www.tangleinternational.com

CONTENTS Section One: Background & Context05 AboutTangle08 Tangle’sinheritance11 TheRenaissance16 ChristopherMarlowe19 DOCTORFAUSTUS:anoverview23 Interview:MarloweandMe

Section Two: Tangle in performance 27 Tangleinperformance30 TangleCompanyinperformance32 Tangleproductions–creatingamulti-lingualscript34 LanguagesofSouthAfrica36 MakingaTangleProduction38 Lighting–interviewwithHansjorgSchmidt39 Musicandcomposing–interviewwithAllysonDevenish40 Directing–interviewwithAnnaCoombs

Section Three: Resources, Activities and Lesson Plans44 Themedexercisesandactivities46 Resources–nonverbalcommunicationandgroupwork47 Resources–rhythm,movementandvocalising48 Resources–textextracts52 SessionPlans54 ArtsAward55 LinkstoArtsAward56 SessionplanslinkedtoArtsAward58 Reviewingaperformance.(Bronze,PartB/Silver,Unit1,PartC)60 Resource1forSessionPlan261 Resource2forSessionPlan2

2

Twitter@TanglePlays

YouTubeatTangle International

FacebookatTangleTheatre

InstagramTangleTheatre

Joinourmailinglistbysigningupatwww.tangleinternational.com

Administrator@tangleinternational.com www.tangleinternational.com

How To Use This Pack

ThisDiscoveryPackexplorestwoprojects:TangleCompany’sensembletour,NOONEISANISLAND(autumn2017),andourtouringproductionofChristopherMarlowe’sDOCTORFAUSTUS(spring2018).BothelementsarethematicallylinkedandinspiredbytheRenaissance.

TangleCompany,ourprofessionalensemble,tourwithashortperformanceofapoeticworkwithsong,adaptedfromRenaissancepoetryandafirstentrypointtoTangle’sstyleoftheatre.

OurtouringproductionofChristopherMarlowe’splayDOCTORFAUSTUSisperformedinourdistinctive,multi-lingual‘townshiptheatre’stylewithoriginalmusicandsong.

Thispackisdesignedtocomplementyourjourneyontheseprojects.Eachsectionincludessuggestionsforactivitiessuitabletodoindividually,inschool,orwithfriends.Therearealsosuggestedclassroomactivities,designedtoenableteacherstousecontentwithinfuturelessonplanning.

SuggestedclassroomactivitiesextendintoEnglish,drama,music,PE,danceandgeography.Therearealsolinkstocitizenship,Britishvaluesandthespiritual,moral,socialandculturaleducation(PSHE)agenda.

Languageandthoughtissomethinguniversaltoallofus.TheplaysoftheRenaissance,bywriterssuchasMarloweandShakespeare,arenowover400yearsold.Theyarewritteninalanguagebothfamiliaranddifferentfromthatweusetoday.Theseplayshavebeenperformedacrosstheworldinmanylanguagesandstyles.

Understandingdifferentlanguagesanddifferentofcommunicatingcanhelpusunderstandeachothermuchbetter,andthispackaimstoinspireeveryonetothinkabouthowpoetryandlanguagehaspowerandinfluenceacrosstheworldinmanyforms.

It’sabigworldoutthere…weallhaveacontributiontomake.

What’syours?

Let us know

3

BacktoContents

ContextSection 1

Back to Contents

4

5

ABOUT TANGLE

TangleisSouthWestEngland’sAfricanCaribbeanTheatreCompany.We’rebasedinSomerset.Ourworkinspirespeopleofallagesandabilitiestoappreciatetheexcellence,breadthanddiversityoftheatre.AtTangleweencouragepeopleofallkindstocelebratethepositivityoftheUKasamulti-racialnation.Ineverycommunitywevisit,alongsidetheworkwepresent,Tangle’sartiststrytofindstraightforwardstepstohelppeopletoovercomesocialbarriersinafriendly,non-judgementalway.

Ourcompanyvaluesreflecttheneedforgenerous,unembarrassed,positivetwo-wayconversationsbetweentheTangleartiststhatdeliver,andthepeoplethatenjoyourwork.Ourvaluesare:

Generosity–reachingouttoallpeople,regardlessofability,backgroundandknowledge,andhavingalisteningearforall,sothat,regardlessofattitude,peopleofallkindscangrowunderstandingof,andappreciationformulti-racialtheatre.

Connectivity –ensuringthatwecommunicaterigorously,sothatournetworksinSouthWestEnglandareineffectivedialogueatalltimes,andinastrongpositiontomeasuretheeffectandimpactofourwork.Thiswillhelpusbetterpresentourcaseforsocialandculturalchangeinfuture.

Excellence–ensuringthatallouractivitiesareofthehighestquality,inspiringaudiencesofallagesandstages.

Respect–foreachother,forourcommunitiesandourstakeholders;foreverybodywhoisinvolvedinaTangleprojectregardlessoftheirexperience,knowledge,‘learntviews’orideas.

Ubuntu–aXhosawordliterallymeaning‘Iam,becauseweare’.Theprincipleof‘ubuntu’is‘howcanoneofusbehappyifalltheotheronesaresad?’Ubuntuimpliesthatweareinterdependent,thatwearestrongertogether,thatweareallequal,andthatweworkasastrongteamtogeneratesuccess.

Whenwevisit,Tangle’steamofpractitionerssharedifferentelementsoftheirownculturewithpeoplewhowouldnotnormallycomeintocontactwiththem.Thisgoessomewaytobuildingbridges,forgingrelationshipsandencouraginggenuinecollaborationbetweenpeopleandartistsofmanyracialidentities.

Withourpartnerswewelcomeartistsofallethnicitiesintotheregion,deliveringcreativeartsprojectsthatopenupnewconversationsandfreshpossibilitiesforcrossculturalcollaboration.

Withourpartnerswewelcomeartistsofallethnicitiesintotheregion,deliveringfreshcreativeprojectsthatopenupnewconversationsandpossibilities.

5

BacktoContents

UbuntuisoneofTangle’scorevalues,encouragingcomplicity,equality,andkindnesstoeachother.

• UbuntuisaBantuterm.Itroughlytranslatestomean‘humankindness.’

• UbuntuintheXhosaculturemeans: ‘Iambecauseweare’.

• IntheShonalanguage,whichismainlyspokeninZimbabwe, ubuntuisunhu.

• TheZuluwayofdescribing‘ubuntu’isalsocommoninShona:munhumunhunekudakwevanhu.

• InSouthernAfrica,Ubuntuisdefinedasahumanistphilosophy,ethic orideology.

Here are some other definitions of Ubuntu. LiberianpeaceactivistLeymah Gbowee:‘I am what I am, because of who we all are.’

PoetJohn Donne: ‘No man is an island, entire of himself; every man is a piece of the continent, a part of the main’.

Archbishop Desmond Tutu: ‘A person with Ubuntu is open and available to others, affirming of others, does not feel threatened that others are able and good, and knows that he or she belongs in a greater whole and is diminished when others are diminished, when others are tortured or oppressed.’

Nelson Mandela: ‘A traveller through a country would stop at a village and he didn’t have to ask for food or for water. Once he stops, the people give him food and attend him. That is one aspect of Ubuntu, but it will have various aspects. Ubuntu does not mean that people should not enrich themselves. The question therefore is: are you going to do so in order to enable the community around you to be able to improve?

AContinentdescribesaverylarge areaofland.

AnIslandisalsoawordtodescribeanareaofland.

Continentsaremuchlargerthanislands.

Islandsalwayshavewateraroundthem.

Therearesevencontinentsintheworld.Someareconnectedtoeachother,andsomearesurroundedbywater.

Thereareover100,000islandsintheworld.

Africaisthesecondlargestcontinentintheworld.

TheCaribbeanispartofNorthAmericaandis25countriesintotal.

Useful Information 1

Useful Information 2

6

PSHE/PSHE KS2Using a dictionary, look up the word RESPECT – what does it mean?Write a sentence about something you respect. Why do you respect it?It could be a noun e.g. a person or an attitudePrompt “I respect my mum as she works hard to look after us”

PSHE/PSHE KS3What can you find out about ‘Ubuntu’?Make up your own definition of Ubuntu. What is Bantu culture? What can you find out about it? How many Bantu languages can you list?Where are Shona, Zulu and Xhosa spoken? What other languages are spoken in that part of the world?See what you can find out about Nelson Mandela, Desmond Tutu and other advocates of Ubuntu.

Geography KS2/3Look at a map of the world.What is a continent? What is an island?Where is Africa? How many countries does it have?Where is the Caribbean? How many countries does it have?

Classroom Activities

7

8

Tangle’s inheritance

Foundedoncrossculturalexchange,TanglecreatestheatrethatcombinesSouthernAfricantownshipandcollectivetechniqueswithWesternapproaches,bringingtogetherscripteddialogue,storytelling,livemusicandsong,poetryanddanceinadistinctivestyledrawingequallyonthetraditionsofbothcontinents.AllTangle’sworkismulti-lingualwiththeuniversalvaluesofourtouringproductionsreflectedintheworkofTangleCompany,ourvirtuosoensemble.InSouthAfricaduringthe1950’sitwasdifficultforblackpeopletoestablishapublicvoice,sotheatrebecameapowerfulandoftendangerouswayforpeopleofallracialheritagestoprotestagainstlegalisedracialsegregation–whichwecall‘apartheid’.

Duringthisdecade,somegreattheatremakersandwriters,suchasIanBernhardtandAtholFugardbegantomakework.Fewoftheseplayswereperformed,though,intheareaswhereblackpeopleactuallylived.Mostlivedin‘townships’–suburbsmadeupofshantiesandcinder-blockhomes,oftensituatednearlargecitieslikeJohannesburg.Therewereschoolsandchurches,butverylittleinthewayoforganizedentertainment.InZimbabwe,mosttheatresandplayhouseswerebuiltduringthecolonialeraonWesternandEuropeanstyles.ThismadetheminaccessibletothemajorityofindigenoustheatregroupsandindigenousAfricanandlocalaudiences.

Inthe1960’savibrantmovementcalled‘townshiptheatre’begantoevolvewhenplayswerespecificallydevelopedandperformedfor,andwith,theresidentsofSouthAfricantownships.GibsonKenteisoftenseenasthe‘father’oftownshiptheatre.InPortElizabeth,AtholFugardandhiswifeSheilabeganasmalltheatregroupcalledtheCirclePlayers.Lateron,FugardworkedwithJohnKaniandWinstonNtshona.WiththemhecreatedSizweBanziisDeadandTheIsland,whichwouldgoontowininternationalacclaim.

AsrepressiongrewandthevoicesofpoliticalactivistslikeNelsonMandelaandOliverTambowereincreasinglysilenced,theatrebecameanevenmoreimportantmediumofvoicingthestruggletochallengethe‘apartheidstate’.Theatrewasawayforpeopleofallkindstoexpressfrustrationandanguish.NewandinnovativevenuesbegantoemergeandproductionsofcontroversiallocalworkfoundtheirhomesinvariousplacesacrossSouthAfrica.Similarly,useofpowerfulpoliticalandsocialmessagingexpressedwithminimalsetsandthroughensembleworkingisafeatureofallTangle’sworktoday.

8

BacktoContents

AswellaslandmarktheatresemergingsuchasThePeople’sSpace(1972),TheMarketTheatre(1974)andTheBaxterTheatreCentre(1977)therewasanexplosionofothervenuesandcommunityartsgroupsintownshipssuchasSoweto.ThesehelpedtoshapethepoliticalagendaofmanySouthAfricans.AfterSouthAfrica’snewfreedomin1994,therewasashiftchangearoundtheatremaking.Buttwentyyearson,newtalentisgrowingfastandplayswrittentodayencompassabroadrangeofglobalthemes.

Tanglehaspickeduponthisthemeofinaccessibilityandusedittomakeourtouringworkmorerelevanttoaudiencestoday,andparticularlytopeoplelivinginpartsofSouthWestEnglandwhomightnothaveatheatreontheirdoorstep.We’refollowingthepatternofmostofZimbabwe’sindigenoustheatrecompanies,likeAmakohosiTheatreinBulawayo,bycreatingtheatrethatcanbeperformednotonlyinconventionaltheatrespacesbutincommunitycentres,schools,hallsandevenoutdoors.

Thismeansthatourworkisadaptivetodifferentenvironments.WhenwetourwithTangleCompany,ourensemble,wedon’tusecostume,andthereisnolightingandtherearenosets.Thisgivesthewords,musicandactionsthattheactorspresentgreaterweightandmeaning;itmakestheaudienceintegraltotheactionandveryclosetoallthathappenson‘stage’.Ourfulltouringproductionsusedetailedandelaboratecostume,someprops,andpracticallightingsources.YoucanfindoutmoreaboutpracticallightinginSectionThree.

InSouthAfrica,atownshipisdefinedasasuburborcityofpredominatelyblackoccupation,intheapartheidyearsdesignatedforblackoccupationundergovernmentlegislation.Theword‘township’isstillusedaroundtheworldtodaytodescribedifferentformsofhabitatwithinshiftingpoliticalcontexts.

TownshiptheatreisacreativeformestablishedinSouthAfricaduringthe1950’stocreateaccessibletheatreworks

suitableforperformanceininformalsettings,suchastownshipcommunityandchurchhalls.

ZimbabweanCollectiveTheatrebringstogethermusic,song,poetry,dramaticdialogueandphysicaltheatreinonedramaticexposition.

Theterm‘virtuoso’canbedefinedasapersonorpeoplehighlyskilledinaparticularartisticformorwayofworking.

