Lesson One

Aim: Provide focus for students and to explore the notion of perspective taking in theatre.

Letter writing Students identify their personal and educational aims for the term in drama. Students consider their results and experiences from the previous term when writing the letter. The letter is submitted to the teacher.

Warm up – Switch improIn pairs students play switch impro to explore taking opposing perspectives. During the scene when the whistle is blown the actors swap roles and adopt a new set of attitudes and beliefs.Situations: Prime Minister meeting with a union leader

Employer interviewing a potential employeeQueen speaking with a villager

News headlinesStep OneDivide into groups of four. Each group is a given a separate news headline. Groups develop own improvisation in the Style of Realism.Headlines provided:

“Fake doctor refused bail”“Prayers and pain as Rita roars in”“The Day I had to Choose Between my Children”“Dealer tells how he hooked kids on horror drug”

Some scenes presented.

Step TwoStudents are asked to re-do their improvisation in the Style of Melodrama.Some scenes presented.

Step ThreeStudents are asked to re-do their improvisation is the Style of a News Report incorporating narration and re-enactments.Some scenes presented.

Debrief How did the style of dramatic presentation alter the treatment of the headline? What aspects were emphasised in each ‘telling’? How did your role as ‘audience’ change?

Lesson Two and Three

Aim: Deliver an activity that will engage students own opinions, ignite some thoughtful debate and to introduce some Epic Theatre techniques in a non-threatening environment. RelaxationFocusing session Outline oncoming challenges of the term (e.g. independent assessment), emphasise the need to challenge, inspire and surprise yourself and others.Spinal rollMill and Seethe Encourage to work as a group to stop and start the action without “forced communication” work on instinct and trust, allow group to alter the pace and rhythm of the activity.

Class freeze frame Without discussion the class constructs a series of tableaux in response to the following captions that aim to emotionally engage the audience:

Family loose all in fireWar protestor arrested outside White HouseRescuers uncover more dead from Katrina

Issue based theatre

Students devise a piece of theatre that gives a political or social message. A side must be taken and a powerful and persuasive message must be communicated.Students brainstorm techniques and Styles that can be employed to convey the importance of the issue e.g. statistics, reports, persuasive speech, Realism, Melodrama/Satire.

Each group is given a different issue to explore:AbortionSex before marriageAdoptionDivorceTeenage pregnancy

Scenes presented.

DebriefStudents discuss the content and format of each piece. As a class they discover what ideas were presented with the greatest impact and identify the dramatic conventions that were used to assist in this process.

Lesson Four

Aim: The lesson aims to provide students with an experience in using techniques that are prominent in Brecht’s Epic Theatre.

The Accident – an adaptation.

Step One Divide students into groups of 5. Roles allocated to each group are one police officer and five witnesses.

Step TwoThe police officer from each group joins together and devise a list of questions to ask witnesses of the accident. Questions could include:

Where were you when the accident happened? Show me where you were.What exactly did you see?What did you say to the victim or to the other witnesses?

During this time each group of witnesses decide on the basic details of the accident:Where did the accident take place?What happened?Who was involved?

Step ThreeIndividually the witnesses decide the details of their own role and experience:

Who are you?What were you doing at the time?What did they see from where they were?What did you say/do in response?

Version OneThe police interview the witnesses. The questioning should direct the witnesses to demonstrate what they saw and to recall what they said and did. Participants are encouraged to adopt a Naturalistic style when responding and questioning.

Version TwoEach group presents ‘The Accident’ as it actually happened. The police officer is to become the victim. The scene is performed in a Naturalistic style and the performers should aim to emotionally impact upon the audience.

DebriefAfter viewing version 2 the students generate a list of the differences between the two versions of the accident.

Version 1 Version 2 The past tense was used The witness narrated the incident The actor was uninvolved emotionally The audience did not become emotionally

involved The victim was not there so dramatic impact

lessened The action was demonstrated

The audience saw the event The actors were engaged both emotionally and

physically in the action The audience’s emotions were engaged Interaction occurred between the actors’

characters The present tense was used

Version 3 (if time permits)The students are now to believe that they are a group of actors who are going to present “The Accident: to an audience. The accident occurs in either:

An Australian prisonA WorkplaceA Mall

The groups must decide: What was the accident? Was is an accident? Why did this incident/accident occur? Who are the people involved? What time of day is it?

Each group must identify and highlight a contentious issue that arises from the accident (for example long hours being worked by employees in poor work conditions resulting in serious accidents) in an original role play.

1. The role play must begin with a narrator speaking directly to the audience and informing them about the place of the drama and the basic details of the accident that occurred there. The narrator should then invite the audience to listen to the accounts of witnesses.

2. The narrator then changes roles and becomes the police officer. The police officer interviews witnesses who have adopted a formal, unemotional mode of delivery and stand in a predetermined seating pattern. The witnesses must provide a reason for why the accident occurred. All information should be directed out to the audience.

3. The narrator takes a stance on the issue presented.

Version 3 presented.

DebriefStudents add a third column to their observations for the lesson:Version 3 Strong focus on an issue Narrator presented one point of view Use of a narrator to observe action and

report events Use of actors taking dual roles Objective characterisation – the actors do

not develop emotionally involving characters

Use of ritualised or formal setting/movement

Please note that the activities for this lesson stemmed from “Empowering Students Through the Epic Form” Christine Hoepper, QADIE Conference Journal (1989) page 27 – 30).

Further information on the model of Epic Theatre and its application in modern play texts can be found at: http://grace.evergreen.edu/~arunc/texts/theater/brecht/brecht1.pdfhttp://www.nwe.ufl.edu/elf/conf98/epic.htmlhttp://www.tuftsobserver.org/arts/20051015/urinetown_engages_audienc.htmlhttp://theatrenotes.blogspot.com/2005/03/laramie-project.html

Lesson Five, Six and Seven

Aim: To provide students with a detailed overview of the purpose of Epic Theatre and the conventions of the style. Allow students to recognise to techniques they have already employed within the unit.

PowerPointStudents are taken through a detailed power point exploring the work of Bertolt Brecht. Students are encouraged to write down notes during these sessions to develop their understanding and to prepare them for assessment.

Video extract (lesson 7)Show an extract from “Changing Stages between Brecht and Beckett” 2000 PBS series to provide a visual reference for the times and Style of Brecht’s theatre.

Details of this publication can be found at:http://www.imdb.com/title/tt0297522/http://www.pbs.org/wnet/changingstages/

Lesson Eight

Aim: To apply knowledge acquired in power point session to a practical example of Epic Theatre. To further students understanding of the conventions and purpose of Epic theatre and the subsequent impact upon the viewer/audience.

Warm Up – MachinesTo continue to explore varying dramatic styles and exploring methods of creating non-naturalistic theatre the students create the following machines in the style of robotic or dreamlike movement, melodrama or rap:

Spaghetti makerWoodchopperShoemakerHappiness maker

Video ExtractStudents watch the scene of Uncle Tom’s Cabin from the “King and I” and take notes on all techniques and styles incorporated into the performance. Provide limited time at the scene’s conclusion to allow for more detailed note taking.

Notes taken by students should include the following: Play introduced by Narrator Precise movement of cast and musicians Use of narrator Sections labeled e.g. The Escape Introduction of characters and geste e.g. unhappy Eliza Symbolic gesture e.g. happy or sad Scenery moved around to suggest change of place and time e.g. rainstorm Simple fake props – rain, mountain, cloud Presentational style Music and Rhyme Precise steps counted out Oriental movement and gongs Large symbolic props and people as props e.g. gates Message Actors seen manipulating snow and clouds Lack of emotional attachment e.g. sacrifice Story of an oppressed girl.

Uncle Tom’s CabinRead aloud an outline of Uncle Tom’s Cabin and discuss the issues that arise from this well known story.

Uncle Tom is the slave of Mr. Shelby, the proprietor of an estate in Kentucky, which has fallen into disorder. Shelby is in debt and sells two slaves to raise money - Uncle Tom and a young woman named Eliza (the servant of Mrs. Shelby). Eliza is the wife of George Harris who is a slave upon a neighboring estate. Uncle Tom is carried off Mr. Shelby’s estate by the new purchaser, one Mr. Haly; but Eliza, dreading separation from her husband and her subsequent fate, takes flight with her child. She is relentlessly pursued by a slave hunter.

Uncle Tom is to be freed but is sold to a vicious plantation owner. He refuses to beat another slave and is therefore beaten severely. Tom encourages two female slaves to escape. Her is beaten to near death for refusing to say where they had gone. On his deathbed Tom forgives his master and dies a martyr. George Shelby, Tom’s original master’s son, releases all his slaves in memory of Tom.

Epic Theatre versus RealismWatch the “King and I” extract again. Fill in sections of the following hand out to organise and identify specific information and to compare Epic Theatre to Realism (students complete this column for homework).

Comparison between King and I / Realism TheatreTechniques The King and I

(note the specific oriental features which don’t allow the audience to really emotionally engage but think about the theme)

Realism(imagine if we saw a real version of this play in a proscenium arch stage)

Plot: Characters

Organisation

Time sequence

How is place manipulated?

How do we move from place to place?

Is the audience acknowledged?

Acting:Vocals

Movement (real/stylised)

Gesture: how are emotions shown

Use of narrator, chorus, musicians

Theme: what is story aboutWhere is the emphasis in the play?

Lesson Nine

Aim: To consolidate student information gathered in previous class. Expose students to short and manageable extracts of Brecht’s published play scripts.

HomeworkStudents share responses from homework comparing conventions of Epic Theatre with Realism.

Student responses should identify some of the major ideas listed below:

Dramatic Vs Epic TheatreDramatic Theatre Epic Theatre

Plot Narrative Implicates the spectator in a stage situation Turns the spectator into an observer but Wears down arouses his capacity for action Provides him with sensations Forces him to take decisions Experience Picture of the world The spectator is involved in something He is made to face something Suggestion Argument Instinctive feelings are preserved Brought to the point of recognition The spectator is in the thick of it, shares the experience

The spectator stands outside, studies

The human being is taken for granted The human being is the object of inquiry He is unalterable He is alterable and able to alter Eyes on the finish Eyes on the course One scene makes another Each scene for itself Linear development In curves Evolutionary determinism Jumps Man as a fixed point Man as a process Thought determines being Social being determines thought Feeling Reason From Brecht on Brecht, p37(http://www.usq.edu.au/performancecentre/education/goodwomanofszechwan/dramaticvsepic.htm)

Similar comparative tables can be easily accessed on the internet and from many Drama textbooks.

Oppression today?Students read article “Life for man who fed worker to Lions” and extract the many issues of the story and compare to the story of Uncle Tom’s Cabin. This activity aims to recognise the worldly nature of the issue and stories explored in Epic Theatre. People from varying backgrounds and from differing periods in history can learn and engage in this theatre style.Story can be accessed at: http://www.smh.com.au/news/world/life-for-south-african-who-fed-man-to-lion/2005/10/01/1127804685149.html

Brecht’s PlaysStudents read extracts from four Brecht play scripts. These scripts are to be used later in the unit for the students forming assessment. The extracts have been selected from:

Mother Courage and her childrenCaucasian Chalk CircleArturo UiThe Good Woman of Setzuan

After reading each extract and discussing any issues arising from their reading students are to read one of the four plays in its entirety.

THE CAUCASIAN CHALK CIRCLE

EXTRACT NO. 1

The Singer: When the house of a great one collapsesMany little ones are slain.Those who had no share in the good fortunes of the mightyOften have a share in their misfortunes.The plunging wagonDrags the sweating oxen down with itInto the abyss

[Enter the soldier, Simon Shashava. He searches in the crowd for Grusha.]

Simon: Grusha! There you are at last! What are you going to do?Grusha: Nothing. If worst comes to worst, I’ve a brother in the mountains. How about you?Simon: Forget about me. [Formally again] Grusha Vashnadze, your wish to know my plans fills me with satisfaction. I’ve

been ordered to accompany Madam Natella Abashwili as her guard.Grusha: But hasn’t the Palace Guard mutinied?Simon: [seriously] That’s a fact.Grusha: Isn’t it dangerous to go with her?Simon: In Tiflis, they say: Isn’t the stabbing dangerous for the knife?Grusha: You’re not a knife, you’re a man, Simon Shashava, what has that woman to do with you?Simon: That woman has nothing to do with me. I have my orders, and I go.Grusha: The soldier is pigheaded: he is running into danger for nothing – nothing at all. I must get into the third courtyard,

I’m in a hurry.Simon: Since we’re both in a hurry we shouldn’t quarrel. You need time for a good quarrel. May I ask if the young lady

still has parents?Grusha: No, just a brother.Simon: As time is short – my second question is this: Is the young lady as healthy as a fish in water?Grusha: I may have a pain in the right shoulder once in a while. Otherwise I’m strong enough for my job. No one has

complained. So far.Simon: That’s well known. When it’s Easter Sunday, and the question arises who’ll run for the goose all the same, she’ll be

the one. My third question is this: Is the young lady impatient? Does she want apples in winter?Grusha: Impatient? No. But if a man goes to war without any reason and then no message comes – that’s bad.Simon: A message will come. And now my final question...Grusha: Simon Shashava, I must get to the third courtyard at once. My answer is yes.Simon: [very embarrassed] Haste, they say, is the wind that blows down the scaffolding. But they also say: The rich don’t

know what haste is. I’m from...Grusha: Kutsk...Simon: The young lady has been inquiring about me? I’m healthy, I have no dependants, I make ten piastres a month, as

paymaster twenty piastres, and I’m asking – very sincerely – for your hand.Grusha: Simon Shashava, it suits me well.Simon: [taking from his neck a thin chain with a little cross on it] My mother gave me this cross, Grusha Vashnadze. The

chain is silver. Please wear it.Grusha: Many thanks, Simon.Simon: [hangs it round her neck] It would be better to go to the third courtyard now. Or there’ll be difficulties. anyway, I

must harness the horses. The young lady will understand?Grusha: Yes, Simon.

