firststepsindrama autumn 2006 -...

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First Steps in Drama Autumn 2006

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First Steps in Drama

Autumn 2006

Age: 7-9 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 below to find out when programmes are available as audio on demand.

www.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

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

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First Steps in Drama

Autumn 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: Celeb school 6 Zany goings on surrounding the establishment of a School Council. Synopsis 6 1. Debbs forgets 7 AOD 21/09/2006 2. And the winner is… 9 AOD 28/09/2006 Unit 2: The life of Mary Seacole 11 Exploring the life of the extraordinary Victorian nurse and campaigner. Synopsis 11 3. A very determined woman 13 AOD 05/10/2006 4. To the Crimea 15 AOD 12/10/2006 5. A woman to remember 17 AOD 19/10/2006 Unit 3: Storytelling – Jeremy Strong 19 Two comic stories explored through drama... Synopsis programme 6 19 6. Pandemonium in school 19 AOD 02/11/2006 Synopsis programmes 7 and 8 21 7. There’s a Viking in my bed – part one 22 AOD 09/11/2006 8. There’s a Viking in my bed – part two 23 AOD 16/11/2006

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Introduction

Aims of the series First Steps in Drama 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 the 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)

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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?

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: Celeb school

by Gordon Lamont

Curriculum area: PSHE Programme 1 – Debb’s forgets Synopsis The story is told by Frank Aldred, a school caretaker. Frank recalls some amazing recent events at his school which begin when Dixi Daniels – presenter of such TV hits as ‘Celebrity Tie Swap’ – arrives at the school to make a pilot for a new reality TV show to be called ‘Celeb school’. The show aims to make a TV star of one of the young pupils at the school, as voted for by the viewers. Leading contenders include two members of the school council: Deborah Massey (Debbs) and Mark Grainger. Filming quickly gets underway in school with Dixi Daniels to be heard in the hall, kitchen and classrooms with her favourite instruction – ‘Spice it up!’ Then she invites Debbs into the ‘Breakout Room’ for a private interview and Dixi mocks her for an incident earlier in the day in which Debbs failed to answer a maths question correctly. Debbs finds Mark in the playground and complains about her treatment by Dixi, having forgotten that her words are being recorded on camera. Mark sees it as an opportunity to further his own chances for the big prize and is very careful to say everything Dixi wishes to hear during his own interview in the ‘Breakout Room’. Programme 2 – And the winner is… Synopsis Debbs returns to the ‘Breakout Room’ where Dixi seeks to make her apologise for comparing her to a Martian. Debbs agrees that she should not have said some of the things she has but she also stands her ground over the maths incident and accuses Dixi of having no interest in presenting the school with truth or accuracy. Meanwhile Mark is doing well in the competition and presents a minute long segment to camera stating his case for winning the competition. Shortly after though his mood changes as he hears that his mother has had to visit hospital. He has not spoken to Debbs for some time but now he seeks her out as she knows a secret place where the cameras cannot go. When they get there Mark’s distress is evident at having had to keep his feelings concealed from the cameras. Debbs tells him: ‘Some things should remain private’. Together they hatch a plot to get back at Dixi… The big day arrives when the winner of the ‘Celeb school’ competition will be announced. But things start to go wrong for Dixi when the school dinner menu somehow becomes mixed up with her script on the autocue. The programme has to be pulled off-air and then it is revealed that Dixi has been trying to falsify the vote. The audience’s favourite all along has really been Debbs!

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Programme 1 – Debbs forgets

Activities Teacher guidance

Whole group – talk in role. Creating the School Council meeting at which pupils discuss whether or not to take part in the proposed ‘reality’ TV programme.

You may wish to precede the discussion with a quick survey of pupils’ awareness of ‘reality’ TV and some of the features of the genre and the issues it can raise (e.g. how ‘real’ is real life when cameras are present). Lead the School Council discussion (or nominate a Chair person from the group) and allow as many pupils as possible the chance to express their opinion. Explain that the discussion will end with a vote that will determine the course of action taken.

Groups of 3 or 4 – creating a ‘trail’ for the new TV series ‘Celeb school’. Pupils create their own TV trails for ‘Celeb school’ incorporating words and movement.

