botfarm 2014: rise of the appliances teaching ideas

Lesson IdeasPrintable Templates

compiled by Daniel Allan

New Zealand and Australia 2014

www.newzealandplayhouse.co.nz

http://www.newzealandplayhouse.co.nz


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Dear Teacher

This resource is designed by Dan Allan (actor, director and teacher) to be used by you as you plan lessons for your class, leading up to or following our performance of Bot Farm ‘14 at your school.

Please adopt and adapt the suggestions given however you see fit to meet the needs of your students.

Don’t hesitate to contact us if you would like to know anything more about the play - we are here to help you get as much out of the play as you can!

0800 894 [email protected]



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Contents

After viewing the play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Bot Farm vs. Animal Farm: Allegory chart (years 7-13) . . . .4

For the English/history teacher . . . . . . . . . . . . . . . . . . . . . . . . . 5Animal Farm chapter questions (years 9-13) . . . . . . . . . . . . .5Anthropomorphism chart (years 9-13) . . . . . . . . . . . . . . . . . . .8Pigs in culture (years 9-13) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9Animal Farm vs. the Russian Revolution (years 9-13) . . . 10Animal Farm example essay (yr 11 NCEA English) . . . . . . 12Internet resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

For the drama teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Animal Characteristics (years 7-13) . . . . . . . . . . . . . . . . . . . . 15Multiple Role Improvisation Exercises (years 7-13) . . . . . 18

Freeze Tag (years 7-13)Funny People (years 7-13)Tag-Out Scene (years 9-13)Switch Left (years 9-13)Stuck in the Middle (years 11-13)Solo Character Generator (advanced, year 11-13)

Interview with Greg Cooper, playwright and director of Botfarm 2014 (years 11-13) 22


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After viewing the playBot Farm vs. Animal Farm: Allegory chart (y 7-13)An allegory is a story or other artwork, which can be interpreted to reveal a hidden meaning, often a moral or political meaning. Animal Farm by George Orwell, which used farm animals to symbolise the situation in Russia after the Communist Revolution, is an allegory.

The play you have just seen, BotFarm 2013 by Greg Cooper, is a modern re-interpretation of Animal Farm. In other words it is an allegory of an allegory!

If you are studying Animal Farm in English class or if you are about to embark on some Drama activities based on the play, the following comparison chart will help you understand Botfarm, Animal Farm and the Russian Revolution as three separate but related things.

Task: Copy and complete the table below, filling in the empty boxes with the equivalent information. If you are stuck you might need to refer to the script of the play, a copy of the book, or your teacher’s guidance.

Botfarm 2013 Plot Animal Farm Plot Historical Event

Major calls on the ‘housemates’ to rebel against Big Brother but he is quickly

‘voted’ off the show.

Karl Marx called on underprivileged people to overthrow capitalism and

establish a classless society, but he died in exile in London

Snowball and Napoleon disagree about how the farm should run. Napoleon, who has trained a team of dogs, runs Snowball off the farm

and then rules alone.

After Lenin’s death, Trotsky and Stalin fought for

leadership in the new Socialist Russia. Stalin was successful

and ruled for many years until his death in 1953.

The commandments are changed to say “All

housemates are equalish.”

The new leaders of Russia re-introduced semi-capitalist elements back into Russian society to combat poverty.

In order to win the competition, Napoleon

kills off housemates using household appliances that he

has re-wired.

Stalin instituted the Great Purge to rid Russia of ‘enemies

of the regime.’

An aging Boxer collapses from all his hard work. Napoleon packs him off to be sold as

horsemeat.

In the end, Napoleon is turned into a 24hr live show.



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English/HistoryAnimal Farm chapter questions (y 9-13)Task: As you read the book Animal Farm by George Orwell, answer the questions below after each chapter, in order to keep a record of the major developments.

The ‘Think’ questions will help you develop your own ideas about the themes and messages of the book.

Chapter 11. What’s the name of the farm?

2. Who had a strange dream?

3. Name these animals: Three dogs, two cart-horses, a goat, a donkey, a mare, a raven.

4. Describe the animals’ lives according to Old Major (three things)

5. Who do the animals see as the enemy?

6. In one word, what is Old Major’s message to the animals?

7. Who were voted in as comrades?

8. What song did the animals sing?

9. What effect did the singing have?

10. Think… What is Old Major’s function in this story?

Chapter 2 11. Who was the “cleverest” of the animals?

12. Which two pigs were emerging as leaders? Describe each of them.

13. What name did they give to Old Major’s teachings?

14. What mysterious place did Moses talk of?

15. What animal committed the first rebellious act? What did they do?

16. What had the pigs taught themselves to do?

17. What was the name of the farm?

18. List the Seven Commandments.

19. Think… What problems might the animals encounter trying to run a farm?

Chapter 320. Did the pigs actually work? Discuss.