[They stand undecided.}Simon: I’ll just take the mistress to the troops that have stayed loyal. When the war’s over, I’ll be back. I’ll be back. In

two weeks. Or three. I hope my intended won’t get tired, awaiting my return.

[Grusha] The Singer:Simon Shashava, I shall wait for you.Go calmly into battle, soldierThe bloody battle, the bitter battleFrom which not everyone returns:

when you return I shall be there.I shall be waiting for you under the green elmI shall be waiting for you under the bare elmI shall wait until the last soldier has returnedAnd longer.When you come back from the battleNo boots will stand at my doorThe pillow beside mine will be emptyAnd my mother will be unkissed.When you return, when you returnYou will be able to say: it is just as it was.

Simon: I thank you, Grusha Vashnadze. And good-bye! [He bows low before her. She does the same before him. Then she runs quickly off without looking round.]

SBANE GIRLS GRAMMAR SCHOOL DRAMA

THE CAUCASIAN CHALK CIRCLE

EXTRACT NO. 2

The Singer: Seven days the sister, Grusha Vashnadze,Journeyed across the glacierAnd down the slopes she journeyed.‘When I enter my brother’s house,’ she thought,‘He will rise and embrace me.’‘Is that you, sister?’ he will say,‘I have long expected you.This is my dear wife,And this is my farm, come to me by marriage,With eleven horses and thirty-one cows. Sit down.Sit down with your child at our table and eat.’The brother’s house was in a lovely valley.When the sister came to the brother,She was ill from walking.The brother rose from the table.

[A fat peasant couple rise from the table. Lavrenti Vashnadze still has a napkin round his neck, as Grusha, pale and supported by a servant, enters with the child.]

Lavrenti: Where’ve you come from, Grusha?Grusha: [feebly] Across the Janga Tau Pass, Lavrenti.The Servant: I found her in front of the hay barn. She has a baby with her.The Sister-in-Law: Go and groom the mare. [Exit the Servant]Lavrenti: This is my wife Aniko.The Sister-in-Law: I thought you were in service in Nuka.Grusha: [barely able to stand] Yes, I was.The Sister-in-Law: Wasn’t it a good job? We were told it was.Grusha: The Governor got killed.Lavrenti: Yes, we heard there were riots. Your aunt told us. Remember, Aniko?The Sister-in-Law: Here with us, it’s very quiet. City people always want something going on. [She walks toward the door,

calling.] Sosso, Sosso, don’t take the cake out of the oven yet, d’you hear? Where on earth are you? [Exit, calling.}

Lavrenti: [quietly, quickly] Is there a father? [As she shakes her heard] I thought not. We must think up something. She’s religious.

The Sister-in-Law: [returning] Those servants! [To Grusha] You have a child.Grusha: It’s mine. [She collapses. Lavrenti rushes to her assistance.]The Sister-in-Law: Heavens, she’s ill – what are we going to do?Lavrenti: [escorting her to a bench near the stove] Sit down, sit. I think it’s just weakness, Aniko.The Sister-in-Law: As long as it’s not scarlet fever!Lavrenti: She’d have spots if it was. It’s only weakness. Don’t worry, Aniko. [To Grusha] Better, sitting down?The Sister-in-Law: Is the child hers?Grusha: Yes, mine.Lavrenti: She’s on her way to her husband.The Sister-in-Law: I see. Your meat’s getting cold. [Lavrenti sits down and begins to eat.] Cold food’s not good for you, the

fat mustn’t get cold, you know your stomach’s your weak spot. [To Grusha] If your husband’s not in the city, where is he?

Lavrenti: She got married on the other side of the mountain, she says.The Sister-in-Law: On the other side of the mountain. I see. [She also sits down to eat.]Grusha: I think I should lie down somewhere, Lavrenti.The Sister-in-Law: If it’s consumption, we’ll all get it. [She goes on cross-examining her.] Has your husband got a farm?Grusha: He’s a soldier.Lavrenti: But he’s coming into a farm – a small one – from his father.The Sister-in-Law: Isn’t he in the war? Why not?Grusha: [with effort] Yes, he’s in the war.

The Sister-in-Law: Then why d’you want to go to the farm?Lavrenti: When he comes back from the war, he’ll return to his farm.The Sister-in-Law: But you’re going there now?Lavrenti: Yes, to wait for him.The Sister-in-Law: [calling shrilly] Sosso, the cake!Grusha: [murmuring feverishly] A farm – a soldier – waiting – sit down, eat.The Sister-in-Law: It’s scarlet fever.Grusha: [starting up] Yes, he’s got a farm!Lavrenti: I think it’s just weakness, Aniko. Would you look after the cake yourself, dear?The Sister-in-Law: But when will he come back if war’s broken out again as people say? [She waddles off, shouting] Sosso!

Where on earth are you? Sosso!Lavrenti: [getting up quickly and going to Grusha] You’ll get a bed in a minute. She has a good heart. But wait till

after supper.Grusha: [holding out the child to him] Take him.Lavrenti: [taking it and looking around] But you can’t stay here long with the child. She’s religious, you see.

[Grusha collapses. Lavrenti catches her.]The Singer: The sister was so ill,

The cowardly brother had to give her shelter.Summer departed, winter came.The winter was long, the winter was shortPeople mustn’t know anything,Rats mustn’t bite,Spring mustn’t come.

[Grusha sits over the weaving loom in a workroom. She and the child, who is squatting on the floor, are wrapped in blankets. She sings.]

BRISBANE GIRLS GRAMMAR SCHOOL DRAMA

THE CAUCASIAN CHALK CIRCLE

EXTRACT NO. 3

The Singer: O confusion! The wife discovers she has a husband.By day there’s the child, by night there’s the husband.The lover is on his way both day and night.Husband and wife look at each other.The bedroom is small.[Near the bed the Peasant is sitting in a high wooden bath-tub, naked, the Mother-in-Law is pouring water from a pitcher. Opposite Grusha cowers with Michael, who is playing at mending straw mats.]

The Peasant: [to his Mother] That’s her work, not yours. Where’s she hiding out now?The Mother-In-Law: [calling] Grusha! The peasant wants you!Grusha: [to Michael] There are still two holes to mend.The Peasant: [when Grusha approaches] Scrub my back!Grusha: Can’t the peasant do it himself?The Peasant: ‘Can’t the peasant do it himself?’ Get the brush! To hell with you! Are you the wife here? Or are you a

visitor? To the Mother-in-Law] It’s too cold!The Mother-in-Law: I’ll run for hot water.Grusha: Let me go.The Peasant: You stay here. [The Mother-in-Law exits.] Rub harder. And no shirking. You’ve seen a naked fellow

before. That child didn’t come out of thin air.Gusha: The child was not conceived in joy, if that’s what the peasant means.The Peasant: [turning and grinning] You don’t look the type. [Grusha stops scrubbing him, starts back. Enter the

Mother-in-Law.]The Peasant: A nice thing you’ve saddled me with! A simpleton for a wife!The Mother-in-Law: She just isn’t cooperative.The Peasant: Pour – but go easy! Ow! Go easy, I said. [To Grusha] Maybe you did something wrong in the city ... I

wouldn’t be surprised. Why else should you be here? But I won’t talk about that. I’ve not said a word about the illegitimate object you brought into my house either. But my patience has limits! It’s against nature. [To the Mother-in-Law] More! [To Grusha] And even if your soldier does come back, you’re married.

Grusha: Yes.The Peasant: But your soldier won’t come back. Don’t you believe it.Grusha: No.The Peasant: You’re cheating me. You’re my wife and you’re not my wife. Where you lie, nothing lies, and yet no

other woman can lie there. When I go to work in the morning I’m tired – when I lie down at night I’m awake as the devil. God has given you sex – and what d’you do? I don’t have ten piastres to buy myself a woman in the city. Besides, it’s a long way. Woman weeds the fields and opens up her legs, that’s what our calendar says. D’you hear?

Grusha: [quietly] Yes. I didn’t mean to cheat you out of it.The Peasant: She didn’t mean to cheat me out of it! Pour some more water! [The Mother-in-Law pours.] Ow!

BRISBANE GIRLS GRAMMAR SCHOOL DRAMA

THE CAUCASIAN CHALK CIRCLE

EXTRACT NO. 4

The Singer: The sister was so ill, The cowardly brother had to give her shelter.Summer departed, winter came.The winter was long, the winter was shortPeople mustn’t know anything,Rats mustn’t bite,Spring mustn’t come.

[Grusha sits over the weaving loom in a workroom. She and the child, who is squatting on the floor, are wrapped in blankets. She sings.]

The Song of the Centre

And the lover started to leaveAnd his betrothed ran pleading after himPleading and weeping, weeping and teaching:‘Dearest mine, dearest mineWhen you go to war as now you doWhen you fight the foe as soon you willDon’t lead with the front lineAnd don’t push with the rear lineAt the front is red fireIn the rear is red smokeStay in the war’s centreStay near the standard bearerThe first always dieThe last are also hitThose in the centre come home.’

Grusha: Michael, we must be clever. If we make ourselves as small as cockroaches, the sister-in-law will forget we’re in the house, and then we can stay till the snow melts.

[Enter Lavrenti. He sits down beside his sister.]

Lavrenti: Why are you sitting there muffled up like coachmen, you two? Is it too cold in the room?Grusha: [hastily removing one shawl] It’s not too cold, Lavrenti.Lavrenti: If it’s too cold, you shouldn’t be sitting here with the child. Aniko would never forgive herself! [Pause] I

hope our priest didn’t question you about the child? Grusha: He did, but I didn’t tell him anything.Lavrenti: That’s good. I wanted to speak to you about Aniko. She has a good heart but she’s very, very sensitive.

People need only mention our farm and she’s worried. She takes everything hard, you see. One time our milkmaid went to church with a hole in her stocking. Ever since, Aniko has worn two pairs of stockings in church. It’s the old family in her. [He listens] Are you sure there are no rats around? If there are rats, you couldn’t live here. ]There are sounds as of dripping from the roof.] What’s that, dripping?

Grusha: It must be a barrel leaking.Lavrenti: Yes, it must be a barrel. You’ve been here six months, haven’t you? Was I talking about Aniko? [They

listen again to the snow melting.] You can’t imagine how worried she gets about your solder-husband. ‘Suppose he comes back and can’t find her!’ she says and lies awake. ‘He can’t come before the spring,’ I tell her. The dear woman! [The drops begin to fall faster.] When d’you think he’ll come? What do you think? [Grusha is silent.] Not before the spring, you agree? [Grusha is silent.] You don’t believe he’ll come at all? [Grusha is silent] But when the spring comes and the snow melts here and on the passes, you can’t stay on. They may come and look for you. There’s already talk of an illegitimate child. [The

‘glockenspiel’ of the falling drops has grown faster and steadier.] Grusha, the snow is melting on the roof. Spring is here.

Grusha: Yes.Lavrenti: [eagerly] I’ll tell you what we’ll do. You need a place to go, and, because of the child [he sighs], you

have to have a husband, so people won’t talk. Now I’ve made cautious inquiries to see if we can find you a husband. Grusha, I have one. I talked to a peasant woman who has a son. Just the other side of the mountain. A small farm. And she’s willing.

Grusha: But I can’t marry! I must wait for Simon Shashava.Lavrenti: Of course. That’s all been taken care of. You don’t need a man in bed – you need a man on paper. And

I’ve found you one. The son of this peasant woman is going to die. Isn’t that wonderful? He’s at his last gasp. And all in line with our story – a husband from the other side of the mountain! And when you met him he was at the last gasp. So you’re a widow. What do you say?

