What is needed to gather a group so that the people are operating as a group and not several individuals in a group?
Safety and comfort are two things you need to build in early sessions which may be more about social networking than subject development.
Movement is essential as drama is dynamic; such movement is best used to create initially superficial links between as many people in your group as is practicable. These are the seeds of better group work later in the drama. The better the self-esteem of each member of the group the more inclusion will be evident.
So what do you see?
Energy-too much, too listless, just enough
Movement – too jagged, jumpy or fluid
Proximity of people to each other- over distant , over close- staying with mates only
Sound- too much silence, too little listening, too much noise
Eye contact -with many others, some or none. Eyes on ground or middle distance, avoiding contact?
For a group to feel safe it needs to feels less self-conscious. To achieve this objective you can start with an anonymous game where there is very low focus, where all are dong a similar action or are achieving similar goal, and there are no losers. All are equal. Party games use the idea of win/lose whereas in drama the games should be win/win if possible, especially at the beginning.
Security- reduce fear levels
Identity- all pupils are valued as fellow citizens
Belonging- we are all part of this class; this is our home for learning
Purpose- A brisk pace, a clear instruction, and dialogue after each preparation activity to establish its value to the learners ensures they see the exercise as purposeful to the class
Competence- with each game and reflection pupils get the hang of the introductory phase of the drama class. Next time their competence will be evident as the show their learning of the procedures of exercises. Class will realise that there are structures in drama that need to be on place of all five pillars of self-esteem are to be attained.
Phases of Introduction- PVC
The three phases of Physical ,Verbal and Concentration are organic. If the class is jumpy then all three types of exercise might be needed. If the class are already calm then leader can skip stage one and move to the verbal section; indeed the leader can move straight to the concentration I exercise after a few classes as the group ;earns to settle down faster. After a number of classes the leader may dispense with preparation exercises altogether, especially if the class is a continuation of the pervious one- the leader can simply ask for a summary of what happened last class and where we left off.
The leader will know when children are ready to proceed as they should be sitting in the circle ready to listen for instructions into the dram that day.
Examples of PVC
With each exercise be clear what participants need to do to show they are finished: e.g. sit down and face you.
PHYSICAL
1.Titanic: Lifeboats. Whole group randomly walk and when teacher calls out the number all must get into groups of that number. Stragglers may be "saved" or be put into the hold( bench at side of room). End with 2's. This is the purpose of your exercise- to achieve pairs. Then "helicopter " into a safe place. Face each other at hands length.
2.If you prefer to work in pairs immediately: Three Irish duels.[ A. Boal :Games for Actors and non-actors] Pairs face each other. Clear brief to achieve desired objective/outcome
-Pairs Stepping on toes.
Slapping knees.
-Swords in Backs.
VERBAL
Counting in pairs. A+B . A counts for 100 -1 without being stopped by B. B must try everything to stop A. Eye contact a must. No other contact allowed. In exercises 1,2 and 3 the participants should sit on ground when finished to allow you to see who has yet to complete. Participants are then ready for guidance into the next task-going into role.
CONCENTRATION
This can be done whole group or pairs. If starting the session with a concentration game it’s best to gather a circle and do a game like Step and Count, or Fizz-buzz where the group need each other to achieve the aim.
If a pairs situations is desirable e.g. for heading into role-play in pairs. Then the hands on shoulders or handshake exercise is good as it has the whole class working and no one watching which helps build the security and belonging needed.
Development of early sessions
If children have a sense of success early on they are going to want more. Do the early exercises in dramatic expression need to be clear, concise and achievable at their level.
These should state the aim of each character in terms of “ Tommy wants to get out of going to music practise and play football ( his aim) , but his mother wants him to learn the piano ( Mums aim) and he does not want to hurt her feelings” ( Tension).
Exercises to bring people gently into role:
Persuasion in two’s. lecturer explains terms :
Aim, Tension, Subtext and Status.
