop Spring 2006
Unit 3: Seurat
by Stephanie Dale and Ian Billings
Curriculum area: Art and Design, PSHE
Learning outcomes: to explore a key work of art - learning about the painting
techniques involved - and to consider at an elementary level the nature of ‘art’.
Note: to get the most out of these programmes it is essential to be able
to display to the group a copy of the popular painting ‘Bathers at
Asnières’ (‘Une Baignade, Asnières’) by Georges Seurat.
If you do not have a copy of the painting in a book there is an online
copy of the picture at the website of the National Gallery in London,
where the painting hangs. Got to:
http://www.nationalgallery.org.uk/
Then enter ‘The Bathers’ in the search field at the top of the page. It will
take you to a page about the painting, from which you can access a large
copy of it by clicking on the thumbnail version.
Keep a copy of the picture to hand during the drama session to refer to
when undertaking the activities. A black and white computer print out is
fine.
Programme 6: Part one
Synopsis
The story of Georges Seurat’s first masterpiece is told by Madeleine Knobloch,
Seurat’s model and partner, looking back on his life after his death.
It is 1883 and Georges Seurat is a young man, just 24, when he embarks on a
new painting. It will show the everyday lives of factory workers enjoying the
sunshine on the banks of the Seine in the Parisian suburb of Asnières. Seurat is
a meticulous artist, making numerous sketches in his studio that he will later
incorporate into the final canvas.
One of Seurat’s models – Pierre – arrives at the artist’s apartment for another
sitting. Pierre has brought his puppy along – to Seurat’s annoyance – and the
young dog is a constant disruption. Seurat works feverishly through the night as
the painting nears completion; Pierre becomes one of the young figures on the
canvas, talking to Seurat about his revolutionary new painting technique called
‘pointillism’.
When Pierre returns sometime later he is thrilled by Seurat’s wonderful creation.
But Seurat knows that the success of his work is dependent on the will of the
most prestigious gallery in Paris – ‘the Salon’ – and its panel of judges.
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Drama Workshop Spring 2006
Programme 7: Part two
Synopsis
Georges Seurat takes his new masterpiece ‘The Bathers at Asnières’ to the Salon
in Paris. It is a crucial moment for him: if the painting is accepted by the gallery
Seurat will join the accepted ‘greats’ of the art world; if he is rejected he may be
consigned to obscurity.
At the Salon he is met by one of the curators who considers the painting and
listens to Seurat’s passionate arguments supporting his new way of painting.
The curator tells Seurat that he must await the final verdict of the jury…and
when that verdict is made a few days later the decision is devastating for
Seurat: his work is rejected as too revolutionary.
Seurat is initially down heartened. But a discussion with his friend, Charles
Angrand, leads to the formation of the ‘Independent Society of Artists’ – a
society who will support the work of new artists painting what they like, how
they like. The new Society is a great success and through it Seurat meets Paul
Signac and plans for Seurat’s next masterpiece are laid.
Weblinks:
Biography. Georges Seurat lived from 1859 to 1891. In his short life – he was
31 when he died – he painted just six major canvases. For more information
about his life:
http://www.guggenheimcollection.org/site/artist_bio_145.html
Seurat is closely associated with the technique of ‘pointillism’:
http://en.wikipedia.org/wiki/Pointillism
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Drama Workshop Spring 2006
Programme 6: Seurat – Part 1
Activities
Teacher guidance
Individual: movement.
(CD3 Track 1)
Beginning to associate with the role of the
painter by creating an imaginary selfportrait: selecting paints, mixing the paint
on a palette, painting a self-portrait.
The ‘pause programme’ signal for this
unit is a brief sequence of classical
music.
Large groups: still pictures.
(CD3 Track 2)
Recreating ‘The Bathers’ using members of
the group.
This activity is prompted by the instructions
of the narrator, so careful listening is
required. The latter part of the activity –
the imaginary self-portrait – happens to
music.
Encourage the group to visualise an image
of themselves and to think carefully about
how they will translate it to the imaginary
canvas.
Have a copy of the painting close to hand
to aid with the activity and be ready to
show it to pupils when necessary (or
prepare sufficient copies for each group to
have one).
There are approximately 10 figures in the
painting: 5 figures on the bank to the left, 2
in the water and a further 3 on the
ferryboat (and a rower is entering the
scene on the right hand side).
One approach to the activity would be to
split the class into 3 groups (depending on
your numbers) and allow each group to
create their own version of the painting –
possibly having nominated an ‘artist’ to
position everyone.
Encourage groups to think about the mood
of the picture: it is a warm afternoon and
everyone is very relaxed. Encourage the
groups to think about perspective and to
recreate the physical depth of the picture
with their group positioning. Incorporate
some physical props if you wish: e.g. the
shirts, boots and hats.
