Theatre Production in the Classroom – by Nicole Pfeiffer
Theatre Production in the Classroom:
The purpose of this handbook is to make it possible for any teacher to put on a production with their students, regardless of their experience with drama and/or theatre. Any previous experience is beneficial not essential.
My hope is that, through use of this document or others like it, teachers will be more comfortable and confident in putting on things like assembly items and be more willing to have a go at putting on a production. It is a worthwhile experience and both the teacher and students learn so much from the process.
As you will soon discover (if you have not yet already) there are many things that need to be done before the big night (or day). If you are planning to hold an end-of-year performance then it is best to start as early in the year as possible in preparing the students, especially if they have never done a performance on this scale before (Moore, 1988; Creurer, 2006). The best way to start is by playing drama games, developing non-verbal communication and movement, and then introducing them to mime and improvisation. Once the students have this for a base, it will be much easier to put on a production.
Give the students as many opportunities as possible to develop their speaking skills – ie. projection (and not shouting), enunciation, etc. Oral presentations or even mini performances to a partner or small groups (Moore, 1988) are some examples of such opportunities. Without this practice and preparation the students will not be able to skilfully perform in front of a much larger student/adult audience.
You will also need to start thinking about publicity – how are you going to do it: posters, by word of mouth, notes sent home? These do not need to be done immediately, but a couple of weeks before the performance some form of publicity is needed. Another thing to consider having would be a program (can either be sold or given to the audience) which consists of: a list of events – eg. Act One, Interval, Act Two with scene breakdowns and an estimated time for each; the cast and crew of the production; and a Thanks To section where you acknowledge anyone who has helped out – eg. Tottle’s Lighting for lending us their equipment (Bolton, 1998). You may also want to think about selling tickets or having a gold coin donation at the door so that you will have a fund to draw on for future performances (Creurer, 2006).
There are a few options available when it comes to finding a script: library, teacher resources, bookstores, Internet, or writing one together as a class (Moore, 1988; Creurer, 2006; McCaslin, 2000). There are advantages and disadvantages to all, but I believe that writing their own script is an invaluable experience for the students and they usually enjoy it more. Another positive of writing a script is that the teacher has many more opportunities to evaluate the students’ learning across several learning areas.
If you decide to use an already published script then there are several things that need to be taken into consideration. You need to ensure that you have a venue that is suitable and resources available to produce the play; the length of the play – which affects the number of rehearsals, and in turn you need to consider the availability of the cast and crew. You will also have to check out whether there are royalties for using the play (Moore, 1988; Pryor, 1994) as well as ensuring that there are enough roles for everyone who auditions (Creurer, 2006).
If you have decided to write the play as a class then there are a few different ways you can go about doing so. You can focus it on a topic that is based entirely on the interests of the students (something they create themselves), or based on something they have been studying about that they are really interested in – for example another culture, or they can dramatise a book/story/fable/legend/etc that they have read (McCaslin, 2000).
Moore (1988) provides an excellent framework for writing your own script, which is presented below.
1. As a class look at a variety of different scripts.
Discuss the format(s) used and the ways they are set out. Break down each scene, looking at stage directions, conflicts and resolutions, how the relationships between the characters are made visible, how the action develops and builds, etc – basically any of the features that the students will need to ensure are present in their own script.
2. Determine the topic – what do you want the play to be about?
Brainstorm ideas – these can be of anything that interests the students or something that they have been learning about that they would like to dramatise.
3. Narrowing the focus – who are we? Where are we? What is happening? When is it happening? etc.
This process can take quite a bit of time but it is necessary and at the end you should have a starting point that all of the students are enthusiastic to pursue. Research will need to be done in order to answer these questions and the amount of time spent will depend on the topic that has been chosen.
4. Write a synopsis (which is a broad outline) for the whole play.
5. Break the outline down so that each piece of action forms a different scene (the story line).
6. Write a general description of what happens in each scene (scene breakdown).
7. Write a description of the characters (character breakdown).
8. Improvise and discuss each scene and then have individuals or groups of students write down the dialogue for the scene.
9. At the end of writing each scene, run through it again to see if any changes need to be made.
Using a video camera can be very helpful for this part of the process.
