RehearsalGCSEGCSE English DiaryEnglish Literature Literature Activities Activities ElviAnticipation PiperAnticipation (Assistant Guide Guide Director)

This An Anticipationadaptation An Anticipation of Guide ‘Curious isGuide a seriesIncident’ is a seriesof has ofbeen edited by Simon Stephens intoquestions a 90-minutequestions or statements version, or statements and(usually re-staged (usually 8 to in8 tothe round for schools’ audiences. 10) related10) related to the topicto the or topic point or of point of view ofview a particular of a particular text. Students text. Students work silentlywork silently to read to and read then and agree then agree W/cor disagreeor 13 disagree with August each with statement. each statement.- Pre-Week

AnticipationAnticipation guides: guides: • Help• studentsHelp students to activate to activate their prior their prior Prior to our rst of cial week of rehearsal, six speci cs. Everything in this space re ects knowledgeknowledge and experience and experience and think and think of the company of eight actors come together our protagonist’s brain. about theabout ideas the they ideas will they be reading.will be reading. for three days of work at the National • Encourage• Encourage students students to make to a make a Theatrepersonal Studio,personal connection led by connection the withproduction’s a topicwith aor topic or In these early stages, we also share a vast associateunit ofdirector workunit of so Anna work that Marslandsothey that can they and can quantity of research and resources– DVDs, movementintegrate associateintegrate new knowledge Stevenew knowledge Kirkham. with their These with their documentaries, books, images and articles. pre-rehearsalbackgroundbackground sessions experience focus experience andmainly prior andon prior These materials help the cast to start thinking someknowledge. of the production’sknowledge. iconic movement about Christopher’s extraordinary mind sequences, created originally by Frantic and how he experiences the world. Anna Assembly’sStudentsStudents will: Scott Grahamwill: and Steven leads a series of exercises to focus on the • Connect• C onnecttheir personal their personal knowledge knowledge Hoggett with director Marianne Elliott. story of the play. First, we decide on seven and experienceand experience with a curriculumwith a curriculum sentences which summarise the key points topic ortopic issue. or issue. Anna Marsland also presents a model of the of the narrative, then condense these to just • Engage• E withngage topics, with topics,themes themes and and designissues for the atissues production:their atcurrent their a currentlevel grid-lined of level dance of three sentences, before boiling down to just  oor (likeunderstanding. a pieceunderstanding. of graph paper) with the one sentence (like a tag line for a lm) which ‘chalk’• H aveoutline• aH purpose aveof a adead purpose for dog reading atfor the reading subject centre subject- - encapsulates what we believe to be at the of it. Aroundarea text. areathe edge text. of the stage are white heart of the play. These sentences help us wooden• Become •benches B ecomefamiliar from familiar a whichnd comfortable apropsnd comfortable can explore the driving forces within the play. appear.with Three a topicwith breaks abefore topic in thereadingbefore benches reading unfamiliar provide unfamiliar On our nal day of these pre-rehearsals we the entrancestext. text. and exits, with our audience on create a timeline of the entire play, showing all four sides of the stage. In addition to these not only the scenes and events within the StudentsStudents should shouldbe encouraged be encouraged to use to use benches, our set consists of ten boxes, all of narrative, but also events that have led us to the tablethe on table the followingon the following sheet to sheet track to track which are marked with a prime number (from any given moment. This timeline will live on their responsestheir responses to the play to the Curious play Curious numbersIncident.Incident. 2–31). At the beginning of the show the wall of the rehearsal room, to help the the boxes are on stage, ordered in sequence actors place their character’s emotions at alongThey theshouldThey long shouldc sidesircle “Agree” ofcircle the “Agree”rectangular or “Disagree” or “Disagree” space. any moment during the play, and to provide Thebeside set isbesideeach like statementa eachphysical statement beforerepresentation theybefore read they of read a quick-reference guide to how, when and Christopher’sor watchor thewatch play.– the the main play. character – mind; where scenes take place as we work on them ordered, mathematical and based on in detail during rehearsal. FollowingFollowing a class a discussion class discussion of these of these statements,statements, they will they then will read then/watch read /watchthe the play, whereplay, possible,where possible, they should they shouldnote note page/scenepage /scenenumbers numbers that relate tha tto relate each to each W/cstatement.statement. 20 August WEEK 1