21. What was Boxer’s personal motto?

22. Describe Animal Farm’s flag. What did it represent?

23. Describe the ceremonies that took place on Sundays.

24. What did the pigs use as their headquarters?

25. Describe Boxer’s personality in three words.

26. What single sentence did Snowball reduce the Seven Commandments to?

27. Who repeatedly talked to the animals on behalf of the pigs?

28. What were the animals completely certain of?

29. Think… What is developing between the pigs and the other animals?


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Chapter 430. Who was sent out to tell the story of the

rebellion?

31. What two farms were beside Animal Farm?

32. What book did Snowball study in preparing the farm’s defenses?

33. Who was killed?

34. What animal was wounded?

35. Which one of the humans was injured?

36. What did the battle become known as?

37. What was set up at the foot of the flagstaff?

38. Think… How are the animals’ actions hypocritical/ironic?

Chapter 539. Who disappeared? Where was she later seen?

40. What happened at crucial moments in Snowball’s speech?

41. What did Snowball want to build?

42. What did Napoleon do to Snowball’s plans?

43. Under what two slogans did the animals form themselves?

44. What happened to Jessie and Bluebell’s puppies?

45. What happened to Snowball?

46. What did Napoleon announce would come to an end?

47. What was set up on a stump at the foot of the flagstaff?

48. Who had a remarkable gift for composing songs and poems?

49. Think… What is the implication of having Napoleon as the sole leader?

Chapter 650. What did Napoleon announce? What was the

penalty for not volunteering?

51. How did the animals deal with the huge boulders?

52. What were Boxer’s two slogans?

53. What new policy did Napoleon decide upon?

54. Who was hired to handle the affairs of Animal Farm?

55. What sight brought a certain pride to the animals?

56. What commandment did the pigs break? How did they cover it up?

57. Which animal refused to grow enthusiastic about the windmill?

58. What happened to the windmill?

59. Think… What are the problems with having a ruling class and a working class?

Chapter 760. How was the building of the windmill going

to be different?

61. How did the animals attempt to fool Mr Whymper?

62. Why were the hens upset?

63. What rumour was circulating about Snowball?

64. Who had difficulty believing Snowball was a threat?

65. What did Napoleon award himself?

66. Which animals were the first killed by Napoleon?



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67. What happened to “Beasts of England”?

68. Who wrote the new song?

69. Think… Is a system where all ‘animals’ are equal possible? Why/Why not?

Chapter 870. How was the sixth Commandment changed?

71. What titles did the pigs invent for Napoleon?

72. What poem did Minimums write in honour of Napoleon?

73. What terrible stories concerning Mr Frederick were circulating around the farm?

74. What name was given to the windmill?

75. Why was Napoleon upset with Mr Frederick?

76. What battle took place in this chapter?

77. Did the animals win the battle? Why or Why not?

78. What new decoration did Napoleon create?

79. How was the fifth Commandment changed?

80. Think… Should laws be allowed to change? Why/why not? If so, which people in society should decide how they change?

Chapter 981. What was Boxer’s one real ambition?

82. How old was Boxer?

83. What was going to be built in the farmhouse garden?

84. How much beer were the pigs receiving daily? What about Napoleon?

85. What happened in April?

86. According to Moses, what was Sugar Candy Mountain like?

87. How did Boxer get hurt?

88. What was Boxer’s fate?

89. What did Squealer announce to the animals concerning Boxer’s death?

90. What did the pigs purchase at the end of the chapter? Where do you think they got the money?

91. Think… How do we look after our elderly in this country? Do you think they get treated well or badly? Why?

Chapter 1092. Who were the only animals to remember the

old days with Mr Jones?

93. What was the windmill used for?

94. What do the pigs learn to do?

95. What do the pigs now carry in their trotters?

96. What do the Sheep now say?

97. What remains of the seven Commandments?

98. Who made a toast to the Animal Farm?

99. What did Napoleon announce would be the new name of Animal Farm? Is this surprising? Why or Why not?

100. What was the source of the violent quarrel between Mr Pilkington and Napoleon?

101. What are the differences between man and pig at the end of Chapter 10?

102. Think… Are the animals better off than they were at the start of the book? Why/why not?


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Anthropomorphism chart

People like to make comparisons and we see human characteristics in things that are not human, such as animals. When we do this as a language technique it’s called personification.

For example, the meerkat stood to attention.

