The Woman In Black GCSE - Rhinegold

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GCSEThe Woman in BlackRyan WilliamsGCSEIntroductionThis six-week scheme is, fundamentally, an exploration of dramatic/theatricalskills that uses the script and story of The Woman in Black as a vehicle forprogression. Over six one-hour workshops, students will be invited to discoverhow mask, lighting, costume and props can be used to develop story, staging andcharacter, and, additionally, how to use these techniques/skills to their advantagewhen performing in front of an audience.Since the scheme is not tied to any particular unit or examination board, it is afantastic development opportunity for students. It can be used as a greatintroduction to GCSE level work for KS3 students, or moulded into a suitableformat for your chosen centre’s GCSE or BTEC course specifications. Furthermore,if your centre studies the novel or play of The Woman in Black in GCSE English, thisis an excellent way to enhance that learning through further exploration andenables the classes to become more exciting.Learning objectivesThroughout this unit, students will:f f Discuss The Woman in Black as a play and a productionf f Learn how to utilise effectively costume and mask as a character actorf f Consider and discuss the effect of stage lighting and how it can be usedf f Discover how to use only a few props and provoke the audience to use theirimaginationf f Learn how to examine and interpret a script.Ryan Williams is a Drama Leader for TYACreative who is also studying CreativeWriting with Drama at ManchesterMetropolitan University. He has astrong passion for both teaching andthe creative arts, and has recentlybegun a career as a script writer anddrama teacher.ResourcesThe Woman in Black: A Ghost Play byStephen Mallatratt (London: SamuelFrench) will be required for this schemeand will feature heavily. A copy of SusanHill’s novel The Woman in Black can beused to complement the play, or as anopportunity for the workshop leaderto delve deeper into the story prior todelivery.Lesson 1: CostumeLearning objectivesBy the end of this workshop, students will have:f f Received a short introduction to the scheme and to The Woman in Blackf f Discussed how costume can create and/or build characterf f Learnt how items can be worn in different ways to represent different thingsf f Developed their improvisational skillsf f Been challenged in the performance aspect.Starter: Introduction (5 mins)Bring the group into a standing circle. Briefly introduce the unit and explainthat, over the first four workshops, you are going to discuss and explore varioustechniques and skills that can be used when performing The Woman in Black, whilealso building their general knowledge as an actor and practitioner. Students mayhave questions, and this is the perfect time to take them before beginning theworkshop.Warm-up (15 mins)Still in a standing circle, place a scarf in the centre. Invite students, at random, tocome into the circle and use the scarf in different ways to suggest character andgive them time to perform. E.g. If a student places the scarf over their head, theycould mimic an older woman and hobble around the circle; if a student puts thescarf over their shoulder, it could be used as a fashionable bag, etc.Activity (20 mins)Divide your class into either pairs or groups of 3, depending on how manypieces of costume you have. Ask the students to devise a short performance inwhich one student must meet at least 3 or 4 characters, who are portrayed byusing different items of costume. Students can use what you have provided,and/or use their belongings, to bring said characters to life. They must considerwww.teaching-drama.co.ukResourcesA dozen random items of clothing oraccessories will be needed throughoutthis costume-based workshop. A scarfis the most necessary item as it can beused in a multitude of ways.TipQuick thinking activities in a largegroup are a really fun way to warm-upand promote improvisation, while alsocompelling the students to contemplatecharacter traits and mannerisms. Thiswill enhance the group’s thoughtprocess when developing a character,while at the same time demonstratingthat full costume isn’t always necessary.Teaching Drama · Summer term 1 · 2015/161