If you areIf you watching are watching a production a production at the at the Wetheatre, movetheatre, youinto canour you encouragerehearsal can encourage room a discussion at athe discussion the lifts and movement sequences. Each Nationalto take to placeTheatre take at place theStudio, interval at the which interval and has, where aand full, where day is divided into morning sessions which mark-uppossible,possible, of for the students  oor for gridstudents to and make set. to notes make The stage notes focus on movement, and scene work in managementabout theirabout thoughts team their thoughtsjoin at usthis in pointatthe this rehearsal a spoint well a s well the afternoon. Steve Kirkham is leading on room,as at supportingtheas end. at the end.the technical elements and staging the movement sequences in the logistics of this seemingly simple, yet actually piece, and Scott Graham joins us to create When theyWhen have they finished have finished hugely complex and technical, production. some new choreography. Movement and readingreading/watching/watching, they should, they shouldconsider consider physicality are integral storytelling tools in the statementsthe statements again based again onbased any onnew any new Weinformation begininformation each. Again, day .with theyAgain, group should they yoga, shouldcircle followed circle the production, and there are sequences that by“Agree” circuits“Agree” or of “Disagree” cardio or “Disagree” exercise beside and besideeach strength each require extensive drilling and reworking for trainingstatement tostatement support and check andthe tocastcheck see with whetherto seethe intensewhether this staging. Each of these sequences has a physicaltheir optheir inionrequirements op hasinion cha hasnged of thecha. playnged and. to nickname – for example, Christopher’s solo develop the precision and skill to undertake sequence where describes his desire to be

