[PRIVATE PEACEFUL RESOURCE PACK]

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]2011Scamp Theatre Limited44 Church LaneArleseyBedfordshireSG15 6UXUnited Kingdomtel: 44 (0)1462 734843mobile: 44 (0)7710 IVATE PEACEFULRESOURCE PACK]This pack provides ideas for background work to compliment a visit to see a performance of PRIVATEPEACEFUL. Most useful for Key Stages 2&3

Contents Introduction Section 1: Turning a Novel into a Playi)About Michael Morpurgoii)Finding Private Peaceful by Michael Morpurgoiii) Adapting Private Peaceful: an Interview with Director, Simon Readeiv) Questions on Director‟s Interview Section 2: Background Materiali) What Started WW1?ii) The Daily Mirror Headlines: War is Declarediii) Recruitment and „Heroic Ideals‟iv) Life in the Trenches and the „Reality of War‟v) Shell-Shock and the True Life Case of Harry Farrvi) WW1 Poets Section 3: Quick Drama Ideas2

IntroductionWelcome to the Private Peaceful Resource Pack. I hope you find it informative and useful.As you can see, the pack has been broken down into sections to make navigation of thematerial as easy as possible.Throughout the pack, there are a number of specific writing and drama activities includedthat relate to the source material in each section. These activities are further complementedby suggestions for class discussion and research. All these activities are addressed topupils.It is important to make a note about Section 4: Quick Drama Ideas; this section is lessacademic with more of a focus on general drama skills and group dynamics, whilst stillretaining the theme of war and conflict. You can use the activities as drama warm-ups or asa stimulus for more in-depth pieces of work. This section is addressed to teachers.Visiting YpresIn 2009, I travelled to Ypres in Belgium to get a better understanding of the dehumanisingeffect of WW1 on the individuals and the society the soldiers believed they were fighting toprotect.As I battled the elements on a cold January day, my discomfort paled into insignificance as Icontemplated the thousands of cold, wet and hungry soldiers fighting and dying in muddytrenches for months and years on end. The rows upon rows of white head stones in TyneCott Cemetery and the endless lists of names etched into the surrounding walls physicalizedin dreadful proportions the enormity of human loss during the war. Tyne Cott is just one ofthe many cemeteries that haunt the landscape in Ypres.The Third battle of Ypres, known as Passchendaele, took place between July and November1917. The British commander-in-Chief, General Douglas Haig, believed that he could endthe stalemate that occurred during the first two years of the war by bombarding the Germanpositions with heavy artillery firing, followed by a foot soldier attack against the enemytrenches. After a week of this heavy artillery bombardment, only two miles of territory wasseized at a cost of 32,000 casualties.Battle continued until November, hampered by the unseasonably heavy rain. The final haltwas ordered at the village of Passchendaele on 10th November. 'The nation must be taughtto bear losses' was Haig's justification for persisting in using a strategy that killed a total of25,000 soldiers on each side.With such horror, it is not surprising that soldiers who survived such battles were deeplydisturbed by what they had experienced.The play Private Peaceful is set in 1916, just before the Battle of the Somme. Many of thesoldiers were fatigued by the war at this point and well aware that they were being sent to analmost certain death when ordered to go „over the top‟ to attack the German trenches.3

‘They say there’s soon going to be an almighty push all theway to Berlin. I’ve heard that before. They say the regimentis marching up the road towards the Somme. It is late June,Summer here and at home’In the play, a young soldier‟s refusal to follow his superior‟s orders - and not leave hiswounded brother to go on a suicide mission - lies at the heart of the story and highlights thehorrific situation many soldiers found themselves in during the war.M. Gallagher, Jan 2010A grave at Ypres4

