Summer 2018 Volume 24.2 Volume Summer 2018

WHAT COUNTRY, FRIENDS, IS THIS? Directing Shakespeare with young people by Max Hafler

PLUS Drama Spa Reports Making A Future Conference Report Working in Role Evidence Not Advocacy Exploring the Holocaust Through Drama Teaching Ecology of the Soul Speak Out! Between a Man and a Woman Review Summer 2018 Volume 24.2

Drama One Forum - Many Voices Drama is the journal of professional practice of National Drama Drama enables Drama educators and practitioners nationally and internationally to share theory and practice, debate key issues, engage in critical analysis and express personal opinions Drama is committed to the promotion, support and development of new writers Drama is an equal opportunities publication in line with National Drama policy

Editor for this issue Chris Lawrence Editorial Team Viv Kerridge, Amanda Kipling, Chris Lawrence and Nicky Toneri Reviews Editor Zeena Rasheed Design Victoria Osborne Email: [email protected] Advertising Karen Coburn Contact Details National Drama Publications The National Drama website 76 Kimberley Avenue contains news items, publications, events, Nunhead opportunities and resources Peckham London You can join National Drama from there, or SE15 3XH Telephone: 020 7732 9336 access pages for free, download information, Email: [email protected] record an audioboo, post on the ND Twitter and ISSN 0967-4454 Facebook accounts, and link to other related internet sites including Drama Magazine Front cover image: © Max Hafler The views expressed in Drama are those of the writers and do not necessarily express ND policy

© All material in Drama may be photocopied for personal, education and training purposes. Please credit Drama Printed in UK by Bishops Printers Ltd, Walton Road, Portsmouth, Hampshire, PO6 1TR Summer 2018 Editorial InsideDrama

s we are all aware, it is a feature of every Drama teacher’s life that the end of school day is not the A end of our work: much of this is routinely done after school hours or at weekends and Continuing Professional Development is very rarely in school time during the working week. Holly Barradell asks: Why should Drama teachers give up their own time for their 21 CPD? (p.5) It is a good question. Without a place in the EBacc, for example, Drama does not generally command enough respect of Senior Management teams to permit them to 4 Reflections from the Chair allow Drama teachers day release for their professional development. However, Holly Áine Lark reflects on the work of alerts us to an event which may begin a much needed change: The National Teacher National Drama Learning Day is deliberately on a Friday and deliberately on a National scale to give 5 The View from the Gods it some status. Taking place on Friday 3rd July 2020 we join her in encouraging all Holly Barradell identifies resources close Drama teachers to sign up at www.nationalteachercpd.wordpress.com and, better still, at hand to make preparations to attend. It could be the start of something very important. Meanwhile, until that change comes about National Drama has soldiered on with 7 Drama Spa Conference its CPD events on Saturdays and, in the case of our Conference, Drama Spa, in our Ali Warren reports on National Drama’s Easter Holidays. Ali Warren and Tina Doyle report on this (pp. 7-9) which took place recent Conference on 13-14th April at Homerton College, Cambridge; and Ali Warren also reports on Making a Future? the Big Arts and Education debate on 20th April at Birmingham 10 Making A Future Conference Rep. (pp. 10-11). Report Also in this issue Patrice Baldwin, concludes her three part series of practical Ali Warren reports on the Birmingham Drama lessons for Primary teachers. Part Three, Working in Role – Inter-play with Conference purpose (p.13), offers guidance on how to make Teacher in Role a successful strategy 13 Working in Role especially with young children. Patrice Baldwin outlines the third in a series The roots of Drama are in dramatic play and even young babies will imitate and mimic. of different strategies for Drama Working in role is powerful and efficient because it relates so comprehensively to the ways children learn naturally. 17 Evidence Not Advocacy Two London based theatres make contributions to this issue of Drama: Ruth Amelia Bird describes the Speech Bubbles Pearson of Blue Elephant Theatre in Camberwell describes their Speak Out! Forum project Theatre project (p. 40); and Amelia Bird of London Bubble, in her article, Evidence Not Advocacy (pp.17-20), outlines how the company’s Speech Bubbles programme is set up 21 Exploring the Holocaust and functions. Through Drama In his article ‘What Country, Friends, Is This?’ Max Hafler gives excellent guidance Wendy Frost outlines a Scheme of Work for encouraging young people to relate productively to Shakespeare based on the teaching The Holocaust Michael Chekhov Technique. A key concept of this technique is that of editing the 25 ‘What Country, Friends, Is This?’ text, which has its own hazards: Max Hafler advises on directing Shakespeare Editing Shakespeare can raise hackles in some people who feel every word is sacrosanct; with young people others are very cavalier and hack a play to pieces, destroying much of its richness. You need to tread a fine line. 33 Teaching Ecology of the Soul However, Hafler provides much sound advice and guidance, supported by Sanja Tasić describes a devising project in Michael Checkhov’s book To The Actor and his own book Teaching Voice. Czechoslovakia Wendy Frost in Exploring the Holocaust Through Drama outlines a scheme of work based around the issues arising from the Holocaust; and Vivienne Lafferty reviews 40 Speak Out! Between a Man and a Woman by Scott James. Ruth Pearson describes Blue Elephant Finally, Sanja Tasić in Teaching Ecology of the Soul reminds us that Theatre’s Forum Theatre project All art, and especially performance art, is ‘ecology of the soul’. It is the cleaning process and purification of us as human beings.. 42 Theatre Review Vivienne Lafferty reviews A Man and a In these days of struggle and being overlooked, it is worth pausing and Woman by Scott James remembering this deep human purpose in what we do, not just for ourselves, but for the students we teach. 43 Book Reviews Chris Lawrence

Summer 2018 Drama Magazine 3 REFLECTIONS FROM THE CHAIR Our new Patron, Jessica Hynes, declares: ‘I don’t think drama should be saved!’

Áine Lark, FRSA, is the Chair of National Drama; Former Secretary and Membership Officer of National Drama; Advanced Skills Teacher of Drama; PGCE Drama (11-18); BA (Hons) Drama and Theatre Studies

t our Drama Spa conference teachers were having to fight (April 2018) we were so inspired and campaign to keep their A by the Keynote given by writer subject on the curriculum: and performer, Jessica Hynes, that we (many of you will feel this instantly invited her to become a Patron pain!). In one situation, a of National Drama, which she graciously girl in a mining town told accepted. Hynes has worked prolifically Jessica that her school was not in television, film and theatre, but it was offering drama now because her very genuine understanding of the everyone was being forced to do more alongside National Drama. critical importance of drama in schools maths and algebra, even though most of Jessica wants the best for our that resonated with every drama teacher in them would not pass it. The loss of drama children and our society. She speaks the room. Hynes recognises that school- to this school was truly felt by the pupils for us all when she visualises a world in based drama is not exclusively about who said drama was where they ‘had which people are empathetic, happier young people aspiring to be actors and fun’ and could ‘connect’, but there was no and connected. She recognises that actresses. Her visits to twenty different money to pay the drama teacher. In other drama in schools works in a profound drama departments, where she delivered schools, pupils were being taken out of way to engender these qualities in the workshops and took time to speak to their drama lessons and rehearsals to do very people who are our future, our pupils, reinforced her belief that drama is extra maths or some other subject they society. She is motivated by her genuine vital to the growth and development of were not great at. joy of life. everybody. In a passionate recount of her This has infuriated Jessica who asks In her closing statements, Jessica experiences, Jessica celebrated the freedom WHY? WHY is drama less valued? reminded us that some of our best that the drama space can offer and the WHY does anyone think it is okay to memories are made in the drama opportunities for pupils to be, ‘praised, take pupils out of a subject which is so room, and that the work undertaken applauded, seen and acknowledged and… vital to their development? WHO has is inextricably linked to the society be funny.’ She elaborated on the many decided that STEM is more important in which we live and the society we connections she witnessed being shaped than STEAM? (I am re-phrasing but, trust want. Together with her professional and formed in the drama classroom. me, Jessica Hynes spoke with passion colleagues and all at National Drama, Children, of all abilities, were engaging and anger at the short-sightedness of Jessica will lead us in ‘shining a light’ empathetically with each other, social education ministers and those who write on the importance of maintaining how skills were being honed, confidences were government policies.) important drama is in schools: ‘we are all growing, participants’ imaginations were As we listened to Jessica’s keynote, in this together.’ being stimulated and the potential to ‘play’ which she delivered with all the finesse, In case you are wondering what out their futures was magical. clarity and humour for which she is widely Jessica actually said it was, ‘I don’t think Yet, in spite of all this creative learning acclaimed, we could not fail to notice Drama should be saved. It should be and the numerous and significant that she ‘gets us’. She truly understands COMPULSORY’ benefits for young people, many drama the role of the drama teacher and drama We welcome Jessica to National departments were condemned to the in schools, and she is steadfast in her Drama and are very excited about rickety shed at the back of the school and commitment to be an advocate, working the future.

4 Drama Magazine Summer 2018 Summer 2018 News The View from the Gods* *the perspective of Drama from school leadership

The summer holidays await us but, as always, we wait with bated breath for the crucial GCSE and GCE results… So once the stress of the results days is over we can then sit down and finally enjoy our one week summer holiday before the new academic year begins!

Reflecting on the new specifications Being adventurous with It has been a tough year in the world of teaching technology & devised Drama for everyone teaching subjects for first assessment My Year 10 drama students, like many Summer 2018 and, of course, Drama was one of others up and down the country, embarked on the 30% devised those. Drama teachers up and down the country element of the new Drama GCSE this term and to help them begin to research and internationally have been working through some ideas, I took an unusual approach to facilitating and inspiring their work… the specifications with some excitement, some As a class we started looking at the power of Drama and how it can help frustration and sometimes with complete fear! support communication, language barriers and the wider development of learning Karen Latto, Education Adviser, who many English, inspired from one of the set stimuli. After hearing about the Hands Up of us know from the work she did at in creating project run in Gaza (a project set up with over thirty different groups of children in the new Drama specifications, ran a survey just Gaza, the occupied West Bank and refugee camps in Syria and Jordan) I contacted after the first ever terminal written exam day them to see if a live link could be formed with my school. My class were treated to (18th May) and 500 Drama teachers responded watching a performance live from the classroom of an United Nations Relief and to this indicating what they thought about the Works Agency School where an all-female class performed Window onto the Outside, exam, how it compared to the SAM (Sample which is a story of two Gazan girls who are living in conflict: a lovely link once Assessment Material) paper and if they will stay again to another stimuli and the ideas were flowing for my students! with that board. It is interesting that the initial As the GCSE devised work developed, another live link shared lesson took stats on the survey show a switch away from place to deepen students’ cultural and political accuracies within their work. Pearson (Edexcel) and AQA, which have been the Through the use of Zoom video conferencing students were able to take part in peer ‘go to’ exam boards historically for GCSE Drama. assessment of each other’s work which my students found fascinating. As a Drama These dropped to having just 41% of the market teacher in your school could you do something like this to inspire your class and with OCR and Eduqas (WJEC) taking 57%. make those wider world connections? But will it stay that way? Nick Bilbrough, Founder and Coordinator of the Hands Up Project, was so thrilled to work with my students, why not make contact with him and see if You can read more on the analysis of international links can inspire your students work? this survey on Karen’s Blog: www.karenlatto.com/blog handsupproject.org

CPD for 2020 – Save the Date Holly Barradell was an Executive Member of National Drama for It is interesting that as Drama teachers we are very accepting of using our several years and worked in Drama own free time to take part in CPD and the very nature of being a Drama teacher Development for Trinity College means attending the theatre after school and at weekends but why should London exam board. Holly now works Drama teachers give up their own time for their CPD? If you choose to that’s as the Arts Faculty Leader at an Academy in West different; but if your school is preventing you, or you can’t afford weekday Kent. She is a Drama specialist teacher having trained training, then look at this for a revolution… at the Institute of Education following a career in Debra Kidd has created the first ‘National Teacher Learning Day’ which will Television after graduating from Bristol Old Vic take place on (Friday!) July 3rd 2020. Already more than 100 schools are signed up to support this revolution – will you sign up? Taking place on a weekday with Theatre School with a degree in Stage Management. a range of regional events to suit a range of needs. Holly is also an Ofqual Drama subject expert. Visit the website to read more and sign up: Tweet: @drama_holly or read her blog nationalteachercpd.wordpress.com www.barradellblogs.com

Summer 2018 Drama Magazine 5 Was the‘Wicked Witch of the West’ really wicked or the innocent victim

of a corrupt regime...? “The gravity-defying ‘Wizard of Oz’ prequel” (Time Out London) provides a range of engaging learning activities for educators and students. The production’s topical story of friendship, acceptance, integrity, self-esteem, peer pressure, victimization and propaganda has proved relevant for PSHE and Citizenship teaching and whole-school Anti-Bullying strategies.

Highly pertinent for all students studying a range of arts subjects, particularly BTEC Nationals in Performing Arts, the song ‘Defying Gravity’ is also now a set work for the Edexcel GCSE Music qualifi cation.

“With a plot that explores acceptance and difference, Wicked delivers everything you need to inspire any student.” EDUCATION RESOURCES & Director of Performing Arts, Churchill Academy and Sixth Form, North Somerset WORKSHOPS AVAILABLE

THE UNTOLD STORY OF THE WITCHES OF OZ

+ * 10 SCHOOL GROUP TICKETS FROM JUST £19.50 Plus one FREE teacher (or accompanying adult) ticket per 10 tickets purchased. *Mon-Thu 7.30pm and Wed 2.30pm. Subject to availability. Terms & Conditions and additional exclusion dates apply.

@WickedEdu • #WickedUK • WickedTheMusical.co.uk

APOLLO VICTORIA THEATRE • LONDON ©WLPL

WKD137_SOLT GUIDE_25JUN_8JUL_A4_AW.indd 1 05/06/2018 14:22 Was the‘Wicked Witch of the West’ really wicked or the innocent victim of a corrupt regime...? “The gravity-defying ‘Wizard of Oz’ prequel” (Time Out London) provides a range of engaging learning activities for educators and students. The production’s topical story of friendship, acceptance, integrity, self-esteem, peer pressure, victimization and propaganda has proved relevant for PSHE and Citizenship teaching and whole-school Anti-Bullying strategies.

Highly pertinent for all students studying a range of arts subjects, particularly BTEC Nationals in Performing Arts, the song ‘Defying Gravity’ is also now a set work for the Edexcel GCSE Music qualifi cation.

somewhat less than relaxing, especially as the sun decided to shine on the “With a plot that explores beautiful Homerton campus, it was acceptance and difference, certainly worth sweating it out in the Drama Spa Paston Brown Room. Wicked delivers everything you And it wasn’t just workshops. We were treated to a dynamic reworking of need to inspire any student.” EDUCATION RESOURCES & that old warhorse Macbeth by Box Clever Director of Performing Arts, Churchill Academy and Sixth Form, North Somerset WORKSHOPS AVAILABLE National Drama Theatre Company who, with only three actors, revitalised it for young audiences and for Drama teachers: we were excited by the whole experience. Conference There were also some striking research papers: Phil Duchene’s moving account of the work he is doing with the Homerton College, Cambridge Native Peoples of Canada was a personal favourite. 13th and 14th April 2018 And we topped it off with an amazing Keynote speech from BAFTA winner, Jessica Hynes, who has agreed Ali Warren to become National Drama’s patron THE UNTOLD STORY OF THE WITCHES OF OZ as part of her own personal ongoing t seemed a bit of a long shot when As it turned out, the range of support of Drama education and Drama * I decided that we would call this workshops from Kerry Frampton’s teaching. 10+ SCHOOL GROUP TICKETS FROM JUST £19.50 Iyear’s conference DRAMA SPA, amazing physical theatre workshop The location was lovely, too. The staff but I couldn’t rid myself of the notion (the fairy godmother and the angry at Homerton couldn’t have been more Plus one FREE teacher (or accompanying adult) ticket per 10 tickets purchased. that Drama teachers everywhere were box will stay with me for a long time), helpful and welcoming and Friday night *Mon-Thu 7.30pm and Wed 2.30pm. Subject to availability. Terms & Conditions and additional exclusion dates apply. in need of a little TLC. So DRAMA to Nick O’Brien’s vibrant and oh so dinner with candelabra was another SPA it became with the idea that knowledgeable sessions on Brecht and touch to help everyone feel that being a Drama teachers would come together Stanislavski, were just some of the best Drama teacher wasn’t a bad thing to be. • • @WickedEdu #WickedUK WickedTheMusical.co.uk to feel inspired and treasured and a experiences I’ve ever had; and if Helen Breakfast in a magnificent room where little bit pampered. Baggett of GECKO’s devising was you expected Dumbledore to turn up at APOLLO VICTORIA THEATRE • LONDON Summer 2018 Drama Magazine 7 ©WLPL

WKD137_SOLT GUIDE_25JUN_8JUL_A4_AW.indd 1 05/06/2018 14:22 Features Drama Spa

A Perspective of Drama Spa Photo: © Vivienne Lafferty any minute and a student bar with its own brand of gin added by the Conference to the sense of holiday that prevailed through the weekend. But everything was inspiring and useful and the Sponsors, the New Era conversations vibrant and passionate: between drama teachers and drama teachers; between drama teachers and actors; Academy (NEA) between drama teachers and practitioners. But don’t take my word for it. Here are some of the fabulous feedback comments from our delegates… Tina Doyle

‘Fantastic to have such prestigious companies and recently had a call to attend a conference for their sessions were incredible. Inspiring, energising and National Drama. I was there in the capacity of a dynamic.’ ISpeech and Drama teacher for New Era Academy. The task was straightforward: I would hand out ‘They were fab - so many ideas to take away. literature that explained what we did and that would be Particularly appreciated the note takers, which allowed that. However, that was a far cry from what the weekend me to focus on workshop itself.’ actually held in store for me. ‘They were all brilliant - really high quality & much I arrived and dutifully stood by my designated post better than much of what was offered at the NT with my colleague, Jude, who had packaged everything conference this year.’ up beautifully and I adorned my crisp new white T shirt. So this is it I thought. I will sit here and be ready for any ‘I really enjoyed the purposeful warm up and can’t questions. Just as I began to relax into what I thought wait to get the PPT so I can start using with Year 9. was going to be a quiet few minutes our host, Aine Lark, I enjoyed The Stanislavski Experience way more than Chair of National Drama, asked if I could give a brief I thought I was and was suitably challenged and learnt explanation of what New Era Academy was about and lots. Gecko was physically challenging and great fun! what it does. I naturally said yes and then thought of my Thank you!’ audience. The delegates on this Drama Spa weekend ‘Great to see such a strong production and to have were clearly passionate Drama teachers who had given such a famous actor championing Drama in schools and up their own weekend to attend workshops that were led Drama teachers.’ by professionals and specialists so they could take that knowledge and experience back to the classroom and, ‘Jessica Hynes keynote was amazing and inspirational. in turn, inspire their students. There is something about It will stay with me for a long time I am sure.’ the atmosphere of a room when people are energised ‘The workshop sessions were superb, I didn’t want and the passion shared by to go home at the end. I thoroughly enjoyed the whole everyone in the room was event and it was one of the best couple of days of palpable. my life.’ I paused and looked ‘I liked it was cosy, and friendly.’ around the room at the expertise and knowledge ‘Great venue, excellent high quality workshops, lovely of my fellow teachers people!’ and explained the ethos ‘A massive thank you to you all for organising such of the Academy and a fab event. You were all inspirational and genuinely why I personally believe inspiring - Ali and Aine you are superwomen!’ in it. One of the main reasons I have a passion for Speech and Drama is

