A series provided by the BBC at the request of the Educational Broadcasting Council for the United Kingdom Age: 7-9 These programmes are available to order (for UK schools only) on pre-recorded CDs or cassette from: BBC Schools’ Broadcast Recordings Tel: 08701 272 272 Monday to Friday 0800 to 1800 Or visit www.bbc.co.uk/schoolradio/howtoorder.shtml for more information Audio on demand. These programmes are also available as audio on demand from the School Radio website for 7 days following the original date of transmission. Refer to programme titles overleaf to find out when programmes are available as audio on demand.
Spring 2006 These programmes are available as audio on demand from the School Radio website. Refer to dates below to find out when each one is available. Introduction 3 Unit 1: Silver shores 6 1. Part one 7 AOD 12/01/2006 – 18/01/2006 2. Part two 9 AOD 19/01/2006 – 25/01/2006 Unit 2: The wreck of the Zanzibar 12 3. Bryher 14 AOD 26/01/2006 – 01/02/2006 4. The turtle 17 AOD 02/02/2006 – 08/02/2006 5. Endings and beginnings 20 AOD 09/02/2006 – 22/02/2006 Unit 3: Dinosaur camp 22 A new take on the classic story... 6. A hole in time 23 AOD 23/02/2006 – 01/03/2006 7. Dinosaur eggs 25 AOD 02/03/2006 – 08/03/2006 Unit 4: Jason and the Argonauts 27 8. A ship called Argo 29 AOD 09/03/2006 – 15/03/2006 9. The haunt of the Harpies 31 AOD 16/03/2006 – 22/03/2006 10. Guardians of the Fleece 33 AOD 23/03/2006 – 30/03/2006
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First Steps in Drama Spring 2006
Introduction
Aims of the series First Steps in Drama aims: • to develop imagination and creative responses • to provide opportunities for careful, focused listening using a range of voices
and a variety of styles • to enable children to see issues and dilemmas from a number of points of
view • to build pupils' confidence in drama, gradually introducing more complex
tasks • to engage pupils in drama activities involving: - discussion and sharing of ideas and co-operation - planning and enacting responses - presenting ideas to other members of the class • to provide opportunities for ‘teacher in role’ to extend pupils' vocabulary,
speaking skills and imagination • to offer a flexible cross-curricular resource, meeting drama and other subject
goals. Most units have a clear link with at least one other subject and can often be used to initiate activities in PSHE, citizenship, art, music, etc.
School Radio series for drama in the primary school There are three radio series that develop drama skills for different primary age-groups. All three can make a significant contribution to skills in speaking and listening; they can also make a significant contribution to PSHE and Citizenship as well as other curriculum areas: Let’s Make a Story, for infants, uses simple movement and drama to stimulate creative involvement in a story, usually told by a single voice. First Steps in Drama, for KS2A, offers creative drama opportunities based on stories that usually relate to other curriculum areas. Drama Workshop, for KS2B and lower KS3, relates to other curriculum areas and extends skills of imagination and group co-operation. Why use radio drama? Radio drama provides carefully structured language and drama activities that encourage imaginative, co-operative work. It provides a rich stimulus to fully support teachers who are less confident in using drama and can be adapted and developed by those with more drama experience. It targets key areas of the National Curriculum that can be explored and supported by the programmes. Radio drama contributes to the requirements for English and drama in the National Curriculum and 5-14 Guidelines. Pupils are ‘…given opportunities to participate in a wide range of drama activities, including improvisation, role-play…’ building on their use from the earliest years of ‘…imaginative play to explore, order and make sense of themselves and the world around them.’
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Before the programme Programmes and equipment:
• Listen to the programme and read through these notes in advance – assess suitability and note areas for development or extra support.
• Use the best equipment available – it makes a real difference to the children’s concentration and work.
Space and time:
• You will need a fairly large, cleared space. • Allow at least 40 minutes to complete the work for each programme.
Larger groups may need longer to allow time for everyone to feed back and participate. The amount of time allowed for groups to show each other their work is a key factor in determining how long the material will take to complete.
Preparation:
• Pupils should dress to allow easy movement. They do not need PE kit. • No warm-up is necessary as the programmes build in a progressive
development but settle the pupils in the correct groupings quietly to listen at the start – the notes for each programme give details of the activities.
During the programme Refer to the programme notes. They provide:
• A brief synopsis of the story • The programme structure – the activities that will take place during the
programme • Teacher guidance – ideas for teacher involvement intended to get the
most out of the programmes In most programmes you will hear:
• Short, dramatised scenes with a narrator – these set the scene and give instructions
• Sections of background sound effects – these provide a stimulus for pupil activities
• Instructions from the narrator – these tell pupils what to do and the groupings to work in
• The stop signal – usually music – used to indicate either that it’s time to bring an activity to a close (stop the programme and focus the children to hear the next part of the programme) or that the programme should be stopped so pupils can perform an activity, often discussion or enactment, following the narrator’s instructions
• Short pauses in the narration – so that pupils can get organised (switch off and start the programme as necessary)
Assessing your group’s use of the series Speaking and listening skills:
• How well do pupils listen to the ideas of others and contribute their own? • Do some pupils find it hard to talk about a situation or solution if asked? • Are they using new vocabulary introduced during the unit?
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First Steps in Drama Spring 2006
Drama skills: Are pupils
• Using their imaginations as they become part of the situation and act out aspects of the story?
• Showing empathy with the characters and their situation? • Joining in with acting activities? All or some? • Able to translate the ideas that arise from discussion into drama? • Using the information they have gained from the programmes to
appropriately inform their work - e.g. with regard to language? Social skills:
• How well do pupils work together in twos, larger groups, with the whole class?
• Are they able to see things from another point of view? Cross-curricular skills:
• Are the pupils thinking in a historical or scientific way if required by a unit?
• In relation to PSHE, how are they responding to the ethical dilemmas posed in many programmes?
• In relation to Citizenship, how do they respond to the challenges offered by the programmes such as decision making and working as part of a community?
