MIME preparation for Drama with Early Years and upwards

Mime

Adapted freely and edited from  http://drama-in-ecce.com/2012/05/11/mime-workshop-for-all-ages/

Main objective of workshop: Mime encourages confidence and awareness of self and of others. It encourages physical control, simplicity of thought and movement and more importantly it stimulates the imagination.
Sub aims:

• To introduce relaxation exercises and understand their role in a drama class.
• To promote group work and co-operation.

Relaxation exercises in Large Room 
Be a star: Lie sown on your back and spread your arms, palms up to the side and open your legs. Stretch the limbs all together. Feel you are making a four pointed star. Suddenly the star collapses. Feel the tension disappear.
Be Hercules: In the same position, imagine that the body is being pushed down by a heavy weight so that all parts of the body are being pressed into the ground suddenly the weight is removed. Feel yourself float on the ground.
Shake off the ants:  In the same position, imagine you are tied to the ground but you can wiggle. A colony of ants finds and begins to crawl over you. Commence to wiggle the body until the last ant leaves you. Then collapse.
Be a rubber puppet: Imagine you are made of rubber and there are strings attached to your shoulders which someone can pull from above. You are being pulled up and you find your limbs fly out in all directions. Even the feet can be pulled off the ground at times, finally the strings are cut and the body relaxes.
Mime Activities in classroom or large room
What’s in the Box: Early yrs upwards All the students sit in a large circle. The teacher asks them to imagine there is a magic box in the centre of the circle. The teacher can ask what size is it? What colour is it? Ask can everyone see it. This is a fun mime game. Everyone sits in a circle. Ask the children if they can see the box in the centre of the circle. Ask them what colour it is? What shape it is? Tell them it can be a different shape and colour, depending on where you are sitting in the circle. This is because it is a magic box.  The teacher goes into the centre of the circle first and mimes opening the box and taking out an object. She then mimes holding the object and the class must guess what it is. When the children guess correctly the teacher mimes putting it back in the box and closing it. The child who guessed correctly takes a turn at taking an object out of the box.
Pass the object: Early years upwards This is a follow on from the Magic Box game. The teacher mimes taking an object out of the box, for example a mouse, a rotten egg, a cream cake, chewing gum, lipstick or a puppy, and the children guess what it is. When they have guessed she passes the object around the circle. The children should react as if they were holding the actual object in their hands. Eventually the last child in the circle gets rid of the object and the teacher goes to the box and takes out a new.
Locomotion: Large Room  Get the students consider the ways that people walk. The teacher gets the children to walk around the room. Then call out different ways of walking
Walk like  a …..
•           Toddler
•           child in high heels
•           child wearing heavy wellington boots
•           child splashing in a puddles
•           child stuck in mud
•           child walking on stony beach
•           child walking on hot sand
•           someone walking on fire
•           someone walking wearily
•           an old frail person.
 Here are some more  suggestions for mimes:
•           Riding a horse
•           Skiing
•           Washing dishes
•           Eating hot food
•           Counting money
•           Telling someone you love them
•           Eating spaghetti
•           Singing
•           Playing tug of war
•           Washing your dog
•           Ballet dancing
•           Moon walk
•           Playing basketball
•           Singing opera
•           Walking in the desert
•           Playing tennis
•           Making pancakes
•           Opening a present that you do not like

Basic Situation: Middle to senior  Divide the class into small groups and they  try to remember what it felt like when they were in the  following situation. NOT facial expression which is imitation but remembering past experience which is is authentic
•           Cold
•           Hot
•           Surprised,
•           Frightened
Meetings Middle to senior 
The class gets into pairs. Each pair stands back to back. When the teacher calls out go they must turn around and pass their partner if
•           They were strangers
•           They were a casual acquaintance
•           Meeting some one they haven’t seen since they were in playschool together
•           Meeting someone that owes them money.