Curious IncidentCurious of theIncident Dog inof the NightDog in-time the EducationNight-time ResourceEducation Resource 1 Resources Resources© National ©Theatre National Theatre curiousonstage.comcuriousonstage.com/education /education 1 1 nationaltheatre.org.uknationaltheatre.org.uk/learning /learning an astronaut (imagining he is in a spaceship) characters, and create the moments that is calledGCSE ‘Constellations’.GCSE English English Literature Literaturemay have takenActivities place Activities directly before the beginning of the scene. We discuss the given FurtherAnticipation examplesAnticipation of these Guide sequences: Guide circumstances of each scene, and pinpoint the objectives of each character in the • Astro-boy: following ‘Constellations’ scene; sometimes characters have ‘super- AnChristopher’s Anticipation An Anticipation vision Guide for isGuide hisa series life is aas seriesof of objectives’ which exist throughout the scene, questionsastronautquestions orexpands statements or statementsand the(usually ensemble (usually 8 to 8 to with ‘sub-objectives’ that exist at different join him to bring it to life – ‘fl ying’ him moments within it. Objectives are what 10) related10) related to the topicto the or topic point or of point of viewthrough ofview a outerparticular of a space. particular text. Students text. Students they want to achieve, both consciously and work silentlywork silently to read to and read then and agree then agree subconsciously. To identify an objective for • or Polperro: disagreeor disagree Christopher with each with statement. recounts each statement. a a character we also examine what obstacles memory of his mother on holiday in they have to overcome, or navigate, in each AnticipationCornwall,Anticipation on guides: a beach guides: in Polperro. The scene, and which – if any – of the characters • Help• studentsHelp students to activate to activate their prior their prior audience can see Judy (his mother) is driving each scene to achieve their knowledgeknowledge and experience and experience and think and think being lifted by three members of the cast objective and overcome their obstacle. about theabout ideas the they ideas will they be reading.will be reading. as if she is diving through the waves. • Encourage• Encourage students students to make to a make a personalpersonal connection connection with a topicwith aor topic or We use ‘actioning’ as a device for exploring • Pinball: unit of As workunit Christopher of so work that sothey navigatesthat can they can the text of the play, a method employed Paddingtonintegrateintegrate newStation, knowledge new he knowledgeis fl withung theirlike with a their by Marianne Elliott in the original rehearsal pinballbackground throughbackground experience busy commutersexperience and prior and in a pr ior process for the play. Actioning requires the fl urryknowledge. of lifts,knowledge. fl ips and twirls supported actor to divide their lines into thoughts or by the entire company. sentences and apply a transitive verb (an StudentsStudents will: will: action word) to each line. The verbs must • Connect• C onnecttheir personal their personal knowledge knowledge Each morning we focus on a couple of be something the actor can ‘do’ to another and experienceand experience with a curriculumwith a curriculum these sequences to nd the safest way of character and the word should t into the topic ortopic issue. or issue. performing them, whilst maintaining the following structure: I (ACTION) you; for • Engage• E withngage topics, with topics,themes themes and and aestheticissues and atissues the their storytelling atcurrent their currentlevel drive. of level of example, ‘I exhaust you’ or ‘I tempt you’. understanding.understanding. This supports the physical and emotional We• beginHave• to a Hexplore purposeave a purposethe for scenes reading for inreading subject our subject- - drive of the text and the characters’ afternoonarea sessions.text.area text. The scenes in the objectives – the text isn’t just the emotions play• doBecome not• necessarilyB ecomefamiliar familiar a ndtake comfortable place and comfortable in of each character, it’s about the impact each chronologicalwith a topicwith order. abefore topic The readingbefore narrative reading unfamiliar jumps unfamiliar character has on another. backwardstext. andtext. forwards from opening moment of the play – Christopher’s discovery At the end of the rst week we welcome the StudentsStudents should shouldbe encouraged be encouraged to use to use of the dead dog (Wellington) –and his nal two cast members to rehearsal. They’ve the tablethe on table the followingon the following sheet to sheet track to track subsequent quest to solve the mystery of joined us after completing the international their responsestheir responses to the play to the Curious play Curious whoIncident. murderedIncident. him. leg of The Curious Incident of the Dog in the Night-Time tour. With the full company AnnaThey asks shouldThey the shouldc actorsircle “Agree” ctoircle think “Agree” or about “Disagree” or their “Disagree” assembled we have a ‘meet and greet’ where character’sbeside besideeach backstory statement each statement and before to place theybefore where read they read the National Theatre staff come to meet and theiror watch characteror thewatch play. is thein their play. narrative and welcome the team. Then we do a read- emotional arc for each scene in the play. through of the whole script – an exciting end WeFollowing exploreFollowing athe class relationships a discussion class discussion between of these of these to our rst week. statements,statements, they will they then will read then/watch read /watchthe the play, whereplay, possible,where possible, they should they shouldnote note page/scenepage /scenenumbers numbers that relate tha tto relate each to each statement.statement. W/c 27 August WEEK 2 If you areIf you watching are watching a production a production at the at the theatre,theatre, you can you encourage can encourage a discussion a discussion Weekto take two toplace followstake at place the a similar interval at the pattern interval and, where to and week, where rst of these is ‘chalking’. In three scenes one;possible, morningspossible, for students begin for studentswith to makea warm-up to notes make and notes between Christopher and Siobhan (his areabout focused theirabout thoughtson their movement, thoughts at this with pointat this afternoons a spoint well as well teacher), Christopher draws chalk faces on dedicatedas at theas end. toat scenethe end. work. The strength and the  oor to illustrate his understanding of precision of the movement sequences grow certain emotions – these faces are taken When theyWhen have they finished have finished daily, and we continue to examine each directly from Mark Haddon’s novel. It is readingreading/watching/watching, they should, they shouldconsider consider scene in detail before placing them in our important that these are precise and clear the statementsthe statements again based again onbased any onnew any new stageinformation space.information. Again,. theyAgain, should they shouldcircle circle and happen in speci c areas of the stage. “Agree”“Agree” or “Disagree” or “Disagree” beside besideeach each Therestatement arestatement a andnumber check and of toothercheck see sequences whetherto see whether and Another key element of the production is elementstheir optheirinion of the op has inionproduction cha hasnged cha. whichnged .we start ‘boxology’. This is a term coined by the to introduce into rehearsals this week. The show’s original creative team and, as the