Scheme of work GCSEthe connotations that certain items may have and how they could be used; forexample, if a character has glasses, the audience could consider them intellectual,or, if a person wears a scarf, they could be fashionable, etc.Give them 5-10 minutes to choose their items of costume and to correlate theclothing to their character, and the remaining time to devise and rehearse thescene.Performance and discussion (20 mins)An interesting way to perform these shorts is in the round, created by a circle ofseated students. Performing in the round challenges the performers more and itallows the students in the discussion afterwards to bounce ideas off one anotherand create more of a conversational atmosphere.Lesson 2: PropsLearning objectivesIn this workshop, students will:f f Explore the use of propsf f Consider how, sometimes, less is moref f Recall acting styles and techniques used previously, and implement them.Warm-up (10–15 mins)To introduce the use of props and the technique of mime, a really fun warm-upwould be ‘pass the invisible object’. The outline is simple – select one person tomime an object of their choosing, ensuring they envision and present the objectalmost perfectly. Pass the ‘object’ around the circle from neighbour to neighbour,ensuring that size and weight is considered as it is handed over. Not only doesthis encourage creativity and improvisation, but it can help develop acting andconfidence skills.Activity 1 (15–20 mins)In small groups of your choosing, depending on the size of the class, invite thestudents to share the objects they have brought to the workshop and explain whythey chose them. Following this, using their chosen objects to create a story, thegroups should create 5 freeze frames/still images; no more than two objects perfreeze frame, however, as using all of the items in one image could slow the paceof the story. Encourage the groups to consider their item and the connotations itmay have, just as they did with the costumes in the previous workshop.After a short period of time to rehearse, present the stills to the group and tryto guess their story.TipShould you wish, you can offer eachgroup a theme to both help the devisingof the piece and also to make thechoosing of costume slightly moredifficult. In addition, you could alsoask the students to consider how theircharacter might speak and whether or notthey would have an accent of any kind.HomeworkAsk the students to bring one item to thenext workshop which could be used asa basic prop to suggest place, setting oran action. This could be anything from aclipboard to a toy or a teddy bear.ResourcesThe main focus of this session will beusing the props that the students havebrought to the workshop. However,where possible, try to include a coupleof chairs, a blanket and some papers.A large chest (suitable for sitting on)could also be useful, as used in the play.However, this is at your discretion andbased on availability.ExtensionIf the group picks this up quickly, thereare two ways to improve the game. First,allow the rule of change – students caneither change or develop the objectat any given time, but must mime itwell before passing it on. Second, youcan encourage students to ‘throw’ theinvisible object across the circle atany time, and the student catching theobject must respond accordingly.Activity 2 (25 mins)Now split the group into pairs. Very briefly explain how the play version of TheWoman in Black is performed – only two actors actually performing (mainly), withalmost no set or extravagant staging. With very few props to use, the actors mustrely on the audience’s imagination as they also use mime – give the example ofKipps and Keckwick sitting on the large chest with a simple whip to represent ahorse and cart.Have the pairs devise a short piece in which they are aware that they are in atheatre or classroom, and that they are simply rehearsing a production. They canincorporate as many props as they like, provided they consider what each one isused for, why they are using it and the connotations it might present. Finally,perform!www.teaching-drama.co.ukTipIf you have time spare, hold a shortclass discussion as an overview ofthe workshop. Look at how the propshave been used and, additionally, howutilising the audience’s imagination canbe even more entertaining than full,naturalistic- style plays.Teaching Drama · Summer term 1 · 2015/162

