Well Rounded

Lesson 1Round & Round

The lesson plan detailed below explores the in-the-round genre. We have used characters from The Norman Conquests to illuminate key themes and understanding, however, the lesson is easily adaptable when working with another set text as part of the wider English or Drama Curriculum.

Aims ➜To develop an understanding of the key features of theatre-in-the-round ➜To enable participants to explore and develop performance skills for working in-the-round ➜To develop an understanding of the effect of theatre-in-the-round on an audience

Materials needed ➜Appendix 1 (Theatre Spaces illustration) ➜Appendix 2 (Warm-Ups) ➜DVD (Into the Round) ➜Interactive whiteboard or TV and DVD player

Duration ➜The lesson lasts approximately one hour.

1.1 Proscenium Arch Theatre verses Theatre-in-the-Round

DVD Point Show ‘Into the Round’ DVD from video resources. ➜You might like to explain that The Old Vic’s traditional proscenium auditorium was transformed into the CQS Space, a theatre-

in-the-round configuration, especially for the 2008 production of The Norman Conquests by Alan Ayckbourn. The change enabled the audience to experience The Norman Conquests in the style they were originally written for.

➜Having watched the film, ask the workshop participants to think about what the key features of the traditional proscenium arch and theatre-in-the-round theatre might be. There are some suggestions detailed below and in Appendix 1 (Theatre Spaces illustration) that might help with understanding. This should be done as an informal group discussion.

Lesson 1 1

Round & Round

in the proscenium arch...

The audience face the stage. �The stage is often raised, making the actors higher and �improving the audience view.Controls what the audience sees, like a picture frame. �Often has a curtain that can be lowered to hide changes. �‘Wing space’ is available meaning set, actors and stage �crew can be hidden from view.

in theatre-in-the-round...

The audience surround the stage area. �The configuration can be circular, square or oval shaped. �The stage is often level with, or lower than, the audience. �The actors have their backs to the audience at some point �during the performance.There is no stage curtain or wings, everything is seen. �There needs to be special consideration when thinking of �set design, so as not to obscure any audience member’s view of the performance.

➜ After sufficient time separate the participants into groups of four and then ask them to discuss the two differing theatre styles. You might like to ask the following lead questions:

Can you identify two advantages and disadvantages of working in the round? Example answers might be:

➜After sufficient time ask for some feedback and then follow up by asking the participants what might be the biggest challenges for actors working in-the-round. Example answers might be:

Being audible Actors may have their backs to the audience which means it is especially difficult

during the quieter moments Being seen Ensuring an actor uses their whole body to its full potential in order that they can

be seen and communicate their character properly

➜ You should finish by asking the participants which style of theatre they think is the oldest. ➜ The answer is most probably theatre-in-the-round which was based on storytelling around a fireplace and used in Greek and

Roman Amphitheatres while the Proscenium Arch configuration was created when outdoor tennis courts were converted to indoor tennis courts in France in the 17th century.

It is now time to explore the dramatic devices used when working in-the-round.

➜ Ask all of the participants to return to a circle then explain that as actors it’s important to prepare the voice to ensure you can be heard by the audience. It’s also important to warm up the body as working as an actor is incredibly physical and requires a great deal of energy and a good level of fitness.

➜ Using Appendix 2 (Warm-Ups), follow the exercises to prepare the group for the lesson. These are professional warm-up techniques which are used by actors at The Old Vic.

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AdvantagesActors and audience are closer together. �It is often seen as a more ‘intimate’ experience. �Audience often comment that they feel more aware of �the ‘theatre experience’.

DisadvantagesThere are restrictions on the set and lighting design. �There are vocal and physical challenges for the actors �to overcome.

1.2 Circles of Attention

➜ Ask participants to start walking in the space using all the space that’s available. It’s important that people walk as individuals and not in groups or bunched up with friends.

➜ As participants get used to walking in the space verbally introduce Stanislavki, the famous Russian theatre practitioner who developed a number of ways to train actors. One of his techniques is called Circles of Attention. The first circle of attention is for the actors to simply focus on themselves. Participants should ask themselves:

How are they moving? Are they in a neutral stance? Are they walking with tension? ➜ The next ‘circle’ is intended to include the other participants in the room. As people are walking around the space ask them to

become more aware of those around them and in particular who’s behind them. After sufficient time, ask the participants to freeze where they are. Next, ask one volunteer to guess who’s behind them, without looking. If the volunteer is correct praise them and then ask them how they knew. If not, what might they do to guess correctly next time.

➜ Build on the exercise by asking participants to hold their arms out to the side wriggling their fingers and looking around them, bringing their arms forward until they can see their fingers in their peripheral vision, explain that this is how wide their range of vision is. This range of vision is used by actors on stage so that they are aware of their fellow actors and it also helps with focus.