Grusha: It’s true I could use a document with stamps on it for Michael.Lavrenti: Stamps make all the difference. Without something in writing the Shah couldn’t prove he’s a Shah. And

you’ll have a place to live.Grusha: How much does the peasant woman want?Lavrenti: Four hundred piastres.Grusha: Where will you find it?Lavrenti: [guiltily] Aniko’s milk money.Grusha: No one would know us there. I’ll do it.

THE CAUCASIAN CHALK CIRCLE

EXTRACT NO. 5

Grusha: Simon!Simon: Is that Grusha Vashnadze?Grusha: Simon.Simon: [formally] A good morning to the young lady. I hope she is well.Grusha: [getting up gaily and bowing low] A good morning to the soldier. God be thanked he has returned in good

health.Simon: They found better fish, so they didn’t eat me, said the haddock.Grusha: Courage, said the kitchen boy. Good luck, said the hero.Simon: How are things here? Was the winter bearable? The neighbour considerate?Grusha: The winter was a trifle rough, the neighbour as usual, Simon.Simon: May one ask if a certain person still dips her toes in the water when rinsing the linen?Grusha: The answer is no. Because of the eyes in the bushes. Simon: The young lady is speaking of soldiers. Here stands a paymaster.Grusha: A job worth twenty piastres?Simon: And lodgings.Grusha: [with tears in her eyes] Behind the barracks under the date trees.Simon: Yes, there. A certain person has kept her eyes open.Grusha: She has, Simon.Simon: And has not forgotten? [Grusha shakes her head.] So the door is still on its hinges as they say? [Grusha

looks at him in silence and shakes her head again.] What’s this? Is anything not as it should be?Grusha: Simon Shashava, I can never return to Nuka. Something has happened.Simon: What can have happened?Grusha: For one thing, I knocked an Ironshirt down.Simon: Grusha Vashnadze must have had her reasons for that.Grusha: Simon Shashava, I am no longer called what I used to be called/Simon: [after a pause] I do not understand.Grusha: When do women change their names, Simon? Let me explain. Nothing stands between us. Everything is

just as it was. You must believe that.Simon: Nothing stands between us and yet there’s something?Grusha: How can I explain it so fast and with the stream between us? Couldn’t you cross the bridge there?Simon: Maybe it’s no longer necessary.Grusha: It is very necessary. Come over on this side, Simon. Quick!Simon: Does the young lady wish to say someone has come too late?

[Grusha looks up at him in despair, her face streaming with tears. Simon stares before him. He picks up a piece of wood and starts cutting it.]

The Singer: So many words are said, so many left unsaid.The soldier has come.Where he comes from, he does not say,Hear what he thought and did not say:‘The battle began, grey at dawn, grew bloody at noon.The first man fell in front of men, the second behind me, the third at my side.I trod on the first, left the second behind, the third was

run through by the captain.One of my brothers died by steel, the other by smoke.My neck caught fire, my hands froze in my gloves, my toes

in my socks.I fed on aspen buds, I drank maple juice, I slept on stone,

in water.’Simon: I see a cap in the grass. Is there a little one already?Grusha: There is, Simon. There’s no keeping that from you. But please don’t worry, it is not mine.Simon: When the wind once starts to blow, they say, it blows through every cranny. the wife need say no more.

[Grusha looks into her lap and is silent.]The Singer: There was yearning but there was no waiting.

The oath is broken. Neither could say why.Hear what she thought but did not say:‘While you fought in the battle, soldier,The bloody battle, the bitter battleI found a helpless infantI had not the heart to destroy himI had to care for a creature that was lostI had to stoop for breadcrumbs on the floorI had to break myself for that which was not mineThat which was other people’s.Someone must help!For the little tree needs waterThe lamb loses its way when the shepherd is asleepAnd its cry is unheard!’

Simon: Give me back the cross I gave you. Better still, throw it in the stream. [He turns to go.]Grusha: [getting up] Simon Shashava, don’t go away! He isn’t mine! He isn’t mine!

THE GOOD WOMAN OF SETZUAN:TRACT NO. 1

Extract No. 1

Wong [Pause] There’s only one person left. Shen Te, the prostitute. She can’t say no. Shen Te! Shen Te, it’s Wong. They’re here, and nobody wants them. Will you take them?

Shen Te Oh, no, Wong, I’m expecting a gentleman.Wong Can’t you forget about him for tonight?Shen Te The rent has to be paid by tomorrow or I’ll be out on the street.Wong This is no time for calculation, Shen Te.Shen Te Stomachs rumble even on the Emperor’s birthday, Wong.Wong Setzuan is one big dung hill!Shen Te Oh, very well! I’ll hide till my gentleman has come and gone. Then I’ll take them.

[She disappears.]Wong They mustn’t see her gentleman or they’ll know what she is.First God [who hasn’t heard any of this] I think it’s hopeless. [They approach Wong.]Wong [jumping, as he finds them behind him] A room has been found, illustrious ones! [He

wipes sweat off his brow.]Third God Oh, good.First God Let’s see it.Wong [nervously] Just a minute. It has to be tidied up a bit.Third God Then we’ll sit down here and wait.Wong [still more nervous] No, no! [Holding himself back] Too much traffic, you know.Third God [with a smile] Of course, if you want us to move. [They retire a little.]Wong [after a deep breath] You’ll be staying with a single girl – the finest human being in

Setzuan!Third God That’s nice. [Wong exits]

Shen Te returns, looking for him, but finding the Gods. She stops in confusion.]Shen Te You are the illustrious ones? My name is Shen Te. It would please me very much if

my simple room could be of use to you.Third God Where is the water seller, Miss…Shen Te?Shen Te I missed him, somehow.First God Oh, he probably thought you weren’t coming, and was afraid of telling us.Third God We’ll leave this with you. He’ll be needing it. [Led by Shen Te, they go into the

house. It grows dark, then light. Dawn. Again escorted by Shen Te, who leads them through the half-light with a little lamp, the Gods take their leave.]

First God Thank you, thank you, dear Shen Te, for your elegant hospitality! We shall not forget! And give our thanks to the water seller – he showed us a good human being.

Shen Te Oh, I’m not good. Let me tell you something: when Wong asked me to put you up, I hesitated.

First God It’s all right to hesitate if you then go ahead! And in giving us that room you did much more than you knew. You proved that good people still exist, a point that has been disputed of late – even in heaven. Farewell!

Third God Farewell!Shen Te Stop, illustrious ones! I’m not sure you’re right. I’d like to be good, it’s true, but

there’s the rent to pay. And that’s not all: I sell myself for a living. Even so I can’t make ends meet, there’s too much competition. I’d like to honour my father and mother and speak nothing but the truth and not covet my neighbour’s house. I should love to stay with one man. But how? How is it done? Even breaking a few of your commandments, I can hardly manage.

First God [clearing his throat] These thoughts are but, um, the misgivings of an unusually good woman!

Third God Good-bye, Shen Te! Give our regards to the water seller!And above all: be good! Farewell!

First God Farewell!Third God Farewell! [They start to wave good-bye.]Shen Te But everything is so expensive, I don’t feel sure I can do it!First God That’s not in our sphere. We never meddle with economics.Third God One moment. [They stop.] Isn’t it true she might do better if she had more money?First God Come, come! How could we ever account for it Up Above?Third God Oh, there are ways. [They put their heads together and confer in dumb show. To Shen

Te, with embarrassment] As you say you can’t pay your rent, well, um, we’re not

paupers, so of course we insist on paying for our room. [Awkwardly thrusting money into her hands] There! [Quickly] But don’t tell anyone! The incident is open to misinterpretation.

First God [defensively] But there’s no law against it! It was never decreed that a god mustn’t pay hotel bills![The Gods leave.]

THE GOOD WOMAN OF SETZUAN:

Extract No. 2A small Tobacconist’s

The shop is not yet properly installed, and not yet open.

Shen Teh [To the audience.] It is now three days since the gods left. They told me they wanted to pay for their lodging. And when I looked at what they had given me I saw that it was more than a thousand silver dollars. I have used the money to buy a tobacconist’s business. I moved in here yesterday, and now I hope to be able to do a great deal of good. Look at Mrs Shin, for instance, the old owner of the shop. Yesterday she came to ask for rice for her children. And today I again see her bringing her pot across the square.[Enter Mrs Shin. The women bow to one another.]

Shen Teh Goody evening, Mrs Shin.Mrs Shin Good evening, Miss Shen Teh. What do you think of your new home?Shen Teh I like it. How did the children spend the night?Mrs Shin Oh, in someone’s house, if you can call that shack a house. The baby’s started

coughing.Shen Teh That’s bad.Mrs Shin You don’t know what’s bad. You’ve got it good. But you’ll find plenty to learn in a

dump like this. The whole district’s a slum.Shen Teh That is right what you told me, though? That the cement workers call in here at

midday?Mrs Shin But not a customer otherwise, not even the locals.Shen Teh You didn’t tell me that when you sold me the business.Mrs Shin That’s right: throw it in my face. First you take the roof away over the children’s

heads, and then it’s nothing but complaints.Shen Teh [quickly] I’ll get your rice.Mrs Shin I was going to ask you if you could lend me some money.Shen Teh [as she pours rice into her bowl]. I can’t do that. I haven’t sold anything yet.Mrs Shin But I need it. What am I to live on? You’ve taken everything I’ve got. Now you’re

cutting my throat. I’ll leave my children on your door-step, you bloodsucker![She snatches the pot from her hands]

Shen Teh Don’t be so bad-tempered. You’ll spill your rice.[Enter an elderly couple and a shabbily dressed man.]

The Woman Ah, Shen Teh, my dear, we heard you were doing so nicely now. Why, you’ve set up in business! Just fancy, we’re without a home. Our tobacconist’s shop has folded up. We wondered if we mightn’t spend a night with you.

Mrs Shin Who’s this lot?Shen Teh When I arrived here from the country they were my first landlords. [To the audience:]

When my small funds ran out they threw me on the street. They are probably frightened that I will say no. They are poor.

They have no shelter.They have no friends.They need someone.How can they be refused?

[Addressing the woman in a friendly voice:] Welcome to you, I will gladly give you lodging. But all I have is a tiny room at the back of the shop.

The Man That’ll do us. Don’t you worry. While Shen Teh fetches them tea: We’d better move in behind here, so as not to be in your way. I suppose you picked on a tobacconist’s to remind you of your first home? We’ll be able to give you one or two tips.[Enter a tattered man.]

The Unemployed Man Excuse me, miss, I’m out of a job.[Mrs Shin laughs.]

Shen Teh What can I do for you?The Unemployed Man They say you’re opening up tomorrow. I thought people sometimes find things in bad

condition when they unpack them. Can you spare a fag?The Woman What cheek, begging for tobacco. “Tisn’t as if it had been bread.The Unemployed Man Bread’s expensive. A few puffs at a fag and I’m a new man. I’m so done in.

Shen Teh [gives him cigarettes] That’s very important, being a new man. I shall open up with you, you’ll bring me luck.[The unemployed man hastily lights a cigarette, inhales and goes off coughing.]

The Woman Was that wise, my dear?Mrs Shin If that’s how you open up you’ll be closing down before three days are out.The Man I bet he had money on him all right.Shen Teh But he said he hadn’t anything.Mrs Shin How do you know he wasn’t having you on?Shen Teh [worked up] How do I know he was having me on?The Woman [shaking her head] She can’t say no. You’re too good, Shen Teh. If you want to hang

on to your shop you’d better be able to refuse sometimes.The Man Say it isn’t yours. Say it belongs to a relation and he insists on strict accounts. Why

not try it?Mrs Shin Anyone would who didn’t always want to play Lady Bountiful.Shen Teh [laughs] Grumble away. The room won’t be available and the rice goes

back in the sack.The Woman [shocked] Is the rice yours too?Shen Teh [to the audience]

They are bad.They are no man’s friend.They grudge even a bowl of rice.They need it all themselves.How can they be blamed?

THE GOOD WOMAN OF SETZUAN:

Extract No. 3The Tobacconist’s

[Shui Ta sits behind the counter and reads the paper. He takes no notice of Mrs Shin, who is cleaning the place and talking.]

Mrs Shin A small business like this soon goes downhill, believe me, once certain rumours get around locally.[Getting no answer, she leaves with her bucket.]

Sun’s voice [from outside] Is this Miss Shen Teh's shop?Mrs Shin’s voice Yes. But her cousin’s there today.

[Shui Ta runs to a mirror, with Shen Teh's light steps, and is just beginning to arrange his hair when he realises his mistake. He turns away with a soft laugh. Enter Yang Sun. Behind him appears the inquisitive Mrs Shin. She goes past him into the back of the shop].

Sun I am Yang Sun. [Shui Ta bows]. Is Shen Teh in?Shui Ta No, she is not in.Sun But I expect you’re in the picture about me and her? [He begins to take stock of the

shop.] A real shop, large as life. I always thought she was putting it on a bit. [He examines the boxes and china pots with satisfaction.] Oh, boy, I’m going to be flying again. [He helps himself to a cigar, and Shui Ta gives him a light.] Do you think we can squeeze another 300 dollars out of the business?