10. Once you have all of the separate scenes then you need to work out how you will link them all together.
11. When the first draft is ready hold the auditions and then have a read through of the script.
As they are reading through, focus on the language (what it sounds like, whether or not it makes sense, if it flows, etc) and decide whether any dialogue needs to be added or cut.
12. During the second read through (after having made any alterations to the script) focus on the action.
Discuss entrances and exits, whether or not what is being done/said is believable and to see if the actions and words that have been written actually work together.
13. Write the final draft. (Yay!!!)
14. Building a role.
The students will become someone else when they are acting and this cannot happen over night. They need to have a clear understanding of, enthusiasm for and a belief in the role that they will be playing. There are many things that the students can do to achieve this:
· Write a diary or ‘a day in the life of…’ story for their character
· Make a passport or ID card
· Write a description of their character
· Make a clay model
· Create a family tree
· Describe their character to a partner
· Invent and practice mannerisms
· Experiment with different ways of speaking
· Collect props and costumes
· Write letters to various people as if they are the character
· Draw up a list of the characters best and worst features
· Write a personal history
· Meet and interview other characters
· Play a drama game in role
· Do monologues and dialogues in role
· Write a list of the character’s attitudes and hobbies
· Practice sitting, standing, walking, laughing, smiling, etc in role
It seems to me that people have lost sight of the fact that a production can be staged anywhere with enough space. At one time, performances were done in the streets, market squares, churches, parks and many other places not intended for theatre (Unknown, 1998). This still holds true today. If your classroom is not big enough then, if possible, move to a larger room, or even go outside to the undercover area or on the grass. One thing you would have to take into consideration with an outdoors performance is the weather. Other options may be the community hall or gymnasium. There are many possibilities; find one that suits your purposes and you’ve dealt with one of the first challenges.
Warm-ups are an essential part to any performance. If they are not done before rehearsals or the performance then the students can injure themselves and/or strain their vocal chords. Warm-ups are usually divided into two parts: vocal and physical – with some exercises containing elements of both. The easiest formation for management and encouraging participation is a circle – you can see everybody, everybody can see you, and the students can all see each other. At times you may have them break out of a formation for certain exercises (which is perfectly fine!), but it is a good idea to have them come back to the formation for the next instructions (note: the formation does not have to be a circle, if you have something else that works for you then most definitely use it). You should set aside at least 15 minutes – any less than that and the students will not be sufficiently warmed up.
· Tag- can be done at normal speed, slow motion, or one-time tag (once a person has used a body part to tag someone no one else can use that body part to tag with – for example, if someone tagged with their right hand then after that no one could use their right hand to tag, they would have to use left hand/elbow/shoulder/knee/etc.)
· Running on the spot and raise knees as high as possible
· Jumping on the spot or jumping jacks
· Hopping on the spot – on one foot/forwards/backwards/sideways/etc.
· Focus on a particular part of the body (eg. head, shoulders, arms, etc.) and move it in as many different ways as you can think of
· Using faces: smile, frown, yawn, chew, blink, etc.
· Using arms: throw, stir, beckon, reach, punch, flick, wring, etc.
· Using legs: kick, tap, hop, stand on tiptoes, wobble, etc.
· Walk around the room and when teacher calls “freeze” the students make unusual body shapes (different one every time)
· Walk/skip/jump/hop/etc in all directions
· Move around as if they are being pulled along by a shoulder/hip/pelvis/head/etc.
· Weave in and out of people without touching them
· Walk as if you have bent legs/sore feet/stiff legs/wobbly knees/etc.
(taken from Moore, 1988)
· Another that most kids enjoy and which is a really fun exercise is to do the Hokey Pokey
The purposes of physical exercises are: 1. To limber up their muscles to prevent injury; and 2. To get the students interacting with each other and energy levels moving.
For these exercises any rhyme/chant/song will work. A really good one to use is the Apples and Bananas song. Tongue twisters are also very good option for exercises – not to see who can say them the fastest, but who can say it and still be understood. The purposes of vocal exercises are: 1. To prevent students from doing damage to their voices, and 2. To focus on enunciation, projection, clarity, and making sure that they do not run their words together.
