the curious theatre company · 2016-11-15 · 3 the curious theatre company overview hello fellow...

THE CURIOUS THEATRE COMPANY 1


CONTENTSOverviewTheNutsandBoltsChanges:Whatarethechanges?UnderstandingComponent:1SectionB:StudyofSetText.Examtypequestions-Examplesofhowthequestionsmightlook.LessonOne-Objective:Toconsideranddiscussthehistorical,socialandculturalcontextofTheCrucible.LessonTwo-Objective:ToexploreandunderstandthethemesofwitchcraftinTheCrucible.LessonThree-Objective:TounderstandsymbolismandthemesinTheCrucible.LessonFour-Objective:TounderstandtheimpactoffalseaccusationsintheworldofTheCrucible.LessonFive-Objective:Toextractrelevantinformationfromthetextanddevelopanabilitytointerpretmeaningfromthescript.LessonSix-Objective:Toresearch,exploreandanalysecharacters.LessonSeven-Objective:Tocreateanddevelopcharacterinterpretations.LessonEight-Objective:Tolearnhowtoscoreatext,usingbeats,vocalinflectionandtransitiveverbs.LessonNine-Objective:Toresearchsetdesignandpropsinpreparationforyour‘stagerealisation’.LessonTen-Objective:Tocreateanddevelopyour‘stagerealisation’.LessonEleven-Objective:Toresearchcostumes,accessoriesandmakeupinordertocreateaninspiringoveralldesign.LessonTwelve-Objective:Toconsiderlightingandsoundeffectsinordertocreateinspiringdesigns.Acknowledgements


OVERVIEWHellofellowteachers.ThisschemeofworkmakesteachingthenewAQADramaGCSEUnderstandingComponent1:SectionB-StudyofSetText,easierforusandsomoreinspiringforstudents,especiallythosewithpracticalabilitieswholearnbestbydoing.Iwasuselessatschoolandspentmostofthetimepinnedtomydeskbymercilessnunsforcingendlessinformationdownme,whileIwasachingtogetupand‘dostuff’–henceIbecameanactor.Sofastforwardto...twoyearsattheRoyalShakespeareCompany,productionsinLondonattheRoyalCourtandShakespeare’sGlobe,writingnumerousepisodesoftheCBBCanimationseriesBooandtheBAFTAwinningBBCseriesTheChuckleBrothers,nottomentionsomeveryembarrassingappearancesinBritishSoaps!Thesedays,IamHeadofCreativeArtsandteachawiderangeofstudentswithverydifferentabilities.Myschemeofwork‘toolkit’isaboutexploration,improvisation,curiosity,risktakingand,itgoeswithoutsaying,dressingup,wearinghats,falsemoustachesanddoingsillywalks,whilestillmanagingtocoverexaminationtopics.IapproachplaytextsusingthesamemethodsIwastaughtintheprofessionaltheatre;motivatingthestudentstoembracetheworldofeachplay,sotheydeveloptheirownideas,visionsandtheirownuniqueinterpretations.Iknowhowhecticadramateacher’slifeis,sothisschemeofworkexploresthetextindetailandtherolesoftheactorsandthelighting,soundandcostumedesigners.Littlepreparationisneededandtheonehourlessonplansaresimplylaidoutandadoddletofollow.Thereareeasytophotocopyhandouts,lotsofinspiringvideosandmanyweblinks-soit’simportantyoucanaccessYouTubetoreallytakeadvantageofallthevaluableresources.Checkoutourwebsiteatwww.thecurioustheatrecompany.comformoreresources.Feedbackisalwaysappreciated,sodon’thesitatetoletusknowyourthoughts:[email protected]


THENUTSANDBOLTSWehopeyouwillfindthisschemeofworkuseful.However,wecan'tguaranteeGrade9examresultsorthatitwillturnstudentsintothenextPeterBrookorEmmaRice.Sorry.Weareagroupofcreative,like-mindedteachers,writersandactorswhoarenotassociatedorsponsoredbyanyexambodiesoreducationalorganisations;wejustshareapassionforcreativelearning...andFawltyTowers.Wehaveattemptedtore-createexamtypequestionswithoutplagiarising/half-inchingtheexambodyquestionpapers,butobviouslywe'venoideaoffuturequestionsandsoourguessisasgoodasyours.Feelfreetoadaptourschemesofworktosuityourdeliveryofteaching.Themainaimofthisresourceistomakeyourjobeasier,whileatthesametimemakinglearningmorefunforstudents.Thebulletspeedadvancesoftechnologymaymeansomeofthecontentinourworkisabitdated,butwehavemadeeveryefforttobeuptodate.Wehavealsotakencaretouseeitherinformationalreadyinthepublicdomain,copyrightfreematerialorhavesoughtpermissionformaterial,ifrequired.Allusageisacknowledgedattheendofourschemesofwork.Wedouselotsoflinkstowebsites,whichwefindreallyusefulandinspiring.However,wecan'tguaranteehowthesesitesaremanagedafterdownloadingmaterial.So,pleasebeaware,wecan’tbeheldresponsibleforanychangesmadeonthesesites.Besttocheckbeforehand,tomakesurealllinksareappropriatetotheyeargroupandnotsexualinnatureorverballyoffensive.Ithinkthetechnicalphraseis,'useyournoodle'.Ifyoudouseourworkinthefuture,pleasegiveusanod,aswelovealittleattention.Thanks.into@thecurioustheatrecompany.com


WHATARETHECHANGES?OldNew

Weightings40%WrittenExam60%Practical

Weightings40%WrittenExam60%Practical

PracticalTeachermarkedassessmentsandanexternal

moderatorwouldvisitcentre

PracticalComponent2ismarkedbyteachers(postalmoderation)ThisisfilmedandpostedtoAQA

Component3isnotassessedbyteacherandisonlymarkedbyaexternalexaminer

PracticalPracticalworkpresentedfortwodifferentoptionschosenincludingacting,designand

technicaloptions

Minimumlengthofperformancewasapproximatelyfiveminutesperpersoninthegroup

PracticalWorkStudy&performanceoftwokeyextractsfromone

scriptedplay(thiscanbeeitheramonologue,duologueorgroup

performance)Devising(evidencedinDevisingLog)andperformanceof

deviseddrama(duologueorgroup)Anyofthepracticaltaskscanbedoneasaperformeror

designerMonologue-twominutes/duologue-threeminutes/group

-fourminutesWrittenExamPaper1hour30minutes

Acompulsorysection‘Practicalworkcompletedduringthecourse’.

Twooptionalsections:Studyandperformanceofascriptedplay

orStudyofaliveperformanceseen

Nosettexts

WrittenExamPaper1hour45minutes

ThreeCompulsorySections

SectionA:Fourmultiple-choicequestionsonrolesandterminology

SectionB:Fourquestionsonagivenextractfromthesetplaychosen

SectionC:Onetwopartquestion(fromachoice)onaliveproductionseen

UnitsTwounitsforstudy:

Unit1-WrittenPaperUnit2-PracticalWork

ComponentsThreecomponents

Component1:UnderstandingDrama(writtenpaper)Component2:DevisingDrama(practical)Component3:TextsinPractice(practical)

GradingA*–UGrades

Grading9–1GradesGuidanceonnewgradingsystem9–1

LookonOfqual/DfEhttps://www.gov.uk/government/publications/grade-

descriptors-for-gcses-graded-9-to-1/grade-descriptors-for-gcses-graded-9-to-1-drama#grade-2


UNDERSTANDINGCOMPONENT1SECTIONB:STUDYOFSETTEXT

Component1:UnderstandingDrama–40%oftotalGCSE

WrittenExam1hourand45minutesSectionA:Multiple-choice(4marks)

SectionB:Fourquestionsonanextractfromachosensetplay(44marks)SectionC:Onequestionontheworkoftheatremarkersinasingleliveperformance(32marks)

SectionB:SetPlayTheCruciblebyArthurMillerisoneoftheexaminingboard’sAQAsetplays.Thisistheplayyouwillstudy.Yourobjectiveistodemonstrateafirmin-depthknowledgeandunderstandingofthecharacteristicsandcontextoftheplayasawholeandhowtostagetheplaypractically.Youwillanswerallfourquestionsbasedonextractsoftheplay

1. B.1Designquestion(worthupto4marks)YouwillbeaskedtoansweraseitheraLighting,Sound,Costume,Make-up,MaskorPuppetDesigner.

2. B.2Performancequestion(worthupto8marks)Youwillbegivenashortextractorlineandaskedwhatvocalandphysicalskillsyouwouldusetoperformthecharacter.

3. B.3Anextractquestion(worthupto12marks)Youwillconcentrateonashadedextractofthetextandpossiblybeaskedtofocusontheuseofperformance,space,interactionwithothercharactersanduseofskillstoconveyaspecificconnotationtoanaudience.

4. B.4orB.5Anextractquestionfocusingonacting(worthupto20marks-answereitherasanActororDesigner)Youwillconcentrateonawholeextractofthetextandshowyourknowledgeandunderstandingofhowthisextractfitsintotheplayasawhole.


EXAMTYPEQUESTIONS

QUESTION:1

SectionB.1(worth4marks)YouhavebeengiventhejobofdesigningacostumeforAbigail.Takingintoconsiderationtheperiodtheplayissetin.HowwouldyoudesignacostumetoreflectthePuritanculture?SectionB.2(worth8marks)YouhavebeencastasTituba.Howwouldyouuseyourvoice,facialexpressions,gesturesandphysicalitytoconveytoanaudiencehercharacteronherline,‘WearegoingtoBarbados,soontheDevilgitsherewiththefeathersandwings’.(Act4)SectionB.3(worth12marks)YouhavebeencastasElizabeth.LookatAct2andexplainhowyouwouldcreatethetensionandconflictinthescenetoshowElizabeth’sreluctanceandhowyouwouldusestagingtoconveythisreluctanceinherinteractionwithherhusband.SectionB4&B5(worth20marks–answereitherasanActororDesigner)B.4YouhavebeencastasAbigail.WhatactingskillswouldyouusetoconveyhercharacterinAct2,andjustifyyourchoices?explainingwhytheyaresuitablefortheplayasawhole?B.5ChooseoneelementofdesigninAct1andexplainhowyouwouldprovidethesuitabledesignelementstohelpcreatethissceneandtheplayasawhole.