➜ Ask participants to start walking again, keeping a high level of focus and staying aware. ➜ Ask participants to freeze and ask one or two to guess who is behind them.➜ Introduce to participants the third circle of attention: the audience. When working, the actors need to always be asking if the

audience can see, hear etc. Ask participants to take a look at their audience.➜ Finish with a brief review of how difficult it can be for the actor to sustain a high level of concentration and attention when

working in-the-round.

1.3 Back to Me

This exercise highlights the active role of the audience when watching theatre-in-the-round.

➜ Ask the participants to form a standing circle. They are now the ‘audience’. ➜ Ask for four volunteers and take them to one side away from the rest of the group. Label the volunteers either A, B, C or D.➜ Explain to A that their goal is to make B, C, and D laugh, without moving from the place they are standing in, encourage A to

be as exaggerated as possible. ➜ Place A, B, C, and D in the centre of the circle. ➜ A stands facing B and C stands facing D, making a square. ➜ A begins their actions.➜ After two minutes ask members of the ‘audience’ standing directly behind A to try and explain what was happening, encourage

the explanations to be as specific as possible. Now ask other members of the ‘audience’ to try to explain what was happening encouraging the explanations to be a specific as possible.

➜ Highlight the reason that the audience directly behind A found it difficult to explain what was happening between the four volunteers due to the fact that A had their back to them. Suggest that during the next stage the ‘audience’ observes fellow ‘audience’ members’ reactions so that they can piece together who is doing what to whom.

➜ Take B to one side (away from the group). Explain to B that their goal is now to try to scare A, C, and D, without moving from the place they are standing in, encourage B to be as exaggerated as possible.

➜ Run the activity again and discuss the effect of theatre-in-the-round on the audience, especially the intimacy it creates.

1.4 Plenary

➜ Summarise the work covered in the session and encourage feedback from participants, discussing any interesting points.

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Lesson 1

Title

Well Rounded

Lesson 2Knowing Norman

Aims➜ To develop an understanding of the characters form The Norman Conquests and their relationships.➜ To enable participants to develop skills in creating characters, from page to stage.➜ To enable participants to practise performing in-the-round.

Materials needed

Duration➜ The session will last approximately one hour, though it can be extended as required.

2.1 Introduction & Warm-Ups

➜ Begin with a short plenary to review the previous lesson, the key factors of working in-the-round. ➜ Work through the warm-up exercises in Appendix 2.

2.2 Relationships in Space

This exercise demonstrates the complex relationships between the characters of The Norman Conquests and begins to explain how the trilogy of plays fits together. There is a simple diagram in Appendix 3 (Relationships in Space) which may be of use when explaining the exercise to the participants.

➜ Begin by asking the participants to sit in a large circle, in the middle place an empty chair. Introduce the chair as the character of Mother. Mother is one of the central characters of The Norman Conquests, and the action of the play is set in her house but we never see her. She is old and stays in bed, needing constant care. She needs to be fed, given medicine, taken to the bathroom, in short everything must be done for her.

➜ Ask for two volunteers and get them to stand. ➜ Volunteer 1 will now be playing the part of Annie, a character from the play. Annie is the youngest daughter who is still living

at home looking after mother she is not married and has no children. ➜ Volunteer 2 will now be playing the part of Tom, a character from the play. Tom is a vet who lives near the house where the

play is set and where Annie and Mother live. He has been Annie’s friend for the past three years. He is very fond of Annie and visits daily.

➜ Ask Annie to walk in a circle around Mother. This will demonstrate that Annie’s life revolves around Mother. ➜ Ask Tom to circle Annie in close proximity as she continues to circle Mother. ➜ After sufficient time thank participants, ask them to remember what they have done and sit down.➜ Ask for two new volunteers and get them to stand. ➜ Volunteer 3 will now be playing the part of Reg, a character from the play. Reg has been married to Sarah for eight years, and

works as an estate agent. He likes to create his own board games. Ruth and Annie are his younger sisters. ➜ Ask Reg to walk on an ellipse on one side of the circle, sometimes close to Mother but more often than not further away from

her in other words leading his own life. ➜ Volunteer 4 will now be playing the part of Sarah, a character from the play. Sarah is Reg’s partner and is a housewife looking

after their home and their two children. To represent the two children you should give Volunteer 4 two tennis balls which they can juggle as they take part in the exercise.

➜ Ask Sarah to follow Reg as he walks his path. As she follows him she should give him instructions as to when to walk, turn, how fast etc. Reg must follow her instructions to the letter, this will denote Sarah’s controlling nature over Reg.

➜ After sufficient time thank participants, ask them to remember what they have done and sit down.

Lesson 2 1

Knowing Norman

➜ Appendix 2 (Warm-Ups)➜ Appendix 3 (Relationships in Space)➜ Appendix 4 (Chronology of the Weekend)➜ Appendix 5 (Character Worksheets)

➜ Appendix 6 (Country House Journey)➜ 1 chair➜ 2 tennis balls

➜ Ask for two final volunteers and get them to stand. ➜ Volunteer 5 will now be playing the part of Ruth, a character from the play. Ruth has been married to Norman for five years.

