Seaman S Trousers

Level 3 Drama

‘Seaman’s Trousers’

Supports internal assessment for:

Achievement Standard 90609 v3 Devise, script and perform drama for solo, duo or trio performance

Credits: 5

Developed by Verity Davidson, based on ‘In their footsteps’ and ‘Just for Starters’.

1 Teacher Guidelines:

The following guidelines are supplied to enable teachers to carry out valid and consistent assessment using this internal assessment resource.

Context/setting: This activity requires students to use drama elements and conventions to devise, script and perform drama for solo, duo or trio performance. The activity also engages a research base for creating drama by developing and interpreting existing assets from the Te Papa collection. These assets are available in digital form through Digistore : http://www.tki.org.nz/r/digistore

Student will be provided with a range of assets, all of which are clothing, from the Te Papa digital collection. These assets include a picture of the item of clothing, a description of the item and some additional information of educational value. Students will choose one or two assets to use as a stimulus for research and development of a character/characters. The next step involves exploring a range of devising process conventions to script an original piece for performance to an invited audience.

The teacher should explore with students a wide range of elements and conventions of drama. They should provide access to The New Zealand Dictionary of Biography (Vols. 1-5) as a resource, along with script models, such as a range of New Zealand playtexts based on biographical or historical research. (Examples include Mabel by Campbell Smith or Bright Star by Stuart Hoar).

Students need to be made aware that sets, costume changes etc must be kept manageable. A basic set used by the whole group could be given individual definition by simple changes to the space, lighting etc.

This task is designed to suit students in a range of communities. The approach to the task is flexible and able to accommodate the particular interest of teachers and students, and although there is an emphasis on New Zealand history, this is primarily a creative task and need not be strictly historical.

Conditions: This activity has been designed for individual assessment but can involve two or three students working together. The students will be expected to complete some of their work out of class. In order to record their intention, each student must present in their drama portfolios: · a rationale for selecting an asset · evidence of research into character/era/location · character notes · rationale for selecting a style and a perspective on the chosen theme · improvisation feedback · devising ideas for structuring the content · key decisions made during the process

2 · an annotated script · a sketch showing symbolic application of a key idea · design notes i.e. costume, props etc · a final reflection on the devising process and the performance

It is suggested that approximately six weeks be allowed for this activity. This would include performance presentations. The performance length should be 3 – 5 minutes for a solo and 6 – 12 minutes for a duo or trio performance.

Resource Requirements

· Collection of assets from the Te Papa collection · The New Zealand Dictionary of Biography (Vols. 1-5) · A range of play texts based on the lives of famous New Zealanders or historical events. Online reference: http:/ www.playmarket.org.nz · C.D. player · Rostra/boxes · Fabric · Paint/brushes · Found or created props or costumes

Additional information: The Te Papa Collection can be found at Digistore : http://www.tki.org.nz/r/digistore Please note that schools must register in order to get access to Digistore.

The New Zealand Dictionary of Biography is available in school libraries throughout New Zealand and on the website: http://www.dnzb.govt.nz

3 ‘Seaman’s Trousers’

Supports internal assessment for: Achievement Standard 90609 v3 Devise, script and perform drama for solo, duo or trio performance. Credits: 5

Student Instructions Sheet

This activity will take place over approximately six weeks and involve class and out-of-class time. The performance will take place within the specified time period, which will be given to you by your teacher.

Introduction

The teacher will introduce and explore with you a wide range of drama elements and conventions. The teacher will also provide access to a selection of assets from Te Papa Museum. These are items of clothing held in the museum. They have historical significance for New Zealand and each is directly or indirectly related to a real person from history. These will be the stimulus for you to create character/s for a solo, duo or trio performance. (You will also have access to The New Zealand Dictionary of Biography Vols. (1-5) and to examples of New Zealand play texts based on biographies or historical events.) Through research, improvisation and the exploration of elements and conventions, you will write and structure a script for performance.

You will: · Choose one or two assets to use as a starting point. · Create a character/characters who may have worn, used or made this item of clothing · Research the world of this/these character/s : time, place, important historical events, society. · Explore elements, techniques and conventions of drama through improvisation in order to highlight aspects or an important moment of the character's life. · Create a devised structure and setting for your performance piece · Write an appropriate script by editing and developing existing text · Annotate your script for performance · Rehearse your script · Perform your piece to an invited audience. The performance length should be 3 – 5 minutes solo and 6 – 10 minutes for a paired performance.