Curious IncidentCurious of theIncident Dog inof the NightDog in-time the EducationNight-time ResourceEducation Resource 2 Resources Resources© National ©Theatre National Theatre curiousonstage.comcuriousonstage.com/education /education 1 1 nationaltheatre.org.uknationaltheatre.org.uk/learning /learning name might suggest, it is a science of sorts correctly complete a journey throughout the andGCSE mirrorsGCSE Christopher’s English English mathematical Literature Literatureplay. This mayActivities seem Activities easy (and hopefully it world. The design for the play includes a looks easy in the production), but economy seriesAnticipation of boxesAnticipation that move Guide around Guide the stage of movement is vital to the style of the show to build Christopher’s world. They form and the precision of ‘boxology’ is a huge part different spaces, as well as having additional of that. We navigate this ‘science’ with a series functions An Anticipation An throughout Anticipation Guide the play,isGuide a series and is area seriesof each of of grid drawings that detail the movements of labelledquestions questionswith or a primestatements or number. statements (usually Some (usually contain8 to 8 to the boxes scene-to-scene – not dissimilar to a props, one magically lights up, and others football manager’s play diagrams. 10) related10) related to the topicto the or topic point or of point of areview solid ofview enougha particular of a to particular stand text. on. Students text. At the Students start of thework play silently workthe boxes silently to read are toset and read in thenparallel and agree then lines agree at As we approach the end of our second week eitheror disagree sideor ofdisagree thewith stage each with in statement. numericaleach statement. order of rehearsals, we piece together what we (2–31). From early on in the production, they have been working on and do a ‘stagger- moveAnticipation in Anticipationand out guides: of scenes guides: to create places through’ of the rst half the play. • Help• studentsHelp students to activate to activate their prior their prior in the narrative – for example, a counter at It is exhilarating to see where the movement knowledgeknowledge and experience and experience and think and think Swindon Police Station when Christopher is sequences blend seamlessly into the scenes. about theabout ideas the they ideas will they be reading.will be reading. arrested at the start of the play. The journey The ‘boxology’ comes into play, as the set • Encourage• Encourage students students to make to a make a of thesepersonal boxespersonal connection around connection the withspace a topicwithis an aor topic or pieces begin to move around the space and exerciseunit in of accuracy workunit of so work that– each sothey that one can they has tocan enter build each new place in the story simply and speci integrate c scenesintegrate new and knowledge then new return knowledge with to different their with their ef ciently. We also introduce a number of the placementsbackground onbackground the experience  oor gridexperience in and order prior and to prior personal props used. knowledge.knowledge.