SectionB.4&B5(worth20marks)B.4YouhavebeencastasReverendParris.WhatactingskillswouldyouusetoillustratehischaracterinAct1?Justifyyourchoicesandexplainwhytheyaresuitablefortheplayasawhole?B.5ChooseoneelementofdesigninAct1andexplainhowyouwouldprovidethesuitabledesignelementstohelpcreatethissceneandtheplayasawhole.

QUESTION:2

SectionB.1(worth4marks)YouhavethejobofdesigningacostumeforReverendParris.Howwouldyoudesignacostumethatrevealshispersonalityandreflectstheperiodandculturetheplayissetin?SectionB.2(wortheightmarks)YouhavebeencastasJohnProctor.Howwouldyouuseyourvoice,facialexpressions,gesturesandphysicalitytoconveytoanaudiencehischaracter,whenhesaystohiswifetheline,‘Howmaythatmousefrightenyou,Elizabeth?’(Act2)AAAaaaandWHATphysicalityforhisentrancelinesinAct1.SSedddSectionB.3(worthtwelvemarks)SectionB4&B5(worthtwentymarks)

SectionB.3(worth12marks)YouhavebeencastasMaryWarren.WhatskillswouldyouuseinAct3totakeadvantageofthestagespaceandtodemonstrateherrelationshipwiththeothercharactersinthescene?SectionB.4&B5(worth20marks)B.4YouhavebeencastasAbigail.WhatactingskillswouldyouusetoillustratehercharacterinAct1?Justifyyourchoicesandexplainwhytheyaresuitablefortheplayasawhole?B.5ChooseoneelementofdesigninAct3andexplainhowyouwouldprovidethesuitabledesignelementstohelpcreatethissceneandtheplayasawhole.


LESSONONE

LESSONOBJECTIVE

Toconsideranddiscussthehistorical,socialandculturalcontextofTheCrucible.Resources:YouTubelinks,Handout1.

WARMUP

WholeClass-5minutes

ClassChallenge.Studentshaveoneminutetofolloweachoftheinstructions:Lineupinheightorder,lineupinshoesize,toucheveryone’sknees,lineupinageorder,findoutwhosebirthdayitisnextandsinghappybirthday.

TEACHERINTRODUCTION

WholeClass-5minutes

TheAQAGCSEDramaExamrequiresstudentstounderstandArthurMiller’sTheCrucibleasawhole,includingthehistorical,socialandculturalcontextoftheplay.TheCrucibleisabouttheWitchTrialsthattookplaceinSalem,Massachusettsinthelate17thcentury,wheremenandwomenwerewronglyaccusedandpersecutedforbeingwitchesorinapactwiththedevil.ArthurMillerusedthisideabecauseofhisownpersonalexperiencesinAmerica.Hetoohadlivedthrougha‘witch-hunt’,butofadifferentkind.AfterWorldWarII,theAmericanestablishmentbecameobsessedwiththeideaofthespreadofSovietCommunism.TheywereterrifiedthatCommunistsympathiserswouldinfiltrateandtakeoverAmericaninstitutions.Thegovernmentfueledthishysteriaandusedthemediatocreatefearthroughoutthepopulation.Thisfearreachedit’speakintheearly1950’swhenUSCongress,ledbySenatorJosephMcCarthyandtheHouseonUn-AmericanActivities,conducteda‘witchhunt’insearchofthosewithperceivedCommunisttendencies.Thisbecameknownas‘McCarthyism’-thepracticeofmakingaccusationsofsubversionwithoutproperregardforevidence.Thepieceoffilmbelowexplainsitfurther.https://www.youtube.com/watch?v=AWeZ5SKXvj8(3min18secs)Thesetrials,basedonunfoundedfear,rumours,hearsayandthesettlingofscores,wereasourceofinspirationtoArthurMiller.Initiallyheobservedtheseprosecutionsfromtheside-lines,butIn1956,threeyearsaftertheCruciblepremieredinNewYork,hehimselfappearedinfrontoftheHouseCommitteeonUn-Americanactivities,asdidhisfriends,colleaguesandotherwritersandactorsofinfluence.Millerrefusedto‘namenames’andwasconvictedofcontemptofCongress.TASKONE

WholeClass-15minutes

StudentstowatchshortvideosaboutMcCarthyismMcCarthyism

https://www.youtube.com/watch?v=n-s6xqd9T8w(4mins38secs)McCarthyism&TheCruciblehttps://www.youtube.com/watch?v=MtTm4dTmmLU(1min38secs)

TenthingsyoushouldknowaboutArthurMillersTheCrucible.https://www.youtube.com/watch?v=4oNX5dIbUmo(8mins13secs)


TASKTWOWholeClass-15minutes

TheCrucibleisbasedontherealSalemWitchTrialswhichtookplaceinMassachusettsin1692,wheremenandwomenwerewronglyaccusedofwitchcraft.It’snotdifficulttoseethesimilaritiesbetweentheMcCarthyCommunistWitchHuntandtheSalemWitchTrials.Attheheartofbotharethesamethemesandemotiveissues:insecurity,fear,revenge,hysteria,greed,betrayal,ambitionandconflictingideologies.TheSalemWitchTrialswererealhistoricaleventsasthisfilmexplains.https://www.awesomestories.com/asset/view/Salem-Witch-Trials-Early-Accusations(6mins30secs)ToputtheSalemWitchTrialsintocontextyouneedtounderstandhowthatcultureworked.ThePuritancommunitybelievedinacommunalsourceofmoralitybasedonthescripturesandphysicallabour.Theyrejectedindividuality,materialism,desiresandluxury,seeingthemasathreattotheirsociety.Salemcreatedastrict,suppressedexistence,whichdominatedpeople’slivesthroughthepoweroftheChurch.EarlyPuritanssettledinNorthAmericainthe17thcentury.Theywerelookingforanewlife,alifeofindependence,toleranceandfree-thinking.However,ironically,itwastheywhoheldbigotedandfanaticalbeliefs.Thesecommunitiesbelievedinwitchcraftandthatitwasacrimetomeddleinsuchpractices.Howeversomepeoplewouldaccuseothersofwitchcraft,asameanstotheirownends.Thereisalsoamoredetailedfilmbyarather‘out-there’Americanscholar,KeithHughes.Studentswillwatchthefirst7minutesandthenwatchtherestforhomework.https://www.youtube.com/watch?v=d12pIpTuiiI&sns=em(Watch7mins)

TASKTHREE

Splitclassintogroups-10minutesTheTask:Totellthefour-actstoryofTheCrucible.Eachgroupisgivenanacttosummarise.Theymustpresenttheiractinthestyleofanewsreport,witheyewitnessaccounts.Fiveminutestorehearse.Eachgroupthenperformstotheclassinorderofacts.

TASKFOUR

WholeClass-5minutes

Studentswillbeallocatedwallspaceintheclassroomwhichtheycancoverwithresearchmaterialandpicturesoverthecomingweekstocreatethehistorical,culturalandsocialcontextofTheCrucible.Suggestsubheadingstogoonthewall.TeacherPrompt:Geography,puritanism,roleofwomen,food,witchcraft,voodoo,landscapeetc.

FINISHER

SplitClassintoGroups-5minutes

Eachgroupwillbegivenatopicfromthosesuggestedinthelastexercisetoresearchforhomework.Youdecideamongstyourselveswhowillresearchwhat.

HOMEWORK

TeachergivesouthomeworkResearchandprintoffinformationfortheresearchwallandwatchtherestoftheKeithHughesvideo.https://www.youtube.com/watch?v=d12pIpTuiiI&sns=em


LESSONTWO

LESSONOBJECTIVE

ToexploreandunderstandthethemesofwitchcraftinTheCrucible.Resource:YouTubelinks.

WARMUP


Getintoyour‘topicgroups’fromlastweekanddiscussyourresearch.Eachgroupneedstopickonemembertopresenttheirfindingstotherestoftheclass.Studentscanthenstickresearchontotheallocatedwall-space.

TEACHERSINTRODUCTION


WitchcraftisthekeythemeinArthurMiller'sTheCrucible,soitisimportanttoexploreitshistoricalbackground.From1200onwards,allacrossEurope,peoplewerebeingbrutallytorturedandkilledforbeing‘witches’,butinthe16thand17thcenturieswitchcraftbecameacrimeunderthelaw,whichledtowitchesbeingprosecutedbythestate.Mainlylonely,poor,isolatedoldwomen(thoughsomementoo)weretheonesaccusedofbeingwitchesandwitchcraftwaspunishablebydeath.Peoplebegantotakeadvantageandneighbourwouldaccuseneighbourinordertosettleoldscores.Witchcraftalsobecameacommercialbusiness.Thosebeingaccusedofwitchcraftwerenotonlychargedfortheirtrial,butalsofortheequipmenttoburnthem.Alltheirpropertyandbelongingswerethentakenandsharedoutbetweenthemagistratesandthelocalelite.Watchthisshortfilm(5mins32sec)https://www.youtube.com/watch?v=eTkDGpHWGMQ

TASKONE

WholeGroup–10minutes

Teacherwritesthefollowingontheboard:WitchorNotaWitchandreadsoutthefollowinglistaskingstudentswhichcommentshouldgounderwhichtitle.1.Youarefemale.2.Youaremiddleaged.3.Youareassociatedwithaknownsuspect.4.YouareofanEnglishPuritanbackground.5.Youaremarriedbuthavefewornochildren.6.Youarestubbornwithawildreputation.7.Youhavebeenaccusedofothercrimesbeforesuchastheftorslander.8.Youareofarelativelylowsocialposition.9.Aconfessedwitchaccusesyouofbeingafellowwitch.In-fact:EverythingonthelistiswhatittakestobeaccusedofbeingawitchinSalem.

TASKTWO

WholeClass-5minutes

Brainstormideasrelatedtowitchcraft.Writestudentssuggestionsontheboard.TeacherPrompt:Blackmagic,sorcery,voodoo,hoodoo,thewitchesinShakespeare’sMacbeth,spells,curses,chantsoveraboilingcauldron,fetishes,Ouijaboards,invocationofspirits,animalsetc.


TASKTHREE

Splitclassintosmallgroups-15minutes

OpenyourplaytextsandfindwordsthatappearinActOnewhichcanbeusedtohelpcreateaspellorachant.Liststudents’suggestionsontheboard.