1, i) About Michael MorpurgoMichael Morpurgo was born in 1943 and went to three different schools in London,Sussex and Canterbury. He studied for his degree at London University, takingEnglish and French and went on to become a Primary School Teacher.“I get many of my story ideas from watching the children and by listening towhat they say to each other, as well as what they tell me. I became a writeroriginally because I was sick of reading the same bedtime stories to my kids.I started making up my own stories and I read them to my class at school.They focused on [the stories] and listened, so I realised there wassomething in what I was doing. Eventually I wrote a book and got lucky witha publisher.”Morpurgo and his wife Clare, also a teacher, eventually left their jobs and createdFarms for City Children. Groups of children from Inner Cities travel to the Morpurgo‟sfarm in Nethercott in Devon and spend a week on the farm. The project has nowexpanded and he has similar projects in Gloucestershire and Pembrokeshire as wellas North Devon. Each farm offers children and teachers from urban primary schoolsthe chance to live and work in the countryside for a week and gain hands-onexperience. For more information about the work of Farms for City Children, pleasevisit www.farmsforcitychildren.co.uk.Between 2003 - 2005, Michael Morpurgo was the Children‟s Laureate, a post hehelped create with the then Poet Laureate Ted Hughes. The award aims to celebrateand champion children's literature and the role it plays in promoting literacy.Morpurgo is passionate about children reading, and he spent much of his time asLaureate on the road, meeting children and talking with passion and enthusiasmabout the work he does and the way he does it.“Reading is the most interactive medium there is. On television or film, you‟regiven a face, a place and all the information. With reading, you‟re simplygiven the skeleton, from which you can interpret this funny code we call wordsyourself.”He was awarded an OBE for services to Literature in the Queen‟s Birthday Honoursin 2007. In the same year, his novel War Horse was adapted into a play thatperformed to critical acclaim at the National Theatre. The play returned to theNational in 2008. For more about Michael Morpurgo, visitwww.michaelmorpurgo.orgLiterary Awards and PrizesShortlisted 1991 Carnegie Medal: Waiting for Anya1995 Carnegie Medal: Arthur, High King of Britain1996 Carnegie Medal: The Wreck of the Zanzibar2002 W. H. Smith Award for Children's Literature: Out of the Ashes2003 Blue Peter Book Award: The Book I Couldn't Put Down: Cool!2003 Carnegie Medal: Private Peaceful5

2004 Whitbread Children's Book Award: Private Peaceful2010 Deutscher Jugendliteraturpreis: Waiting for AnyaAwarded 1993 Prix Sorcières (France): King of the Cloud Forests1995 Whitbread Children's Book Award: The Wreck of the Zanzibar1996 Nestlé Smarties Book Prize (Gold Award): The Butterfly Lion1999 Prix Sorcières (France): Wombat Goes Walkabout2000 Red House Children's Book Award: Kensuke's Kingdom2001 Prix Sorcières (France): Kensuke's Kingdom2002 Nestlé Smarties Book Prize (Bronze Award): The Last Wolf2004 Red House Children's Book Award: Private Peaceful2005 Blue Peter Book of the Year Award: Private Peaceful2005 Hampshire Book Award: Private Peaceful2007 California Young Reader Medal: Private Peaceful[11]Bibliography It Never Rained: Five Stories (1974)Living Poets (compiler with Clifford Simmons) (1974)Long Way Home (1975)Thatcher Jones (1975)The Story-Teller (compiler with Graham Barrett) (1976)Friend or Foe (1977)Do All You Dare (1978)What Shall We Do with It? (1978)All Around the Year (with Ted Hughes) (1979)Love at First Sight (1979)That's How (1979)The Day I Took the Bull By the Horn (1979)The Ghost-Fish (1979)The Marble Crusher and Other Stories (1980)The Nine Lives of Montezuma (1980)Miss Wirtle's Revenge (1981)The White Horse of Zennor: And Other Stories from below the Eagle's Nest (1982)War Horse (1982)Twist of Gold (1983)Little Foxes (1984)Why the Whales Came (1985)Words of Songs (libretto, music by Phyllis Tate) (1985)Tom's Sausage Lion (1986)Conker (1987)Jo-Jo, the Melon Monkey (1987)King of the Cloud Forests (1988)Mossop's Last Chance (with Shoo Rayner) (1988)My Friend Walter (1988)Albertine, Goose Queen (with Shoo Rayner) (1989)Mr. Nobody's Eyes (1989)Jigger's Day Off (with Shoo Rayner) (1990)Waiting for Anya (1990)And Pigs Might Fly! (with Shoo Rayner) (1991)Colly's Barn (1991)The Sandman and the Turtles (1991)Martians at Mudpuddle Farm (with Shoo Rayner) (1992)The King in the Forest (1993)6

The War of Jenkins' Ear (1993)Arthur, High King of Britain (1994)Snakes and Ladders (1994)The Dancing Bear (1994)Blodin the Beast (1995)Mum's the Word (with Shoo Rayner) (1995)Stories from Mudpuddle Farm (with Shoo Rayner) (1995)The Wreck of the Zanzibar (1995)Robin of Sherwood (1996)Sam's Duck (1996)The Butterfly Lion (1996)The Ghost of Grania O'Malley (1996)Farm Boy (1997)Cockadoodle-doo, Mr Sultana! (1998)Escape from Shangri-La (1998)Joan of Arc (1998)Red Eyes at Night (1998)Wartman (1998)Kensuke's Kingdom (1999)The Rainbow Bear (1999)Wombat Goes Walkabout (1999)Billy the Kid (2000)Black Queen (2000)Dear Olly (2000)From Hereabout Hill (2000)The Silver Swan (2000)Who's a Big Bully Then? (2000)More Muck and Magic (2001)Out of the Ashes (2001)Toro! Toro! (2001)Cool! (2002)Mr. Skip (2002)The Last Wolf (2002)The Sleeping Sword (2002)Gentle Giant (2003)Private Peaceful (2003)Sir Gawain and the Green Knight (2004)I Believe in Unicorns (2005)The Amazing Story of Adolphus Tips (2005)Albatross (2006)It's a Dog's Life (2006)Alone on a Wide, Wide Sea (2006)Beowulf (2006), illustrated by Michael ForemanBorn to Run (2007)The Mozart Question (2007)Hansel and Gretel (2008)This Morning I Met a Whale (2008)Kaspar: Prince of Cats (2008)The Voices of Children (2008) (play)The Birthday Book (editor, with Quentin Blake) (2008)Running Wild (2009)The Kites Are Flying! (2009)An Elephant in the Garden (2010)Not Bad for a Bad Lad (2010)Shadow (2010)New title TBC (2011)7

