CHIMERICA
A co-production with
PRACTICAL RESOURCE PACK Welcome to the Almeida Theatre’s n production of Chimerica .
o Tiananmen Square, 1989. As tanks roll through i Beijing and soldiers hammer on his hotel door, Joe – a young American photojournalist – captures a piece of t history. c New York, 2012. Joe is covering a presidential election, marred by debate over cheap labour and the u outsourcing of American jobs to Chinese factories. When a cryptic message is left in a Beijing newspaper, d Joe is driven to discover the truth behind the unknown hero he captured on film. Who was he? What
o happened to him? And could he still be alive?
r Writer Lucy Kirkwood NSFW (Royal Court), It Felt
t Empty When The Heart Went At First But It Is Alright Now (Clean Break at the Arcola) and director Lyndsey Turner Philadelphia, Here I Come! (Donmar n Stephen Cambell Moore, Photo Johan Persson Warehouse), Posh (Royal Court and West End) make I their Almeida debuts with Chimerica , a provocative new play which examines the changing fortunes of two countries whose futures will come to define our own. “I’ve spent a lot Headlong returns to the Almeida Theatre following of time lately, 2008's critically-acclaimed T he Last Days of Judas Iscariot . Led by award-winning Artistic Director Rupert apologizing. For Goold, they are one of the UK's leading theatre companies. Recent work includes The Effect and things I’ve done. Earthquakes in London at the National Theatre, DECADE at St Katharine Docks and the multi award- Not done. Things winning ENRON at the Royal Court, in the West End I’ve asked of and on Broadway. other people.” We look forward to welcoming you to the Almeida Theatre and hope that Chimerica will entertain and Joe, Scene 5.4 inspire you and your pupils to further experience the power of live theatre.
For more information about Almeida Projects and our recent work visit almeida.co.uk/education
Resource Pack: Chimerica 1 C HOW TO USE THIS RESOURCE PACK
Unlike our usual Almeida Projects Resource o Packs, this one focuses specifically on how you might continue to explore and develop the play through practical activities in the classroom. It n is a practical exercise pack rather than a study
guide. t
For contextual information about the play, see e the Chimerica programme or visit n almeida.co.uk/chimerica/more
headlong.co.uk/work/chimerica t s LEARNING AREAS This Practical Resource Pack is designed to provide drama-based exercises for you to use in the classroom. It is not curriculum-specific but may be suited to the following work areas:
• English Language and Literature • Drama or Theatre Studies • PSHE and Citizenship • Media Studies
Chimerica Practical Resource Pack s Production Credits 3 t Practical Exercises
n Heroes 4 Interpreting scenes - tableaux & monologues 5 e Diary entries and monologues 7 t Photography 9 Debate: Ethical Journalism 9 n Translation/Mistranslation/Understanding 11 Censorship and Surveillance 12 o Protest 14 C
Copies of this Resource Pack can be downloaded free as a PDF file from almeida.co.uk/resourcepacks
Resource Pack: Chimerica 2 20 May – 6 July 2013 s t i CHIMERICA
d by Lucy Kirkwood a co-production with Headlong e r
Cast in alphabetical order: Production Team: Production Manager James Crout
C Tessa Kendrick Claudie Blakley Joe Schofield Stephen Campbell Moore Deputy Production Manager Aggi Agostino
Liuli/Jennifer Elizabeth Chan Company Stage Manager Maris Sharp Michelle/Mary Chang/Deng Vera Chok Deputy Stage Manager Charlotte Padgham David Barker/Peter Rourke/ Assistant Stage Manager Katie Barrett n Paul Kramer/Officer Hyte Karl Collins Costume Supervisor Eleanor Dolan Frank/Herb/Drug Dealer Trevor Cooper Costume Assistant Miwa Mitsuhashi Susannah Schofield/Martha/ Wardrobe Supervisor Eleanor Dolan o Doreen/Maria Dubiecki Nancy Crane Deputy Wardrobe Supervisor Rachel Writer
i Mel Stanwyck Sean Gilder Wigs and Make-Up by Anna Morena Feng Meihui/Ming Xiaoli Sarah Lam Wigs and Make-Up Supervisor Fay Lumsdale t Young Zhang Lin/Benny Andrew Leung Dresser Keshini Ranasinghe Zhang Wei/Wang Pengsi David K.S. Tse Uniforms by Flame Torbay
c Zhang Lin Benedict Wong Chief Technician Jason Wescombe All other parts played by the company Lighting Technician Robin Fisher Sound Technician Howard Wood Assistant Theatre Technician Tony Forrester
u Creatives: Director Lyndsey Turner Stage Crew Ben Carmichael Set Design Es Devlin Simon Perkins
d Lighting Tim Lutkin Robert Weatherhead Sound Carolyn Downing Production Carpenter Gruff Carro Video Finn Ross Set built by Miraculous Engineering