8 Drama Magazine Summer 2018 Drama Spa Features

because I believe it is a fundamental expect were the experiences that Photo: © Vivienne Lafferty life skill. The way we communicate followed. A Perspective with each other, the manner in which I asked if I could observe one of the we behave, the way we speak is all workshops: being of the same mind crucial to enhancing a person’s life. as other delegates I wanted to explore With the rise of devices the face to and experience different ideas; and of Drama Spa face interaction between individuals experience them I did. needs to be more understood as One of the first workshops I there is scope for misinterpretation. observed was that of Kerry Frampton by the Conference The art of conversation not using a from Splendid Productions. The sheer text is almost a dying art. With New skill was mesmerising and everyone in Sponsors, the New Era Era there is a wide range of subject the room committed to every exercise matter that explores many aspects of and the results were staggering. goodbye to people I didn’t know 48 Academy (NEA) communication whether in theatre or Another workshop I was lucky hours previously. The experiences the business sector. We offer Acting, to see was that of The Paper Birds. and humour was enjoyed by all Verse Speaking, Creative Movement, This, once again, began with an concerned and everyone went on Musical Theatre, Interview Technique, extraordinary energy and focus and their own individual journey. I am Public Speaking, Mime, English as an every one of the participants was taken sure the connections with other Additional Language and many more; along on a cloud of exhilaration. The participants will stand the test of but, in whichever discipline or range leader had an extraordinary ability to time. The energy was palpable of examinations, the crucial skills of energise, ensure safety and support throughout the entire time and the building one’s own confidence and self then create work that was both will to learn from every participant esteem along with a skill set for life is magical and gripping. was humbling. The one thing that of paramount importance. Nick O’Brien on the practice of everyone had in common was the Although there are examination Stanislavski was detailed and excellent. reason they were there: which was Boards that offer similar examinations The exercises really brought out the for the greater good. the main reason that I believe in New truthfulness of the moment and we An excellent experience both Era so passionately and that is its all witnessed the change when the professionally and personally and accessibility. The Director, Miranda exercises were applied to text and you one that I would recommend highly Jacobs is the most personable and could hear the Ah’s from everyone to every teacher without hesitation. professional person I have ever in the room. It made me and others worked with. She always has time to question our methods and look explain those extra details and offers forward to trialling these new ideas. reassurance to everyone: there are The standard was outstanding hundreds of people world-wide who and everyone was totally committed. can testify to this. There was a mix of all ages and it was Ali Warren is a full That is something about me and totally inclusive. I felt very privileged time Drama teacher in what I said to the delegates; and to observe and was staggered by the Wiltshire. She lives with a my reason for supporting New Era commitment of everyone. Although long-suffering husband, Academy and attending this Drama the workshops were fully focused they a black cat and far too Spa weekend. However, what I didn’t were also fun and enjoyable. Everyone many books. She is National Drama’s went on their own journey of discovery secondary officer and is a self-confessed and you could see all those crucial life Shakespeare nut. skills and talents finding a voice. I even met an old colleague and friend which Tina Doyle is a qualified was an absolute joy. Drama teacher and examiner with over 20 In between workshops and in the years’ experience. Tina evening everyone met socially and has worked as an actress, once again this was a joy. I must stress with lead roles in the West End, touring that although this was a working throughout the UK and abroad, as well weekend there was a great deal of as being a director, singer, choreographer, laughter. I have never been to an writer and voice-over artist. Tina has held event that was so welcoming from a position of Director of Creative Arts for Photo: © Vivienne Lafferty the first moment of arrival to saying over 10 years.

Summer 2018 Drama Magazine 9 Photos: © Gil Gillis

at the National Theatre Teacher’s Conference in February. The point Making a Future? about the 97 billion pounds that the Creative and Media sectors bring to the nation’s GDP was raised and emphasized as an area The Big Arts and that is growing day by day; a factor that seems to be unimportant to Government. We were reminded that there are massive amounts Education Debate of statistics on the website for the Cultural Learning Alliance to draw on when we need to argue our Birmingham Rep – Friday 20th April 2018 corner; but for anecdotal evidence James Graham spoke of the impact Ali Warren that being a City of Culture has had on Hull. here all the Arts are at the Rep for what turned out to be a Of equal power was Ammo concerned and particularly surprisingly cheering experience. Talwar’s insistence that the Arts W their place and status in The session began with the response were easily the equal of sport in the the curriculum of our schools the from the point of view of people development of life skills and we world has become a darker, scarier working in the Arts. They were given need to make that point and strongly place to be. The Arts are being the opportunity to make ‘5-minute too. There is no question that sport starved of support, both financial provocations’ and in this case it came has to be part of the curriculum of and political, and that is true from Cassie Chadderton, Head of UK whether it is in a school, college or a Theatre; James Graham, Playwright performance space. (This House, Quiz); Indhu Rubasingham, In times like these we need to Artistic Director of Tricycle Theatre; and gather together to support each Ammo Talwar, CEO of Punch Records. other to raise the issues and discuss Most of the speakers here had potential plans for action and the interesting things to say about their Big Arts and Education Debate was recognition of the importance of Arts just such an event. Around 300 in schools; for them it was where many people, theatre educators, teachers of them had begun and where they at all levels, head teachers, artists, hoped that the future of the massive campaigners and students, all industry that is the Arts will come gathered in the main house theatre from. This was an echo of discussions

10 Drama Magazine Summer 2018 Conferences Features

a school and it shares many of the same characteristics as the Arts in ‘soft skills’. For instance, he explained that to be good at sport and Music, say, you needed talent; but anyone can take part and have a go and get a great deal of positive experiences that can be life enhancing. One other point from this section of the discussion was made by a questioner from the audience. He advised that we must start to use the word ‘investment’ where we used to use ‘subsidy’ in the Arts. Subsidy implies a handout and therefore something not worth supporting. The second half of the session, survive if they have good results The day ended with a after a break for enthusiastic and we have to acknowledge presentation from Marilyn Rice, networking, was begun in a similar that we don’t yet know what the Producer of Education, Lyric way to the previous session but with outcomes will be because of the Hammersmith, and Romana Flello, educators to the fore: in this case, new specifications. Royal Court Theatre, of the findings Tim Boyes, CEO of Birmingham We are following a knowledge- of the London Theatre Consortium Education Partnership; Pauline based curriculum centred on Education symposium held on Tamblin, Chief Executive of the idea of mastery of a concept; 2nd February; followed by group Creative & Cultural Skills; and a this allows no respect for child sessions where all participants representative from the CLA. The centred learning. There is a social were asked to come up with some third participant was intended to be reforming passion behind this proposals for next steps. These were the Regional Schools Commissioner, knowledge curriculum; but it has shared and recorded as a basis for a but she left during the first session as become that anything that isn’t plan of action, and a guide for future she felt the event was ‘too political’. knowledge based is worthless. meetings. I, for one, hope that such For me the most powerful Students know how important events will be repeated. The passion speaker here was Tim Boyes. He subjects are as soon as they see and the concern in that room gave spoke directly to the heart of many their timetable. It’s based on the me a glimmer of hope for the future issues that had been touched upon number of hours they see they are of the Arts in our schools; and that in earlier questions. It’s not really going to have to spend in one area hope will spring from the people on the Ebacc that is killing the Arts: it’s or another. the front line. Progress 8, he said. Whatever is in But this is being reflected in the But the last word must be given the curriculum must show improved increased problems with mental to an impassioned plea from a Year progress and this is the main health on young people; students as 9 student from Lordswood School. measure of effectiveness for schools. young as 6 years old on medication ‘Education isn’t business,’ she Consequently, the Arts will only for depression and anxiety and said. ‘Are we making a business or exclusion rates that are through making a future?’ the roof. However, the pendulum of educational focus is set to change. We need to be ready. The next G20 summit in Argentina has the theme Ali Warren is a full of ‘Unlocking People’s Potential.’ time Drama teacher in We should link with other Wiltshire. She lives with a subjects that are feeling threatened. long-suffering husband, a We have common cause with them. black cat and far too many We should develop a language books. She is National of assessment that has a more Drama’s secondary officer and is a self- complex understanding of the arts. confessed Shakespeare nut.

Summer 2018 Drama Magazine 11 BE YOURSELF BE AMAZING

We are looking for creative, inspirational individuals to open their own Pauline Quirke Academy. If you have a passion for the performing arts and a desire to pass your knowledge on to the next generation, we would love to work with you.

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What we want from you is your experience, skills and enthusiasm. Working with PQA means you focus on delivering exciting lessons and performances in the performing arts with your own team of teachers.

For more information visit pqacademy.com/nationaldrama Or call 0800 531 6282 ask for Kelly Jones

YEARS OF BEING AMAZING Working

in Role Photos: © Patrice Baldwin

and listen to the children interacting Inter-play with purpose in role. This is one way of assessing children’s social behaviours and language development, for example. Patrice Baldwin Children’s play also reveals their past ‘out of school’ experiences and he roots of Drama are in ‘up the stakes’ and make imagined where their current interests lie. dramatic play and even young situations more challenging at Once you enter and join in alongside T babies will imitate and mimic. times. The situation is imagined but children role-playing you can plant Once they are on the move they start the child’s skills, being developed a few learning possibilities too. A trying out things they have seen during interactive role-play, are real. teacher (or other adult) role-playing adults doing, like making pretend Teachers are using children’s role with children can help focus their cups of tea, driving pretend cars, play abilities when they introduce attention, model different types of swiping mobiles, and so on. They drama for learning. talk, strengthen the make believe might start to involve dolls, pets or Once children start school they and introduce problems and imaginary friends in little scenarios. will get time in role play areas (both imagined situations to be resolved Sometimes their parents and other indoors and outdoors). They will together. They can stimulate and adults or children might play in role sometimes have teachers and/or challenge the children’s thinking with them. other adults interacting with them and inter-thinking, from within the Empathetic adults can see as they role play but they also have fiction. This can be seen as the root opportunities to support the child’s opportunities for free role play. The of ‘teacher in role’, which can be learning through role play and teacher may well arrange some role- further developed through whole can add challenge from within the play activities and interventions with class Drama. shared, imagined situation. An adult particular learning intentions in might start as a compliant customer mind. For example, the role play area in the child’s pretend café but what might be turned into a travel agent’s From Dramatic Role-play happens if the customer one day says and the brochures are full of pictures to Drama that he can’t pay for his meal and of world places that will be discussed As children move through a primary his wallet has gone missing? How with customers. school, role play areas are likely to might the child in role deal with this Adults should not just barge in disappear but hopefully there will unexpected situation? Adults who and take over children’s self-initiated still be opportunities to work in role engage with children’s role play can role–play. First, they should observe with primary teachers during drama

Summer 2018 Drama Magazine 13 Features Teaching in Role

lessons (or at the very least, other return, you will be in role. Or you lessons that have some drama within could say that when you sit in a them). particular chair you will be in role It is perfectly possible for teachers and you will be out of role when to do drama lessons with children you get up from it, and so on. and never go into role themselves but I would encourage all teachers to 3) Maintain seriousness and have a go at using ‘Teacher in Role’. commitment whilst you are in It is highly engaging for children role and it makes any associated learning You can always stop the drama memorable. and step in or out of role, Teachers without drama training whenever you wish. Try not to may be understandably nervous communicate any awkwardness about trying ‘Teacher in Role’ with you might feel about being in whole classes but hopefully the role. You need the children to following tips and ‘rules’ will increase work with you in role seriously role and following instructions, their confidence and help them get and with commitment, so you then this is quite limiting and is started. When class teachers see need to model that yourself. unlikely to enable the children how compelling working in role to have much freedom and with children can be at any age, they 4) Decide the main purpose of exploration of thought, talk and are likely to add it to their teaching your ‘teacher in role’ action. The teacher needs to be repertoire. You need to know why you are an enabler, catalyst, mediator taking on a role at any particular and facilitator of drama as a point in the drama and what you learning experience not just a ‘Teacher in Role’ – are trying to achieve with it in director, with the children as some tips and ‘rules’ terms of the children’s thinking, puppets. inter-thinking and learning. You can challenge high status 1) Make sure the children know in Before you start the ‘teacher in role stereotypes by taking on an advance, that you are going to be role’, you should have its purpose apparently high status role but a ‘Teacher in Role’ clearly in your mind and stay in a way that lowers the status Don’t just start behaving aware of it. and surprises. For example, differently and expect them to you might take on the role of a guess you are in role. Tell them just 5) What are the main types of role King but confide in the children beforehand that you will be going that you might choose from? (your most trusted servants) into role. You might just be in role You can define roles in various that you don’t really like being for a short time to begin with. You ways. For example, they can be a King and are frightened of a can always step out of role, talk out defined in terms of their status hostile neighbouring King who of role with the children and then and/or purpose. Most roles is giving you terrible dreams. step back into role again. are a combination of types; for You are frightened and tired and example, you could take on a need their advice and help. Now 2) Make it clear to the children, low status information gathering the king’s faithful servants are whether you are in or out of role role, or a high status, information empowered to make suggestions It might be helpful to ‘sign’ the giving role, and so on. to their king, diplomatically. role, maybe using a piece of Of course it is easy to use a costume or a prop. The children High Status roles: Teachers who high status role provocatively, must know when you are in or out are not used to working in role, to stir up the children in role role, for example: often seem to opt consistently for and then withdraw a while ‘When I am carrying this ‘high status’ roles, which helps to give opportunity for them notepad, I am the reporter. When the teacher to feel secure and in to respond together. I often I put it down, I am no longer the control of children’s behaviour. explore stories and picture reporter.’ Over use of high status ‘teacher books through drama. Using You could simply say that you in role’, is not particularly Michael Foreman’s War and will walk away from them and enabling for the children. If they Peas, for example, I became the that when you turn around and are mainly obeying a teacher in high status and selfish King

14 Drama Magazine Summer 2018 Teaching in Role Features

was employed to guard and the as a messenger from a higher goats were eating rare orchids on authority than themselves. For the other side. (This drama was example, the people of Hamelin based on a story by Pie Corbett). are plagued by rats. The A group of children were in role children are in role as the long as my employers. They swept suffering townsfolk. The teacher in, wearing makeshift cloaks, has been sent by the Mayor to listened to my excuses and then find out and record the scale sacked me! I explained that I of the problem. The Mayor’s really needed the job. I had a messenger can listen and record family to feed and rent to pay. sympathetically (or otherwise) They had not expected me to but does not have the power to prick their consciences in this do anything other than gather way. They told me to get another and take information back to job. I then confided to them, the Mayor. Rational discussion who rules the Land of Plenty, that I could not read or write but is more likely to happen, if and aggressively turned away proudly said that I did know a lot the townsfolk are talking a neighbouring, hungry king about plants. I asked them if they with a neutral or sympathetic whose land was suffering could, please, create a different intermediary, rather than a drought. job for me? They conferred and confrontational one. decided I could have a plant Low status roles: Children stall outside a school, keep the Equal status roles: You can be will usually rise to the occasion, profits and they would arrange in the same role as the children. when they see that someone for the school to teach me to For example, in this case you, in role (especially the teacher) read and write. They explained too, are a long suffering resident needs their help. If you give that I could then apply for other of Hamelin. You are deciding children roles with assumed jobs in the future. In drama, together what to do about the knowledge and responsibility, the children may be given the rats and the Mayor. From an the children will start to feel power to make decisions and equal status position you can empowered and will usually rise the teacher can ensure they still gather or give information to the occasion. Mantle of the consider the consequences of as an equal. You can still be Expert is built around this. their decisions. compliant or provocative, as I was once ‘teacher in a role’ different villagers will have as an incompetent, low status Intermediary roles: A typical different personalities and may troll. I could not stop determined example of an intermediary have different opinions and goats from crossing the bridge I role would be a teacher in role viewpoints.

Summer 2018 Drama Magazine 15 Features Teaching in Role

Information gathering roles: you come out of role. You can If the children have information return in role if and when they have acquired and can necessary. You can also take a pass on within a drama, then different role at another point in the teacher can give themselves the drama, if there is a purpose in the role of someone who wants doing so; for example, returning to know that information. For as someone who was not present example, if the children are in an earlier scene and asking archaeologists in Egypt with the children to tell you in role Howard Carter, waiting for Lord what happened. This can be a Caernarvon to arrive before way of giving them practice at opening Tutankhamun’s tomb, recounting events, checking that then they might talk secretly they all agree and understand to the press (teacher in role) what has happened in the drama, telling them what they know before moving on. at this point. This enables the teacher to assess their current Further reading knowledge and understanding Baldwin, P. (1992) Stimulating Drama Information giving roles: by asking the children questions – cross curricular approaches in the A main function of ‘teacher and getting them to elaborate. Or Primary School. London: National in role’ is often to add new maybe the teacher is a visitor to Drama. information to the Drama which a village with a resident dragon. Baldwin, P. and Hendy, L. (1994) contributes to the narrative and The visitor would have plenty of The Drama Box and The Drama Book – the knowledge of the children. In questions to ask and the children an active approach to learning. London: a drama lesson about evacuation would answer them creatively Collins Educational. of children in WW2, for example, together, building their story Baldwin, P. and Fleming, K. you might become a government drama collectively. (2002) Teaching Literacy through official giving out information Very few roles will fall Drama- creative approaches. London: leaflets and explaining why they completely into one category. Routledge/Falmer. should evacuate their children When you are giving information Baldwin, P. (2008) The Primary to the countryside. Drama in role, you are also likely to Drama Handbook. London: Sage. lessons are a good way of actively be gathering information too, Baldwin, P. (2009) School teaching history in a memorable intentionally or otherwise. Improvement Through Drama: a way; but teachers might also creative whole class whole school decide to take on information 6) How long do you stay in approach. London: Continuum. giving roles in entirely fictitious role for? Baldwin, P. and John, R. (2012) drama situations, for example, You only stay in role for as long Inspiring Writing Through Drama. as a visitor to their imaginary, as it necessary for the purposes London: Continuum. isolated village who can tell them of the children’s learning and the Baldwin, P. (2012) With Drama about a giant who is heading drama itself. Once the role has in Mind; Real Learning in Imagined their way. fulfilled its function and purpose, Worlds. London: Continuum.