Allow time at the end for each group to
strike their picture for everyone else and
for watchers to say what they like about
each.
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Drama Workshop Spring 2006
Twos: discussion in role.
(CD3 Track 3)
Working in twos – one as Seurat, the other
as one of the figures in the painting - the
pupils recreate one element of the painting.
Seurat questions the figure about who they
are to establish a biography for a figure in
the painting.
Twos: contrasting still pictures
(CD3 Track 4)
In role as Seurat and the model, Pierre,
pupils make contrasting still pictures
showing a) the moment immediately before
the canvas is revealed and b) the moment
immediately after.
The activity grows out of Seurat’s
questioning of the boy in the painting in the
programme.
Move among pairs assisting as necessary
and assessing pupils’ ability to a) create
relevant biographical details for the figure
they have selected and b) sustain the
scene by asking relevant questions.
Encourage pupils to think about the
situation: Pierre is keen to see the picture,
Seurat is not apparently willing to reveal it,
but is excited about what he has created.
The first picture freezes just before the
puppy pulls away the cloth: Seurat and
Pierre might be positioned in contrasting
high and low positions, Seurat trying to
protect the canvas, Pierre trying to restrain
his pet.
The second picture must aim to convey how
the two are feeling. Is Seurat angry? Is
Pierre worried about the reaction of his
employer?
Allow time for pairs to show their still
pictures. Extend the activity by asking each
pupil to say just a few words describing
their feelings in each picture.
Pairs: discussion in role
(CD1 Track 5)
This time one member of the pair is Seurat
and the other is a newspaper reporter
hoping to find out more about the artist
and his new creation.
Move among the pairs, listening to the
conversations and contributing questions as
necessary. Joining scenes in role will
demonstrate your own commitment to the
shared fantasy.
The key things that the reporters need to
find out are any biographical details about
Seurat – e.g. age. Anything about his new
painting – e.g. what does it look like and
who are the figures in it. Anything about
what makes his painting special.
At the end call everyone together to pool
the information and allow it to become a
natural summary of what has taken place
over the session.
21
Drama Workshop Spring 2006
Programme 7: Seurat – Part 2
Activities
Teacher guidance
Twos: movement to instruction (with
teacher in role).
(CD3 Track 6)
Each pair becomes the porters carrying
Seurat’s masterpiece into the Salon for
inspection, negotiating stairways, doors,
etc.
The aim here is to see how carefully and
co-operatively the two porters can work
together to maintain the presence of the
imaginary picture – whatever obstacles are
throw in the way!
Begin by reminding the group about the
large size of the painting (approximately 3
metres long and 2 metres tall).
When each pair is ready to move with the
canvas ‘held’ between them, take on the
role of Seurat directing them across the
space, introducing various obstacles as you
wish (stairs, doors, etc.) Find a pretext to
turn pairs around so that both have a
chance to be at the front.
An alternative approach would be to group
pupils as threes, with one member of the
group adopting the role of Seurat.
Allow particularly successful pairs a chance
to show their work – especially if any are
able to exploit the potential for comedy!
Talk in role.
(CD3 Track 7)
Remaining in twos, one member as Seurat,
the other as the curator of the Salon.
Seurat must persuade the curator that his
work is special and that the Salon should
accept it.
Remind pairs of the situation before they
begin to work on their scenes. Seurat is
passionate about his work and is offering
something distinctive and new; he believes
that acceptance by the Salon may make his
reputation. The curator represents more
traditional tastes; he is not likely to accept
Seurat’s work without very compelling
arguments.
Move among pairs to assess their familiarity
with the context. Are pupils able to make a
case for why the picture is special and
should be included?
22
Drama Workshop Spring 2006
Whole group: hotseating.
(CD3 Track 8)
The group makes a circle and chooses one
member to start as Seurat, sitting in the
middle of the circle. The others question
him about his feelings and what he intends
to do next.
Allow the circle to question Seurat,
introducing control as necessary (e.g.
putting an arm up to ask a question).
Allow several members of the group to
have a turn at being Seurat.
What do they feel he should do next?
Whole group: discussion
(CD3 Track 9)
Talking together about the idea of the
Independent Society of Artists and using
this as a springboard for some
consideration of the nature of ‘art’.
You might wish to include examples of
favourite images that the group know –of
favourite pictures or perhaps of familiar
images from advertising hoardings or even
graffiti that they have seen.
A useful comparison might be made
between a painting – such as ‘The Bathers’
and a simple ‘holiday snap’ photo of the
same scene. Seurat describes the painting
as capturing a moment in time. But what
does a painter aim to achieve that a snap
most likely will not? You may wish to refer
to colour, perspective, mood, etc.
Large groups: still pictures using
‘pointillism’.