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First Steps in Drama Spring 2006
Unit 1: Silver Shores
by Gordon Lamont
Curriculum area: History – the Victorians. Learning outcomes: to explore a significant local industry and its importance to the community and, in particular, to consider what should happen when the industry changes. NB. The programmes in this unit comprise several CD tracks, allowing you to navigate the programmes. Refer to the content tables below for details. Programme 1: Part one Synopsis This unit of two programmes tells the story of a fictional Scottish herring fishing village in the year 1900. It explores the life of the village, the fishing method and the dependence of the villagers on the ‘wee shinies’, their term for the herring. As the story opens, Euan - the fisherman who tells the story - explains that no herring have been caught for some time and the village is facing a crisis. The first programme in the unit introduces the life of the village and explores how the whole community depends on a regular supply of fresh herring to feed themselves and to create income. The key characters - Euan, Revd Buchan, Robbie and Dougal - are introduced and the process of herring fishing is explored in some detail through the drama activities. At the heart of the episode is the problem of what the villagers should do now that the fish appear to have left their waters. Programme 2: Part two Synopsis Things go from bad to worse in the village because no fish are being caught. A new tension emerges between Nanny Morag, (a village ‘wise woman’) and the Revd Buchan. She tries to persuade the villagers to travel further than ever before into dangerous waters in response to a dream; whereas the Revd is convinced that if the villagers stick together and support one another, the fish will return. Euan and Robbie respond Nanny Morag’s challenge and set sail far out to sea heading for dangerous waters. Meanwhile the Revd disappears, leaving the village more demoralised than ever. This is compounded when Euan and Robbie return empty-handed after a fierce storm at sea. The villagers turn on Nanny Morag but Revd Buchan arrives back just in time to explain that he has been involved in scientific research which suggests that, just as he predicted, the fish will return to Silver Shores if the villagers can just hold on a little longer.
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Programme 1: Silver shores, part 1
CD track
Activities
Teacher guidance
1 Music: ‘Neptune’ from The Planets Suite by Holst (used throughout the programmes) Introduction to Silver Shores by Euan (the narrator)
Gather the children in one group to listen.
2 Whole group: listening and responding Village sound effects montage: waves on seashore, boat launched from beach, barrels loaded, horse and cart, church bell. Euan asks the children to discuss what they have heard and to consider the life of the villagers. STOP SIGNAL
The sequence is short so you may choose to play it a second time. How many sounds can the children identify? What clues do they provide about the life of the villagers?
3 Individuals: movement Working alone children carry out jobs in the village: repairing a boat or sail, unloading fish, packing salted herring into barrels, loading barrels of salted herring onto a cart.
You might choose to pause before the activity to ensure that everyone is clear about the tasks and has chosen their job.
4 Individuals: movement Children carry out boat repairs; sawing and hammering, fish unloaded from boat, barrels loaded onto cart, horse and cart moving. Accompanied by a sound track.
If there is time you could split the group into two and ask each half to perform to the other while the sound effects sequence is repeated.
5 Pairs: movement Euan narrates an interactive sequence: lifting heavy net into boat, pushing the boat across shingle and into the sea, clambering aboard, raising the sail, sailing to fishing grounds.
Look for detailed mine – does the sail seem heavy and cumbersome; is the boat difficult to push across the shingle? Can the viewer easily tell what is being enacted?
6 Pairs: still pictures Two still pictures: one showing the nets being pulled up and the other, by expression, whether they are full or empty. SIGNAL
If there is time, allow the pairs to show their pictures to the rest of the group, perhaps three or four pairs at a time. Encourage the children to use facial expression to show their joy or sorrow. Discuss how many groups had full nets and how many were empty.
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7 Whole group: listening
Listening to the story as the villagers wrestle with their dilemma.
Encourage careful listening in groups of three or four ready for the next activity.
8 Groups of 3 or 4: talk in role In role as a village family the children discuss what they should do: leave Silver Shores and seek work elsewhere…ask the Laird for help…or keep on with fishing in the hope that things will improve? SIGNAL
Go round from family to family listening to the discussion. Afterwards, draw together the different ideas from each family group about what should happen. What are the range of opinions? Is the group overall swayed in one particular direction?
9 Whole group: listening Listening to the programme as the villagers prepare for an important meeting in the church.
Encourage careful listening in one large group ready for the next activity.
10 Whole group: talk in role The group takes on the role of the villagers meeting to discuss what should be done.
Encourage the children to think about the harsh realities of their situation: this is a case of life or death for the villagers. Ensure that each family has a chance to state its view. This is a good opportunity to use formal speech and carefully considered ideas.
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Programme 2: Silver shores, part 2
CD track
Activities
Teacher guidance
11 Whole group: listening Euan welcomes the listeners back to Silver Shores and reminds them of the villagers’ desperate situation. We then hear the church meeting with an intervention by Nanny Morag telling of her dream and challenging the fishermen to set sail for far-off dangerous waters in search of the herring.
Gather everyone in one group to listen. Briefly recap the events of the previous episode before starting the programme. What do the children remember from last time?
12 Whole group: discussion Who is right? Morag (who wants them to believe in her dream of an ocean filled with wee shinies) or the minister (who believes the village should hold together and wait)? SIGNAL
Be prepared to put the opposite point of view if you feel the argument is one-sided. This is a good opportunity to practise persuasive speech with well thought-out arguments.
13 Pairs: listening Reluctantly the Revd Buchan persuades Euan to attempt the dangerous voyage, even though he does not agree with it. Robbie and Euan prepare for their journey.
The children should sit in twos to listen to this section, ready for the next activity.
14 Pairs: movement and speaking In role as Robbie and Euan, getting the boat ready and talking together as they do so.
Encourage the children to think carefully about what they’ll need for such a dangerous voyage. You could discuss this as a whole group before the activity begins.
15 Whole group: still picture This shows the activities and mood of the villagers as Robbie and Euan set sail. SIGNAL
Organise the group so that two are Robbie and Euan while the rest are villagers on the shore, with Nanny Morag praying in the church. Encourage children to consider the thoughts and feelings of the villagers and to express these in their still picture.
16 Individuals: speaking thoughts from still picture SIGNAL
The children speak their thoughts out loud. You should orchestrate this, perhaps by pointing or by touching on the shoulder. Repeat what each child says for clarity and to add emphasis.