Patrice Baldwin was Chair of National Drama for more than a decade (until 2014) and was President of the International Drama, Theatre and Education Association (2010-13). She still contributes to conferences worldwide and has worked with theatre educators and teachers in more than 30 countries. Patrice was a primary headteacher, local authority Arts and Cultural Learning Adviser, Ofsted Inspector and a National Curriculum consultant. She also led a county Music Service. She has written several books on Drama for Learning and has worked as a BBC consultant and scriptwriter for BBC Education and more recently television. She now runs her own CPD and School Improvement business, organising curriculum and leadership courses and conferences for schools.

Website: www.patricebaldwin.com Drama Blog: www.patricebaldwin.me Email: [email protected]

16 Drama Magazine Summer 2018 Evidence

Not Advocacy Amelia Bird ‘You’ve got an easy sell.’ I’m in a meeting with a Headteacher The Speech Bubbles Meeting and she’s talking about Speech (some dramatic license employed) Head: What is it again? Shakespeare thing? No. It is drama though, Bubbles, London Bubble’s isn’t it? (Calmly looks for our leaflet in her admin mountain. Meanwhile drama intervention which the phone rings and a child, then a teacher, then the caretaker, then the supports children in primary receptionist pop in and out of the door. The Head responds to all while simultaneously making me a cup of tea and manifesting a pack of biscuits school with their speech, from thin air, before producing the leaflet). language and communication. Head: Communication! Yes I remember. Drama for communication. She’s right: this bit is easy; but Great. We really need to bump up the communication skills and I’m desperate for us to get more arts. What would it require of us actually I’m not ‘selling’ at all. practically? This is usually how it goes: Me: We need a Teaching Assistant and a room once a week. Head: (Goes quiet and mentally calculates support staff availability in a complex Rubik’s-cube style formula, factoring in a room to use, playground cover, who will give the diabetic child their insulin that day and can we do swimming on Thursday mornings instead to leave the library free?…) We can do that. The person I have in mind will love it. So how can I get the class teachers on board? Me: Well at the end of the year you can show them this report we make on the skills and progress of each child involved. Head: Brilliant. I think that Ofsted would like to see a bit more external evidence backing it, though. Me: We’ve got these two reports from University Researchers. Would you like to read them? Head: Erm, to be honest, no. I don’t have time, but I trust those researchers so put the reports on my pile. I’ll wave them at people when I need to. So is it expensive? The governors will need convincing. Me: There is a cost, but we’ve got this cost benefit appraisal from Ernst and Young which assesses the project as good value for money in the long run. Head: Chuck it on the pile, you’re making this spookily easy for me. Me: That’s the idea. Let’s talk about the drama sessions, and who they’re actually for…

Photos: © Jonathon Vines0 [END SCENE]

Summer 2018 Drama Magazine 17 NEW SHOWS FOR SCHOOLS SEP 18 – JUL 19 In-school workshops | Free CPD | Free resources

Pictured: THE END OF EDDY 13 Sep – 6 Oct Ages 16+ Primary Drama Features

My biggest learning point from this type of meeting is that primary school head teachers ‘get’ drama. They are experienced experts in child development who have studied and seen first-hand the difference that fun, creative, relational activities can make to children. They don’t need my help to understand that. What they do need my help with is finding the headspace and time to put good drama practice in place. At a recent arts education event I attended a Headteacher gave a heartfelt plea: ‘Please help us. We want to have more arts in our schools, but we are overwhelmed at the moment, and no matter what the government says, we are facing real term budget cuts.’ Beyond the communication benefits and it would be irresponsible to pretend Speech Bubbles was developed to that we knew and were ‘selling’ we were we are. That would mean the wrong complement the work of Speech and also having an impact on social, emotional children taking part, and potentially Language Therapists, whose time in and mental health and developing the missing out on something that would school is increasingly over-stretched. It efficacy of Teaching Assistants; two areas help them better. was developed with schools, so we were that schools are increasingly trying to As well as time money is, of course, able to consider from the start the barriers address, and two areas that we have since an increasing barrier to schools booking that they were facing and the project sought to develop further. in arts activity. Schools do have to pay was reshaped to accommodate them. Through research which no school for the programme and booking schools Everything from the length of terms, to could contemplate commissioning in at the end of last year was hard the number of staff, from the resources we themselves at the moment, we are able work. We struggled to get meetings produce, to the financial subsidy we raise to improve the programme and distil with Senior Management, because is intended to make things as convenient the information we give to schools. We they couldn’t contemplate spending for schools as possible. Our training can confidently tell schools the specific money on anything. Some longstanding became CPD certified so that schools benefits of the project and the specific schools we worked with had to let us go. could use their training budgets on it and circumstances which help it work best. One school was losing nine members we commissioned an online monitoring It’s a big time commitment from us, but it of staff; completely understandably, the system which quickly turns pre- and post- makes the implementation as quick and Head felt she couldn’t justify booking in project assessments into Ofsted-friendly simple for Headteachers as possible. external programmes. impact reports. Importantly, research is not a positive If it hadn’t already, this was where Research helped us to understand PR exercise; it has also shown us what the concept of selling has really died for the programme better which helps with Speech Bubbles is NOT doing. Dr Heather us. How can we sell something to people Headteacher time and headspace, but also Price at UEL found: with no money? How can we ask staff makes sure that we really are offering ‘In three out of six of the categories tested worried about feeding disadvantaged good drama practice. using the progression tool (understanding children to replace food with drama? Our first big research evaluation by spoken language, storytelling and narrative; We’re not interested in getting the Dr Jonathan Barnes at Canterbury Christ and social interaction) the… children programme into schools at any cost. Church reported that: receiving the intervention have improved At our end of the financial equation ‘ ...the simple focus, clarity of values, their progress…in the categories ‘sentences’ we are always looking for funding, but, and enjoyment of Speech Bubbles provoked and ‘speech’, they have made marginally less as all charities find, there is less around. positive change in both children and their progress’ We need more money invested into Teaching Assistants. The change is measured We could have glossed over this the whole area. That’s not something not only in measurable reading, writing, particular part of the research, but schools or theatre companies can speaking and listening improvements but in we’re careful not to. We know we are solve alone. Our response was to the visible indicators of wellbeing amongst not working on formal grammar or work with Pro Bono Economics and participating children and adults.’ mechanical parts of speech production EY (Ernst and Young) to produce a

Summer 2018 Drama Magazine 19 Features Primary Drama

Cost Benefit Appraisal of Speech Bubbles. It makes for strange reading The Speech Bubbles Year for people from our industry. But, by • Class teachers refer twenty KS1 children the same standards that policy makers who would benefit from support with measure the economic benefits of their speech, language and railway building or flood defences, we communication skills. now have a document which assesses • Children are mixed into two groups Speech Bubbles as good value for money of ten. to the country. • Teaching Assistants and Drama There have been plenty of Practitioners attend a full day campaigns supporting arts in education induction training. They build a shared in recent years, and the stories of the understanding of the need, the practice power of arts education have been and the importance of observation. They A Speech Bubbles Session also have a hot lunch and have a chance inspiring, but still the provision is Drama Practitioners each bring their own style to take part in drama activities and a of facilitation to Speech Bubbles and edit the dwindling. I can’t help thinking that demonstration session. activities to reflect the needs of a particular campaigning is a bit like selling. You • At some point in the first term the group. However structure and repetition are might change a few hearts and minds, Drama Practitioner runs an in-school key to the project’s success so many activities but it’s not enough to flip the political introduction to Speech Bubbles in a will be repeated week after week to allow the structures which got us to this point. school meeting or training time. children to become experts. Each session is Just as our Headteachers need to get based around a story told to the leaders by a • Drama Practitioners work with Teaching child. A typical session might include: approval from staff, governors and Assistants to deliver eight weekly Ofsted, DfE policy change needs to pass sessions per term to two groups of ten. • A welcome song to settle the children, Twenty-four sessions for each child warm up their expressive skills in a group. through debates and committees and budgets. We need to support politicians per year. • A list of what will happen today to reduce to empirically make the case for arts anxiety. • Week 7 and Week 23 are opened up for in schools as much as we support parents/carers to join in. • A chant to warm up voices and Headteachers. movements and to agree on and reinforce • At the beginning of the second term Reassuringly there are a number of the expected behaviour. Drama Practitioners and Teaching high profile research studies coming Assistants come back together for a half • Name in a bucket game playing with together. The Durham Commission on day collaborative learning session to sounds and voices; practising turn taking. Creativity and Education is underway share successes and challenges from the first term. • A game to practise any of the and Speech Bubbles is part of the communication skills the group Learning about Culture trial which has • At the end of the year Drama needs. This could include emotions, Practitioners and Teaching Assistants good listening, careful expression or been put together by the Royal Society come back together for a half day soundmaking. of Arts and the government-respected evaluation. Usually with ice cream. Education Endowment Foundation. • The laying of a ‘Story Square’ this provides a clear, special space where we will take Researchers will be looking at how our turns to act out a story. drama intervention impacts on reading, communication and social skills. We’re • Practising some elements of the child’s If you are a school or theatre company story such as ‘who’, ‘where’, ‘when’ or pretty confident of positive results, but who is interested in getting involved ‘what happened’ in the story. This helps most importantly we’re interested in with Speech Bubbles please contact children who might struggle with trickier thorough, reliable ones. Amelia Bird moments of action or vocabulary to be We have spent years building Speech Bubbles Coordinator prepared. relationships with schools which [email protected] • Acting out of the story practising taking is about honestly presenting and 020 7237 4434. turns, being a good audience as well as a informing rather than convincing, good performer. selling or cajoling. Our hope is that • Story shower ‘washing off’ all the that will be remembered when there is characters we have been today, checking Amelia Bird is a more time and money in the education for recall and understanding. system. And maybe, with some theatremaker and • ‘I liked’ taking turns to express an opinion. robust evidence for the impact of arts the Speech Bubbles • Closing song or activity preparing to education, we can make it easier for Coordinator with return to class. schools and politicians to protect it in London Bubble the future. Theatre.

20 Drama Magazine Summer 2018 Exploring the Holocaust through Drama Wendy Frost

ince qualifying as a drama year 10 GCSE drama group in mind. through their eyes, to develop empathy teacher in 1998 from Goldsmiths Fortunately, The BRIT School is a and understanding, based on real SUniversity I have been exploring very open, creative, and challenging people and their lives: the relationship between drama, ethics, environment to explore social and In role play the participants see the and morality. The catalyst for this political issues and it will never shy world through someone else’s eyes and in so was a workshop delivered during my away from the big life questions. I doing not only show the outer aspects of that PGCE year exploring the Holocaust. wrote the year 10 Scheme of Work person, but also try to understand how that I have always been drawn to History which all of the teachers then took on person thinks and feels. and the impact and importance of this board and it became a huge exploratory (Morgan and Saxton 1987:38) on theatre, drama, and the contextual project with approximately 80 students Then I went on to form a physical understanding of any created artistic participating each year. We researched theatre company called Living Incident piece of work. Personally, I have always and explored the Jewish lifestyle, where we created a piece called been drawn to World War Two, Hitler, religion and community; we improvised Mischlinge for The Croydon Clocktower and the persecution of the Jews. Some and developed characters based on real which explored the idea of racial purity, of the big questions continue to intrigue survivors and murdered people; being mixed race, identity, and the and puzzle me: How could this happen? we explored the Universal Declaration feeling of belonging. How do human beings allow this to of Human Rights; we built, developed This was incredibly relevant to the happen? How do people participate and destroyed; and every lesson demographic make-up of the students in the mass destruction of a particular students would share their thoughts and at The BRIT School and had a personal group of human beings? Could it feelings around the work, resonance for many of them. We had happen again? The last question is what relating it to the ethical recently completed a week long makes it a relevant, gripping, and crucial questions continually residency with Scott Graham subject to explore with young people in facing humanity. An and Steven Hoggett from the drama classroom. important aspect of the Frantic Assembly and used I then decided to write a project work throughout was to contact improvisation and DV8 for my first teaching position at The build a character and inspired movement in the piece. BRIT School for Performing Arts and improvise and explore Technology. Due to the nature of the subject matter it was developed with a

Photos: © OPUS Theatre

Summer 2018 Drama Magazine 21 Features Drama and The Holocaust

This SOW of work developed and ‘Most of the movements that we have as to why. I try to find some answers as evolved over many years of teaching, with come from experiences she had when she was a human, teacher, researcher; but most me expanding my knowledge, as well our age. So it’s quite shocking how we just take importantly I pose the questions with the as refining, redefining, and evolving the our lives for granted’. young people so they will continue to ask practical tasks. It became an Edexcel GCSE Anna said, themselves the same things. examination improvisation unit and a ‘We felt it was really important to base it I am now a Teaching Fellow in the staple of my teaching diet. I then began around her, and her story, mainly from a child, Centre for Teacher Education at the linking this to Brechtian techniques, the so not so much of during the war’. University of Warwick working with grotesque physicality of Berkoff, and The We moved on to work with Jack PGCE trainees and am the Subject Lead Investigation by Peter Weiss, to explore Santcross in 2016, and during a reflection for the Drama course. In both April 2017 verbatim and political work with post-16 session a 17 year old performer said, and March 2018 I have delivered an students. This led me on to exploring more ‘I never would have realised that what ethics workshop exploring the Holocaust verbatim stories and survivor testimonies was happening then is linked to Syria and how through drama; this has been attended where I began to make links with the people are being killed. I never thought it would by Drama, English and History trainees. Holocaust Educational Trust (HET). happen again’. We looked at ways to make learning and When I moved to working at Long Through research, exploration and understanding interactive and practical, Road Sixth Form College in Cambridge connections with survivors, the young to explore the history and the real people: I quickly made links with Mike Levy people begin to recognise the parallels in those murdered and the survivors. I was who works with Keystage Arts and their own lifetime, their own choices, and able to use images taken in Amsterdam Heritage as well as HET. He asked if I question history and how it repeats itself. by Annemie Wolff, a photographer who wanted to produce a performance for the Having a survivor in the room enriches documented the Jewish community. I International Holocaust Memorial Day the experience and learning in a way that was able to share stories and knowledge event at The Corn Exchange in Cambridge. no other research can; listening to their gained from the sites and talk personally I immediately agreed and formed a theatre personal accounts, looking at their family about my connection and experiences. company called OPUS Theatre which used photographs and memorabilia, exploring We improvised with The Investigation, physical theatre and ensemble techniques. maps, and directly asking questions, and discussed Kindertransport by Diane Over the next three years we collaborated cannot be matched as a way of learning, Samuels as resources and stimulus with Holocaust survivors, Lore Robinson questioning, and understanding your own material. As teachers we discussed where (who was a Kindertransport survivor), Jack place in the world. the work could go and the possibilities: Santcross (who had been in Westerbork This interest in ethics and morality why is this still relevant to today? How and Bergen-Belsen), and Eva Clarke (born has led me to direct The Merchant of Venice do we make this significant to the young in Mauthausen) to tell their stories through twice and visit the Jewish Ghetto in people in our rooms? There is always a performance. We were also awarded Venice, walk around the Great Synagogue never ending list of suggestions for links to one of the candles designed by Sir Anish and Jewish areas in Budapest, explore historical events, situations and genocides, Kapoor to memorialise the 70th year the house of Anne Frank, visit the which are currently happening in the liberation of Auschwitz and were featured memorials and museums in Amsterdam world around us. Some of the drama on ITV News with Lore Robinson as part and Prague, all out of personal interest. trainees have taken this work forward of this event. One of the performers called With the Holocaust Educational Trust to use for their Masters level assessment Kelsey said, I have attended their Lessons from work. One in particular used some of the Auschwitz study techniques to explore the Khmer Rouge tour, visited Berlin genocide; another said it was the most for a residential, useful thing she had done on the course; and in 2017 I others discussed how they used individual attended the annual exercises in their classrooms. If nothing residential in Yad else my work with HET has encouraged Vashem, Jerusalem, me to further keep sharing the stories of in Israel. The the real people from the Holocaust and to multitude of sites ensure that these live on. I have visited has Over my many years of using Learning just intensified my through Drama techniques I have quest for answers; confirmed my belief that this is the only these I know I will way to develop empathy, realisation, and never get: there are an understanding of the big world topics. no definite answers History does repeat itself. Young people

22 Drama Magazine Summer 2018 Drama and The Holocaust Features

The Law for the Protection of German Blood and Honour

• Jews may not display the National flag. They may, however, display the Jewish colours. are smart and curious and imaginative, • Jews may not marry any and they understand all of these things subject of German or kindred when they are immersed in the world of blood. the real, and the imagined, people. Photos: © Annemie Wolff The most significant kind of learning • Jews are no longer citizens of which is attributable to experience the German Reich. in drama is a growth in the pupils’ 2. The same still-image but understanding about human behaviour, demonstrating the attitude of how • Jews may not employ females themselves and the world that they live in. they feel about wearing this. I then of German or kindred blood in This growth of understanding, which show them the photographs taken their households. will involve changes in customary ways by Annemie Wolff in Amsterdam of thinking and feeling, is likely to be the in 1943 where she took portrait primary aim of drama (O’Neill, C. and pictures and documented the Jewish Lambert, A. 1982:13). community in Amsterdam wearing References The drama class is the place to explore their Star of David. This is the first Morgan, N. and Saxton, J. (1987) and express our own feelings and beliefs time that the students encounter Teaching Drama. London: Hutchinson about the world and real people and authentic images of Education. ‘develop central societal concepts such as people that died, went missing, or Neelands, J. (1992) Learning Through democracy, justice and freedom’ (Neelands survived the Holocaust. Imagined Experience. London: Hodder & 1992:5). Stoughton. In the drama class young people Development: O’Neill, C. and Lambert, A. (1982) consider others, themselves, and their Further on in the work the students Drama Structures: A Practical Handbook for choices, whether small or large. We are create their own Passport with their Teachers. London: Hutchinson Education. guiding young adults into becoming more family name on it. It is developed from thoughtful, considerate, intelligent, and a template from Germany before and compassionate beings. My work on the during the War and pictures are shared Websites Holocaust sits with them for a long time, of this. They explore identity, belonging, Anglia ITV (2015) Holocaust Memorial and they recall the thoughts and feelings community, and ancestry. They think Day – OPUS Theatre and candle lighting. that they had. It does with us adults too. about their own family and origins and [online] Available at: https://www. That is why I will never stop learning, we question why having a name and longroad.ac.uk/noticeboard/holocaust- exploring and sharing it. individual identity really matters (later memorial-day-opus-and-candle- this links to the numbers which Jews lighting/ [Posted 30th January 2015] were given in concentration camps). We Practical Exercises to Explore also discuss what happens when your the Holocaust papers are taken away by the state, and you are no longer considered a citizen of Introduction: your own country. After spending some time sharing initial When we have built a community, ideas about Berlin in 1939 the students Wendy Frost currently characters, and homes after exploring get to build Jewish characters. They works at the Centre for the Jewish lifestyle The Nuremburg are shown the Star of David and share Teacher Education at the Laws are introduced. In character the knowledge about this. They create two University of Warwick students get to respond physically and still-images – vocally to seeing this sign nailed to and is Drama Subject Lead for the 1. Them pointing to where they wore their Synagogue door. After this we PGCE trainees. She is also completing the Star of David (Jews would sew reflect on the meaning of these laws and her Doctorate in Physical Theatre in this on their clothes themselves in what they signify for a community and Education and has been working with clear sight). individuals. some leading companies in this field.

