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Drama Workshop Spring 2006

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Drama Workshop

Spring 2006

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.

bbc.co.uk/schoolradio

© This publication contains only BBC copyright material: its contents may be copied or reproduced for use in schools and colleges without further

permission.

http://www.bbc.co.uk/schoolradio/howtoorder.shtml

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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 6 The Arthurian legend is brought to life. 1. The court of King Arthur 8 AOD 13/01/2006 – 19/01/2006 2. The castle of Sir Bercilak 10 AOD 20/01/2006 – 26/01/2006 Unit 2: Ironbridge 13 A unit linking to History and a milestone of industrial development. 3. 1708: The Darbys 14 AOD 27/01/2006 – 02/02/2006 4. 1750: The Barkers 16 AOD 03/02/2006 – 09/03/2006 5. 1775: The Ironbridge 17 AOD 10/02/2006 – 23/02/2006 Unit 3: Seurat 18 Linking drama to art and the story of a great painting... 6. Part one 20 AOD 24/02/2006 – 02/03/2006 7. Part two 22 AOD 03/03/2006 – 09/03/2006 Unit 4: Climate crisis 24 Links to Geography and environmental issues. 8. Flood tide 25 AOD 10/03/2006 – 16/03/2006 9. Stranded 27

AOD 17/03/2006 – 24/03/2006

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Introduction

Aims of the series Drama Workshop aims: • 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 age-groups. 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, role-play…’ 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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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 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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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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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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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.

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.

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.

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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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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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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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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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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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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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.

Move alongside groups encouraging them and praising their efforts. One child has raised status within the group. You may wish to select which.

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.

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.

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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.

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.

Pairs: mime Each child mimes making an object mould in sand. The partner tries to guess the intended object before swapping tasks.

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.

Use this opportunity for character study. Gather information based on evidence and inference. Encourage personal response that is justified.

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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.

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.

Individual. Each child selects a secondary occupation associated with the ironworks - e.g. a wheelwright.

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.

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.

Whole group: mime. The group continues the previous mime but are asked to focus upon and convey the hardship and drudgery this time.

Join in alongside. This continued mime is enacted with increased knowledge and understanding. It encourages them to empathise and respond at a feeling level.

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.

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.

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.

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.

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 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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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 co-ordination.

Pairs: still pictures. The children make a still picture of the moment before they capsize. The picture comes alive and in slow motion they re-enact 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.

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.

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.

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.

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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.

http://www.nationalgallery.org.uk/

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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

http://www.guggenheimcollection.org/site/artist_bio_145.html

http://en.wikipedia.org/wiki/Pointillism

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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 self-portrait: 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.

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.

Large groups: still pictures. (CD3 Track 2) Recreating ‘The Bathers’ using members of the group.

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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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.

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.

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.

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.

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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?

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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.

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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?

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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.

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.

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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.

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.

Whole group: discussion. Talking about the situation that Harry and Tracy find themselves in when they go downstairs to the flooded ground floor.

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.

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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

Pupils could try a variety of approaches:

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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.

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.

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.

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.

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