Starting  to use mime in a Drama session; Middle to senior 
Start beginner groups on occupational mimes and later move to emotional mimes. Mime starts within and is then portrayed by the body. Never forget that through mime is that art of movement it is also the art of stillness.
Occupational Mimes: lift a bucket, box, brush. Place the same objects on a shelf or table, place them, carefully on top of each other. Use scissors, shears, pickaxes, fishing rod. Use activities such as sewing buttons, cooking, putting on clothes, painting, cleaning windows.
Character Mimes: Portray different types of character, the young girl, the old woman, the rich lady, beggar, clown. Watch people around you.
Emotional Mimes: These are the hardest to portray. Feel, understand, convey happiness at receiving a gift. Sadness at hearing bad news, shock, horror, love etc..,

What’s the Chair? Middle to senior
Place a chair in the centre of the circle and participants take turns to mime what they imagine it to be:, for example:  a post box, a kitchen sink, a dog, a naughty schoolboy, a new car.
The person who guesses correctly takes their place in the middle.
Take over
•           in a circle, walking on the spot
•           leader makes a gesture, in time, that the everyone else imitates
•           continue for 8 beats or so, then calll  the name of a participant and they must change or add to the action
 What’s my job? for middle to senior
All sit in a circle.  Give everyone an job (e.g. Garda, astronaut, postman, teacher).  Use each occupation twice, and make sure the occupations are kept secret.
Students use the space to mime their own occupation.  Their task is to spot the person with the same job  as them.  When they have done this they should approach their partner, and without speaking, check that they are both miming the same job.
They should sit down in their pair when they think they have found them.

The game continues until everybody is sitting down.  The teacher should check they are all correct at the end of the game!

Devising with Images

Devising with Images in Drama

Colm Hefferon

Setting the scene

1. PHYSICAL FOCUS:  Organise large group into   groups of FOUR through use of Titanic game.

In 4s give each a number – 1,2,3,4. Show image (the Arrival by Shaun Tan, available on Google Images.   Examine the image in various ways.

2. VISUAL FOCUS: (ask pupils to write ideas down as we go for their own records.) Give each numbered pupil a specific task.  Each report back under category: Big thing, small, hard, soft.

3. SENSORY FOCUS: In numbered sequence:  All evens are man all odds are the woman. I am afraid I see…I think I hear… Write down in copies.

Development

4. TENSION FOCUS:  On Letter. It could be the cause or have an effect. Teacher wonders aloud.  “I’m just wondering….” What sentence in the letter is causing him to think of leaving  ?  (Letter written by someone outside the home.) Option two:  I’m just wondering…what effect of the letter (written by him) will be on those left behind?  Then ask pupils too do same in their small groups.

4b.SENSORY VISION: Choose  an concrete visible thing ( big, small, hard, soft again)  in  picture. Go for deep description ere.  E.g. ” I am the old battered  spade in the corner  and last night I saw/heard/felt/smelt….”. If time allows, repeat with an unseen object( e.g. a note in the woman’s pocket.

5. STATUS QUO: Recreate the image, or if there are more people in image than are in group, show an image of the most important part of the photo. Show in carousel. Comment on LEVELS in groups showing.

5b.STATUS QUO ANTE: Using the idea of SLOMO ( slow motion) Show a moment  from recent past that led to Image 5. In small groups. (CAUSE). Move from image one to two- Neutral  position/Freeze/Move/Freeze

5c.STATUS QUO POST: Show the same people some time later where the full effect of the images 1 and 2 are explored and shown. (EFFECT). SLOMO between images one, two and three. Really slow. Show in carousel.

For home work : Write the dialogue for each scene in copies  if desirable. Focusing on the departure scene. Ask pupils what you think they are saying. What do you think is not being said here?

Write the dialogue in four lines only in small groups of four. Each person contributes one line. Keep same groups.

NEXT SESSION or later : Place dialogues on the floor. Each group of four takes one dialogue up (not their own) and practises it. They show this in carousel, with music behind if desirable.

Reflection

FINALE: Ask pupils how they think the story finished. Explore in same groups what Christmas day/ birthday  the following year was like for each character.  To avoid possibility of tragic outcomes being dominant.  Organise that every   ending scene is slightly  different e.g.  Happy/ Sad/ Mysterious/ Revenge/Hero returns/Best possible ending for all concerned. The reason for this is to lift the mood, and also show pupils that problems can be solved. That we can influence the outcome of our lives and change what we don’t like with a positive approach. At this stage, we don’t dwell on the problem itself, but on the options the character has to solve it.