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17 Pairs: listening
Euan continues the story. Revd Buchan disappears and there is much talk and gossip concerning his whereabouts. There is a storm out at sea and Euan and Robbie return with no fish.
The children should sit in twos to listen to this section, ready for the next activity.
18 Pairs: enactment In role as Robbie and Euan, enacting the storm at sea and discussing whether to give up and head for home. STOP SIGNAL
Encourage the children to show the strength of the storm in their actions and how they speak. If time allows, share a few of the enactments with the rest of the class. Invite the children to comment on what they thought was effective in the performance.
19 Groups of 4: listening to the ending The villagers turn against Nanny Morag but Revd Buchan arrives just in time with news of his research – the fish will return and if the villagers can just hold on and support each other there will soon come a time when they can fish the wee shinies again.
The children should sit in groups of four to listen to this section, ready for the next activity.
20 Groups of 4: still pictures The pictures show: i) a family of hungry villagers as they share a tiny meal ii) family members setting sail on a fishing trip and hoping for success iii) a village celebration as, at last, the fishermen return with good catches
Encourage the children to show the mood of their pictures as well as the events portrayed; encourage a smooth transition between pictures. If time allows share the pictures perhaps by splitting the class into two halves. You could also ask for key words that reflect the feelings and thoughts portrayed in each still picture.
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Background information used in the creation of this story: The story takes some liberties with reality regarding the migration of herring since most herring fishermen at the turn of the century knew of the migratory nature of their catch and followed the shoals of herring around the coast. The story imagines a small village - and an unusually prolonged and far-spread migration - in order to explore how a community deals with a dilemma beyond its control and the increasing understanding during this period of scientific rationalism. Many British coastal villages relied on herring fishing at the turn of the century and although there were regional and local variations similar methods were employed, usually in small sail-powered fishing boats, often family-owned. The fishing method used weighted ‘curtain’ nets, so called because they hung vertically over the side of the boat taking advantage of the herring’s habit of rising to the surface to feed on plankton. This took place at dusk so, in many places, the nets were dipped in alum to make them white so that the fishermen could see them on the dark waters. The fish were returned to the shore as quickly as possible in order that they could be gutted and cured, either smoked or salted as in our fictional village. Over the next few years as the 19th century gave way to the 20th, this type of fishing all but disappeared as larger steam powered boats took over. A useful source of information on this type of herring fishing can be found at: www.scran.ac.uk/learning/schools/primary/elementsofsaltcoatsourtownnotes.pdf This provides a downloadable booklet suitable for the First Steps in Drama age range in pdf format giving the history of Saltcoats, a Scottish fishing village with many similarities to Silver Shores.
by Michael Morpurgo, adapted for radio by Alan Lambert
Curriculum area: English / PSHE Learning outcomes: to become familiar with the action and themes of a modern children’s classic; to explore the themes and other elements of the story as a means of supporting children’s own work on story-writing NB. The programmes in this unit comprise several CD tracks, allowing you to navigate the programmes. Refer to the content tables below for details. About Michael Morpurgo: In 2003 the award-winning children’s author Michael Morpurgo became the third Children’s Laureate, a scheme he helped to establish with the late Poet Laureate Ted Hughes. The title honoured a lifetime contribution to children’s literature. Morpurgo strongly believes that ‘literature comes before literacy’ and wants all children ‘…to discover the secret pleasure that is reading and to begin to find their voice in their own writing.’ Stories are paramount. As Laureate he ‘…wanted to remind people of all ages of the power of stories.’ With his wife, Clare, he set up ‘Farms for City Children’ in Devon, Wales and Gloucestershire which are open to inner city school children. In 1999, the Morpurgos were jointly awarded the MBE for services to youth. You can hear Michael Morpurgo talking about his work on the School Radio website in an interview he gave to primary school children. Go to: http://www.bbc.co.uk/schoolradio/english/meettheauthors_summer06_prog03_michael_morpurgo.shtml Find out more about Michael Morpurgo (including a full list of his books) at: www.michaelmorpurgo.com Programme 1: Bryher Synopsis Laura Perryman grew up on Bryher in 1907, one of the Isles of Scilly off the coast of Cornwall. Now she looks back on some of the most dramatic and exciting scenes of her childhood and invites us to relive them with her. She tells us of her life working on the family farm with twin brother Billy and of the furious arguments Billy has with his father. We hear of Billy’s decision to run away to sea and of the fierce storm that wreaks destruction on Granny May’s house and the rest of the island.
Programme 2: The turtle Synopsis Bryher has been devastated by the storm. Homes are ruined. Father’s herd of cows has been swept out to sea. There’s very little food and people are always hungry. Yet, in the middle of all the sadness, a most wonderful thing happens to Laura. She finds a giant turtle alive on the beach. Programme 3: Endings and beginnings Synopsis It looks as if everyone will have to leave Bryher and build a new life on the mainland. Granny May says she’s not going. Laura doesn’t want to go either - but how can they stay? The storm has destroyed the crops. There are no cows to give milk. Help comes in the unlikely shape of another great storm. It drives a sailing ship – the Zanzibar - onto the rocks, with a cargo full of surprises! Publication details: The wreck of the Zanzibar by Michael Morpurgo. Heinemann Young Books and Mammoth. ISBN 0 7497 2620 2
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Programme 3: Bryher
CD
track
Drama activities
Teacher guidance
21 Whole group: listening to the sounds of the island. Laura invites the children to sit and listen to the sounds she heard as a girl on Bryher. It may help them build a picture of the setting for her story. Sound effects sequence: sea breaking on rocks, ship in rough sea with sails flapping, seagulls, cows. SIGNAL
Ask the children to close their eyes as they listen if you think it would focus attention. At the end of the sequence, ask the children about what they they heard. If time allows, listen a second time: do they hear other sounds now that will help to paint a fuller picture of the location? Can they describe what they think Bryher is like in their imagination?
22 Pairs: listening Laura paints a picture of life during the storms for the islanders on Bryher in 1907. Scene between Father, Billy and Laura.
Sitting in pairs.