Ruth is very short-sighted but doesn’t wear her glasses. Reg is her older brother and Annie is her younger sister. She has a career in finance.

➜ Ask Ruth to walk in an ellipse recreating the same shape as Reg’s but going in the other half of the circle. ➜ Volunteer 6 will now be playing Norman, a character from the play. Norman has been married to Ruth for five years. He is an

assistant librarian. Norman is planning a secret rendezvous with Annie on the weekend in which the play is set. Norman can move anywhere in the circle, sometimes near Mother, sometimes with Ruth.

➜ Next ask Ruth and Norman to move around the circle together.➜ As a culmination of the exercise call up Volunteers 1, 2, 3 and 4 and ask them to repeat the exercise by retracing their journey.

However, you should now ask Volunteer 6 (Norman) to complicate matters by deliberately coming between Ruth, Annie, Tom, Sarah and Reg and generally being as annoying as possible!

➜ The exercise should result in what looks like organised chaos, illustrating the complexity and interplay between the characters of The Norman Conquests.

2.3 Chronology of the Weekend

➜ Using Appendix 4 introduce The Norman Conquests. It is a trilogy of plays written by Alan Ayckbourn that follows the characters explored in exercise 2.2 Relationships in Space over the course of one weekend in July 1973. Each play is set in a different location in a country house.

➜ Begin by asking participants to identify where they think each of the plays is set ie;

Play 1 Table Manners (Answer: The dining room) Play 2 Living Together (Answer: The living room) Play 3 Round and Round the Garden (Answer: The garden)

➜ The story begins at 5.30pm on Saturday and finishes at about 9.30am on Monday morning. Each of the plays shows us elements of the story over the same weekend. The plays can be watched individually or together in any order. If you see all three plays you get the full picture of the weekend, if you see one or two plays you need to turn detective and piece together what has happened during the weekend that you have not seen. The plays are incredibly clever due to Alan Ayckbourn being a master of structure.

➜ In the recent revival at The Old Vic the actors rehearsed the plays in chronological order for the majority of the rehearsal process, only rehearsing the plays separately at the very end of the process.

2.4 The Private Public Moment

➜ Split the group into six, and distribute Appendix 5 (Character Worksheets). In a group of 30 participants there should be five sets of each character. If the group does not split evenly into six, one group can have an extra Sarah or lose a Ruth.

➜ Explain to the participants that when an actor begins to work on a character they often begin by examining the text to find out what the stage directions say, what other characters say about their character and what they think of themselves. This process is the first step towards creating a character.

➜ Ask participants to move into character groups and read their character sheet and discuss who they think that character is. ➜ After sufficient time introduce the phrase, ‘the private public moment’, this is a useful phrase to help actors move from reading

and understanding the character to creating a physical character (eg how they walk, their mannerisms etc). ➜ From here, ask participants to look at the Character Task instruction at the bottom of the worksheet. Remaining in groups,

but working as individuals, each person should begin improvising in character around the task stated. Participants should think about how their character might move and talk. This is about individual investigation so all participants will naturally discover something different as they begin to improvise.

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2.5 Country House Journey

During rehearsals for The Norman Conquests at The Old Vic the actors spent a great deal of time doing research such as finding maps of the area in which the play is set, weather forecasts for the time of year, photographs of furniture and books and music from the period (the character playing Tom even researched veterinary books from the period).

Obviously given the nature of the workshops there simply won’t be time to do that level of research so instead you should ask participants to use their imagination, another essential tool for an actor. In this instance you are going to help them out a little.

➜ Ask the participants to lie down on the floor and close their eyes. Next, read aloud Appendix 6 (Country House Journey) which will be a way into imagining where the plays take place.

2.6 Conquest Situations

➜ Having read aloud Appendix 6, ask participants to sit up and get back into their character groups. ➜ Number participants in each group 1–5 and then ask all the ‘1’s to come together in one corner of the room all the ‘2’s in

another corner and so on. In a group of 30 participants there should be five groups, each with a Ruth, Sarah, Annie, Reg, Tom and Norman, if not you may have to join a group to make it work. Ask the participants to introduce themselves to one another, in character, so that everyone knows who’s who.

➜ Next introduce the following two theatrical terms used by actors when looking at characters:

Objective What a character wants. Obstacle What is preventing that character form getting what they what.

➜ Using the Character Task again ask the participants to firstly identify their ‘objective’ and then their ‘obstacle’. Encourage participants to be creative in achieving their objective. The participants can use as much dialogue as they like. Participants must present a scene that the audience can follow to be presented back to the rest of the group in-the-round.

➜ If participants are not very experienced it can be beneficial to give them an order of entrance to start the scene. Start with Annie in the scene, then Norman, then Ruth, then Reg, Tom, and finally Sarah.

➜ At the end of the exercise ask the participants to sit in a circle and then watch the scenes back offering constructive and positive feedback on the improvisations created.

2.7 Plenary

➜ Summarise the work covered in the session, focus on the challenges of creating a scene in-the-round and encourage feedback from participants, discussing any interesting points.

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