Begin with a brief discussion of advertising in general and some of the key elements that pupils can identify – fast, exciting, short, full of impact etc. Then recap some of the roles from the school that pupils might wish to include in their trails – the teachers, the catering staff, the caretaker, the pupils themselves. Move among groups as they prepare their trails questioning pupils to establish the detail of their work. At the end allow as many groups as possible to show their trails and allow those watching to say what they like about each.

Pairs – talk in role. Working in pairs pupils take on the roles of presenter and director to describe a part of the school.

You may wish to precede the activity with a recap of some different places within the school that the children may wish to describe – e.g. the hall, a classroom, a sports area, or some other place unique to the school. The activity requires pupils to demonstrate fluency so allow time for them to rehearse first and encourage presenters to use appropriate language that will grab attention. Encourage those being directors to offer constructive comments.

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Pairs – talk in role. Pupils carry on the conversation between Debbs and Mark from the point at which she suddenly realises her comments about Dixi Daniels have been caught on camera.

An opportunity to consider how the characters may be feeling at this crucial moment. Will Debbs attempt to retract what she has said…or will she stick with her views? And consider how Mark may react: will he support Debbs…or mock her? Will he see it as an opportunity he can exploit? Set a time limit on the preparation and move among groups as they work. Allow time for as many pairs as possible to show their scenes to the rest of the group.

Individual – talk in role. Pupils take on the role of Debbs, or someone like her who doesn’t wish to appear on the TV programme. At a signal from you each pupils utters a word or short phrase expressing their feelings. Then pupils swap into Mark’s shoes.

After the immediate effect of the entire group speaking at once you may wish to go round the group inviting pupils to speak individually. You could follow up the activity with a general discussion about events at the school.

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Programme 2 – And the winner is…


Whole group – recap discussion. The group take on the role of the ‘Celeb school’ production team to discuss what events from last time should be put in a highlights programme.

An opportunity to ensure that everyone is familiar with the main events from last time before proceeding with the story. Extension. Allow the recap to happen ‘in role’ – for example, with someone taking the role of the director to quiz pupils about what has been happening.

Whole group – talk in role. Two pupils sit in the middle of the group to take on the roles of interviewer (like Dixi) and interviewee (like Debbs). They start by speaking their thoughts about the situation, before starting a short scene exploring how Debbs is feeling at this stage of the story.

Begin with a discussion about how Debbs may be feeling at the prospect of another session in the ‘Breakout Room’ with Dixi. Extension. Allow other members of the group to signal their willingness to take over the role of either Debbs or Dixi so that a number of members of the group have a chance to be involved.

Pairs – talk and movement in role. Working in twos pupils take on the role of a member of the production team and one of the pupils – like Mark – who have just one minute to say why they should be the one chosen to become a television presenter.

Ensure first that everyone is familiar with the counting-in hand signals: the numbers 5, 4 and 3 are spoken but the numbers 2 and 1 are shown with just the fingers. When everyone is ready to begin time an actual minute for the activity to take place. Move around pairs listening to their scenes. Then swap over roles. At the end choose some to show to the rest of the group and once again time an actual minute for the activity. Then allow others to say what they’ve enjoyed about what they’ve seen. If you’ve got time to show a number of presentations – say 3 or more – you may wish to set up your own group vote on who the winner should be.

Pairs – talking in role. Pupils take on the role of two school children like Mark and Debbs. One has to ask the other to reveal the secret location where the TV cameras cannot go – but without making it obvious to the watching audience.

This activity will present quite a challenge so you may wish to talk as a group first about some ideas. Remind pupils that their every word will be heard by the viewers so they have to find ways of communicating that are unique to them.

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Whole group – still picture. The group creates a still picture of the moment Debbs takes over the TV programme, taking on the roles of the school, the audience and the production team. They speak their thoughts about this dramatic moment.

Choose some members of the groups to be the key participants – e.g. Debbs, Dixi, Mark, Mr Aldred. Then map out the scene with the audience and the various roles of the production team – e.g. floor manager and the director etc off to the side. When everyone is in place ask the group to strike the scene at a signal given by you. Then move around the group inviting everyone to speak their thoughts. Repeat any contributions that cannot clearly be heard for the benefit of all.

Whole group discussion and role play. The group talk about what should happen at the end of the story and then break into groups to show some options.