23 Pairs: movement Laura tells us about some of the daily tasks on the family farm, which the children then mime: lifting heavy bales of hay and carrying them to the manger to feed the cows, collecting the milk in buckets and pouring it into the churn.
Look for children’s ability to work collaboratively on these mimed tasks. Does each child give the work the appropriate kind of effort? Hay bales are big and bulky: buckets of milk need to be carried carefully so that not a drop gets spilled. Step in and model appropriate actions if you think it necessary. Maybe, ask some pairs to demonstrate how well they’re making the task come to life. Ask the children what they think it would have been like to be Laura and Billy working on the farm in 1907.
24 Whole group: listening Scene between Laura and Billy.
Sitting in one big group to listen in readiness for the following activity.
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25 Whole group: talk in role
Billy has been in another terrible row with his father. Now, he’s threatening to leave home and join the crew of a sailing boat that’s anchored in the harbour. Laura can’t bear the thought of being separated from her twin brother. She begs him to stay. SIGNAL
One person takes Billy’s place in this discussion. Either take on the role yourself, or ask an articulate child to talk for Billy, someone who can handle the situation and come up with counter-arguments to Laura’s pleading. The rest of the group speaks for Laura. ‘Billy’ will say why he’s decided to go: rows with father, no future on Bryher, a big world to see, etc. ‘Laura’ says why he should stay; he’s needed on the farm, there are terrible dangers at sea, they’ve never been apart before, etc. Listen out for other reasons and ask children to develop these contributions further.
26 Individuals: listening Laura describes the storm.
Sitting in their own space.
27 Individual: movement A terrible storm has hit the island. In spite of the dangers, Laura sets out to Granny May’s cottage to bring her grandmother back to the safe haven of the family farm. The children will be working to instructions from Laura, against a sound effects sequence of the storm.
Make sure the children understand the need to listen out for Laura’s instructions. She will tell them what to do at each stage of the journey. They will need to push forward and bend their bodies against the force of the wind. Sometimes they’ll need to crouch down to protect themselves from flying debris. They’ll need to maintain their footing on loose stones and shield themselves from waves and stay on the narrow, cliff-edge path. Look for those who can handle this extended movement sequence with commitment and control. Who can create convincing images of the journey? Maybe, replay the sequence and ask those individuals who can meet these challenges to model their work for others.
28 Whole group: listening Scene at Granny May’s cottage.
Sitting in one big group.
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29 Whole group: discussion
Talking about the scariest moments of the storm. Granny May is rescued just in time: her cottage roof rips apart in the wind! Later, there are lots of stories to be told about the events of that terrible night. SIGNAL
Ask for volunteers to recount their scariest moment in the journey across the island. You can set this up as formally or informally as you like: in a circle, with each taking turns to say something - or passing to the next person; or as a group activity where individuals raise their hand if they’ve something to say. Listen out for descriptive word pictures - in the first person. What happened – and how did they feel? Why did they reckon these to be the scariest moments?
30 Individual: writing Laura’s diary Laura tells us that she was able to remember so much from her childhood, because she kept a diary as a young girl. SIGNAL
What would the children write if they were Laura about the events they’ve experienced in the imaginative world of the drama? Which episode would they write about? Life on the farm, Billy leaving the island, the storm, the destruction of Bryher, etc.
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First Steps in Drama Spring 2006
Programme 4: The turtle
CD track
Drama activities
Teacher guidance
31 Whole group: listening Laura recaps the story so far.
It may be helpful to show children a picture of a turtle before the programme, so that they have an image of the kind of creature at the centre of today’s drama. The web link below, shows a picture of a large leatherback turtle on the beach with some children: http://www.speciesatrisk.gc.ca/search/speciesDetails_e.cfm?SpeciesID=274#photo
32 Individuals: movement As Laura, the children roam the beach looking for driftwood to make a fire for the farmhouse. Laura says that wood lies all along the beach. There are some small pieces, some much bigger ones.
Look out for children showing a variety of effort in their task. Would you and the others watching them be able to tell the size and weight of the wood being carried by each individual?
33 Individuals: listening As Laura finds the turtle on the beach.
Sitting in a space.
34 Individuals: movement When Laura finds the turtle it is on its back, stranded on the beach. If she can turn it over, it may be able to find its way back to the sea. How to do it, though? This is a big, heavy creature.
The children will need to listen out for Laura’s instructions. She will tell them what to do at each stage of the rescue.
Join in alongside the children to demonstrate your own commitment to the shared fiction.
The rescuers walk round the turtle to gain an idea of its size. (The picture might be useful here). They’ll need to scoop a hole in the sand with their bare hands, use a strong piece of driftwood to act as a lever, and use all their strength to tip the creature into the hole – right way up.
thoughts Laura feels that the turtle is almost capable of understanding what she’s thinking. It’s as if he can sense her great sadness, now that Bryher is so damaged and her brother has run away to sea. SIGNAL
If you’re happy to stand in for the turtle, you’ll be ideally placed to push children to develop their contributions to this discussion. There’s absolutely no need to take on a ‘turtle’ demeanour or ‘voice’! All you need to do is quietly listen and question and maybe probe a little deeper to see how well the children can identify Laura’s point of view.
It’s a chance for them to recap on what’s happened to date and to retell significant events of the story – in the first person - as Laura.
What would Laura want to tell you about? Why is she feeling sad? What does she think will happen to the islanders now? What are her fears for Billy? What would she want to say to him now?
36 Individuals: listening To the scene between Granny May and Laura on the beach.
Sitting in a space.
37 Individual: movement The turtle is too weak to reach the sea. Granny May arrives on the beach and tells Laura that turtles will happily feed on jellyfish - and there are plenty of those in the water. They pick up their shrimping nets and wade into the sea in search of the turtle’s supper.
Look to see how well children are ‘wading’ against the weight of the water, at how they ‘look’ for the jellyfish before netting them. Watch how carefully they carry the nets and their contents back to the turtle. As ever, ask individuals who are doing well at this to show their mimes to the rest of the class.
38 Whole group: listening As the turtle crawls back to the sea.
Sitting in one big group.