When it is time to hold auditions, choose a room that is clean, provides enough space for the actor(s) to move, and is away from too much noise and disturbances (Menear & Hawkins, 1988). Hand the scripts out to the students and give them some time to read it over and decide which character they would like to audition for. You will need to take notes on each student’s audition, which can be done in a chart format or simply notes in a notebook, and each student should have approximately 5 minutes to audition (Pryor, 1994).
There are basically two options available for auditions: i. Individually and ii. Groups. If you have the students audition individually then you will have to read in the lines of the other characters. By having the students audition in groups, you will have a student reading for all of the characters which allows you to take more detailed notes. However, by auditioning groups, you may have to repeat a scene several times if there is more than one student wanting to audition for the same role.
Another choice to be made is whether or not you will allow the students waiting to audition to sit in as the audience. Depending on the student this can either be a help or a hindrance. There can also be a lot of copy-catting when you have the students watching each other, which makes it more difficult to cast roles. It also depends on what type of experience the students have had with auditions. If this is a first for them then I would recommend not having an audience. While you will make the final decision, asking the students whether or not they want an audience is also an option – they know what is right for them.
This is a very time consuming process, but should not be rushed. It is important to see the capabilities of each student, because they are not all going to get the part they auditioned for and you will need to know who is best suited to each role (Creurer, 2006).
Start the rehearsals as soon as you can and begin each one with both a physical and vocal warm-up (Moore, 1988) (see Warm-Ups). During the first rehearsal, just have read through the script so the actors can familiarise themselves with it as well as their lines (Menear & Hawkins, 1988). For the following rehearsals, focus on one scene at a time, working out the blocking, and make sure that the students who are not involved in that particular scene have something productive to do – eg. work on characterisation (Moore, 1988). Students will also have to devote some of their recess and lunch time for smaller group rehearsals as well as practicing their lines at home, because it is impossible to accomplish it all during class time (Creurer, 2006).
Closer to the actual performance start having full run throughs to ensure the scenes flow, the exits and entrances work from scene to scene, etc. Furthermore, if there are any dances or songs in the performance, it is essential to integrate them into the rehearsals as soon as possible, because they will affect the flow if they are thrown in at the last minute (McCaslin, 2000). You may also need to schedule after-school rehearsals, depending on how well the sessions are going during school hours (Pryor, 1994; Creurer, 2006).
It is also important to keep notes for each rehearsal so that you will be able to discuss what went well and what needs to be adjusted. It is difficult enough trying to remember what happened for a couple of scenes let alone the entire production (Moore, 1988). Creating a rehearsal schedule and giving each student a copy is also a must (Dolman & Knaub, 1973). It makes everything so much easier to keep track of, and the students also know exactly what they are doing and when.
At some point during the rehearsal period, there will also be a time when the students must have their lines memorised (McCaslin, 2000). The sooner the better, but at the latest the students should have their lines memorised before you start full run-throughs. This way you can focus on fine-tuning characterisation, placement and movement.
It is also important that the students start working with props and set pieces as soon as possible (Menear & Hawkins, 1988). The students need to incorporate them into their movements and this takes time – for example, if your character is an elderly person using a cane, then you need to practice moving with a cane in rehearsals to make it look natural. If you do not have the prop that will be used during the performance then you will need some kind of substitute that the actor can work with in the meantime (Menear & Hawkins, 1988).
Rehearsals are an integral part of the production process and need to be treated as such. It is here that you can see everything coming together and make any necessary adjustments.
Depending on the ages of the students you are working with, if there are some students who are not comfortable with performing (and there will be some) then – with the supervision of a teacher/adult – they can form part of the backstage crew. They would be responsible for one of the following areas: lighting, sound, props, or set. Being in charge is a great way to teach the students responsibility (McCaslin, 2000) and they are still involved in the production without the pressure of performing, although being part of the backstage crew does have a different sort of pressure.