Useful Information

9

English & Drama KS3 ComparetheperformanceofNOONEISANISLANDtoanothertheatreperformanceyouhaveseen.Wherewasitperformed?Describetheexperience.HowwasthisdifferenttotheworkofTangleCompany?ReadtheprevioussectiontofindoutmoreaboutTangleCompany.CompareTangleCompany’sstyleoftheatrepresentationtootherBritishtheatrecompaniesthatyouhaveseen.Createapieceof‘townshipstyle’theatreinyourownschoolorcommunity.Whatskillsandequipmentwouldyouneed?

PSHE KS2/KS3Usingadictionary,lookupthewordforTownship.WhatisaTownship?Drawyourownpicture.Writeaboutatownshiptoencouragepeopletovisit.

Classroom Activities

10

11

The Renaissance

TheRenaissanceisusuallydescribedasaperiodinEuropespanningfromthe14thtothe17thcentury.ItisseenasaculturalbridgebetweentheMiddleAgesandmodernhistory.ItstartedasaculturalmovementinItalyandlaterspreadtotherestofEurope.ItmarksthebeginningoftheEarlyModernAge.TheintellectualbasisoftheRenaissancewasitsowninventedversionofhumanism.TheGreekphilosopherProtagoras,describedthisinwordsas‘manisthemeasureofallthings.’Humanismbecameanewwayofthinking,andmanifesteditselfinart,architecture,politics,scienceandliterature.

DuringtheRenaissanceboththeLatinlanguage,andvernacularlanguages(ordialects)startedtoflourishasameansofexpression.Inpolitics,theRenaissancecontributedtothedevelopmentofthecustomsandconventionsofdiplomacy,andinsciencetoanincreasedrelianceonobservationandinductivereasoning.

Inmanyways,theRenaissancewasacultural,socialandpoliticalrevolution,markingmuchchangeandupheavalacrossEurope.

EnglishRenaissancetheatre,alsoknownasearlymodernEnglishtheatre,or(commonly)asElizabethantheatre,referstothetheatreofEnglandbetween1562and1642.ThisisthestyleoftheplaysofWilliamShakespeare,ChristopherMarloweandBenJonson,threeoftheperiod’sleadingdramatists.Eachmadeaverydistinctivecontributiontotheatre.

Duringthistime,theatricallifewaslargelycentredjustoutsideLondon,asthetheatrewasbannedinsidethecityitself.PlayswereperformedbytouringcompaniesalloverEngland.EnglishcompanieseventouredandperformedEnglishplaysabroad,incountriessuchasGermanyandDenmark.

Beforethefirstpermanentplayhouseswerebuilt,twotypesoflocationwereusedforperformingplays,theoutdoorcourtyardsoftaverns,and’InnsofCourt’suchastheInnerTemple.Thesevenuescontinuedtobeusedevenafterpermanentplayhouseswereestablished.Thefirstpermanentplayhouse,ortheatreinEnglandwascalled‘TheTheatre’!Itwasbuiltin1576bytheEnglishactorJamesBurbage.HewasthesonoftheactorRichardBurbage,alifelongfriendofWilliamShakespeare.

Actingcompanieshadtheirownnames,justliketheatrecompaniestoday,andtouredthecountry.Later,somewerebasedatplayhouses.Companiesfunctionedonarepertorysystem.Unlikemodernproductionstheyrarelyactedthesameplaytwodaysinarow.In1592LordStrange’sMen,thecompanyattheRose

11

BacktoContents

TheatreinLondon,playedsixdaysaweekandperformed23differentplays,someonlyonce.Theyrarelyactedthesameplaytwiceinaweek.Theworkloadontheactors,especiallytheleadingperformers,wastremendous.

Companiesincludedonlymales.Femalepartswereplayedbyadolescentboyplayerswearingwomen’scostume.Performancesoccurredintheafternoonsincenoartificiallightingexisted.Whenthelightdidbegintofade,candleswerelitsothattheplaycouldcontinueuntilitsend.

Playscontainedlittleornoscenery–thescenerywasdescribedbytheactorsthroughthecourseoftheplay.Costumeswerebrightandcolourful,visuallyentrancing,andexpensive.Actorsworecontemporaryclothingfortheplaysandcostumeswereusedtorecognisethedifferentcharacters.Differentcoloursandfabricsallowedviewerstoknowtherolesofeachactorwhentheycameonstage.

Renaissancemeans‘rebirth’andwasatimewherepeoplewereusingmapsofnewlands,buildingshipsandexploring.

TheRenaissancewasaperiodinEuropeanhistory,fromthe14thtothe17thcentury.

ItwasregardedastheculturalbridgebetweentheMiddleAgesandmodernhistory.

ItstartedasaculturalmovementinItalyintheLateMedievalperiodandlaterspreadtotherestofEurope,markingthebeginningoftheEarlyModernAge.

Asaculturalmovement,theRenaissanceencompassedinnovativefloweringofLatinandvernacularliteratures.

Useful Information – The TudorsTheHouseofTudorwasaroyalhouseofWelshandEnglishorigin.

TheTudorfamilyrosetopowerinthewakeoftheWarsoftheRoses,whichlefttheHouseofLancaster,towhichtheTudorswerealigned,extinct.

TudormonarchsruledtheKingdomofEnglandanditsrealms,includingtheirancestralWalesandtheLordshipofIreland(latertheKingdomofIreland)from1485until1603,withfivemonarchs.

TheTudorsweresucceededbytheHouseofStuart.

HenryVIIIwastheonlymale-linemaleheirofHenryVIItolivetotheageofmaturity.Issuesaroundtheroyalsuccession(includingmarriageandthesuccessionrightsofwomen)becamemajorpoliticalthemesduringtheTudorera.

TheHouseofStuartcametopowerin1603whentheTudorlinefailed,asElizabethIdiedwithoutalegitimateheir.

Useful Information – The Renaissance

12

ViceAdmiralSirFrancisDrakewasanEnglishseacaptain,privateer,navigator,slaver,andpolitician.

Drakecarriedoutthesecondcircumnavigationoftheworldinasingleexpedition,from1577to1580,andwasthefirstCaptaintocompletethevoyage.

WithhisincursionintothePacificheinauguratedaneraofprivateeringandpiracyinthewesterncoastoftheAmericas—anareathathadpreviouslybeenfreeofpiracy.

ElizabethIofEnglandawardedDrakeaknighthoodin1581.Hewassecond-in-commandoftheEnglishfleetagainsttheSpanishArmadain1588.

HediedofdysenteryinJanuary1596afterunsuccessfullyattackingSanJuan,PuertoRico.

HisexploitsmadehimaherototheEnglishbutapiratetotheSpaniards,towhomhewasknownasElDraque.

ChristopherColumbuswasanItalianexplorer,navigatorandcolonizer.HewasborninGenoainItaly.

HecompletedfourvoyagesacrosstheAtlanticOcean.ThosevoyagesandhiseffortstoestablishpermanentsettlementsontheislandofHispaniolainitiatedtheEuropeancolonizationoftheNewWorld.

ColumbuswasnotthefirstEuropeanexplorertoreachtheAmericas,havingbeenprecededbyLeifEriksoninthe11thcentury,buthisvoyagesledto

thefirstlastingEuropeancontactwiththeAmericas,inauguratingaperiodofEuropeanexploration,conquest,andcolonizationthatlastedseveralcenturies.

HisvoyageshadanenormousimpactinthehistoricaldevelopmentofthemodernWesternworld.

Columbusspearheadedthetransatlanticslavetrade.HesawhisaccomplishmentsprimarilyinthelightofspreadingtheChristianreligion.

Useful Information – Christopher Columbus

Useful Information – Sir Francis Drake

13

ThePilgrimswereagroupofreligiousseparatiststhatwerebroughttogetherbetween1586and1605.TheythoughtthattheirbeliefswereirreconcilablewiththoseoftheChurchofEnglandandthattheyshouldbeabletoworshipindependently.Atthetime,itwasillegaltonotattendChurchofEnglandservices.WilliamBrewsterarrangedsecretmeetingsfortheseparatistsatScroobyManorHouse;WilliamBradfordkeptarecordoftheseinhisbook‘OfPlymouthPlantation’.

ManyoftheseparatistswerebeingpersecutedfortheirbeliefsandfailuretoconformtotheChurchofEngland.TheydecidedtomovetoLeiden,Holland,asitwasknownforitstolerance.Theyspentmanyyearstherebeforedecidingtomoveagain.Theseparatistsbecameincreasinglyworriedthattheywerelosingtheiridentity.TheyhiredtheshiptheSpeedwelltotakethemtoSouthampton,wheretheywouldmeetmoreseparatistsandtradesmenaboardtheMayflower.ThetwoshipswouldsailtogethertotheNewWorldtoformacolonyoftheirown.

TheMayflowerbelongedtoMasterChristopherJones,whohaduseditonanumberoftraderoutes–itcouldholdabout180tonsofcargo.AfterreturningtoLondoninMay1620,JonesandhisshipwerehiredforthevoyagetotheNewWorld.TheseparatistsworkedwiththeLondonCompanywhoprovidedthedocumentsandmoneyforasettlementatthemouthoftheHudsonRiver.

TheSpeedwellprovedtobeunreliable,needingtostopatDartmouthandPlymouthtohaveleaksfixed.ItwasdecidedthattheSpeedwellwouldnotmaketheAtlanticcrossingandso102passengerscrammed onboardtheMayflower.

Onthe16thSeptember(Gregoriancalendar),theMayflowersetsailfromPlymouth,UK.Shespentover60daysatseabeforespottinglandonthe9thNovember.ThelandwasCapeCod–theymustsailsouthtofindtheHudsonRiver.TheMayflowerencounteredroughwatersandthedecisionwasmadetoturnbackandsailaroundthetipofthecape.Withinafewdays,theshipwasanchoredinwhatisnowProvincetownHarbour.

ThepaperworkprovidedbytheLondonCompanydidnotcovertheirnewlandingplace.Somesuggestedthattheywerenowfreetodoastheywantedanddidnothavetopaybackthemoneytheyborrowed.Theygroup,soontobecalledthepilgrims,decidedtowriteagoverningcontract.TheMayflowerCompactbroughtdemocracytothegroup.

Duringthefirstwinter,despiteexplorationsforfoodandthebuildingofthefirsthouses,halfofthoseonboardtheMayflowerdied.

2020willseethe400thanniversaryofthesailingoftheMayflower.Itwillbemarkedbynationalandinternationalcommemorations,tellingthestoryofthepilgrims,theirplightandthelegacytheyleftbehind.

Useful Information – The Mayflower

14

History KS2Imaginebeingonashipinthe1580’s–atthetimeSirFrancisDrakewasonhisexpedition.Whatdoyouthinktheconditionswerelikecomparedtotoday?

English KS3ExploreTangle’sworkandstylelinkstoRenaissancetheatreform.

LookatthesectiononTangle’sstyleandfindlinks(eglighting,props,ensemble,music)tothetheatrethatyouknow.

Classroom Activities

15

16

Christopher Marlowe

ChristopherMarlowewasanEnglishplaywright,poetandtranslator.HegreatlyinfluencedWilliamShakespeare.ShakespearewasborninthesameyearasMarlowe,butlivedmuchlonger,andwrotethemajorityofhisplaysslightlylater.Marlowe’splaysareknownfortheuseofblankverseandtheir‘overreaching’protagonists,ofwhichDoctorFaustusisagoodexample.Marloweissometimesknownhimselfas‘theover-reacher’.Heisalsoconsideredtobeoneofthefirstwriterstodevelopandusethepoeticformknownasthe‘iambicpentameter’.MarlowewasborninCanterburytoshoemakerJohnMarloweandhiswifeCatherine.Hisdateofbirthisnotknown,buthewasbaptisedon26February1564,andislikelytohavebeenbornafewdaysbefore.HeattendedTheKing’sSchoolinCanterbury(whereahouseisnownamedafterhim)andCorpusChristiCollege,attheUniversityofCambridge.Hehadaseriesofunusuallylengthyabsencesfromtheuniversity–muchlongerthanpermittedbyuniversityregulations.Hestudiedonascholarship.Marloweisoftenallegedtohavebeenagovernmentspy.Manypeoplespeculatethattoearnextramoney,duringhistimeatCambridge,MarlowewasoperatingasasecretagentworkingforSirFrancisWalsingham’sintelligenceserviceunderthereignofQueenElizabeth1st.In1587hewasawardedaMasterofArtsdegreeandthePrivyCouncilcommendedhimforhis‘faithfuldealing’and‘goodservice’totheQueen.Hewouldhavebeen23.Ataroundthesametime–between1587and1593–hewrotemanypoemsandsixplays.Theseremaininhiscanon.Healsocontinuedwithhispoliticaldealings.LikehisfriendandfellowplaywrightThomasKyd,Marlowehadashadowybackground.On18May1593,awarrantwasissuedforMarlowe’sarrest.Kydwasalsoarrested,andtortured.Noreasonwasgivenforthearrest,thoughitwasthoughttobeconnectedtoallegationsofblasphemy—amanuscriptbelievedtohavebeenwrittenbyMarlowewassaidtocontain‘vilehereticalconceits’.ThismayhavebeenDOCTORFAUSTUS.On20May1593MarlowewasbroughttothecourttoattenduponthePrivyCouncilforquestioning.Thereisnorecordoftheirhavingmetthatday,however,andhewascommandedtoattenduponthemeachdaythereafteruntil‘licensedtothecontrary’.Tendayslater,hewasstabbedtodeathbyIngramFrizer.Whetherthestabbingwasconnectedtohisarresthasneverbeenresolved.Marlowehasoftenbeendescribedasaspy,abrawler,andaheretic,aswellasa‘magician’,‘duellist’,‘tobacco-user’,‘counterfeiter’,and‘rakehell’.Hewasoneofthefinestplaywrightsandpoetsofalltime–theinstigatorofthe‘mightyline’–thefirstpersontodevelopuseofboththeiambicpentameterandblankversesuccessfullyinadramaticcontext. 16

BacktoContents

TheIambic pentameterisusedwithintraditionalEnglishpoetryorverse.