TeacherPrompt:Nocturnal/demonicart/swaying/darkness/corruption/murdering/devil’stouch/screeching/obscene/sin/witchcraft/conjuring/spirits/vengeful/abomination/unnatural

Youaregoingtocreateachantandaspellusingthesewords.Youcansay,singorwhisperthem.CreatesomethingyouimaginethegirlsandTitubamighthavecreatedintheforest.

Spotlightstudents’work.Discusswhatmoodandatmospherewascreated.

TASKFOUR

Wholeclass–6minutes

MaryWarren's‘poppet’wasoriginallysymbolicofinnocenceandyouth,butbecauseofgossipitbecamesymbolicofevil.Thepoppet,likeavoodoodoll,wasthoughtofasacharmtocursepeopleandwasmadeintheimageofthevictim.InAct2,thepoppetisagiftfromMaryWarrentoElizabethProctor.ItbecomesademonicandevildollwhenAbigailWilliamsclaimsitisbeingusedasavoodoodolltocauseherpain.Credenceisgiventohertestimonywhenaneedleisfoundinthedoll’sstomach.Watchthisvideoaboutpoppets.https://www.youtube.com/watch?v=x1IfP8iQstw(5mins20secs)

FINISHER

WholeClass-4minutes

Pairup.Spendthenextfewmomentsanalysingandmakingnotesaboutyourpartner.Haircolour?Eyecolour?Features?Makeaconciselist,asthiswillbecrucialforthisweek’shomework.

HOMEWORK

Teachergivesouthomework

Createapoppetofyourclassmate.Then,readthroughthetexttocreatealistofwordswhichcanbeusedtocreateaspellforyourpoppetforthenextclass.


LESSONTHREE

LESSONOBJECTIVE

TounderstandsymbolismandthemesinTheCrucible.Resources:YouTubelinks,Handout1,pensandpaper.

WARMUP

Splitintogroups–10minutes

Allpoppet-homeworkisdisplayedfortheclasstosee.Aretheyrecognisable?Spotlightthosestudentswhohavecreatedaspellforthepoppetandaskthemperformittotherestofclass.Discusswhichonesareeffectiveandwhy?Pinontheresearchwall,ifpossible.TEACHERINTRODUCTIONTheword‘crucible’hasmanydefinitions.Acruciblecanbeacontainerusedtomeltmaterialstoaveryhightemperature.Itcanbeusedtodescribetheinteractionofdifferentelementstoforgesomethingnew.Crucibleisalsodefinedasa‘difficultchallenge’.Thetitle,‘TheCrucible’,isthereforeusedbyMillerasametaphortomakeapoint.Theplayisfullofmetaphors,themesandsymbols(objects,colours,figuresandcharactersusedtorepresentabstractideas)toinformtheaudienceofmeaning.Thepoppet,forexample,couldbesymbolicofhowmembersoftheSalemcommunityaremanipulatedlikepuppets.Thewitch-huntattheheartoftheplayis,ofcourse,ametaphorfortheMcCarthytrialsinAmerica.WhilemanyofMiller’sthemesandsymbolsareuniversal:religion,sex,sin,truth,good,eviletc.

TASKONE

Insmallgroups-20minutes

GivestudentsHandout1andreadthroughit.Ingroups,findexamplesofsymbolismandthemesintheplayandtrytofindothersymbolsandthemesnotmentionedonthehandoutandaddthemtothesheet.TASKTWO

Insmallgroups-20minutes

Usinginformationfromthepreviousexercise,createatleastfivefreezeframes,highlightingsymbolicmomentsintheplay.Spotlightstudents’workanddiscusswhatwaseffectiveandwhyitwaseffective.

FINISHER

Splitclassintwo-8minutes

BirdswereomenstopeoplelivinginancientGreekandRomantimes,andthe‘YellowBird’canbeseenassymbolic.Whatdoyouthinkitrepresents?TeacherPrompt:Jealousy,envy,illness,disease,corruption,keepingyourguardup,truthlookingdownattheliesetc.Inyourgroups,usingyourtexts,seehowmanycolours/birds/animalsyoucanfindinthescript.Ifyoufindoneputyourhandupandthecolour/bird/animalandpagenumberwillbewrittenontheboardandyouwillgetapointforyourgroup.


HOMEWORK

Teachergivesouthomework–2minutes

Thedefinitionsforthewordcrucibleincludeacontainerusedtomeltmaterialstoaveryhightemperature,asituationwheredifferentelementsinteracttoforgesomethingnewandadifficultchallenge.Whichdoyouthinkdescribestheplaybest,andwhy?Writeaone-sideA4pageandgiveexamplestobackupyourchoice.Handinatthenextclass.


Handout1

SymbolandThemes ExamplesintheText

ParanoiaandHysteriaCanhappentoanyoneandatanytime.Ittearsacommunityapart.Itgrowsbecausepeoplecanbenefitfromit.Intimesofcrisis,forexampleduringtheMcCarthytrials,itiscommonforauthoritytoexploitthefearsofthepublicbyrestrictingcertainrights,andaccusing(mostly)theinnocentinorderto‘maintainsecurity’.Theseactionscreatemassparanoiaandhysteriawhichmakesthepublicbelievethingstheywouldn’tbelieveordinarily.

IntoleranceThePuritansleftEuropetofindreligioustolerance.However,thesocietytheyestablishedwasintolerantofanythingandincludinghangingwitchestorestorethecommunity’spurity.

TheWoodsThewoodsareseenassymbolic,aplaceoffreedom.

ScapegoatingandHiddenAgendaIfyouhadbeenaccusedofsinorwrongdoinginPuritansocietytheresultwasaseverepunishment,death,orexcommunicationManyoftheaccusedwould‘pointthefinger’atotherstoshifttheguiltfromthemselves.Someaccusedtheirneighboursofbeingwitchestoobtaintheirlandorbelongings.

ReputationAperson’sgoodnameandreputationcouldbedestroyedintheblinkofaneye.TheintegrityandthepurityofallSalemresidentswereontrial.

TheGallowsThegallowsrepresent‘impendingdoom’.

PoliticsTheplaycanbeseenassymbolicoftheparanoiasurroundingCommunismthatpervadedAmericansocietyinthe1950s.

MartyrsMillerexplorestheroleofthemartyrthroughcharacterswhofinallychoosetodiewiththeirnamesintact.


LESSONFOUR

LESSONOBJECTIVE

TounderstandtheimpactoffalseaccusationsintheworldofTheCrucible.Resources:Sheetsofpaperandpencils.

WARMUP

WholeClass-5minutes

Thisnextexercisecanbedonewithorwithoutthestudents’knowledge,dependingonthenatureofthegroup.Theaimistosimulateafeelingofpaniconaccountoffalseaccusation.Itisuptoeachindividualteacherhowmuchtheybriefthestudentsbeforehand.Obviouslyyoucantweakthisexerciseordosomethingdifferent,buttheaimistofindasituationwherepressurefromauthorityleadstothecondemnationofinnocentpeople.

Asthestudentsentertheclass,theteachershouldlooksolemnandstern.Teachertellsstudentstositdownandfoldtheirarmsuntilfurtherinstructed.

TEACHERINTRODUCTION


Teacheraddressestheclassinasombretone.“Wewon’tbeworkingontheCrucibleintoday’sclass,assomethingofaseriousnaturehastobedealtwithfirst.Examsareveryimportanttimesinyourlife.Theexamsthatyouwillbetakingthisyearwillinfluencewhatyoudointhefuture,soitisveryimportantthatyoufollowtherulesandregulations.Ifyoudonotsticktotherulesthenyoucouldbedisqualifiedfromtakingyourexams.Now,ithascometomyattentionthatsomeoneinthisgrouphasbeencheatingtogetbettergradesintheirsubjectassessments,includingDrama.Ialsohavebeenledtobelievethatothermembersoftheclasshavebeenpersuadedtofollowsuitandhavecheatedintheirschoolassessmentsorcoursework.Webelieveonlyanumberofstudentsareinvolved,butasyetweareunsurewho,soatthismomentintimeyouareallguiltyuntilprovedotherwise.Penaltiesforcheatingcanincludedisqualificationfromtakinganyexamforuptofiveyears.TheHeadwillbehereshortlytointervieweachofyou,separately.(Teachergivesoutpaperandpencils).Inthemeantime,Iamgivingeachofyouapencilandsheetofpaper,youcandooneoftwothings.Firstly,youcanwritedownthenamesofpeoplewhoyouthinkareinvolvedincheating,ifyoudothis,IpromisethatyouwillnotbedisqualifiedfromtakingyourGCSE’s,evenifyouarealsoprovedguilty.Orsecondly,youcandecidetowritenothingonthesheetofpaperIhavegivenyou,butbydoingso,youwillbeautomaticallydisqualifiedfromtakinganyofyourGCSEexams…whetherornotyouareguiltyofcheating.So,whatareyougoingtodo?”Teachergivesstudentsfiveminutestodecidewhattheyaregoingtodo,thencollectsthepapers.Oncethepapershavebeencollectedtheyareread.

“Ihaveproofherethatcertainindividualsareindeedinvolvedincheating.”

Teacherripsthesheetsofpaperintosmallpiecesandexplains:“Therehasbeennocheatingintheschool.Thiswhole‘cheating’accusationhasbeenahoax.Iwantedyoualltoexperience,firsthand,beingaccusedofsomethingyouareinnocentof.WhathappenedinSalemwascomparable,excepttheywerenotthreatedwithdisqualificationfromexams,butwithdeath.”

Asksudentsiftheynowbetterunderstandthefeartheadolescentgirlsfelt,whentheyhadbeencaughtdancingandconjuringwithTituba?


TASKONE

Individually-5minutes

Writedownhowyoufeltduringthepreviousexerciseandhowdidthosefeelingsmanifestthemselvesinyourbodymovement,facialexpressionsandgestures?Didyoushuffleonyourchair,blinkrapidly,lookdownatthefloorawkwardly?Whatcanyourememberabouthowyoureactedtothesituationyouwerein?Thesedetailswillhelpyouwhenwritingyouranswersfortheperformanceexamquestion.