Of the two, sound is probably the most easy to accomplish for a performance. All you need is to have a tape recorder and player the ability to make the sounds live or a combination of both. Sound effects in theatre lingo are SFX (Pryor, 1994) and live can also mean live music (eg. a band) as well as live sounds. If there are students involved in this area of backstage then it would be their responsibility to follow along in the script and play the sound effects at the correct time – recorded and/or live. Another option, if it fits in with the script, is to have a live band with the performance and make their own instruments to use if they do not have the ‘real’ ones (Bolton, 1998).
As for lighting, it is not essential but if you have the equipment available and would like to use it then definitely go for it. It is usually best to be handled by a teacher, unless there is an older student who is trustworthy enough to learn how to operate and do under teacher supervision (McCaslin, 2000).
When it comes to designing the set for your production Dolman and Knaub (1973) have suggested a few things to think about:
1. Where does it take place?
2. When does it take place?
3. How do the characters relate to it? Is it their home? Are they visiting? etc.
4. Which characters are in the environment?
5. Does the setting change in any way throughout the performance?
6. Will you need set pieces? (eg. table, chairs, couch, etc)
Once you have the answers to these questions then you can begin the designing process. It is also important that you do not over do it – have the basics and then use blankets/tablecloths/cushions/etc. to enhance the look (McCaslin, 2000).
The best part of this is that, with the guidance of the teacher, the students can do a large part, especially things like designing and painting any backdrops, panelling, etc. The students will also be able to help during rehearsals and the actual performance to move the set pieces (if there are any) on and off the stage.
The first thing to do for both costumes and props is to see if there is anything in the school (for example the Kindergarten and Pre-Primary home corner) that would be suitable to use in the production. After having sourced as many things you can from the school, see if the students have anything at home that would be suitable to use and that their parent/caregiver is happy for them to use. Going to second hand shops is also another possibility in finding costumes and/or props, so long as you know enough in advance to start looking. When it comes to the rehearsals and performance you will need more than yourself to make sure everything is looked after and it is here that other teachers and parents can be a great avenue of assistance (Creurer, 2006). Another important note is to make sure that at the beginning and ending of each rehearsal and performance the costumes and props are checked over to ensure everything was collected from the students, nothing was broken or needs to be fixed/replaced, etc. (McCaslin, 2000).
You do not need a complete or genuine outfit – use what you have to suggest it and the features of the character (ie. age, occupation, financial circumstances, personality, etc.) (McCaslin, 2000). For example, if one of the characters is a carpenter a belt with tools hanging from it will do, you do not need a proper carpenter’s belt with pouches. Basically, you need to make sure that the costumes work for the setting (ie. when – the year, season, etc. – and where it takes place), that the colours and design complement each other and the set pieces, and that the costumes fit the students and are kept clean.
Once again, use what you have at the school, make, borrow, hire or buy any props that are needed and store them very carefully so that they do not get lost or broken (Dolman & Knaub, 1973). One of the best ways that I have discovered to keep track of props for a children’s performance was from Pryor (1994). What you do is cover a table with big pieces of paper, taping them down, put all of the props onto the table and draw around them with a marker. Once you have done that write the name of the prop in each space along with the character that it goes with. This way, it is easily recognisable if there are any props missing and whom you will need to speak to first in order to find it.
If you have students in charge of the props then, along with having the table set up, they would have to know exactly when the actors need their props and be on hand to make sure they receive them. They would also be responsible for ensuring that the props were returned and put back in their proper place.
A prompt book is a document that contains the information required to run both the rehearsals and the actual performance. In it you will have a copy of the script (with all of the deletions and additions), the blocking for that part of the script, and the cues for lighting, sound, and backstage (Menear & Hawkins, 1988; Pryor, 1994; Dolman & Knaub, 1973). During rehearsals you take down the blocking in pencil so that changes can be easily made. Then when you are at the full run-through stage you use it to ensure that the actors are in the right positions, are moving at the appropriate time to the appropriate place, and are entering and exiting from the correct places. You will also write down when props or set pieces need to be put on stage and when lighting and/or sound effects occur. The people in charge of these three areas will also have to take their own notes, but it is important that they are in the prompt book as well, so there is always one copy that has everything in it.