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First Steps in Drama Spring 2006
39 Whole group: imagining the
turtle’s thoughts The turtle returns to the sea, helped on by Laura and Granny May’s encouragement and care. As she walks back to the farm, Laura tries to imagine what the turtle might be thinking now it’s swimming once again in the sea. SIGNAL
A big imaginative leap is needed here to make this piece of dramatic licence work to best effect. Taking turns, the children voice the turtle’s thoughts about the experience on the beach and its return to the ocean. If a sentence or two proves too difficult for some, maybe turn this into a one-word contribution. Each person uses just one word to sum up the turtle’s view of the events and of the happy outcome.
40 Individual: writing Laura’s diary
Writing as Laura, what will the children include in today’s entry? (The day Laura saved the turtle, turning it over, catching the jellyfish, helping it back to the sea.)
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Programme 5: Endings and beginnings
CD track
Drama activities
Teacher guidance
41 Whole group: listening Laura recaps the story and tells the story of the harsh winters on Bryher.
Gather the children in one big group ready to listen.
42 Individuals: movement People are starving. The group take on the role of Laura who is sent down to the beach to gather limpets for supper.
It may help to explain that limpets are tiny shellfish. They will need to be prised off the rocks. Look for detailed work here, carried out to Laura’s instructions.
43 Whole group: listening To the scene between Father and Granny May talking about leaving Bryher.
In one big group.
44 Whole group: talk in role Laura is devastated by the thought of leaving Bryher. She wishes that Billy would come home to help make things better. She wonders what she would tell him if he came home. SIGNAL
Someone needs to sit in Billy’s place for this activity. The rest of the group takes on Laura’s role to take turns at telling him what has happened since he went away - and what’s going to happen next. If you’re in Billy’s role, question them about the facts. This will provide an ideal opportunity to find out what they consider to be the most significant parts of the story. Ask also about their feelings. Maybe, everyone could contribute a one-word answer here.
45 Groups of 3 or 4: listening To the rescue of the Zanzibar’s crew from the storm.
In groups of four.
46 Groups of 3 or 4: still pictures There’s a ship running aground on Seal Rock. The villagers launch the gig: the rescue boat. For the very first time, Laura is allowed to help. Picture 1 - the boat being carried, standing two by two with the boat raised on their shoulders. Picture 2 - rowing out to sea, using all their strength to row through the heavy swell, the wind and the rain. Picture 3 - the rescuers reaching out to lend a helping hand to the sailors. SIGNAL
You’ll be asked to tell groups when to change from one picture to the next. Look for collaborative effort here in giving the pictures a dramatic appearance, one that can be sustained sensibly. Ask the groups to use what they’ve heard in the sound effects to give them the right kind of feeling for their work. Show good examples of the finished pictures to the others.
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47 Whole group: listening
To the scene in which Laura rescues Billy.
In one big group.
48 Whole group: movement All sorts of treasures have bobbed in from the wreck of the Zanzibar - including a herd of cows. Now, they need to be rounded up. SIGNAL
This activity is based on the game ‘Grandmother’s Footsteps.’ One person stands with his or her back to the rest of the class. The others creep forward, slowly and quietly and freeze when the object of their stealthy approach turns round. Any movement, and they are sent back to start again. The game is used here to mirror the way that the villagers herd the frightened and nervous cows. Stealth and silence are the qualities to aim for. No one needs to pretend to be a cow!
49 Whole group: listening To the scene on the beach with the turtle.
Staying in one big group.
50 Individual: writing Laura’s final diary entry
There’s so much to write about here. Not only has Bryher been saved, but the wreck has also thrown up one other, priceless treasure: Billy. What will feature most highly in Laura’s diary entry today? Or the children could choose any episode from the story to write about. Or they might like to write the diary from Billy’s point of view, describing his time at sea and the rescue (how proud he was to see his sister row the gig, etc).
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First Steps in Drama Spring 2006
Unit 3: Dinosaur camp
by Alan MacDonald
Curriculum area: English / PSHE Learning outcomes: the main focus of this unit is an exciting adventure that becomes a means for introducing some of the basic drama techniques of the series (if you are not a regular user of the series you may wish to undertake this unit first with your group) NB. The programmes in this unit each comprise a single CD track (CD2 tracks 1 and 2). Programme 6: A hole in time Synopsis The fantasy adventure begins as two children – Tessa and Carl - are catapulted into the dinosaur age when they discover the remains of a dinosaur nest while at a summer camp. They find themselves back in the Mesozoic period (245 – 65 million years ago) when creatures like Triceratops, Stegosaurus and the fearsome Tyrannosaurus Rex roamed the earth. Their immediate problems are to stay safe and to find a way back to their own time. They find themselves face to face with a female Tyrannosaurus who is protecting her nest. The children escape and hide after encountering further dangers. Programme 7: Part two Synopsis In the morning they find themselves looking down on a valley where many species of dinosaur are hunting for food. They decide to follow a male Tyrannosaurus to find out if it will lead them back to the nest which covered the hole in time. They make a difficult journey back to the nest, only to be confronted by another awkward problem – the mother Tyrannosaurus is still guarding her eggs. Their only hope of getting back home is to find a way to distract the dinosaur so that they can dig in the nest and uncover the hole in time. During the programmes the listeners will mainly keep in the roles of the two children in the story, providing opportunities for movement, listening, recall and problem-solving. It may be helpful to do some background work on dinosaur eggs and fossils before the programmes.
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Programme 6: A hole in time
Drama activities
Teacher guidance
Individual: movement The children arrive at their school summer camp. Working on their own, they help to set up camp, including putting up tents and fetching water and firewood. Sound track ends with SIGNAL (a short vocal effect)
Join in alongside everyone else in order to establish the context and show your commitment to the drama. Encourage everyone to work quickly and carefully – darkness is coming on. The activity is accompanied by a sound track (which ends with the signal). Extend the activity by playing the sound track again or pausing at the signal to continue in your own time.
Pairs: movement Working in pairs, children slip away from the camp fire to the spot where the fossil was found. One leads, leaving a trail for the other to follow. When they arrive at the mound where the fossil was found they must dig in the earth to see if they can find any others.
The activity is accompanied by a sound track. Look out for those pairs who respond carefully to the new information provided through instructions.