TASKTWO

InGroups-20minutes

Onepersontakesontheroleofasuspectedwitch.Onepersontakesontheroleofthejudge.Therestoftheclassaresplitintothreegroups.Onegroupactsasthedefenceforthe‘witch’,theotherastheprosecutorandtherestasthejury.Giveeachgrouptimetomaketheirarguments.Eachgroupputsforwardtheircasetothejuryandtheoutcomewillthenbedecidedbythejudge.

TASKTHREE

TwoGroups-15minutes

SeverepunishmentwasimposedonthosewhowereseenasobstructingGod'swork.Anyoneaccusedofwitchcraftwouldbesubjectedtovarioustortures.Onesuchtorturewastohavetheirrightthumbboundtotheirleft-toe,thenaropeattachedaroundtheirwaist,beforebeingthrownintheriver.Iftheyfloatedtheywerepronouncedguilty,iftheydrownedtheywerepronouncedinnocent.Otherpunishmentsincludedbeingputinthestocksandspaton,tiedtowhippingpostsandwhipped,orputonaduckingstoolanddrowned.

Teachersplitstheclassintwoandexplains:

Groupone’staskistocomeupwithnewideasfor‘punishments’whichcouldbeimposedonthoseaccusedofwitchcraftduringtheperiodtheplaywassetin.

Grouptwo’staskistocomeupwithnewideasfor‘punishments’whichcouldbeimposedonthoseaccusedofwitchcraftinthepresentday.

Youhavetenminutestocomeupwithideasandthensharethemwithclass.

FINISHER

WholeGroup-5minutes

Askstudentswhatnewthoughtsorunderstandingstheyhaveaboutthesituationthegirlsfoundthemselvesinandlisttheiranswersontheboard.

HOMEWORK


Writeadiaryentryassomeonewronglyaccusedofbeingawitchthenightbeforehisorherpunishment.Handinatthenextclass.


LESSONOBJECTIVE

Toextractrelevantinformationfromthetextanddevelopanabilitytointerpretmeaningfromthescript.(Thistaskmaytakeanumberoflessonstocomplete).Resources:Playtext,pens,Handout3.

WARMUP

Wholeclass-5minutes

WhenyouwriteaboutTheCrucibleinyourexamyouneedtobeabletousethecorrectterminologywhendescribingareasofthestage.Thestageinatheatreisdividedintovarioussectionsandnotatedfromtheactor’sperspective,lookingouttowardstheaudience.Inthespace,markoutalargebasicthruststagearea;usechairs,ties,blazers,jumpers…anythingtomarkitouteffectively.Intheexercise,trytoidentifytheareayouareinstructedtogoto.Youwillbeginthegamecentrestagefacingtheaudience.(Dependingonthenumbersplaythegameineitheronelargegrouporinsmallgroups,whileotherswatch).Anyonewhostandsinthewronglocationmustsitouttherestofthegame.Thelastpersononthestageisthewinner.Allstudentsupstageleft.Allstudentsdownstagecentre.Allstudentswithbrowneyescrosstodownstageright.Allstudentswhosefirstnamesstartwith‘B’,crosstoupstageleft.Allstudentswithasistercrosstocentrestage.Allstudentswithapetcrosstocentrestageleftetc.PlaythegameonceortwiceuntilthereisawinnerTEACHERINTRODUCTIONToreallygettogripswithascript,youhavetoreaditthoroughlyandexamineandextractimportantinformationwhichwillgiveyouvitalcluesastothehistorical,socialandculturalworldtheplayissetin.Allthisinformationwillhelpyouunderstandwhycharactersmakethechoicestheydo,andwhatwasandwasn’tacceptablebehaviourinthatculture.Inthislesson,takethetimetoreadthroughthetextandextractvitalinformation.

TASKONE

Wholeclass-45minutes

GivestudentsHandout2.Asyoureadthroughthescript,youwillhavetimetofillinHandout2,withkeyinformationaboutthescenes.Thesesheetscanbeusedtohelpyouwriteexamquestionsonactinganddesignandusedlaterforrevisionnotes.So,takecaretofilltheminneatly,withplentyofdetail.Itwillmakethereadingfarmoreentertainingifyouexperimentandusetheappropriateaccentsforeachcharacter.Castpartsandbeginreadingtheplay.Makesuretogiveasmanystudentsaspossibleagoatreading.Stopreadingwhentheplaystartsinanewlocationandgivestudentstimetofillintheirsheets.

FINISHER

Volunteers-10minutes

Askvolunteerstolistontheboardwhattheyhavediscoveredinthescriptthattheydidn’tnoticebefore.

HOMEWORK


CreateanA4pagediaryentryfor‘adayinthelife’ofoneofthecharactersintheplay.Remembertousetheappropriatelangueandhistoricalreferencesoftheperiod.

LESSONFIVE


Handout2.Writeintheboxesinformationonkeyscenes.

KEYSCENESKeyScenes Where&When Page Characters Lighting&Sound

EffectsStaging&Props


LESSONSIX

LESSONOBJECTIVE

Toresearch,exploreandanalysecharacters.Resources:Handouts2and4(makeplentyofcopiestocoverallthecharacters),boardmarkerandpens.

WARMUP

WholeClass-5minutes

Studentshandinhomeworksetattheendofthelastclass.Formalargecircle.Teacherwhispersarumouraboutsomeoneinsociety.Forexample:DonaldTrumpandHilaryClintonfellinloveduringtheAmericanelectionandsheismovingintotheWhiteHouse.Therumouriswhisperedfrompersontoperson,untilthelaststudentdeliverstherumourbacktotheteacher.Therumouristhencomparedtotheoriginalone.Dothisacoupleoftimestoshowhowgossipandrumourscanmorphintosomethingcompletelydifferent.

TEACHERINTRODUCTION

Teacherexplainsthattheactivitiestheyperformedinthepreviousclasshelpedstudentstoimmersethemselvesintothecultureoftheplay.Themoreweinvestigateandexploretheworldofthecharacters,themoreweunderstandthestoryfromtheirviewpoint.Inthislesson,theyaregoingtoextractinformationabouteachcharactertohelpstepinsidethecharacter’sshoes.TASKONE

Classsplitintosmallgroups-45minutes

GivestudentsHandout3andreadthroughit.Eachgroupwillinvestigateacharacter.Somecharactershavelotsofinformationaboutthem,othersonlyalittle,ifany,soyouwillhavetouseyourimaginationandinventfactsandbackstories.Thesesheetswillbeusefulwhenpracticingwrittenexamresponsesandforrevisionnotes.

FINISHER


Studentspresenttotheclassnewinformationtheyhavefoundoutaboutacharacter.

HOMEWORK


FindandprintoffatleastthreetheatrereviewsfrompreviousorcurrentproductionsofTheCrucible.


Handout3

CHARACTERPROFILES

CHARACTER

CharacterObjective:Whatisthecharacter’sgoal?Whatdotheywanttoachieveinthesceneorintheplayasawhole?

PHYSICAL:Posture/FacialExpressionCharacterisation/Status/BodyTension/Gestures,Gait/BodyLanguage/Space/Proxemics/Positioning/Movement/Pacing/Repetition/Mime.Whatdoesthisconveytoanaudience?

VOCAL:Tone/Pitch/Pace/PauseProjection/Inflection/Articulation/Repetition/Volume/Accent/Fluency/Emphasis.

COSTUME:Style/Colour/Fabric/Textures.Whatdocostumesconveytoaudience.

FACTSFROMTHETEXTABOUTACHARACTER:


LESSONSEVEN

LESSONOBJECTIVE

Tocreateanddevelopcharacterinterpretations.Resources:Chair,Handouts4&5,paperandpens.

WARMUP


Avolunteerneedstositcentrestagetobe‘hotseated’onthecharactertheyinvestigatedlastclass.Therestofyoucanjoinin,askingquestionsifyouputyourhandupfirst.Prompt:Whatisyourjob?Wheredidyougotoschool?Whatareyourfears?Whatareyourambitionsetc?

TEACHERINTRODUCTION

ThewrittenexaminComponent:1,SectionBSetTexton‘performance’willaskyoutowriteaboutanexcerptfromthetext,describinghowyouwouldperformoneofthecharacter’sintheplay.Yourgoalistowriteabouttheexcerptasifyouwereplayingthatrole.

That’swhyitisimportanttoreadandanalysethescriptinordertolearneverythingyoucanabouteachcharacter.InpreviousclassesyouhavelookedattheperiodTheCruciblewassetin.Youhaveextractedfromthescriptinformationaboutthecharacters,havemadechoicesabouttheirphysicalandvocaltraitsandnowyouaregoingtoconsolidateallthatresearch,soastomakethemthreedimensional.

TASKONE


Researchingacharacterinformshowyouapproachtheirlines.Thescriptwillonlygiveyousomuchinformation.Yourjobistocreateathreedimensionalcharacterthatbringsthedialoguealive.Creatingabackstorywithinformationfromthescriptandyourownideas,helpsyoudothisbecauseitmakesyoubelieveinthecharacter’spastandgivesthecharacterasenseoftruth.Chooseacharacterfromtheplayanddecidewhentheirtime-linebegins.Forexample,ifyouchooseAbigail,youmightdecideherstartingpointisfromwhenElizabethsackedher.Youcangointoasmuchdetailasyouwant-themoredetailed,themoreinterestingyourcharacterwillbe.TASKTWO

Splitclassintopairs-15minutes

Nowyouhavedoneatime-lineandextractedlotsofinformationfromthescript,youneedtoletyourimaginationdotherestofthework.Thefollowingexerciseiswhatalotofactorsusetohelpthem‘getintocharacter’andwillhelpyouestablishhowtoapproachthetext.GivestudentsHandout4andreadthroughit.Withyourpartner,chooseascenefromtheplaywithtwocharactersandeachtakeonarole.ReadthescenecarefullyandthenfillinHandout4fromthecharacters’perspective,makingitasdetailedasyoucan.Usetheinformationyouhaveextractedfromthescript,yourresearchandelementsyouhavemadeupyourself.