Shui Ta May I ask: is it your intention to proceed to an immediate sale?Sun Why? Have we got the 300 in cash? [Shui Ta shakes his head.] It was good of her to

produce the 200 at once. But I’ve got to have the other 300 or I’m stuck.Shui Ta Perhaps she was a bit hasty in offering you the money. It may cost her her business.

They say, haste is the wind that blew the house down.Sun I need it now or not at all. And the girl’s not one to hesitate when it’s a question of

giving. Between ourselves, she hasn’t hesitated much so far.Shui Ta Really?Sun All to her credit, of course.Shui Ta May I ask how the 500 dollars will be used?Sun Why not? As you seem to be checking up on me. The airport superintendent in Pekin

is a friend of mine from flying school, and he can get me the job if I cough up 500 silver dollars.

Shui Ta Isn’t that an unusually large sum?Sun No. He has got to prove negligence against a highly conscientious pilot with a large

family. You get me? That’s between us, by the way, and there’s no need for Shen Teh to know.

Shui Ta Perhaps not. One point though: won’t the superintendent be selling you up the river a month later?

Sun Not me. No negligence with me. I’ve been long enough without a job.Shui Ta [nods]. It is the hungry dog who pulls the cart home quickest. [He studies him for a

moment or two]. That’s a very big responsibility. You are asking my cousin, Mr Yang Sun, to give up her small property and all her friends in this town, and to place herself entirely in your hands. I take it is your intention is to marry Shen Teh.

Sun I’d be prepared to.Shui Ta Then wouldn’t it be a pity to let the business go for a few silver dollars? You won’t

get much for a quick sale. The 200 silver dollars that you’ve already got would guarantee the rent for six months. Do you not feel at all tempted to carry on the tobacconist’s business?

Sun What, me? Have people see Yang Sun the pilot serving behind a counter? ‘Good morning, sir; do you prefer Turkish or Virginia?’ That’s no career for Yang Suns, not in the twentieth century!

Shui Ta And is flying a career, may I ask?Sun [Takes a letter from his pocket] They’re paying me 250 silver dollars a month, sir.

Here is the letter; see for yourself. Look at the stamp, postmarked Pekin.Shui Ta 250 silver dollars? That is a lot.Sun Do you think I’d fly for nothing?Shui Ta It sounds like a good job. Mr Yang Sun, my cousin has asked me to help you get this

pilot’s job which means so much to you. Looking at it from her point of view I see no insuperable objection to her following the bidding of her heart. She is fully entitled to share in the delights of love. I am prepared to realise everything here. Here comes Mrs Mi Tzu, the landlady; I will ask her advice about the sale.

Mrs Mi Tzu [enters] Good morning, Mr Shui Ta. I suppose it’s about your rent that’s due the day after tomorrow?

Shui Ta Mrs Mi Tzu, circumstances have arisen which make it doubtful whether my cousin will carry on with the business. She is contemplating marriage, and her future husband [he introduces Yang Sun] Mr Yang Sun, is taking her to Pekin where they wish to start a new life. If I can get a good price for my tobacco I shall sell it.

Mrs Mi Tzu How much do you need?Sun 300 in cash.Shui Ta [quickly] No, no. 500!Mrs Mi Tzu [to Sun] Perhaps I can help you out. How much did your stock cost?Shui Ta My cousin originally paid 1000 silver dollars, and very little of it has been sold.Mrs Mi Tzu 1000 silver dollars! She was swindled, of course. I’ll make you an offer: you can

have 300 silver dollars for the whole business, if you move out the day after tomorrow.Sun All right. That’s it, old boy!Shui Ta It’s too little!Sun It’s enough!Shui Ta I must have at least 500.Sun What for?Shui Ta May I just discuss something with my cousin’s fiancé? [Aside to Sun] All this stock

of tobacco is pledged to two old people against the 200 silver dollars which you got yesterday.

Sun [Slowly] Is there anything about it in writing?Shui Ta No.Sun [To Mrs Mi Tzu after a short pause] 300 will do us.Mrs Mi Tzu But I have to be sure that the business has no outstanding debts.Sun You answer.Shui Ta The business has no outstanding debts.Sun How soon can we have the 300?Mrs MI Tzu The day after tomorrow, and you had better think it over. Put the sale off for a month

and you will get more. I can offer you 300, and that’s only because I’m glad to help where it seems to be a case of young love. [Exit.]

MOTHER COURAGE AND HER CHILDREN

EXTRACT NO. 1

MOTHER COURAGE: You left you hat here.YVETTE: Anyone wants it can have it.MOTHER COURAGE: Let that be a lesson, Kattrin. Don’t you start anything with them soldiers. Love makes the world go round, I’m

warning you. Even with fellows not in the army it’s no bed of roses. He says he’d like to kiss the ground your feet walk on – reminds me, did you wash them yesterday? – and after that you’re his skivvy. Be thankful you’re dumb, then you can’t contradict yourself and won’t be wanting to bite your tongue off for speaking the truth; it’s a godsend, being dumb is. And here comes the general’s cook, now what’s he after?

Enter the cook and the chaplain.THE CHAPLAIN: I have a message for you from your son Eilif, and the cook has come along because you made such a profound

impression on him.THE COOK: I just came along to get a bit of air.MOTHER COURAGE: That you can always do here if you behave yourself, and if you don’t I can deal with you. What does he want? I

got no spare cash.THE CHAPLAIN: Actually I had a message for his brother the paymaster.MOTHER COURAGE: He ain’t here now nor anywhere else neither. He ain’t his brother’s paymaster. He’s not to lead him into

temptation nor be clever at his expense. Giving him money from the purse slung round her: Give him this, it’s a sin, he’s banking on mother’s love and ought to be ashamed of himself.

THE COOK: Not for long, he’ll have to be moving off with the regiment, might be to his death. Give him a bit extra, you’ll be sorry later. You women are tough, then later on you’re sorry. A little glass of brandy wouldn’t have been a problem, but it wasn’t offered and, who knows, a bloke may lie beneath the green sod and none of you people will ever be able to dig him up again.

THE CHAPLAIN: Don’t give way to your feelings, cook. To fall in battle is a blessing, not an inconvenience, and why? It is a war of faith. None of your common wars but a special one, fought for the faith and therefore pleasing to God.

THE COOK: Very true. It’s a war all right in one sense, what with requisitioning, murder and looting and the odd bit of rape thrown in, but different from all the other wars because it’s a war of faith; stands to reason. But it’s thirsty work at that, you must admit.

THE CHAPLAIN to Mother Courage, indicating the Cook: I tried to stop him, but he says he’s taken a shine to you, you figure in his dreams.

THE COOK lighting a stumpy pipe: Just want a glass of brandy from a fair hand, what harm in that? Only I’m groggy already cause the chaplain here’s been telling such jokes all the way along you bet I’m still blushing.

MOTHER COURAGE: Him a Clergyman too. I’d best give the pair of you a drink or you’ll start making me immoral suggestions cause you’ve nowt else to do.

THE CHAPLAIN: Behold a temptation, said the court preacher, and fell. Turning back to look at Kattrin as he leaves: And who is this entrancing you person?

MOTHER COURAGE: That ain’t an entrancing but a decent young person. The chaplain and the cook go behind the cart with Mother Courage. Kattrin looks after them, then walks away from her washing towards the hat. She picks it up and sits down, pulling the red boots towards her. Mother Courage can be heard in the background talking politics with the chaplain and the cook.

MOTHER COURAGE: Those Poles here in Poland had no business sticking their noses in. Right, our king moved in on them, horse and foot, but did they keep the peace? No, went and stuck their noses into their own affairs, they did, and fell on king just as he was quietly clearing off. They committed a breach of peace, that’s what, so blood’s on their own head.

THE CHAPLAIN: All our king minded about was freedom. The emperor had made slaves of them all, Poles and Germans alike, and the king had to liberate them.

THE COOK: Just what I say, your brandy’s first rate, I weren’t mistaken in your face, but talk of the king, it cost the king dear trying to give freedom to Germany, what with giving Sweden the salt tax, what cost the poor folk a bit, so I’ve heard, on top of which he had to have the Germans locked up and drawn and quartered cause they wanted to carry on slaving for the emperor. Course the king took a serious view when anybody didn’t want to be free. He set out by just trying to protect Poland against bad people, particularly the emperor, then it started to become a habit till he ended up protecting the whole of Germany. They didn’t half kick. So the poor old king’s had nowt but trouble for all his kindness and expenses, and that’s something he had to make up for by taxes of course, which caused bad blood, not that he’d let a little matter like that depress him. One thing he had on his side, God’s word, that was a help. Because otherwise folk would of been saying he done it all for himself and to make a bit on the side. So he’s always had a good conscience, which was the main point.

MOTHER COURAGE: Anyone can see you’re no Swede or you wouldn’t be talking that way about the Hero King.THE CHAPLAIN: After all he provides the bread you eat.THE COOK: I don’t eat it, I bake it.MOTHER COURAGE: They’ll never beat him, and why, his men got faith in him. Seriously: To go by what the big shots say, they’re

waging war for almighty God and in the name of everything that’s good and lovely. But look closer, they ain’t so silly, they’re waging it for what they can get. Else little folk like me wouldn’t be in it at all.

THE COOK: That’s the way it is.THE CHAPLAIN: As a Dutchman you’d do better to glance at the flag above your head before venting your opinions here in Poland.MOTHER COURAGE: All good Lutherans here. Prosit!

MOTHER COURAGE AND HER CHILDREN

EXTRACT NO. 2

A morning three days later. The cannon has gone. Mother Courage, Kattrin, the Chaplain and Swiss Cheese are sitting gloomily over a meal.

SWISS CHEESE: That’s three days I been sitting around with nowt to do, and sergeant’s always been kind to me but any moment now he’ll start asking where’s Swiss Cheese with the pay box?

MOTHER COURAGE: You thank your stars they ain’t after you.THE CHAPLAIN: What can I say? I can’t even hold a service here, it might make trouble for me. Whosoever hath a full heart, his

tongue runneth over, it says, but heaven help me if mine starts running over.MOTHER COURAGE: That’s how it goes. Here they sit, one with his faith and the other with his cash box. Dunno which is more

dangerous.THE CHAPLAIN: We are all of us in God’s hands.MOTHER COURAGE: Oh, I don’t think it’s as bad as that yet, though I must say I can’t sleep nights. If it weren’t for you, Swiss

Cheese, things’d be easier. I think I got meself cleared. I told ‘em I didn’t hold with Antichrist, the Swedish one with horns on, and I’d observed left horn was a bit unserviceable. Half way through their interrogation I asked where I could get church candles not too dear. I knows the lingo cause Swiss Cheese’s dad were Catholic, often used to make jokes about it, he did. They didn’t believe me all that much, but they ain’t got no regimental canteen lady. So they’re winking an eye. Could turn out for the best, you know. We’re prisoners, but same like fleas on dog.

THE CHAPLAIN: That’s good milk. But we’ll need to cut down our Swedish appetites a bit. After all, we’ve been defeated.MOTHER COURAGE: Who’s been defeated? Look, victory and defeat ain’t bound to be same for the big shots up top as for them

below, not by no means. Can be times the bottom lot find a defeat really pays them. Honour’s lost, nowt else. I remember once up in Livonia our general took such a beating from enemy I got a horse off our baggage train in the confusion, pulled me cart seven months, he did, before we won and they checked up. As a rule you can say victory and defeat both come expensive to us ordinary folk. Best thing for us is when politics get bogged down solid. To Swiss Cheese: Eat up.

SWISS CHEESE: Got no appetite for it. What’s sergeant to do when pay day comes round?MOTHER COURAGE: They don’t have pay days on a retreat.SWISS CHEESE: It’s their right, though. They needn’t retreat if they don’t get paid. Needn’t stir a foot.MOTHER COURAGE: Swiss Cheese, you’re that conscientious it makes me quite nervous. I brought you up to be honest, you not being

clever, but you got to know where to stop. Chaplain and me, we’re off now to buy Catholic flag and some meat. Dunno anyone so good at sniffing meat, like sleepwalking it is, straight to target. I’d say he can pick out a good piece by the way his mouth starts watering. Well, thank goodness they’re letting me go on trading. You don’t ask tradespeople their faith but their prices. And Lutheran trousers keep cold out too.

THE CHAPLAIN: What did the mendicant say when he heard the Lutherans were going to turn everything in town and country topsy-turvy? ‘They’ll always need beggars’. Mother Courage disappears into the cart. So she’s still worried about the cash box. So far they’ve taken us all for granted as part of the cart, but how long for?

SWISS CHEESE: I can get rid of it.THE CHAPLAIN: That’s almost more dangerous. Suppose you’re seen. They have spies. Yesterday a fellow popped up out of the

ditch in front of me just as I was relieving myself first thing. I was so scared I only just suppressed an ejaculatory prayer. That would have given me away all right. I think what they’d like best is to go sniffing people’s excrement to see if they’re Protestants. The spy was a little runt with a patch over one eye.