o Costume Design Christina Cunningham Set painted by Kerry Jarrett Casting Julia Horan CDG Wardrobe work placement Kate Sibley r Dialect Coach Michaela Kennen TRH Masterclass Stage Mandarin Coach Bobby Xinyue Management Apprentice Eleanor Butcher Movement Georgina Lamb Production and rehearsal
P Fight Director Bret Yount photos by Johan Persson
Almeida Theatre Artistic Director Rupert Goold Executive Director Julia Potts Artistic Associate Jenny Worton Artistic Associate Lucy Morrison (Maternity Cover)
Almeida Projects Co-Director of Projects Samantha Lane Co-Director of Projects EJ Trivett Community and Participation Manager Boris Witzenfeld Schools and Education Manager Charlie Payne Projects Administrator Sarah Tarry
Resource Pack: Chimerica 3 P Playwright Lucy Kirkwood used the iconic photograph of the ‘Tank Man’ in Tiananmen Square as
inspiration for her play Chimerica. This image was captured by a number of photographers, from r numerous angles, with American photojournalist Jeff Widener’s shot being one of the most famous. The following practical exercises use the play, Chimerica, and photography as a starting a point for discussion, debate and drama in the classroom. c t
Exercise 1. Heroes i
One of the key themes within Chimerica is the notion of what defines a hero or heroic act? The play is centred c on a photograph of the Tank Man in Tiananmen Square, who stands up to the police and physically places himself, as a target, in front of the tanks. He knows that this means that he might be killed, but he believes so passionately in his cause that he does it anyway. a
In the following practical drama exercise the class will explore different notions of heroism and what it means to l
them. E a. Start by dividing your class into goups of three. In these groups ask them to discuss what heroism means to them. x b. Ask them to think of particular situations, imaginary or real, in which someone acts heroically. It can be a very small act or something much bigger. In their groups ask them to decide e upon two acts of heroism.
c. Now ask them to think about other people in these scenarios. Would all of the people involved r consider the act heroic? Ask them to think about a character from each senerio who would not consider the act heroic and a reason why that might be. c
d. Ask the group to decide which act they like the best; it could be one or a mixture of both. i
e. Once all of the decisions have been made, ask the group to devise a short scene based on the s heroic scenario they have chosen. Rehearse and show back the pieces. Discuss after each piece with the group: e s
• What characteristics help you identify the hero in the piece? • What was the heroic act? • Would everyone think that what the hero did was heroic? If not, why not?
Elizabeth Chan and Andrew Leung, Photo Johan Persson
Resource Pack: Chimerica 4 Exercise 2. Interpreting scenes using tableaux and photographs s There are three approaches to this exercise; the first part is an extension of the second, the third provides further extension into creating characters and devising a performance. You might find the e preliminary exercise useful to link to existing study or curriculum topic: s Part 1 i
a. Ask the class to each select an image from a book, newspaper, magazine, online with more c than three people in the ‘scene’. r b. Consider the different images sources and how the tone of the picture changes from a newspaper to a magazine, from journalism to entertainment. Discuss the differences. e c. Next, divide your class into small groups of 3-5 people.
x d. Each group must now choose one of the images to work with as a group and nominate themselves to represent each character in the scene.
E Part 2 - Development
l a. Either using the image above as a starting point or by creating a tableau, a frozen image, of your own choosing, ask the group to stand up and form the scene from their image. a b. Consider the details of each character in the image: How are they standing? What are they doing? What is their role in this image? Are the powerful or lowly (high or low status)? c c. Next, ask the group one at a time to create a headline, or a title, for the image. What do they i think is going on? And what does this headline tell the audience? t d. Discuss as a group how each person interprets the scene differently. How did the interpretations change? Which did they like the most? What makes it more interesting? c
Part 3 - Extension a a. Now encourage the group to bring their scenes to life, improvising the outcomes of these r scenes. Try to limit the scenes to just 1 minute at first, to really challenge the group to tell the core of the story concisely.