When authors give human characteristics to animals, thus making them semi-human, it is called anthropomorphism from the Greek anthropos (human) and morphe (form). We have a long history of doing this in literature and art, from Aesop’s Fables to Alice in Wonderland to Swiper the fox.

The characteristics used in anthropomorphism are usually based on something we see in the animal. For example, we see the night-time predation of a fox as sneaky or criminal. In this task you will assess George Orwell’s use of the anthropomorphism in Animal Farm.

Task: Complete the table below listing the characteristics attributed to seven farm animals.

The table will include the traditional attributes people have given to animals as well as the attributes Orwell has given the animals in the book.

Animal: Traditional Attributes: Animal Farm Attributes:

PigDirty, gluttonous, eat

absolutely anything, smart so can be domesticated…

Smart, leaders, often selfish, progressive, persuasive…

Dog

Horse 1 (Boxer)

Horse 2 (Mollie)

Cat

Goat

Sheep

Donkey



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Pigs in culture

The word ‘Pig’ can have very strong connotations. It is often attached to the word ‘greedy’ to describe a glutton, and it has also developed as an insult in its own right and a derogatory term for members of the Police force. Why is there such negative connotations for this animal in particular?

Task: Read the lyrics to The Beatles song ‘Piggies.’ Answer the questions on your own paper.

Piggies by George Harrison

Have you seen the little piggies Crawling in the dirt?And for all the little piggiesLife is getting worse,Always having dirt to play around in.

Have you seen the bigger piggiesIn their starched white shirts?You will find the bigger piggiesStirring up the dirt,Always have clean shirts to play around in.

In their sties with all their backingThey don’t care what goes on around,In their eyes there’s something lackingWhat they need’s a damn good whacking.

Everywhere there’s lots of piggiesLiving piggy lives,You can see them out for dinner With their piggy wives,Clutching forks and knives to eat their bacon.

Questions:

1. What do the ‘piggies’ represent?

2. Verse 1 and 2 talk about the ‘little piggies’ and the ‘big piggies.’ Who are these two different groups supposed to be?

3. Write down the lyric that identifies the ‘piggies’ as self-centred.

4. What is the message of the song?

5. What is the implication of the final line: “Clutching forks and knives to eat their bacon.”

6. What do you think George Harrison wants us to think about when we hear this song?

7. Write a paragraph that describes George Harrison’s use of pigs as a metaphor. Write a second paragraph to describe George Orwell’s use of pigs. Write a third paragraph that compares the two metaphors. In other words, say what they have in common and how they are different.

8. Why do you think Orwell used pigs as the animal that becomes the ruling class?


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VERSUSAnimal Farm vs. the Russian RevolutionThe Communist Revolution in the early 20th Century happened when the Russian people became disillusioned about their treatment, overthrew the royalty and replaced it with a new system based on the philosophy of Karl Marx. What they were initially interested in was equality and a fair go for all but things did not work very well for various reasons and communism eventually collapsed in 1991.

George Orwell wrote Animal Farm in 1946 to mirror the revolution in Russia, to illustrate what happens when people take on positions of power and to put up an opposition to the worship of the Russian leader Josef Stalin in Britain.

Tasks: Watch the video presentation about the initial revolution in Russia. http://online.clickview.com.au/Share/Play?p=IdTMU#/

Answer these questions to get clear on the details of the revolution. Then, on the next page, match the details of the revolution with the details in Animal Farm (note: it is not an exact match!)

Video questions1. Who was not suited to be Tsar?

2. How big was Russia in the early 20th century?

3. What percentage were peasants?

4. How did revolutionary groups spread?

5. Who lead the Bolsheviks?

6. In 1905, who did Russia have a war with and what effect did it have on the mood?

7. What event finally broke the bond between the Tsar and his people?

8. What was put in place by the Tsar under the October Manifesto?

9. What happened between 1911 and 1914?

10. What happened in 1914?

11. Why did Russia suffer so many defeats against Germany?

12. What figure close to the royal family lead to further distrust by the people?

13. What happened in 1917?

14. Who was initially in charge of the country?

15. What was Lenin’s slogan? ____________ , _____________ , ______________

16. What humiliations did Russia suffer under the Treaty with Germany?

17. Who lead the Red Army to victory in the Civil War?

18. Why were some capitalist elements added to the way the country was run?

19. How was Lenin treated in death?

20. Which two men fought for power after Lenin’s death?

http://online.clickview.com.au/Share/Play?p=IdTMU#/

http://online.clickview.com.au/Share/Play?p=IdTMU#/



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VERSUSComparisons between the book and the Russian revolution:Who are the equivalent characters in the Russian revolution?