Iambicpentametersaretherhythmthatwordsestablishinaline,measuredinsmallgroupsofsyllablesknownasfeet.Pentametermeansthatthelinesaredividedupintofivefeet.Therearetensyllablesinonelineofiambicpentameter.Hereisanexample: Shall I compare thee to a summer’s day? Thou art more lovely, and more temperate; Rough winds do shake the darling buds of May And summer’s lease hath all too short a date;

Blank verseisarhythmofpoetrythatdoesnotrhyme,butusestheIambicpentameter.Shakespeare,likeMarlowewasthefirstEnglishauthortomakefulluseofthepotentialofblankverse.Shakespearewrotemuchofthecontentof

hisplaysinunrhymediambicpentameter.JohnMilton’sParadiseLostiswritteninblankverse.BeforeMarlowe,blankversehadnotbeenanacceptedformofdrama. Was this the face that launched a thousand ships

And burnt the topless towers of Ilium?

Free verseispoetrywithnorhythmorrhyme.

Rhyming coupletsarepairsoflinesthatrhyme.ThesewereoftenusedinShakespeare’sworktomarkanimportantoccasionortofinishasentence.ThefinallinesofhisplayRomeoandJulietadoptiambicpentameterandtogetherformarhymingcouplet.

For never was a story of more woe Than this of Juliet and her Romeo

MarloweandShakespearebothwrotemanysonnets,afourteen-linepoemwritteniniambicpentameter,whichemployoneofseveralrhymeschemesandadheretoatightlystructuredthematicorganization.Twosonnetformsprovidethemodelsfromwhichallothersonnetsareformed:thePetrarchanandtheShakespearean.

In2013Tanglecommissioned10writerstocreatemodern SonnetsusingShakespeareanformandinspiredbyMartinLutherKing’sspeech‘IHaveADream’.

HereisPaulaBStanic’ssonnet

The sharp cry of those words “I have a dream”,Makes hearts leap out leaves guts a tangled knot.The startling pitch of this man’s vision struckStraight through me and shot away all bleak doubts.The greatest hope will always in me stir,When unity sees such rousing belief.A call of truth, with humour, and purpose A fierce strike at any tranquilised state.The hope I want to feel is propelled onIn love and work and friends and raging words.Though persisting shadows must be wiped out,To erase those last remnant mental stains.There is no other way to overcome.For justice still we must strive on and on.

Useful Information 1

Useful Information 2

17

English KS3/4Writeyourownpoemusingthistheiambicpentameterstyle

Music KS2ListentoarecordingofthesongsungbyArielinTHETEMPEST.

Whatdidyouthinkofit?Commentofthesoundandthemood.

SongplaysanimportantpartintheplaysoftheEnglishRenaissance.ManysongsareindicatedinthestagedirectionsforMarlowe’splaysbutwordsandmelodiesweremainlyunrecorded.Shakespearehoweverincludedover100songsinhisplays,oftenwithwordsandmelodies.

Shakespearewaspassionateaboutmusicasanemotionalresource,whereasMarlowesawmusicasadramaticdeviceonly.TheselinesfromShakespeare’sTHEMERCHANTOFVENICEsumuphisattitude.

The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems and spoils;The motions of his spirit are dull as nightAnd his affections dark as Erebus:Let no such man be trusted. Mark the music.

Someofthemostwell-knownofShakespeare’ssongsarethoseofArielinTHETEMPEST.HereisanexamplefromActOne,SceneTwo.

Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes:Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell Burthen Ding-dong Hark! now I hear them,–Ding-dong, bell.

Thesonghasmanywellknownsettings:• RobertJohnson,formelodyandbass

(possiblytheversionusedintheoriginalproductionofTheTempest,1611)

• HenryPurcell,forchorusZ361(c.1695)• ArthurSullivan,forsoprano,fromThe

Tempestsuite(1861)• CharlesWood,forchorus(1890)• JohnIreland,forsoprano,altoand

piano(1908)

Classroom Activities

Useful Information 3

18

19

DOCTOR FAUSTUS: an overview

Synopsis DoctorFaustus,awell-respectedGermanscholar,growsdissatisfiedwiththelimitsoftraditionalformsofknowledge—logic,medicine,law,andreligion—anddecidesthathewantstolearntopracticemagic.HisfriendsValdesandCorneliusinstructhimintheblackarts,andhebeginshisnewcareerasamagicianbysummoningupMephistophilis,adevil.DespiteMephistophilis’swarningsaboutthehorrorsofhell,Faustustellsthedeviltoreturntohismaster,Lucifer,withanofferofFaustus’ssoulinexchangefortwenty-fouryearsofservicefromMephistophilis.Meanwhile,Wagner,Faustus’sservant,haspickedupsomemagicalabilityandusesittopressaclownnamedRobinintohisservice.

LuciferacceptsFaustus’soffer.Faustusexperiencessomemisgivingsandwondersifheshouldrepentandsavehissoul;intheend,though,heagreestothedeal,signingitwithhisblood.Faustusstillhassecondthoughts,butMephistophilisbestowsrichgiftsonhimandgiveshimabookofspellstolearn.Faustushasfurthermisgivings,butMephistophilisandLuciferdisplaypersonificationsoftheSevenDeadlySinstoFaustus,andheisimpressedenoughtoquiethisdoubts.

ArmedwithhisnewpowersandattendedbyMephistophilis,Faustusbeginstotraveltheworld.HegoestothePope’scourtinRome,disruptsthePope’sbanquetandtravelsthroughthecourtsofEurope,withhisfamespreading.Eventually,heisinvitedtothecourtoftheGermanemperor,CharlesV,whoasksFaustustoallowhimtoseeAlexandertheGreat,thefamedMacedoniankingandconqueror.FaustusisalsoinvitedtothecourtoftheDukeofVanholt,whereheperformsvariousfeats.

Meanwhile,Robin,Wagner’sclown,haspickedupsomemagiconhisown,andwithhisfellowstablehand,Rafe,heundergoesanumberofcomicmisadventures.Atonepoint,hemanagestosummonMephistophilis,whothreatenstoturnRobinandRafeintoanimalstopunishthemfortheirfoolishness.

Asthetwenty-fouryearsofhisdealwithLucifercometoaclose,Faustusbeginstodreadhisimpendingdeath.HehasMephistophiliscallupHelenofTroy,thefamousbeautyfromtheancientworld,andusesherpresencetoimpressagroupofscholars.AnoldmanurgesFaustustorepent,butFaustusdriveshimaway.

Timeisgrowingshort.Faustustellsthescholarsabouthispact,andtheyarehorror-strickenandresolvetoprayforhim.Onthefinalnightbeforetheexpirationofthetwenty-fouryears,Faustusisovercomebyfearandremorse. Hebegsformercy,butitistoolate.Atmidnight,heissenttohell.

19

BacktoContents

ThemesMAGIC–intheElizabethanperiodtheproblemofmagic(liberationordamnation?)wasgreatlydebated.‘Ravished’bymagic,Faustusturnstothedarkartswhenlaw,logic,science,andtheologyfailtosatisfyhim.

HUMANISM AND EMPATHY –audiencesinitiallyfeelsympathyforMephistophiliswhenheattemptstodissuadeFaustusfromgivinghissoultoLucifer.MephistophilisgivesFaustusadescriptionofhellandthecontinuoushorrorsitpossesses.HewantsFaustustoknowwhatheisgettinghimselfintobeforegoingthroughwiththeplan.Bothcharactersdemonstratehumanaswellasetherealqualities.

CREATIVE AMBITION–Marlowe’splayhasraisedmuchcontroversyduetoitsallegedinteractionwiththedemonicrealm.BeforeMarlowe,therewerefewauthorswhoventuredintothiskindofwriting,andtheambitionofthethememayhaveleddirectlytoMarlowe’sarrestandmurder.Theplayhadalegacy,asafteritspublication,otherauthorsbegantoexpandontheirviewsofthespiritualworld.

The Text DOCTORFAUSTUSisbasedonGermanstoriesaboutthetitlecharacter‘Faust’.

TheAdmiral’sMenperformedDOCTORFAUSTUS25timesbetweenOctober1594andOctober1597.Theplaywasapparentlyrevivedin1602.

LegendsquicklyaccruedaroundthestagingofDOCTORFAUSTUS.In1632WilliamPrynnerecordsthetalethatactualdevilsonceappearedonthestageduringaperformance,‘tothegreatamazementofboththeactorsandspectators’.Somepeoplewereallegedlydrivenmad,‘distractedwiththatfearfulsight’.JohnAubreyrecordedasimilartale.ActorEdwardAlleyn,whoplayedtheoriginalFaustus,devotedhislateryearstocharitableendeavours,likethefoundingofDulwichCollege,indirectresponsetothisincident.

Twoversionsoftheplayexist:1. The1604quarto,usuallycalledtheAtext.Thetitlepageattributestheplayto

“Ch.Marl’.ThetextisshortforanEnglishRenaissanceplay,only1485lineslong.2. The1616quarto,publishedbyJohnWright,usuallycalledtheBtext.This

secondtextwasreprintedfivetimes,andaslateas1663.Thiswasveryunusualatthetime.The1616versionomits36linesbutadds676newlines.

Amongthelinessharedbybothversions,therearesomesmallbutsignificantchangesinwording;forexample,‘Nevertoolate,ifFaustuscanrepent’inthe1604textbecomes‘Nevertoolate,ifFaustuswillrepent’inthe1616text,achangethatoffersaverydifferentpossibilityforFaustus’shopeandrepentance.

Therelationshipbetweenthetextsisuncertain–manymoderneditionsprintboth.AsanElizabethanplaywright,Marlowehadnothingtodowiththepublicationandhadnocontrolovertheplayinperformance,soitwaspossibleforscenestobedroppedorshortened,orfornewscenestobeadded.

DoctorFaustusisbelievedtobethefirstdramatisationofthe‘Faust’legend.SomeacademicsbelievethatMarlowedevelopedthestoryfromapopular1592translation,commonlycalledTHEENGLISHFAUSTBOOK.Thereisthoughttohavebeenanearlier,lost,Germaneditionof1587.Severalsoothsayersor

20

necromancersofthelatefifteenthcenturyadoptedthenameFaustus,areferencetotheLatinfor‘favoured’or‘auspicious’.

Marlowe’splayisveryfaithfultoTHEFAUSTBOOK,especiallyinthewayitmixescomedywithtragedy.However,heintroducedsomechanges.Therearethreemainadditions:• Faustus’ssoliloquy,inAct1,onthevanityofhumanscience• GoodandBadAngels• ThesubstitutionofaPageantofDevilsforTheSevenDeadlySins

MarlowealsoemphasisedFaustus’intellectualaspirationsandcuriosity,andminimisedthevicesinthecharacter,tolendaRenaissanceauratothestoryandbuildontheideaof‘RenaissanceMan’asafullyroundedhuman,withstrengths,weaknessesandfeelings.

Theatre and the political context

ElizabethIreignedfrom1558to1603.Onherdeathhercousin,JamesI,ruleduntil1625.BothElizabethandJameswererelativelygoodmonarchs.Elizabethhadaquickmind,wasnotextravagant,andrecognizedthatherthronewasnotassecureasshemighthavebeenledtobelieve.Shewascapableofmakinghardanddifficultdecisions.

AlthoughshewasQueenofEngland,ElizabethsharedsomeofherrulewithParliament,abodymadeupsolelyofmen.TheElizabethanParliamentwasnotanearlyexampleofdemocracyatwork.ThemajorityofEnglishpeoplewerenotconsultedfordirectionofthestate,aswearetodaythroughvoting.

Marloweraisedcontroversialissuesinhisplays,particularlysexuality(EdwardII)andnecromancy(DoctorFaustus).Hechallengedthe‘statusquo’andinthissense,wasbothradicalandpolitical.Shakespearedidnotusethestageasacampaignsoapboxinquitethesameway.

InhisEnglishhistoryplays,Shakespearewaswellawareoftherelationshipofthepresentmonarchtothehistoricalmonarchshewroteabout.Thus,RichardIIIisanarchvillainwhowelldeservedbeingslainonthefieldofbattlebyElizabeth’sgrandfather.HenryVisagreatherowhotriumphedovertheFrenchatAgincourt.

ShakespearewasmoreinterestedinpeoplethaninthecontroversialideasandgrandconceptsthatMarloweattemptedtoexpressthroughdrama.Perhapsbecauseofcensorshiprestrictions,Shakespeareexpressedhimselfmorefullythroughtheinterestingandcomplexcharactersandopinionsinhisplays.

AstheatregoingintheElizabethanerawasasocialactivityinvolvingaverylargecrosssectionofthecommunity,playsweredebatedanddiscussedatmanylevels.Marlowe’sworkschallengedestablishedstereotypes,andcausedasensation–theystirredupdebate.ThismaybewhyMarlowewasviewedbysomeasapoliticaldanger,andShakespearewasnot.