The prompt book I used for the Children’s Theatre Production “The Secret of the Snottygobbles: A Fairy Story” was a combination of ideas from Pryor (1994) and Menear & Hawkins (1988). Below is a diagram of a double-page spread of my prompt book, which is further explained.
On the left-hand page there is the script in the left column and then the cues for lighting, sound and backstage in the right column. Then you draw a line from the cue to the place that it happens in the script. This makes it very easy to follow and you know exactly what happens when. On the right-hand page is the blocking for that particular portion of the script. This was done for a university level production so it may not be entirely appropriate for a classroom production, however, it does provide you with a starting place for your own prompt book, which you will tailor to suit your own purpose.
Pryor (1994) has highlighted several important rules when it comes to blocking and movement:
1. Do not clutter the stage.
2. Make sure the audience can see what is happening and do not have your back to them.
3. Try not to have actors in a straight line across the stage.
4. Write it down!! (See Prompt Book)
Movements should always be given from the actors’ perspective of being onstage and facing the audience. Below is a diagram to explain:
It is important that all of the students learn these terms to prevent any confusion when it comes to giving directions on where people or set pieces should be.
Throughout the rehearsals it is important to revise the blocking that was done in previous rehearsals otherwise it can be forgotten (Dolman and Knaub, 1973). For a primary school performance it is not vital that the blocking be exactly as it was rehearsed, however it is important that they follow the first three rules as noted by Pryor and stated above.
Some other important notes in regards to movement include:
· Face the audience as much as possible, and it is a must when you are delivering lines.
· Do not linger in the entrances – come well onto the stage so the audience can see you.
· Any important scenes should be played downstage.
· Keep it simple!
(Taken from Dolman and Knaub, 1973).
McCaslin (2000) also comments that you need to be aware that the blocking and movements that have been set down in the script may have to be altered to fit the performance space you are working with.
The set up of your performance space will affect how you arrange your entrances and exits, but Dolman and Knaub give several important points to consider when it comes to positioning entrances and exits.
· Make sure that there are enough of them to justify the comings and goings of the actors as well as ensuring that what is being done makes sense.
· While you need to ensure that there are enough to make sense, do not overdo it – they will only become a distraction for the audience.
· Ensure that the exits/entrances are kept consistent. For example, if the exit to go the shopping centre from the house is upstage left, then make sure that all of the actors who are coming from or going to the shopping centre use that exit.
· And last but not least, make sure that the entire audience can see all of the entrances/exits.
Once again, the amount of space you have to perform in will affect what types of set pieces you can have for your production (if you are using any at all). However, if you will be having set pieces, there are some things that need to be taken into consideration when it comes to placing them on the stage:
· Have enough pieces to suggest a particular setting but do not overcrowd the stage.
· Unless the piece is supposed to be eye-catching keep them as plain and simple as possible otherwise they become a distraction for the audience.
· Arrange the pieces so that they suggest reality but do not represent it. For example, if the setting is a restaurant, you do not need to fill the stage with tables and chairs, just ensure that what you do have on stage suggests that the characters are at a restaurant.
· Do not block entrances and exits.
· Make sure that there is enough room for the actors to move around and not have to worry about bumping into things.
· If you have to move pieces on and off of the stage, make sure that it is done as safely, quietly and quickly as possible – with teacher/adult help if the students are doing it themselves.
(taken from Dolman and Knaub, 1973)
TECH RUN AND DRESS REHEARSAL
During the tech run you will be running through all of the cues (ie. the points in the script that indicate a lighting change, sound effect, close curtain, change set, etc) to make sure that everyone knows what they are doing and everything is ready for opening night (Pryor, 1994). It may also be a good idea to post a chart with a list of what everyone’s roles/responsibilities are during the performance for all to refer to (McCaslin, 2000). Depending on the amount of changes you have the tech run may be incorporated into one of the rehearsals or it may have to be done as a proper tech run. The difference between the two is that during a tech run there are lots of stops and starts to make changes and take down notes for the performance and the actors will not rehearse, but rather walk it through (ie. they will not say all of their lines, but go through the motions of each act so the backstage crew know when to do lights/sounds/etc). A proper tech run usually takes a lot of time, is very hard work and requires a lot of patience from everyone (Menear & Hawkins, 1988). If you have minimal cues then it is possible for the crew to be getting things down during the rehearsals and then do a run through and make any needed changes during the dress rehearsals.
