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Faction: How to Combine Fact and Fiction to Make Drama David Porter

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Faction: How to Combine Fact and Fiction to Make Drama David Porter Faction: how to combine fact and fiction to make drama GCSE David Porter GCSE Introduction David Porter is former Head of Performing Arts at Kirkley High School, In a part-factual, perhaps historical story, facts are supplemented with a certain Lowestoft, teacher and one-time amount of fiction. Who said what, what occurred behind the facts? The mixture is children’s theatre performer. Freelance called ‘faction’ and is necessary to make drama work. The case of Ruth Ellis, the writer, blogger, editor he is a senior last woman in England to be hanged, offers a retelling of events to shed light on assessor for A level Performance Studies, IGSCE Drama moderator and GCSE the people and their actions and explore dramatic possibilities. Drama examiner. Learning objectives By the end of this scheme, learners will have: f Explored turning historical situations into performance f Considered how the addition of fiction makes fact workable on stage f Developed collaborative and solo characterisation skills. Scheme in summary After an introduction to faction, the case of Ruth Ellis is explored with a view to considering both some of the issues raised and to developing a piece of credible, character-driven performance, suitable for GCSE devising work. Going beyond documentary or docu-drama, faction offers insight into people. Lesson 1: Developing faction Introduction to taking given facts and adding fiction to make them into performance drama. Drama vocabulary used: Cross-cutting, narrator(s) in role, Lesson 2: Ruth Ellis (1) characterisation, hot seating, mime, Using known facts about Ruth Ellis to build four scenes from her life. physical theatre, still image, docu-drama, but others may be useful. Checklist at Lesson 3: Ruth Ellis (2) BBC Bitesize: http://www.bbc.co.uk/ Rehearsing four scenes towards a shared performance. schools/gcsebitesize/drama/responding/ checklistrev4.shtml Lesson 4: Ruth Ellis (3) Performance of the Ruth Ellis scenes with faction and self, peer, teacher assessment. Issues: Lesson 5: Other ideas for faction Capital punishment; criminal justice; Suggestions for other people, moments, disasters from history to which to apply betrayal; love; social/cultural/historical contexts. faction. Lesson 1: Developing faction Resources for teachers/students: f Ipswich Film Theatre, discussion of Learning objectives fiction/faction, drama/documentary: By the end of this introductory lesson students will have: http://www.iftt.co.uk/fiction-or- f Explored approaches to using fiction to present fact in performance faction-drama-or-documentary/ f What is a docu-drama? Discussion of f Developed collaborative devising skills and techniques differences between documentary f Improved characterisation and performance work. and docu-drama, useful background: http://www.wisegeek.com/what-is-a- Warm-up (10 mins) docudrama.htm a) In pairs. Create a still image showing a relationship (friends, enemies, adult f Top documentary films: and child). Teacher demonstrates on each pair how to read a still image. http://topdocumentaryfilms.com/ b) Repeat with one gesture changed to create a different meaning/interpretation. f IMDB - documentary listings: c) Link first and second image with a fragment of dialogue making sense of http://www.imdb.com/genre/ transition. documentary d) In groups of 4/5. Make six rapid scenes in chronological order telling the following story in few words and still images: going into pub, drinking, arguing, causing a scene, thrown out, going home. e) Repeat, with order changed to make it more dramatic (cross-cutting). www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2014/15 1 Scheme of work|GCSE Discussion/questions and new learning (15 mins) Documentary film Super Size Me (2004) We just experimented with changing an order of known events to make it http://www.imdb.com/title/tt0390521/ more dramatic. We took six fixed and given facts and made them into a mini- is an example of a documentary film performance, but we needed to add made-up bits to make a performance. When which focusses on an issue (the fast you take fact and add fiction, that is faction. food industry) with a personal narrator Most drama that uses historical fact has to employ some fiction to make involvement. This is not faction, it is it work. personalised documentary. The cross-cutting was to make the basic story more dramatic for an audience. So, for example, in a murder case, you could start with the murder or the Related genres aftermath and then cross-cut back or forward in time. Documentaries may be biographical, Even if you are using a docudrama style to tell of an event, you’ll need some cultural, social, historical, nature/wildlife invented material to present it. http://documentaries.documentaryfilms. net/ or they may be ‘What if?’ style, Development (25 mins) incorporating some facts and imagining In groups of 4/5, choose sustainable characters. Create four very short scenes them in a different way. What if World where the following are the facts; make them into a credible performance in the War II had had a different outcome? order you think most dramatic: What if a certain person had never been born or had had an older brother? Facts: 1. Best friends happily share everything (food, money, social life). 