Summer 2018 Drama Magazine 23

‘What Country, Friends, Is This?’ Directing Shakespeare with Young People

Max Hafler

Photos: © Mark Hafler

This article examines the issues around Introduction directing Shakespeare with young people Young people are often nervous of Shakespeare and feel it is not for them: obstacles include bad classroom and the ways we can enable them to connect experiences, a feeling that the language is a barrier, that powerfully with the situations, story and the plays are too highbrow, and that they are boring and language of the play and move towards a old-fashioned. For directors of young actors it is daunting production. It explores issues around editing to challenge these assumptions; but it is worth it because the text, updating the work, working with you will be opening doors for them into poetic drama and new theatrical worlds. For me, it has been one of the great tableaux to give a full sense of story and joys of directing many Shakespeare plays with young enlivening the text through the body with people to help them discover that Shakespeare is, indeed, exercises based upon the Michael Chekhov for them. Technique. The editing section explores the This article focuses on what it might be like to embark on a full production. If you are going to construct challenges of dealing with a 17th century text, a performance around a Shakespeare project which working in poetry, issues around collaborative includes movement, music, original writing and only authorship of the plays and text which had short pieces of text from the play, then that is a subject to do the work of lighting and scenery. There for another day. This might be something you would be interested in doing in a classroom situation or with a follows a section on starting the process with group you feel would not be ready to encounter the whole three story-telling exercises, and some voice text. This process requires considerable exploration and is and body exercise. going to be a chapter in my next book.

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We are going to look at three areas: considerations around editing the text; beginning the rehearsal process with a few exercises around story and atmosphere; and then a few exercises on physicalising language in order to make it really live and breathe so that it sounds neither like ‘poetry’ nor a flat modern text.

Why Edit? A major part of the job of a director is to build a bridge from the actors to the text and out to the audience. With a young group I have found it is essential to edit. Editing Shakespeare can raise hackles in some people who feel every word is sacrosanct; others are very cavalier and hack a play to pieces, destroying much of its richness. You need to tread a fine line. This editing is not merely to deal with the inexperience of your performers but often to clarify the play for the audience. To start this editing process, you need to consider how you think the students will engage and how much rehearsal time you have. What are the goals of involving them in this play? You want to edit the play into something manageable which will harness their enthusiasm and focus. Consider their skills as well as your own; how much you will be able to help them and what they can handle. However, it is not just your immediate circumstances that you have to consider here.

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Michael Chekhov (1891-1955) the actor, teacher and director whose technique is at the core of all my work, had strong views on editing and shaping a Shakespearean text. Chekhov was a firm believer in the rules of composition: the beginning, middle and end of a piece. ‘.. for the modern theatre all Shakespearean plays should be shortened, and scenes even transposed , in order to give them their proper tempo and increase their driving force.’ (M.Chekhov 2002: 93) You want to release something from the play and your company with this editing and shaping. That is an alchemical task. Obeying a sense of composition, as Chekhov explains it, can give a stronger focus and allow more accessibility. Macbeth and A Midsummer Night’s Dream both have a strong trajectory: some other Shakespeare plays do not. First of all, we know now that Shakespeare was not the sole author of many of his plays. If you look at certain scenes you find there is a lot of repetition and I believe having multiple collaborators encouraged this. In addition, many of his plays, especially comedies, have multiple teams of characters, for example, mechanicals or fairies, who disappear for large chunks of the play and we need to be continually reminded of the arc of any particular character group every time they re-appear. Twelfth Night, which I have just done with a third level college here in Ireland, is full of this repetition. If you edit or transpose the scenes effectively, you may not need to repeat and remind the audience so often and can cut accordingly. For instance, in Twelfth Night the build-up to the scene in which Malvolio is tricked into dressing up in yellow stockings to woo Olivia has many interlacing scenes with the more romantic plot of Viola, Orsino, Sebastian and Olivia. Sometimes juxtaposing these scenes can be effective but by putting more of Malvolio’s scenes together you simplify the playing of it for the performers and give the comedic scenes a more effective tempo for the audience. A second area for consideration is the opening of many scenes which have very long introductions. This was necessary in the Elizabethan theatre which had little scenery and no lighting to assist with creating the atmosphere of the forthcoming scene: the potent words had to do it all. So, as beautiful as these openings often are, you do not always need them to the same extent. A classic example is the opening of Act 2 Sc 4 in Twelfth Night. Consider what it might be like to begin the scene with music and at line 15. Thirdly, and perhaps most obviously, is to consider whether there is any chance at all of the audience grasping the meaning of a particular joke or line. There is nothing more tiresome to me than seeing actors making suggestive gestures grabbing various parts of their anatomy in order to make sure we as the audience get the point. Professional actors are always doing this. It drives me mad! We have to accept that Shakespeare, however magical many of his

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plays might be, was still writing in the seventeenth century. Telling the Story 1. Some of the jokes work well still; but some do not. You need to judge both for yourself and your team as to what is worth keeping in. • Get everyone to stand in a circle. Ask someone to However, I sound a loud word of caution. Transposing start to tell the story to everyone else. And that is scenes and editing invariably has an impact on the whole exactly what I mean: speak to the group directly, piece and you need to understand what it is. Most obviously not into some vague space, nor as if trying to tell you could omit an element of the plot which is vital to the the story like a test or a memory exercise. (This is development of the characters. If you strip the language and very hard to maintain, especially the first time.) wordplay down to nothing then you have to ask what you are • Encourage anyone else to jump in and continue losing. Is it changing the focus and trajectory of the story? Is at any point. Don’t let anyone go on for too long. it confusing the plot or clarifying it? Is it having the effect you It is a group telling; their first group telling of the want? story of the play. If someone wants to contradict or add, let them do it, but keep the energy going. Updating the Play Stay in the circle yourself. You might need to add As Peter Brook (1998) writes in Evoking (and Forgetting) part of the story. Shakespeare, you can do anything you want as a director of • When they get to the end, try and note for Shakespeare provided you understand your decisions have yourself who they seem to think is the main consequences. If you set the play firmly in a particular period character by the way they tell the story; what or, and this happens a lot with young peoples’ Shakespeare, attitudes they might express about a character’s in some easily relatable environment to their everyday lives, behaviour; what they believe the play is you could be being reductive. Whilst this might reassure your saying. All this will be incredibly useful to you. young actors that the play has relevance to their lives, it does Remember you are trying to find out where they not always encourage them to explore the play more deeply. are with it. In spite of you asking them, some of Making the play more realistically accessible does not always them will not have read the play. They may well open their imaginations. I have always fought shy of setting have read a precis online or watched a movie the play in a totally recognizable period, preferring to create version. it in an imaginary place which has elements of our time and other times. We can often play with this by casting someone of a different gender in a role, which immediately creates modern resonance. Casting Mistress Overdone as a drag queen and What we discovered with Twelfth Night was that the Escalus as a female judge in Measure for Measure immediately plot became more and more complex as we went on, allows an audience to make connections to our own time. like a farce. We realised that as a group there was a knot Whatever happens, I feel I have to make the play and the to untie and that that was the energy of the play. Issues interpretation as much theirs as mine, and this can produce for the characters got tighter and tighter and then they truly astonishing results, often outstripping professional unravelled. This gave us a lot of clues as to how to act productions which frequently fall far short of this communal the second part of the play indicating that the characters goal of joint creation. Despite the various problems it might become more panicked, more disorientated and more present, working with young people offers an opportunity confused in the later scenes. Please note: we learned this to create an ensemble approach. This does not mean that very important aspect about the story through working as the director I let them do what they want. In fact with on our feet. I have always found that this is much more a Shakespeare play where they might feel intimidated it is successful than too much intellectual discussion. crucial that I strongly support and guide. But any ideas I have are going to be tempered by their skill set, their energy and focus and how they actually respond to the material.

Starting Out – Finding a Way In One of the things we need to do first is own the story and tell it together, find something we might feel together about our response that we can agree on. Of course, this can change as rehearsals continue. After a range of basic warm-up exercises, many of which are in my book Teaching Voice (2016), your first step into the play is to tell the story. N.B. They all need to have read the play first.

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Telling the Story 2. And so on. In this part of the exercise, make it fun but try and be precise with the story. Don’t worry about great • After this process of active discovery, you can then acting, just get them to enjoy it. As before, you will be try asking them to tell the story together again; but learning a lot about how they actually respond to the this time, as the narrator continues, others act out work. You might need to do this in two chunks depending what the narrator is saying in the middle. In neither on how much detail they get into when telling the story. of the following exercises must you encourage them What you are finding out is their response to the story to play the character they are cast as. Indeed, as and each other. They are engaging immediately with the they tell the story, many people can play Viola [say] tale and with their whole being; if their knowledge of the or any of the characters, as narrators are switched. whole story is scrappy then this exercise is only going to improve it. • For instance, as someone says, ‘Once upon a time there was a rich dude called Orsino who was sulking because this woman was not paying Tableaux: Beginning and End him any attention. He was making all his friends This is a useful way into the atmosphere and energy of the miserable and worried about him..’ play as well as giving a sense of what the journey of the at the same time, in the centre someone enters the play might be. It’s based on a Chekhov exercise and on the space as Orsino and others come in mopping his laws of composition, to give everyone concerned a ‘feeling brow, trying to show him pictures of other possible of entirety’ (Chekhov 2002:17). lovers, giving him food to eat. Someone might be miming playing a guitar etc. This is all very scrappy • Split the group into manageable numbers (six to eight as no one gets to discuss it beforehand. That doesn’t in each group). matter. • Tell them they all have to make a tableau/a still photo/a • Another carries on the story, painting (however you want to put it) of the opening ‘Outside there’s a storm and a young girl is shipwrecked of the play. Even if there are only two characters in on the coast’. it, everyone must be used, as architecture or other Storm acting. Viola appears from the Sea. Other characters. These others can be used to develop actors act as if they are drowning. the atmosphere of the opening. With Macbeth, for • Another carries on, instance, though there are only three witches in the ‘She has a strange idea to keep her identity a secret; she opening scene, a whole range of the gathering armies decides to wear mens’ clothes and go to the Court.’ and Macbeth himself could be incorporated. In the centre Viola starts pulling herself together • Tell them this tableau as a whole has to express and looking at herself in a mirror and practising the start of the play. How does it feel? What’s the bowing. atmosphere? Who is the focus of the scene? What’s it about?

Summer 2018 Drama Magazine 29 IF ALL YOUR WORLD’S THE STAGE Theatre Studies at the University Of Reading Students studying Theatre at the University of Reading enjoy the best of both worlds, developing critical and creative skills in a dynamic environment. Our innovative and contemporary research drives our future focused teaching surrounding practical and critical concerns in performance. This ensures our students develop an understanding of theatre as an expression for real world issues.

Our students • Work and study in purpose-built, professional theatre spaces at the Minghella Studios creative hub. • Explore the political, social and cultural contexts and possibilities through performance analysis, screenings, critical discussion and theatre trips to London and surrounding areas. • Make several productions throughout their degree, gaining a range of practical, technical and critical skills as performance makers. • Get the opportunity to work and learn from professional theatre makers and visiting companies.

Graduate success Studying at Reading gives our graduates the skills to rapidly develop a career in their chosen field. Many of our alumni work in the creative industries, becoming: • Directors • Playwrights • Critics • Theatre lecturers/ • Actors educators • Many other arts • Producers professions

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Look at all the tableaux. Use them as a talking point to Verbing the Body discuss the start of the play. What’s the feel of it? Is it This exercise is based on Chekhov’s ‘Psychological Gesture’ heavy or light? Is it sad or hopeful, grim or joyous? (2002:63). What we are trying to do here is open the pathways to language through the body, thereby making • Now ask them to make a tableau of the ending of the the words more potent. Generally in modern plays we are play in their groups. IF ALL YOUR not usually encouraged to use language, and people are shy Look at them all and discuss as before. How do they about it anyway (except when they swear). In Shakespeare think the play ends? What’s the feeling audiences the words and images give you the key to how the character WORLD’S might experience when they leave? This kind of is feeling, to their energy and motivation. When you try question not only gives them a sense of responsibility to treat Shakespearean text like regular speech it is harder but also ownership of the creative process. to understand and sounds terrible. You will also find this exercise elaborated in my book. THE STAGE • Finally ask them to move from one position to the Theatre Studies at the other: from their beginning tableau to their end tableau • Ask everyone to stand in their own space. very, very slowly . University Of Reading • Suggest a verb: an action that they can do strongly with • Get them to try this a few times. the body, like punch. Students studying Theatre at the University of Reading enjoy the best of both worlds, It starts to give them a sense of the movement of the • Invite them to perform the action without speaking. developing critical and creative skills in a play in its entirety. You can try this with acts, scenes Make sure the movement is vigorous and done engaging dynamic environment. Our innovative and and speeches. It gives both a space for discussion and the whole body. If the movement is small and without contemporary research drives our future focused enables the group to start relating to each other on the impulse nothing will happen and they will feel foolish. play, getting the play into their bodies. teaching surrounding practical and critical concerns • Invite them to breathe in through the nose and out in performance. This ensures our students develop through the mouth and let out a sound as they punch. an understanding of theatre as an expression for Voice Work: Two Exercises You will suddenly feel like you are in a martial arts real world issues. With Shakespeare, one of the main issues is to fully school. Let them continue with this for a couple of Our students inhabit the language, to mine it for a sense of the minutes. character, psychology, mood and atmosphere. To do this • Work and study in purpose-built, professional theatre • Now get them to say ‘punch’ on the outbreath as they you need to work on voice as much as you can, bringing spaces at the Minghella Studios creative hub. punch with the body. the voice and expression right into the body. To facilitate • Explore the political, social and cultural contexts and this I use the psycho-physical exercises of Michael • Next, ask them to say ‘punch’ as if they were punching possibilities through performance analysis, screenings, Chekhov in addition to more conventional voice exercises. with their bodies, but to stay absolutely still. You will critical discussion and theatre trips to London and I would refer you to my book Teaching Voice (2016) where, note how much more powerful the word sounds. surrounding areas. in addition to the essential basic work, there is a whole • Ask them what the action did to the way they said the chapter on working with Shakespeare in this imaginative • Make several productions throughout their word. degree, gaining a range of practical, technical way. Both of these exercises are in it. and critical skills as performance makers. If you get the actors to engage their bodies fully, they • Try a few more: ‘squeeze’; ‘open’; ‘wash’; ‘tear’; ‘embrace’. are going to discover things about the character and the • Now take a line, for example: ’I pray thee -and I’ll pay thee • Get the opportunity to work and learn from play very, very quickly. You are also going to give their bounteously Conceal me what I am.’ (Twelfth Night. Act 1. professional theatre makers and visiting companies. voices conviction and focus. Sc. 2.L 49,50) Graduate success • Ask them to take each of the verbs in this line Studying at Reading gives our graduates the skills to ‘pray’,’pay’,’conceal’ and make large gestures for each rapidly develop a career in their chosen field. Many of word as before our alumni work in the creative industries, becoming: • Once they have done this and followed the same Directors Playwrights • • procedure as they did in the first part of this exercise • Critics • Theatre lecturers/ with ‘pray’, ‘pay’ and ‘conceal’, ask them to speak the educators • Actors whole line at the same time as they perform these • Many other arts movements on the verbs. Tell them not to hold back. • Producers professions At first it may sound extreme but you can tone it down, or, as Chekhov says ‘veil’ it eventually, so there is still BA Film | BA Theatre | BA Film and Theatre something of the movement in the voice. • You will find the language has a direction and a force it FILM, THEATRE & TELEVISION @ftt_reading | /FTTReading | /FTTReading did not have before. Summer 2018 Drama Magazine 31

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Ultimately, you do not encourage the actor to continue • The person who ‘catches’ must receive the ‘ball’ looking at to physicalise the gesture but to purely imagine it as they the thrower, so an exchange is made. Do not initially go speak, and you will find that the actor’s voice will still fast. Keep it smooth and steady. Practise and be precise maintain something of the power they had when making with these movements. the gesture. Occasionally, I will encourage the young • People are often very reluctant to stay with their arm actor to maintain the gesture in all its fullness, even in outstretched for even a second. They ‘throw’ their energy performance, if it is the only way to find conviction in a out quickly and weakly. Point out how, on stage, it is line. terribly important to share and communicate with the One of the keys to using the voice is actually not really other actors as well as the audience. a voice exercise at all. It is exploring the Chekhov concept of ‘radiating and receiving’ which means sending energy • Ask them to add a sound when they throw. Let them use from one performer to the other. This is not just listening their own name. The freer the throw the more open the or projecting your voice but sharing your energy with sound. Get them to notice when they feel their voices someone else and the other truly receiving it. When you do not reach their ‘catcher’. Explore for a second the why get a sense of this, watching actors perform is wonderful. of that. Could it be they need more breath to project Everyone can do it with a little practise. effectively? Encourage them to try again. Ask them to use a little line when they throw, like: ‘How does he love me?’ Radiating and Receiving: Throwing the Ball. • In a circle, the group is going to mime throwing and This is a very effective exercise encouraging ease, enlivening catching a ball to each other. the language and connecting the breath to the body and to a scene partner. Once they have it, you can try ‘throwing’ • The way we ‘throw’ is important. The actor must the line fast or slow. Immediately the feeling of the line will have one foot behind the other and be able to throw change, just with the tempo alone. The more we connect the underarm easily with an easy swing. Get them to body to the voice the freer it will be. keep their hand out when they throw for a second, looking at the person they are throwing to. • All practice the throw together. References Brook, P. (1998) Evoking (and Forgetting) Shakespeare. London: • Now try the ‘catch’. With your feet in the same Nick Hern Books. position try gathering the ball from in front of you, Chekhov, M. (2002) To The Actor. Oxon: Routledge. pulling it into your chest. Once everyone has got it, Hafler, M. (2016) Teaching Voice. London: Nick Hern Books. get everyone to throw around the circle as if there is Shakespeare, W. (2007) A Midsummer Night’s Dream. one ball. London: Arden Shakespeare. • When people ‘throw’ it is important they stay with Shakespeare, W. (1997) Macbeth. London: Thomas Nelson their throwing arm extended, looking at the person and Sons. they are throwing to, and sending their energy Shakespeare, W. (1986) Measure For Measure. London: towards them. This extension is important so the Methuen and Co. actor can feel both that the movement is finished, and Shakespeare, W. (2017) Twelfth Night. London: Bloomsbury that they have sent energy to the catcher. Arden Shakespeare.