(CD3 Track 10)
Arrange the class into large groups
(perhaps two groups, but a single group
would work also) and nominate someone to
be the ‘artist’. The artist uses each member
of the group as a single dot of paint, to
create a simple image.
Recap on Seurat’s revolutionary approach
to painting using ‘dots’.
Suggest some simple images that the
‘artist’ may choose from to create.
Work alongside the artist as they carefully
but quickly assemble the picture from the
members of the group.
Explain to each of the ‘dots’ that they will
need to crouch close to the floor and must
be close to each other ‘dot’ without leaning
on them. This position will be
uncomfortable to hold so pictures could
also be assembled with the ‘dots’ standing
to begin with, and then everyone crouching
together when they are in position.
If more than one group is involved allow
the groups to see each other’s pictures and
attempt to say what they depict.
23
Drama Workshop Spring 2006
Unit 4: Climate crisis
by Richard Pinner
Curriculum area: Geography / PSHE
Learning outcomes: to empathise with a family caught in extreme weather
conditions and to consider how best to deal with the emergency. Links in
particular to Geography – Weather patterns and rivers.
Programme 8: Flood tide
Synopsis
The story is told by the spirit of Green Vale Farm – witness to more than 300
years of history at a working farm in the East of England.
The current occupier of the farm is Norman Hinton. Norman is visited by his
daughter Angie, who works in London, and her two children Tracy and Harry.
The weather is already very wet as Tracy and Harry get started on some of the
farmyard jobs that they love to help their grandfather with.
The rain continues all day and by evening Angie is getting worried: the weather
forecast on the radio has warned of flooding and she’s not convinced the flood
defences along the local river are up to the job. Added to which the children
have been learning about ‘global warming’ at school and a possible rise in sea
levels. The next forecast warns of severe flooding at high tide – due for late at
night. Angie is convinced that everyone should leave the farm and drive to
London…but a drop in the wind and the rain persuades her that it will be safe to
stay after all.
When Tracy and Harry wake late at night they are struck by the eerie quiet. The
lights don’t work so Harry creeps downstairs by torchlight. When he gets to the
ground floor he finds himself wading through water…
Programme 9: Stranded
Synopsis
Young Harry is very scared by his experiences down stairs in the flood water and
it takes some time for Angie and the others to calm him down. The question now
is what the family should do next: try to raise the alarm, salvage their
possessions, try to get the radio working again.
Once they’ve repaired the radio they are further alarmed to hear that more rain
is forecast and that the flood is certain to get worse. Angie knows the family
must abandon the house until the flood water begins to recede, but struggles to
convince Norman to leave his house.
The family make for higher ground using a dingy they keep at the farm. As it
begins to get light they hear the sound of a helicopter approaching. They are
going to be safe. But what of Green Vale Farm – will it ever recover?
24
Drama Workshop Spring 2006
Programme 8: Flood tide
Activities
Teacher guidance
Individuals: movement in role.
(CD3 Track 11)
Pupils help to do the farm yard chores at
Green Vale Farm.
The ‘pause programme’ signal for this
unit is a short burst of modern music.
Start by reminding the group of the jobs
that need doing (for them to choose from):
1. The pigs’ trough to be topped up
2. Slops for the pigs to be got from the
outhouse
3. Dirty straw replaced in the stable
4. Buster the horse to be brushed down
and his hooves cleaned
5. Water and meal for Buster too.
The activity is accompanied by a sound
track which lasts 90 seconds (from 04 17 to
05 47 in the programme). Simply rewind to
extend the activity.
Move around the group observing and
questioning to establish detail. Join in
alongside to demonstrate your own
commitment and to build the shared fiction.
Groups of 3: talk in role.
Pupils take on the role of Angie, Tracy and
Harry. Norman Hinton wants his daughter
Angie and the two grandchildren to come to
live at the farm. Angie isn’t keen but agrees
to talk to the two children about it.
Angie is not keen on the plan and must tell
the children about the many reasons for
staying in London. The children however
think living at the farm full-time would be a
great idea!
You may wish to precede the groups’
individual scenes with an open discussion
about the sort of change the move would
mean.
Then move among the groups, listening to
their conversations and joining in where
necessary – in role, e.g. as a family friend –
to help to direct the discussion.
Allow some groups to show their work to
the rest of the group.
Groups of 6: still pictures (with
speaking in role).
The groups create photographs of the
Green Vale harvest in 1912. The members
of each group tell the others about who
they are and how they feel.
25
Set a time limit for groups to prepare their
pictures. Encourage each member of the
group to think carefully about who they will
be and the contribution they will make to
the overall effect of the picture.
When groups display their pictures
encourage each of them to be ready to
adopt their picture rapidly. Hold each
picture for a short while before inviting
questions from those watching.
Drama Workshop Spring 2006
Individuals: movement.
Preparing the farm against the effects of
possible flooding.