4 · Maintain, edit and submit a portfolio which records and reflects on the whole process.

5 Task Instructions

Task One – Selection  Your teacher will give you several opportunities to explore the assets from Te Papa in different ways: through examining the ‘given circumstances’; improvisation; storytelling and so on.  Read and reflect on each of the assets from Te Papa that you have been exploring. Then choose one or two to use as a basis for script development.  Also choose whether you would like to work alone or in a pair or trio.

Task Two – Research 1. Read the notes on your chosen asset/s several times. Highlight the parts with dramatic potential. Your teacher will make reference material available, including The New Zealand Dictionaries of Biography and examples of New Zealand plays based on famous lives. Use this material and the internet to research the time and place referred to in the notes on your asset. You should find out as much as you can about the conditions under which these people may have lived and what may have determined the decisions they made. Take notes to deepen your understanding of the character and their background situation, whether social, cultural, political, geographical or economic. 2. In your portfolio justify the reasons for your choice of assets and how you intend to realise this life through the use of drama techniques, elements and conventions. 3. Seek out appropriate audio/visual material. File these in your portfolio.

Task Three – Signing 4. Draw a symbol to reflect a key aspect of your chosen character or a key idea, which is implicit in their story. 5. Develop and sketch this symbol as part of a visual design concept e.g. for set, costume, props or lighting. 6. Write a brief justification of your choice of symbol. File this in your portfolio.

6 Task Four – Improvisation Experiment with the following improvisation tasks to develop your character: 7. Develop an entrance for your character. 8. Experiment with use of space, voice, movement and body language at crucial moments in your character's life. 9. Find the appropriate 'walk and talk' for your character as you meet other characters in public places (church, beach, street), at social gatherings (parties, family outings) or public events. Express your character's personality and symbol through interaction and moments of stillness. 10.In pairs, explore the use of conventions such as 'voices in the head', mime, slow motion, song, soundtrack, diary/letter writing or hotseating. 11.Focus on communicating illuminating moments of human experience that relate to your topic. Give feedback to each other about what conventions work well for making your characters come alive, especially for communicating illuminating moments in their lives.  Experiment with the shape of the staging, the form or the style of how you present ideas, tell the story or communicate the message. For example you might experiment with aspects of epic, realist, absurdist, or Greek theatre, or with shadow puppetry or mask. The dramatic form or style that you use in your final performance should be appropriate and strengthen your chosen theme.

Task Five – Writing  List potential scenes and linking devices. Rank in order 'what the audience must see and hear'. Consider the logic, the pace and the rhythm of the possible scenes. Adjust the structure. Consider conventions you might use to enhance the structure.  Write your draft script. Read it aloud and on your feet, moving about as required several times. Invite a partner to give you feedback on the coherence and clarity of your work.  Edit your draft to refine both the form and the intention of your dramatic interpretation. Ensure that you have included any appropriate stage directions in italics. Retain your working scripts in your portfolio as evidence of your intentions.

Task Six – Annotation Annotate your script to include appropriate pausing, changes of beat, emphasis and inflection. Check to ensure that your use of the techniques enables you to convey appropriate elements of drama i.e. role, situation, time, place, mood, tension and focus.

Task Seven– Delivery Prepare your set, costume and props as appropriate. Deliver your performance piece at an agreed time in order to realise the intention of your dramatic interpretation.

7 Task Eight – Reflecting Record your response to the following questions in your portfolio:  What did you want to communicate most about your character/s’ life and how did you realise this intention through performance?  Which drama conventions helped you most in preparing your work?  Which elements of drama are shown most clearly in your performance?  Which devising tasks helped most to shape, refine and deepen your understanding of the role and the interpretation of your character/s, through both the process and the delivery?  How did awareness of style and dramatic form contribute to the cohesiveness of your devised work? For example what did you leave out of your final piece and why?  What helpful advice would you give to someone who is setting out to devise drama from historical material?

Task Nine – Portfolio Check Edit and refine your collected preparation material. Your portfolio should contain:  your rationale for selecting an asset/assets  notes on research  character notes  improvisation feedback  a rationale for selecting a style and a perspective on the chosen theme  devising ideas for structuring the content  a sketch showing symbolic application of a key idea  an annotated copy of your script  design notes including set and costume sketch if applicable  a record of decisions about production choices  a final reflection on the devising process and the performance.

Your work must show the process you went through and that you have understood how to develop base material effectively and perform it with conviction.