Jones

Major Marx and/or Lenin

Napoleon Stalin

Snowball

Dogs

Boxer Stakhanovite worker

Squealer

Benjamin

Moses

Whymper Western business

investment

Frederick

Pilkington

Pigeons Agents for revolution

Pigs

Mollie

Events in the Russian Revolution: Events in Animal Farm:

The Tsar’s regime was corrupt and inefficient.

In March 1917, riots in several cities, including the Bloody Sunday massacre caused the Tsar to stand down.

A liberal government ruled for a short time.

In November 1917 the Bolsheviks, led by Lenin and Trotsky, took over.

Opponents of the new regime were killed.

A civil war was waged between Bolshviks and anti-communist groups.

Eventually Trotsky led the Bolsheviks to victory.

After Lenin’s death Trotsky and Stalin fought for the leadership. Stalin wanted to consolidate the revolution in Russia while Trotsky wanted to spread Communism worldwide.Stalin won power and Trotsky was exiled and later assassinated.Stalin was a ruthless leader:• Religion was banned• Trade allowed only for essential items• ‘Show Trials’ were carried out on so-called

enemies of the state• Harsh five-year plans were put into place


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Animal Farm example essay

The following essay writing exercise is designed to help you practice a good structure for answering an NCEA, level 1 essay question on Animal Farm by George Orwell.

Task: Read the structure explanations and follow the instruction as required in blue.

Copy the parts that are in italics.

Describe at least ONE character or individual you enjoyed reading about in the text(s).

Explain why the character(s) or individual(s) helped you understand an idea in the text(s).

Introduction: Where you address the question and introduce what points you will make…

Paragraph 1: Where you write a description of Napoleon …

Include a physical description and something about his personality and use an example from the text.

Describe the relationship between Snowball and Napoleon and how they were different but ruling together.

Describe how things turned sour and how Napoleon chased Snowball away. You might add that this is a metaphor for Stalin over-throwing Trotsky.

Then state how you enjoyed how the author made Napoleon increasingly corrupt and use an example of how he is by the end of the book.

In the novel Animal Farm, written by George Orwell, one important character I enjoyed reading about is the pig Napoleon. Near the start of the book Napoleon chooses to run his co-leader Snowball off the farm and take power on his own. From this point onwards Napoleon becomes increasingly greedy and violent in order to maintain control over the other animals on the farm. Orwell uses the character to take a swipe at Josef Stalin in Soviet Russia. The character of Napoleon helped to exemplify the idea that power corrupts.



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One way that Napoleon shows how power corrupts is, how he becomes increasingly greedy.

Another way Napoleon shows how power corrupts is that he becomes increasingly violent. He has a pack of dogs under his command and he starts to use them to kill, rather than just intimidate.

In conclusion, Napoleon’s journey as dictator clearly showed me Orwell’s idea that power corrupts.

Paragraph 2: Where you explain the first way that Napoleon shows how power corrupts…

Paragraph 3: Where you explain another way that Napoleon shows how power corrupts…

Conclusion: Where you briefly outline what you have said…

Write two examples of how Napoleon was greedy.

Explain how this shows the perversion of the original vision the animals had.

You might add that the author was criticising Josef Stalin.

Now write an example of the ‘show trials’ where he killed other animals.

Give the example that the commandment was amended to say “without cause.”

You could also use the example of going to war with the humans.

Then explain that his use of violence shows that he has elevated himself above the other animals and how he eventually becomes as bad as the humans.

Summarise your points about how he became increasingly greedy and violent after taking the leadership.

Finish with a statement on how Napoleon and the other pig rulers descended to a point where he was just as bad as a human. Power corrupted him, just as it did Stalin.


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Internet resources

A simple Google search reveals a plethora of Animal Farm resources for the English teacher. Some are based in England or America, so will need some adapting to link in with New Zealand and Australian curriculums.

The following sites have very useful general activities. Shmoop is a very student focussed site which has a great tone directed at teenagers to get them exploring fun approaches to the text.

http://www.us.penguingroup.com/static/pdf/teachersguides/animalfarm.pdf

http://www.shmoop.com/animal-farm/resources.html

Specifically for New Zealand NCEA, Level 1, English Online has this workbook for a comprehensive revision of Animal Farm by Cameron Stuart.

http://englishonline.tki.org.nz/English-Online/Teacher-needs/Teacher-resource-exchange/NCEA-English/Level-1/Animal-Farm-Study-Guide-and-Exam-Revision-Booklet

In Australia, TESAustralia has a great deal to choose from:

http://www.tesaustralia.com/TaxonomySearchResults.aspx?area=resources&keywords=animal+farm+george+orwell



http://www.shmoop.com/animal-farm/resources.html










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DramaAnimal CharacteristicsThe actors in Botfarm 2014 use animal characteristics to create a visual allegory to their Animal Farm counterparts. Creating an animal aspect to your characters can be a useful acting tool. Have you ever thought of someone as slimy like a snake, cunning as a fox or playful as a puppy? By incorporating movement elements of an animal you can add a compelling physical aspect to your character portrayal.