Max Hafler began his professional life as an actor. He is a theatre tutor, director and writer who now specialises primarily in Michael Chekhov Technique and Voice and Shakespeare. He teaches at The National University of Ireland Galway, was an Artist-in-Residence at Boston MIT, and has guested at the University of Southern Maine Gorham, The Lir, at Trinity College Dublin and others. He has worked extensively on youth and applied theatre programmes including more than a decade at Galway Youth Theatre and a national voice programme for Youth © John McHugh Theatre Ireland. His book, Teaching Voice, was published by Nick Hern Books in 2016. Amongst his many plays performed by professional and youth groups, his play Alien Nation, was published by Playshare in 2004. He recently set up Chekhov Training and Performance Ireland to make the West of Ireland a hub for the acting technique. His most recent professional work was The Sacrificial Wind at the Cuirt International Festival of Literature, Galway, Ireland, 2017. His college and youth directing work includes Macbeth, A Midsummer Night’s Dream, The Caucasian Chalk Circle, Yerma, The Trial, The Bacchae in the version by David Greig, and Twelfth Night. He writes regularly on his blog www.maxhafler.wordpress.com

32 Drama Magazine Summer 2018 Teaching Ecology of the Soul Sanja Krsmanović Tasić My origins I come from the long tradition of creators, artists and teachers in the realm of contemporary theatre and dance: not in my own family but in the world family of performing art. I have always loved the image of us standing on the shoulders of our ancestors. This is how I sometimes feel. Starting off as a young dancer, dance teacher and choreographer of contemporary dance in the eighties, I had the great privilege to work in the beginning of my professional artistic life with an amazing choreographer and teacher called Smiljana Mandukić. She was one of the pioneers of contemporary dance in Yugoslavia, the country in which I lived. When I started to work with her, she was already an old woman, and an example of how strong and able you can be, even in sickness and old age, if you are driven by the right thing: to create art. She would come to rehearsal even when she was feeling profoundly unwell and ask us to hold her fragile body from behind while she would show us the new movements she had created: to hold her so she would not fall. When we saw her coming by taxi, a luxury that surpassed her modest financial situation, we knew that it was one of those days. She died aged 84, working till her last breath. In 1993 I joined DAH Theatre, the first Yugoslavian theatre laboratory, and spent the next 21 years with the company and DAH Theatre Research Centre which formed together. We Photography: © Jakub Hulák worked with everyday training,

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International Features

and for more than a decade, doing teaching. I was the ‘so called Grotowski training’. the coordinator We tried and developed other and one of the trainings, all the time experimenting leaders of the and researching different ways of International creating performances. One of our DAH School greatest models was, and still is, for Actors and Odin Teatret, whose actor, Torgeir Directors, Wethal, who passed away a few later DAH years ago, was our mentor for many Institute, where years. We created valuable work of professionals and devised, anthropological theatre, students from all touring the world from the remote around the world Photo credit: © Jakub Hulák villages of Serbia and Bosnia, all would come to the way to New Zealand, New York Belgrade for a and Mongolia, performing at many three week course on our methods Leading a workshop is a craft. Festivals, and also teaching master of work. It is something you learn from classes and workshops. But above For two decades I was also teaching master craftsmen and craftswomen all, and most importantly: learning. and choreographing in my own of theatre and dance. You learn by Learning all the time from masters we dance studio. participating in their workshops, encountered on the way, or brought I have been most profoundly actively, learning from them. to Belgrade, developing ourselves, influenced, on the way, by Japanese It is something that has to be breaking our limits and confronting artists and techniques, not only of learnt in practice, and not only in obstacles with such passion. The performing art, but also martial theory and from books. You later training and always unpredictable art. The artists I worked with are take this knowledge and pass it laboratory process of work made our Yoshi Oida and Shiro Daimond, on. It is never the same, identical bodies versatile and developed our and I have also learnt and loved form. If you are creative, you will creativity. It made us more able, more the demanding Suzuki technique. add your own details; you will flexible and adaptable, in our work, Also a milestone was encountering shape it to fit a specific group, age, and also our life. Meyerhold’s Biomechanics time. You can mix crafts and styles And the obstacles were many. taught by Gennadi Bogdanov. of different masters, and this is My country was involved in civil Rena Mirecka from Grotowski’s always exciting. You will perhaps war in those years, the nineties, and Teaterlaboratorium unveiled the arrive at something completely we created performances against the world of the spiritual in art. And new, something with a new form war, researching the darkness and there were many, many more. and life. It gets coloured and enlightening the audience about In 2014 I formed my own flavoured by your own specific style, the truth. company, Hleb Teatar, where I temperament, method. Many months working with work mostly as theatre and artistic But you must always blindfolds for the performance The director, creating devised physical acknowledge your masters. You Helen Keller Case in which I played theatre and dance work, that uses a must name them, repeat their Helen Keller, the deaf and blind lot of live music and singing. names like a Mantra, in any American writer and activist, made it And I continue teaching, and workshop you give. For they have easy for me to adapt to real darkness learning all the time as well. formed you and taught you not only and function in my home during the how to give workshops, to create electricity cuts of those turbulent art, but how to live. days. Helen Keller was for us the About workshopping Workshops are also a group symbol of our country in those years: How do you learn to give a experience. It is the dynamic of deaf and blind and isolated; and we drama/theatre/dance workshop? the group that you have to follow. hoped it would also find the way to Performance art is a form based on I always feel I am working with light and rebirth in a humanistic way. the human body, voice and mind. an ensemble; team building and Another obstacle to enabling my It is a live, vivid thing, a fleeting group dynamics are important tasks family to have a decent life was my moment. It is something you cannot I always undertake as workshop resisting the compromise of doing catch to keep, to have for later, leader, be it a group which knows anything else but my art, except except in your mind and heart. each other and works together for

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derive movement and material, to be presented or ‘orchestrated’ into a presentation or dance scene. I say ‘dance scene’, not choreography, for I always work with dramaturgy and in context of dance/theatre rather than pure dance. I never impose or demonstrate movement, or action. I only provoke, and guide the process where everyone can show and express their inner beauty and expression. I believe it is possible for everyone, a child, a person in a wheel chair, an old woman, man, a blind person, a person who never ever danced or acted in life, to express and show and create beautiful artistic expression, Photo credit: © Jakub Hulák or painful artistic expression, or just expression; but one that speaks more that a thousand words and correlates a long time, or persons who have closing depicting the stories of the and communicates to the fellow just met there, on the spot. Every flickering of the soul, of the fears human being in the audience. It is workshop for me is a different and and adventures, of the dreams our fragility and truth that moves specific experience. Every workshop and hopes, earliest memories, us, that we react to, and that uplifts for me is also like a performance. nightmares, ‘genetic memories’. us. We encounter empathy and deep There has to be good rhythm, From this incredible pool of vivid revelations inside ourselves, not only catharsis, beginning, development memories and also imagination doing this work but also observing it. and end. The participant has to we can fish and capture amazing So devising is when, through leave enlightened from inside, moments and episodes that can different exercises, tasks and with their bodies perhaps painfully be montaged into a work that improvisations that are fixed, awoken, with a head full of corresponds and communicates material is made, or ‘clay’ as I questions and a thirst for more with the audience: again not in an sometimes call it, to be sculptured, knowledge and work. explicit and linear way, but in a way orchestrated, or montaged together My workshop is always a path that they feel drawn into, and where into a dance or theatre piece. The of personal revelations: about your they connect with their own deep more the piece is open, the more own limits; about your patterns pool of associations and stories. space there is for the audience or ‘cliché’s’; about how you itself to put their own meaning and communicate with others; about associations into it. Thus the piece how you move and what does your Devising as a method, both becomes more personal and moving body say; about discovering the in theatre/drama and dance to the spectators. deep place inside you from which After many years of being a your true organic voice comes out. choreographer and director, I believe It is also a deep process for the best possible way of creating a Basic elements of the myself. To come in such close performance is through devising. workshop contact with other human beings, It is very hard to translate the word In September 2017 I was invited by to discover their strengths and ‘devising’ into the Serbian language; Gabriela Zelena Sittova, a dear friend vulnerability, is always touching I do not know how it is with Czech. I and also a colleague from the world and exciting. To see, hear and have been teaching dance workshops of drama Education, and from our discover their ‘stories’, stories in for people with disability and for IDEA -International Drama/Theatre many senses. In my workshop it me it is always a profound learning and Education Association and is usually the body speaking. Not experience. It is from their movement IDEA Europe network, to come to explicitly or in a linear way, it is and what they do in response to the Czech Republic to teach a one week doors and windows opening and tasks and impulses I give that we workshop in Jičín to drama educators

36 Drama Magazine Summer 2018 International Features

who would come to the workshop Here I will try to sum up the In the Jičín workshop we worked on from all over the country. I was essence of these parts, based on trainings based on performance art thrilled by the invitation, also because the Jičín workshop, a mere example skills and dance techniques, blended I knew that so many days and hours of many versions and ways of my in a method I found appropriate for of work were sufficient to go deep teaching method, again stressing the group. It is important to know into the work, and really develop the that it is something that has to be that these trainings are something material we would be creating. experienced: that drama teachers can adapt and The theme I chose was ‘Travel’, use when working with children and because in my Hleb Teatar we were Centering: This is one of the most young people. They are playful, but researching and developing a new difficult exercises of self control, also serious exercises. Some elements performance called The Journey about involving attention to breathing and or materials developed through the the travel around the world of a finding the balance of our body parts training also can be used, as we did, Japanese man. It is a research project but also to our mental state around as artistic material for a performance. and performance about the encounter an imaginary axis that binds us to the of differences and cultures; about centre of the Earth and gravity, and Creating of materials: There is more the wonder and horror of the world expands through the fontanelle, to the about creating materials in the part we live in today; about the beauty of essence of our spiritual self. above about devising, but here I will Haiku poetry. It is also like a standing meditation list different ways we devised work in It is a story of a Japanese man, where we empty our mind of the Jičín workshop. Taro Ishima, who decides one day superficial thoughts and get ready to break his everyday routine of life, for work and deep discoveries. It is a • Material from different ways of and goes unexpectedly to a year group thing, so we stand in a circle sitting. long journey around the world. He and build our group energy. • Material of characters devised is in quest of a deeper meaning of A correction is made to each from using the feet. life and in search of beauty. He is a individual in the standing. It is the lover of Haiku poetry and decides to aligning of the body that is important, • Material from creating simple bury a little jar with a Haiku poem to be straight and balanced. actions, teaching each other in in every city or town he passes in the groups the actions and putting spot he finds most beautiful - under Warm up: There are many ways to them all together in a group a tree in a park, under a bridge, do warm up, and it can be different dance. and so on. He wants the Japanese lengths. It is important to be flexible • Material from creating a physical words of the Haiku to grow and to and learn different ways, standing score or partiture, that is a fixed continue whispering in the wind, to up or having the luxury of having sequence of actions in space, based the passersby and the citizens of this a clean floor where one can lie, and on visual material of a postcard place. move, glide and roll. Sometimes we they had. I am always interested to have to be short and efficient, but share the themes and research in systematically go through all the workshops the topics I chose to body parts, and, if working with the develop in my art. For the workshop I voice, warm up the instrument of our brought with me postcards that could body through the sounds it makes. be from some real or imaginary parts The voice warm up is focused on the of the world, music that inspires me, search for our organic, true voice. The and a great eagerness to work with one that will express our inner true soulful Czech people. selves in the best way. There is mostly a fixed structure of the work and it could be defined Training: It is most important to in a few words: centering; warm train your body, voice and mind if up-physical and vocal; training- you work in the realm of performance physical and vocal; and the creating art. A skillful artist transmits the of materials, not only vocally but message of the performance. We also physically and as content learn the principles of performance and text that could be used in the art through the training; we develop performance, generated through our muscles, we broaden our minds, Photo credit: © Sara Revišin exercises of creative writing. we become the masters of our voice.

Summer 2018 Drama Magazine 37 Communications

• Speech & Drama

• Reading

• Public Speaking

• Spoken English Vocational Qualifications • Interview Technique for • English as an Additional Language Young People with Dreams

Performance BOOK NOW!

• Acting

• Shakespeare

• Musical Theatre

• Choral Speaking

• Mime

• Devised Drama

• Verse Speaking

• Recital

• Creative Movement

• NEA Filmed Group Performance Examinations

01903 246790 | WWW.NEWERAACADEMY.CO.UK International Features

Communications

• Speech & Drama

• Reading

• Public Speaking

• Spoken English Vocational Qualifications • Interview Technique for • English as an

Additional Language Young People with Dreams Photo credit: © Sara Revišin Photo credit: © Lidija Antonović

• Group scene and material created them, with their eagerness to learn I do hope I will have many from an imaginary World map on and dedication to the work; with possibilities to work with Czech Performance BOOK NOW! the floor: vocal material of working their open minds and playful, but people on theirs and also my own with the ‘ison’. also serious, devoted participation. ecology of the soul in the future. It • Acting I will always remember their is always a blissful encounter. • Material from the Japanese Kabuki wonderful energy and the beautiful walk and from my tiger exercise. presentation of thirty five minutes we • Shakespeare accomplished to put together for this Creative writing exercises: I have one week. A piece I directed from the • Musical Theatre had the privilege to work with very devised materials of the workshop Sanja Krsmanović talented and great playwrights from that I would not be shy to show as Tasić, Belgrade, • Choral Speaking America who passed on the skills of a professional artistic performance, Serbia, is a creative writing. Two of them are Eric anywhere. We achieved a deep theatre director, • Mime Ehn and Ruth Margraf. connection, and I feel there is a Slavic choreographer, The work I did with them just soul burning in us all. actress, dance and drama teacher. inspired and provoked new ways of • Devised Drama She tours her performances and writing and creating, also devising conducts workshops internationally. texts for the performance. The exercise About the concept of the She is also author and producer of • Verse Speaking we did in Jičín was simple. Because ‘Ecology of the Soul’ numerous programmes and projects the theme was ‘Travel’, as I mentioned I decided to give this text the title both educational and artistic, many • before, all the participants selected Teaching Ecology of the Soul, for it is Recital in the realm of Art for Social Change a postcard. The task was to write a a concept I have come up with and and work with disabled dancers. She • Creative Movement simple text, like on a postcard, to a that I continue to explore and define dear person, from this imaginary place with my work. All art, and especially is President of Centre for Drama in Education and Art-CEDEUM, and director • NEA Filmed Group they traveled to, which was defined by performance art, is ‘ecology of the the postcard. These texts, when taken soul’. It is the cleaning process of Hleb Teatar, a theatre group based Performance from this context and slightly edited, and purification of us as human on ensemble work fusing theatre, dance all at once got a poetic dimension, beings: of our thoughts, emotions, and live music, also working with TIE. Examinations like little Haiku’s. They were used in relationships, our relation to our She is one of the founders of Association the performance/presentation that we past, present and future, relation Artistic Utopia and director of the Mater showed the other participants of the to ancestors, that are embedded in Terra Festival and is the Elected Officer Jičín workshops on the last evening of us through genetic memory. It is of IDEA, as President of the Accountancy our work. a lifelong process. Creating work, Committee, and one of the coordinators 01903 246790 | WWW.NEWERAACADEMY.CO.UK I was most proud of the participants teaching or just observing art or of the IDEA Europe network. and what we achieved. It was a performances is also working on the remarkable group, all twenty five of ecology of the soul. Photo credit: © Wenke Seemann

Summer 2018 Drama Magazine 39 Photo credit: © Sophia Roome

We began touring the workshop Forum Theatre in Action: to Southwark schools. One immediate challenge this presented was the Forum element, which was inevitably different from rehearsals as we now had a full audience. Augusto Boal’s Forum Theatre Speak Out! technique invites the audience to become ‘spect-actors’ by improvising dialogue with the characters to Ruth Pearson change the outcome of the play. This was complicated by the mix of or several years, Camberwell’s of the project were twofold: to ages we were working with, Years Blue Elephant Theatre has run enable young people to reflect on 5-9, and different approaches were Fthe Speak Out! programme, a their own choices; and to create needed for different age groups. We Forum Theatre project which tours an opportunity for the trainees adapted our strategy for younger to local schools. This is a project to gain devising and performing age groups by accepting their ideas which aims not only to help young experience and work with young rather than blocking (which is used people in school express themselves, people, alongside developing to elicit more varied ideas). but also to train young adults who essential professional skills such The response we have are NEET (not in employment, as punctuality, reliability, and received from schools has been education or training or at risk creativity. Exploring the reasons overwhelmingly positive not only of becoming so) as facilitators/ why young people disengage from teachers but also from students, actors. In my role as an intern at from education and the feelings of who participated enthusiastically. Blue Elephant Theatre I have been anxiety, stress and isolation around Students have produced wonderful supporting the training sessions and school also allowed the trainees to new ideas and one teacher praised the tour from the start of the project. talk about their own experiences our relaxed attitude for putting In training sessions we in education, which may have led them at ease. The most frequent devised a short play about Sam, to their risk of becoming NEET. comment we’ve had from students is a Year 8 student whose struggle The group were immediately open the central message of the piece: to to understand lessons leads to and supportive of one another, ask for help when they’re struggling distraction, bad behaviour, and contributing to an increase in self- and to tell someone if they’re being ultimately expulsion. The aims worth and wellbeing. bullied.