StudentsStudents will: will: W/c• Connect• 3 CSeptember onnecttheir personal their personal knowledge knowledge WEEK 3 and experienceand experience with a curriculumwith a curriculum topic ortopic issue. or issue. • Engage• E withngage topics, with topics,themes themes and and Weekissues three ofatissues rehearsalstheir atcurrent their sees currentlevel us of move level of it is precise and ddly and has to complement to a largerunderstanding. rehearsalunderstanding. space where the full the scene he is playing. Sometimes he builds set• andHave seating• aH purposeave can a purposebe for laid reading out for as reading subject it will besubject- - slowly and calmly as he discusses a happy in schoolsarea text.onarea tour. text. Rehearsals follow the memory, at other moments he frenetically format• B ecomeof• previousB ecomefamiliar weeks familiar and – comfortable warm-up and comfortable and constructs a large sections of track. Each part movementwith a in topicwith the abeforemornings, topic readingbefore and reading sceneunfamiliar workunfamiliar of the track is stored in one of the benches in thetext. afternoon. text. We focus on the second around the edge of the space. Shiv has to half of the play in this week, both the physical devise his route and remember where each StudentsStudents should shouldbe encouraged be encouraged to use to use sequences and scenes. However, the piece is stored so he can collect the right the tablethe on table the followingon the following sheet to sheet track to track importance of revisiting and consolidating section in the right order. We start by placing their responsestheir responses to the play to the Curious play Curious scenesIncident. isIncident. also important. The cast continue pictures on the boxes to help Shiv nd the to build their physical strength and tness right one in each scene and then one day Shiv eachThey day shouldThey as well shouldcircle as “Agree”focusing circle “Agree” or on “Disagree” voice. or “Disagree” says he is ready to try it without the pictures. Manybeside cast besideeach members statement each statementplay before several theybefore roles read theywith reada He nails it rst time and slowly the mechanics varietyor watch ofor accents thewatch play. the in theplay. play and sometimes of where things are and how they t together speech happens over the musical score starts to melt into the action of the scenes. andFollowing duringFollowing aphysical class a discussion classsequences. discussion of Therefore,these of these thestatements, vocalstatements, strength they willof they the then castwill read then is /watchextremely read /watchthe theThis week sees more elements of the play, whereplay, possible,where possible, they should they shouldnote note important. Kay Welch, our voice coach, show appear in the rehearsal space. page/scenepage /scenenumbers numbers that relate tha tto relate each to each works with the actors regularly, building Costume ttings take place and the cast statement.statement. on these aspects and preparing the cast begin to use key costume elements in forIf youthe touringareIf you watching areweeks watching a (12 production weeks a production with at the 5–8 at the rehearsals. Shoes are particularly important performancestheatre,theatre, you can per you encourage week). can encourage a discussion a discussion – with the complexity of the movement to take toplace take at place the interval at the interval and, where and, where sequences and the lifts, the cast need Wepossible, continuepossible, for to students work for onstudents to some make toof notes makethe more notes an opportunity to practice using the right preciseabout theirelementsabout thoughts their of thoughtsthe at showthis pointat – thisfor a example spoint well as well footwear and costume. buildingas at the asthe end. at ‘train the end.track’, which is something that Christopher does throughout the rst We introduce more of the brilliant sound When theyWhen have they finished have finished half of the play. He has a train set that he and music, continuing to tighten the timings readingreading/watching/watching, they should, they shouldconsider consider loves and scene-after-scene he constructs and transitions to ensure everything marries the statementsthe statements again based again onbased any onnew any new aninformation elaborateinformation. track Again, (complete. theyAgain, should they with shouldc stations,ircle circle together perfectly. By the end of the third houses,“Agree” “Agree” orgures, “Disagree” orand “Disagree” trees) beside which besideeach snakes each week we go for a stagger-through of the aroundstatement thestatement stage.and check Shiv and toJalotacheck see whether(playingto see whether whole play with all these new elements to Christopher)their optheirinion hasop hasinion to cha construct hasnged cha. ngedcertain. help Anna pinpoint what we will need to elements of the track during the scenes – focus on in our nal week of rehearsals.