The activity is accompanied by a sound
track which is 80 seconds long (from 14 05
to 15 25).
You may wish to remind the group of the
necessary activities before starting:
1. More hay for Buster the horse
2. Round up the chickens into the coop and
lock the door.
3. Cover the bails of hay and lash them
down.
Encourage the group to think about the
extreme weather conditions and how this
will inhibit their ability to work.
Join in alongside everyone else, sharing the
jobs and demonstrating your commitment
to the drama.
To extend the activity simply rewind the
programme and continue.
Pairs: talk in role.
One member of the pair takes Angie’s view
(determined to leave the farm immediately
before possible flooding) and the other
Norman’s view (that he will not leave his
home). Carrying on their discussion.
Whole group: discussion.
Talking about the situation that Harry and
Tracy find themselves in when they go
downstairs to the flooded ground floor.
Allow a short amount of time for pupils to
prepare and then allow everyone to run
their conversations at the same time.
Move among pairs listening to their
arguments. At the end select some pairs to
show their conversations to everyone else
and for those watching to say what they
find persuasive about the points of view
they hear.
Invite suggestions for what Harry should do
next. This is in part a question that stems
out of the narrative (for example, will the
children determine that the most important
thing they can do is go to the immediate
assistance of the animals). It is also an
opportunity to consider the important
safety issues of such a situation (e.g. what
should the children do first, what shouldn’t
they do etc).
If you have time you could experiment with
some of the scenarios suggested by
choosing two pupils to be Harry and Tracy
and allowing the others to direct them
towards possible outcomes of the situation.
26
Drama Workshop Spring 2006
Programme 9: Stranded
Activities
Teacher guidance
Individuals: movement to narration.
(CD3 Track 12)
Re-enacting Harry’s journey from the
bedroom downstairs to the flooded ground
floor. The activity ends with pupils getting
into groups of 4 to tell each other about
their experience.
The activity happens in ‘real time’ to
narration, so careful listening is required.
The main movements of the activity
sequence are: finding a torch, moving
slowly across the room, opening the door to
the landing, hearing the water below,
moving slowly down the stairs, testing the
depth of the water with one foot, opening
the jammed door to the front room,
withstanding the current of water that
comes through, wading back to the
staircase, climbing slowly back to safety.
Join in alongside everyone else so that your
own movements can become a model and
to demonstrate your own commitment as
the shared fiction is re-established.
Pause the programme at the signal so that
pupils can get into groups of 4 to talk about
their experiences.
Groups of 4: talk in role.
One member of the four is Harry, still
feeling shocked and scared by his
experience in the flood water. The others
must find ways to calm him down.
Allow groups some time to prepare and
then run the conversations simultaneously.
Move between the groups listening, offering
assistance as required and assessing how
pupils respond to the opportunity to adopt
a ‘high status’ role in relation to the scared
and shocked Harry.
At the end allow some groups to show their
conversations and for those watching to
comment.
Groups of 4: movement in role.
The members of the group take on the role
of the Hinton family to decide what they
should do next.
The activity is accompanied by a sound
track which lasts 90 seconds (from 09 56 to
11 26).
Pause the programme before the sound
track begins so that the group has a short
time to discuss what the most important
things are that should be done first (e.g.
try to mend the radio, salvage important
things around the house before they are
ruined, try to determine how to get help).
Join in alongside everyone else. To extend
the activity rewind the programme.
Groups of 4: talk in role.
The family grouping is maintained from the
27
Pupils could try a variety of approaches:
Drama Workshop Spring 2006
previous activity. The weather forecast
warns of further rain, so the flood is bound
to get worse. One member of the group is
Norman who refuses to leave the house;
the others must find arguments to
persuade him to do so.
Groups of 4: still pictures and speaking
thoughts.
Pupils retain their family roles from before.
They sit in the dingy that will take them to
safety and make a still picture as they stare
back at the farm house they are
abandoning. They speak their thoughts in
turn to a music sound track.
warning of the threat to Norman himself;
reminding him of the danger he might put
the others in by not moving; suggesting
that everything in the house and farm will
manage ok without him; etc.
It is important that the pupils are already in
position when the music starts (it lasts for
30 seconds, so each pupils will have just a
few seconds to speak their thoughts). So
make sure that pupils follow the
instructions carefully and position
themselves in the dingy when instructed to
do so (pause the programme if necessary
to aid the organisation).
Each group will speak their thoughts at the
same time when the music starts. If you
wish you could pause the programme when
the music ends and move among groups
asking them to speak their thoughts in turn
so that everyone else may listen.
Whole group: discussion.
The programme ends with an invitation to
the group to pass on the story of the great
flood at Green Dale. It’s an opportunity to
finish off by considering the main points of
the story again and perhaps relating it to
the children’s own experiences.
28