Useful Information

21

Drama/ English KS3Thinkabouttheplaysyouknow.Canyoufindanythatcouldhavebeenwrittenwithpoliticalmotives?Townshiptheatreis‘theatrewithapurpose’–playsaspoliticaltools.Lookupafamousplayfromthe‘township’eraandconsideritssocialmessage.Discussthenatureofcontroversialmaterialinapublicplace.

English KS3LookatthetextforDoctorFaustusandidentifyatwhatpointyoufeelkey featuresoftheplotlineoccur:• Intro• Risingaction• Climax• Denouement

Art and Design KS2DesignaposterfortheproductionofDOCTORFAUSTUSusingcolouring pencilsorpaintslinktoArtsAward

Classroom Activities

22

23

Marlowe and me

AnnaCoombsisArtisticDirectorofTangle.Shefoundedthecompanyin2009whenshewaslivinginCornwall.ShehasdirectedtheatreproductionsacrosstheUKandIrelandatvenuessuchasLondon’sSohoTheatre,NationalTheatreStudio,RichMix,Theatre503,GateTheatreandinpartnershipwithYinkaShonibare’sGuestProjects.AnnahasdirectedallofTangle’sproductions,andalsocommissionsanddirectsanewworkforTangleCompanyeachyear.HerownwritingincludesVANHUVESE(2011)andWATER,BREADANDSALT–apoeticadaptationoftheworksofNelsonMandelathatwastouredbyTangleCompanyin2014.

What inspires you about Marlowe? Marlowehasinfluencedmemorethananyotherplaywright.IfirstcameacrosshimwhenIwasabout8yearsoldandmyparentstookmetoseeaproductionofDOCTORFAUSTUSatourlocaltheatre.Ithensawtheplayagain,performedinachurchbyastudentcompany,inmyteens.WhenIwasstudyingforALevelsIwroteonMarlowe.

What practical experience do you have of working on Marlowe? WhilstIwasatUniversityIdirectedaproductionofDOCTORFAUSTUS–ironicallyinachurch–wehadjustafewactorsandagroupofsingers,whosangAcapellaMedievalmusic.Irememberwehadnosetandwejustusedsand.Itwashardtoclearupafterwards!

In2008IdirectedTHEJEWOFMALTAatHallforCornwallinTruro.TheproductioninvolvedlocalprofessionalactorsinCornwallworkingwithothersfromacrosstheglobe.TheactorJosephMydellplayedtheover-reachingprotagonist,Barabas.EryNzaramba,whoisRwandese,playedhisside-kickIthamore.EryisnowtouringtheglobewithPeterBrook’sCompanyandJoeisworkingwiththeRSCinTHETEMPEST.

How has Marlowe influenced you? IidentifywithMarloweasanordinaryworkingpersonwhoachievedagreatdeal.Hewasa‘scholarshipboy’andhecamefromapoorbackground.Hewasveryenterprisingandtaughthimselfmanyskills.Atuniversityheneverhadenoughmoney!Ifyoureadsomeofhisearlyplaysyouwillseehowheexperimentedwithwordsandlanguage,butalsohowheoftenwrotethingsinarush.Thiswasprobablybecausehewouldhavebeenpaidonthenumberoflinesofversethathewrote!Hemayhavebeenuplateatnightjusttryingtogetthemdone!

23

BacktoContents

Marlowewasarealstreetboy.Inallhisplaysthereisa‘streetlanguage’whichisnotthatdifferentfromthe‘streetspeak’oftoday.Itmakestheplaysaccessible–anduniversal.Today,manytheatredirectorsintellectualisethelanguageoftheRenaissanceplaywrightsandinsistonrefineddelivery.Ithinkitisimportanttorememberthatlargepartsoftheplayswerewrittenbyordinaryworkingmeninaccessibledialect.Thereisasimplicityandapracticalityaboutthewriting–adirectnessthatcanappealtoall.

What fascinates you about him and his works? Marlowereallyunderstoodaboutordinarypeopleandheunderstoodaboutsurvival,likemanyofhischaracters.Alltheprotagonistsinhisplays‘overreach’themselves.Marlowewasmurderedaged29andthroughouthislifeheexperimentedwithmagic,religionandpoliticsbothonandoffstagewhichatthetimereallywas‘playingwithfire’.Hewasinconstantdanger,butwassomeonewhowasneverscaredtosaywhathethought.Hewasnothingifnotcontroversialinhisthinkingandwritingonreligion,power,sexualityandpolitics.Iamsure,asaperson,hewasneverafraid.

Marlowewasaheadofhistime.Heunderstoodaboutthemanyculturesandethnicitiesofpeopleandhehadanabilitywithlanguage.ItislikelythathetravelledacrossEuropebuthemayhavetravelledfurther.Someofhisplaysdemonstrateadeepunderstandingofplacesthattoday,wecanflytoinafewhours,butwouldhavetakenalongjourneyinhistime.Marlowewasarealmanoftheglobe.

How is he a role model? Thesheerapplicationhegavetohiswork.Hisbraveryinexploringcontroversialthemesinadangerousworld.Thereisamajestytohisplays–althoughtheycontainsomeawfulbitstoowhichIwouldcertainlycut!Ithinkheshowsthatitispossibletoachievesomethingspectacularevenifyoucomefromanordinarybackground.Lookupthequotationaround‘Marlowe’smightyline’andyouwillseewhatImean.

Examplesofartsinspirationcouldbe(Thislistisnotexhaustive):actor,director,musician,fineartist,sculptor,singer,poet,playwright,author,cinematographer,photographer,graphicdesigner,visualartist,painter,ceramist,mediaartist,dancer,mimeartist,soundtechnician,ballerina,gamedesigner

Useful Information

24

Thinkofsomeonewhoinspiresyouwithinthearts;itdoesnotneedtobesomeonefamous,butsomeonewhopractisesanartformandinspiresyou.

Usingyourownknowledge,alongwithbooksortheinternet,researchtheartistandputtogetherthefollowinginformation:• Whotheyareandwhattheirartformis• Howtheygotintotheirartform• Whoinspiredthem• Wheretheywork• Anyotherinfoabouttheirworkthatyouthinkisinteresting• Whydotheyinspireyou?

Youwillneedtopresentthisinsomewaytoyourteacher;thiscouldbeasapresentationorasadocument.Useimagesandanyaudio/filmtohelpdescribetheperson’sartformandwhytheyinspireyou.

Youmustincludeevidenceofyourresearchinabibliographyform.

Seesessionplanforteachers/practitionersonpage56

Classroom Activities

25

Tangle in performance

Section 2

Back to Contents

26

Tangle in performance

BothelementsofTangle’sprofessionalperformancessharethebroadreachingstyleof‘townshiptheatre’presentation,whereworkiscreatedforperformanceinnon-traditionalvenues,withfewtechnicalresources.Weusethisstyleofworkingsothatwecanconnectfullywithouraudiencesandarecloseenoughtotouchthem.Theworkisveryimmediateandverypowerfultowatch.

Tangle CompanyTangleCompanyisTangle’svirtuosoperformanceensemble.Wecommission,rehearseandtouranew,shortworkeveryyear.Eachworkispresentedinaflexible,accessibleformatsuitableforinformalspacesaswellastraditionaltheatresandperformingartsvenues.TangleCompanyworksareshort,makingthemanidealintroductiontomultilingualAfricanCaribbeantheatre.Thereisanewworknearlyeveryyear.

TangleCompanyconsistsofeightprofessionalAfricanCaribbeanactor-singers,recruitedannuallyfromahighlyskilledpool.Artiststourinteamsoffour.Theartistspresentpoetryandspokenwordpieces,accompaniedbyA-cappellasong.

TheartistsinTangleCompanyworkasanensemble.Thismeansthatlinesaredistributedevenlybetweeneachmember,andtheyalsosinginharmony.

Thespokenwordelementofeachworkispresentedinarhetoricalformat(alsoknownas‘persuasivespeech’).Thismeansthattherearenocharactersandnodramaticstructureorstory.Eachpieceusuallymakesasinglepointorexploresoneaspectofathemeorsubject.

Choreographyisusedtodelineatemovementwhenthecompanyperform,whichmeansthat

theartistscanperforminalmostanyspace,withoutusingthetraditionalprinciplesof‘upstage’and‘downstage’orworkingwithinapre-designedstageset.

A-cappellasongisdevelopedtoaccompanyeachwork.Sometimestheartistssingandspeakatthesametime.Thistechniqueisknownas‘sing-speak’andoriginatesfromZimbabwe.

Tangle Productions Tangle’stouringproductionsfollowmanytraditionsofEnglishRenaissancetheatreandof‘townshiptheatre’.Actorsworkasatightensemble,andalwayspresenttheworkinseveraldifferentlanguages.Acapellasongandoriginalmusicfeaturesinallthecompany’sproductions.Thisisoftenenhancedthroughrecordedsoundanimation.

OneofthedifferencesbetweenTangleCompanyandourmainproductionsisthatthelattercontainsetsandlight.Thesefocusondelineatingthe‘spaceofplay’ratherthanadetailedrealisticcontext.Thisaffordsastrongphysicalconnectionbetweentheactorsandtheaudience.Thereisno‘fourthwall’.Costumesarepowerfulandcanbeelaborate.Asourperformingcompanyissmall,theactorsoftenhavetoplayseveraldifferentparts,sochangesofcostumecanhelpaudiencesidentifywiththedifferentcharacters.Wealsouselargenumbersofprops,usuallyvisibleonstagethroughouttheperformance.

InRenaissanceEngland,therewasnoelectricity,soperformancestookplaceindaytime.Sometimescandleswerelitasdarknessfell.AtTangle,wehavefollowedthistraditiontoanextent.Wedonotusetraditionalmodernstagelanternsbutaformoflightingknownas‘practicallighting’.YoucanfindmoreaboutthisintheinterviewwithHansjorgSchmidtonPage38.

27

BacktoContents

Township definition:TownshiptheatreisacreativeformestablishedinSouthAfricaduringthe1950’stocreateaccessibletheatreworkssuitableforperformanceininformalsettings,suchastownshipcommunityandchurchhalls.

Ensemble isdefinedasagroupofthingsorpeopleactingortakentogetherasawhole,especiallyagroupofperformerswhoregularlyplaytogether.

Choreographyisdefinedastheskillofcombiningmovementsintodancestobeperformed.

A-cappellaisdefinedasamelodyorsongperformedbyagroupofpeoplewithoutanyaccompanimentoranymusicalinstruments

TheintellectualbasisoftheRenaissancewasitsowninventedversionofhumanism,derivedfromtherediscoveryofclassicalGreekphilosophy,suchasProtagoras,whosaidthat“Manisthemeasureofallthings.”

Thisnewthinkingbecamemanifestinart,architecture,politics,scienceandliterature.Earlyexampleswerethedevelopmentofperspectiveinoilpaintingandtherecycledknowledgeofhowtomakeconcrete.

Humanistssoughttocreatecommunitiesabletospeakandwritewitheloquenceandclarityaboutwhattodayareknownasthehumanities:grammar,rhetoric,history,poetry,andmoralphilosophy.

Humanismwasapervasiveculturalmodeanddidmuchtorevivetheculturallegacy,literarylegacy,andmoralphilosophyofclassicalantiquity.TherewereimportantcentresofhumanismacrossEurope.

Useful Information 1

Useful Information 2

Useful Information 3

28

Music KS3Aftertheperformanceaskthegrouptodiscusstheuseofmusicintheperformance.

WorkinpairsorsmallgroupstoresearchwhatA-cappellais.

Wheredidthestyleoriginate,andwhatdoesitinvolve?

Drama KS3 Aftertheperformancegetthegrouptodiscusswhattheword‘ensemble’means.

Whatisuniqueaboutworkinginanensemble?

PE/Dance KS3Aftertheperformance,discusswhatChoreographyis;Whyisitimportant?Howdoesithelptotellthestory?Ingroupschoreographyourownsectionoftheplay–howwouldyoudoitdifferently?

PSHE/PSHE all levels ThinkabouthumanityandTheRenaissanceasthebirthofhumanism.

WhatdowordslikeEthicsandmoralsmeaninRenaissanceterms?

Classroom Activities

29

Tangle Company in Performance

TangleCompanyperformasanensemble.Thelinestheyspeakaredividedupbetweentheactors.Thosewatchingandlisteningheardifferentvoicesandtones,astheactorssharesentences,phrasesandevenswapinandoutwithsinglewords.Theactorsworktogethertocollectivelyexpressanideaormakeapointthroughshareddelivery.

HereisasectionfromMarlowe’sDOCTORFAUSTUSaspublished.

Stand still, you ever-moving spheres of heaven,

That time may cease, and midnight never come;

Fair Nature’s eye, rise, rise again, and make

Perpetual day; or let this hour be but

A year, a month, a week, a natural day,

That Faustus may repent and save his soul!

The stars move still, time runs, the clock will strike,

The devil will come, and Faustus must be damn’d.

Hereisthesamesectionwiththelinesdividedbetweenfouractors–ABCandD.A StandstillB Youever-movingspheresofheaven,C ThattimemayceaseD andmidnightnevercome!A FairNature’seyeB RiseC RiseagainD andmakePerpetualday;A orletthishourbebutB Ayear,C Amonth,D Aweek,A Anaturalday,C ThatFaustusmayrepent

andsavehissoul!D Thestarsmovestill,C Timeruns,B Theclockwillstrike,D Thedevilwillcome,C AndFaustusmustbedamn’d.D Damn’d!