1, ii) Finding Private Peaceful by Michael MorpurgoI was born in 1943, near London. I played in bombsites, listened to the stories toldaround the kitchen table, stories of war that saddened all the faces around me. MyUncle Pieter lived only in the photo on the mantelpiece. He had been killed in theRAF in 1941. But for me he lived on, ever young in the photograph, as I grew up,as I grew old.So I have been drawn instinctively, I think, in many of my stories, to the subject ofwar, the enduring of it, the pity of it, and above all the suffering of survivors. Sometwenty years ago, after meeting an old soldier from my village who had been tothe First World War in the Devon Yeomanry in the Cavalry, I wrote War Horse,a vision of that dreadful war seen through the eyes of a horse. Then, just five yearsago, on a visit to Ypres to talk about writing about war for young people at aconference, I visited the „In Flanders Field‟ Museum.Talking to Piet Chielens, its director, I was reminded that over 300 British soldiershad been executed during the First World War for cowardice or desertion, twoof them for simply falling asleep at their posts. I read their stories, their trials (somelasted less than twenty minutes – twenty minutes for a man‟s life).They knew thenabout shell-shock – many officers were treated in psychiatric hospitals for it,Wilfred Owen and Siegfried Sassoon amongst them. They knew even as theysentenced these men (they called them „worthless‟ men), that most of them weretraumatised by the terrors they had endured, by the prolonged and dreadfulbrutality of trench warfare. In all, over 3,000 were condemned to death, and 300of them were chosen to be shot. I visited the execution sites, the cells inPoperinghe, I read the telegram sent home to a mother informing her that herson had been shot at dawn for cowardice. I knew recent governments hadconsidered and rejected the granting of pardons for these men, had refused toacknowledge the appalling injustice visited upon them.Standing in a war cemetery in the rain five miles outside Ypres, I came upon thegravestone of Private Peaceful. I had found my name, my unknown soldier. I hadfound my story, a story I knew I had to tell and that should be told.The questionthen was how it should be told. I decided to put myself at the centre of the story,to become the condemned man waiting only for dawn and death. A glance at mywatch recently returned from the menders who had declared it was made in1915, gave me the idea that the chapter breaks should happen only when thesoldier glances down at his watch which he dreads to do, and tries not to do. Mysoldier would reflect on his life, live it again through the night so that the nightwould be long, as long as his life. He does not want to sleep his last night away,nor waste it in dreams. Above all he wants to feel alive.Each chapter begins in the barn in Belgium, but his thoughts soon take him backto Devon, to the fields and streams and lanes of Iddesleigh, his home and hisvillage. Memories of his childhood come back to him, of family. Of the first day atschool, of the first stirrings of love, a father‟s death, a night‟s poaching, then of thefirst news of approaching war and the recruiting sergeant in the town square atHatherleigh. So to the trenches and to the events that have led him to the lastnight of his life. And all the while the watch he does not want to look at is ticking8

his life away. The New Zealand government has recently pardoned the fiveexecuted New Zealand soldiers.The French have now pardoned theirs. It is surelythe mark of a civilised people to acknowledge shame and wrong-doing, to set therecord straight. I hope the book of Private Peaceful and the play of PrivatePeaceful will help bring this about for our soldiers too, for the sake of the threehundred or so unfortunate men and their families, and for our honour too. Michael MorpurgoAfter almost 90 years, in 2006 the British Government finally granted posthumouspardons to those shot at dawn for cowardice or desertion.9