TASKTHREE


Youarenowgoingtotakeallthatresearchandplanningandmakethecharacterscomealive.Findaspaceintheroomandcloseyoureyes.Visualiseyourcharacterandanswerthefollowingquestions,asthatcharacter.(Givestudentstimetoexplorethequestionsasked)Wherearethey?Whenisit?Whattimeisit?Wherehavetheyjustbeen?Wherearetheygoing?Whatistheirobjective?Howaretheygoingtoachievethatobjective?Nowslowlywalkaroundtheroom.Whatpartofthebodydoesthecharacterleadfrom?Whatisthepaceoftheirwalk?Dotheyhavelongstridesorshortstrides?Howdotheyspeak?Whatlanguagedotheyuse?Dotheyhaveanaccent?Dotheyhaveahigh-pitchedvoice?Dotheystutter?Stopsomeoneandmakeconversationusingthevoiceyouthinkyourcharacterwoulduse.Nowwalkaroundtheroomandfindsomeoneelsetochatto.Spotlightstudent’swork.

FINISHER

Volunteers-5minutes

Placeachairinthecentreoftheroom.Thechaircannotbeleftemptyformorethanfiveseconds.Whoeversitsonthechairwillbe‘hot-seated’,askedquestionsabouttheircharacter,andmustansweranyquestionthrownatthemincharacter.Anyonecanaskaquestion.TeacherPrompt:Whoareyou?Whoareyourfriends?WhatdoyoudislikeaboutSalem?

HOMEWORK


GivestudentsmultiplecopiesofHandout5.Create‘roleonwall’profilesforthemaincharacters.Handinatthenextclass.


Handout4

KEYACTINGQUESTIONS

Chooseascenewithtwocharactersfromtheplay.Eachtakeontheroleofacharacter,readthesceneandthenfillinthesheetfromthecharactersperspective,usinginformationyouhaveextractedfromthescript,yourresearchandelementsyouhavemadeupyourself.

WhoamI?Writeaboutyourbackground.Whereyouwerebroughtup?Whataboutyourfamily?Wheredidyoulive?Whatisyourcharacter’sbackground?Whatisyourfunction?(Protagonist,Antagonist,Confidante)Whatisyoursocialstandinginthecommunity?

WhereamI?Areyouinthechurch?Whatdoesthechurchlooklike?Whatisthedesignlike?Isthereasmell?Isithotorcold?Isitlightordark?Howdoyoufeel,asyousitonthebenches?Thegeographyofwhereyouareimpactsonyourbehaviourandthewayyouactandreact.Thinkaboutthecold,greywintersinSalemandhowthatmighthaveaffectedpeople’smoodsandmentalities.

Whenisit?Thetimeofdayandtimeofyearimpactonhowyouact.Areyousweating?Ifso,youneedtoshowthattoyouraudience.Areyoucold,shivering?Again,youneedtoconveythisinformationtotheaudience.Theperiodofwhenitissetwillimpactonwhatyouarewearing.Ifyouarewearingalongdress,thenyouwillsitdifferently.Ifyouareinbigheavyboots,thenyouwillwalkdifferently.

WherehaveIjustcomefrom?Whatyourcharacterhasjustdonebeforethescenewillmakethemchoosespecificactingchoices.Ifyoujusthadarowwithyourfriend,thenyourbehaviourinthenextscenemightshowthis.Itisimportantthatyouknowyourpreviouscircumstances,soastoplaythenextscenetruthfully.

WhatdoIwant?Thisisreallyimportant!Whatisyouroverallobjective?Whatdoyouwanttoachieveintheplayorinascene?Whatdoesyourobjectivesayaboutyou?Havinganobjectiveisreallyimportant,itgivesyouajobonstage,soyoudon’tstandtherejustwaitingforyournextline.

WhathappensifIdon’tgetwhatIwantrightnow?Youneedtoconveytotheaudiencetheimportanceofwhatwillhappen.If,forexample,oneofthecharactersisaccusedofwitchcraft,whatwillhappen?Thestakesarehigh!

HowwillIgetwhatIwantbydoingwhat?Youneedtoknowhowyouaregoingtogoaboutgettingwhatyouwant.Areyougoingtopersuadesomeoneorperhapsthreatenthem?Howwillthatpersonreacttoyouifyoudothesethings?

WhatmustIovercomeEverycharacterhasahurdleorobstacleinthetexttoovercome.Whatobstaclehasyourcharactertoovercome?


Handout5

CHARACTER-ROLEONWALLWritedowneachcharacter’sphysicalandvocaltraits,mannerisms,gesturesandfacialexpressions.Wheredotheyleadfrom?Thinkaboutaccents,tone,pitchandgestures.Addasmuchdetailaspossible.


LESSONEIGHT

LESSONOBJECTIVETolearnhowtoscoreatext,usingbeats,vocalinflectionandtransitiveverbs.Resources:YouTubelinks,playtext,acanofbeans,atinofsoup,anythingwithcookinginstructions.Printofforsendthefollowinglinktostudentstohelpthemwiththeirhomework.http://www.hollandharmony.dse.nl/edu/2015-handouts/2015-Cy_Wood-Acting_objectives.pdf

WARMUP


Teacherplacesacanofbeans(orsimilar)onatableandasksforavolunteer.Youmustpickupthecanandreadthecookinginstructions.Teachersasksthevolunteertoreadtheinstructionsinoneofthefollowingways…TeacherPrompt:Fear,hope,despair,joy,relief,disdain,longingetc.Discusswithstudentshowthisexercisehelpedtheperformance.

TEACHERINTRODUCTION

Bynowyoushouldhaveagoodknowledgeaboutthecharactersintheplayandhowtheythinkandreacttovariouscircumstances.Todaywearegoingtolearnhowtodevelopourcharactersevenfurtherbyscoringthescript,dissectingitandbreakingitdownintoeasychunks,sowecanmakethelanguagecomealive.Scoringascriptmeanswenotate(scribble)importantnotesonthepage,suchaswherethereisanew‘beat’orwhereweblockorhowwestressoremphasiscertainwords.So,grabapencilandopenyourscripts.Todaywewillbelookingat‘beats’,‘vocalinflection’and‘actioning’.

TASKONE


Ascriptisbrokendownintoacts,withintheseactsarescenesandwithinthesescenesareunits.Unitsareshiftsorchangesthattakeplaceduringascene,suchasanewcharacterenteringorachangeoftheme.Duringatwo-minutescenetheremaybeasmanyassixorsevenunits.Eachunitwillcontainanumberofdifferent‘beats’.Whatdoesthismean?Well,everytimethereisachangeofmoodorthoughtinascript,wecallthisa‘beat’.Todaywearegoingtoscoreourscriptwithbeats(seebelow)whichwillhelpbringthescripttolife.Thereisnorightwayorwrongwaytodoit.Italldependsonhowtheactorapproachesthescript.So,don’tworryaboutgettingitwrong;that’swhyweareusingpencils,soyoucanalwaysrubthingsout.Thechoicesyoumakenowmightchangeinarehearsalroom,sonothingispermanent.Teacherdemonstratesontheboard.Everytimethereisanewbeat,weputaforwardslash(//).Forexample:Mum:Ican’tbelieveyoutrashedyourbedroom?Whywouldyoudothat?To‘beat’thissentenceyouwoulddothefollowing:Mum:Ican’tbelieveyoutrashedyoubedroom//Whywouldyoudothat?

Teacherasks:WhydoyouthinkIplacedthebeatsthere?Prompt:Mumindicatesherdisappointment,thenhasanewthoughtandinsistsonananswer.A‘beat’inascriptisapointduringascenewhereanewactionbegins.It’swheneithernewinformationisintroducedoraneventhappenswhichchangeswhattheactorisdoingandthushisorherthoughtprocessshifts.


WatchthefollowingvideooftheOldVic’sproductionofTheCrucible.https://www.youtube.com/watch?v=Lezq6v4o2Q4(1min17secs)Inpairs,openyourtextsatthesceneyouhavejustwatchedinAct1anddiscusswithyourpartnerwhereyouthinkthebeatsshouldgo(twoforwardslashes).Remember,it’swherethereisachangeofthoughtorshiftofmood.Doittotheendofthescene.Givestudentstimetomarkthebeats,thenspotlighttheirwork.


Nowwearegoingtolookatvocalinflection.Anyideaswhatthatis?Vocalinflectioniswhenyouchooseawordorphraseinthescriptthatyouwillinflectoremphasiseorstresstoconveyacertainemotion.Teacherwritesthefollowingontheboard:WHYdoyoudothistome?WhydoYOUdothistome?WhydoyoudoTHIStome?WhydoyoudothistoME?

Turntothepersonnexttoyouandpracticeallfoursentencesstressingthewordthatisunderscored.

Whateffectdothesedifferentstressesmake?BelowisanextractfromTheOldVic’sproductionofTheCrucible.Listencarefullytowhatwordsarebeingstressed.https://www.youtube.com/watch?v=Lezq6v4o2Q4(1min17secs)

Backinpairs,returntothetextandnowunderlinethewordsorphrasesyouthinkareimportant-wordsyouwantthecharactertostresstomakesuretheaudienceandothercharactersregisterthem.

Givestudentstimetomarkuptheirscripts.Spotlightstudents’work.

TASKTHREEWholeClass-15minutes

Youhaveputthetextintobeats,underlinedimportantwordsandnowyouneedtoworkouthowyouaregoingtoaffecttheotherpersonwithwhatyouaresaying,inordertoachievewhatyouwant.Thisiscalled‘actioning’.Todothisyouneedtochooseatransitiveverb-that’saverb,whichisactive(whichmostverbsare).Thisverbisthenyour‘action’foraparticularline.Ifyouhavetimetoactionawholescene(everyline),thenyouwilluseawiderangeofverbs.Againthereisnorightorwrong,justtrytomakeimaginative,variedandinterestingchoices.Greatactorsdothisnaturallyandintuitively.Herearesomeactiveverbs:toundermine,charm,control,deceive,seduce,destroy,cajoleandflatter.(Teacherwritesthemontheboard)Canyousuggestmoreactiveverbsandaddthemtotheboarduntilthereareafairfew.ConsiderJohnandElizabeth’scharactertraits.Bythisstageyoushouldhaveagooddealofbackgroundinformationaboutbothofthemandtheworldtheylivein.So,inthefollowingexercise,yourchoiceofverbsshouldbeinfluencedbyyourknowledgeofthecharacterandmoreimportantlybyhisorherobjective,eitherintheplayorinthescene.Useyourkeyactingquestionssheetstohelpyou!Forexample:Johnisamanofgoodmoralfabricandheiskindhearted,soheprobablywouldn’tdeliverhislinestohiswifeElizabethinadismissive,angrymanner,wouldhe?