Task one: Immersion Exercise

Your teacher will lead you through an imagination exercise. You will listen and, as it goes along, physically play out your interpretation of the instructions.

Task two: Debrief

Talk about your experience. Use the following questions to guide discussion.

• What was your animal?

• How did it move?

• Were there any difficulties in physically representing your animal? How did you handle the difficulty?

• What are some of the qualities of the movement you took into your body? Think about speed, weight, focus, centre of gravity…

• What are some human descriptions to describe your animal? Eg. Creepy, lazy, stealthy, smart, quick…

Task 3: Animal Characteristics One to Ten

Now you will practice taking on your animal physicality and examine the differences in your body from human to animal and back again.

Task 4: Applying the Animal Characteristic

Discuss with your classmates what body aspects you had at level 2 and how this could inform a character’s personality and vice versa. Which animals are nervous? Fidgety? Boisterous? Cool?

In order to explore your animal characteristics further. Play improvised scenes in a simple setting, such as a café meeting, or bus stop. Play the scene out

as a ‘level 2’ animal character and see if the audience can guess what animal you were incorporating. Is it a bad thing if they can’t? Has it made the scene more interesting to watch?

Could you apply animal characteristics to a character you are currently playing in a devised or scripted piece? If not, could you choose a more suitable animal to help with your physicality choices? For example, you could play the uptight Miss Prism as a level 2 hamster, always fidgeting, or Mr Darcy as a level 2 eagle, proud and still.

Students studying and/or applying Laban movement could see how animal characteristics sit alongside their Laban choice. What animal ‘Floats,’ ‘Glides,’ ‘Punches’? Is this an easier way to visualise those Effort-Actions?


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SCRIPTSFind your own space in the room, lie down, shut your eyes and relax. (pause)

Imagine an animal. You may have seen it at your home, or at a zoo. If this animal lives overseas you might remember seeing it on a TV programme. It may be your favourite animal, or one you find interesting or beautiful. See that animal now. (pause)

Imagine this animal asleep. What position would it sleep in? Is it in a tree? In a den? In the ocean? Where would it sleep and how would it have its body as it slept?

With your own body, and without opening your eyes, slowly get into the position that you imagine your animal sleeping in. (pause)

You are this animal.

It’s time to wake up. Open your eyes and stretch into your body, you awake with one thing on your mind: Food.

You need it, it is what keeps you alive. Slowly but surely, come to a position where you can move. You are in the safety of your lair, your nest, your safe home but as soon as you leave here you are alone in the world, in danger, alert. You seek food.

Sniff it on the air.

Take a stride forward into the world. You are not aware of others at the moment, stay in your own world. You can sense which direction to go, you have very heightened senses. You move with the least effort possible, economical, prowling, skirting the edges of the landscape, wherever you may be to stay safe. Check behind you. Can you hear something? (pause)

No, you’re just being cautious. You move forward. Further on, stalking the food.

There it is! Mmmmm, breakfast. Check around you, now pounce! Go eat! Yum!

How do you eat? Do you gulp the food down? Is it still alive? Are you a messy eater or is it down the hatch in one gulp? Are you a herbivore or is this meat in your mouth? How does it taste? Ahhh, you’re finally satisfied, no longer hungry. (pause)

Now you think about your children. Take some more food in your mouth to take back to the babies at home. Head back in the direction of your home. (pause)

Wait. What’s that in the distance? Do you see it? Smell it? Hear it?

It’s a human. How do you react to that news? Is it the enemy? To be feared? Or is it your master? How will you interact with the human. Will you fly high above it and ignore it, or will you go to it for a pat, or maybe just take a wide berth, hiding from it?

Do that now, on your way home.

Okay, you move on from the human now and get back home to your babies. They’re waiting for you! They’re hungry. Give them the food. (pause)

Now your children are jumping on you, they want to play!

Sort them out in your animal fashion. Organise them to get back into the nest or home and settle down. You lie down with them and have a post-breakfast sleep with your children. (Pause)

Come back to lying in neutral. Imagine you are coming out of the animal’s body and look at that animal now as yourself from your own human eyes. Now leave that world behind. You are becoming aware of the room around you and being back in the class. Open your eyes and sit up. Welcome back!