You could begin with a discussion of ‘poetic justice’ – the convention that determines which characters should be rewarded at the end of a story and which should be punished. Allow a short time for groups to create and show their scenes to everyone else and discuss which conclusion to the story is the group’s favourite. You may also wish to end with another general discussion. For example, during the story Debbs says ‘Some things should remain private.’ Is that the group’s view also?

Weblinks: Reasons to consider setting up a School Council in your school… www.citizenship-pieces.org.uk/schoolscouncils/argument.htm www.schoolzone.co.uk/resources/articles/Good_citizen.asp www.teachingcitizenship.org.uk/top/top_5/case_studies/sub/2/6 The BBC is not responsible for the content of external websites.

http://www.citizenship-pieces.org.uk/schoolscouncils/argument.htm

http://www.schoolzone.co.uk/resources/articles/Good_citizen.asp

http://www.teachingcitizenship.org.uk/top/top_5/case_studies/sub/2/6

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Unit 2: The life of Mary Seacole

by Rob John

Curriculum area: History / PSHE / Citizenship Mary Seacole was born in 1805 in Kingston, Jamaica. She died in 1881. More information about her can be found by exploring the weblinks below. Programme 3 – A determined woman Synopsis We are introduced to Mary through the context of a contemporary debate about whether or not a permanent memorial to Mary should be erected. Mary then begins her story and takes us back to her childhood in Kingston at the beginning of the C19th. Mary’s mother is a ‘doctoress’ using flowers, herbs and all sorts of plants as medicine. Mary is fascinated by her work and gradually becomes expert in this traditional form of medicine. Then Mary hears about the start of the Crimean War between Great Britain and Russia and determines to sail to the UK to enlist as a nurse. However, Mary is prevented from travelling at first by an American lady who makes a racist complaint about her. Mary is forced to take a later ship but is again discriminated against in London where the War Office seem very reluctant to talk to her about her plans. Programme 4 – To the Crimea Synopsis Mary is turned down by the War Office but her rejection simply makes her more determined than ever to get to the Crimea. She borrows some money from a friend and sets off for the war. En route she meets a soldier who already has experience of the Crimea. What he has to say about the conditions there leads Mary to doubt the wisdom of her actions. When she arrives in Balaclava she is horrified to find the wounded soldiers being lined up on the quayside ready to be transported by ship to the hospital at Scutari. Mary quickly has her first patients and manages as best she can with a few bandages and flasks of tea. Mary spends six weeks tended the sick at the docks but she is determined to build her own hospital closer to the battlefield. So she loads all her equipment and supplies onto three donkeys and sets off for the front line, intending to start the hospital she will call the ‘British Hotel’.

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Programme 5 – A woman to remember Synopsis Working in sometimes terrible conditions Mary sets about building her new hospital. All is finally complete as her maid, Sally, hangs the sign above the door – ‘The British Hotel’. In no time at all the hospital is taking in patients and Mary has earned herself the title ‘Mother Seacole’. During her time in the British Hotel she is visited by a journalist from ‘The Times’ newspaper called William Howard Russell. It will become a significant meeting for Mary once she returns to Britain. Mary’s courageous behaviour continues and when she hears of the fall of Sebastopol – a significant victory for the British near the end of the war, she is determined to get to the city as fast as she can. The nature of her welcome there underlines both her celebrity status the evident affection felt for her by the soldiers. However, soon the war is over and Mary returns to Britain and an uncertain future. She falls upon hard times and it is not until she is visited by Howard Russell again that her fortunes improve. A tribute to Mary is organised and 80,000 people attend – even Queen Victoria sends her good wishes. Mary is inspired to write her story down in a book (the source of this story). But then Mary’s name gradually fades from public awareness...until perhaps now. Weblinks: Information about the life of Mary Seacole: www.bbc.co.uk/history/historic_figures/seacole_mary.shtml www.bbc.co.uk/schools/famouspeople/standard/seacole/ http://news.bbc.co.uk/1/hi/uk/3475445.stm www.maryseacoleappeal.org.uk/ www.maryseacole.com/maryseacole/pages/ Images of Mary Seacole: www.berksfhs.org.uk/journal/Dec2002/dec2002images/MarySeacole.jpg http://news.bbc.co.uk/1/hi/uk/4163431.stm Images of the Crimean War (mostly portraits of soldiers from Scottish regiments – no depictions of warfare other than paintings): www.btinternet.com/~james.mckay/crimea01.htm The BBC is not responsible for the content of external websites.