1, iii) Adapting Private Peaceful: an Interview with Director,Simon ReadeInterview relates to 2004 Private Peaceful Tour with Paul Chequer as Tommo. Please note that thisis before the British Government granted posthumous pardons in 2006 to those shot at dawn forcowardice or desertion.Q. How did the Private Peaceful journey begin for you?The Today programme was interviewing the Children‟s Laureate, Michael Morpurgo,about his forthcoming book, Private Peaceful. Michael talked about First World Warsoldiers, these young guys who signed up under age, often with the knowledge ofthe people [who] signed them up. They went to the front, then a lot of them got shellshock and were shot at dawn for cowardice in the face of the enemy, or desertion orinsubordination. Technically now, we realise that this is illegal, even according toarmy rules, but they‟ve never been granted a pardon in Britain. France has granteda posthumous pardon, as has New Zealand. Our governments have always refused.Michael Morpurgo was talking about the book from this political perspective, but thenhe began to read from it, and as he read, I thought, “This is amazing! This is adramatic monologue, all from the point of view of this young soldier”. Unusually forliterature, it‟s from the point of view of a Private rather than an Officer. We think ofSiegfried Sassoon, Wilfred Owen - we even look at Sebastian Faulkes - and [theirwriting is] from the point of view of the Officer class, and this was from the point ofview of a very simple person and not even an urban person but a rural one.Q. What was your process in adapting the novel? Did all the material comefrom the novel or did you change things?When you take a novel and put it into the theatre, you have to make it work as apiece of theatre. So, of course, you are faithful to the original spirit of a work, butsometimes a great piece of literature isn‟t going to make a great piece of theatre.The first thing that you look for are all the dramatic arcs and journeys and when thereare hurdles to jump. This is a rites of passage story with lots of dramatic vignettesalong the way. It is about a young boy growing up; it‟s also about the little manfighting against, or fighting within, something that the state and the world order [is]imposing upon him.The changes that you make in adapting are that you take out anything that doesn‟tserve the essential dramatic purpose. The most important aspect that people willnotice has changed is the ending. What Michael Morpurgo does very cleverly in thenovel is to pull off a great literary conceit. All the way through you think it‟s Tommo[who is] going to die, but of course it‟s Tommo‟s brother, Charlie, and it‟s only right atthe end that there‟s this twist. In the theatre, my first instinct in adapting [the novel]was how terribly disappointing; it‟s a bit of a sleight of hand. We‟ll have lived with thisperson all the way through the evening and nothing‟s happened to him other thanhe‟s experienced things through his brother‟s eyes. So we decided to kill him. Whatwas great about Michael is that he recognised that [this] would absolutely work in thetheatre and wouldn‟t at all harm his novel because his novel is always there forpeople to read.10

Q. What made you choose to make it a one man show?The material demands it. Everything is seen from Tommo‟s perspective and youdon‟t get other people‟s perspective. Tommo conjures all this up in these last hoursof his life. I think that the most faithful way of adapting this for the stage is to do it asa one man show where he creates everything for his and the audiences‟ very eyes.Q. How does Private Peaceful relate to a young audience as a piece of theatre?First of all, it speaks directly to the experiences of somebody who‟s gone from prepubescence, to pubescence, through adolescence and into young adulthood. Thatobviously speaks to young people. Secondly, the reason that the First World Warhas always resonated with young people is [that] a lot of young people were thecannon fodder, dying for a cause that they really didn‟t understand. It touches allsorts of political and emotional buttons in young people. Connected with that ofcourse, is that [this has happened] in the context of the latest war in Iraq, whereyoung people, as young as teenagers, [died] for the political ends of America,Saddam Hussein, Britain and the rest of the European Allies. There‟s an immediateconnection with young men, and now women, going off to war. You can take aclassic war and superimpose it on the present, without being too crass about it.Thirdly, this is the kind of theatre that you can imagine somebody doing in their ownbedroom. Chucking their bed over and saying, “now this is a trench”, or sitting on abox and one moment they‟re at home and the next they‟re in the middle of a marketsquare. It‟s non-literal theatre and children have the imagination to make that leap.And for adults watching it, it reawakens your childlike imagination; it has a youngspirit about it.Q. What do you think that the theatre performance gives to the audience thatthey don’t get by reading the book? Why adapt this for theatre not TV?There‟s a magical alchemy in theatre where you get excited by the artifice of it. Youget transported on extraordinary journeys of the imagination with very few tricks, bythe power of the word. There‟s something brilliant about the imagination and thetransformation that happens in theatre where you‟re not spoon-fed. You have toactively engage with it.Q. What does a good piece of dramatic writing contain? What should youngwriters be aiming for?When you look for a good story, you look for a journey in whic

2000 Red House Children's Book Award: Kensuke's Kingdom 2001 Prix Sorcières (France): Kensuke's Kingdom 2002 Nestlé Smarties Book Prize (Bronze Award): The Last Wolf 2004 Red House Children's Book Award: Private Peaceful 2005 Blue Peter Book of the Year Award: Private Peaceful 2005 Hampshire Book Award: Private Peaceful

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