Teacher’s script (task one)



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SCRIPTSWalk neutrally around the room. Be aware of everyone else but pay them no attention. Focus on where you are going. Fill the gaps and walk with poise and purpose. I am going to count to ten slowly. Remember how it was to be your animal. At the moment you are at level 1, this is your own physicality. When I get to ten you will be back in the body of your animal. On each count you will bring more and more of your animal characteristics into your body until you become fully animal again, then after a while I will count you back to human again.

(Over the space of 30 seconds) One…two…three…four…five

(You may need to remind them of body parts as they go)

Now you are half way, half human and half animal.

(Over ten more seconds) Six… Seven… Eight… Nine… Ten.

Now you are back in full animal mode. How do you hold your head? Neck? Hands? Make a noise as this animal…see another animal…avoid it, how do you hurry?

When I clap my hands you will get a fright and run to the side of the room for cover as your animal. (-Clap-)

Back moving now. How does your animal confront other animals? See another animal beside you now. Do you stare it down, growl, avoid it, chase. Do that now.

And quickly break away, no more interacting.

I am going to count you back down to human. (can be a quicker countdown)

Ten… Nine… Eight… Seven… Six… Half human now… four… three… two… Now stay at level two for a moment. There are remnants of the animal in your body. Ask the next person you see what time it is…Thank them and move on. How is your voice in this mode? What do you do with your hands? Your walk? Your head?

Now go back down to level One, neutral…now Two again, remember this feeling… Now back to neutral. Freeze. And relax. Welcome back!

Teacher’s script (task three)Notes to the teacher:

Depending on ability, focus and prior experience with this kind of exercise, you may need to steer the students throughout the exercise with cues such as: Stay in your own world; You’re not aware of any other people in the room; Fully embrace the physicality of the animal; etc

The script can be shortened/lengthened to suit the size/ability etc of the group. A less mature group might respond better to a shorter, more action packed script. A high ability/mature group could extend this exercise with an interaction, perhaps playing out a ‘fight or flight’ experience with another animal in the room.

If you have a large mature group and a small space, consider dividing this exercise into two lots, so they have more room to move individually around the space and can also have a turn at observing other students’ animal choices. Be cautious of this with a less mature group. It may be tempting to give them more room, but having an audience might change the focus for the students, they may be tempted to play it for laughs, rather than properly explore the physicality of the animal.


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Multiple Role Improvisation Exercises

The actors of Botfarm 2013, use a mixture of physicality, costume pieces, masks and puppets to change characters and present a multi-layered story with lots of characters, all played out by only three actors. The ability to quickly transform is a key asset for an actor, whether working in children’s theatre, improvisation, sketch comedy or modern plays and films with actors in multiple roles.

Tasks: Try out the improvisation games and exercises that follow over the next few pages. They have been placed in a rough order of difficulty.

Learning Outcome of these Exercises:

• Students learn to switch characterisations quickly.

• Through making choices spontaneously, they experience body, voice, movement and use of space choices they might not normally choose, thereby broadening their range of characterisations.

• Due to the fast cycling of scenes, the students are allowed to experiment with multiple uses of B,V,M,S in a non-judging environment.



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Freeze Tag (years 7-13)• Anywhere between two and fifteen students

form a line at the back of the stage.• Two actors, Down Stage, start an improvised scene.

• At any point in time the player at the top end of the line (or the teacher) calls freeze. • The player at the top of the line then tags out

one of the two actors, and takes their place, copying their physicality exactly.• Both players then start a new scene, justifying

their positions as new characters.• The player tagged out goes to the end of the line, which shuffles up one place.• For purposes of concentrating on character, the

teacher should prompt the student to make their character completely different to the previous scene. Students should be prompted

to fully justify the new context, letting the frozen shape inform their character choice.

Funny People (years 7-13)

• Stand in a circle.

• Teacher starts by demonstrating a line

of dialogue and a manner of expression,

with simple gestures to deliver it.

Examples: To be or not to be, that is the

question (stated boldly with one hand

on chin and one hand in the air) or The

secret of great comedy, is timing (said

with a big thumbs up at the end). The

person whose turn it is, starting with the

teacher, will look across the circle and

make eye contact with another person.

They will then enter to the middle of the

circle and deliver their line and gesture to

that person they have connected with.

• The person they have delivered the

line to must observe them closely, from

pitch and quality of voice, to posture,

mannerisms, coughs, laughs; everything.

• Then it is the observer’s turn to make

contact with someone else across the

circle, enter, deliver their line, mimicking

as best they can the last person and

cross the circle to their target’s position.

• And so on, til either everyone has had a

turn, or a couple of turns, or the delivery

has reached a suitably absurd point of

delivery.

• Emphasis should be placed on trying

to be as accurate as possible, without

exaggeration. Nevertheless, a Chinese

Whispers style pattern will probably

emerge, until hysterical renditions of the

original line are being carried out.