Circle time:  discussion of themes of  “ Coping with Change” should reveal  a variety of  perceptions and skill levels. These ideas may be captured in a poem written in the voice of the character  (My Dream…) or Images in art of one thing they would like to achieve to foster a positive attitude. Remember you will go further and value more if the pupils use the characters’ voices ( “Martin Tan should talk to the village chief…” as opposed to” I would do this”). You may choose also to go into role as a Grandmother character very worried about your grandson, looking for advice from his friends (the pupils). This often reveals a maturity of engagement not always evident in the       classrooms.

END

 Colm Hefferon.

October 2012

TEACHER IN ROLE LESSON From Literacy activities to Teacher in Role: Forest Child as resource

Mime Cards

Please send a bowl of noodles to my room.
How much does it cost to use the swimming pool?
Can you change this Five Euro  note into One Euro  coins?
I have lost the key to my room.
What time is breakfast served?
If my husband (wife) calls, tell him (her) that I have lost my voice.
Can you please book two tickets for the rock concert tomorrow night.
I have to catch a train tomorrow morning. Please wake me at 5:30am.
Please send 3 kilograms of chocolate to my room.
There is a crocodile in my bath. Please come quickly.
The person in the room next to me is playing drums, and I can’t sleep.
I have dropped my glasses in the toilet.

Introduction to Drama for the first time to young people

Purpose:

1. To lead pupils safely into role and to show the
   
   value to them of concentration and collaboration.
2. Develop Pair work organising skills for initial teachers.
3. Develop Verbal fluency among pupils in non-threatening environment.
   
   
   
   
   
   First section of session is the preparation for working in groups.
   
   
   
   The structure used in this section is known as the

P-V-C STRUCTURE

1. Physical Exercise - to create an energetic atmosphere of collaboration



2. Verbal Exercise - to begin to create closer focus in pairs



3. Concentration Exercise- to bring out the theme and create readiness for stage two

1.Titanic: Lifeboats. Large group randomly walk and when teacher calls out the number all must get into groups pf 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.


1a.If you prefer to work in pairs immediately: Three Irish duels.[thanks to A.Boal] Pairs face each other. Clear brief to achieve desired objective/outcome
-Pairs Stepping on toes.
-Slapping knees.
-Swords in Backs.
2+3. 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 1.a,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 .

What am I doing?

To train pupils in

1.       Close observation

2.       Eye – hand coordination

3.       Signing

Start with a Magic bag of objects. A child reaches into the bag and feels an object.

Where am I?

Where am I?

We behave in different ways in different places, e.g. a church or a Football match.

To establish place we can do so without the use of props by adopting a typical stance, attitude, or mood. The ability to do this greatly supports taking a role later on.   We will look at people in places and the purpose is to guess where they are by what they are showing to us. Teacher models the activity first.  A suggestion is to use the expanding model of places to do with home, neighbourhood, school, town/city, country. Again the roles are types. Going from what pupils know to what they do not in terms of experience and lesson content.

Who am I?

Who am I? Prep for Role Cards

Group Role Play in Pairs

Working in Pairs to prepare for  Group  role play in Drama

Teacher says: We are going to do an exercise to get us warmed up for the drama

Vary groups so that friendship group do not dominate.  Ask for agreement and assign by number or lots.  These short games (and improvs which follow) are usually   based on the pupils’ experience.

Pupils decide who is A+B. Teacher decides first positions and signal for start also   what final position and finish will look like.  Should pupils fold arms /sit on floor when finished?  Then do warm up   game.  Themes of warm up games  fall into categories such as:

§  Description (my hobby/ holidays/weekend)

§  Dreams (what I want to be…)

§  Wishes (what I’d like to see happen)

§  Persuasion (what I want from you is…)

Role-play preparation in Pairs

Clarify Desired outcome with participants.

1. A wants to go out for the evening. B does not. (Peer status)
2. Busy city street , an  apartment. A wants sofa by the window. B does not. (Peer)

Clarify External   Motive (my reason for my desired outcome: Why I want what I want?). This can be supportive or antagonistic.

Clarify Internal Motive which  can be hidden or open. Try both to see the difference in Tension.

3. Holiday: A wants to  go seaside, B wants to go to mountains.
4.  A wants to eat one dish.  B wants something quite different.
5. A wants to try foreign food. B wants the same as at home.
6. A wants to travel overnight. B wants to travel by day.

Clarify Status as power related, not economic.  High, equal, low .