http://www.bbc.co.uk/history/historic_figures/seacole_mary.shtml

http://www.bbc.co.uk/schools/famouspeople/standard/seacole/

http://news.bbc.co.uk/1/hi/uk/3475445.stm

http://www.maryseacoleappeal.org.uk/

http://www.maryseacole.com/maryseacole/pages/

http://www.berksfhs.org.uk/journal/Dec2002/dec2002images/MarySeacole.jpg

http://news.bbc.co.uk/1/hi/uk/4163431.stm

http://www.btinternet.com/~james.mckay/crimea01.htm

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Programme 3 – A determined woman


Individuals – still pictures (as statues). The children make a still picture of a famous person of their choice to create a statue.

A consideration of statues is an ideal way into this unit. You could begin with a general discussion of statues – statues that the group have seen, what sorts of people tend to feature in statues and what they tend to show about the people represented. Encourage the group to think of some unlikely contenders – and then have fun showing some of the individual statues and seeing if the rest of the group can guess who is represented. Extension. Show a few specific statues and invite members of the group to become ‘sculptors’ reshaping the statues into new shapes.

Individual – movement in role and still pictures. Taking on the role of the young Mary as she secretly watches her mother tending a sick man. Then freezing in a still picture at the moment Mary is discovered.

Let the group know that you are going to make a signal at which time they must freeze exactly where they are at the moment of being discovered. Once the still pictures have been struck, move around the group inviting individuals to say what they are thinking in the role of Mary. Extension. Take on the role of Mary’s mother yourself and question pupils in role as Mary about what they are doing. Are pupils able to justify their actions on the basis of insatiable curiosity?

Individual – movement in role. Exploring an exotic island jungle in search of plants, roots and leave etc to use as medicine.

This activity is accompanied by a sound effects sequence that lasts just under 1 minute. Pause the programme immediately before the effects begin to check that everyone understands what they’ll be doing. Then run the effects sequence. If you’d like to extend the activity simply rewind the tape and continue. You may wish to end with a discussion which places the activity in a historical context and remind the group that removing living things from a natural environment would not be as acceptable today.

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Groups of 3 or 4 – still pictures. Creating a still picture of the scene on board when Mary is confronted by the racism of her fellow travellers.

This is a sensitive but essential element of the story that you will probably wish to prepare the group for in the way you feel most appropriate. It may be worth emphasising the historical context once again: the American civil war is yet to be fought and the emancipation of slaves is still some years away. You may wish after exploring Mary’s speaking thoughts to consider what sort of impact on her character such an event may have had.

Whole group – talk in role. Taking on the role of a friend of Mary to try to persuade a government official that Mary should be engaged as a nurse to go to the Crimea.

A means of exploring what we’ve learnt so far about Mary’s character and in particular her resolute determination. If you wish, take on the role of Mrs Hamilton yourself and invite pupils to step forward to try to persuade you to engage Mary. Be as difficult as you can to persuade…but listen carefully and probe any thoughtful advice about Mary. Extension. You could end this part (and subsequent parts) of the story by asking pupils to make another statue – either of a key incident from the story so far or a statue of Mary showing some quality that we have learnt about her.

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Programme 4 – To the Crimea


Groups of 3 or 4 - statues. Working in small groups to make a statue showing an important moment from the first episode.

An opportunity to recall the events from last time and ensure that everyone is familiar with them before proceeding. Encourage each member of the group to think carefully how their contribution will add to the effect of the whole. If there’s time show some of the statues to the rest of the group and invite them to say what the statue represents. As before you could invite watchers to become ‘sculptors’ by asking them to re-organise parts of the statue.

Pairs – still pictures. Making contrasting still pictures of Mary and the War Office official, immediately before and after the news that Mary is ‘not needed’ in the Crimea.

Pupils need to find ways to contrast Mary’s sense of hope and anticipation followed by bitter disappointment. They may also want to consider the difference in ‘status’ between the two roles and how this might be reflected in their pictures. When everyone is ready strike the first picture at a clear signal from you. Hold that picture quite still for a few seconds and then offer a second signal for the next picture.