P b. If you have the time, you might want to use the character questionnaire enclosed in this pack to help you to create a backstory for each character, this will enrich the scenes. c. After 10 minutes, or less if you are short for time, each group should take it in turns to show their scene to the rest of the class. d. Finally, some constructive feedback from the class will help the group to develop their scenes further. If you have the time, why not use this scene as the starting point to devise a performance? Would this be the opening or closing scene? What story can these characters tell together? “What is this an image of? Protest, of course, but more than that, this is a picture of the moment that China exchanged democracy for an economic miracle. For the opportunity to work, live, spend, progress.” Tess, Scene 4.7
Resource Pack: Chimerica 5 P
CHARACTER QUESTIONNAIRE r 1. Where does your character live? a 2. Who does your character live with? 3. Where is your character from? “A man goes c
4. How old is your character? out to buy a t 5. Which time period is your character from? paper, or a i 6. What is your character called (think about c their real name and a nickname if it is different)? new shirt or a 7. What does your character look like? something, 8. How does your character stand, walk, sit? l
9. Who else is in your character's life? and by the end E 10. What kind of childhood did he or she have? of the day, he’s
11. What does your character do for a living? part of x 12. What is your character’s role in their community (do they have power or status)? history.” e 13. How does your character deal with conflict and Tess, Scene 2.4 r change? c 14. What is your character most afraid of?
15. What is your character's goal or motivation in i
this story or scene? s e s
Benedict Wong, Photo Johan Persson
Resource Pack: Chimerica 6 Exercise 3. Diary Entries and Monologues s In the play there is some confusion about an advert that was placed in a Chinese newspaper which read “To Wang Pengfei. The Unknown Hero of the Square”. The following extract from Scene 4.9 e highlights the two different interpretations of this advert. Joe thinks that the ‘hero’ is the man in front of the tank, but Pengsi tells us that the ‘hero’ is the man inside the tank. s Part 1 i a. Read the extract below, either in pairs or aloud as a group. c b. Write a diary entry for each of the ‘heroes’ talking about how they felt in that moment; one inside the tank, the other in front of the tank. This piece works well as a homework exercise to r then be developed in the classroom using the development activity in Part 2. e
Pengsi Please. My brother was… x
Joe Your brother was what? E
JOE shakes him again. l Your brother was what? a Pengsi Yes. c Joe Yes what? The Tank Man? i
t Pengsi Yes. Tank Man.
c Pause. JOE releases PENGSI. Stumbles away. Holds his fist.
a Joe Is he… is he okay? Is Wang Pengfei alive? r PENGSI shakes his head, JOE shows him the Tank Man photo again.
P Joe Are you sure? Look. This man, you’re sure he’s not –
Pengsi I don’t know about this man.
Joe But you just said, he’s your brother.
Pengsi No, not my brother this man.
Joe But you just / said –
Pengsi Not my brother, this man.
Joe You’re not making sense!
Pengsi The man…the tank…
Joe (points) This man.
Pengsi No. (he moves JOE’s finger) This man. Here. The soldier. In the tank, he was my brother. Unknown hero, my brother.
Resource Pack: Chimerica 7 Part 2 - Development P Using the diary entries in Part 2, think about developing the writing as a monologue for performance. Again, you might find the character questionnaire useful to build a strong identity for each of the r
heroes. a Ask the class to think about the setting for their character: c • Where are they when they perform their monologue?
• How soon after the event is it? t • How are they feeling? i • What will happen next? c
Part 3 - Extension a If you have time, you might find hot seating to be a useful technique. l Hot seating - You will need a single chair set up in the middle of a semi-circle.