• Note: This is a very polarising game. It

can be hugely successful and enjoyable

with some groups, while others might

instantly dislike it. A big factor in this is

the trust and confidence levels of the

group. It must be emphasised with

less confident groups that you are not

‘making fun’ of the person observed,

but trying to develop your powers of

observation and acting accuracy.


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Switch Left (years 9-13)

• Four actors stand in a square facing the audience. Two people at

the front, square on with the audience and two people directly

behind them. The people at the front are the first combination of

actors, they get an idea from the audience for their scene, such as

an occupation, or a type of relationship.

• Then the teacher or another player says “switch left” and the square

rotates in the direction of stage left, the player who was at front,

stage right is now at stage left. The player who was behind them

now joins them at the front, etc. This new combination of players

gets an idea for their scene.

• Switch left a third time and now each ‘combination’ at the front has

a scene starter.

• Now start playing these scenes out in sessions of 20-30 seconds for

each scene, calling ‘Switch Left’ when the players have advanced the

scene sufficiently. The players should be encouraged to make their

characters broad and different from each other so that it is clear to

the audience what scene we have come back to. When learning

the game, the actors should be encouraged to stay on their side of

the square during the scene, to avoid confusion during the ‘switch.’

When we return for the second turn of a particular combination,

players may choose to show that time has passed in the relationship

between the characters. After 3-4 turns with each combination, the

stories should be prompted to find a conclusion to all three stories.

Tag-Out Scene (years 9-13)• You can play this game in a circle, or with teams

of players on either side of the stage with the scene centre stage.

• An action driven scene starts in the centre and is on-going.

• When a player has an idea on how to advance the scene, they can tag one of the actors and take on their character.

• If a scene requires more characters to join, players may step in and add to the number in the scene, but there should be no more than four in the scene at any given time.• The emphasis should be placed on being true,

through voice and physical mimicking to the character the actor has tagged in to be. Broadly played characters will be easier to pick up and carry on, so it should be encouraged from the start to play ‘big’ with the characters.• Scenes can go on for 5-10 minutes as long as

advancing is happening and players are still committing to the established qualities of the characters, it is not as important to concentrate on story-telling. Once the story is established, escalate the frequency with which the players tag in as it goes along, making sure everyone has a turn.



21

Stuck in the Middle (years 11-13)• This is a more advanced extension of Freeze Tag, above, and places more emphasis on one individual who must keep switching characters.

• Two teams of students line up at SR and SL of stage, with one student who is ‘in’ at centre stage.• The student at the front of the line at SL enters with the player who is in and gives them a broad offer to endow them with a character, for example, “Doctor, my leg needs re-bandaging.” The scene is allowed to play out for a while and just as the actor is really committing to the character, ‘freeze’ is called and the first player from the SR line enters and tags out the SL player, always leaving the player who is ‘in’ on stage.• Unlike Freeze Tag, the players from the sides are allowed to generate their own ideas for offers, without having to incorporate the previous physicality. The players should be asked to think of offering a variation to what has come before to challenge the actor ‘stuck in the middle’ to take on a wide variety of characters. The left to right structure should ensure the flow of new scene ideas come thick and fast. The person in the middle should be encouraged to experiment with B,V,M,S. Duration of turns in the middle is up to discretion of teacher but it should last until the actors ‘fall-back’ options have been exhausted and they are experimenting with new voices, statuses, postures etc.

Solo Character Generator (advanced, years 11-13)

• One brave improviser on stage.

• Start a scene by yourself. You could be addressing the audience

directly, or talking to an imaginary scene partner, or simply miming

something. Give your character strong traits; manipulating voice,

posture, gestures, speed, tone etc to paint a bold and memorable

character.

• After 20 seconds or so, the teacher will clap their hands and the

actor will immediately assume a new character, as strongly rendered

as the first. The actor should be prompted, if necessary, to quickly

establish setting, status etc from what they do and say. They should

commit fully to the character. They should advance the scene as if it

could go on indefinitely.

• After another 20 seconds or so, teacher claps again. Actor switches

character. And so on.

• The duration of each character can be manipulated to challenge the

actor. If a teacher knows a student well, they might identify a voice

or trait the student uses as a ‘fall-back’ and quickly move them on

from that choice, perhaps after only three seconds. The duration on

stage for each actor also needs to be judged with student ability in

mind.


22

Interview with Greg Cooper, playwright and director of Botfarm 2014

Firstly, what would you say are the trademarks of a Greg Cooper play?