30

BacktoContents

English/Music KS2Ingroupsoffour,eachchoosesoneletterA-D.Readthelinesbyyourletter.Lookupanywordsyoudon’trecogniseinthedictionary.Onceyouarehappywithyourlines,readthemoutinorder–changingpitchandtempo.

English KS2 Thinkaboutdivisionsandrhythms.Whathappensifthelinesaredividedupdifferently?

ChooseanextractfromtheselectiononPages48and49

Seeifyoucandividethelinesandwordsbetweenfourpeople.

Tryreadingitoutloudandlistentothedifferentvoicesthatcomeacross.

English KS3Ingroupsof4,eachtakesonalineA-D.Asagroupreadthroughthelinesinorder;howdoyouinterpretthem?Asagroupimprovisewiththedeliveryofthelinesandchoosewhichstyleyoulikebest.Rehearsetheseandperformtotherestofclass.

English KS3 & KS4Thinkaboutdivisionsandrhythms.Whathappensifthelinesaredividedupdifferently?

ChooseanextractfromtheselectiononPages48and49

Seeifyoucandividethelinesandwordsbetweenfourpeople.

Tryreadingitoutloudandlistentothedifferentvoicesthatcomeacross.

Whateffectdoesthishaveontheperformance?

Whathappensifyouadaptandchangeyouroriginalchoices?

Seesessionplan(Part6–Section3)Pages52.

Classroom Activities

31

Tangle Productions: creating a multi-lingual script

AllTangle’sproductionsutilisemultiplelanguages.Foreachproduction,wecommissiontheactorsinvolvedtotranslatesomesectionsofthetextintotheirindigenouslanguage.Thismeansthatwecanstayfaithfultothemeaningandpurposeofindividuallines,butexperimentwithdifferentrhythms,vocalisationsandsounds(avariationoftheZimbabweantheatretraditionof‘singspeak’).Thisapproachalsomakesourplaysuniversaltopeoplefromanumberofculturesandheritages.

In2011,TangletouredVANHUVESE,anadaptationoftheKingJamesBible,acrossSomerset.ThethreeactorsworkedwiththedirectortointerpretandtranslatelinesfromtheadaptedtextintotheirfirstlanguagesofShona,KinyarwandaandsiSwati.

Hereisanextractfromtheopeningsceneoftheplay,whichre-createdthefirstversesofGenesis,thefirstbookinTheOldTestament.WherethelinesspokeninsiSwatiandKinyarwandareplacethewordsinEnglish,theEnglishtranslationisshowninbracketsbelow.

Actor1 InthebeginningGodcreatedtheHeaven andtheEarth.

Actor2 PekutangaMwariakagadziradenganenyika. (InthebeginningGodcreatedtheHeaven andtheEarth).

Actor3 Ekucaleni,NkulunkuluWakhaLizulunemhlaba (InthebeginningGodcreatedtheHeaven andtheEarth).

Actor1 MuintangiriroImanayaremyeijurun’isi. (InthebeginningGodcreatedtheHeaven andtheEarth).

Actor2 Andtheearthwaswithoutform,andvoid;Actor2 Nyikayeseyengeisinachinhu,dengachete;Actor1 Darknesswasuponthefaceofthedeep.Actor2 ThespiritofGodmoveduponthefaceofthewaters.Actor1 AndGodsaid,God Akubenekukhanya.

(Lettherebelight!) Actor2 Andtherewas...God Kukhanya!

(Light!)

Whenworkinginthisway,Tangle’screativeteamstrytoensurethatthe‘meaning’ofthelinescanstillbeunderstoodbyanEnglishaudience.Forexample,inthisextract,theannouncementof‘light’or‘Kukhanya’wasindicatedbytheactorspeakinginsiSwati,andthrowinguphisarmsaslightfloodedthestage.Thisensuredthatthe‘meaning’ofthelinewasmadecleartotheentireaudience,andnotjustthesiSwatispeakers.

32

BacktoContents

Languageistheabilitytoacquireandusecomplexsystemsofcommunication.

Alanguageisanyspecificexampleofsuchasystem.

Thescientificstudyoflanguageiscalledlinguistics.

Languagesevolveanddiversifyovertime.

Agroupoflanguagesthatdescendfromacommonancestorisknownasalanguagefamily.

Sometimeswordsarewrittenusingdifferent‘characters’suchasRussianorGreek.

SometimeslettersthatweunderstandinEnglishhavedifferentpronunciationsinotherlanguages.

InSiSwati,whichfeaturesonthepreviouspage,lettercombinations,suchasdl,dvanddzaswellasmf,mp,mvarecommonandverydifferenttoEnglish.

InShona,somewordsweuseinEnglish,don’texist.East,forexample,is‘wherethesunrises’andNorthis‘thetopoftheworld’.

Drama KS2IngroupsofthreeperformthefirstversesofGenesis–thinkaboutthestaging–wherewouldyoupositionyourselves?Wouldyouuseactionstohelpemphasisethewords?

English KS3Insmallgroupsofthree,rehearsethefirstversesofGenesis,thinkaboutthewayyouwoulddeliverthewords–focusontheintonation,pitchandtoneyouusefordramaticeffect.Performthetextandafterdiscusswhyyouchosetodeliveritinthisway.

Classroom Activities

Useful Information

33

Languages of South Africa

“Without language, one cannot talk to people and understand them; one cannot share their hopes and aspirations, grasp their history, appreciate their poetry, or savour their songs. If you talk to a man in a language he understands, that goes to his head. If you talk to him in his language that goes to his heart.”

Nelson Mandela

Tangleprojectsopenupunderstandingofthecapacityoflanguagetobecreative,variedandexpressiveinallitsforms.AllTangle’sproductionsincludemultiplelanguages–oftenlanguagesfromAfricaoracrosstheDisapora.VANHUVESEwasperformedinEnglish,Shona(predominatelyspokeninZimbabwe),Kinyarwanda(spokeninRwanda)andsiSwati,thefirstlanguageofSwaziland,anindependentstatelocatedinsideSouthAfrica.

SouthAfricahaselevenofficiallanguages.TherearetwoWestGermaniclanguagesandnineBantulanguages.‘Bantu’isanameforthe600differentethnicgroupswhospeakaBantulanguage.

TheWestGermaniclanguagesareEnglishandAfrikaans.

OfthenineBantulanguages,fouroftheseareNgunilanguages.TheseareZulu,Xhosa,siSwatiandNdebele.

FourareSotho-Tswanalangauges.TheseareNorthernSotho,Sotho,VendaandTswana.

Theeleventhlanguage,Tsonga,isaTswa-Rongalanguage.

Therearemanyotherlanguagesalsospokenacrossthecountry.Most SouthAfricanscanspeakmorethanonelanguage.

Welcome, South Africa!

Theword‘Woza’isfromZuluandmeans‘riseup’.InZulu,‘Ukwemukela’means‘welcome’.

EachofRSA’sofficiallanguageshasitsowntitleforSouthAfrica,anditsownwordsfor‘welcome.’

English Welcome South Africa

Afrikaans Dankie Suid-Afrika

NorthernSotho Kenakakgotso AfrikaBorwa

SouthernNdebele Siyalemukela SewulaAfrika

SouthernSotho Kenakakgotso! AfrikaBorwa

siSwati Wamukelekile NingzimuAfrika

Tsonga Xewani Afrika-Dzonga

Tswana Oamogetswe AforikaBorwa

Venda Vhotanganedziwakha AfurikaTshipembe

Xhosa Ulwamkelo MzantsiAfrika

Zulu Ukwemukela NingizimuAfrika

34

BacktoContents

PSHE KS2Howmanydifferentwordsfor‘Africa’canyoufind?

Howmanywordsfor‘South’canyoufind?

Canyouseetheconnectionsbetweenthedifferentlanguages?

Doanylanguagessharewords?Whydoyouthinkthisis?

UnderstandingofthevalueoflanguagelinkstotheSMSCagenda,whereschoolsneed‘topromotethespiritual,moral,socialandculturaldevelopmentofpupils’

ThisalsolinkstoKS4Citizenship,wherethenationalcurriculumcriteriasaysstudentsshouldlearnabout‘diversenational,regional,religiousandethnicidentitiesintheUnitedKingdomandtheneedformutualrespectandunderstanding’.

Classroom Activities

Useful Information

35

Making a Tangle production

Therearemanyaspectstoplanningandcreatingatheatreproductionandeverycompanyhasitsownparticularapproach.Tangle’sArtisticDirectorAnnatalkshereaboutsomeofthestepsinvolvedincreatingaTangleproduction.

CastingCastingtherightactorsisvitalforanytheatreproduction–youneedateamofpeopleableandwillingtoworktogetherandtoembraceeveryaspectoftheproject.Thefirststageincastingisauditioningactors.Iusuallydothisusinga‘workshop’formatworkingwith3or4actorsinsmallgroupstotestaspectsofthetextandtosing.Thishelpsmeestablishwhethertheyaregoodteamplayersanditalsoenablesmetospendmoretimewitheachactor,givingthemachancetoshine.

Set and costume designTangle’sproductionsaimtobringtheactiononstageasclosetotheaudienceaspossiblesothereisno‘fourthwall’.Thismeansthatwehaveaveryspecificapproachtodesign.Oursetsareusuallyprop-based,withveryelaboratecostumes,soliketheoriginalproductionsoftheRenaissance.Anyfloororwallcoveringsareusuallysimpleandbold,emphasisingtheconnection,ratherthanthedividebetweentheplayersandtheaudience.

MusicLikelanguage,anduseofmultiplelanguages,musicandsongiscentraltoanyTangleshow.WeusuallycreateourownsongsandthisprocessisledeitherbyaMusicalDirectororamemberoftheactingcompanywhoactsasMusicCaptainandsometimesascomposer.YoucanreadmoreaboutthisonPage39.

Lighting TangleCompanydoesnotuseanyformoflighting,aligningtheperformancestoRenaissanceworks.Tangle’sproductionsutilisepracticallighting.YoucanfindoutmoreaboutthisonPage38.

36

BacktoContents

Fights and movementSomeofourplaysinvolvecomplexphysicalmovementorstagecombat.ForourproductionofWORKSHOPNEGATIVEtherewere22combatsequences.Todevelopthese,thedirectorandcombatdirectorworkedtogethertodeviseaphysicallanguagefortheplay.Theythenworkedwiththeactorstodeviseasetofmovementandcombatsequencestodepicteachargumentintheplay.Thisworkinvolvedmuchpractice,andtheactorslearningsetmoves(suchashowtothrowapunchorenactpain).Beforeeveryperformance,theactorsundertooka‘fightcall’whentheyquicklywentthrougheachsetofmovesinordertoensuretheyrememberedwhattheyneededtodo,andpracticedwiththeequipmenttheywereusing.

Planning and rehearsingAlldirectorsundertakeagreatdealofplanningbeforerehearsalsbegin.Thiscanincludestructuringeachsessionfortheactors,toensurethatallthematerialintheplayisrehearsedregularly.Eachdaya‘rehearsalcall’isgivenbythestagemanager.Planningrehearsalscanincludeallowingtimeforwarmups,runthroughs,‘lineruns’(whentheactorsworkthroughthelinesatspeedasamemoryaid)andfordetailedworkonindividualscenes.Rehearsalschedulesgiveasenseofstructureandfocustoeachdayandweekduringtherehearsalprocess.

Technical time Beforethefirstperformance,productionshavea2or3day‘technical’periodwheneveryaspectofthephysicalproduction(sets,props,lighting,sound,musicandcombat)aretestedinanactualtheatrespace.Sectionsoftheplayarerepeatedmanytimeswhilstdifferentsoundeffectsandlightingstates,forexample,aretestedoutwiththecreativeteamandactors.

37

Interview Lighting with Tangle: HansjÖrg Schmidt

HansjörgSchmidtisalightingdesigner,andProgrammeDirectorLightingDesignatRoseBrufordCollege,London.Beforejoiningthecollegein2008,heworkedasafreelancelightingdesigner.HegraduatedwithaBA(FirstClassHonours)inTheatreArtsfromGoldsmithsCollege,UniversityofLondonandanMScBuiltEnvironment:LightandLightingfromtheBartlettSchool,UCL.www.hanasjorgschmidt.com

Tell us about your practice – what it is and what it involves I’malightingdesignerandprogrammedirectoroftheBA(Hons)LightingDesignatRoseBrufordCollege.SoIspendmostofmytimemanagingthisveryvocationalundergraduateprogramme,teaching,andresearching.Mymainresearchinterestsaretodowithlight,spaceandwellbeing.Ialsocotintoworkasafreelancelightingdesigner,andamparticularlyinterestedincollaboratingonnewworkintheatreanddance.

How did you get into lighting for theatre? IstudiedtheatreartsatGoldsmithsCollegeinLondon,andtheyofferedashortworkshopinlightingledbyaveryinspirationaldesigner,PauleConstable.PauleisaveryinspiringwomanandIreallyadmireherasapersonanddesigner,soshemademewanttodolight.

What were and are your influences/inspirations ? ApartfromPaule–IwatchedlotsandlotsoffilmswhenIwasatschoolandcollege.IalwayshavebeenreallyinspiredbythepeopleIhaveworkedwith,andsomeofthemarePhilWillmot,TimLuscombe,DavidHarradine,andSuzyWilson.

Would you say your work fits into a particular genre/ style? Notreally.Ihavealwaysbeeninterestedincombiningthearchitecturaluseoflightandspacewiththemorefluidtheatreform,soIguessmyworktriestostraddleboththesculpturalandtheliving.