Pairs: still pictures Remaining in their pairs, children make still pictures of the moment they discover the Tyrannosaurus looking down on them. Ask the children to be ready with some words describing how they are feeling. SIGNAL. After the signal the pairs are invited to show their still pictures at the moment they hear the dinosaur roar (which is followed by the SIGNAL to pause the programme).
Set groups a short time limit for preparing their pictures – just a few minutes. Move around pairs as they prepare their pictures, questioning to establish detail and supporting as necessary. There are various options for showing the pictures: - every pair makes their pictures together - several pairs make their pictures together, while others watch - pairs make their pictures individually Look for groups that make interesting use of space and body shape – e.g. contrasting high and low positions. Extend the activity by inviting pairs to speak their thoughts – perhaps just one word to sum up how they feel at the moment.
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Pairs: enactment Escaping through a dense forest the pairs run from the Tyrannosaurus. Then one child falls into a muddy bog and starts to sink. Working in pairs still, with little time, children must decide on a plan of action and effect a rescue. SIGNAL.
Everyone will need to listen extremely carefully to this section, which includes a number of instructions. At the signal discuss what has been heard in order to inform the rescue plans that the children devise. Allow some time for pairs to show their rescues.
Pairs: discussion Darkness is falling and the children need to find a safe place to spend the night. Remaining in their pairs, children discuss what would be the safest place to hide. Then they explain the reasons for their decision. SIGNAL.
Allow some time for pairs to talk together and encourage them to think imaginatively about possible hiding places (suggesting aspects of the surrounding habitat etc as necessary). Then invite everyone to share their ideas. Which ideas do they like best? Which do they think will be the most effective? And why?
Whole group: discussion The children still face the question of how to get back to their own time. Sitting together as a group, help the children to carefully retrace the sequence of events that led up to them falling through the hole in time. Ask them how they think they might return to their own time again. They should be encouraged to give reasons for their plan. SIGNAL.
An opportunity to assess the recall of the group and to fix the main events of the story in order. Extend the activity by ‘story boarding’ the main incidents in small groups, using still pictures to show the events.
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Programme 7: Dinosaur eggs
Drama activities
Teacher guidance
Individual: still pictures Working alone, children create separate still pictures of three dinosaurs from descriptions they hear in the programme.
The 3 dinosaurs are Triceratops, Pterodactyl and Tyrannosaurus Rex. The group make their still pictures of each to the programme sound track. You may wish to pause the programme before this starts to remind the group of the contrasting shapes of these dinosaurs and to allow some time to prepare their pictures. There is about 10” to make and hold each still picture.
Pairs: movement Working in pairs, children follow a Tyrannosaurus, taking great care not to be seen. Each time the dinosaur roars they must crouch down and hide. SIGNAL
An activity based on the game of ‘Granny’s Footsteps’. Remind the children of the instructions: when they hear the music it is safe to proceed, but when they hear the dinosaur roar they must crouch down and hide.
Pairs: discussion and enactment The Tyrannosaurus wades through water to an island. To follow, the children must find a way across. They discuss the problem in pairs and then show how their plan is put into action. SIGNAL.
Set the group a short period of time to prepare – just a few minutes. Move around the pairs listening to discussions and watching the plans as they emerge, supporting as necessary. Look out for groups who have listened carefully to the information in the programme that there are tall reeds and canes nearby and that something will be needed to paddle with. Then allow some pairs to show their scenes to everyone else and allow those watching to say what they think is most effective about them.
Individual: movement The children follow the dinosaur back to the nest where they watch, fascinated, as eggs begin to hatch. Working individually, children show the emerging baby dinosaur breaking free of its egg.
The activity happens in real time to a sound track. It begins curled up on the floor; then slowly arms and legs are uncurled; then the baby dinosaurs push against the egg shell; a small hole is made and is working on until it is big enough for the dinosaur to emerge. Encourage careful listening. Be ready to pause the programme to maintain effective control.
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Pairs: discussion Working in pairs again, children discuss how they can get to the nest without being attacked by the mother Tyrannosaurus. For example, should one child attempt to lure the dinosaur away from the nest? The pair then act out their plan.
As before, set a short time for preparing the scenes and then allow some time for some pairs to show their scenes to everyone else. You could extend the activity by introducing still pictures at key moments.
Pairs: movement Digging to try to recover the hole in time again. Falling through time back to the present.
Encourage careful listening – the activity happens in real time to a sound track of digging in the programme. Look for those children who can convey the increased tension after the Tyrannosaurus spots them.
Whole group: talk in role The teacher can take on the role of the teacher in charge at the camp, who demands to know where the children have been. In turn, the children can give an account of their adventures, trying to convince the sceptical teacher. SIGNAL.
The children come together in a circle. In role as Tessa and Carl they try to persuade the camp leader (teacher in role) that their story is true. Taking on the role of the camp leader allows you to control the drama from within, assessing the level of recall of the pupils. How successful are they at convincing you that their story is true? How successful are they at sustaining their roles (e.g. by speaking in the first person)?
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Unit 4: Jason and the Argonauts
by June Mitchell
Curriculum area: History – European study unit ‘Ancient Greece’ / English. Links in particular to NLS range of reading at Year 3 Term 2 (‘myths, legends, fables, parables’). Learning outcomes: to become familiar with the main events of this Greek myth and aspects of ordinary life in Ancient Greece; to relate aspects of this story to the children’s own work on story-writing. NB. The programmes in this unit each comprise a single CD track (CD2 tracks 1, 2 and 3). Programme 8: A ship called Argo Synopsis During this unit the group will remain in role as the Argonauts throughout and the activities arise directly from the drama scenes. The story is told from the point of view of Jason. Jason invites the listeners to help to keep his story alive by coming back to Ancient Greece to learn of his adventure in search of the Golden Fleece. Once back in Ancient Greece the listeners take on the role of villagers. They are approached by Jason who tells them that he is their rightful prince, now returned to his land after he has been banished by his evil uncle Pelius. His uncle has told Jason that he may claim the crown that is rightfully his if he can prove himself in an adventure. The villagers are persuaded to help Jason go in search of the magical goat skin called the Golden Fleece. First, however, they must build a ship. The villagers work together to build a ship, which is then named Argo in honour of the leading villager, Argos. The ship is completed with a magical figurehead – a bird called Kroo who can speak. The ship is launched in the nick of time: Pelius has changed his mind and has sent his army to capture Jason. The Argonauts set sail for The Land of the North to find King Phinneus – the only person they know who may be able to direct them to the Fleece.
