Theatre makers in practice KS5 Alison Winter Alison Winter is Head of Theatre KS5 - EDEXCEL COMPONENT 3, SECTION C at Hurtwood House in Surrey, a private sixth form with a strong reputation for the Creative Arts. She has a BA Hons in Drama from Exeter University and a Introduction PCGE from the Institute of The following scheme of work looks at how to apply the methodology of Joan Littlewood to a Education, University of London. production of Sophocles’ Antigone in relation to Edexcel A level, Component 3, Section C. She has taught at Hurtwood for This final question of the Edexcel A level written paper, Interpreting one performance text nearly 20 years becoming Head in the light of one practitioner for a contemporary audience, is worth 24 marks. The whole of Department in 2012. As well paper is marked out of 80 and is worth 40 per cent of the whole A level. This essay asks as teaching in the state sector students to put themselves in the role of a director. They need to be able to craft a detailed in South London, she has also outline communicating their knowledge of the text, Antigone, and its original performing worked extensively in the media conditions, together with their understanding of a key practitioner’s methods. This scheme as a producer/presenter for Forces of work focuses on Joan Littlewood. Not only are they expected to convey this, but be able to Broadcasting and the BBC. apply them to a specific unseen extract and target them to the key demands of the question. This is perhaps the hardest element of the Edexcel specification and student feedback suggests it is still the one with which they most struggle. The following scheme of work is designed to help teachers who might want to adapt it to the specific demands of their timetables. In my experience it is wisest to explore both text and practitioner practically so that students fully engage with the role of a director. Once they see the creative possibilities of the methods in a practical capacity, they are far more likely to communicate those more effectively on paper. The students then need time to be able to practise writing this experience in well argued, concisely communicated and tightly structured essays. Overview of this scheme Part 1: Reading and Research § Research and explore Joan Littlewood’s methods § Read and explore Antigone § Research original context. Part 2: Practical exploration § Develop links between Sophocles’ and Littlewood’s intentions § Explore chorus interpretations § Characters and relationships § Design elements. Part 3: Writing the essay § Targeting the question § Structuring an answer § Using subject specific vocabulary. Part 1: Reading and research Research Joan Littlewood Joan Littlewood was an inspirational female practitioner who made theatre at a time when the profession was dominated by men. Born in 1914 at the start of the First World War, she grew up in working class London. She was influenced by the key events of the era – the massive social upheaval and financial costs of the conflict led to the General Strike of workers in 1926 and to the economic depression of the 1930s. These events had a lasting impact on Joan and her desire for a fairer more inclusive society. Her ideas about theatre challenged all the normal ways of performing. She felt that traditional theatre was only for the middle and educated classes – she wanted theatre to be truthful and accessible to all. To appeal to the kinds of audiences Joan wanted to attract she felt it was important to include popular forms of entertainment. She had grown up with the Music Hall, a type of variety show popular in the early 1900s comprising different acts - singers, dancers, comedians www.dramaandtheatre.co.uk Summer Term 2 2019/20 Drama & Theatre 1 Theatre makers in practice KS5 - Edexcel Component 3, Section C and novelty acts – and which demanded audience participation. She wanted to use these devices in her emerging style which aimed to deliver a political message using these popular ‘Joan’s theatre was about energy, methods of entertainment. vitality, blood and sentiment. It could Her desire to challenge some of the inequalities of society were also shared by other be very common; it could be vulgar. practitioners and artists of the age. The political struggles in Europe of the 1930s which led But it was very, very alive.’ Peter to the Spanish Civil War in 1936 and the outbreak of the Second World War in 1939 inspired Hall, former artistic director of the Littlewood to join forces with her artistic collaborator Ewan MacColl to form a socialist National Theatre theatre company using agitprop devices such as short satirical sketches and performing in the streets and venues frequented by working class people. Their intention was to revolutionise theatre as well as promoting political ideas in their fight against capitalism and fascism ‘She was a theatrical magpie who sweeping through Europe at the time. stole ideas … she never stood still and During this time Littlewood’s skill at staging and direction was honed. She was inspired was variously associated with the equally by Brecht’s political epic theatre and Stanislavski’s system for creating truthful experimental avant-garde, radical characters. She used Laban’s efforts and techniques to help develop her actor’s physicality. interpretations of classics, new But her clever mixture of styles and forms ensured her own style kept changing and is often writing, musical theatre, rousing difficult to label. comedies and large-scale community Littlewood formed her own company Theatre Workshop during the Second World War; initiative.’ Nadine Holdsworth, author after touring extensively, it eventually settled at the Theatre Royal Stratford East in London of Joan Littlewood in 1953. Her most famous work – her epic devised show Oh! What a Lovely War in 1968 - was created for and by that community to commemorate the fiftieth anniversary of the sacrifice of so many during the 1914 – 1918 conflict. It best demonstrated her style of savage satire mixed with extreme pathos and is held together by pure entertainment in the recreation of songs and ‘I do not believe in the supremacy of comedy from the First World War. Above all, it is a testament to her belief in the ensemble – a the director, designer, actor or even company of versatile actors and performers who created the show through their own research, the writer. It is through collaboration improvisation and creative imagination. that this knockabout art of theatre survives and kicks!’ Joan Littlewood Read and explore Antigone The next task you need to set your students is to read and understanding the text of Sophocles’ Antigone. The exam text is published by Bloomsbury (ISBN 978-0-4137-7604-4), translated by Don Taylor and includes an excellent set of context notes edited by Angie Varakis. Each student will have an unmarked copy to refer to in the exam, but it would be a useful exercise to ask students to annotate their own copies in order to make a director’s script allowing them to become familiar with the script and its layout. Antigone Sophocles’ play is based on the myth of the cursed House of Thebes and was first performed in Athens in 441BC. Antigone is the eldest daughter of King Oedipus and Queen Jocasta’s four children and the action of the play takes place in the aftermath of Oedipus’s discovery that he has accidently fulfilled the prophecy that he would kill his father and marry his mother. Oedipus blinds himself, Jocasta commits suicide and Oedipus dies in exile leaving his two sons Eteocles and Polynices to rule Thebes alternately every year. However, after the first year Eteocles refuses to give up the throne for his brother’s turn resulting in Polynices marching on Thebes with an army to claim the crown. In the ensuing battle both brothers slay each other and with all the male heirs to Thebes dead, Creon, brother of Jocasta takes over as King, which is when the play begins. Antigone is determined to bury her dead brother Polynices, who has been left on the battlefield while Creon has given his brother Eteocles a full military funeral. He has also issued a proclamation that no one is to touch the body on pain of death. Against the advice of her sister, Ismene, Antigone defies her uncle and is discovered by soldiers and brought before her uncle. She refuses to accept she has done anything wrong and is sentenced to be walled up alive as punishment. Haemon, Antigone’s fiancé and Creon’s son, tries to plead for her life but Creon refuses to change his mind. Challenged by the blind prophet Teiresias, Creon finally sees the error of his ways but is too late to save Antigone who has committed suicide. On discovering her body, Haemon kills himself. Creon’s wife, Eurydice, also commits suicide when she hears of her son’s death. Creon is left a broken man, having lost his entire family. Themes raised by the play: § Politics: What are the qualities needed for good leadership? www.dramaandtheatre.co.uk Summer Term 2 2019/20 Drama & Theatre 2 Theatre makers in practice KS5 - Edexcel Component 3, Section C § Law and order: When is it right to question the law? § Public duty versus family loyalty: What is more important – the State or your family? § Family conflict: How easy is it to challenge your parents? § Personal morality: When should you do the ‘right’ thing? § Religion: What comes first, your religious beliefs or the law of the land you live in? § Omnipotence: Is the play to some extent a warning about mankind’s belief that he can control the environment? In the era of climate change and the coronavirus pandemic this is very pertinent.