7. An old person wants to live in cottage, B is social worker who wants her to move into   a new apartment. (High and low status)
8. A thinks football ( ballet)  is boring.  B thinks its great . Equal. Then high/low
9. A wants to join in the football row. B thinks its waste of time. Low /high

Clarify Attitude. This may be conscious  and behavioural. It may work against the character. 

10. A wants to play on Saturday in an amateur game. B wants to watch a professional game on TV. ( Leader)
11. A thinks there is life on another planet somewhere.  B does not.

12. A thinks its bad to  put wild animals in cages at the zoo. B does not.
13.  A and B are two crooks. A wants to break into bank at daytime .B wants to break in at night.
14. A and B are just out of prison.  A wants to go straight wants to commit another crime.
15. A is father/mother.  B is child.  A is complaining about the state of B’s room.
16. A thinks there are flying saucers B does not. A is scientist. B is journalist

Now that pupils have the idea, the teacher can make the improvisation more challenging by -

For a Pair Mime exercise, it can be helpful to give outcome at beginning.  Eg, two people see a coat on floor.  Each sees it.  A want s to pick up but is afraid they will be seen and accused of stealing.  B wants to pick up and see what is in the pockets.  In this example, both know that they will pick up the coat.  Later examples can dispense with this, but the structure of knowing the ending allows pupils to work on the motivation and intention without having to be too concerned with Spontaneity.  That can come later when they are less anxious.

Another take on this is to give the first  [or last] line of the Improvisation.

Intention Motivation Moral alibi: Parent takes teenagers savings.  Child is upset.  However, if Parent builds up the role with information that he was going to replace it and that he reason he took it was to pay deposit on a family holiday.  This constraint on the argument deepens the conflict so that it is not just slanging match.

Using Time to focus pupils in pair work .

Restrict the focus of time so that the drama on The Rising takes place in a safe    house which is being watched by the enemy on Good Friday.  

Never do fait-accompli events: E.g. - the gang robbing the bank scene.  Go back in time to where they are deciding to do this and one-person objects.  Possibility for change is at the heart of Improvisation.

Avoid fight scenes in the now time

When starting out, show three photos of stages in the fight (prior, during, after) or use time to go back and uncover the main reasons for the particular fight.

Put a time limit on the improv- 30 second video can help concentrate on salient facts.  Other possibilities- Use no word, no contact.

Two Pairs one speaking words of characters ' the other pairs speaking the real thoughts of the same character

Show the circumstances in the past, which led to an unlikely person to   commit a crime in the now –e.g. steal a wallet.

Pairs rehearse their piece.  Show the high point (approx four sentences) to whole group.

Pairs-Fours- Whole group.

Whole group in pairs talk about the effects of some rule or law that is causing hardship.  In fours, they talk about what should be done about it.  In whole group, they prepare a meeting to submit their suggestions with TIR as mediator.  The group is refused an audience with the power figure- so what do they do now?  Finish in small groups with role-play of the same groups in one year’s time.  Might be used   with History or Geography themes.

Whole group work

Now the group are ready for whole group work where they will play multiple roles independently and with teacher.

 

Under TIR as “chief” can work well when its use is setting the context for and ABC [ A Big problem we all Care about]. This use of the class one group can communities the problem and create  need to solve it. Pupils then in two’s take on a variety of roles [ in pairs often] of those being investigated. They return to whole group with TIR as chief to report findings and conclude. The whole group acts as bookends for the pair work in between.

Role for Teacher	Role for Pupils
Director of Hospital	Specialists
Police  chief	Detectives
Village Elder	Villagers
Chairperson	UFO  Committee

E.G. an ailing fishing community has a problem with whale landing on the beach that is still alive. What do they do about it? Some  want to make a tourist attraction and others want to kill it for blubber to sell. Interested parties would be politicians, unemployed fishermen, whalers, fish oil factory, and government employment specialists.

Colm Hefferon

 

Magic Carpet Script

In the example below note the use of the five senses.