Tell us about the work you have done with TangleIlitWorkshopNegativein2016.Iverymuchenjoyedworkingwiththedesigner,Colin,whoIknowfromanotherproject.AndwithAnna,whichwasanewrelationshipthatdevelopedwellthroughoutthecreativeprocess.Iwasveryinterestedinthecontextofboththeplayandthecompany,andIsawmyrolepredominantlyassupportingColinincreatingaconvincinganddistinctenvironmentfortheplaytohappenin.Wedevelopedthisideabyuseofpracticallighting–illuminationproducedphysically,withoutcomputer-generatedimageryorotherproductiontechniques.Practicallightsarelightsourcesthatarevisibleasmodelswithinascene–thesecanbelamps,lightfixtures,televisionsets,oranyothermodelyou’vebuiltthatemitslight.Weusedhandheldlampswhichtheactorscouldpickupandmovearoundfordifferenteffectsandatmospheres,aswellasLEDstripsandspeciallymadeEXITsigns.Thetechnicalprocesswentwell.Asthelightingwasquitestatic(notmanychanges)Icouldconcentratemoreondetail,whichisunusualforatheatreshow.Morelikeanarchitecturalproject.Iworkedwithanassistant,Lizzy,whohadjustgraduatedfromtheBALightingDesignatRoseBruford,soIalsoenjoyedtheaspectofteachingthatcameintothisrole.

38

BacktoContents

Interview Music in Tangle Company: ALLYSON DEVENISH

AllysonDevenishistheMusicalDirectorforTangleCompanyandhasworkedwiththeensemblesince2013.ShehasworkedinliveandrecordedperformancesettingsacrossEurope,Canada,theUSAandtheCaribbeanaswellasintheUK.Hereshetalksaboutherbackgroundasamusician,andaboutworkingwithTangle.

Tell us about your practice – what it is and what it involvesIseemtohavethreejobs:musicdirector,composer/arrangerandpianoteacher.Allthreehaveoneveryimportantcomponent–listening.Afterthatcomesthefixing,sorting,improving.

SinceIamalmostalwayswritingforvoices,Istartwiththewords.Sometimesit’saboutimmersingmyselfinthemoodthatthewriterisputtingacross.Sometimesthetextforashowbecomespartofalyric.

Therearetwochallengesworkingasacomposer:writingsomethingthatcanbelearnedbyartistswhoareprincipallyactorsandnotfulltimesingers,andwritingsomethingthattrulyreflectsthewordsandemotionsofthetext.Thethirdchallengeisofcourseinwritingsomethingthatpeoplelikeperformingandthatpeoplelikelisteningto.

How did you get into writing music for theatre?IstudiedpianoandviolinprivatelyinOttawa,CanadaandattheConservatoiredeMusiqueinHull,Québec,Canada.UndoubtedlythemusictheoryclassesattheConservatoirehelpedalot!Also,thefactthatallkindsofmusicwasbeingplayedinmyhouse.Nothingwasoutofbounds.Exceptmaybecountrymusic!

What were your influences/inspirations?Myinfluencesaremanyandvariedandcomefromallbranchesofthearts–music,dance,visual,literature.Musicfeedsfromandisfedbyeverything.Myownadvicetoothersis“Performwithconviction.Ifyoubelieveinwhatyouaredoing,thenit’sright”andIhavefollowedthisadvice.

Foranyaspiringcomposers–Justdoit.Write,write,write.Listentoeverything.Pickitapart.Putitbacktogether.Enjoywhatyou’redoing.Youshouldbegettingkickoutofit!

Would you say your work fits into a particular genre/style?Idon’tthinkmyworkfitsintoanyparticulargenre.I’mabitofachameleon,inthatIproducewhatisrequiredforeachshow,goingwithwhateverisbeingcommunicatedandworkingouthowbesttocomplimentandsupportthestory.Iseemtohavethreejobs:musicdirector,composer/arrangerandpianoteacher.Allthreehaveoneveryimportantcomponent–listening.Afterthatcomesthefixing,sorting,improving.

Tell is about the work you have done with TangleMostoftheTangleartistslearnmusicbyearso,whileImakesureeveryonehasacopyandrecordingofthesong,wejuststartbygoingthroughthelines,learningby‘rote’andrepeatinglinesandmelodiesalltogether.Welookforthepatterns,‘hooks’,repetitions–thingstoholdonto.Ifindthatlearningbyearallowsformakingasortofphysicalsenseofthemusic.Theartistsseemtobe‘singingapicture’asopposedtobeingstuckonnotesonapage.Itcanbeveryliberatingforthem,butitisalsoterrifyingasthereisnowheretohideandnobodytohidebehind.

39

BacktoContents

Interview Directing: Anna Coombs

Tell us about your practice – what it is and what it involvesDirectingisallaboutunderstandingstagecraft.Myworkputstheactorcentrestage,physicallyandemotionallyasclosetotheaudienceaspossible.Speech,physicalpresenceandmusicareveryimportant.Ilikeacompleteconnectionbetweenactorsandaudiencesooursetdesignsarestylisedorconceptual.Westartwiththespaceandlookforwaystoactivatethespacearchitecturallywithanaudienceinandaroundit.Iamagreatbelieverinstageillusion–butinaphysicalsense.So,atreewillrarelybemadefromatree–itmaybemadefromastickthattheaudienceimaginetobeatree,orthroughlight.Orsound.

Iamaneasy-goingpersonbutridiculouslydemandingonactors.Iexpectactorstobealert,tomanagetheirenergylevelsandtoarriveearlysotheycanwarmupforthestartofeachday.Thosethatdon’t,oftenregretit!Ilikestructuresoeachsessionoftenbeginswithaseriesofteambasedactivitiesthatmightincludeoneactorspeakingotheractor’sparts,oractorsswappinglinesatrandom.Wealsodoalotofworkaroundmovementandphysicalexpression.Weintroducelotsoflinerunsveryearlyon,soactorscangetafeelforthewholework,andnotjusttheactualwordstheyspeak.Itisteamworkatitsbest.

How did you get into directing for theatre? IneverwantedtoactbutIwasinterestedinthemanyprocessesthatneedtocometogetheronstage.Ilikedtheideaofworkingaspartofateamtorealiseacollectivevision.ThisishowIseedirectingreally.

Ididn’ttrainintheatrespecifically.IactedinschoolproductionsandafterALevelsIwenttoworkinDublinasanAssistantDirectorattheworldfamousAbbeyTheatre.Iwastherefortwoseasonsinmyteensanditwasanamazingexperience.IgrewupnearStratfordUponAvonsoIusedtogototheRSCalot–theworkwasamuchhigherstandardthenthanitisnow.IusedtositinontechnicalrehearsalsthankstoafreeschemetheRSCusedtorun.Ialsousedtogoafterschoolandwatchshowsfromtheback–inthosedaysyoucouldbuya‘standing’ticketforafewpounds.IdirectedalotofplaysatUniversity(IstudiedEnglishlanguageandliterature).IdidanMAatRADAbutIfoundtheintellectualismofthecoursehardtohandle.SoIlearntonthejobreally,andthroughworkingwithwonderfulcraftsmensuchasPeterCheesemanandtheCornishplaywrightNickDarke.Thenlater,withwonderfulpractitionerssuchasContMhlanga.

What were your influences/ inspirations ?Iwouldsaythattheatrehaschangeddramatically(andnotforthebetter)sinceIstartedworkingjustbeforethemillennium.EarlyinfluencesincludePeterCheeseman,myfirstbossatTheNewVic,StokeonTrentandanadvocateofStephenJosephandthe‘theatreintheround’.Also,KneehighTheatreinCornwallwhohaveauniquewayofblendingvisualexcellenceandcraftsmanship.InfluencesatTangleincludeContMhlanga’sAmakhosi,TheMarketTheatreJohannesburg,theearlyworksofYaelFarberinSouthAfricaandJosephPapp’sPublicTheaterinNewYork.

40

BacktoContents

Would you say your work fits into a particular genre/ style? IliketothinkthattheworkwemakeatTanglehasastyleofitsown.Wecreateanenvironmentwhichisimmediateandwherethereisnofourthwall.Theactorsandtheaudienceareoneunit–theycanseeeachotherandreachoutandtouch.Itispowerful,especiallyforaudiencesnewtolivetheatre.Iworkwithensemblecastsinaveryphysicalway.Ialsocommissionoruselivemusicandsongforallmyshows.Thiscreatesanadditionallayertotherelationshipbetweenactorsandtheaudiencebecausemusichasadifferentmeansofconnectingemotionallytoaudiencesfromwords.Usingpracticallightingonlymeansthatwecanextendtherelationshipvisually,andbereallyinventivewithlightsources.IguessmyworkisacrossbetweentownshiptheatreandEnglishRenaissancetheatre.InfutureIwouldlikeustobemorelikeThePublicinNewYorkwhoarereallysuccessfulattakinghighqualitytheatreintoinformalsettingsandplacesanddoingitreallywell.

Tell us about the work you do with TangleIn2009IfoundedTangleinordertoenablesomeoftheUK’sbesttheatreartiststoworkandtouracrosstheSouthWest–theregionthatIcall‘home’.Iwantedtobringthesefantasticpeopleandtheirworktomy‘home’asthereisverylittleopportunityforAfrican,CaribbeanandevenblackBritishartistsfromthediasporatoworkintheregion.Istartedthecompanyasaninternationaltheatreprojectandit’snowavehicletodojustthat.

AtTangleIamArtisticDirectorandChiefExecutivewhichmeansthatIamnotonlyresponsiblefordevelopingthecreativeprogrammebutalsoaccountableforallourfinanceandoperations,aswellasfundraising,reportingandcompliance,andourteamofstaff.Ifyouworkintheartsitisreallyimportanttohaveagraspofbusinessandtohavelotsoftransferrableskills.

IworkcloselywithourcreativesandAssociateArtiststoplaneachproject.Itiscollaborative.Everythingwemakeiscreatedinconsultationwiththeartistsandwithateambasedapproach.Iworkcloselywithourteams–Ithinkyouhavetointhiscontext.Iamalwaysopentonewideasandtoconstructivecriticism.Iliketofindoutaboutwhatpeoplethinkaboutwhatwedo.AndIlikepeople.Perhapsthat’sthemostimportantthingofall!Theatreisasocialactivityandthepeoplethatmakeitandwatchitareatitsheart.Atitsbest,itisacollective,andnotahierarchy.

41

NOTES FOR TEACHERS

ThepractitionerinterviewshavebeenincludedtogivecontexttotheartisticaspectsoftheperformanceandtheTangleCompany’sstyleofdelivery.TheinterviewsareagreatresourceforstudentsinterestedingettingintothecreativeindustriesandforlinkstospecificsubjectsandpartsofArtsAward.Thenoteshavebeenincludedtohighlightsomeofthelinks.

1, 2 & 3: • Linkstocareerseducationandyoung

peopleunderstandingthevariousroutesintothecreativeindustries.

• LinkstoSilverArtsAward,Unit1,PartDArtspathways–Youngpeopleneedtodemonstratetheyunderstandcareerpathwayswithintheirchosenartformandevidencewhattheyhavelearnt.Alsotodemonstratewhattheyhavelearntaboutpractitioner’scareersandwork.

• LinkstoExploreArtsAward,PartB–youngpeopleneedtoexploretheworkofartistsandartsorganisation,theinterviewcouldformabasisareadingactivity,wherechildrenfindoutkeyinformation

• LinkstoBronzeArtsAwardPartC‘Artsinspiration’(seeArtsAwardsessionplan)

4: • LinkstoGCSEmusic&drama–

understandingofgenre

5:

• Linkstocareerseducationandyoungpeopleunderstandingthevariousroutesintothecreativeindustries.

• LinkstoExploreArtsaward,PartB–youngpeopleneedtoexploretheworkofartistsandartsorganisation,theinterviewcouldformabasisareadingactivity,wherechildrenfindoutkeyinformation

• LinkstoSilverArtsAwardUnit1PartDArtsPathways–youngpeopleneedtodemonstratewhattheyhavelearntaboutpractitioner’scareersandwork.

42

BacktoContents

Resources, activities and Lesson Plans

Section 3

Back to Contents

43

THEMED EXERCISES/ ACTIVITIES

Working as a Team – Ensemble Theatre Belowarearangeofexercisesabsorbingmovementandtextinterpretation,lookingatnotionsofleadershipandvisualisation.

Duration Activity

5mins Sculpting–embodyingaphraseandphysicalizing

5mins Movingasaflock,walkingasadiamond.Movingasagroup,workingasateam

10mins Assumedleadership–seriesofexerciseswhereparticipantsassumeleadershipandtheleadershipchangesroundthegroup.Explorationofleadershipdynamics

10mins Howdoyouembodychangethroughmovement?Howdoyouembodyleadershipthroughthisexercise?Contriveasituationwherebysomebodycomesupwithastimulusoraword.Splitpeopleupintodifferentpartsoftheroom.Peoplewalkaroundandsomebodyhastoconvincetheothersthattheywanttogoinaspecificdirection.

10mins Visualisingwordsandphrases.Participantsshareaphraseandtheneverybodyvisualisesorpresentsthisasastill,visualimage.Moveroundthegroupandsharedifferentimagesandideas.Thenuseforumtheatretechniquestodevelopsomeoftheideas.