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Programme 9: The haunt of the Harpies Synopsis The Argonauts sail for 40 days without any sight of land. Finally, Kroo sees The Land of the North and the Argonauts row for land. King Phinneus and his people need some reassuring that Jason has come in peace, then welcome him to their land. Jason learns that King Phinneus and his people are starving. Their land is plagued by the Harpies, foul-smelling creatures that swoop down from the air to steal the people’s food. Jason promises to rid King Phinneus of the Harpies and, with the help of the Argonauts, is able to frighten them away. King Phinneus directs the Argonauts to King Aertes in The Land of the East, telling them that this is where they will find the Fleece. However, there is a problem: to get there the Argonauts with have to sail through the Clashing Rocks. Programme 10: Guardians of the Fleece Synopsis The Argo approaches the Clashing Rocks and Jason reads the scroll which King Phinneus has given him to open at this moment. It explains how the Argonauts may pass through the Rocks by using Kroo to fly on ahead. The Argonauts arrive at The Land of the East where King Aertes gives them a frosty reception. However, he tells them that if they can amuse him by making pictures of their adventures he may consider allowing them to take away the Golden Fleece. The Argonauts make their series of pictures showing their adventures at that evening’s feast and Aertes tells them that he will give them the Fleece. However, they are persuaded by Aertes’s daughter – Medea – that he is lying: in fact he intends to imprison them all. She tells them that her father is cruel and uses the magic powers of the Fleece to do harm. Jason resolves to take the Fleece in order to protect the people of The Land of the East. That night the Argonauts creep past the dragon which protects the Fleece and when Jason has it safely in his hands they move quickly back to the Argo ready to leave. Medea comes with them…and will become Jason’s queen. Finally we learn that Jason replaces Pelius as King and lives happily thereafter with Medea…with the Argonauts always close by. Jason ends by inviting the listeners to keep his story alive by telling it to others.
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Programme 8: A ship called Argo
Drama activities
Teacher guidance
Whole group: discussion The group take on the role of the villagers and must decide whether or not to help Jason by building a boat and setting sail to find the Golden Fleece. SIGNAL (the signal for this unit is a short burst of horn music ending with kettle drums).
The activity is preceded by some detailed exposition – some of which it will be helpful to remind the group of. In particular, Jason says his Uncle Pelius has seized the throne by imprisoning Jason’s father and by banishing him; he says that Pelius is willing to allow Jason to return if he can prove himself on an adventure; one of the villagers – called Argos – says Jason has been tricked; Jason also says he will make the villagers rich if they will help him. Allow the group some time to think about the situation and then invite responses.
Pairs: movement and still pictures Working in pairs, the children chop down trees to create the timbers for the Argo. Jason is to draw the scene on the villagers’ shields and calls out mid-activity for the villagers to freeze so that he can draw.
Encourage pupils to co-ordinate their chopping so that the blows are regularly spaced. Look for those who are able to convey the weight of the axe and are mindful of its blade. When Jason calls for everyone to freeze look out for those who are able to hold completely still in the exact position they find themselves when Jason calls.
Pairs: movement and still pictures Marking out the shape of the ship and sawing the trees to create the timbers. Freezing when Jason calls out.
This activity begins with Argos calling to the villagers to come together to mark out the shape of the ship. You may wish to pause the programme here to get everyone together in the shape of the ship, with pairs still side-by-side. The activity continues with another sound track – this time sawing. Look for hard work and commitment. Again, encourage everyone to be absolutely still when Jason calls out to ‘freeze’. Everyone will need to continue to listen carefully so that they hear all the instructions.
Pairs: movement and still pictures This time the pairs pull on ropes to launch the Argo into the sea. Making a still picture for Jason when he calls out for everyone to do so.
Encourage co-ordinated movement from the whole group to Argos’s instructions (you could use a visual cue to support each call to ‘pull’.) A final still picture is made.
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Whole group: discussion Deciding on an appropriate name for the new ship. SIGNAL.
This activity feeds into the children’s literacy work by giving them an opportunity to come up with a ‘kenning’ – a name which will convey the properties of the new ship. Talk together about what sort of qualities the group feels the ship should have for the adventure to come and then invite their suggestions.
Whole group: talk and movement The group of villagers now become the ‘Argonauts’: each member of the group stands, says their name out loud and states their special skill and then moves to the ship to take their place. SIGNAL.
This is quite a complex activity so allow some preparation time. You may also wish to mark out the ship before beginning using benches if available. Allow the group some time to consider their special skills – make suggestions as necessary (e.g. caring, clever, strong, good at steering, good at rowing, good at entertaining the others, etc). When the activity commences try to keep a sense of pace and movement using your instructions as necessary to maintain the drama.
Whole group: movement The Argonauts escape from the soldiers of King Pelius by rowing out to sea and beginning the voyage to The Land of the North.
Encourage three distinct movements for each of the instructions ‘pull, down and reach’. First the heavy oars are pulled through the water; then hands are pushed down into laps to lift the oars out of the water; then the Argonauts reach forward ready to take another stroke. If you have time and wish to extend the activity, pause the programme and move among the Argonauts (perhaps in role as Argos) encouraging strong, co-ordinated rowing.
Pairs: talk in role As the programme ends, each pair of Argonauts tells each other which parts of this extraordinary day they will remember longest.
Stop the programme and then move among the Argonauts, listing to their ideas and offering support and ideas as necessary (preferably in role). When you’re ready, make a clear signal that the drama is ending and that everyone is returning to the ‘real world’ but that the adventure will continue next time.
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Programme 9: The haunt of the Harpies
Drama activities
Teacher guidance
Whole group: still pictures and speaking thoughts The Argonauts have been rowing for 40 days without sight of land. As they rest they make a still picture showing how tired they are and speak their thoughts out loud. SIGNAL.