Byusingthese‘action’words,theseactiveverbs,eachactoristryingtomaketheactortheyareperformingwithreactinaparticularwayandnotjustreelofflinesrobotically.Asstatedearlier,itisimportanttomakestrongchoicesandifyoucommittoyourchoicesthen,whenitcomestotheperformance,thedialoguewillbemoredynamicandcolourful.Thistechniquetakesalotoftimetodo,soit’sbesttojustdosomekeyscenes.Thepay-offisworthit,especiallywhenyouwritefortheperformanceexam.Pairupandreadthroughthesceneyouhavebeenworkingonagain.Thistimeyoushould‘action’thelinesyouunderlinedearlierandthenpracticereadingthroughthedialogueusingyouractionwords.Teachergivesstudentstimetoexploretheexercise.Suggesttheyusethekeyactingquestionssheetsfromlastlessontohelpthemrememberthecharacterobjectives,asthiswillalsoinfluencethechoicestheymake.

FINISHERWholeClass-10minutes

Spotlightstudent’sworkandask…Howdoyouthinkgivingdifferentactionsandemphasistothesamelinesdrasticallychangesascene?

HOMEWORKTeachergivesouthomework

Scoretwokeyscenesfornextweek’sclass.Printofforgivestudentsthefollowinglinkfortheultimateactionverblist.http://www.hollandharmony.dse.nl/edu/2015-handouts/2015-Cy_Wood-Acting_objectives.pdf


LESSONNINE

LESSONOBJECTIVEToresearchsetdesignandpropsinpreparationforyour‘stagerealisation’.Resources:YouTubelinks,Handout6.

WARMUPSplittheclassintwo-5minutes

Collecthomeworkfromlastlesson.Studentshaveoneminutetocreateeachstagingconfigurationthatteachercallsout.Theyareonlyallowedtousetheirbodiesoranyclothingtheyarewearing-shoes,ties,jumpersetc.Theteamtogettothreepointsfirstwins.TeacherPrompt:Thruststage,prosceniumarch,flexiblestage,theatreintheroundandarenaetc.Awardtheteamwhogetstothreepointsfirst.TEACHERINTRODUCTIONThedesignquestioninthesettextwrittenexamquestionrequiresyoutoconsiderjustonedesignfeature-eitherlighting,sound,costumeandmake-uporsetandpropsdesign.Inthislesson,youaregoingtoexploresetdesignandpropsandexploreideasyoucanusetohelpcreateyourownstagerealisation.Thedesignquestionmayaskyoutoeitherdesignaset,propsoritemsoffurnitureforanextractfromtheplay.Alltheresearchdonepreviouslywillbeofenormoushelp,butnowyouneedtofocusonotherelementsofthesetandpropdesignquestionsuchassettings,locations,scale,colour,textures,entrancesandexits,backdrops,gauzesandtransitionsetc.Youneedtoshowtheexaminerhowyourresearchandknowledgeoftheperiodandtheplayinformsyoursetandpropsdesign.Asetdesignmaybecomplexorsimple.Itmayusealargeamountofsceneryorverylittle.Itmayhavedifferentlevels, contain trap doors, ramps and awhole host of other devices. Set design and props convey themes andmessages to anaudience. For example, the furnishings, textures, colours andprops can convey to anaudiencedifferentworldsandsocialstatus.So,astagesethastoberelevanttotheplaytextandshouldreflectthedirector’sthemes,messagesandvisionoftheplay.

TASKONEWholeClass-10minutes

Whatisthefunctionofasetdesignerandpropmaker?TeacherPrompt:Toestablishforanaudiencewhereandwhentheactionistakingplaceandtocreateatmosphereandmood.Toresearchtheperiod,thearchitecture,thefabricsetc.Thesetdesignersjobalsoincludes:Makingsuretheaudiencecanclearlyseethestageactionandthatnofurniture,screensorsetareobstructingtheview.Forexample,cantheaudienceseeBettywhensheislyingonthebed?Designershavetomakethesetaccessibleandsafefortheactorstoworkon.Consideration has to be given to any themes and messages the writer and director want to convey to theaudience.Theyhavetodecideifthedesignwillbesymbolic,abstract,minimalornaturalistic.Theyhavetoresearchtheperiodoftheplay,makingsureeverythingisinkeepingwiththeperiodtheplayissetin.Watchthefollowingvideowhereasetdesignerexplainstheirjob.(3mins35secs)https://www.youtube.com/watch?v=OLw-QapkxnAHerearepropmakersexplainingtheirjobs.https://www.youtube.com/watch?v=mLq0wuoPS8g(1min44secs)


TASKTWOWholeclass-15minutes

Setdesignandpropsareessentialcomponentsofanytheatreproduction.Setscanbeextravagantandonahugescale;theycanbenaturalisticandevenlooklikeareallocation;theycanbeabstract,usinginnovativematerialsandconcepts;theycanbestarkandminimal.AnexcellentexampleofanoriginalandminimalsetisPeterBrook’s‘whitebox’setforAMidsummerNight’sDreamin1971(1min42secs)https://www.youtube.com/watch?v=1CkN9k6S3JsNowlookattheworkofadesignerwhothinks‘outsidethebox’whenitcomestostagedesigns.KatrinBrack’sdesignsareveryextravagant,butyetminimalandpareddown.(5mins38secs)https://www.youtube.com/watch?v=qlh-0QWk3kgStagesetdesignscancleverlyprovidethecontextoftheperiod,throughsimplepropsandcleverideas.Asimplesearchongooglewillgiveyouaplethoraofexamples.https://www.google.co.uk/search?client=safari&rls=en&q=google+images+the+crucible+stage+set&ie=UTF-8&oe=UTF-8&gfe_rd=cr&ei=5pK8V76lM87v8Afa34qwCQYoudon’thavetoconsidergoingdownjustahistoricalroute.IvoVanHove’sproductionstarringSaoirseRonan,BenWhishawandSophieOkonedo,tookadistinctivelymodernapproach.https://www.google.co.uk/search?q=ivo+van+hove+the+crucible&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjkn_XfotjOAhWmJMAKHd9RC78Q_AUICCgB&biw=999&bih=640

TASKTHREEInpairs-25minutes

GivestudentsHandout6.Youneedtothinkabouteachlocationintheplayandhowthefurnitureandpropswillbearrangedfortheactorsonstagetouse.ReadHandout6together.Inpairs,gothroughthetextusingthissheettolisttheacts,scenes,pagenumber,locations,scenerequirementandprops.Gleanasmuchaspossiblefromthescriptaboutthetime,moodandatmosphereofeachscene.Allthisinformationwillimpactondesignchoices.Givestudentsplentyoftimetogothroughthescript.


Thedesignquestionmayaskyoutodesigneithertheset,thepropsoritemsoffurnitureforanextractfromtheplay.So,nextweekyouwillbecreatingyourownideasboardsanddesigningyourownset.Whatkindofimagesdoyouthinkmightbeusefultobringinfornextweek’sclass?Listideasquicklyontheboard.TeacherPrompt:Furniture,tables,chairs,woodenbedsetc.

HOMEWORKTeachergivesouthomework

Collectimagesasdiscussed.Lookinoldantiquecatalogues,googleimagesetc.

Makesuretohaveglueandscissorsforthenextlesson!

*Teacher:Linksforimagesfornextweek’sclass‘stagedesignandprops’arelistedbelowandneedprintingout.


Resourcesforlesson10.AmericanPilgrimHomes1692https://www.google.co.uk/search?q=american+pilgrims+1692&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjD7LGjq4rPAhVLJMAKHesGC3YQ_AUICSgC&biw=1240&bih=641#tbm=isch&q=american+pilgrims+homes+1692ColonialPilgrimHouseInterior1692https://www.google.co.uk/search?q=colonial+pilgrim+furniture+1600&client=safari&rls=en&biw=1240&bih=641&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjpme23qYrPAhXJAsAKHS25CoQQ_AUICCgD#tbm=isch&q=colonial+pilgrim+house+interior+1692ColonialPilgrimHomes1600shttps://www.google.co.uk/search?q=salem+massachusetts+homes+17th+century&client=safari&rls=en&biw=1240&bih=641&source=lnms&tbm=isch&sa=X&ved=0ahUKEwibjJy3qIrPAhUILcAKHam6AoQQ_AUIBigB#tbm=isch&q=salam+witches+the+crucible+massachusetts+homes+17th+century&imgrc=LvQlCRBmdfFvaM%3AColonialPilgrimHomeshttps://www.google.co.uk/search?q=colonial+pilgrim+homes+massachusetts+america+1692&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj-uPO8qorPAhVIDcAKHYVMCVoQ_AUICSgC&biw=1240&bih=641PilgrimsBedrooms1692https://www.google.co.uk/search?q=colonial+pilgrim+furniture+massachusetts+america+1692&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi3hevZqorPAhVsJsAKHV0oAGEQ_AUICSgC&biw=1240&bih=641#tbm=isch&q=Pilgrim+bedrooms+1692


Handout6

LOCATIONS/SCENESSHEET

LOCATIONS/ACTSCENE/PAGE

KEYREQUIREMENTS/PROPS

TIME/MOOD/ATMOSPHERE/SPACE


LESSONTEN

LESSONOBJECIVETocreate,anddevelopa‘stagerealisation’.Resources:Scissors,glue,A3Paperorcard,colouringpencils,Handouts7,8&9(makemultiplecopiesofHandout8,soeverystudenthasatleastfivecopieseach).

WARMUPWholeClass-5minutes

Gatherallthepictures,photocopiesandimagesyouhavecollectedforhomeworkanddiscussfindings.

TEACHERINTRODUCTIONAswediscussedlastclass,thefunctionofasetdesignerandpropmakeristoestablishforanaudiencewhereandwhen theactionistakingplaceandtocreatemoodandatmosphere.Asetdesignmaybecomplexorsimple. Itmay use a large amount of scenery or very little. Set design and props convey themes and messages to anaudience. For example, the furnishings, textures and dark colours might convey to an audience the sparseexistence of the Puritans. So, a stage set has to be relevant to the play text and should reflect the director’sthemes,messages and vision of the play. Today, you are going to consolidate all your research by creating an‘ideas’boardforeachscene.