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W/cGCSE 10GCSE September English English Literature WEEK Literature 4 Activities Activities AnticipationAnticipation Guide Guide The nal week of rehearsals requires us the audience how he solved his favourite to focus on the transitions – the moments question in his maths A-Level exam. that An stitchAnticipation An scene Anticipation to Guide scene. isGuide The a series pace is a seriesof the of This involves the whole company using playquestions requiresquestions or ef statements ciency or statements of movement (usually (usually 8and to 8 to a series of large colour shapes that t sudden snaps from one moment to another together on the stage to illustrate how 10) related10) related to the topicto the or topic point or of point of (sometimesview ofview a particular jumping of a particular expanses text. Students text. of time Students in our Christopher used Pythagoras’ theorem to narrative),work silentlywork as well silently to asread swift to and read movement then and agree then with agree solve the equation. boxesor disagree (‘boxology’)or disagree with toeach withtie everythingstatement. each statement. together. Finally, we have two days of technical and WeAnticipation beginAnticipation run-throughs guides: guides: of the play – dress rehearsal – where we keep stopping • Help• studentsHelp students to activate to activate their prior their prior stopping to work on speci c moments, and starting to create lighting and sound for knowledgeknowledge and experience and experience and think and think or examine staging, with sightlines of the each scene and ensure the cues and levels about theabout ideas the they ideas will they be reading.will be reading. audience a key consideration. We work with are correct. The stage management team • Encourage• Encourage students students to make to a make a full costumepersonal personalwhere connection possible, connection with timing a topicwith quick- aor topic or create a setting list for where each prop changesunit forof workunitthe castof so work thatand sothey problem that can they solving can the starts and how it gets from one place to practicalintegrate detailsintegrate new of transitionsknowledge new knowledge and with logistics their with their another though the show. They also create both onbackground and backgroundoff stage. experience experience and prior and prior their ‘tracks’ so they know where they need knowledge.knowledge. to be during performance – from supporting Throughout the process of staging this a quick-change one minute, to operating a productionStudentsStudents will:there has will: been a reworking and torch ‘follow spot’ on an actor the next, and • Connect• C onnecttheir personal their personal knowledge knowledge reimagining of moments, which in previous setting and removing props to ensure the and experienceand experience with a curriculumwith a curriculum productions in large theatres used trapdoors smooth running of the show. topic ortopic issue. or issue. beneath the stage or a full blackout between • Engage• E withngage topics, with topics,themes themes and and scenes.issues It is atissuessatisfying their atcurrent their to see currentlevel how of theselevel of The dress rehearsal and rst preview see challengesunderstanding. areunderstanding. tackled with brilliant new all of these elements – the movement, ideas• Handave• creative aH purposeave aproblem purpose for reading solving. for reading subject subject- - the narrative, the transitions, the appendix For example,area text.area following text. the construction of the and all of the technical elements – come toy• trainBecome •track B ecomewefamiliar then familiar a havend comfortable to a ndclear comfortable the stage together to create a slick and beautiful tale, completelywith a totopicwith stage abefore topic the scenesreadingbefore reading onunfamiliar Swindon unfamiliar told through the brilliant eyes and brain of Station.text. In previoustext. productions an interval our protagonist Christopher. However, the allowed the stage to be reset but in this celebration of the end of this part of the StudentsStudents should shouldbe encouraged be encouraged to use to use version, the entire cast clear the stage whilst process can only be momentary – the hard the tablethe on table the followingon the following sheet to sheet track to track remaining in character and within a scene. work of maintaining the strength, precision their responsestheir responses to the play to the Curious play Curious Incident.Incident. and pace of this exciting production will The nal element to add is the post-show continue throughout the tour. APPENDIXThey shouldThey where shouldcircle Christopher “Agree” circle “Agree” or shows“Disagree” or “Disagree” beside besideeach statement each statement before theybefore read they read or watchor thewatch play. the play.

FollowingFollowing a class a discussion class discussion of these of these statements,statements, they will they then will read then/watch read /watchthe the play, whereplay, possible,where possible, they should they shouldnote note page/scenepage /scenenumbers numbers that relate tha tto relate each to each statement.statement.

If you areIf you watching are watching a production a production at the at the theatre,theatre, you can you encourage can encourage a discussion a discussion to take toplace take at place the interval at the interval and, where and, where possible,possible, for students for students to make to notes make notes about theirabout thoughts their thoughts at this pointat this a spoint well as well as at theas end. at the end.

When theyWhen have they finished have finished readingreading/watching/watching, they should, they shouldconsider consider the statementsthe statements again based again onbased any onnew any new informationinformation. Again,. theyAgain, should they shouldcircle circle “Agree”“Agree” or “Disagree” or “Disagree” beside besideeach each statementstatement and check and tocheck see whetherto see whether their optheirinion op hasinion cha hasnged cha. nged.

Curious IncidentCurious of theIncident Dog inof the NightDog in-time the EducationNight-time ResourceEducation Resource 4 Resources Resources© National ©Theatre National Theatre curiousonstage.comcuriousonstage.com/education /education 1 1 nationaltheatre.org.uknationaltheatre.org.uk/learning /learning