Pairs – discussion, leading to whole group for talk corridor. Working initially in pairs, one child thinks of reasons why Mary Seacole should carry on to the Crimea and the other reasons why she should return home. Then those ‘for’ and ‘against’ create two lines and an individual is chosen to represent Mary. This person walks down the ‘corridor’ listening to advice from both sides.

This activity can take some time and effort to set up so, depending on your group, you may prefer to restrict the activity to reasons ‘for’ and ‘against’ only. Try to create the talk corridor as quickly as possible and then ensure that everyone understands that they should be absolutely silent until it is their turn to speak. If there is any doubt about this the person being Mary can indicate who can speak next by turning from side to side to look at those in the line. At the end the one being Mary can say how they feel they should act on the balance of the advice offered.

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Pairs – role play. One child takes on the role of an injured soldier and the other a carer like Mary. The care available is very basic – just a drink and bandages. Each person speaks their thoughts out loud.

Avoid any melodrama by reminding the group that even small injuries could be very serious in an environment without adequate hygiene or care. The facilities on offer are very basic, so the emphasis needs to be on providing comfort. The speaking thoughts should bring out surprise and distress on Mary’s side at having to deal with such a situation and a sense of relief for the soldier.

Pairs – movement in role. Navigating the battlefield as Mary and a companion as they lead her donkeys laden with possessions towards the front line.

This activity is accompanied by a sound effects sequence that lasts 1 minute. If you’d like to extend the activity simply rewind the tape and continue. Remind the group about the difficulties of the terrain – uneven ground, mud, obstacles to navigate. At each gunshot the group needs to take cover quickly (where they are) and then proceed again when it seems safe to do so. So they will need to keep listening very carefully to the programme.

Whole group – discussion. The group discusses Mary’s personality. What special qualities do they think she has based on what they have learned about her?

Lead the discussion. What qualities do they most admire about Mary? Have they anything negative to say about her? Can they suggest any contemporary figures that they feel demonstrate similar qualities?

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Programme 5 – A woman to remember


Individuals – movement in role. The group takes on the role of soldiers and labourers building the ‘British Hotel’.

This activity is accompanied by a sound effects sequence that lasts 1 minute. If you’d like to extend the activity simply rewind the tape and continue. This is an opportunity to explore Mary’s immense success in building the ‘British Hotel’ in such difficult circumstances. Emphasise how poor the conditions are – it is bitterly cold and the fighting continues close at hand. Everyone will need to be prepared to cease their work to take shelter.

Pairs – talk in role. One member of the pair becomes the journalist William Howard Russell and the other someone who has stayed at the British Hotel. The journalist must ask questions to find out about the interviewee and his or her connection to Mary.

It’s important to try to allow the pair to have a turn at each role. Allow a few minutes at the outset for both to consider quickly what their ‘story’ will be as interviewee: will they be a solider who has stayed at the British Hotel; did they make a full recovery; what were the conditions like; have they any information about Mary Seacole? The interviewer will have to think of the right questions to get all the information needed…in particular any information about Mary herself. Allow some pairs to show their work to the rest of the group.

Pairs / whole group – discussion. Working initially in pairs, children share their ideas about Mary’s foray onto the battlefield and her decision to make a British soldier wait while she tends to a Russian.

Allow pairs to talk for a couple of minutes before calling the whole group together. Do they think Mary’s actions are brave…or foolish? Do they think she is right to treat soldiers from both sides exactly the same? Encourage the group to think of other events in the story that might show Mary behaving in a similar manner.

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Whole group – still picture. The group creates a still picture of the moment a triumphant Mary enters the recently fallen city of Sebastopol.

You’ll need to choose those to represent Mary and her maid Sally and their companions. Thereafter the picture is made up of soldiers and local people. Think carefully how the still picture can be structured to make Mary and Sally the focal point. Once everyone is in position strike the picture at a clearly given signal. Extension. At a further signal from you, bring the picture to life – soldiers cheering and waving, Mary and Sally returning their greetings as they proceed into the city – and then freeze it again. You could also add speaking thoughts. How it does feel to be part of such a crowd on such a day?