TASKONESmallgroups-15minutes

EachgroupwillhaveanA3sheetandaselectionoflocationstocreateamoodboard.Youarenotdesigningthestagesetyet,justincorporatingelementsandpropsfromtheperiodwhichmayinfluenceyourstagesetdesign.Remember,thedesignquestionmayaskyoutoeitherdesignaset,propsoritemsoffurnitureforanextractfromtheplay.Cutoutandgluetheimagesyouhavecollected.Don’tworrytoomuchaboutscale.Youcanwritebriefnotes.Makesuretoreadthescript,asthesamelocationsreappearwithdifferentrequirements.Oncestudentshavecompletedtheirboardstheycanshareandtalkthroughtheirideaswiththerestofclass.Pinboardsontheresearchwall.


Asetdesignerwouldnormallycreateagroundplanandthenascalemodeloftheproduction.Youarenowgoingtocreateyourowngroundplananddesign.First,youneedtounderstandhowtousea‘keyplan’.Akeyplanismadeupofstandardsymbolswhichhelpsthedesignercommunicatewiththeactors,director,lightingdesignerandmasterstagebuilderwherethedoors,entrancesandexitsshouldbe,sotheycanbelitandnotblockedbypiecesofset.GivestudentsHandout7andreadthroughit.

TASKTHREEWholeClass-25minutes

GiveeachstudentHandouts8&9andreadthroughthem.Youwillspendtherestofthisclassworkingonyourowndesigns.Givestudentstimetoworkontheirideas.


Teacherspotlightsstudentstosharetheirstagedesignideas.


HOMEWORKTeachergivesouthomework.

Studentstofinishtheirstagedesignrealisationforallkeyscenesforthenextclass.


Handout7KeyPlanUsethetemplatebelowtocreateyourdesignforallkeyscenes.Makesuretofollowthechecklist;it’stheretohelpyou!

1. Where?2.When?3.Staging?4. Keyterminology?5.Actorsexits&entrances?6.Sight-lines?7.Props?8.Clearlylabeleverything.9.Usesymbols


Handout8Thingstoconsider

1. Whatstagingwouldyouuse?2. Anaturalisticset–looksexactlyliketheactuallocation.Anabstractorsymbolicset-representsthelocationordisplaysmajorthemes.Apermanentset-doesn’tchange,possiblybitsoffurnitureandpropsadded.

Achangeableset-changessignificantlyfromscenetoscene.Acompositeset-consistsoftwoormorelocationsbeingonstageatonetime.

3. Wherearethesightlines?Thisisabouttheaudience’sviewofthestage.Checktheaudiencecanseetheactionwherevertheyaresat.

4. Wherewillthepropsandsetbestoredandwheredotheactorsgofortheirveryquickchanges?(Offstagearea)

5. Lookatyourlocation/scenesheetyoufilledinearlier.Seehowmanyscenesyouhavecalculatedthereareandwheretheytakeplace.

6. Rememberstageleftandstagerightarealwaysfromtheactor’spointofview,facingtheaudience.7. Whendoesthescenetakeplace?Year,season,month,timeetc.8. What typeof staging? This shouldbe clearly labelled, includingwhere the audience is sat and remember

sight-lines.9. Makesurethesetissafeandfunctionalfortheactorstoperformon.10. Try tomakeyourdrawingsclearandeasy tovisualise.Youcanusephotosand images tohelpyoucreate

yourrealisation.11. Considersettings,locations,scale,colour,textures,entrancesandexits,backdrops,gauzes,transitionsand

showtheexaminerhowyourresearchintotheperiodinformsyourdesign.12. Usekeyterminology,asthiswillgainyoumarksinthewrittenexam.So,getusedtousingthemnow.13. Labelactorsentrancesandexitsclearly.14. Makeshortsuccinctnotesofanyimportantinformation.


Handout9Template

Audience


LESSONELEVEN

LESSONOBJECTIVE

Toresearchcostumes,accessoriesandmakeupinordertocreateaninspiringoveralldesign.Resources:YouTubelinks,Handouts10&11.

WARMUP

WholeClass-5minutes

Teacherspotlightsstudents’homeworkonstagedesignsandasksthemtopresentsomeoftheirideastotheclassandeitherpinthemontheresearchwallorhandinformarking.TEACHERINTRODUCTIONWhatdoyouthinkthefunctionofacostumeandmake-updesigneris?Listtheirideasontheboard.TeacherPrompt:Thefunctionofacostumeandmake-updesigneristoestablishinformationaboutacharacteronstagethroughthatcharacter’scostume,hairandmake.Usingtheseelements,designersdemonstratewhereandwhenthecharacterisperforming.Costumeandmake-updesignersworkcloselywiththedirectortomakesureacohesiveandartisticallyinterestinglookiscreated.Youwillneedtodissectthescripttoworkouthowmanycharactersneedcostumeandmake-updesign,makingsureeachcharacter’slookisappropriatetothestatus,ageandperiodtheplayissetin.Youneedtoindividuallycreatesketchesanddesignboardsdisplayingresearchofcolours,fabricsandcostumedesigns,makeupandwigs,soyouwillhaveathoroughunderstandingandrealisationofyourcostumeandmake-updesigns.

TASKONE


Watchthefollowingvideostoinspireyou.LookatthecostumesinDirectorBeckyHope’sproductionofTheCrucible.(4mins1sec)https://www.youtube.com/watch?v=iGx_PGGQF2UThisishowonedesigner,LexLiang,approachedcostumedesign.(2mins4secs)https://www.youtube.com/watch?v=CFTeGaolK6QTheperiodcostumesinthisdarkproductioncanbeusedinanynumberofplaysandmusicals.http://www.looking4costumes.com/shows/crucible.htmlThecostumedesignerWojciechDziedzic,forIvoVanHove’sBroadwayproductionofTheCrucible,tookadifferentapproachtothecostumedesignandwentagainstusinghistoricalcostumes.Dziedzicwentforamorecontemporaryapproach.Hebelievedthatnobodyshouldstandoutinthiscommunityandthatthecostumesshouldnotbemonotonousincolourandthereshouldbevariation.Hisisaneutral,asexualworld.Dziedzicmadesubtlechoices,likeputtingJohnProctorinajumperandtherestofthemenfolkinjackets.Whydostudentsthinkhedidthat?ImagesforDziedziccostumesforTheCrucible.https://www.google.co.uk/search?q=the+crucible+ivo+van+hove+costume+design&client=safari&rls=en&biw=1240&bih=640&tbm=isch&source=lnms&sa=X&ved=0ahUKEwja4KaP4NfOAhVsL8AKHdLZCzgQ_AUIBigBMake-updesignalsoentailsalotofresearchastheyusewigs,hair-piecesandmakeupforperioddrama’sandpossiblytheuseofprostheticsandspecialeffects.Itisimportanthairandmake-upishistoricallyaccurateandthatdiscussionswiththeactoranddirectorstakeplacetomakesureeveryoneishappywiththeresults.


TASKTWO

Wholeclass-10minutes

Teacherlistscharactersontheboard:AbigailWilliams,JohnProctor,ElizabethProctor,Tituba,ReverendParris,DeputyGovernorDanforth,JudgeHathorneetc.Brainstormsuggestionswhichconveytoanaudiencecostumesaboutthecharactersintheplay.TeachersPrompt:ElizabethProctorinawhitecapandshawltodenotepurity,honesty,etc.TASKTHREESplitintopairs-25minutes

Whenansweringthedesignquestions,youshouldshowtheexaminerdesignswithlotsoforiginalitywhichdemonstrateyouhavedoneresearchandhaveknowledgenotjustoftheperiod,butoftheplaytextitself.Useplentyofkeyterminologyandtechnicaltermstogetyourideasacross.GivestudentsHandout10.Inpairs,fillinthetemplatewithasmuchdetailasyoucan,oncharacters’costume,hairandmake-up.Feelfreetolookattheresearchwallandatyourpreviousnotesforinspiration.Thingstoremember:Theperiod.Whatdoyouwanteachcharacter’scostumetoconveytoanaudience?Fabrics,coloursandtextures.Skirts,shawlsandshirts.Shoes,boots.Personalprops,etc.Hair-styles,wigsetc.

FINISHER

WholeClass-5minutes

TeachergivesstudentsHandout11,readsthroughitandexplainsthatstudentsshouldcreatecostume,make-upandhairdesignsforspecificcharacters.

HOMEWORK


Studentswilldesigncostumesforthefollowingcharacters:AbigailWilliams,JohnProctor,ElizabethProctor,Tituba,ReverendParris,DeputyGovernorDanforth,JudgeHathorne.


Handout10

COSTUME&HAIR&MAKE-UPDESIGN

CHARACTER HAIR&MAKE-UP COSTUME&PERSONALPROPS


Handout11

COSTUMEDESIGN


LESSONTWELVE

LESSONOBJECTIVE

Toresearchlightingandsoundinordertocreateaninspiringoveralldesign.Resources:Handout12.

WARMUP

WholeClass–5minutes

Handinhomework,makingsureallstudentnamesareonallthesheets.Studentsstandintwolines.Numbereachlineofstudentsthesame.Teacherholdsatieandcallsoutanumberandthosetwostudentsmustcomeandgetthetie.Firstonewhogetsthetiewithoutbeingtaggedbytheotherpersonwinsthepoint.

TEACHERINTRODUCTION

Whatisthepurposeoflightingonastageintheatre?TeacherPrompt:Tolightuptheactors,toaidtheaudiencesotheycanseewhat’sgoingon,tocreatemoodandatmosphere,tocreatetension,tofocustheaudiencetolookatonespotonthestage,tocreatedifferentseasonsetc.Itcanalsohelpcreatespecialeffectslikefire,silhouettesandshadows,denoteperiodsintimeusingcandlesandaidtransitionsbetweenscenes.