Before starting the programme re-arrange the group in their rowing positions in two long lines, marking the shape of the ship. Remind them of how the drama finished last time (with the Argonauts setting sail for The Land of the North). Pause the programme at the signal and ask the group to strike a still picture of how tired they are feeling – slumped on oars, etc. Then move along the ship inviting the Argonauts to speak their thoughts – perhaps by touching each on the shoulder as you pass. Repeat contributions out loud to ensure that all can hear, building a sense of ritual as you do so.
Whole group: movement The Argonauts row towards land, using the drum beat to keep in time. They stop when they arrive at The Land of the North but continue to listen.
A reprise of the rowing activity from the first episode. Encourage clear mime for the rowing – separate actions for ‘pull’, ‘down’ and ‘reach’.
Pairs: discussion Kroo warns the Argonauts that the people of the The Land of the North may not realise that they come in friendship. Working in twos the group must decide on the best way to greet the strangers as the Argo drifts into harbour. SIGNAL.
Pause the programme at the signal and remind the group of the situation as necessary. Allow pairs just a short time to prepare offering ideas as necessary: should they call out, make peaceful gestures, or something else. Then invite pairs to share their ideas with everyone else and end by getting a feel for what the group thinks would work best – and why.
Whole group: talk in role The Argonauts call out to those on the shore to persuade them that they come in peace. They chant the words: We are the Argonauts We come in peace We’re searching for The Golden Fleece!
Join in alongside everyone else, calling out the chant when prompted to do so (x 3). You may also encourage everyone to get on their feet to make the chant more effective. There are opportunities here to extend the activity by splitting into two groups and allowing one group to show the reactions of those on the shore and how they are gradually reassured by the Argonauts.
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Groups of 3 or 4: movement and talk in role Each group works on a greeting to show King Phinneus as the Argonauts step ashore. SIGNAL
In order to give each group adequate space you may feel it is best to allow groups to find their own space (ie move away from the ship). Encourage groups to think about the movements they will use and any words (and whether they will speak one at a time or all together). When groups are ready to show their greetings you could adopt the role of King Phinneus standing on the shore and beckoning each group, one at a time, to step forth and greet you. At the end allow some time for discussion. What did the group think worked best and why?
Whole group: movement Pupils lay down to sleep; then imagine that they are turning into Harpies. Then they rise to their feet and move with the Harpies, flying, soaring, swooping. As the music fades away they gradually sink back down to the floor again.
Listen carefully for Jason’s instructions. The activity begins with the group lying down to sleep. Pause the programme here if necessary to allow time for everyone to get organised. Join in alongside the group as they gradually turn into Harpies and then swoop and soar with the terrible creatures. Extend the activity either by replaying the music or by pausing the programming so that the activity can continue in your own time (and you may also wish to choose some members of the group to show their movement).
Whole group: still pictures To Jason’s instructions the Argonauts stand up to face the Harpies as they attack; then they strike still pictures in fearsome shapes to scare the Harpies away.
Once again, listen carefully for Jason’s instructions. Join in alongside the group, demonstrating your own commitment to the story. Again there are opportunities here to extend the drama by pausing the programme and arranging the group into two, so that both the Argonauts and the Harpies can be shown.
Groups of 2 or 3: still pictures Making pictures to recall some of the events of the adventure.
This is a chance to fix some of the main events of the story in everyone’s mind by making still pictures before ending.
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Programme 10: Guardians of the Fleece
Drama activities
Teacher guidance
Whole group: movement The Argonauts row through the Clashing Rocks to safety.
Organise the group in their positions on the Argo once more – two long lines marking out the shape of the ship. Then turn on the programme to listen. The activity reprises the rowing from previous episodes. Look for three distinct movements for ‘pull’, ‘down’ and ‘reach’. Encourage the group to think about the situation and show how they are feeling by the way they look and the way they row.
Whole group: talk in role The Argonauts must come to Jason’s assistance and persuade King Aertes to allow Jason to take the Fleece away. SIGNAL.
Allow some time for discussion but try to maintain the sense of moment and the need to come up with ideas quickly. An effective way to approach the activity would be to adopt the role of King Aertes yourself, inviting the Argonauts to speak in turn. This will help you to challenge or support what is said from within the drama.
Groups of 3 or 4: still pictures The Argonauts rehearse the still pictures that they will show to King Aertes as entertainment at the evening feast. SIGNAL.
Remind the group of some of the scenes they may wish to show: King Phinneus on the shore; the Harpies attacking; sailing through the Clashing Rocks, etc. Move among the groups to assess their work and offering guidance as necessary. At this stage the groups are just rehearsing so there is no need to show work.
Groups of 3 or 4: still pictures This time the groups show their pictures to King Aertes, hoping that if their pictures are good enough he will allow them to take away the Golden Fleece.
Once again, adopt the role of King Aertes so that you can control the activity from within the drama. Summon the Argonauts group by group to show you their pictures. You may wish to question groups about their pictures, offering encouragement (or otherwise!) Also find a means to allow the other Argonauts to contribute their thoughts on the pictures as a means of encouraging other groups. Try to keep in everyone’s minds on the fact that the Argonauts are performing for the Fleece.
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Whole group: movement A sustained movement activity begins with the Argonauts creeping past Aertes’s guards outside. Once there they climb a hill to a tree where the Fleece hangs from a branch. The Fleece is protected by a dragon and the Argonauts must stop and crouch down when they hear the dragon stirring. When Jason whistles the Argonauts make their way quickly and quietly to the Argo and sit on board. SIGNAL.
Before starting the activity you will need to think about the direction of movement and where the Argo is located. Encourage everyone to listen very carefully. When they hear the dragon snooze they will need to crouch down and then listen for Jason’s instructions to resume. Join in alongside everyone else so that your movements – and pacing – can become a model for the others.
Whole group: discussion The group discusses the story including favourite moments and who they will tell the story to in order to ‘keep it alive’. SIGNAL TO END.
An opportunity to fix some of the key events of the story in everyone’s mind and to relate some of the aspects of the story to the group’s own work on story-writing. The elements of fiction that you may choose to discuss include: beginnings, middles, endings, characters, plot, complications to the narrative, resolution, etc.