2. There are limits to the sharing (one has more than the others). Individuals 3. There is a falling out and a tragic outcome. Each learner is unique. Racial, cultural, 4. Regrets and wishing it had never happened. regional, generational, physical ability, sexual orientation and gender-based Fiction: differences are rich drama material. What did they say and do? What characterisations will they have? Will hot seating Teachers will be aware of sensitivities, help develop their characters? Do you need a narrator in role to tell the story? collaborative needs and how individuals Will mime, still images and cross-cutting help to make the facts work better need encouraging and stretching. dramatically? Share and show all groups. Alternate teacher/learner’s and students’ comments after each. One playwright Arthur Miller in his note on the historical Plenary and discussion (10 mins) accuracy of The Crucible said: ‘This play What have we learned about adding fiction to facts? Did cross-cutting make it is not history in the sense in which the word is used by the academic historian. more dramatic and how? How developed were the characters? Did the use of Dramatic purposes have sometimes dramatic techniques help and how? required many characters to be fused into one ...’. Homework/follow up: Research the life of Ruth Ellis (1926– 1955). www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2014/15 2 Scheme of work|GCSE Lesson 2: Ruth Ellis 1 Resources for teachers/students: f BBC News, ‘On this Day’, news Learning objectives summary of 1955: http://news.bbc. By the end of this lesson students will have: co.uk/onthisday/hi/dates/stories/ f Explored approaches to using fiction to present fact in performance july/13/newsid_2745000/2745023. stm f Considered issues within a historical, factual event f Ruth Ellis, discussion about capital f Developed collaborative devising skills and techniques punishment with useful summary of f Improved characterisation and performance work. her case: http://www. capitalpunishmentuk.org/ruth.html Warm-up (10 mins) f BBC News: Villain or Victim? a) In pairs. A appears to be a close, reliable friend of B and all is well. http://news.bbc.co.uk/1/hi/ b) Same pairs. A turns out to be not such a good friend to B. What happens? uk/542186.stm c) Same pairs. A turns out to be a completely devious, lying person who cares f Pathé News 1955, raising questions nothing about B. Now what happens? about capital punishment: d) After each, selected pairs are invited to share. https://www.youtube.com/ watch?v=uXQvKLGYTho Discussion/questions and new learning (15 mins) f Obituary of Albert Pierrepoint, prolific hangman who campaigned Recap: Last lesson we introduced faction, as mix of fact and fiction to tell a against the death penalty in his later historical story or event. We used cross-cutting and other devices to make the years: story dramatic. We considered docu-drama and documentary, too. http://www.telegraph.co.uk/news/ What do you know/what have you found out about Ruth Ellis? obituaries/law-obituaries/5768567/ Facts of her life and death. Albert-Pierrepoint.html Facts: According to Murder UK: http://murderuk.com/female_ruth_ellis.html Ruth Ellis was born in Rhyl, Wales, but was brought up in Manchester. She worked as a The bio-pic: Dance With a Stranger (1985), film about waitress and had been a singer. Ruth Ellis, using fact and fiction (faction). When she was seventeen she fell in love with an American airman, who was (N.B. this film is rated 15.) subsequently killed in battle in 1944. She later gave birth to his son. http://www.imdb.com/title/tt0088987/ In 1950 she married a dentist, George Ellis, and had another child, this time a daughter, Georgina. She was divorced not long afterwards on the grounds of mental cruelty. Needing to look after two small children, she started to dye her hair blonde and became a club- Historical contexts: manageress and prostitute. While working in London clubs she met racing driver, David Teachers might want to keep discussion Blakely in 1953. about the morality or otherwise of In 1953 she had an abortion. Blakely offered to marry her; she refused, but she could capital punishment for later, as the not get rid of him. historical contexts of the 1950s are crucial in developing this particular She started an affair with Desmond Cussen, a friend of Blakely, and for almost a year, case and theme.
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