MOTHER COURAGE clambering out of the cart with a basket: What have I found, you shameless creature? She holds up the red boots in triumph. Yvette’s red high-heeled boots! Coolly went and pinched them, she did. Cause you put it in her heard she was an enchanting young person. She lays them in the basket. I’m giving them back. Stealing Yvette’s boots! She’s wrecking herself for money. That’s understandable. But you’d do it for nothing, for pleasure. What did I tell you: you’re to wait till it’s peace. No soldiers for you. You’re not to start exhibiting yourself till it’s peacetime.

THE CHAPLAIN: I don’t find she exhibits herself.MOTHER COURAGE: Too much for my liking. Let her be like a stone in Dalecarlia, where there’s nowt else, so folk say ‘Can’t see

that cripple’, that’s how I lief have her. Then nowt’ll happen to her. to Swiss Cheese: You leave that box where it is, d’you hear? And keep an eye on your sister, she needs it. The pair of you’ll have me in grave yet. Sooner be minding a bagful of fleas.She leaves with the Chaplain. Kattrin clears away the dishes.

SWISS CHEESE: Won’t be able to sit out in the sun in shirt-sleeves much longer. Kattrin points at a tree. Aye, leaves turning yellow. Kattrin asks by gestures if he wants a drink. Don’t want no drink. I’m thinking. Pause. Said she can’t sleep. Best if I got rid of that box, found a good place for it. All right, let’s have a glass. Kattrin goes behind the cart. I’ll stuff it down the rat-hole by the river for the time being. Probably pick it up tonight before first light and take it to Regiment. How far can they have retreated in three days? Bet sergeant’s surprised. I’m agreeably disappointed in you, Swiss Cheese, he’ll say. I make you responsible for the cash, and you go and bring it back.

As Kattrin emerges from behind the cart with a full glass in her hand, two men confront her. One is a sergeant, the other doffs his hat to her. He has a patch over one eye.

THE MAN WITH THE PATCH: God be with you, mistress. Have you seen anyone round here from Second Finnish Regimental Headquarters?Kattrin, badly frightened, runs downstage, spilling the brandy. The two men look at one another, then withdraw on seeing Swiss Cheese sitting there.

SWISS CHEESE interrupted in his thoughts: You spilt half of it. What are those faces for? Jabbed yourself in eye? I don’t get it. And I’ll have have to be off, I’ve thought it over, it’s the only way. He gets up. She does everything possible to make him realise the danger. He only shrugs her off. Wish I knew what you’re trying to say. Sure you mean well, poor creature, just can’t get words out. What’s it matter your spilling my brandy, I’ll drink plenty more glasses yet, what’s one more or less? He gets the box from the cart and takes it under his tunic. Be back in a moment. Don’t hold me up now, or I’ll be angry. I know you mean well. Too back you can’t speak.As she tries to hold him back he kisses her and tears himself away. Exit. She is desperate, running hither and thither uttering little noises. The Chaplain and Mother Courage return. Kattrin rushes to her mother.

MOTHER COURAGE AND HER CHILDREN

EXTRACT NO. 3

MOTHER COURAGE SINGS THE SONG OF THE GRAND CAPITULATION

Outside an officer’s tent.

Mother Courage is waiting. A clerk looks out of the tent.

THE CLERK: I know you. You had a paymaster from the Lutherans with you, what was in hiding. I’d not complain if I were you.MOTHER COURAGE: But I got a complaint to make. I’m innocent, would look as how I’d a bad conscience if I let this pass. Slashed

everything in me cart to pieces with their sabres, they did, then wanted I should pay fiver taler fine for nowt. I tell you, nowt.CLERK: Take my tip, better shut up. We’re short of canteens, so we let you go on trading, specially if you got a bad conscience and

pay a fine now and then.MOTHER COURAGE: I got a complaint.CLERK: Have it your own way. Then you must wait till the captain’s free. Withdraws inside the tent.YOUNG SOLDIER enters aggressively: Bouque la madonne! Where’s that bleeding pig of a captain what’s took my reward money to

swig with his tarts? I’ll do him.OLDER SOLDIER running after him: Shut up. They’ll put you in irons.YOUNG SOLDER: Out of there, you thief! I’ll slice you into pork chops, I will. Pocketing my prize money after I’d swum the river,

only one in the whole squadron, and now I can’t even buy meself a beer. I’m not standing for that. Come on our there so I can cut you up!

OLDER SOLDIER: Blessed Mother of God, he’s asking for trouble.MOTHER COURAGE: Is it some reward he weren’t paid?YOUNG SOLDIER: Lemme go, I’ll slash you too while I’m at it.OLDER SOLDIER: He rescued the colonel’s horse and got no reward for it. He’s young yet, still wet behind the ears.MOTHER COURAGE: Let him go, he ain’t a dog you got to chain up. Wanting your reward is good sound sense. Why be a hero

otherwise?YOUNG SOLDIER: So’s he can sit in there and booze. You’re shit-scared, the lot of you. I done something special and I want my

reward.MOTHER COURAGE: Don’t you shout at me, young fellow. Got me own worries, I have; any road you should spare your voice, be

needing it when the captain comes, else there he’ll be and you too hoarse to make a sound, which’ll make it hard for him to clap you in irons ‘til you turn blue. People what shouts like that can’t keep it up ever; half an hour, and they have to be rocked to sleep, they’re so tired.

YOUNG SOLDIER: I ain’t tired and to hell with sleep. I’m hungry. They make our bread from acorns and hemp-seed, and they even skimp on that. He’s whoring away my reward and I’m hungry. I’ll do him.

MOTHER COURAGE: O I see, you’re hungry. Last year that general of yours ordered you all off roads and across fields so corn should be trampled flat; I could’ve got ten florins for a pair of boots s’pose I’d had boots and s’pose anyone’d been able to pay ten florins. Thought he’d be well away from that area this year, he did, but here he is, still there, and hunger is great. I see what you’re angry about.

YOUNG SOLDIER: I won’t have it, don’t talk to me, it ain’t fair and I’m not standing for that.MOTHER COURAGE: And you’re right; but how long? How long you not standing for unfairness? One hour, two hours? Didn’t ask

yourself that, did you, but it’s the whole point, and why, once you’re in irons it’s too bad if you suddenly finds you can put up with unfairness after all.

YOUNG SOLDIER: What am I listening to you for, I’d like to know? Bouque la Madonne, where’s the captain?MOTHER COURAGE: You been listening to me because you know it’s like what I say, your anger has gone up in smoke already, it was

just a short one and you needed a long one, but where you going to get it from?YOUNG SOLDIER: Are you trying to tell me asking for my reward is wrong?MOTHER COURAGE: Not a bit. I’m just telling you your anger ain’t long enough, it’s good for nowt, pity. If you’d a long one I’d be

trying to prod you on. Cut him up, the swine, would be my advice to you in that case; but how about if you don’t cut him up cause you feels your tail going between your legs? Then I’d look silly and captain’s take it out on me.

OLDER SOLDIER: You’re perfectly right, he’s just a bit crazy.YOUNG SOLDIER: Very well, let’s see if I don’t cut him up. Draws his sword. When he arrives I’m going to cut him up.CLERK looks out: The captain’ll be here in one minute. Sit down.

The Young Soldier sits down.MOTHER COURAGE: He’s sitting now. See, what did I say? You’re sitting now. Ah, how well they know us, no one need tell ‘em

how to go about it. Sit down! and, bingo, we’re sitting. And sitting and sedition don’t mix. Don’t try to stand up, you won’t stand the way you was standing before. I shouldn’t worry about what I think; I’m no better, not one moment. Bought up all our fighting spirit, they have. Eh? S’pose I kick back, might be bad for business.

MOTHER COURAGE AND HER CHILDREN

EXTRACT NO. 4

NARRATOR: It is the seventeenth year of the great war of faith. Germany has lost more than half her inhabitants. Those who survive the bloodbath are killed off by terrible epidemics. Once fertile areas are ravaged by famine, wolves roam the burnt-out towns. In autumn 1634 we find Courage in the Fichtelgebirge, off the main axis of the Swedish armies. The winter this year is early and harsh. Business is bad, so that there is nothing to do but beg. The cook gets a letter from Utrecht and is sent packing.

Outside a semi-dilapidated parsonage.

Grey morning in early winter. Gusts of wind. Mother Courage and the cook in shabby sheepskins, drawing the cart.

THE COOK: It’s all dark, nobody up yet.MOTHER COURAGE: Except it’s parson’s house. Have to crawl out of bed to ring bells. Then he’ll have hot soup.THE COOK: What from when whole village is burnt, we seen it.MOTHER COURAGE: It’s lived in, though, dog was barking.THE COOK: S’pose parson’s got, he’ll give nowt.MOTHER COURAGE: Maybe if we sing ...THE COOK: I’ve had enough. Abruptly: Got a letter from Utrecht saying mother died of cholera and inn’s mine. Here’s letter if you

don’t believe me. No business of yours the way aunty goes on about my mode of existence, but have a look.MOTHER COURAGE reads the letter: Lamb, I’m tired too of alway being on the go. I feel like butcher’s dog, dragging meat round

customers and getting nowt off it. I got nowt left to sell, and folk got nowt left to buy nowt with. Saxony a fellow in rags tried landing me a stack of old books for two eggs, Württemberg they wanted to swap their plough for a titchy bag of salt. What’s to plough for? Nowt growing no more, just brambles. In Pomerania villages are s’posed to have started in eating the younger kids, and nuns have been caught sticking folk up.

THE COOK: World’s dying out.MOTHER COURAGE: Sometimes I sees meself driving through hell with me cart selling brimstone, or across heaven with packed

lunches for hungry souls. Give me my kids what’s left, let’s find some place they ain’t shooting, and I’d like a few more years undisturbed.

THE COOK: You and me could get that inn going, Courage, think it over. Made up me mind in the night, I did: back to Utrecht with or without you, and starting today.

MOTHER COURAGE: Have a talk to Kattrin. That’s a bit quick for me; I’m against making decisions all freezing cold and nowt inside you. Kattrin! Kattrin climbs out of the cart. Kattrin, got something to tell you. Cook and I want to go to Utrecht. He’s been left an inn there. That’d be a settled place for you, let you meet a few people. Lots of ‘em respect somebody mature, looks ain’t everything. I’d like it too. I get on with cook. Say one thing for him, got a head for business. We’d have our meals for sure, not bad, eh? And your own bed too; like that, wouldn’t you? Road’s no life really. God knows how you might finish up. Lousy already, you are. Have to make up our minds, see, we could move with the Swedes, up north, they’re somewhere up that way. She points to the left. Reckon that’s fixed, Kattrin.

THE COOK: Anna, I got something private to say to you.MOTHER COURAGE: Get back in cart, Kattrin. Kattrin climbs back.THE COOK: I had to interrupt, cause you don’t understand, far as I can see. I didn’t think there was need to say it, sticks out a mile.

But if it don’t then let me tell you straight, no question of taking her along, not on your life. You get me, eh.Kattrin sticks her head out of the cart behind them and listens.

MOTHER COURAGE: You mean I’m to leave Kattrin back here?THE COOK: use your imagination. Inn’s got no room. It ain’t one of the sort got three bar parlours. Put our backs in it we two’ll let a

living, but not three, no chance of that. She can keep cart.MOTHER COURAGE: Thought she might find husband in Utrecht.THE COOK: Go on, make me laugh. Find a husband, how? Dumb and that scar on top of it. And at her age?MOTHER COURAGE: Don’t talk so loud.THE COOK: Loud or soft, no getting over facts. And that’s another reason why I can’t have her in the inn. Customers don’t want to

be looking at that all the time. Can’t blame them.MOTHER COURAGE: Shut you big mouth. I said not so loud.THE COOK: Light’s on in parson’s house. We can try singing.

MOTHER COURAGE: Cooky, how’s she to pull the cart on her own? War scares her. She’ll never stand it. The drams she must have ... I hear her nights groaning. Mostly after a battle. What’s she seeing in those dreams, I’d like to know. She’s got a soft heart. Lately I found she’d got another hedgehog tucked away what we’d run over.

THE COOK: Inn’s too small. Calls out: Ladies and gentlemen, domestic staff and other residents! We are now going to give you a song concerning Solomon, Julius Caesar and other famous personages what had bad luck. So’s you can see we’re respectable folk, which makes it difficult to carry on, particularly in winter.

NARRATOR:You saw sagacious SolomonYou know what came of him.To him complexities seemed plain.He cursed the hour that gave birth to himAnd saw that everything was vain.How great and wise was Solomon!The world however didn’t waitBut soon observed what followed on.It’s wisdom that had brought him to this state –How fortunate the man with none!