Whole group – discussion – followed by groups of 3 or 4 making statues. As a group talk about some of the key moments of the story and then break into groups to create some of these as statues.

Another opportunity to use the central theme of statues to explore the key events of Mary’s life. If there is time allow some groups to show their work. Those watching can identify the events represented and give the statues titles.

Whole group – discussion. A final discussion about Mary, her life and how it should be commemorated.

Where should Mary’s statue stand? Where she was born? The Crimea? The UK – and if so, where? What should it show? For some groups this may lead also to a discussion of the nature of celebrity. Why should Mary have been forgotten? Why is it important to remember?

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Unit 3: Storytelling - Jeremy Strong

By Michael Coleman, based on the stories of Jeremy Strong

Curriculum area: English Programme 6: Pandemonium in school Original story published by Puffin Books 1999, ISBN 0-141-30495-2. First published by A & C Black, 1990 Synopsis When one of the teachers at Dullandon Primary falls down the stairs and breaks an arm the head teacher Mr Shrapnell has no choice but to call for a supply teacher. Unfortunately none is available except Miss Violet Pandemonium. Miss Pandemonium quickly establishes a rapport with her new class. Mr Shrapnell's meticulous timetable goes out the window to be replaced by such activities as building helicopters. However, her recipe for Friendship cake proves a near disaster. There's just enough time to clean up the school before a very important visitor arrives - the school inspector!

Programme 6: Pandemonium at school

Drama activities Teacher guidance Whole group. The children join in with Miss Pandemonium’s welcome to the class.

A simple whole group activity helping to engage the listeners with the fictional world of Dullandon school.

Pairs – movement. The children build an imaginary helicopter using bicycles and other materials found around the school. When they have finished they describe their creations to everyone else.

This activity is accompanied by a sound track to offer focus and inspiration to each pair’s work. If you wish, pause the programme before the soundtrack in order to discuss with the group some of their ideas. If you have time replay the soundtrack once more with a few pair’s demonstrating their work. Allow the others to say what they think is happening.

Whole group. Talking about the things each pair used to make their heli-bikes.

An opportunity for everyone to talk about their amazing adventures – and demonstrate some creative use of language. Welcome the wacky and outlandish!

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Pairs. The pair thinks of 3 further things that Mr Shrapnell wouldn’t have time for – perhaps scratching his ears, or having a cup of tea.

An opportunity to explore how the children respond to the satire of the story. Do they offer suitably comic suggestions?

Pairs. Working in pairs the children make their own Friendship cake. They put in the flour, stir, and say one thing they enjoy doing with a friend. Then pass the spoon over so that their partner can also have a turn.

Pause the programme before the activity to ensure that everyone is clear on the action. At the end you may wish to lead a discussion about some of the comments on friendship that were offered. What’s important about friendship?

Pairs. Working together to clean up the cake mixture by throwing water on it and scrubbing with mops, brushes etc.

Start the activity on a signal from you. Move among the group, encouraging and commenting and inviting the children to speak to you in role.

Groups of 3 or 4. Devising a means to cross a swimming pool without getting wet and then showing ideas to the rest of the group.

Begin the activity with a short discussion. What sorts of ideas do the children come up with? Then set a time limit on the activity and allow the pairs to work together on their ideas. Move among the pairs questioning to establish detail and to focus their ideas. At the end allow some time for pairs to show their work to each other.

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Programme 7: There's a Viking in my bed - part one Original story published by Puffin Books 2001, ISBN 0-141-31025-1. First published by A & C Black 1990. Synopsis The start of a two-part story based on Jeremy Strong popular title There's a Viking in my bed. Sigurd, the hapless Viking, tells how he arrived in the present day in the little town of Flotby on the East Coast of England. Having been abandoned by his Viking raiding party he makes his way through the unfamiliar landscape and takes shelter in the Viking Hotel. The following morning he is horrified to be woken by Mrs Tibblethwaite, one of the guests at the hotel. Gradually Sigurd gets to know Mr and Mrs Ellis and their children - who own the hotel - and manages to convince them that he is a real Viking. But when Sigurd puts all the dirty plates into the washing machine a decision must be made about what to do with him. Programme 8: There's a Viking in my bed - part two Synopsis Sigurd tells how he attempts to row back to Denmark, but gets into a terrible mess and ends up swimming back to Flotby. Mr Ellis is delighted to have Sigurd back - despite his peace offering of a cow - since new guests at the hotel are demanding to meet the 'real' Viking. The relationship grows between Sigurd and Mrs Tibblethwaite to the extent that he makes an offering of three oven ready chickens to the gods to make her stay. The annual Viking festival takes place in the town and unnoticed by the Ellis family Sigurd and Mrs Tibblethwaite slip away in a boat. But will they really succeed in rowing back to Viking Denmark? Weblinks: The official Jeremy Strong website: www.jeremystrong.co.uk/ Jeremy Strong answers your questions about his work on the BBC School Radio website: www.bbc.co.uk/schoolradio/english/meettheauthors_summer07_prog05_jeremy_strong.shtml