10mins Using4keyphrasestoputvisualimagestogether–it’sabitlike‘guesswho’or‘guesswhat’or‘guessthephrase’–awayofmakingthetransitionintomorespecificactivities

44

BacktoContents

Interpreting material and understanding Marlowe Arangeofvocalexercisesabsorbingtextinterpretationinvolvingimprovisingandcomposingmusicalideas,linkingtoWozaFaustusandMarlowe’s’text.SeePrintedOutversionsofextractsinSectionThree.

Time Activity

5mins Openingcircle/rhythmexerciseslinkingsyllablesandwordsfromtheresourcesprovided

5mins Exerciseonthepowerofrepetitionandwhatthisdoesindramaticterms.Takingselectedphrases,makerhythmsandrepetitions

5mins UsingthetextextractfromDOCTORFAUSTUSasaninspirationpoint,anexerciseonnaturalproactivity–everyonesaysthewords,andthencompletesthesentence,wordbyword,roundthecircle.

5mins IntroducethetextextractfromDOCTORFAUSTUSwithrhythmicalclapping,workingininnerandoutercircles.

Weareessentially‘clapping’outaniambicpentameter.ThefirstphraseistoclapoutthetextextractfromDOCTORFAUSTUSandthenthenextpersonaddstheremainingsyllables

10mins UsingthetextextractfromDOCTORFAUSTUScreateashort-improvisedscenebasedonkeywordsandphrases.Askquestionsofthegroup–howdidthatmakeyoufeel?Whatcouldtheyhavedone?Usingforumtheatretechniquestoexplorethemes,charactersandfeelings.Whatkindofcharacterarchetypescouldwediscover?

10mins Havethegroupthinkaboutthethingstheyhavelearntanddonetoday.Theninstructthem:

Ihavemadeallthewordsintheworlddisappear,exceptforfourwords.

Choosethefourwordsyouaregoingto‘save’andwritethemdown.

Choosefourmorewordsandwritethemdown

Younowhaveeightwords;theonlyeightwordsleftintheworld..

Turnthosewordsintoapoem.Youmayuseeachwordanynumberoftimes.Youdon’thavetousealleightwords.Youcanincludeconjunctivesofthreelettersorless.

45

RESOURCES: NON-VERBAL COMMUNICATION AND GROUP WORK

TangleCompanyisanensemble,meaningtheactorshavetoworkasatightteam,beresponsivetoeachother,worktogetherandsupporteachother.Herearesomeactivitiesthathelptheartiststowarmupandtoworkcollectively.Youcantrythemwithyourowngroup.

Moving As One SH Asagroup,standtogetheragainstawall,orsittogetheronthefloor.Thefacilitatorgivesnoverbalinstructions,exceptatthebeginningwhenheorshestartsthegameoff.Thepurposeistoperformasequenceofmovements–together–withoutanyoneindividual‘obviously’leading.Forexample:moveawayfromthewall,standup,sitdown,walkacrossthespace,raisehandsorraisearms.Establishingeyecontactortouchingashoulderwithanothermemberofthegrouptransfersleadershiptosomeoneelse(noteverybodywillseeleadershiptransfer).Thisisaboutestablishing‘shape’,andencouragingpeopletoworktogether,communicatenon-verballyandreplicatewhatothersaredoing.

Flocking PE, ENGLISH, DRAMA Asagroup,movearoundinaswarmoraflock(likeaswarmofbeesoraflockofbirds)withonepersonleading.Theleaderwalkswithaparticularrhythm,aparticularmood.Everyonemustfollow,keepingtogetherasagroup–abunchratherthanaline.Afteradecenttime,anyonecanbreakawaywithacontrastingmoodorrhythmicmovement,andallmustnowfollowthenewleader.Afterawhilesomeoneelsecanstrikeoutagainandeveryonefollowsasbefore.Thepersonmakingthechangeshouldaimforacontrastinmoodortone.Controlscanbeused,suchasthefacilitatorselectingeachnewleaderwithatag.

Anotherversionistoworkwithdifferentshapesorpatterns.Forexample,haveeveryonestandinadiamondformationandlooktowardsthepersonatonecorner.Thatpersonistheleaderandtherestoftheparticipantsmustfollowtheirmovements.Transferofleadershipismadethrougheyecontact.

Hypnosis PE, ENGLISH, DRAMA Divideintopairs.Establishaleader(A)andafollower(B).Theleaderholdsahandinfrontofthefaceofthefollowersothetopsofthefingersareonlinewiththehairline.Thentheleadermovesthehandaround,andtheothermustfollow,keepingtheheadinthesamealignmentwiththehandallthetime.It’sthenaquestionofleadingthefolloweraroundtheroom,avoidingotherparticipants.

The Wheel DRAMA, ARTFormtwoconcentriccircles(thewheel).Theoutsideringarethe‘sculptors’andtheinnerringarethe‘models’.Haveeverybodyintheoutsideringpickamoodandholditintheirhead.Withoutusingwordsorverbalinstruction,thesculptorsshapethemodels.Then,thewheelisturnedbyeachpersonmovingone‘spoke’totheleft.Thesculptorsareoppositeanewmodel.Itisnowtheirtasktosculptthemselvesinresponsetowhattheysee.Theinnerwheelisthenturnedsoeveryoneisinfrontofanewpartner.Moveinnerandoutercirclesinturntocreatedifferentpairings.Introducenewthemesormoodsbasedonthevisualstimulus.

46

BacktoContents

RESOURCES: RHYTHM, MOVEMENT AND VOCALISING

Theatremakersusemanywaystoexpressthemselves–writingthingsdown,speakingthemaloud,moving,dancingandsinging.Trysomeoftheseactivitiestoseeiftheybuildawarenessofdifferentwaysofcreatingaperformancework,andcommunicatingwitheachotherandwithanaudience.

Call and Answer MUSICHavethegroupstandinacircle.Aleader,onarhythmicbeat,establishesacallandanswerpattern,eitherusingclapsorvoice.Soa‘clapclap’isechoedbythegroup.A‘heyaheya’isechoedbythegroup.Onceapatternisestablishedusingsimplerhythms,morecomplexrhythmscanbeexplored.Theleadershipcanbepassedtodifferentmembersofthegroupatwhichpointthefacilitatorsbecomepartoftheansweringchorus.

Dance Circle PE, DANCE, DRAMA, MUSICFormacircle.Havetheleaderestablisharhythmandstartarepetitivedancestep.Askeveryonetofollow.Callsomebodyintothemiddleofthecircle.Theynowstartanewstep,whicheveryonepicksupandfollows.Thensomebodyelse,atagivensignal,comestothecentreandchangesplacesandtakesthelead.Oneachchangeoverthegroupkeepsupasimplerhythmorclappingpatterntomaintainmomentum.

Creating a Soundscape MUSIC, DRAMAThegroupstandsinacircle.Thefacilitatorbeginsbyestablishingabaselinerhythm,whichremainsconstantthroughouttheexercise.Theotherfacilitatorcomesinwitharhythmic,repetitivesoundthatfitswiththefirstandcomplimentsit.Otherparticipantsjoininonebyone.Thelastpersontocomeinsingsormakessoundsabovetherest,improvisingwithmelodyandwordsas

theywish.Thevisualstimulusprovidedcanactasastartingpointtoestablishathemeormood.

Vocal exchange MUSIC/DRAMAHavetheparticipantsstandinacircle.Askforavolunteerandinstructthemtovocally‘throw’aphysicalactionandamade-upsoundtooneoftheotherparticipantsinthecircle.Theparticipantreceivingmust‘return’thesameactionandsoundback,andthen‘throw’anewactionandsoundtoanotherparticipant.Thisparticipantreturnsthenewactionandsound,thenthrowsadifferentactionandsoundtoadifferentparticipant.Thiscontinuesuntilaparticipantfailstoreturntheaction/sound,takestoolongtorespond,preconceivesanactionormakessomeothermistake.Whenthishappens,theerrantparticipantstartsanewaction/soundandtheactivitybeginsagain.Havethegroupgetusedtobeginningagainimmediatelyandnotdwellingon‘failures’.

Say one word MUSIC/DRAMAThefacilitatorchoosesaword(‘welcome’inadifferentlanguageworkswell).Havethegroupformacircle.Eachsaysthewordoutloudonebyone.Workingroundthecircleagain,eachpersonthensaystheselectedword,usingadifferentmoodfromthepersonnexttothem.Trysayingthewordinasmanywaysaspossibleasyoumoveroundthecircle.

47

BacktoContents

RESOURCES: TEXT EXTRACTS

Herearefourextracts,writtenbyRenaissancepoetsandbyonecontemporaryauthor.Theyallmakeapowerfulpointaboutlifeandtheworld.Allfourspeechesarepersonalreflectionsaroundlifedecisions.

John Donne – No Man is an IIandJohnDonnewasanEnglishpoetbornin1573. Hewrotethispoemin1624,aspartofalongerwork,DevotionsUponEmergentOccasions.It wasoriginallywrittenas‘NoManIsanIland’.

No man is an island, entire of itself,Every man is a piece of the continent,A part of the main.If a clod be washed away by the sea,Europe is the less.As well as if a promontory were.As well as if a manor of thy friend’sOr of thine own were:Any man’s death diminishes me,Because I am involved in mankind,And therefore never send to know for whom the bell tolls; It tolls for thee.

Nelson Mandela – Long Walk To Freedom NelsonRohlihahlaMandelawasaSouthAfricananti-apartheidrevolutionary,politicianandphilanthropist.HewasSouthAfrica’sfirstblackchiefexecutive,andthefirstPresidentelecteddemocratically.Hisgovernmentfocusedondismantlingthelegacyofapartheidthroughtacklinginstitutionalisedracism,povertyandinequality,andfosteringracialreconciliation.

ThisisanextractfromTangleCompany’s2014touringwork,WATERBREADANDSALT.ItisadaptedfromtheconcludingparagraphofMandela’sbiography,LONGWALKTOFREEDOM,whichwaspublishedin1995.

I have walked that long road to freedom. I have tried not to falter. I have made many mis-steps along the way. I have discovered the secret that after climbing a great hill, one only finds that there are manymore hills to climb. I have taken a moment here to rest, to steal a view of the glorious vista that surrounds meTo look back on the distance I have come. But I can only rest for a moment, For with freedom comes responsibilities,And I dare not lingerFor my long walk is not yet ended.

48

BacktoContents

Christopher Marlowe – Doctor Faustus ThisspeechisadaptedfromthefinalactofMarlowe’sDOCTORFAUSTUS.

Ah, Faustus,

Now hast thou but one bare hour to live,

And then thou must be damn’d perpetually!

Stand still, you ever-moving spheres of heaven,

That time may cease, and midnight never come;

Fair Nature’s eye, rise, rise again, and make

Perpetual day; or let this hour be but

A year, a month, a week, a natural day,

That Faustus may repent and save his soul!

The stars move still, time runs, the clock will strike,

The devil will come, and Faustus must be damn’d.

O, I’ll leap up to my God!--Who pulls me down?--

See, see, where Christ’s blood streams in the firmament!

One drop would save my soul, half a drop: ah, my Christ!--

Ah, rend not my heart for naming of my Christ!

Yet will I call on him: O, spare me, Lucifer!--

Where is it now? tis gone: and see, where God

Stretcheth out his arm, and bends his ireful brows!

Mountains and hills, come, come, and fall on me,

And hide me from the heavy wrath of God!

No, no!

Then will I headlong run into the earth:

Earth, gape! O, no, it will not harbour me!

You stars that reign’d at my nativity,

Whose influence hath alotted death and hell,

Now draw up Faustus, like a foggy mist,

Into the entrails of yon labouring clouds,

That, when you vomit forth into the air,

My limbs may issue from your smoky mouths,

So that my soul may but ascend to heaven!

Ah, half the hour is past! ‘twill all be past anon.

O God,

If thou wilt not have mercy on my soul,

Yet for Christ’s sake, whose blood hath ransom’d me,

Impose some end to my incessant pain;

Let Faustus live in hell a thousand years,

A hundred thousand, and at last be sav’d!

O, no end is limited to damned souls!

Curs’d be the parents that engender’d me!

No, Faustus, curse thyself, curse Lucifer

That hath depriv’d thee of the joys of heaven.

O, it strikes, it strikes! Now, body, turn to air,

Or Lucifer will bear thee quick to hell!

49

William Shakespeare – The Tempest WilliamShakespearewasacontemporaryofMarlowe,andTHETEMPESTwasoneofhislastplays.Thisspeech,deliveredbytheprotagonist,Prospero,comesfromActFive.

Ye elves of hills, brooks, standing lakes and groves,

And ye that on the sands with printless foot

Do chase the ebbing Neptune and do fly him

When he comes back; you demi-puppets that

By moonshine do the green sour ringlets make,

Whereof the ewe not bites, and you whose pastime

Is to make midnight mushrooms, that rejoice

To hear the solemn curfew; by whose aid,

Weak masters though ye be, I have bedimm’d

The noontide sun, call’d forth the mutinous winds,

And ‘twixt the green sea and the azured vault

Set roaring war: to the dread rattling thunder

Have I given fire and rifted Jove’s stout oak

With his own bolt; the strong-based promontory

Have I made shake and by the spurs pluck’d up

The pine and cedar: graves at my command

Have waked their sleepers, oped, and let ‘em forth

By my so potent art. But this rough magic

I here abjure, and, when I have required

Some heavenly music, which even now I do,

To work mine end upon their senses that

This airy charm is for, I’ll break my staff,

Bury it certain fathoms in the earth,

And deeper than did ever plummet sound

I’ll drown my book.

50

John Donne – No Man is an IIandLookupJohnDonne.Whatcanyoufindoutabouthim? Whatarehismostfamouspoems?