Yes, the virtues are dangerous stuff in this world, as this fine song proves, better not to have them and have a pleasant life and breakfast instead, hot soup for instance. Look at me: I haven’t any but I’d like some. I’m a serving soldier but what good did my courage do me in all them battles, nowt, here I am starving and better have been shit-scared and stayed at home. For why?

You saw courageous Caesar nextYou know what he became.They deified him in his lifeThen had him murdered just the same.And as they raised the fatal knifeHow loud he cried: You too, my son!The world however didn’t waitBut soon observed what followed on.It’s courage that had brought him to that state.How fortunate the man with none!

THE RESISTIBLE RISE OF ARTURO UI

EXTRACT NO. 1

Back room in Dogsborough’s restaurant. Dogsborough and his son are washing glasses. Enter Butcher and Flake.

DOGSBOROUGH: You didn’t need to come. The answer is No. Your proposition stinks of rotten fish.YOUNG DOGSBOROUGH: My father turns it down.BUTCHER: Forget it, then. We ask you. You say no. So no it is.DOGSBOROUGH: It’s fishy. I know your kind of docks. I wouldn’t touch it.YOUNG DOGSBOROUGH: My father wouldn’t touch it. BUTCHER: Good. Forget it.DOGSBOROUGH: You’re on the wrong road, fellows.

The City treasury is not a grab bagFor everyone to dip his fingers into.Anyway, damn it all, your business isPerfectly sound.

BUTCHER: What did I tell you, Flake? You fellows are too pessimistic.DOGSBOROUGH: Pessimism

Is treason. You’re only making trouble forYourselves. I see it this way: What do youFellows sell? Cauliflower. That’s as goodAs meat and bread. Man doesn’t live by breadAnd meat alone, he needs his green goods.suppose I served up sirloin without onionsOr mutton without beans. I’d never seeMy customers again. Some people areA little short right now. They hesitate To buy a suit. But people have to eat.They’ll always have a dime for vegetables.Chin up! If I were you, I wouldn’t worry.

FLAKE: It does me good to hear you, Dogsborough. It gives a fellow courage to go on.BUTCHER: Dogsborough, it almost makes me laugh to find

You so staunchly confident about the futureOf cauliflower, because quite frankly weHave come here for a purpose. No, don’t worry.Not what you think, that’s dead and buried. SomethingPleasant, or so at least we hope. Old manIt’s come to our attention that it’s beenExactly-twenty three years this June, since you – Well known to us for having operatedThe lunchroom in one of our establishments forMore than three decades – left us to devoteYour talents to the welfare of this city.Yes, without you own town would not be whatIt is today. Nor, like the city, wouldThe Trust have prospered as it has. I’m gladTo hear you call it sound, for yesterdayMoved by this festive occasion, we resolvedIn token of our high esteem, as proofThat in our hearts we somehow still regard youAs one of us, to offer you the major shareOf stock in Sheet’s shipyard for twenty thousandDollars, or less than half its value.He lays the packet of stocks on the bar.

DOGSBOROUGH: Don’t understand.BUTCHER: Quite frankly, Dogsborough

The Cauliflower Trust is not reputedFor tenderness of heart, but yesterdayAfter we’d made our ... well, ourStupid request about the loan, and heard

Your answer, honest, incorruptibleOld Dogsborough to a hair, a few of us –It’s not an easy thing to say – were closeTo tears. Yes, one man said – don’t interruptMe, Flake, I won’t say who – ‘Good God’He said, ‘the man has saved us from ourselves.’For some time none of us could speak. Then thisSuggestion popped up of its own accord.

DOGSBOROUGH: I’ve heard you, friends. But what is there behind it?BUTCHER: What should there be behind it? It’s an offer.FLAKE: And one that we are really pleased to make.

For here you stand behind your bar, a tower Of strength, a sterling name, the model ofAn upright citizen. We find you washingGlasses, but you have cleansed our souls as well.And yet you’re poorer than your poorest guest.It wrings our hearts.

DOGSBOROUGH: I don’t know what to say.BUTCHER: Don’t say a word. Just take this little package.

An honest man can use it, don’t you think?By golly, it’s not often that the gravy trainTravels the straight and narrow. Take your boy here:I know a good name’s better than a bankAccount, and yet I’m sure he won’t despise it.Just take the stuff and let us hope you won’tRead us the riot act for this!

DOGSBOROUGH: Sheet’s shipyard!FLAKE: Look, you can see it from right here.DOGSBOROUGH, at the window: I’ve seen it

For twenty years.FLAKE: We thought of that.DOGSBOROUGH: And what is

Sheet going to do?FLAKE: He’s moving into beer.BUTCHER: Okay?DOGSBOROUGH: I certainly appreciate

Your oldtime sentiments, but no one givesAway a shipyard for a song.

FLAKE: There’s somethingIn that. But now the loan has fallen throughMaybe the twenty thousand will come in handy.

BUTCHER: And possibly right now we’re not too eagerTo throw our stock upon the open market ...

DOGSBOROUGH: That sounds more like it. Not a bad deal ifIt’s go no strings attached.

FLAKE: None whatsoever.DOGSBOROUGH: The price you say is twenty thousand?FLAKE: Is it Too much?DOGSBOROUGH: No. And imagine, it’s the selfsame

Shipyard where years ago I opened my first lunchroom.As long as there’s no nigger in the woodpile ...You’ve really given up the loan?

FLAKE: Completely.DOGSBOROUGH: I might consider it. Hey, look here, son

It’s just the thing for you. I thought you fellowsWere down on me and here you make this offer.You see, my boy, that honesty sometimesPays off. It’s like you say: when I pass onthe youngster won’t inherit much more thanMy name, and these old eyes have seen what evilCan spring from penury.

BUTCHER: We’ll feel much betterIf you accept. The ugly aftertasteLeft by our foolish proposition would be

Dispelled. In future we could benefit By your advice. You’d show us how to rideThe slump by honest means, because our businessWould be your business, Dogsborough, becauseYou too would be a cauliflower manAnd want the Cauliflower Trust to win.Dogsborough takes his hand.

DOGSBOROUGH: Butcher and Flake, I’m in.YOUNG DOGSBOROUGH: My father’s in.

A sign appears.

THE RESISTIBLE RISE OF ARTURO UI

EXTRACT NO. 2

When the lights go on, the courtroom shows every indication of utter exhaustion.

THE JUDGE: The press has dropped hints that this court might be subject to pressure from certain quarters. The court wishes to state that is has been subjected to no pressure of any kind and is conducting this trial in perfect freedom. I believe this will suffice.

THE PROSECUTOR: Your Honour! In view of the fact that defendant Fish persists in simulating dementia, the prosecution holds that he cannot be questioned any further. We therefore move...

DEFENCE COUNSEL: Your honour. The defendant is coming to!Commotion.

FISH, seems to be waking up: Arlarlwaratarlawatrla.DEFENCE COUNSEL: Water! Your Honour! I ask leave to question defendant Fish.Uproar.THE PROSECUTOR: I object. I see no indication that Fish is in his right mind. It’s all a machination on the part of the defence, cheap

sensationalism, demagogy!FISH: Watr.

Supported by the defence counsel, he stands up.DEFENCE COUNSEL: Fish, tell the court: Did you, on the 28th of last month, set fire to a vegetable warehouse on the waterfront? Yes

or no?FISH: N-n-no.Defence Counsel: When did you arrive in Chicago, Fish?FISH: Water.DEFENCE COUNSEL: Water!

Commotion. Young Dogsborough has stepped up to the judge and is talking to him emphatically.GIRI stands up square-shouldered and bellows: Frame-up! Lies! Lies!DEFENCE COUNSEL: Did you ever see this man – He indicates Giri. – before?FISH: Yes. Water.DEFENCE COUNSEL: Where? Was it in Dogsborough’s restaurant on the waterfront/FISH, faintly: Yes

Uproar. The bodyguards draw their guns and boo. The doctor comes running in with a glass. He pours the contents into Fish’s mouth before the defence counsel can take the glass out of his hand.

DEFENCE COUNSEL: I object. I move that this glass be examined.THE JUDGE, exchanging glances with the prosecutor: Motion denied.DOCKDAISY screams at Fish: Murderer!DEFENCE COUNSEL: Your Honour!

Because the mouth of truth cannot be stopped with earthThey’re trying to stop it with a piece of paperA sentence to be handed down as thoughYour Honour – that’s their hope – should properlyBe titled Your Disgrace. They cry to justice:Hands up! Is this our city, which has agedA hundred years in seven days beneathThe onslaught of a small but bloody broodOf monsters, now to see its justice murderedNay, worse than murdered, desecrated bySubmission to brute force? Your Honour!Suspend this trial!

THE PROSECUTOR: I object!GIRI: You dog!

You lying, peculating dog! YourselfA poisoner! Come on! Let’s step outside!I’ll rip your guts out! Gangster!

DEFENCE COUNSEL: The whole town knows this man.Giri, fuming: Shut up!

When the judge tries to interrupt him: You too!Just keep your trap shut if you want to live!He runs short of breath and the judge manages to speak.

THE JUDGE: Order in the court. Defence counsel will incur charges of contempt of court. Mr Giri’s indignation is quite understandable. To the defence counsel: Continue.

DEFENCE COUNSEL: Fish! Did they give you anything to drink at Dogsborough’s restaurant? Fish! Fish!GIRI, bellowing: Go on and shout! Looks like his tyre’s gone down.

We’ll see who’s running things in this here town!Uproar. Darkness. The organ starts again to play Chopin’s Funeral March in dance rhythm.

As the lights go on for the last time, the judge stands up and in a toneless voice delivers the sentence. The defendant is deathly pale.

THE JUDGE: Charles Fish, I find you guilty of arson and sentence you to fifteen years at hard labour.A sign appears.

THE RESISTIBLE RISE OF ARTURO UI

EXTRACT NO. 3

Givola’s flower shop. Ignatius Dullfeet, a very small man, and Betty Dullfeet come in.

THE JUDGE: I don’t like this at all.BETTY: Why not? They’ve gotten rid of Roma.DULLFEET: Yes, they’ve murdered him.BETTY: That’s how

They do it. Anyway, he’s gone. Clark saysThat Ui’s years of storm and stress, which evenThe best of men go through, are over. UiHas shown he wants to mend his uncouth ways.But if you persevere in your attacksYou’ll only stir his evil instincts upAgain, and you, Ignatius, will be firstTo bear the brunt. But if you keep your mouth shutThey’ll leave you be.

DULLFEET: I’m not so sure my silence will help.BETTY: It’s sure to. They’re not beasts.

Giri comes in from one side, wearing Roma’s hat.GIRI: Hi. Here already? Mr Ui’s inside.

He’ll be delighted. Sorry I can’t stay.I’ve got to beat it quick before I’m seen.I’ve swiped a hat from Givola.He laughs so hard that plaster falls from the ceiling. and goes out, waving.

DULLFEET: Bad when they growl. No better when they laugh.BETTY: Don’t say such things, Ignatius. Not here.DULLFEET, bitterly: Nor anywhere else.BETTY: What can you do? Already

The rumour’s going around in CiceroThe Ui’s stepping into Dogsborough’s shoes.and worse, the greengoods men of CiceroAre flirting with the Cauliflower Trust.

DULLFEET: And now they’ve smashed two printing presses on me.Betty, I’ve got a dark foreboding.Givola and Ui come in with outstretched hands.

BETTY: Hi, Ui!Ui: Welcome. Dullfeet!DULLFEET: Mr Ui

I tell you frankly that I hesitatedTo come, because ...

UI: Why hesitate? A man like you is welcome everywhere.GIVOLA: So is a beautiful woman.DULLFEET: Mr Ui, I’ve felt

It now and then to be my duty toCome out against ...

UI: A mere misunderstanding!If you and I had know each other fromThe start, it never would have happened. ItHas always been my fervent wish that what

Had to be done should be done peacefully.DULLFEET: Violence...UI: No one hates it more than I do.

If men were wise, there’d be no need of it.DULLFEET: My aim...UI: Is just the same as mine. We both

Want trade to thrive. The small shopkeeper whoseLife is no bed of roses nowadaysMust be permitted to seel his greens in peace.And find protection when attacked.

DULLFEET, firmly: And beFree to determine whether he desiresProtection. I regard that as essential.

UI: And so do I. He’s got to be free to choose.why? Because when he chooses his protectorFreely, and puts his trust in somebody he himselfHas chosen, then the confidence, which isAs necessary in the greengoods tradeAs anywhere else, will prevail. That’s always beenMy stand.

DULLFEET: I’m glad to hear it from your lips.For, no offence intended, CiceroWill never tolerate coercion.

UI: Of course not.No one, unless he has to, tolerates coercion.

DULLFEET: Frankly, if this merger with the TrustShould mean importing the ungodly bloodbathThat plagues Chicago to our peaceful townI never could approve it.Pause.