40 Drama Magazine Summer 2018 Forum Theatre Features

Naturally, this is easier said The project has also been Ruth Pearson than done; but the purpose of beneficial for the trainee facilitators: graduated in Drama having the children interact further to the Forum Theatre training, from the University with the characters in the play there will be one-to-one mentoring of Exeter and to produce a different outcome is sessions and CV workshops to recently completed that they can better understand support their development once the an internship at their options and practice these tour finishes. One trainee reflected Blue Elephant Theatre in Camberwell. skills for themselves. In multiple that he has enjoyed working with schools students mentioned they audiences of different ages and Over the course of this she assisted the can talk to someone from Place abilities for their benefit as well as his Speak Out! project, worked in theatre 2 Be, a charity which provides own by hopefully leaving them with administration and produced a scratch emotional and therapeutic services something to think about beyond night. She is now pursuing theatre in primary and secondary schools. the workshop. Another trainee said making in Berlin. Self-expression and emotional he didn’t know what to expect from development are some of the the project, but he has improved his things Forum Theatre can be improvisation skills and feels more used to explore. One parent- confident. Although we’ve only had volunteer commented that she sees one workshop with each group in the teaching children how to express schools we’ve visited, our hope is to their feelings as very significant leave something lasting with not only since she has a child with anger our students but also our trainees: problems, and many children positivity, confidence, and the courage would benefit from it. to ask for help.

Exploring New Voices: Future Practice in Applied Theatre Conference Monday 21 January 2019, 9.30am - 5.00pm

Derby Theatre presents a one-day conference for practitioners, academics and students to exchange and engage with research and current practice in Applied Theatre, presented in association with leading practitioners and academics in the field. The day will include: • Keynote presentations that explore current practice and the latest theory in education and community settings. • Workshops delivered by highly regarded practitioners. • Performances devised for specified audiences in community locations. Prices & Earlybird Discounts available until 1 September 2018. • Individuals - £35pp (£50 thereafter) • Charities, Local Authority & Cultural Organisations - £50pp (£75 thereafter) • Universities - £75pp (£100 thereafter)

Book your place by calling the Derby Theatre Box Office on 01332 593939 or online at www.derbytheatre.co.uk For more information please contact Geoff Readman at: [email protected]

Summer 2018 Drama Magazine 41 Reviews Theatre

Between a Man and a Woman Scott James Performed at Etcetera Theatre

Vivienne Lafferty May 2018 Photos: © Robert Bloomfield

omestic violence is not often The production I saw was in the feeling: a real test for the actors, but their depicted on stage. Scott James’ play, atmospheric Etcetera Theatre above focus and sincerity never faltered. DBetween a Man and a Woman, takes a pub in Camden Town. The small It is interesting when a playwright an unflinching look at this subject from intimate space suited the play well. The also directs his/her own play and the views of both abuser and abused and minimal set of just a few chairs with uses techniques from his/her own also examines how the emotional turmoil hardly any props focused the audience on training experiences. Scott James within a dysfunctional relationship affects the uncomfortable storyline about toxic, studied to be an actor at Trinity Laban other family members and surrounding damaging relationships. Compelling Conservatoire of Music and Dance and friends. Domestic violence is a hugely and convincing, this production is what I enjoyed the way he incorporated some important theme and the play links ‘Drama’ and ‘Theatre’ are all about. From choreographed movement into the the needs, desires, commitments and the very start it was riveting, thought- straight drama. This worked well, adding dependencies that we all experience provoking and hard-hitting. Millin another dimension, another layer of as humans. Thomas as Tom and Jasmin Gleeson as representation of the vulnerability and To the outside world Tom and Polly Polly were stunning, giving depth and fright within the drama. seem like a normal married couple; credibility to their roles. They could so The one criticism I have concerned following a romantic early courtship they easily have overdone their portrayals but the physical violence. The few appear loving, happy and successful. In instead talent, imagination and creativity moments of actual physical violence private all is not what it seems. We discover were evident. The acting was outstanding on stage should shock and horrify. For gradually that Tom was an abused child from all six members of the cast, so much a realistic portrayal the timing and who followed the same course as his own so that it was hard to resist putting out positioning were wrong; for a symbolic abusive father and became a controlling a comforting hand or brushing away representation the action would have and violent husband. The connection is an actor’s tears so close we were to the been more effective in slow motion. That very clearly made between childhood performers. Equally there were times said, this was brilliantly written and trauma and subsequent behaviour. Tom’s when I wanted to shake one of the directed with awesome, harrowing and possessiveness and jealousy result in characters! Like Polly’s sister, I wanted poignant performances. emotional blackmail and outbursts of to cry out, ‘Look what he’s doing to you, rage and aggression towards Polly who open your eyes!’ It made me question is manipulated into thinking that she why people remain as victims when deserves such ill-treatment and that they surely must see how much they Tom is acting out of love for her. Polly are being manipulated; though research becomes more and more isolated from her from support charities and refuges shows friends and devoted sister who is initially this is what happens and can indeed concerned and then shows increasing lead ultimately to the death, by murder panic because she feels powerless to help. or suicide, of the victim because they The script is disturbing, well-researched cannot escape. The nearness to the action and believable; the dialogue natural allowed the audience to appreciate fully and realistic. the intensity of what the characters were

42 Drama Magazine Summer 2018 BOOK REVIEWS

genuinely concerned about the future of Music, Movement and Mime lessons these activities will take place outside the country, and passionately believed from the 1960s. Common themes the school day but in this book, the in preserving the institution of family.’ include, The Magic Carpet, Pirates, suggested ‘Extracurricular’ activities She is also quick to remind us to Robots, Space, The Circus, Under would mainly take place in school allow four central women to be the Sea. There is also a section that time. These bullet pointed activities explored as individuals with hopes uses well known nursery rhymes, range widely in breadth and depth, and dreams, rather than a vanguard songs and the ubiquitous picture from highly simplistic (e.g. Make of a future feminist movement. books We’re All Going on a Bear Hunt shapes with playdough), to highly The rehearsal diary sheds light and Where the Wild Things Are as complex, (e.g. Discuss the role of into many of the more nuanced the stimulus. The associated lessons music around the world). discussions had with the actors with are movement warm ups linked to Drama novices will be strongly that in mind. the theme, followed by enacting supported by these scripted lessons. The book closes with very open a teacher narrated story (usually More experienced drama teachers statements, such as ‘There is no one together) and then some children might just dip in and select some right way to stage Blue Stockings’ perform to and are applauded by the ideas from the lessons to develop and ‘Now it’s over to you to bring others as audience. The lessons are further themselves. the characters to life…’ This is a mostly fail safe but some activities in slightly surprising way for a guide the Clowning lesson are worrying, Patrice Baldwin to studying and staging the play, e.g. ‘Fake trips’ (performed in pairs) Blue Stockings: A guide written by the playwright and that are applauded and ‘The Big for studying and staging director herself, to sign off. However, Crash’, when the children are asked Drama Games for Young Children the play it is representative of the book’s to crash into each other and fall Katherine Zachest ability to offer great detail, whilst backwards! These activities might Nick Hern Books Jessica Swale and Lois Jeary also offering space to explore, and be be best avoided. ISBN: 978-1-84842-561-3 creative. This is a book that many of Dare I say that these lessons When working on a play, creating a us will be picking up and using as an are more theatre than Drama bridge between the playwright and exemplar of how to prepare any play, driven? They have a performance Dramawise Reimagined: a contemporary audience can seem not just Blue Stockings. thread running through them and Learning to manage the like a tall order. In this book, Jessica keep moving the children towards elements of drama Swale and Lois Jeary provided Christopher Holman presenting and applauding each an extremely helpful guide to the other’s end of lesson performances. Brad Haseman & John O’Toole creation of this bridge. In just under A few Teacher in Role opportunities 200 pages they take us through Blue Stockings: A guide for are included, with some problem Dramawise was first published in every piece of research, directorial studying and staging the play solving possibilities for the children the UK in 1988 and I suspect copies dead end, and triumph, in clear and Jessica Swale and Lois Jeary at times, but mainly they are of the original still stand on many accessible language. Jessica Swale’s Nick Hern Books following teacher instructions and drama department shelves. In a insight is particularly useful, as she IBAN: 978-1-84842-623-8 ideas , re-enacting as directed and cheeky marketing ploy the book was the playwright and first director then performing and applauding. was sub-titled An Introduction to of Blue Stockings. The inclusion of Discussion opportunities are GCSE Drama – cheeky because the the ‘Jessica’s Reflections’ boxes Drama Games for Young highlighted, where the children’s Australian authors probably had offer teaching lifesavers such as Children learning could be deepened and about as clear an idea as to what ‘Drama games for classroom and hopefully teachers will make the the newly introduced GCSE Drama workshops’, ‘Drama games for Katherine Zachest most of developing these. exam involved as their English devising’ and ‘Drama games for Each lesson ends with an colleagues at that time! What the rehearsals’. The whole structure of This is a book of 40 simply ‘Extracurricular Activities’ authors did have, however, was a the book, though separated into a structured and well-presented suggestion section. In the UK, fine understanding of the elements rehearsal section and a production Drama lessons. It is not a book of ‘Extracurricular’ usually mean that of drama and organised the book to section, follows an easy to follow drama games, (although many of the deal with these in a systematic way. chronological narrative. lessons have games within them), Games, role plays, script extracts Most impressive, in the rehearsal so the title, Drama Games for Young and structured ‘process’ dramas section, was the authors’ devotion Children is somewhat misleading. were used to explain, explore and to research. Every decision made The author suggests that other examine tension, focus, place and by herself or her actors is supported than Lesson 1, the lessons can be space, time, language, movement, by clearly footnoted research used in any order and that the 40 mood and symbols in chapters evidence. The socio-historical lessons could become a one year bearing these titles. These titles commentary made throughout the drama curriculum. It is likely that are used again in this new edition book is sensitive and balanced. In teachers would need to select from which sensibly and more honestly a play discussing issues of gender them, to fit with their curriculum employs a new sub-title to state inequality in the 19th century, it and would need to define intended, exactly what the purpose of the could be very easy for the reader clear learning outcomes and book is. While some of the original to create a simplistic analysis of progression as these are not clearly exercises and structures remain the the male establishment characters. provided. text has been extensively updated However, Jessica Swale states that The lessons overall contain and new chapters added to examine ‘it is vital that none of the men are mime, movement, music, puppetry dramatic narrative and compare played as fiendish.’ as ‘although they and drama activities. The age of the ‘traditional dramatic meaning’ with sound outrageous to our twenty-first ‘young children’ they are aimed at, is ‘contemporary dramatic meanings’. century ears, he (Dr Maudsley – not specified. Presumably, they are Introductory notes for teachers leading psychiatrist of his time and intended for Key Stage 1 pupils? The offer guidance on how to use the protagonist in the play) was not making teachers’ lesson scripts and content book suggesting ‘that it be worked the statement out of cruelty. He was are reminiscent of the BBC Radio, through sequentially rather than

Summer 2018 Drama Magazine 43 Reviews Books

dipped into’. Brief guidance is While I like the way the different EVERYTHING YOU ALWAYS given on grouping students, elements of drama are dealt with WANTED TO KNOW ABOUT making use of communication sequentially some of them are GOING TO THE THEATRE* technology and assessment. dealt with in a fairly perfunctory *but were too sloshed to Beyond that, the text is aimed way. For example, the chapter on ask, dear directly at secondary age students mood doesn’t delve into many themselves. The benefit of this different moods at all. In contrast, West End Producer is that it allows the authors to some tasks are very sophisticated explain the practical work in and unlikely to have wide appeal. Just go buy several copies of this language that students will For example, creating a short book and give it to all your luvvie understand and as such it could circus clown show to reveal friends! prove especially helpful for trainee and comment on a Minister of In my time I have reviewed and beginning teachers. I doubt, Education’s response to the 2011 quite a number of books – some though, that the book will serve PISA findings. of them brilliant; some of them as a standard class text in the UK A friend of mine, herself a so niche I couldn’t figure out why or that it will be worked through highly respected drama educator, it was they had been published. systematically. Nonetheless, once commented that she was But this is the first time I’ve been the sequence of activities is a fed up of seeing books which given a book to review that sent fine model of how to organise a offered an ‘introduction’ to me hotfooting it to the bookshop comprehensive and eclectic drama different aspects of drama and to buy the companion volume. curriculum. While the authors are wondered when there would Yes, this is a true celebration of was being conceived. clearly devotees of teacher in role be a book that went beyond an the joy of going to the theatre. In If I have a mild criticism it is and other Heathcotian strategies introduction and offered students the words of the song ‘Everything that WEP is somewhat London- they take every opportunity to the chance to develop their skills about it is appealing’. It is a little centric; there’s a whole world link the work with theatre by and understanding further. bit rude, quite a lot camp and an of exciting theatre out there, using the practical work to explain Overall, I feel that Dramawise up to date insider’s guide of how to dear! And I know the author has and exemplify subject specific Reimagined does move beyond prepare and experience a night at knowledge of it because he makes terminology. References are made an introduction to the elements the theatre. The mysterious West reference to the provinces – so to a number of plays and films. of drama and starts to help End Producer tweets regularly and maybe there’s another book still The danger here, of course, is students actually manage them. this book is a second collation of to come. that such references, especially It’s wordier than its antecedent his wit and wisdom about many However, this is a joy. A to films, can quickly become but while much of the text has things theatrical. combination of a bit of a cheeky outdated (e.g. Ferris Bueller’s Day been extensively revised some bits Why is this book such giggle combined with something Off) . The choice of plays used to do feel a bit dated. Nonetheless, a delight? It has the perfect useful. Well done, dear! exemplify some of the elements there is a plethora of good ideas combination of real knowledge – under discussion has a distinctly and expert advice in its pages the book is worth it for the tour Alison Warren Australian flavour but the extracts (though the cover design is of London’s theatres alone – and themselves serve their purpose nowhere near as attractive as the witty, slightly silly jokes that well. original!) make you feel like an insider. EVERYTHING YOU ALWAYS In places, the through line of The text is peppered with rude WANTED TO KNOW ABOUT GOING some of the units of work isn’t Andy Kempe aphorisms which made me giggle. TO THE THEATRE* always crystal clear. For example, I tried to find one to quote but *but were too sloshed to ask, dear Chapter 4 aims to examine place they’re all a little bit too saucy for West End Producer and space. It starts by looking Dramawise Reimagined: Learning this publication. And the insert Nick Hern Books at the situation of a girl leaving to manage the elements of drama sections where WEP gives a ISBN 978-1-84842-588-0 home in a contemporary setting Brad Haseman & John O’Toole brief guide to the great West End but then jumps to the situations Currency Press musicals is terrific. These combine in which Maid Marian may have ISBN 978-1-92500-589-9 a useful outline of the show with All Change Please: found herself. A link is made to sometimes waspish comments A Practical Guide to Perdita in The Winter’s Tale then on the show and the suggestions Achieving Gender Equality refers back to an extract from the for songs that didn’t make it in Theatre play Hitler’s Daughter. Some may in are hilarious – for example consider this an imaginative and missing songs from Chicago: ‘Yes Lucy Kerbel (Foreword by Rufus stimulating construction and I murdered my lover, but I’ve still Norris). handled in the right way I’m sure got a great butt,’ and, ‘My jazz it would work well. However, hands are better than yours’. Lucy Kerbel is the inspirational others may simply find the logic In addition to the laughs, WEP founder of Tonic Theatre, a a bit confusing. Similarly, some knows what he’s talking about. ground-breaking organisation of the advice may seem a little He gives guidance on everything established in 2011 with the clear- impractical and unrealistic. For from how to get the cheapest headed vision of achieving greater example, one exercise suggests tickets to how to clap and what to gender equality in theatre. In six that the students make a still say when you’ve seen the show years, Tonic has made a significant image of an Asian market place of your choice. The parts of the difference to the culture of theatre, with the coda that, ‘If you haven’t book which are rooted in fact are working with many theatres and seen one you can research it’. meticulous in their research and cultural organisations to promote This seems to be an example of knowledge – this is a true insider’s equality in their repertoire and how addressing students directly guide – and bang up to date as across their working methods, doesn’t always work as there are he is able to refer to shows like decision-making processes and in often roles or bits of preparation Hamilton which must have not their organisational structures. It that the teacher will need to do. even have opened when this book is a practical approach that enables