Part one: A is tired and wants to watch a favourite TV show. Aim B arrives and wants to watch a show on other channel. Aim There is no VCR or TV channel changer in the room. Without any body contact. A must try to achieve their desired outcome and B also. Tension Pupils are advised
" You must not give up on what you want!" It can be helpful if the pupils prepare a photo of the outcome .
Another option is to give the pupils the first line to launch the dialogue, and give confidence or last line to give focussed structure. However, this should happen only if you sense that they need this support. If we let people come up with their own ending it can produce more confidence by pupils committing to an active choice of their own. Remembering its not how clever the ending is, but the fact that it is their own. Pupils will learn from watching each other as much as doing their own presentations.
Part two: Roles of Teacher and Pupil. Define status in terms of who has the most power. Same A +B to create real safety. School is having an open day. The temporary Teacher has a beautiful room prepared, and is trying to make a good impression . Enter B as pupil who has been absent for some time (Open Tension) and is not a good attender. B has a snake in box which s/he wants to put on the nature table. ( Open Tension) Teacher is afraid of losing this child and also the benefits of having the child back at school. ( Hidden Tension) She also is also aware of losing her reputation if the snake should misbehave( Hidden Tension) . The pupil ( B) has been told by his very strong parent that s/he must go to school or else.( Hidden Tension)
The difference in these two role plays is that in the second, both pupil and teacher has something to lose and gain from the interaction. Also that there are many tensions, some hidden in the subtext, which cannot be revealed without great cost, and some open tensions which are a given.
Insert one open and one hidden tension into the following
Baby Bear and his parents when they come home to find the Jack and Jill before they set off up the hill
Cinderella and Stepmother
Red riding hood and her mother before she goes to grannies
5. Miss Honey and Matilda’s parents
Harry Potter and Voldemort
Part three: Same A+ B (if group are happy they may change partner at this stage to create new ideas.
This time the pairs are of different status; One is a senior staff member at a Football Museum. Money has been donated by the National Lottery. The Lottery officials are coming today to check how the money was spent. The other person is a new young graduate from Art school who desperately needs this job. ( Hidden Tension) The older person has done it the same way for years and it has always worked fine. The new person has some different drawings of a totally new approach to presenting the history of football. ( Open Tension) The two must agree to mount it in an attractive way before the arrival of the lottery commissioner. ( Open Tension) The senior person has their own well tried ideas whereas the junior employee has their own ideas. ( Open Tension). The older person, who will retire soon, has found out that the younger person is related to the chairman of the board( Hidden Tension) . The tension is in each wanting different approaches to this , the directors last, presentation.
The status of the two means that the younger may have to negotiate in softer way than they might otherwise. The subtext provides the energy for the scene, this may be visible to those watching, but not to the characters( this is called dramatic irony.
Play for two minutes. Then evaluate each approach with your participants-
Part ONE: Much energy and antagonism. Non solvable without one backing down. But why should he?
Part TWO: Status difference adds tension through the subtext.
Part THREE: Status, hidden tension and roles complexify the scene with satisfying results to players and audience.
You have now developed from playing yourself in role ( Part one) thru' a familiar role in a scene ( Part two) to an unfamiliar role ( Part three) which is definitely not you.
Congratulations! - you have now been in role, accepted a brief, achieved( or not) a desired objective and become aware of the effect of status on a scene, especially in terms of tension. This was brought on by status difference and hidden tensions in the subtext
Peter and the wolf exercises in status and tension
Peter ( Equal Status) telling his brother ( Equal status) about how he beat off the wolf. He needs his brother’s help. (hidden tension) His brother does not believe him and is busy getting ready for a hunting trip.
Peter ( Low status) telling his cross parent ( High Status) who does not believe him and is fed up of his tales. Parent thinks that boarding school may be an option. ( Hidden Tension) . Also his reputation in the village is suffering.( Hidden tension) .
Peter(Low status) telling the chief of police( High Status) about the wolf, knowing that this could land himself in jail, if he is found out. ( Open Tension) This would mean he would lose all his parents esteem and be banished from the family. ( Hidden Tension)
Notes of Colm Hefferon
St Patrick's College Drama
October 2013