TASKONE


Watchandmakenotesonthefollowingvideos:Basicstagelightingpositions.(1min16secs)https://www.youtube.com/watch?v=WVNO5f0TaLs&list=PLiUotGv3Z-s8TxSPjyf6GXq3dlUO4VdeR&index=3Creatingawashlightonastage.(1min31secs)https://www.youtube.com/watch?v=A4pg69_vOTY&list=PL64036DFCCCD1093E&index=3Usingfollowspotsintheatre.(1min27secs)https://www.youtube.com/watch?v=o5I7S5n7FZA&index=4&list=PL64036DFCCCD1093EMovinglightsintheatre.(1min31secs)https://www.youtube.com/watch?v=yCByNEigEJM&list=PL64036DFCCCD1093E&index=5HowdoyouthinklightscanbeusedinTheCrucible?Writeideasontheboard.TeacherPrompt:Betty’sbedroomcouldbedarkandshadowytocreateasombermood.Ashaftoflightthroughthewindowlightsupthebedperhaps,tohighlightBettyonstage.Maybechangecolourtosimulateasunrise,movingfromadeepbluetoabrightorange,asJohnProctoriscarriedofftobehanged.GivestudentsHandouts12&13andreadthroughthem.

Inpairs,choosemomentsfromtheplaywhereyoucanuselightingtocommunicatemood,atmosphere,timeofdayoryearandtransitions.Fillincolumns1&2onHandout14withyourideas.


TASKTWO


Whatisthepurposeofsoundonastage?TeacherPrompt:Tounderscoretheaction,amplifysounds,createambiance,aidtransitionsbetweenscenesetc.WatchandlistentosounddesignerRichardHammarton’sclipofTheCrucible.(3mins30secs)https://www.youtube.com/watch?v=JbiKXlasj8kHowsoundcanbeusedinTheCrucible?TeacherPrompt:Singing,shrieks,musicalunderscore,whispers,shouting,screaming,babbling,repetition,birdsong,howlingetc.Inpairs,choosemomentsfromtheplaywhereyoucanusesoundtocommunicatemood,atmosphere,timeofdayoryearandtransitionsetc.Fillincolumns1&3onHandout12withyourideas.

FINISHER

WholeClass-5minutes

Teacherspotlightsstudents’work.

HOMEWORK


Research5typesoftheatrelightsandwhateffecttheycreateonstage.


Handout12Lightinghasanessentialfunctioninastageproduction.Itcanemotionallyenhanceaperformanceandcreatemoodandatmosphere.Whendesigninglighting,rememberthatthebeamsofthelanternsneedtooverlap.However,thecentreofthebeamoflightshouldbefocusedontheactoratshoulderheighttoavoidsimplylightingthefloor.Belowisabasiclistoflightingusedfortheatrestages.Thelightingspacecanbedividedintoagrid,allowinglightingtoblendtogethertoeffectivelylightthewholespace.

LIGHTING

LANTERNS&GELS 5BASICLIGHTINGPOSITIONS EFFECTSFloodlight:Afixedbeamoflightproducingastrongfloodoflightingwithasoftwash.Thesecanalsobeplacedonthefloor.

Frontlighting:Setoverheadat45degreestoilluminatefacialexpressionsandbluroutanyshadows.

Visibility:Whatdoesthedirectorwanttheaudiencetosee?

Parcans:Anintenseovalshapedpooloflight.Edgesarenotsharpbutunfocused.

Downlighting:Cancreateawashacrossthewholeperformancespace.

Naturalism:Demonstratenightordaywithwarmandcoldcolourfilters.

Profilespot:Forhighlightingindividualperformers.

Backlighting:Separatesaperformerorpropfromthebackgroundtocreatea3Deffect.

Texture:Gobosarestencilswhichsitoutsidethelightingcasetoenableprojectionsofshapessuchaswindows.

Fresnel:Aspotlightwithasoftedgewhichcoversalargeareaallowingbeamanglecontrol.

Highsidelighting:Placedata30-60degreeangle,highlightsthetoppartofthebody-ideallyhead,neckandshoulders.

Mood:Highlightsscenetransitionsandmoodwithcolouredfilters.Aneffectivewaytoconveyemotionormood.

Gel:Colouredgelsplacedinfrontofthelightingcasetochangethecolourofthelight.

Sidelighting:Idealfordanceperformances.Highlightsthearms,torso,legsandthesideoftheface.

Movement:Conveyadramatic,fast-pacedscene.


Handout13

LOCATIONS/SCENESSHEET

1.LOCATIONS/ACTSCENE/PAGE

2. LIGHTINGEFFECTS/MOOD/ATMOSPHERE/TONE/TRANSITIONS

3.KEYSOUNDEFFECTS/MUSIC


ACKNOWLEDGMENTS

LESSONONE

(3mins18secs)https://www.youtube.com/watch?v=AWeZ5SKXvj8McCarthyismhttps://www.youtube.com/watch?v=n-s6xqd9T8w(4mins38sec)-McCarthyism&TheCruciblehttps://www.youtube.com/watch?v=MtTm4dTmmLU(1mins38secs)TenthingsyoushouldknowaboutArthurMiller’sTheCrucible.https://www.youtube.com/watch?v=4oNX5dIbUmo(8mins13secs)https://www.awesomestories.com/asset/view/Salem-Witch-Trials-Early-AccusationsNewEngland(2mins55secs)shttp://www.history.com/topics/salem-witch-trialsForadetailedexplanationoftheactualhistoryofthetrialswerecommendtwobooks:TheSalemWitchTrials:ADay-by-DayChronicleofaCommunityUnderSeigebyMarilynneK.Roach(TaylorTradePublications)andAStormofWitchcraft;TheSalemWitchTrialsandtheAmericanExperiencebyEmersonW.Baker(OxfordPress)

LESSONTWOPoppets(5mins20secs)https://www.youtube.com/watch?v=x1IfP8iQstwhttps://www.youtube.com/watch?v=x1IfP8iQstwPoppets(5mins20secs)https://www.youtube.com/watch?v=eTkDGpHWGMQ

LESSONEIGHT

Verblist.http://www.hollandharmony.dse.nl/edu/2015-handouts/2015-Cy_Wood-Acting_objectives.pdfOldVic’sproductionofTheCrucible.https://www.youtube.com/watch?v=Lezq6v4o2Q4(1min17secs)

LESSONNINE

PeterBrook’s‘whitebox’setforAMidsummerNight’sDreamin1971(1min42secs)https://www.youtube.com/watch?v=1CkN9k6S3JsKatrinBrack’sdesignsareveryextravagant,butyetminimalandpareddown.(5mins38secs)https://www.youtube.com/watch?v=qlh-0QWk3kghttps://www.google.co.uk/search?client=safari&rls=en&q=google+images+the+crucible+stage+set&ie=UTF-8&oe=UTF-8&gfe_rd=cr&ei=5pK8V76lM87v8Afa34qwCQIvoVanHove’sproductionstarredSaoirseRonan,BenWhishawandSophieOkonedoandtookadistinctivelymodernapproach.https://www.google.co.uk/search?q=ivo+van+hove+the+crucible&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjkn_XfotjOAhWmJMAKHd9RC78Q_AUICCgB&biw=999&bih=640AmericaPilgrimHomes1692https://www.google.co.uk/search?q=american+pilgrims+1692&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjD7LGjq4rPAhVLJMAKHesGC3YQ_AUICSgC&biw=1240&bih=641#tbm=isch&q=american+pilgrims+homes+1692ColonialPilgrimHouseInterior1692https://www.google.co.uk/search?q=colonial+pilgrim+furniture+1600&client=safari&rls=en&biw=1240&bih=641&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjpme23qYrPAhXJAsAKHS25CoQQ_AUICCgD#tbm=isch&q=colonial+pilgrim+house+interior+1692ColonialPilgrimHomes1600shttps://www.google.co.uk/search?q=salem+massachusetts+homes+17th+century&client=safari&rls=en&biw=1240&bih=641&source=lnms&tbm=isch&sa=X&ved=0ahUKEwibjJy3qIrPAhUILcAKHam6AoQQ_AUIBigB#tbm=isch&q=salam+witches+the+crucible+massachusetts+homes+17th+century&imgrc=LvQlCRBmdfFvaM%3A


ColonialPilgrimHomeshttps://www.google.co.uk/search?q=colonial+pilgrim+homes+massachusetts+america+1692&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj-uPO8qorPAhVIDcAKHYVMCVoQ_AUICSgC&biw=1240&bih=641PilgrimsBedrooms1692https://www.google.co.uk/search?q=colonial+pilgrim+furniture+massachusetts+america+1692&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi3hevZqorPAhVsJsAKHV0oAGEQ_AUICSgC&biw=1240&bih=641#tbm=isch&q=Pilgrim+bedrooms+1692

LESSONELEVEN

BeckyHope’sproductionofTheCrucible.(4mins1sec)https://www.youtube.com/watch?v=iGx_PGGQF2UTLexLiangapproachtocostumedesign.(2mins4secs)https://www.youtube.com/watch?v=CFTeGaolK6QTheperiodcostumesinthisdarkproductioncanbeusedinanynumberofplaysandmusicals.http://www.looking4costumes.com/shows/crucible.htmlImagesforDziediccostumesforTheCrucible.https://www.google.co.uk/search?q=the+crucible+ivo+van+hove+costume+design&client=safari&rls=en&biw=1240&bih=640&tbm=isch&source=lnms&sa=X&ved=0ahUKEwja4KaP4NfOAhVsL8AKHdLZCzgQ_AUIBigBWWDCostumedesignerDziedzicondesigningTheCrucible.http://wwd.com/eye/design/the-crucible-costume-designer-wojciech-dziedzic-broadway-10400325/-Looking4costumes.comhttp://www.looking4costumes.com/shows/crucible.html-

LESSONTWELVE

Basicstagelightingpositions.(1min16secs)https://www.youtube.com/watch?v=WVNO5f0TaLs&list=PLiUotGv3Z-s8TxSPjyf6GXq3dlUO4VdeR&index=3Creatingawashlightonastage.(1min31secs)https://www.youtube.com/watch?v=A4pg69_vOTY&list=PL64036DFCCCD1093E&index=3Usingfollowspotsintheatre.(1min27secs)https://www.youtube.com/watch?v=o5I7S5n7FZA&index=4&list=PL64036DFCCCD1093EMovinglightsintheatre.(1mins31secs)https://www.youtube.com/watch?v=yCByNEigEJM&list=PL64036DFCCCD1093E&index=5RichardHammarton’sclipofTheCrucible.(3mins30secs)https://www.youtube.com/watch?v=JbiKXlasj8khttp://www.ushistory.org/us/3d.asp(AmericanHistory)

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