Paraphrasethepoem.

Whatdoesthismessagemeantoyouaboutcommunity, andaboutworkingtogether?

Nelson Mandela – Long Walk To Freedom LookupNelsonMandela.Whowashe?Whatcanyoufindoutabouthim?

Paraphrasetheextract.

ImaginemeetingNelsonMandela.Whatwouldyousaytohim?

Imaginebeingaleader.Whatarethequalitiesyouneed?

Christopher Marlowe – Doctor FaustusIdentifythemainthemesinthisextract.

Paraphrasethepoem.

ImaginebeinginFaustus’ssituation.Whatparallelscanyoudraw? Howwouldyoufeel?

William Shakespeare, The Tempest Thisextractisaboutdrawingaconclusiontoanadventure. WhatisProsperosaying?

Describethespeechinyourownwords.

WhatcomparisonscanyoudrawbetweenthisextractandtheNelsonMandelaextractonPage48?

Writedownanywordsorimagesthatappealtoyou. Whyhaveyouchosenthem?

Choose4linesfromtheextract.Trysettingthemtomusic.

Usingadictionary,lookup‘tempest’.Whatdoesitmean? Whatother,similarwordscanyoufind?

Classroom Activities

51

SESSION PLANS

Subject:EnglishKS2&KS3

Numberoflearners: Room: Date: Times: 1hr20mins-2.5hoursactivity

Session planSessionaim:Tounderstandhowtextcanbeusedtocreatedramaticeffectwiththeuseofdifferentvocalmethodsandperformancestyles.

Learning objectives:• Tounderstanddivisionsandrhythms

• Topractiseusingdifferentpitchandtempo

KS3:

• Todemonstrateimprovisationusingatext

• Torehearseandperformthetexttoanaudience

52

BacktoContents

Time Content Activity Suggestedassessmentmethods

20 mins

Onewordstories Askchildrentositinacirclewithothers.Getthemtotella‘onewordstory’byeachaddingawordtothestoryasyoumoveroundthecircle. Writeyourstoriesdownandaskindividualstoreadthemout.

30-40mins

Divisionsandrhythms

Getthechildrentothinkaboutdivisionsandrhythms.Askthemwhattheythinktheyare–writeonthewhiteboardanexplanation.TakethetextextractfromGenesisonpage32DividethechildrenintothreesandgetthemtodividethelinesandwordsGetthemtoreadthemloudandlistentothedifferentvoicesthatcomeacross.ExtraforKS3:Askthegroupstodiscuss:• Whateffectdoesthishaveonthe

performance?• Whathappensifyouadaptandchange

youroriginalchoices?• Whathappensifyouadaptandchange

youroriginalchoices?

Preparedinfoondivisionsandrhythmstodiscuss.

30 mins

Rhythmandtempo

Usingtextonpage30Intheirgroupsoffour,getthechildrentoeachchooseoneletterA-D.Tellthemtoreadthelinesbytheirletter.Handoutdictionariesandencouragethemtolookupanywordsyoudon’trecognise.Onceyoutheyarehappywiththeirlines,getthemtoreadthemoutinorder–changingpitchandtempo.

Dictionaries

Textextractfirstverseofgenesisonpage32

1hour KS3:Ingroupsof4,eachtakesonalineA-D.Asagroupgetthemtoreadthroughthelinesinorderasking:howdoyouinterpretthem?Asagroupgetthemtoimprovisewiththedeliveryofthelinesandchoosewhichstyleyoulikebest.Encouragethemtorehearsetheseandperformtotherestofclass.

Textextractonpage30

Resources:• Dictionaries• Whiteboard• Textextract:thefirstversesofGenesis(page32)• TextextractMarlowe’sDOCTORFAUSTUSaspublished(Page30)

53

ARTS AWARD

ArtsAwardoffersyoungpeoplethechancetobepartofaninspiringartsjourney.Eachpathcantakeadifferentdirection–fromfashiontofilmmaking,fromdancetodesign,fromphotographytopoetry.Whicheverroutetheychoosetofollow,youngpeoplearealwaysinthedrivingseat.

ArtsAward’suniquequalificationssupportyoungpeopletodevelop,bothasartistsandasartsleaders.Theprogrammeisdesignedtodeveloptheircreativity,leadershipandcommunicationskills.

Opentoanyoneagedfrom5to25,ArtsAwardembracesallinterestsandbackgrounds.WorkingtowardsanArtsAwardencouragesyoungpeopletoworkindependently,helping

themtoprepareforfurthereducationandemployment.

ArtsAwardmotivatesyoungpeopleandcelebratestheirartisticachievements.Youngpeoplecanachieveanawardthroughanyarts,mediaorculturalactivity,developingknowledgeandunderstandingoftheirchosenartforms.

ArtsAwardismanagedbyTrinityCollegeLondoninassociationwithArtsCouncilEnglandand10regional‘Bridge’organisations.RealIdeasOrganisation(RIO)leadstheArtsAwardregionaldevelopmentforSouthWestEngland(whereTangleisbased)aspartofthisACEBridgenetwork.

You can find out more at www.artsaward.org.uk

www.realideas.org/bridge/intensive-support#artsaward

TangleisanArtsAwardSupporterandworkswithawiderangeoforganisations,schools,youththeatresandcommunitygroupstosupportArtsAwardachievements.Weworkwithteachersacrosstheregiontoidentifyactivitieswithinourprogrammethatcounttowardsyoungpeople’sArtsAwards.Formoreinformationcontactadministrator@tangleinternational.com

ThenextpagecontainssuggestionsabouthowNOONEISANISLANDandDOCTORFAUSTUScanlinktoArtsAwarddeliveryinyourschoolorgroup.

54

BacktoContents

Tangle and links to Arts Award

ArtsAwardcanbeachievedatfivelevels.Thereisanintroductoryawardandfourqualifications.

HerearesomeoutlinesuggestionsforactivitiesthatparticipantsinWOZAFAUSTUS!canexplore.

ArtsAwardLevel LinkstoArtsAward SuggestedactivitiesandevidenceDiscover PartB:Findout

abouttheartsAskyoungpeopletowriteabouttheTangleartiststhattheymeet.

Explore PartB:Exploretheworkofartsorganisations

AskyoungpeopletowriteaboutTangle–whoTangleCompanyare,aswellasabouttheartiststhattheymeet.

Bronze PartB:Exploretheartsasanaudiencemember

Asevidence,takephotos,keepresourcesandrecordingsofindividualattendance.Askindividualstorecordapersonalreflectionoftheperformance(eitherwrittenorspoken)thathighlightsthecreativeimpactofNo-OneisanIsland/DoctorFaustus.Asagroup,startadiscussionabouttheperformance,encouragingeveryonetoputforwardtheirthoughts. Takepicturesandfilmthediscussionasevidence.

Silver Unit1PartC:Reviewartsevents

Asevidence,takephotos,keepresourcesandrecordingsofindividualattendance.Asevidence,filmanextractoftheperformancewhereayoungpersonhashighlightedspecificartisticqualitiesthattheyfeltcameacrosswell.Reviewtheperformanceineitherawrittenorspokenformatthatincludescommentsonthecreativeimpactoftheperformance,aswellasanyartisticqualitiesorhighlights.Takeafilmoraudiorecordingofindividualstudentssharingtheirreviewwithothers.Evidencetheindividualsharingofreviewsasanonlineblogoronawebsite.

Level QualificationTitle AgeRangeDiscover IntroductoryAward 5-25Explore EntryLevelintheArts(Entry3) 7-25Bronze Level1AwardintheArts 11-25Silver Level2AwardintheArts 14-25Gold Level3CertificateintheArts 16-25

55

BacktoContents

Session plans linked to arts award

Subject:

Numberoflearners: Room: Date: Times: 3.5hoursactivity

Session Aim:• Useresearchskillsandpriorknowledgetocreatecontenttopresent

• Topresentartsinspirationtoothers,includingwhytheyinspireyouandevidenceoftheresearchundertaken

Learning Objectives:• Researchusingbooksandtheinternet

• Produceevidenceofresearchcarriedout

• Chooseasummaryinanyformattopresentartsinspirationtoothers

Time Content Activity Suggestedassessmentmethods

30 mins

GroupdiscussionaboutAnnaCoombs‘Marloweandme’interview

AftertheTangleperformance/workshop,getthegrouptoreadthroughAnnaCoombsinterview‘Marloweandme’.Askthegrouptothinkaboutotherexamplesofwhereanartisthasbeeninspiredbysomeoneelse–allowthegrouptofeedbacktheirideas.

AnnaCoombsinterview‘Marloweandme’onpage23

Cameratotakephotos/filmgroupdiscussion.

20 mins

Artsinspiration:Whoinspiresyou?

Afterthegroupdiscussionaskindividualstothinkaboutwhoinspiresthemwithinthearts;explainthisdoesnotneedtobesomeonefamousorcontemporaryforexample,AnnaCoombswasChristopherMarlowe.Getthestudentstothinkaboutthisandwriteasentenceaboutwhytheyinspirethem.Encourageeveryonetosharethiswithsomeonenexttothem.LinkstoBronzeartsawardPartC

TextextractXXXonpage23

56

BacktoContents

1hour Researchartsinspiration

Tellthestudentsthattheywillneedtoresearchtheirartsinspirationtofindoutthefollowinginformation.Explainthatmanywillknowtheanswersalready,buttofindinterestingimages,filmoraudiothatcansupportthis.Theymustanswerthefollowingquestions:• Whotheyareandwhattheirartformis• Howtheygotintotheirartform• Whoinspiredthem• Wheretheywork• Anyotherinfoabouttheirworkthatyou

thinkisinteresting• Whydotheyinspireyou?• Explainalogofthisresearchmustbe

collectedintheformofabibliography.

Abibliography ofresearchResearchnotes

(KeepasPartC,Bronzeartsawardevidence)

Resources:• Camera• MarloweandMeinterview• Accesstocomputers/libraryforresearch• Pens/paper

57

REVIEWING A PERFORMANCE (Bronze, Part B/ Silver, Unit 1, Part C)

Session Aim:• Toreviewanartsperformanceandshareownviewswithothers

Learning Objectives:• Tocritiqueaperformancebaseduponopinionandunderstandingoftheatre• Tobepartofagroupdiscussionwithotherstoshareownview• Topresentreviewtoothers(Silverartsaward)

Subject:

Numberoflearners: Room: Date: Times: 1hour15mins–2hours

Time Content Activity Suggestedassessmentmethods

30 mins

Individualreflection

AftertheTangleperformanceUsingthereviewtemplate,getthestudentstoreflectonwhattheyhavewatched.Askthemtoworkindividuallyandonsomepaperfirstnotedowneverythingthatcomesintotheirheadaftertheperformance.Next,getthemtoworkthroughthequestionsbaseduponwhattheypersonallythoughtofit.

• Resource1:Reviewtemplate

• Notebooks/paper

15 mins

Artsinspiration:Whoinspiresyou?

Getthegrouptostarttothinkaboutthefollowing,linkedtotheperformance–usingthewhiteboardwritetheseupandaskthegrouptoexplainwhattheythinktheymeanwithinthecontextofreviewingaplay:KeyThemesAudience(discussdifferenttypesofaudience–younger,regulartheatregoersetc.)Writethedefinitionupontheboard.

• Whiteboard/Flipchart

58

BacktoContents

Resources:• Camera/Ipadtovideo&takepictures• Reviewtemplate• Promptquestions• Computers• Pens/paper

30 mins

Groupdiscussion Groupdiscussionabouttheperformance:Handoutthequestionstosixpeoplewithinthegroup,askthefirstpersontoreadoutthequestiontotherestofthegroup–explainthatanyonecanrespondandthenencouragethemasagrouptodiscuss–give5minutesforeachquestion.

• Resource2:Promptcards

• Camera/Ipadforphotos/film/audioofgroupdiscussion

30 mins

Sharingreflection IfstudentisdoingSilverartsaward:Encouragethestudentstosharetheirpersonalreflectionwithothersinsomeway.Thiscouldbeuploadingittotheirpersonalblogsandsharingonsocialmediaorwritinganarticletogouponawebsite/newsletteroronadisplayboardatSchoolorCollege.Ensurethestudentgetsevidenceofsharingthereview(Screenshots/photos/filmetc.)

• Camera/Ipad

59

Resource 1 for Session plan 2

Name: Date:

Remember to include any photos/ performance flyers with your reviewThese questions could be cut up and passed around the small group for each person to read out and start a group discussion on. Give up to 5 minutes for each question.

What Tangle show did you go to see?

Nameofshow: Date:

Venue:

What was the performance about?

What did you think about the performance?

Comment on the sound effects/ staging/Lighting; what worked well/ what worked less well in your opinion?

What style of theatre was it performed in?

What impact did the performance have on you?

Any other comments?

60

BacktoContents

Resource 2 for session plan 2

Prompt questions for group discussion about the performanceThesequestionscouldbecutupandpassedaroundthesmallgroupforeachpersontoreadoutandstartagroupdiscussionon.Giveupto5minutesforeachquestion.

Whatdidyouthinkoftheperformance?

Performancestyle:Whatdidyouthink?

Howdoyouthinkthelighting,soundand

staginghelpedconveythestory?

Whatwerethe keythemes?

Whatkeythingwillyourememberaboutthe

performance?

Whatimpactdoyouthinktheperformance

wouldhaveonadifferentaudience?

61

BacktoContents

www.tangleinternational.com

TANGLE’S STRATEGIC PARTNERSPRINCIPAL STRATEGIC PARTNER