UI: Frankness callsFor frankness, Mr Dullfeet. Certain thingsThat might not meet the highest moral standardsMay have occurred in the past. Such thingsOccur in battle. Among friends, howeverThey cannot happen. Dullfeet, what I want Of you is only that in the future you shouldTrust me and look upon me as a friendwho never till the seas run dry will forsakeA friend – and, to be more specific, thatYour paper should stop printing these horror storiesThat only make bad blood. I don’t believeI’m asking very much.

DULLFEET: It’s easy notTo write about what doesn’t happen, sir.

UI: Exactly. And if now and then some triflingIncident should occur, because the earthIs inhabited by men and not by angelsYou will abstain, I hope, from printing luridStories about trigger-happy criminals.I wouldn’t go so far as to maintain thatOne of our drivers might not on occasionUtter an uncouth word. That too is human.And if some vegetable dealer stands

One of our men to a beer for punctualDelivery of his carrots, let’s not rushInto print with stories of corruption.

BETTY: Mr Ui, my husband’s human.GIVOLA: We don’t doubt it.

And now that everything has been so amiablyDiscussed and settled among friends, perhapsYou’d like to see my flowers ...

UI, to Dullfeet: After you.They inspect Givola’s flower shop. Ui leads Betty, Givola leads Dullfeet. In the following they keep disappearing behind the flower displays. Givola and Dullfeet emerge.

GIVOLA: These, my deer Dullfeet, are Malayan fronds.DULLFEET: Growing, I see, by little oval ponds.GIVOLA: Stocked with blue carp that stay stock-still for hours.DULLFEET. The wicked are insensitive to flowers.

They disappear.

THE RESISTIBLE RISE OF ARTURO UI

EXTRACT NO. 4

UI: I want to be alone.ROMA, standing still: Arturo, if I

Hadn’t the kind of faith you’ve just describedI’d sometimes find it hard to look myMen in the face. We’ve got to act. And quickly.Giri is cooking up some dirty work.

UI: Don’t worry about Giri. I am planningBigger and better things. And now, ErnestoTo you, my oldest friend and trusted lieutenantI will divulge them.

ROMA, beaming: Speak, Arturo. GiriAnd what I had to say of him can wait.He sits down with Ui. Roma’s men stand waiting in the corner.

UI: we’re finished with Chicago. I need more.ROMA: More?UI: Vegetables are sold in other cities.ROMA: But how are you expecting to get in?UI: Through the front door, through the back door, through the windows.

Resisted, sent away, called back again.Booed and acclaimed. With threats and supplicationsAppeals and insults, gentle force and steelEmbrace. In short, the same as here.

ROMA: ExceptConditions aren’t the same in other places.

Ui: I have in mind a kind of dress rehearsalIn a small town. That way we’ll seeWhether conditions are so different. I doubt it.

ROMA: And where have you resolved to stageThis dress rehearsal?

UI: In Cicero.ROMA: But there

They’ve got this Dullfeet with his JournalFor Vegetables and Positive ThinkingWhich every Saturday accuses meOf murdering Sheet.

UI: That’s got to stop.ROMA: It will. These journalists have enemies.

Their black and white makes certain peopleSee red. Myself, for instance. Yes, ArturoI think these accusations can be silenced.

UI: I’m sure they can. The Trust is negotiatingWith Cicero right now. For the time beingWe’ll just sell cauliflower peacefully.

ROMA: Who’s doing this negotiating?UI: Clark. But he’s been having trouble. On our account.ROMA: I see. So Clark is in it. I wouldn’t trust

That Clark around the corner.UI: In Cicero

They say we’re following the CauliflowerTrust like its shadow. They want cauliflower, butThey don’t want us. The shopkeepers don’t like us.A feeling shared by others: Dullfeet’s wifeFor instance, who for years now has been runningA greengoods wholesale house. She’d like to joinThe Trust, and would have joined except for us.

ROMA: You mean this plan of moving in on CiceroDidn’t start with you at all, but with the Trust?Arturo, now I see it all. I seeTheir rotten game.

UI: Whose game?ROMA: The Trust’s.

The going-ons at Dogsborough’s! His will!It’s all a machination of the Trust.They want the Cicero connection. You’re inThe way. But how can they get rid of you?You’ve got them by the balls, because they neededYou for their dirty business and connived at Your methods. But now they’ve found a way:Old Dogsborough confesses and repairsIn ash and sackcloth to his coffin.The cauliflower boys with deep emotionRetrieve this paper from his hands and sobbingRead it to the assembled press: how he repentsAnd solemnly adjures them to wipe outThe plague which he – as he confesses – broughtIn, and restore the cauliflower tradeTo its time-honoured practices.That’s what they plan, Arturo. They’re all in it:

UI: You thinkIt’s all a plot? It’s true. They’ve kept me outOf Cicero. I’ve noticed that.

ROMA: ArturoI beg you: let me handle this affair.I tell you what: my boys and I will beatIt out to Dogsborough’s tonightAnd take him with us. To the hospitalWe’ll tell him – and deliver him to the morgue.

UI: But Giri’s with him at the villa.ROMA: He

Can stay here.They exchange glances.Two birds one stone.

UI: And Givola?ROMA: On the way back I’ll drop in at the florist’s

And order handsome wreaths for Dogsborough.For Giri too, the clown. And I’ll pay cash.He pats his gun.

UI: Ernesto, this contemptible project of The Dogsboroughs and Clarks and DullfeetsTo squeeze me out of Cicero’s affairsBy coldly branding me a criminalMust be frustrated with an iron hand.

I put my trust in you.ROMA: And well you may.

But you must meet with us before we startAnd give the boys a talk to make them seeThe matter in its proper light. I’m notSo good at talking.

UI, shaking his hand: It’s a deal.

Lesson Ten

Aim: Apply knowledge of some of the major techniques developed by Brecht in telling a well-known tale. Begin articulating ideas for the direction of an Epic Theatre performance.

The Fairytale BeginsDivide students into groups of 5.

Students are to select and Brechtianise a well-known fairy tale incorporating a number of selected Epic Theatre techniques. The students are taken through the following process prior to devising and rehearsing:

The fairytale must be divided into episodes with each episode given a title. The actors and characters must be introduced at the beginning of the presentationThe techniques to incorporate include:

Use of third personFrequent character changeStylised movementMinimal propsSymbolic gestureVoice and movement for characterCounting steps

Students rehearse and refine their Fairy tale.

Fairy tales presented.

Lesson Eleven and Twelve

Aim: To explore the potential themes of Brecht’s plays through movement and voice activities.

Hey Ho – lesson adapted from a One Day workshop with The Australian Theatre School

Warm up Students begin with a series of stretches and lunging exercise to develop group awareness, physical awareness and to awaken the body and mind.

Step OneForm a circle with the teacher included in the activity to act as a model and team member.All adopt a lunging stance and begin to move back and forth shifting their weight between their front and back foot. Leaning in and out the group finds a rhythm.Encourage students to change legs while maintaining the rhythm and movement.Introduce the arms into the movement. Provide the image of a rowing moving her arms consistently in and out.Introduce a heaving breath to further enhance the rhythm of the piece.Students begin chanting “hey ho” in time with the movement.Gradually introduce more of the chant with the students repeating each line:

Hey hoNobody home,Meat no Drink no Money Have I None,Still I will be Very MerryHey hoNobody home.

Begin to introduce the tune of the song – quite rhythmical, slow and mechanicalContinue to swap legs to increase students confidence and familiarity with the chant.Encourage students to begin moving through the room continuing to explore the meaning and mood of the song.

Step TwoStudents form groups of five.Each group is to create a movement sequence to the song. No character or emotion is to be included – just actions and singing.Students continue to explore the potential meaning of the text by altering the style of performance e.g. rap, jazz.Students rehearse and present.

Step 3The class extracts meaning and potential themes from the performances. Encourage students to explore the ideas expressed in the lyrics and movement.

Themes extracted by the class could include the following: PovertyThe workforceMundane lifeLack of ambition or purposeThe increasing gap between the haves and have nots

Step 4Link themes back to Brecht’s purpose and focus in theatre.

Lesson Thirteen

Aim: Students contribute to the understanding of others in the class in a peer tutor exercise. Brecht’s texts are explored in more detail.

Brecht TutorialStudents have been reading one of four Brecht play texts:

Mother Courage and her childrenCaucasian Chalk CircleArturo UiThe Good Woman of Setzuan

Students form groups with class members that read the same play text and together respond to the following worksheet. Students organise their tutorial presentation for an upcoming lesson.

BERTOLT BRECHT TUTORIAL

Choose one of Brecht’s plays to read and report back on to the class. Fill in the sheet below to help solidify your understanding of the play.Consider how they events of the time may have had an impact on Brecht’s choice of material and method of presentation.Additionally, think of at least one gimmick that you think would be appropriate in staging this particular play. It may be use of particular music, symbols, movement, images or set items.

Play: ____________________________________

Dramatury: (date written; political climate; major events etc.)________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Synopsis:________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Directorial Gimmick:________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Lesson Thirteen

Aim: Students apply further Epic Theatre techniques to the treatment of a modern news article.

News ArticleStudents divide into groups of five.Each group is given a news article which deals with a prominent issue in society.Students are to return to their PowerPoint notes and apply a variety of techniques to the presentation of their article. The structure and purpose of Epic Theatre is to be recognised in the students decision making process.The presentation should aim to last for 15 minutes.Students devise and rehearse presentation.

Lesson Fourteen

Aim: Share responses to previous lesson task. Continue to develop understanding of Epic Theatre techniques and explore methods of applying these creatively to a performance piece.

News ArticleStudents present work from the previous class.

DebriefTechniques are identified and assessed for effectiveness.

Lesson Fifteen

Aim: Explore elements of traditional Asian movement to influence character development in directing task. Begin to explore aspects of gestus.

Focus (adapted from Zen Zen Zo workshop)Students are introduced to the concept of actor/character in Epic Theatre – aim for a calm and neutral state of body and avoid any individual characterisation. To begin this journey students will a number of exercises to increase focus, physical, emotional and psychological awareness.

Step OneStudents are to find a fixed point out in front of them while standing in a neutral and relaxed position.Over the count of 8 students rise onto the balls of their feet maintaining a consistent pace and momentum.Over 16 counts students lower to the sole of their foot and then continue to move down to their lowest position (without raising heals, moving at an inconsistent or jerky pace or arriving to early at their destination).Continue to repeat the process altering the length of time allowed for each aspect of travel.Once students arrive at their tip toes ask them to close their eyes and to continue to maintain their balance and focus – this is a real test!

Step TwoStudents begin to increase their body awareness by focusing on their walk. To remove unnecessary characterisation the walk should be small, calculated and precise. Students work on the process of moving from heel, to the flat of the foot, to the toes hitting the floors surface.

Step ThreeTo explore the restricted but controlled movement often seen in Asian theatre styles the students join with a partner and provide resistance and challenge in the following exercise. Student A imagines she has lazers beams streaming out of her hip area. Standing in a neutral position, maintaining a clear focal and pace she is to sustain a strong clear beam of light as she walks in slow, precise steps to the edge of the space. Student B is to provide resistance during this time by placing her hands on As hips and assisting her in maintaining that stream of light. Swap over.

Step FourIn groups of three students begin to explore gesture. Without talking each student demonstrates an everyday activity to her group. Maintaining this focus each group member must memorise and perfect each gesture considering height, speed and timing of the movement.

Oriental Influence on BrechtStudents note down the following in books: Oriental acting emphasises body control, focusing on movement, gesture, pantomimic dramatisation, mood and the use of

intricate mask, costume and make-up The gestures are fluid and full, and their action and attitude are symbolic In Brecht’s theatre the actor must:

take a stand and create a mood or frame of mind that suits the character’s social function perform with an awareness of being watched look at the floor and openly calculate movement make vocal and physical timing strange and disconnected occasionally speak stage directions aloud to intensify unemotional acting change rolls with other actors during rehearsal to be able to observe the character and remain unattached to the role stand in front of the mirror to meticulously study movement and gesture

GestusStudents view a school production of “Azdak’s Garden” (adapted from the Caucasian Chalk Circle) and identify the gestus adopted by different characters throughout the performance.

Lesson Sixteen

Aim: To explore the political activity of Brecht’s world and to identify political meaning in a children’s tale.

IsmsStudents are introduced in to the different Isms that were active during the time of Brecht’s theatre revolution to gain an understanding of the influences around him.