44 Drama Magazine Summer 2018 Books Reviews

readers to think differently about tour. This section does not go into theatre. It addresses questions of the detail of the former sections unconscious bias, taste, and ideas which have an emphasis on the about good theatre in ways that are improvisation itself, but it provides accessible and engaging, always a useful jumping off point those bringing ‘big-picture’ questions looking to create work and put it back to practical experience. front of an audience. The chapter on Young People in The Improv Handbook is a this section illustrates Kerbel’s brilliant guide for those embarking approach: she identifies the issue, on an improv journey, or those with analyses the situation, listens to more experience looking to recap young people and offers practical and refresh. The focus is, and rightly solutions. It would be fascinating so, on the practical elements: how to to have a similar national improvise. conversation about the place of young women in theatre and in Elin Schofield drama classes in schools, and this chapter would be an inspiring and provocative starting point The Improv Handbook: Second theatres to evolve as the equitable for a debate with GSCE or A level to a more practical exploration of Edition organisations we would all like students. improvisation. Tom Salinsky and Deborah them to be. Early in her career Lucy The final section is called One of the best features of this Frances-White Kerbel worked on the Connections ‘About You’, and this provides handbook is the emphasis it places Methuen Drama scheme at the National Theatre, helpful tools for how to address on games. Salinsky and Frances- ISBN 978-1-3500-2616-2 and she has a long-held interest in issues of inequality. It is not a White give, not only detailed the theatrical experiences of young manual, Kerbel is keen to point accounts of tried-and-tested games, people, and her series Platform out, but it does offer practical but they explore the nuts and bolts Into the Story 2 publishes new plays with strong approaches that might be adapted of how to play them and why each and lively roles for young women. to help move towards realising a exercise is beneficial. Anecdotes from Carole Miller and Juliana Saxton http://www.tonictheatre-platform. vision of equality. It is significant the authors’ personal experience co.uk/ that the foreword is written by as both performers and audience The title of this book’s Tonic’s ambition – to change Rufus Norris, who is committed members exemplifies their words introductory chapter, ‘Towards how theatre works – is perhaps to changing the culture of the in practice and provide an extra a Humanizing Curriculum’, all the more important in the National Theatre. Theatre should level of detail. I had used a couple of suggests it will make an light of recent campaigns about be, he points out, ‘a leading the games before and felt that the argument for some grand vision exploitation in the creative example of brilliant diversity’ (vii). revisiting of these exercises allowed of education. However, readers industries, and All Change Please: A It isn’t. Yet. But this brilliant book for consolidation and since then I of this magazine and perhaps Practical Guide to Achieving Gender will help us get there. have brought them back into the the book itself may well agree Equality in Theatre should be rehearsal room revitalised, with a that ‘Educators have become understood as part of a culture of Helen Nicholson greater sense of purpose. The Improv more aware of the centrality of change. But this is not a book that Handbook has also given me new imagination, collaboration and sets out to jump on a band wagon, ideas, as well as the confidence to creativity as integral to growing a and nor is Tonic a campaigning All Change Please: A Practical test out games that I have never more effective and healthy sense organisation. Rather, the book Guide to Achieving Gender previously heard of, let alone played. of nationhood’ but question the offers a careful, well-informed and Equality in Theatre The guide is user-friendly, and extent to which this has in fact clearly written explanation of the Lucy Kerbel (Foreword by Rufus its breadth and depth allow for been recognised and catered barriers to equality in theatre, and Norris) people who have the time to pore for by those who dictate the it takes readers through steps that Nick Hern Books. over each section, whilst making it current curriculum and how it is might solve problems or ameliorate ISBN: 978-1-84842-658-0 easy for those quickly seeking a flash delivered. Quoting Ken Robinson, them. As Lucy Kerbel points out, of inspiration. Concise overviews the authors note how creativity ‘Small changes can make a big of each chapter enable readers to requires taking action rather than difference’ (p.20). The Improv Handbook: dip in and out with ease, whilst the just thinking. Similarly, they The book is structured in three Second Edition glossary of terms, makes the topic argue that empathy goes beyond parts, and each addresses readers accessible. Despite their apparent imagining what another person directly, anticipating questions Tom Salinsky and Deborah knowledge on the subject, there is may be thinking and feeling and that might be forming as they Frances-White not a lot of jargon making it simple requires actively experiencing an read. The first section, ‘About for someone with no previous emotional state and consequently Change’, invites readers to consider In the past, I have shied away improv experience to get a taste and responding ‘with some kind of why change is needed, and what from books about improvisation, the tone of the guide is humorous action.’ Providing children with changes they would seek to make. favouring to get into a room and and very honest. opportunities to do this is, the Concerns about the scale of the explore the form more practically There are historical snippets authors posit, ‘the humanizing issue are raised, and Kerbel asks with a group of performers and woven throughout the book, curriculum in action.’ On this people to focus on a knowledge- this is something that the authors which give a sense of context basis what the chapter does is based approach to changing tackle head on from the outset: without containing a dense section explain how the practical drama theatre. In other words, you have ‘You will gain far more from the about improvisation through the structures that follow are laid out to know your stuff and understand experience of actually working with ages. Not only that, but there are and why the authors have chosen how theatre works – and why it other people’. I absolutely agree; practical suggestions for setting up a to employ the language they have. works in the ways it does - before however, The Improv Handbook by company, including tips on finding Boxes containing brief testimonies you can change it. The second Tom Salinsky and Deborah Frances- a venue, publicity materials to sell from teachers who have used section, ‘About Theatre’, asks White is a brilliant companion your show and taking the show on some of the structures have been

Summer 2018 Drama Magazine 45 Reviews Books

inserted in order to endorse the value and are well illustrated, the contents; this is not a text book, approach though these might have often beautifully so. The narratives rather a collection of thoughts and been better placed in publicity are powerful and moving focusing anecdotes garnered from his many material rather than the text on, for example, age and memory years of working in theatre. of the book as they do not add loss, social inequality, poverty, Part 1 focuses on Brook’s substantially to the argument. political oppression, the holocaust, reflections on language, Beyond the brief introductory and the threat to the environment. highlighting his wonder and joy at chapter this is, essentially, a In this the work recognises the differences between French and very practical book which offers children’s ability to respond English that he has discovered from detailed structures designed to sensitively to challenging and nearly 50 years of living in France. explore ten picture story books. sometimes disturbing themes and My GCSE level French meant that Some of the stories will inevitably issues. Carole Miller and Juliana I read this section with a limited already be well known to teachers Saxton are well known and highly ability to connect with what he was while others will, no doubt, be respected practitioners. Their saying. I was interested, though, in new. The authors have chosen understanding of how carefully the difficulties Brook experienced not to outline each story ‘as there constructed drama experiences both in translating Shakespeare are many children’s literature can extend children’s verbal, visual and directing actors in Shakespeare websites that provide a diversity and emotional literacy is evident in when their native language is not of synopses and reviews of the the range of purposeful activities English. stories included’. I think this is little patronising and laborious. employed in each structure. Part 2 opens with a sorry tale a mistake. While being familiar Just as verbatim transcriptions However, while all this is worthy, about a group of young French with some of the stories most were tend to contain a good deal of earnest and to be applauded I actors who take great pains to new to me and it certainly wasn’t unnecessary verbiage so this script couldn’t help wondering whether build their own theatre space easy to find information on all is laden with instructions verging the authors think there is ever and find that in doing so they of them on line. The inclusion of on the tortuous, for example: ‘In a any place for humour in their unwittingly put form before a short paragraph summarising moment, I am going to ask you to humanizing curriculum. content and undermine their each story would have been a very move on to where the group next efforts from the very start. In helpful way of introducing each to you has been working. So think Andy Kempe the current British theatre scene structure as would a few links to about finishing up. Right, put the fashion for showcasing form the best websites pertaining to down your pens. Group A, move is sometimes at the expense of them. I discovered that some of along to Group B’s paper; Group Into the Story 2 content. Experimenting with form the stories appear in various ways B to Group C’s and Group C move Carole Miller and Juliana Saxton is essential for an artist, but when it on You Tube. Some are read aloud on to Group D’s and Group D to Intellect becomes an end in itself it generates by well-known actors; others Group A’s. (They do.)’ Notice the ISBN 978-1-78320-574-5 theatre that is slick but hollow, seem to be student assignments in parenthesis here which is another visually impressive but devoid of visual presentation. The variation common feature of the book. emotion and meaning. As Brook is intriguing but trawling through There’s a sort of blithe optimism Tip Of The Tongue: has long-argued, ‘It is the eternal them in order just to find out what in the assumption that all of the Reflections on Language problem of starting with a form, the stories were was pretty time pupils will do exactly as they and Meaning instead of a search for meaning. consuming. have been asked. What bothered Only then can forms arise and find A brief explanation is given me more was the assumption Peter Brook their place… And meaning is the as to why each story has been that the work was going to be eternal grail that inspires the quest.’ chosen, what questions are raised perfectly acceptable. We read, Peter Brook is widely regarded as Brook is best known for and how the work should lead to for example, ‘Good! There were the most influential British director The Empty Space. In the chapter new understanding. The layout some lovely and interesting shapes of the twentieth century. To be ‘When Is A Space Not a Space?’ of the structures themselves is being explored there’. But what publishing another book at the age he goes back to the essence of his consistent. Group size for each if there weren’t? Giving praise of 93 speaks volumes about his beliefs, reminding us that when activity is stated and the time when it isn’t deserved devalues passion for theatre and his desire to he began directing, theatre was required is suggested. Strategies the teacher’s judgement and, communicate that passion, as well very different from today. In the are named and the focus of the worse, devalues genuinely good as his still keen and sharp mind. late 1950s and early 60s it was still activity is clearly identified. work. Giving vague praise is The subtitle Reflections on Language filled with decoration, imagery, Requisite resources are listed simply flatulent. Less experienced and Meaning effectively summarises furniture and props, ‘they clogged and, where appropriate, there are teachers would probably benefit the imagination. Emptiness was a ideas for extension activities. Just from a little guidance on when starting point, not for its own sake, as teachers are likely to be more and how to offer appropriate but to help us to discover each time or less familiar with the stories praise when working through what was really essential to support themselves so the strategies used these structures. In some places the richness of the actor’s words to explore them will seem to be the teacher’s script seemed a little and presence.’ As a working actor either familiar territory or an muddled and included references I know I am not alone in wishing alien landscape depending on to some things that I wondered that more directors would go back experience. The book addresses if contemporary students would to Brook’s way of thinking. We are this by providing, quite literally, recognise. It was useful to have too often told in rehearsal and on a script for the teacher. My initial the odd comment on the style stage that the VR and AV are the response to this manualised and context of some of the stories priority and we the actors have to approach was negative. I warmed though; as already mentioned, accommodate them, rather than the to it a little by trying to imagine without a readily accessible technology support us. myself as a child listening to the summary of the story itself some Tip Of The Tongue reminds us teacher’s voice but ultimately of these insertions felt arcane. as practitioners of what we strive found it hard to engage with The stories chosen for for in theatre, that physical and as a reader. The tone seemed a exploration have a high literary emotional connectedness that no

46 Drama Magazine Summer 2018 Books Reviews

Wright suggests an approach drama school training - relieving us to acting that is about Process. of an assumption of knowledge. Put One that celebrates each person basely: ‘putting us in the shit’ so that as Expert and steers away from we can ‘suck it and see’ (his words comparison. not mine!). Predictably, this isn’t a book about the history of Masks or a book Rachel Drazek about making masked theatre. It’s a practitioners book. He gives plenty of starting points for those working Playing the Mask: Acting Without with people entirely new to masks Bullshit and indeed, he’s graceful enough to John Wright outline his trial and error methods ISBN 9781854595805 of the early days. But, as he clearly Nick Hern Books states, it’s for more than mask work; it’s for actors. I am fixed for a while on the simplicity of his statement: ‘if Queen Anne you feel no elements of spontaneity in what you’re playing, there’s Helen Edmundson other medium can quite match: something wrong’. ‘There are rare moments in theatre Acting without Bullshit is a Multi-award-winning writer is presumed that her goodwill and when a deep feeling is shared by thorough and dense record of Helen Edmundson needs very friendship is being dismissed by the actors and audience draws all into Wright’s approach. The example little introduction as her reputation new queen. However, it is here that a living silence. This is the rare, the exercises are invaluable references, precedes her: The Heresy of Love, Edmundson’s skilful ability to write ultimate empty space.’ Whether you making me want to be up on my Mary Shelley and The Clearing to characters subtly exposes Sarah’s agree with Brook’s opinions about feet with him ‘working me in the name but a few of her works. hidden selfish desires and agendas; what theatre should be or not, it is mask’. If reading this book presented Queen Anne was commissioned while on the other hand Queen Anne’s undeniable that this nonagenarian a challenge it’s because I want to by the Royal Shakespeare Company resilience and ambition to succeed theatre maker knows how to tell a take more time to explore what he and premiered at the Swan Theatre, grows. What unravels is the painful story and there is much to be learned suggests ’…you can’t take a mask Stratford-Upon-Avon in 2015 before and bitter demise of a long standing from his wealth of experience. home and play it in the privacy of being revived at the Theatre Royal friendship culminating in blackmail This slim volume puts on the your own front room, because mask- Haymarket, London in 2017. and arrogance. By the end of the play page how I imagine it would be to work only comes alive when you What is immediately apparent we are almost proud of the strength sit with Brook after a meal and say, have an audience to play to’. on reading this play is the strength, and dignity of Queen Anne. ‘Peter, tell me more about: Why you Discussions on character, power and assertiveness of women An understated and love theatre… Why Shakespeare archetypes and different types during a relatively unknown period. underestimated character is that of is so important… What you have of masks are all in there. Whilst Set in 1702, with King William III Abigail Hill, a country girl who is learned over the years…’ Simple and occasionally passages might on the throne, England on the verge mocked and dismissed on arrival accessible, it contains insights and feel a little overwritten, I surely of war and Princess Anne unable yet proves to be an ambitious but lessons from someone who has lived understand his argument by the end to produce an heir, the narrative humble and loyal servant to the and breathed theatre for over 70 of any given section. His writing documents some of the key events Queen. I particularly enjoyed her years. A gem. has a directness and honesty, of the time while focusing on the internal strength, intelligence and both qualities of movement he power struggle between the soon to journey through the play. She regularly LM Lewin suggests lie in the Neutral Mask be queen and her closest friends and surprises the other characters and and its power. His consideration advisors. arguably emulates a younger, less of proprioception is startlingly Whilst Queen Anne is the play’s selfish Sarah Churchill. Tip Of The Tongue: Reflections on successful: ‘Mask work is a protagonist, it is the character of Important elements of the play Language and Meaning proprioceptive skill. In other words Sarah Churchill that is particularly are the moments of song that appear Peter Brook it’s a skill that draws on your innate fascinating throughout this play. sporadically throughout. Used to Nick Hern Books understanding of where you are in Initially appearing as the Queen’s create comedy and demonstrate ISBN 9781848426726 space, how you move and how you closest friend and advisor, she further the general opinion of the time, hold yourself’. slowly demonstrates a more subtly the lyrics do not make for easy reading. Wright doesn’t shy away from manipulative and power-hungry side However, I can fully appreciate what Playing the Mask: Acting tackling the Rules, Methods and to her personality. It is clear that the they would add to a performance, Without Bullshit Gurus of theatre and continues two have a very long and at times particularly when combining them provoking: ’your job is to do as little overly close relationship that has with the musical score at the end. John Wright as you can get away with’. With supported Princess Anne during her Queen Anne is a very engaging constant reminders that ‘it’s what struggles with fertility. history play that cleverly paints the Wright’s title, in being both you do that tells us who you are’ and Once crowned, Anne becomes relationship between two ambitious provocative and playful, is a ‘effective mask-work boils down to more confident and assertive of her and determined women vying for wonderful demonstration of his your ability to react spontaneously own opinions under the guidance of power: one clearly more successfully approach to masks. ‘Playing’ the to other people’ we’re reminded a wider range of advisors. Initially, than the other! Mask is no accident and throughout time and again that acting is about this change makes the reader the chapters of this book we are the here and now: ours and the question her logic and influences; it Lydia Crang invited through theory and coaxed audience’s. If our actions match is assumed that it is the misleading by anecdote into his philosophy the mask then the audience can information of Robert Harley which of Finding the Game. Concerned do much of the work for us. This is causing Anne to be steered in Queen Anne with igniting our playfulness, reminder of the conversation of a politically different direction. Helen Edmundson our impulses to action and to performing feels fresh and welcome Edmundson creates a moment Nick Hern Books championing the value of these, in both the rehearsal room and of sympathy here for Sarah as it ISBN: 978-1-84842-666-5

Summer 2018 Drama Magazine 47 Books Reviews

Developing Children’s she felt supported the work on theatre become so safe and how do ‘Each show should feel like a speech, language and inference she had been doing in we wake up a modern audience? unique meeting with that particular communication through reading. She was able to ensure For Nalle the answer is the clown. audience.’ (p22) stories and drama. that the wide range of abilities The clown takes the world and For students devising their own in her class were catered for and gives it a shake, sometimes a bit of work, Nalle gives a useful reminder Jodi Lea-Trowman that every single child enjoyed glittery wonderment comes out and to focus on and understand the role themselves as well as developed sometimes the world upturns and of the audience and its significant The book is ideal for any teacher their communication skills. The breaks. But the shake is incredibly position within performance; wanting to use a cross curricular way the programme structures exciting for everyone involved. that everything placed before approach to teaching in English. It lessons makes the approach easily ‘My dream is to create tools that the spectator has an effect. He links well with many popular texts transferable to a wide range of texts all performers can use to enhance suggests that we must such as, The owl who was afraid of and topic themes and she certainly their connection to their audiences.’ ‘… balance society either the dark, Where the wild things are, intends to develop this further. (P.Nalle Laanela). by creating heart-warming George’s Marvellous medicine, but We recommend this book There are some tasty nuggets laughter or by pushing audiences also to key topics such as Romans, for any primary classroom and of wisdom in this slim book, not to a place they experience as Egyptians and PSHE themes. for any teacher wanting to make only for makers of anti-fourth unsettling, thought-provoking It’s key aim of helping children links between language and wall theatre, but those exploring and challenging.’ He urges us to ‘…develop their language and communication skills and the wider status, creating physical comedy, ‘Comfort the disturbed or disturb communication skills to access curriculum. It also includes time developing a character or seeking the comfortable.’ (p26) parts of the curriculum...’ will effective pre and post assessment ideas to kick start their devising Inevitably, when writing a be music to the ears of many forms to enable you to track key projects. Nalle describes the book about what you do and how primary practitioners. It is the skills such as use of vocab, social rhythm and energy of physical you do it, there is a danger of result of project funded by the Arts language, negotiation, attention comedy, discusses connecting with self-congratulation and this book Council of England (ACE) London, and listening, memory and phonics an audience and working with doesn’t always avoid it. However, if initially looking at links between skills. Most of all, it’s fun! volunteers on stage. He lays out you get past those sticky passages health, arts and developing how to generate material and then you will be rewarded with some communication skills. It combines Ann Leach structure the results. valuable practical exercises and Speech and Language (SALT) These directly liftable excellently quotable advice. It approaches with the strategies techniques would be useful in was a pleasure to read a book from Drama teaching. Research Developing Children’s speech, any physical comedy rehearsal, that reflected back so many of my from the project showed that language and communication particularly if you are exploring the beliefs about what theatre could participants increased language through stories and drama. performance style of the original and should be. Nalle’s advice and skills, communication skills and Jodi Lea-Trowman Commedia Del’Arte troupes or clarity about developing interactive confidence. Routledge Dario Fo. There are ideas here that work is genuinely interesting and It is organised and presented ISBN 978-1-911186 -13-7 will unlock the audience-centred useful. For me, the section on in a very clear and easy to use storytelling of Peter Brook as well as audience participation is a real gem; format which will again please giving you a starting point for how in theatre this can often be clumsy busy teachers. One of our Teachers The Clown Manifesto Complicité might work in a Lecoq and mis-managed, but this book has test run the Romans section inspired piece. guides you through the pitfalls and with her Y4/Y5 mixed ability P. Nalle Laanela and Stacey Sacks Clowning encourages a theatre lays down some rules for audience class. This class also has a high that places the audience right at involvement that left me whooping. number of pupils with SEND This book is a warm dip into its heart and develops the art of issues including ASD/ADHD. the world of clown. Specifically, listening, really listening to your Kerry Frampton She was very pleased with the the world of man clown P. Nalle fellow performers and audience results. She used the ‘Story Square’ Laanela, a former Lecoq student then adapting accordingly. It is an approach which enabled her to who founded Clowns Without honest celebration of togetherness, The Clown Manifesto easily make sure that everyone was Borders in 1996, a group which chaos, catharsis and anarchy. P. Nalle Laanela and Stacey Sacks included throughout the session. works with international aid Clowning is a performance style Oberon Books The children were encouraged to organisations to create social that is ‘With’ and ‘For’ an audience, ISBN 978-1-78319-119-2 ask and answer questions which rehabilitation culture-based but not ‘At’. Never ‘at’. I’m certain projects in areas of the world that you can think of many young affected by conflict. He is also a actors who would benefit from some Clown Professor at the Stockholm of these tactics, even when working Academy of Dramatic Arts in within a naturalistic framework: Sweden and regularly performs to listen, to be truthful, to respond with his touring company Circus honestly. Arts. Nalle has travelled all over This book sets out a way of the world, researching and defining working that promotes a dialogue the lowest universal common between audience and performer, denominator of laughter. This book an ever shifting exchange that is tracks his journey and explains his thoroughly interactive and therefore methodology to generate physical utterly risky. What will happen comedy of your own; it deals with next? We don’t know, but we do everything ‘outside of the fourth know that something will happen, wall’. and that the potential success or Nalle believes that traditional failure of this happening is both forms of theatre have forgotten delightful and squirmy in our the audience. When did the living collective guts. This fine balance connection between audience between control and chaos is and actor get sidelined? When did explored and promoted in this book.