As for dress rehearsals, it is usually recommended to have two or three and they should be scheduled well in advance to ensure that everyone will be able to attend (McCaslin, 2000). By this point, which is usually only a couple of days before the actual performance, all of the scenery and set pieces should be completed and in place. Basically, it is the show run without the audience that allows you to make any final adjustments to costumes, props, set pieces, etc. and fine tune any of the cues.
For primary school children it is important to keep it simple, informal and have only one performance (McCaslin, 2000). If it becomes more serious and they have more than one show the students get bored and as a result the performance will suffer. By having just one performance it becomes a very special event for everyone involved, including the audience (McCaslin, 2000).
Finally, you have made it to the big day/night, but it is not over yet – there are still things that need to be done to ensure that the performance is a success. It is important to do a final check on the props and costumes (McCaslin, 2000), check to see that everyone who is supposed to be there is, and that they all know what they have to do (Moore, 1988). At this point it is also very common for the students to get nervous, especially if they have never performed like this before. The best way to handle it is to talk about it as a whole group and reassure them that it is perfectly normal to feel nervous (Moore, 1988). You also must not forget to have a warm-up, which can sometimes help with nerves because it provides them with an outlet and gets the students focused.
Before the show begins it is a good idea to let the students know what will be expected of them after the performance has finished. Will there be pictures? Time to go and talk with friends and families before they take of costumes? Clean up that night/day? etc. as well as revising what everyone will be doing during the show. Taking that little extra time at the beginning will go a long way to guaranteeing a smooth running performance.
Although there is a lot to do and a lot has been done to get everyone to this point there is one thing that you must not forget to do – have fun!!!
First of all, there are several ways to go about collecting data to use for evaluation: video taping the process and final performance, having the students write their own critiques, and notes (which you will have been taking throughout!). (Moore, 1988). Creurer (2006) also suggests to take into account the following factors: levels of responsibility assumed; attendance; have they done it to the best of their ability?; encourage and support of others; participation during rehearsals, etc; and anything that they volunteered to do that was not a requirement. I think that Moore (1988) made a valid point when he stated that “evaluating should highlight what has been learned or achieved in relation to your objectives…”. While the end performance should contribute to their assessment, it is the culmination of months of work and should not be the sole basis for evaluation – and there will have been lots of opportunities throughout the process to link their learning to areas other than The Arts.
I really hope that this has helped in some way and has demystified the process of putting on a production. It does appear very daunting and requires a lot of hard work, but in the end I really feel that it is all worth it. I will finish with a final comment from Moore (1988) that provides the best reason for putting on a production that I have come across (well, other than just for fun of course!):
“Performance provides an opportunity for learning social skills such as co-operation, patience and acceptance of others’ points of view, as well as giving them the opportunity to learn and experience aspects of theatre, express themselves creatively and use their talents in practical ways”.
Bolton, R. (1998). Showtime! Over 75 Ways to Put on a Show. Dorling Kindersley Ltd: London.
Creurer, S. (2006). Interview. January 17, 2006.
Dolman, J. & Knaub, R. (1973). The Art of Play Production (3rd ed). Harper and Row Publishers, Inc.
McCaslin, N. (2000). Creative Drama in the Classroom and Beyond (7th ed). Addison Wesley Longman, Inc: USA.
Menear, P. & Hawkins, T. (1988). Stage Management and Theatre Administration. Phaidon Press Ltd.: Oxford.
Moore, P. (1988). When Are We Going to Have More Drama? Thomas Nelson Australia.
Pryor, N. (1994). Putting on a Play. Wayland Publishers Ltd.: East Sussex.
Schotz, A. (MCMXCVIII). Theatre Games and Beyond. Meriwether Publishing Ltd: USA.
Unknown. (1998). Theatre Stage Designs. Microsoft Encarta Encyclopedia.
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Lauren Boon's Movement in Education Nicole Pfeiffer's Theatre Production in the Classroom
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This page last updated: 30th June 2006