The class will have an opportunity to ask questions to a character from the group. The aim is to help E the actor think deeply about character behaviours and motives that they might not have considered
yet. x
Start by asking the group to work in pairs to discuss a list of potential questions for the characters e with their partner, they may ask the same to all characters or think about a variety of questions. r This works best with an example from the teacher, so when the questions are prepared take the 'hot- seat' and introduce yourself in character inviting questions from the audience. Be sure to remain in c character for the entire time spent in the 'hot-seat'. i
Once demonstrated, ask for a volunteer who is confident enough to sit in the 'hot-seat' as the s character and field further questions. Set a time limit for both the character and the questioners, and if
at any point the character wants to stop the questioning, they may get up out of the chair. e
Further Development Ideas s Why not try putting the hidden and non-typical characters in the 'hot-seat', such as the father/mother of a character, his/her child or his/her best friend? What do the reactions of these characters tell us about the main character, or protagonist?
“I thought it was a good story. Sometimes a uniform makes it much harder to be a hero.” Lin, Scene 4.11
Benedict Wong, Photo Johan Persson
Resource Pack: Chimerica 8 Exercise 4. Photography s Chimerica is a story constructed around an iconic image. We are surrounded by imagery every day in newspapers, magazine, online and on billboards. This exercise puts you in the role of Joe the e photojournalist in the play; he snapped a chance image from his hotel window which went on to become one of the most famous photographs in the world. s Part 1 i a. Take a photo with a digital camera or mobile phone from out of a window. Don’t think too
c much about composing a perfect photograph, as Joe in the play would not have had time to set up his shot. Simply take a snap based on the first thing that you see. r b. This exercise could be repeated at hourly intervals over the course of the day, daily over the course of a week, or once a month for a year. Why not take your photo from the same window e each time? How does the world outside change from photograph to photograph?
x Part 2 - Development a. Select either a single image, or a set, from your collection. E b. Next think about what is happening in the photo. Who are the people? What are they doing? Is there any drama: tension or conflict? What makes it interesting? How else might we interpret l this scene? c. Discuss the various images as a group. a Part 3 - Extension c a. Using the photo as a starting point, ask the group to write a short narrative based on the i scene in the image. t b. Discuss whether the piece should be written in prose or as a script? Which other formats would work for this narrative? Within the group explore the merits of each writing style: a c poem, a duologue, a monologue, a story. a
r QUICK HOMEWORK IDEA Don’t have much time? Why not snap your photograph using your mobile phone and tweet your picture along with a 140 character micro-story to @AlmeidaProjects using #Chimerica P
Exercise 5. Debate: Ethical Journalism This exercise best suits the PSHE, Citizenship, English and Media Studies curriculum.
Journalism in Ethics are regularly under the microscope in today’s media, with high profile cases under the spotlight. Part 1 Start as a class by discussing the following terms and cases to ensure understanding. Detailed research into these topics might be set as homework: • Leveson Enquiry • Phone Hacking Scandal • Celebrity Super-injunctions • 1997 Sun Newspaper Labour Election Victory • Millie Dowler Case • Wikileaks • Citizen Journalism
Resource Pack: Chimerica 9 0 Practical Exercises 1
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e h a r n P a C I Exercise 6. Translation/Mistranslation/Understanding s Sometimes it is difficult to translate easily from one language to another as the words get lost in translation – and when taken literally can distort the meaning. This is evident in the play when Benny e visits Joe’s exhibition and asks Joe how much one of his photographs costs: s i Benny Yeah so great picture, dude. Like. Immense. So how much?
c Joe The gallery price them. I think that one’s about eight thousand dollars. r Benny Okay, and is there any room for movement on that? e Joe Sure. I could charge you nine thousand dollars. x ,
E Benny Look, dude, I never bought art before, I / don’t know –
Joe I’m sorry. That was. So you’re studying at Harvard, right? l a Benny is confused by Joe’s words, he does not detect the sarcasm. Realising this, Joe changes the
c subject. Ask your students if they know of any phrases in other languages that, when translated literally into English, becomes distorted. i t This following is great for team dynamics and is a fun way of illustrating how difficult it is to communicate when language is a barrier – and how easily things can be lost in translation. c a. Divide the class into equal groups of 4 or 5. Ask each group to invent a new country. The a people of this country need a way of communicating with each other – how do they say hello? How do they say goodbye? Is there a gesture that accompanies the greeting? And how do they r say yes and/or no? b. Once you have agreed on some basic methods of communication, ask one member of each P group to leave their group and go to a new one. The new member can only use their country’s method of communication – as can the host group. How do you communicate with this new person and make yourself understood? How does entering this new country, as an outsider, make you feel? Did using non-verbal communication help?