Scheme of work GCSELesson 3: LightingResourcesLearning objectivesBy the end of this workshop, students will have:f f Discussed the power of lighting in theatref f Considered, once again, how less can be more on stagef f Looked at the effect of darkness and the emotions it can producef f Developed a basic understanding of stage lighting and how to utilise it fordifferent effectsf f Discovered how to focus the audience’s attention using lighting alone.Warm-up (10 - 15 mins)As a warm-up to promote quick-thinking and communication, while alsodeveloping confidence with others, the Human Knot warm-up is perfect andalways entertaining. In a circle, ask the students to link hands with randompeople in the circle, e.g. their right hand with someone opposite, and their lefthand with their neighbour-but-one. Once everyone is holding hands, the studentsthen have to unravel themselves into an open circle without letting go.Discussion (5 - 10 mins)Still in the circle, open the workshop with this quote from Stephen Mallatratt,who adapted The Woman in Black from novel to stage:‘The fear is not on a visual or visceral level, but an imaginative one [d]arkness isa powerful ally of terror, something glimpsed in a corner is far more frightening thanif it’s fully observed’ (The Woman In Black: A Ghost Play, 1989. Samuel French:London).Discuss the quote, and explain the focus of this workshop – it will be aboutcommunication and how things can look from an audience’s perspective.Activity 1.A (20–25 mins)Create an audience line of students facing the area that you plan to use as yourstage. Take two students in full lighting, and ask them to improvise a themedscene downstage centre. As they are talking bring in another student and placethem upstage to one side, and ask them to silently stare. Ask the audience howthe addition of this character affects the scene and, moreover, how the lightingcould change the meaning or atmosphere.Now introduce other lighting techniques, first with the lights (on stage)completely off. Perform the scene with 3 new students so that more people getthe chance to perform – this will stimulate those students who prefer kinaestheticlearning and like to be ‘hands on’, and also those who are more visual as they cansee the effects themselves. How has this change in lighting affected the scene?Does it change the time or place, and does it alter character at all?Change the students again, but this time make use of the large torch. Havetwo students improvise the scene downstage, and use the large torch to create a‘spot’ (the best you can). You, as the leader, can do this, or you can involve anotherstudent from the audience. Have the silent figure stand still in the background,then also have them ominously walk on and off stage. How does this changethe scene? Try using the smaller torches as though they’re candles to illuminatespecific sections or faces, and play with this model as much as you like.While an entire workshop based onlighting can sound daunting, theresources can be relatively simple.For those centres that do not havestage lighting, use a room which hassectioned lighting. This means youcan turn off one or two sections to useas the performance stage, while alsoleaving some lights on, as ‘house lights’,for safety. For those centres that dohave access to stage lighting, utilise itif possible. In both circumstances, foursmall torches can also be effective, as isa larger one for you, as the leader, to useas a ‘spot’.TipIf the students do this quickly andeasily, play the game again – but thistime, remove the power of speech. Thedifficulty increases tenfold, but so doesthe humour.NoteThe following activity will work slightlydifferently for those centres who haveaccess to stage lighting, and those whodon’t. Activity 1.A is for the centresthat do not, and will utilise the general,classroom-based, sectioned lighting andtorches. Activity 1.B is for those who dohave access to stage lighting.Activity 1.B (20–25 mins)This follows the same model as for those centres without access to stage lighting,but allows you to use and educate more on the specifics. Begin by giving thestudents a quick demonstration on the types of lights and their uses if they arenot familiar with them. For the purpose of this activity, stick to the basics – we’lllook at the use of spots and Fresnels, mainly, while the play uses others such asgobos if you want to introduce these.Bring two students to the stage to improvise a themed scene downstage, andcreate a general wash using the Fresnel lamps. Ask another student to enterupstage near either of the wings, and silently stare. What is the effect of this?Does the general lighting seem more or less ominous? Discuss. Change thestudents and continue on with the scene, but this time dimming the generalwash. Does this alter time or place? Are all of the actors visible, and how does thischange the scene?Continue on with three new actors again; now making use of dim lighting anda spot on the central characters. Have the silent figure move on and offstage atthe back. How does this affect the scene? Does it build character, or inform us aswww.teaching-drama.co.ukTeaching Drama · Summer term 1 · 2015/163