8 Assessment schedule: Drama AS90609v3 “Seaman’s Trousers”

Task or question Evidence towards achievement Evidence towards achievement Evidence towards achievement with merit with excellence

The student has  Key decisions recorded.  Key decisions recorded.  Key decisions recorded. applied a process  Notes created from source  Appropriate notes created  Comprehensive notes of researching, material and research from source material and created from source signing,  Record of signing process research. material and research improvising, and symbol application  Record of signing process  Record of signing process writing, refining  Appropriate use of style, and integrated symbol and effective, well- and reflecting on structure, drama elements, application. integrated symbol the material to techniques and  Appropriate and convincing application. create a viable conventions to explore use of drama elements,  Appropriate, convincing script character/s and situation techniques and and effective use of drama  Revised script coherently conventions to explore elements, techniques and annotated for performance. character/s and situation. conventions to explore  Revised script coherently character/s and situation. annotated for effective  Revised script coherently performance. annotated for compelling performance.

9 For example, using the asset For example, the student has For example, the student has also: called Seaman’s Trousers, a also: student has:  recorded key facts and  highlighted the unusual,  researched and clearly research about difficult and rewarding communicated , life on shipwrecked or abandoned times of sailors in late Antipodes Island and sailors, the ships 1800s / early 1900s, their sailors rescued by the NZ mentioned in the notes, families left behind Government at the time stories of sailors of the time  explored appropriate  highlighted a significant  explored interviewing in writing-in-role e.g. a letter moment, symbolic of loss pairs through to his wife and children and fear improvisation  annotated a script that  combined aspects of  annotated a well- clarifies and effectively Brecht’s Epic Theatre with sequenced script for structures the historical, Stanislavski’s depth of performance. geographical and cultural character development to context. fully engage the audience.

10 The student has  Text is presented by author  Text is presented by author  Text is presented by author performed their as intended and annotated as intended and annotated as intended and annotated own script to an  The character/s presented  The character/s presented  The character/s presented audience is/are credible. is/are credible and is/are credible, sustained sustained. and highly engaging  The overall effect is fresh, innovative, powerful and tightly structured.

For example: For example: The performance accurately For example: The student also evokes the follows the scripted preparations. The student also sustains the sailor’s personality as a ‘can-do’ The student performs the role of role, using voice, body language, survivor who finds that he can the sailor and communicates use of space and movement to cope under extreme aspects of his life in a believable engage the audience's interest by circumstances, and then his way so that the audience gains communicating the inner life of realisation that he will die before some understanding of the the sailor, extended by possible he is rescued – evoking the sailor’s world and his experience use of props or technical support, stages of denial, anger and when marooned. such as showing mementoes from sadness that he goes through the ship and his past, or projected before accepting his fate photos of Antipodes Island.

11 Level 3 Drama AS90609 ‘Seaman’s Trousers’

Worksheet 1 Work in a small group of 2 or 3. You will be given an asset from Te Papa. You will notice that they are all items of clothing. Each asset includes a picture of the item of clothing, a description of the item and some notes on the educational value of that item. Read through these notes carefully. They will give you important information about where this item came from and its historical value.

Task 1 Use this information as you would a script. 1. Make detailed notes on all the ‘given circumstances’. What do you find out about : o Who o Where o When o What o Why

2. Use the information from the ‘given circumstances’ you have gathered to create a character for each member of the group. You must make direct links between the ‘given circumstances’ and your characters.

Task 2 Develop a short scene using these characters. Consider what elements and conventions you could use to make your scene interesting and effective dramatically.

Present your characters and your scene to the rest of the class.

12 Level 3 Drama AS90609 ‘Seaman’s Trousers’

Worksheet 2 Research

Use the internet to find the answers to as many of these questions as you can. This will help you develop credible and relevant back stories and contexts for your character/s.

1. What era/s does/do your characters belong to? What was the way of life like then? What were the important social and political events?

2. What social class does your character belong to? How might this affect their way of life? What would the characters and their families fill their days with?

3. Where does your character come from? Where is s/he now? How would the location affect their behaviour / way of life / decisions?

4. What research questions do you need to pose yourself – relevant to your particular character/s? Use the information in the assets to start you off.

13 List of Assets Used

 Graffiti dress ‘Bombacific’, 1995  Convict Jacket  Chasuble 1978  Woman’s dress, early 1900s  Seaman’s Trousers  General Motors marching girls team in 1935  Dress with accessories, c1820s-40s  Child’s Wrap (cloak or shawl), c1875  Fred Dagg’s gumboots, c1973