The BBC is not responsible for the content of external websites.

http://www.jeremystrong.co.uk/

http://www.bbc.co.uk/schoolradio/english/meettheauthors_summer07_prog05_jeremy_strong.shtml

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Programme 7: There's a Viking in my bed - part one

Drama activities Teacher guidance

Individual. Children become Sigurd as he moves around his new, unfamiliar, environment - moving through the fog, exploring buildings, hiding to avoid people or passing cars.

Watch carefully to assess which children engage with their role and which ones are hesitant. Join in as necessary to demonstrate your own commitment to the fiction and to model movements for those who might need assistance.

Pairs. Making a still picture of the moment Sigurd leaps out of the wardrobe to surprise Mr Ellis and Mrs Tibblethwaite.

Encourage children to make pictures that are dramatic but also fun. You could extend the activity by introducing a prior search in the bedroom, with the still picture made to your own signal.

Whole group. Talking in role as one of the Ellis children in order to persuade Mr Ellis that Sigurd really is a Viking.

This activity is likely to work best if you take the role of Mr Ellis yourself. Invite the children to speak in turn. Assess which children are using information from the programme to support their arguments (e.g. Sigurd's lack of English, his empty pockets, etc)

Groups of 3 or 4. Making still pictures of the Viking raiding party to illustrate Sigurd's description of it.

Move among groups asking questions to establish detail and joining in alongside as necessary. When groups have finished their pictures allow some time for pupils to show their work to each other.

Groups 3 or 4. Working in role as Sigurd and the people he meets to show how the Viking copes in an everyday situation - perhaps trying out a modern appliance for the first time.

Encourage the children to think beyond the ideas offered in the programme. The scene may be either mime or with words. Groups could preface their scenes by offering a caption. Ask the watchers to say what they like.

Whole group. Taking on the roles of the Ellis family and their guests to decide what should be done with Sigurd.

Encourage the children to respond within the context of a fantasy - unusual suggestions may be welcomed! You could ask the group to consider the advantages and disadvantages of letting Sigurd stay and at the end take a vote on what to do.

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Programme 8: There's a Viking in my bed - part two

Drama activities Teacher guidance

Pairs. Taking on the roles of Sigurd and a Viking friend to recap all his adventures from the first episode.

Assess how secure the children's recall of events is and make sure that everyone remembers the main details before resuming. You could extend the activity by asking children to sequence events in the correct order.

Pairs. Making still pictures of the moment Sigurd presents his peace offering of a cow.

Move among pairs questioning to establish detail. Allow time at the end for pairs to show their work to the group.

Individual. Taking on the role of Sigurd as he creeps through the sleeping house down to the kitchen to take the chickens from the fridge.

Encourage children to listen carefully to the soundtrack for noises such as creaky stairs and squeaky doors. When these are heard the children should crouch down and hide until it is safe to continue. Either replay the sequence or switch off the tape to extend the movement activity.

Individual. Creating still pictures of Sigurd as he sees the Viking festival and then speaking his thoughts of home.

Move among children, inviting them to speak. Encourage a more reflective mood. You could extend the exploration of this moment by discussing what it effect it has (what it tells us about Sigurd and also how this sombre moment helps to prepare for the comic climax).

Groups 3 or 4. Creating one part of the Viking festival by taking on the roles of stall-holders, Viking oarsmen and raiders, etc.

Allocate roles and work with individual groups to create their pictures. When everyone is ready bring the scene to life at your own signal to create the Viking festival.

firststepsindrama autumn 2006 -...

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