“Zhang Lin, what’s this word you keep using, that one, there? And there, you better not be mentioning me, what does that mean?” Wei, Scene 3.7
David K.S. Tse, Photo Johan Persson
Resource Pack: Chimerica 11 P r
“You think an email a like that from an c American journalist t i
does not get seen c
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subject line Joe, in E the subject line, are x you stupid or e something?” r Lin, Scene 2.7 c i
Benedict Wong, Photo Johan Persson s Exercise 7. Censorship and Surveillance e In the UK, as a democratic country, we take our rights to freedom of speech for granted. However, in
China there are no such individual rights, and speech, books, music, films, the arts, the press, radio, s television and the Internet can be, and often are, censored by the governement, the Communist Party of China, if they contain objectionable, harmful, sensitive, or inconvenient communication.
Notable censored subjects in China include, but are not limited to, democracy, the Tiananmen Square protests of 1989, Maoism, Falun Gong, ethnic independence movements, corruption, police brutality, anarchism, gossip, disparity of wealth, food safety, pornography, news sources that report on these issues, religious content, and many websites.
Chimerica deals with the ideas of censorship and surveillance throughout, particularly in the recording of the history of Tiananmen Square. The event of the massacre, as well as the picture of Tank Man, are well documented in the West, and many people know the history of that event. However in China, this is not talked about, and certainly not taught in schools.
Particularly pertinent in the play – and currently – is Internet censorship and surveillance. In China, Internet censorship and surveillance are used as a means of controlling what people find out, and government surveillance of the Internet means that even attempts to search for certain things could flag you up to the authorities, meaning you are watched even when in your own home.
In the play, Lin’s article is only online for six hours before it is firewalled. The following exercise, entitled Paranoia, aims to engage participants in what it feels like to be watched by many people at one time, and the effect of surveillance on your behaviour.
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t a Photo Ludovic des Cognets Almeida Projects is the Almeida Theatre’s creative learning programme. Chimerica Almeida Projects Resource Pack Since 2002 our main aim has been to inspire the theatre-makers, theatre- goers and theatre-lovers of the future. Each year we provide more than Compiled by EJ Trivett with 10,000 opportunities for young people to participate in projects led by contributions from Samantha Lane, experienced industry professionals inspired by main-stage shows in our Charlie Payne, Sarah Tarry and Boris producing theatre. Witzenfeld. Our Schools and Education programme is really important to us, which is Chimerica by Lucy Kirkwood was why we have a number of ways that we can work together with you. produced at the Almeida Theatre 20 Depending on your needs, budget and the time you have available, we work May - 6 July 2013. with the education sector in the following ways:
The information in this Resource Pack Subsidised Tickets is correct at the time of going to press. A comprehensive package of discounted theatre tickets, in-school workshops All rights reserved. © Almeida and a personal host for the production to answer any questions about the Theatre, Published May 2013. theatre or the show.
The Almeida Theatre is a Registered Residencies and Workshop Packages Charity No. 282167. The Almeida We offer packages to bring the expertise of our practitioners in your school Theatre Company Limited, Almeida from one-off workshops to year-long residencies, all tailored in response to Street, London N1 1TA. Use of this your students’ academic needs. From backstage tours and careers talks to Almeida Projects Resource Pack is devising and character masterclasses, we use our resources as a world-class authorised in connection with the producing theatre to deliver quality work to enrich students’ experience. Almeida Projects work at the Almeida Theatre. Any further use in any form For more information about our work, please visit our website: must be approved by the creators. The copyright of all original material almeida.co.uk/education remains with the creators. Almeida Projects is supported by: Islington Council Anonymous The Lehman Brothers Foundation Europe Aspen The Mildred Duveen Charitable Trust Bank of America Merrill Lynch Mishcon de Reya Charles Skey Charitable Trust The Noël Coward Foundation Chapman Charitable Trust The Ormonde & Mildred Duveen Trust Simon and Caroline Clark Pinsent Masons Elm Capital Associates Ltd The Rayne Foundation The Worshipful Company of Grocers