I really like having actors playing multiple roles. Coming from an acting background myself, I always enjoyed the chance to switch characters during the show, although quick costume changes aren’t quite as much fun. With Botfarm we’re taking it to the ‘next level’ with the actors having to become different characters on stage.

I suppose another trademark is that I like to include as many topical and current references as I can in the script. I think this helps the audience relate to the story and is also a great opportunity for comedy. Shifting the story of Animal Farm into the Big Brother house will hopefully present some of Orwell’s themes in a refreshing and relatable way, helping students to understand the consequence of revolution and how absolute power corrupts.

Another ‘trademark’ of my scripts is audience interaction, although there isn’t so much of this in Botfarm. With the primary school shows I try and include lots of opportunities for the children to get involved and interact with the characters. It helps to keep them engaged with the performance and makes them feel like they are part of the story.

What were the challenges of adapting Animal Farm for a young audience in the 21st century?

Animal Farm is an allegorical, dystopian fable. There’s quite a few layers to peel back to understand Orwell’s artistic and political purpose for writing it. We could have chosen to just re-enact the story as animals, however I thought the fundamental themes could be made more accessible by transferring them into a modern environment young audiences could relate to.

Love it or hate it, the TV phenomenon of ‘Big Brother’ is everywhere, and just when you think it’s run out of steam, it steams onto our screens again. The fact that it’s name is Orwellian put it in my mind straight away. Then I realised that the Big Brother ‘game’ of housemates fighting for power and popularity to avoid being ‘evicted’ was similar to the animal’s struggle on the farm, with the pigs turning out to be the most ruthless and cunning ‘housemates’.

So, I thought, why not try and recreate Animal Farm in the BB house, and then add in commercial breaks, to look at the some of the techniques used by the pigs to take control. I also wanted to look at the impact of technology and our increasing lack of privacy, as this is particularly relevant with the Edward Snowden leaks, GCSB law changes, phone tapping, internet security etc. INTERVIEW



23

What is your favourite part of the play and why?

My favourite parts, although not necessarily the actors, will be when we come to devise how to bring the appliances to ‘life’. I haven’t had a lot of experience with puppetry and object manipulation, so it will be a real challenge to work out the best techniques to move and interact with mundane objects like vacuum cleaners, lamps, hair straighteners etc. I think we’ll discover lots of fun ways to move them, and then be able to create some absurdist and hopefully hilariously ‘bad’ OTT fight scenes, almost like a B-grade 1950’s film.

So puppetry will be a key skill for the actors. What other qualities does an actor need for this kind of show?

The biggest challenge for this show will be switching characters on-stage and even having to engage in dialogue and fights with yourself as different characters. So, the actors will need to be very adept at

creating clear, well defined characters using physicality and voice and also be able to instantaneously change these. With all this happening on stage in ‘real-time’ we won’t have the chance to support the characters with much in the way of costume, so it really comes down to their skill and flexibility. I have a feeling it’s also going to get quite physical and frenetic at the end, when the appliances are rampaging, so they will also have to be very fit!

Finally, what are the most important ‘technologies’ in the play? And can you share with us a couple of examples of ‘effective use’ of the technologies.

With the puppetry side of things, I’m very keen on using ‘found objects’, like real vacuum cleaners, angle poise lamps, hair straighteners, tripods etc and then devising the best way to manipulate them to bring them to life. I suppose the concept is that theatre can be created out of anything if you put your mind to it.

Sound will play a big part in the show. The voice of Big Brother may be pre-recorded as it needs to have a real presence with echo and maybe pitch shifting effects. If we could do this live with an actor that would be great, but with a touring schools show we are quite limited with the tech gear. There will be lots of sound cues, theme snippets, BB voiceover, music for the puppets sequences etc.

Costumes will be minimal to allow for quick on-stage character changes. We will be using symbolic pieces, wigs, hats, glasses, jackets etc.

Note: This interview was conducted before the rehearsal period, some details may have changed by the performance season.INTERVIEW

www.newzealandplayhouse.co.nzPO Box 19907, Christchurch 8241

This resource was compiled by Daniel Allan; actor, director, artistic director at Body in Space, New Zealand high school drama and English teacher, actor/director for New Zealand Playhouse’s 2013 Shakespeare: As You Write It tour and writer/director for one of New Zealand Playhouse’s 2015 tours.

The units in the resource are designed to help you prepare for and follow up from our show, but of course you might find parts of this useful at other times of the year. That’s great. Use it how you like.

If you’ve got any questions or suggestions relating to this resource or our plays, give us a buzz on 0800 894 500 (within NZ) or +64 3 974 3499 (outside NZ) and we’d be so, so happy to chat.


http://www.newzealandplayhouse.co.nz

botfarm 2014: rise of the appliances teaching ideas

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