48 Drama Magazine Summer 2018 Books Reviews

Culture, Democracy and perspectives from current But others will appreciate the the Right to Make Art: The emerging artists which show academic rigour and perspective British Community Arts that the wheel keeps turning. As applied throughout. An important Movement Nick Clements says: ‘Long live volume of work, and one to which community arts: community arts I shall return and dwell. Alison Jeffers & Gerri Moriarty is long dead.’ This is not a quick read, as The lengthy title betrays serious, the small font and packed pages Andrew Loretto academic intent. This is not a testify to. But it’s definitely hands-on practical ‘how to’ worth the effort if you want a quick read but very definitely a thoroughly researched academic Culture, Democracy and the rigorous, academic and historical and practitioners’ perspective Right to Make Art: The British exploration of the British on this often under-documented Community Arts Movement Community Arts Movement. field of work. I personally Alison Jeffers & Gerri Moriarty The editors are keen to stress warmed to the first-hand Bloomsbury Methuen Drama that it was a national movement, practitioner accounts of trials, ISBN: 978-1-4742-5835-7 (compared to the more anti- endeavours and chutzpah in establishment community theatre making things happen despite scene) focusing primarily on political and funding opposition. the late 1960s to mid-1980s in the first half with contemporary demonstrations, confrontation, reflections in the second. and the fevered process of The academic framing, or documenting social inequality’. ‘umbrella’ as Alison Jeffers In Scotland, Andrew Crummy sets out, is balanced by direct describes the transformative About Your Reviewers… reflection on practice from co- effect the Craigmillar Festival editor Gerri Moriarty and others Society had in symbiosis with Patrice Baldwin was Chair of National Drama for several years and President of the International linking in to the modern context its communities where ‘the Drama Theatre and Education Association (IDEA) from 2010-13. She is an author, conference and what has been won, lost and Festival was there for them, speaker, workshop leader and freelance Drama and Education consultant. re-found for new generations they were running it and being Lydia Crang is originally from a small village in Essex and is now in her second year of teaching along the way. What strikes employed, it was well organised Drama at a school just outside of Reading. Having completed two stressful years as a PGCE student, me, reading this incredibly rich and structured, it was fun, it was then as an NQT, she has now set herself the target of ensuring she goes to the theatre once a month collection of diverse narratives creative, it was caring.’ simply for pleasure so that her passion for theatre is continually satisfied. and perspectives on Community In Northern Ireland, it Arts over the past 50 plus years, took a long time, but the Peace Rachel Drazek is a freelance Movement Director for Theatre. She trained at GSA Conservatoire and is how the work has always Process and Good Friday went on to an MA in Somatic Movement and Wellbeing from UCLAN. She teaches frequently within come from a place of dissidence Agreement paved the way for education contexts (primary through to post-graduate) and also has a strong Community practice. and subversion; of wanting and full acknowledgement of the She is currently Performance Coach at Leeds College of Music. www.rachelisdancing.com needing to challenge prevailing intrinsic value of Community Kerry Frampton is Artistic Director of Splendid Productions, theatre-maker, leader of workshops, societal norms and unfairness: Arts: a position now at peril as writer, musician, clown and maker of beautiful visual resources. particularly those of capitalism. we possibly move back towards Yet there is also a desire to be Direct Rule and a hard border Christopher Holman is a Secondary Drama and Music teacher in a large comprehensive school accepted. Here often lies the rub: as a result of Brexit in a country in West London. He is a freelance stage director and designer, working both in the UK and on the the work starts out as challenge where, as Moriarty points out, continent. Christopher is currently working on a PhD investigating the role of formal education on but then becomes assimilated Community Arts ‘grew from developing identity throughout early adolescence. through success into serving shattered glass and poor soil; the governing norms and agendas. hope must be that, at a deep level, Emeritus Professor, Andy Kempe, having retired from the University of Reading last autumn, is keeping himself busy by doing workshops for anyone kind enough to invite him. He is enjoying This pattern of work is given it will somehow be able to find a doing some work in local schools and getting increasingly involved in community theatre projects. vivid first-hand narration from way forward.’ multiple viewpoints, with a focus The culminative effect Ann Leach is the head teacher at Wharncliffe Side Primary School, Sheffield, with 28 years of on England, Northern Ireland, of reading these detailed experience in primary schools. She has been using drama with pupils throughout her teaching Scotland and Wales. testimonies and perspectives career. There are repeated accounts is to take away a sense of awe of resistance by the Arts Council at the collective endeavour LM Lewin is an actor and writer who read English at Cambridge University and trained at East 15 of Great Britain to support undertaken by many artists over Acting School. Community Arts in any form, the years; often in times where Originally from Belfast, Andrew Loretto is currently Director of Winchester’s Hat Fair – the UK’s with Moriarty citing the then they were less well funded but longest running festival of Outdoor Arts. He led Right Up Our Street (Doncaster’s Creative People Secretary of ACGB regarding with fewer restrictions; and also and Places programme) and established Sheffield People’s Theatre. it as the equivalent of inviting to realise the permanence of ‘arsonists to set up home in his change in the sector. As Jeffers Helen Nicholson is Professor of Theatre and Performance and Vice Principal at Royal Holloway, attic, with dreadful but inevitable points out, in more recent times University of London. A former teacher, she specialises in theatre in community and educational consequences’. In Wales, the work artists ‘became vulnerable to settings and is currently working with the National Theatre on their Public Acts programme. developed relatively later, partly accusations of instrumentalism as a catalyst in response to the when they were simply taking Elin Schofield is a director and facilitator who currently works in the Learning Department Miners’ Strike where, according advantage of the attention and at Sheffield Theatres. She runs Sheffield People’s Theatre, a community company of over 400 performers from Sheffield and beyond, including the Young Company (18-25) and a company of to Nick Clements, artists resources now being paid to adults with learning disabilities and/or autism. found ‘a level of achievement the communities within which and excitement lacking in our they had been working for thirty Alison Warren is a full time Drama teacher in Wiltshire. She lives with a long-suffering husband, a previous lives’ in response to years.’ However, the book does black cat and far too many books. She is National Drama’s secondary officer and is a self-confessed ‘the charged atmosphere of bring us some very contemporary Shakespeare nut.

Summer 2018 Drama Magazine 49 INDEX OF ARTICLES

DRAMA 21.1 (Spring ‘15) The Actor and the Camera Denis Lawson Nell Gwynn Jessica Swale What They Left Behind Review of What Do I Know? People, Politics and the Arts Mr Foote’s Other Leg Ian Kelly Wimborne Community Theatre’s production by Reflections from the Chair Richard Eyre John Somers Áine Lark Children in Theatre from the Audition to Forum Theatre for Children Nick Hammond Working in Professional Theatre Jo Hawes Taking Drama Teaching Outside the Book Reviews Classroom Holly Barradell Crouch, Touch, Pause, Engage Robin Soanes Children on Screen Landing a Role in Film and Acting Shakespeare’s Language Andy Hines 1984 George Orwell: adapted by Robert Icke Television Frederick Levy Pack of Lies Hugh Whitemore Working in the Muck to Keep Kids Safe & Duncan Macmillan Tomcat James Rushbrooke John Coventon interviews Peter O’Connor Mantle of the Expert: A Transformative Yen Anna Jordan Approach to Education Tim Taylor Krabat: Four Languages and a Drama DRAMA 22.1 (Spring ‘16) Surviving Actors Manual Felicity Jackson & Cowgirl G R Gemin adapted by Mike Kenny Andy Kempe and Anke Coster Reflections from the Chair Áine Lark Lianne Robertson Drama Games for Rehearsals Jessica Swale Drama through Dialogue John Dickson Consensual Evan Placey Taking Drama Teaching Outside the Dramatic Adventures in Rhetoric Giles Taylor & Bás Henry Collie Classroom Holly Barradell National Theatre: All About Theatre National Philip Wilson Theatre Learning Through Drama How to Do Accents Edda Sharpe & Which Board to Tread? Samantha O’Reilly Jan Haydn Rowles Jennifer Chamberlain & Holly Barradell Plays from Vault Florence Keith-Roach, Camilla Whitehall, Rosie Kellett, Oli Forsyth & Stephen Running on the Cracks Julia Donaldson Letting Your Students Co-direct The Stages of Half Moon Beccy Allen Laughton adapted by Andy Arnold Jennifer Little ‘Miss, I’m Good at the Practical But I Around the World in 80 Days Laura Eason The Oberon Book of Comic Monologues for Hewin’ Goals Review of Backscratch Theatre Don’t Like the Theory’ Kate Parsons Dramatic Adventures in Rhetoric Giles Taylor & Women: Volume Two Katy Wix by Julie Ward Philip Watson Arts Award: Supporting Young The Oberon Book of Monologues for Black Book Reviews Performers for 10 Years Carrie Wootten Actors: Volume One: Monologues for Women Simeilia Hodge Dallaway (ed) Burying Your Brother in the Pavement DRAMA 23.1 (Spring ‘17) Making, Raising and Waving the Drama The Oberon Book of Monologues for Black Jack Thorne Flag John Somers Reflections from the Chair Áine Lark Actors: Volume Two: Monologues for Men Same Deborah Bruce Finding Ways through the Mad Forest The View from the Gods Holly Barradell Simeilia Hodge Dallaway (ed) The Wardrobe Sam Holcroft Andy Kempe Bubble Young Theatre Makers Using the Youth Theatre: Drama For Life Michael Richardson Creative Shakespeare: The Globe Does Anyone Know Anything About this We Need to Act On Process Adam Annand Education Guide to Practical Shakespeare Old Suitcase? Jan Buley and Marie Vickers DRAMA 24.1 (Spring ‘18) Fiona Banks Student Reflection Asta Tomasdottir Drama for Thought, Talk and Writing Reflections from the Chair Áine Lark Sweet William: A User’s Guide to Shakespeare They Dream of Home Review of John Patrice Baldwin The View from the Gods Holly Barradell Michael Pennington Somers’ community play by Sharon Muiruri The Story Behind I Love You, Mum – Designs on Drama Ali Warren reports on The Complete Brecht Toolkit Product Review Helen Burge reviews I Promise I Won’t Die Mark Wheeller ND’s CPD event Stephen Unwin Opus lighting system Actor Training: A Time for a Revolution? Drama and Theatre Education in India Steven Green King Charles III Mike Bartlett Book Reviews Geoff and Anne Readman Second Person Narrative Jemma Kennedy Half Moon History Brought to Life for This Flesh is Mine Brian Woolland Students Beccy Allen ‘I See What You Mean’ – Making Sense Pronoun Evan Placey This Changes Everything Joel Horwood of Images Patrice Baldwin The Light Burns Blue Silva Semerciyan Acting and Seeing the World Through Home Nadia Falls Someone Else’s Eyes Yukari Ishino Drama as a Passport Sharon Muiruri Coyne Drama Menu: Theatre Games in Three Courses Greenham: One Hundred Years of War Storytelling With Our Students Glyn Trefor-Evans Sketches From the High Country Phil David Heathfield Duchene and Peace Andy Kempe Directing Young People in Theatre Samantha Lane TheTempest Review of Flute Theatre’s Immersive Theatre Lucy Bellingham DRAMA 21.2 (Summer ‘15) Year of the Fat Knight: The Falstaff Diaries production by Andy Kempe Professional Conversations: How Do Reflections from the Chair Áine Lark Anthony Sher Book Reviews You Do It? Daniel Shindler Taking Drama Teaching Outside the The Time Traveller’s Guide to British Theatre Writing Music for the Stage: A Practical Guide Platform Tamara von Werthorn Aleks Sierz & Lia Ghilardi for Theatremakers Michael Bruce Classroom Holly Barradell Theatre Review Viv Kerridge reports on Multitudes John Hollingworth Theatre in Scotland – A Field of Dreams Joyce Hull’s year as City of Culture National Theatre Drama Teachers McMillan edited by Philip Howard Conference Anna Quiros, Ali Warren & David The Domino Effect and Other Plays for Teenagers Fin Kennedy The Energetic Performer Amanda Brennan Book Reviews Lawson-Lean The Oberon Book of Modern Monologues for Talk and Drama for Writing Future Conditional Tamsin Oglesby Teaching Voice – Workshops for Young Women Dee Cannon (ed) Performers Max Hafler Patrice Baldwin The Oberon Book of Modern Monologues for The IMPROV Book: Improvisation for Theatre, Men Dee Cannon (ed) Working in the Muck to Keep Kids Safe DRAMA 22.2 (Summer ‘16) Comedy, Education and Life Alison Goldie (Part 2) John Coventon continues Reflections from the Chair Aine Lark Much Ado About Nothing/Romeo and Juliet: the interview with Peter O’Connor The Working Actor Paul Clayton OUP and RSC School Shakespeare Series The View from the Gods Holly Barradell Actioning – and How to Do It Nick Moseley Emma Smith (Consultant) Nonsuch Theatre: Partnering with Education Edward Boott How Qualifications Are Developed Karen Shakespeare on Stage Volume 2 Julian Curry Latto DRAMA 23.2 (Summer ‘17) Putting Process Drama into Action: The Dynamics Keeping the Memory Alive of Practice Pamela Bowell & Brian S Heap Samantha O’Reilly ‘Let’s Meet the Red Lady of Paviland’ Reflections from the Chair Áine Lark Konstantina Kalogirou, Sian Sarwar & Creating Worlds: How to Make Immersive It Always Seems Impossible Until Konstantinos P. Trimmis The View from the Gods Holly Barradell Theatre Jason Warren It’s Done Rosie Devine A 3D Approach to Drama Tony Horitz How To Do Standard English Accents Edda How Contemporary Theatre Practice Sharpe & Jan Haydn Rowles The Importance of Community Can Influence Teaching Methodology provides a tribute to Simon Stone Theatre Abi Wright Keith Burt Softies of the World Unite! Kate Nash Keith Bain: The Principles of Movement Plays for Large Casts in Schools Michael Campbell (ed) Girl Power: A Transformative Act Encouraging Words Ali Warren Musical Theatre: A History John Kenrick Michael Theodorou Jane Polley Thinking About ‘Thinking’ in Drama The Glove Thief Beth Flintoff Leave Hitler to Me Lad Review of Duckegg New Writing in Schools Patrice Baldwin Theatre by Viv Kerridge Hard To Swallow: Easy To Digest Mark Adrienne Ferguson How Applied Theatre Can Improve Wheeller & Karen Latto Book Reviews Using Research Partnerships Children’s Clinical Experience in Feet of Clay; The Rinse Cycle; Unseen Teach Drama: How to Make a Living as a Kristina Toma, Joanne Lui, Lois Adamson Hospital Persephone Sextou Freelance Drama Teacher Samantha Marsden Academicals Terry Pratchett & Jane A. Davis Playful Plays Volume 1 David Farmer The Cat With the Invisible Tail Kristin About Your Reviewers: List of book reviewers Notes from a High Country Campus Phil Prentice Truth in Play Debbie Nyman & Duchene Jill Lloyd-Jones Every Picture Tells a Story Brian Lighthill BACK ISSUES Falling and Other Short Plays Angie Farrow ‘I Love You Mum, I Promise and Alice Kirk I Won’t Die’ Review of Mark Wheeller’s latest National Drama Publications The Active Text – Unlocking plays Through play by Holly Barradell Stage Lighting: A Brave New World 49 Collier Close Physical Theatre Dymphna Callery Skip Mort West Ewell Book Reviews Sketches From the High Country Phil Surrey KT19 9JQ So You Want to Be a Theatre Designer? Red Velvet Lolita Chakrabarti Michael Pavelka Duchene Email: [email protected]

50 Drama Magazine Summer 2018 NEW ON DVD, BLU-RAY & CD

JULIUS CAESAR ANTONY AND CLEOPATRA TITUS ANDRONICUS Caesar returns from war, all- Following his critically acclaimed In a world of chaos and disorder, conquering, but mutiny is rumbling productions of Othello and Titus Andronicus feels chillingly through the corridors of power. Much Ado About Nothing, Iqbal contemporary. Rape, cannibalism, Angus Jackson directs Shakespeare’s Khan returns to direct Shakespeare’s mutilation and murder are the epic political tragedy, as the race tragedy of love and duty, picking gruesome tools in Shakespeare’s to claim the empire spirals out of up the story where Julius Caesar bloodiest play. Directed by control in this this Royal Shakespeare ends. Antony Byrne and Josette Blanche McIntyre, cast includes Company production. Simon star in the title roles. David Troughton and Nia Gwynne. DVD | BLU-RAY DVD | BLU-RAY DVD | BLU-RAY

THREE TRAGEDIES ANTONY AND CLEOPATRA LOVE’S LABOUR’S LOST MUSIC & SPEECHES Rising star Paapa Essiedu gives LOVE’S LABOUR’S WON a stunning performance in Simon Music and speeches from the 2017 MUSIC & SPEECHES Godwin’s Hamlet; Antony Sher leads Royal Shakespeare Company the way as the proud but fatally production directed by Iqbal Khan. Music and speeches from flawed monarch in Gregory Doran’s Antony Byrne and Josette Simon the 2014 Royal Shakespeare acclaimed King Lear; Iqbal Khan’s star in the title roles. Music by Company productions directed astonishing and groundbreaking Laura Mvula. by Christopher Luscombe. production of Othello, featuring Music by Nigel Hess. CD Hugh Quarshie in the title role. CD 3 DVD SET | 3 BLU-RAY SET

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