Scheme of work GCSEan audience of anything? Discuss this, and continue to play around with themodel to ensure most students get a chance to try. You can also make use of thesmall torches, here, as candles or to light up a face. Experiment with this.Plenary and discussion (10 mins)Although only a brief introduction and short activity, discuss with the group theirfindings in terms of how lighting can affect a scene, and how it can influence theaudience into believing particular things. Consider, when combined with costumeand particular props, how the lighting could further a story or depict a scenebetter, and how it can work to conceal and present characters.Lesson 4: MaskLearning objectivesIn this workshop, students will:f f Be introduced to/develop their knowledge of stage masksf f Explore the uses of stage masks when building characterf f Consider how a stage mask can be used to create characterf f Link the use of mask to the character of The Woman in the featured play.Introduction (15 mins)For the first time, introduce the group to the script. Look at and discuss anysection of stage direction which might describe the character of The Woman:how she moves, how she appears and how she acts. Do this as a group, preferablyseated in a circle to open up a more conversational forum. Explain that, althoughThe Woman doesn’t wear a mask in the play, the way the actress portrays thecharacter is as if she were wearing one – thus, it is important to explore this.Warm-up (15 mins)As a short game, have the masks and scarves laid out either on the floor or atable. Split your class into teams of either or 3 or 4, depending on the number ofmasks, scarves (or something similar) and items of costume you may have.With 4 or 5 character ideas prepared, the groups must race against each otherto dress one member in a mask and an item of relevant costume when you callout each character – for example, an older lady could be a face mask concealedby a head scarf. The dressed member of the team then has to walk to the otherside of the room in the guise of that character to win the round. The game is greatfor team-building, improvisation and confidence that can be developed to suitany group.NoteAn activity like this one caters for allmembers of the class as you are lookingat acting techniques in associationwith lighting, while also looking atthe technical and backstage aspectof theatre. Some of the class may bemore interested in the lighting thanin performing, and this gives them theopportunity to explore this further.Moreover, keep the seated members ofthe class busy by asking them to makenotes or think of questions to ask. Theycould even, if you wish, suggest differentstyles and help position the three actorsto develop their own directing skills.Resourcesf f For this workshop, a number of stagemasks – either Trestle or plain facemasks – will be needed. Each groupof 3 will need one.f f Either a copy of the full script or anextract from the play which featuresThe Woman will be needed; thissection can be chosen by you or thegroup.f f Finally, include a few items ofcostume to use alongside the mask.Once again, scarves are great for this.Activity (30 mins)Discuss how, classically, stage masks are generally used to represent non-humancharacters. Trestle masks, however, are different as they already portray anemotion. Depending on whether you are using plain masks or Trestle masks, thestudents should consider how this can affect performance or suggest a characterand build a short 3-minute performance around it.Ensure you leave some time at the end to show performances, and lookspecifically for how the students have used the mask to build and createcharacter, how they have managed to conceal the mask and how they haveassociated any used costume.Lessons 5: RehearsalResourcesLearning objectivesBy the end of this workshop, students will have:f f Discussed any key aspects and how they can be performed/whyf f Linked and utilised the skills and techniques that have been used to the scriptf f Devised their own staging of a given scene from the play.Introduction (10–15 mins)This slot is for you to brief the class on what they will produce and yourexpectations. The class will be split into groups of three and will be assigned aparticular section of The Woman in Black stage script. This section can be chosenby you, but ensure that The Woman is present to give all three members a part,and allow the students to incorporate all of the techniques and skills they havedeveloped into their performance – particularly the use of mask and costume.www.teaching-drama.co.ukAny resources that have been previouslyused in this scheme will be neededagain, as these last two workshops willbe a rehearsal and performance.NoteIf you wish to expand this series ofworkshops to become an assessmentpiece, you can incorporate more peopleinto each group of three by havinga lighting and sound technician, andothers who can plan costume, etc.Teaching Drama · Summer term 1 · 2015/164

Scheme of work GCSERehearsal (45 mins)Once the groups of three have received their script extract, I recommend that theyuse this time to hold a read through, block the movement and begin rehearsing.Lesson 6: The performanceThe main element of this session is the performances; however offer 10 minutesat the beginning of the class to accommodate preparation and gathering of props/costume. Of course, some of the props that feature throughout will be sharedduring the performances, so ensure these are accessible.HomeworkAs the next session will only offer ashort amount of time at the beginningto prepare, there will be no morerehearsals as such. With this said, Isuggest setting the students the task oflearning their lines for homework (tothe best of their ability) and holding arehearsal outside of class time wherepossible.Plenary and overviewAn overview of the scheme and workshops can be a fantastic reminder of exactlywhat the students have learned over the six weeks – a fairly substantial amountcovered in a short amount of time. This will give the students time to reflect, andshould therefore be done in a circle to open up a forum style conversation.www.t

The Woman in Black: A Ghost Play by Stephen Mallatratt (London: Samuel French) will be required for this scheme and will feature heavily. A copy of Susan Hill’s novel The Woman in Black can be used to complement the play, or as an opportunity for the workshop leader to delve deeper into the story prior to delivery. Resources

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