Source Unknown

The Little Red HenStudents read aloud the following children’s tale and identify the ‘isms’ at work within the text. Discuss the relevance of parables to Brecht’s own scripts as a moral message is at the centre of each piece. As a class the potential of the piece as an Epic Theatre performance is discussed: what techniques could be employed what episodes and titles would be effective what gestus would be appropriate for each animal

“Philosopher’s Corner”

SocialismYou have two cows and give one to your neighbour

CommunismYou have two cows; the government takes both and gives you the milk

FascismYou have two cows; the government take both and sells you the milk

NazismYou have two cows; the government take both and shoots you

BureaucratismYou have two cows; the government takes both, shoots one, milks the other and

throws the milk away

CapitalismYou have two cows; you sell one and buy a bull

Found on the wall of the Bushranger Hotel, Collector, NSW

The Little Red Hen

One day as the Little Red Hen was scratching in a field, she found a grain of wheat."This wheat should be planted," she said. "Who will plant this grain of wheat?" "Not I," said the Duck."Not I," said the Cat."Not I," said the Dog.

"Then I will," said the Little Red Hen. And she did.

Soon the wheat grew to be tall and yellow."The wheat is ripe," said the Little Red Hen. "Who will cut the wheat?" "Not I," said the Duck."Not I," said the Cat."Not I," said the Dog.

"Then I will," said the Little Red Hen. And she did.

When the wheat was cut, the Little Red Hen said, "Who will thresh the wheat?""Not I," said the Duck. "Not I," said the Cat."Not I," said the Dog.

"Then I will," said the Little Red Hen. And she did.

When the wheat was threshed, the Little Red Hen said, "Who will take this wheat to the mill?""Not I," said the Duck. "Not I," said the Cat."Not I," said the Dog.

"Then I will," said the Little Red Hen. And she did.

She took the wheat to the mill and had it ground into flour. Then she said, "Who will make this flour into bread?""Not I," said the Duck. "Not I," said the Cat."Not I," said the Dog."Then I will," said the Little Red Hen. And she did.

She made and baked the bread. Then she said, "Who will eat this bread?""Oh! I will," said the Duck. "And I will," said the Cat."And I will," said the Dog."No, No!" said the Little Red Hen. "I will do that." And she did.

From The Gingerbread Guide: Using Folktales with Young Children. Copyright 1987 Scott, Foresman and Company. http://www.bres.boothbay.k12.me.us/wq/nnash/WebQuest/little_red_hen.htm

Lesson Sixteen

Aim: Students contribute to the understanding of others in the class in a peer tutor exercise. Brecht’s texts are explored in more detail.

Brecht Play TutorialThe four play tutorials are presented to the class. Notes are taken and questions are addressed by the students and teacher.

Lesson Seventeen

Aim: Model the forming task to students.

Step OneThe teacher takes on the role of an autocratic director (due to time restrictions) and tells students where, when and how to move. Begin by giving some background information about the man, Galileo, his work and the content of the play. Some areas to cover are:

Both the subject of his play and the playwright lived at a time of Historical Crisis. Galileo assumes at the beginning of the play that he is on the threshold of a new age Brecht was hoping for a new socialist state to emerge with Germany 17th Century Italy – The inquisition supervene 20th Century Germany – Hitler supervened Brecht’s exile meant he could only continue his opposition to the political structure from abroad. Galileo was censored and

had to continue in secret.

Step TwoRead to students: The extract to be directed in Scene six “The Vatican Research Institute”. Galileo submitted his theory’s for papal consideration (the theory that the earth revolves around the sun). The monks are joking at Galileo’s expense. The church is in control, pulling the strings etc. therefore to show the absurdity of the situation and the fact that the Church representatives find Galileo’s ideas nonsensical I’ve chosen to set the scene as though it was a circus. A papal legate has been added to act as ringmaster-narrator and keeps all in line with his whip.

Step ThreeBegin to direct class in scene.Allocate characters and ask each to create a gestus for their character:Clowns – A Fat Prelate, A ScholarJugglers - A Monk, The ScholarBareback riders – A 2nd scholar, a 2nd monkTrapeze Artists - The 1st scholar, 1st MonkLion Tamers – 1st Astronomer, Philosopher, 2nd AstronomerSweepers – A very thin monk, The very old cardinalThe Ringmaster/Papal LegateGalileo/Lion

Life of Galileo

The Vatican research institute, the Collegium Romanum, confirms Galileo’s findings

Entrance – all actor/characters are introduced. Enter walking in a straight line, military fashion, square formation (earth was considered flat and the Church wanted to contain science) in a box.

Papal Legate: Step right up, step rightWelcome to the amazing Circus RomanumSee the colourful clowns…(actors introduce themselves and their role)The jumping jugglers……(actors introduce themselves and their role)The amazing acrobats……(actors introduce themselves and their role)The terrifying trapeze artists…(actors introduce themselves and their role)And the legendary lion tamers…(actors introduce themselves and their role)

Galileo wears a sign around his neck – LeoGali Leo

Circus music is played during the entry

Things take indeed a wondrous turn Looking at GalileoWhen learned men do stoop to learn.Clavius, we are not pleased to say All shake headsUpheld Galileo Galilei. Galileo roars

All frozen in boxHall of the Collegium Romanum in Rome. It is night-time. High ecclesiastics, monks and scholars in groups. On his own, to one side, Galileo. The atmosphere is extremely hilarious. Before the beginning of the scene a great wave of laughter is heard.

A Fat Prelate clasps his belly with laughing look at Galileo: Stupidity! Stupidity! (All repeat “Stupidity. Stupidity”lauging and bring to life) I’d like to hear a proposition that people won’t believe.

A Scholar: For instance: that you have an incurable aversion to meals, Monsignor.A Fat Prelate: They’d believe it; they’d believe it. Things have to make sense to be disbelieved. That Satan exists: that’s something

they doubt. But that the earth spins (all begin spinning) round like a marble in the gutter; that’s believed all right. O sancta simplicatas!

A Monk play-acting (begins spinning across room): I’m getting giddy. The earth’s spinning round too fast. Permit me to hold on to you, professor. He pretends to lurch and clutches one of the scholars.

The Scholar following suit: Yes, the old girl has been on the bottle again. He clutches another.The Monk: Stop, stop! (Stop spinning) We’re skidding off. Stop, I said!A Second Scholar: Venus is all askew. I can only see one half of her backside. (Turn with back to audience, stick bum out,

grotesque) Help! (A group of laughing monks forms, acting as if they were doing their best not to be swept off a ship’s deck in a storm.)A Second Monk: As long as we aren’t flung on to the moon! (Mooning audience) It’s said to have terribly sharp peaks, my brethren.The First Scholar: Dig your heels in and resist. (Trapeze artists move down stage across and return to original position)The First Monk: And don’t look down. I’m losing my balance. (All manically laughing.)The Fat Prelate intentionally loudly, aiming at Galileo: Oh, that’s impossible. Nobody is unbalanced in the Circus Romanum. (Much laughter. Two of the Collegium astronomers enter from a door. There is a silence.A Monk: Are you still going over it? That’s scandalous.The First Astronomer angrily: Not us. (Unfreeze, feet together and face front)The Second Astronomer: (Audience address) What’s this meant to lead to? I don’t understand Clavius’s attitude ... One can’t treat

everything as gospel that has been put forward in the past fifty years. In 1572 a new star appeared in the eighth (All look at 8 o’clock) and highest sphere, the sphere of the fixed stars, which seemed larger and more brilliant than all the stars round it, and within eighteen months it had gone out and been annihilated (hang head). Does that mean we must question the eternity and immutability of the heavens?

Philosopher: (Audience address) Give them half a chance and they’ll smash up our whole starry sky.The First Astronomer: (Audience address) Yes, what are we coming to? Five years later Tycho Brahe in Denmark established the

course of a comet. It started above the moon and broke through one crystal sphere after another, the solid supports on which all the moving of the heavenly bodies depend. It encountered no obstacles, there was no deflection of its light. Does that mean we must doubt the existence of the spheres?

The Philosopher: It’s out of the question. As Italy’s and the Church’s greatest astronomer, how can Christopher Clavius stoop to examine such a proposition?

The Fat Prelate: Outrageous. (All put heads up. Return to gestus but look outraged)The First Astronomer: He is examining it, though. (Refer to Galileo) He’s sitting in there staring through that diabolical tube. (Lean

forward as if looking through a telescope)The lyrics for Bohemium Rhapsody have been altered to suit the contextVersion for Galileo

Said by Galileo in the middle of the circle

Is this the real truth?Is this just fantasy?Caught in the Pope’s glareNo escape from finalityOpen your eyesLook up to the skies and seeI’m just a scientist, exposing a fallacy I’m a small fish in a big sea,Little lie, big foeTaking on the church now, Planets round the sun go, wake up to realitySkulduggery (last line whispered)

All the clerical staff turn inwards and point singing pompouslyAllocate lines

I see a little silhouetto of a manBladerdash, balderdash, will you do the Roman tangoThunderbolt and lightning - very very frightening to me ( all genuflect)Gallileo, Gallileo,Gallileo, Gallileo,Gallileo people’s hero- minamo ( hiss this word) ( Galileo cringes )

DebriefIdentify elements of task covered and explore what was done with the play text and why.

Aim: To allow time for students to develop individual directing task.

Students spend these lessons devising their directing tasks.In lesson Twenty-two each student provides her actors (other class members) with scripts and an overview of her performance.

Assessing of directing tasks.

Lesson Eighteen, Nineteen, Twenty, Twenty-One, Twenty-Two

Lesson Twenty-three, Twenty-four, Twenty-five, Twenty-six

Semester 2 Year 11 Task # 5

Unit 4 : Children of the Revolution

FORMING : DIRECTING TASK

DESCRIPTION:In role as director, you are to plan and direct a group of 2/3 actors in an original Brechtian version of one of the chosen extracts. An extracted or imposed social or political issue needs to be carefully considered. You will demonstrate your ideas and knowledge of Brecht’s philosophies and theatrical techniques in an open rehearsal.

In your 15 minute open rehearsal you are expected to demonstrate: a clear understanding of the background and dramaturgical details of the play a clear explanation of your original directorial concept and artistic vision for the chosen piece effective use and manipulation of appropriate Elements of Drama an understanding of Epic theatre effective use of Brechtian staging techniques and alienation effects effective communication with your actors

You will need to carefully mange your allocated time to allow for the explanation of your ideas, to block and direct your actors through the piece, to show an uninterrupted run through of approximately 2 minutes of rehearsed blocking and to provide feedback to your actors on this run through.

Please refer to your CHECKLIST to assist with detailed preparation.

DOCUMENTATION: Director’s folio (see attached details) Reflective Evaluation (150 words)CONDITIONS:15 minutes per director.Class preparation time.Notes allowed.DUE DATES: In class from week beginning 31st October. Specific dates to be negotiated with teacher.

POLICY Students must submit a mandatory draft in the

form of a hard copy. If your work is not submitted on the due date

then this draft will be assessed as your final submission.

A once only extension may be granted in special circumstances on application to the Head of Department. (Extension receipt form required). Special consideration after consultation with Dean of Students is an exception.

It is your responsibility to ensure an electronic back-up copy is made of all work.

Core SkillsCommon Curriculum Elements (QCS) integrated in this task are: using vocabulary appropriate to a content

(10) explaining to others (26) expounding a viewpoint (27) interrelating ideas/themes/issues (31) creating/composing/devising (46)

Criteria Overlef

Aim: Prepare students for first summative assessment. Develop analytical skills.

During this time students are exposed to a variety of resources to prepare them for their responding exam. Each resource viewing requires students to identify the Epic Theatre techniques employed within the piece and to determine the purpose of each. Students are also asked to identify the socio-political message evident in each example.

Resources explored include:Dogville (2004) http://www.dogvillemovie.com/Scenes from –  ‘The Mother’ and ‘He Said Yes’ both play texts by Bertolt Brecht

Lesson Twenty seven – Thirty-four

Semester 2 Year 11 Task # 6

Unit 4 : Children of the Revolution

Responding Task: Summative

Context

In La Boite Theatre Company’s recent move to its new premises in the Creative Industries

Precinct, a fragment of an old script was discovered. The Artistic Director thinks that it could be

from a play by Bertolt Brecht.

What evidence can you find in the extract to confirm that it is probably from a Brechtian play?

Task DescriptionYou are to write an expository essay analysing elements of the text that reflect the ideas and conventions of Brecht’s Epic Theatre.

Read the extract several times and make notes of references that parallel Brecht’s social and/or political concerns and Brecht’s ideas about staging, acting and theatrical style.

Carefully structure your essay, clearly identifying and explaining your points. Provide specific examples by directly referring to the text to justify your evaluation.

CONDITIONS:Unseen exam

1 A4 page of notes allowed

1 hr 40 minutes supervised exam + 15

minutes perusal – notes and essay

plan allowed to be written in this time

Length: approximately 700 - 800 words

DATE:Friday 25th November, Noon.

Core SkillsCommon Curriculum Elements (QCS) integrated in this task are: Using correct spelling, punctuation, grammar (9) Using vocabulary appropriate to a context (10) Structuring/organizing extended written text (21) Expounding a viewpoint (27) Interrelating ideas/themes/issues (31) Extrapolating (35) Synthesising (44) Justifying (48) Analysing (43)

Criteria Overleaf