Magic  Carpet  Script

I  want  everyone  to  just  relax  and  close  their  eyes.  Focus  on  your  breathing.  Feel  the  breath  coming  in  and  out  of  your  body.  Feel  the  ground  beneath  your  feet.  Now  I  want  you  to  imagine  that  you're  on  a  magic  carpet.  Feel  the  carpet  beneath  you  as  you  run  your  hands  across  the  soft,  smooth  fabric.  Feel  yourself  gently  begin  to  rise  up  in  the  air.  You  can  see  the  school  beneath  you  and  feel  the  air  all  around  you.  You  can  see  the  shops  and  the  roofs  of  the  houses.  You  can  smell  the  smoke  rising  from  the  chimneys  and  hear  the  traffic  as  you  glide  safely  over  it.  You  are  gliding  through  the  air.  You  feel  safe  as  you  reach  the  Irish  Sea.  You  can  smell  the  salty  water  and  feel  the  spray  of  the  sea  against  your  skin  as  the  waves  break  beneath  you.  You  are  whizzing  through  the  air,  feeling  the  wind  against  your  skin  and  blowing  through  your  hair.  You  can  see  England  beneath  you  but  you're  not  interested  in  that,  you're  heading  for  Poland.  Before  long,  you've  reached  your  destination.  You  can  feel  yourself  slowing  down  as  you  begin  your  descent.  You  can  see  the  city  of  Warsaw  on  the  horizon.  You  can  make  out  the  outlines  of  the  buildings  as  they  get  bigger  and  bigger.  As  you  reach  the  city  you  can't  hear  anything.  The  city  is  quiet.  Beneath  you,  there's  no  traffic.  The  buildings  aren't  proper  buildings  anymore.  Many  of  them  haven't  got  roofs  anymore.  You  can  see  right  down  into  them.  Look  into  the  rooms.  You  can't  see  much  furniture  and  what  you  can  see  is  broken.  You  fly  down  even  lower  between  the  buildings  to  get  a  better  look.  You  can  see  bricks  all  over  the  road.  You  can  see  the  light  of  the  sun  breaking  through  the  gaps  in  the  buildings  and  feel  the  heat  of  it  on  your  skin  as  you  pass  through  it.  The  area  feels  safe  and  peaceful.  The  only  sound  you  can  hear  comes  from  a  pair  of  curtains  billowing  in  the  slight  breeze  which  you  can  feel  grazing  your  cheeks.  As  you  glide  between  the  buildings  you  can  see  people  in  front  of  you  heading  out  of  the  city  along  the  river.  You  follow  them  along  the  River  Vistula.  You  can  hear  their  voices  above  the  noise  of  the  flowing  river.  They  are  speaking  a  language  you  don't  understand.  As  you  travel  along  the  river  you  can  feel  the  heat  of  the  sun  against  your  skin  as  it  reflects  off  the  river.  As  you  reach  the  edge  of  the  city  you  are  escaping  the  grey  of  the  city  and  entering  a  green  paradise.  You  can  smell  the  fresh  grass  and  the  pine  trees.  Listen  to  the  trees  swaying  in  the  breeze  and  watch  the  gentle  waves  in  the  grass.  You  are  now  travelling  between  the  trees  through  a  forest.  Reach  out  and  touch  the  trees  with  your  hand.  Feel  the  pine  leaves  between  your  fingers.  You  are  safe  here  on  your  magic  carpet  and  you  feel  even  safer  here  in  this  forest.  It  feels  like  a  haven.  Up  ahead  of  you  are  more  people.  They  are  chatting  and  joking  but  you  don't  want  to  bother  them  so  you  pull  your  carpet  back  up  into  the  air.  You  are  now  soaring  through  the  air,  enjoying  the  wind  in  your  hair.  You  crouch  low  so  that  you  can  travel  even  faster.  Feel  the  soft  carpet  against  your  cheek.  Listen  to  the  wind  whizzing  past  you.  You  drift  off  to  sleep  feeling  the  rhythmic  movement  of  the  carpet  beneath  you.  You  wake  up  as  you  begin  your  descent  back  to  your  classroom.  Focus  on  your  breathing  again.  Feel  yourself  inhale  and  exhale.  Feel  the  ground  beneath  your  feet  again  and  when  you’re  ready  open  your  eyes.    ( Thanks to Katie Reilly) 

SKILL BUILDING PVC Briefing for Paired Role focus on Status

Gathering the group

What is needed to gather a group so that the people are operating as a group and not several individuals in a group?

PVC Status and beginning to go in role

Gathering the group

 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.

Robert Reasoner’s five pillars of self-esteem http://www.selfesteem.org/   are   supportive, e. g.

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