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1Teaching Drama · Summer term 2 · 2015/16www.teaching-drama.co.uk
Nj by Michael Morpurgo:
Exploring the book through drama
Helen Day
KS2 The Butter?y Lion is an engaging book that will grip the imaginations of your KS2 students, and which presents several key theme strands that are ideal to explore through classroom drama work. This scheme of work uses a range of dramatic techniques to enhance a reading of the book. It contains a selection of games, exercises, group work and group discussions, and aligns with the Spoken Language requirements of the National Curriculum. Students are offered the opportunity to create and perform drama alongside and in front of their peers, and to respond thoughtfully to each other's work. As well as gaining a deeper understanding of the book through this scheme, elements of PSHE may be touched on in considering the theme of running away, and there is also an opportunity to look at trench warfare in WW1. Guidelines are offered throughout the scheme on what point students should have reached in the book in order to appreciate the lesson. However, the scheme will also work as a follow-on from a complete reading.
Learning objectives
By the end of this scheme the students will:
Have used a range of dramatic techniques to explore the themes and characters within The Butter?y Lion Have explored working with tableaux at a range of levels, from simple tableaux creation to using them as a dramatic convention to depict a narrative
Have experience of adopting and sustaining roles
Have experience of improvising, devising and scripting drama Have been able to practice speaking audibly in front of their peers Have participated in group discussions, listening to and building on others' contributions Have participated in collaborative games, exercises and discussions Have experience of responding appropriately to others in role Have experience of responding to the work of others Have explored a range of opinions and arguments, and considered contrasting viewpoints.
Learning objectives
By the end of the lesson the students will:
Have experience of building on each other's ideas through the 'Fortunately ...
Unfortunately' warm-up game
Have worked in small groups to create tableaux
Have experience of sharing their work with each other, and of responding to the work of others Have developed their listening skills through a movement response exercise
Have experience of writing in role
Have used their imaginations to consider the text beyond the words on the page, considering life at the boarding school and what the motivation for running away could be. It is important that students are familiar with The Butter?y Lion to the end of Chapter 1 (Chilblains and Semolina Pudding) for this lesson.
Helen Day is a performer and teacher
of performance, and has delivered workshops for numerous theatre companies and arts education organisations. She is co-founder of
H2oh! Education, who run a range of
curriculum-linked performing arts workshops in primary and secondary schools across the South East of
England.
2Drama · Summer term 2 · 2015/16www.teaching-drama.co.uk
Scheme of work
Warm-up: Fortunately ... Unfortunately (10 mins)
This is a word game to get everyone thinking, and considering life at a boarding school. Invite everyone to stand in a circle. You start the game by saying, 'At boarding school today x happened', x being something bad such as failing a spelling test, dropping a plate of food in the dining hall, etc. The rst student to start then says, 'Fortunately ...' and nishes off the sentence by saying something that made the situation better. The next student along then begins with 'Unfortunately ...' and says something to build the story that made the situation worse. This continues, changing between 'fortunately' and 'unfortunately' each time. It might be possible to continue and include every student in the class; however if the story thread runs out you can simply stop and start the game again with a different boarding school scenario.
Tableaux creation: Miserable at school (20 mins)
Divide the class into groups. Group sizes of 4-5 per group should work well. 'I was homesick after a letter from my mother. Basher Beaumont had cornered me in the bootroom and smeared black shoe-polish in my hair. I had done badly in a spelling test, and Mr Carter had stood me in the corner with a book on my head all through the lesson - his favourite kind of torture.' Read the above extract from Chapter 1, 'Chilblains and Semolina Pudding', to the class. Invite students to suggest other things that might be making our narrator miserable at school. Challenge students to create three tableaux in their groups, depicting the narrator in situations that contribute to his decision to run away. Spend the last few minutes seeing the tableaux. For this exercise, divide the class into two, and allow one half to be the audience for the others' tableaux, and then vice versa. Invite comments from students as the work is shown: Which tableaux work the best, and why? Which groups have used body language and facial expression the most effectively, in order to help us understand what is happening in their scenes?
Writing in role: Diary entry (20 mins)
Using the previous discussion and exercise as inspiration, ask students to write a diary entry for our narrator, written the night before he runs away. The text should be used as inspiration, and encourage students to create further reasons as to why he feels he simply must leave the school, and/or to expand on the reasons given in the book. A diary writing checklist to be used for this exercise is provided at the end of this scheme, and may be of use. Listening with movement response: Running away (10 mins) Ask students to ?nd their own space in the room (you may wish to work in two groups, one and then the other, if space is limited). Explain that each student is going to take on the role of a child running away from boarding school. You will say out loud what they are doing, seeing and experiencing, and they should try to live this journey through movement, facial expression and body language. Students should not speak during this exercise and they should each work alone. You may wish to start by reading the paragraph from Chapter 1 that begins 'There wasn't much traf?c' and ends 'along the wide grass verge under the shelter of the trees'. Beyond this, create an imaginative journey for students to experience, and for them to respond to it through movement. Work within the idea of a journey that takes place in the countryside, but challenge them with encounters that might include muddy ditches, slippery stepping stones, hiding from passers-by, etc.
Plenary (10 mins)
Bring the lesson to a close by asking students to re?ect on whether they feel our narrator has been pushed to breaking point, and this has forced him to run away, or whether they feel he should be stronger and stay at school. The school in the book is portrayed as a very difcult place to live in, but is running away ever the right thing to do?
Encourage students to note the different
vocal tone and registers they apply between starting with 'fortunately' or 'unfortunately'. This is also a great exercise to use to encourage students to ensure that they speak audibly.
Encourage students to make use of
facial expression and body language in this exercise. The use of tableaux is developed throughout this scheme, so starting from a solid base with this first exploration will provide a great foundation from which to move forward.
3Drama · Summer term 2 · 2015/16www.teaching-drama.co.uk
Scheme of work
Learning objectives
By the end of the lesson the students will:
Have worked as a group to recall the events of the text Have developed their tableaux skills by using them to portray a narrative Have experience of responding to the work of others
Have participated in classroom discussion
Have developed their use of spoken language, in particular persuasive language, through the 'decision alley' exercise. It is important that students are familiar with The Butter?y Lion to the end of Chapter 5 (Running Free) for this lesson. Recalling the text: How Bertie meets the lion cub (10 mins) Challenge students' memories: ask them to try to remember the events in the book that lead up to Bertie meeting and then keeping his white lion cub. In order to move on to the next exercise, it would be good to make sure they remember the following: Bertie saw the lioness and lion cub visiting the waterhole Bertie's father shot the lioness, the cub's mother Bertie woke up one morning to see hyenas surrounding the mud-covered cub Bertie scattered the hyenas, but the hyenas then surrounded him and the cubagain Bertie's mother ?red a shot to scare the hyenas away Bertie and his mother brought the cub home, fed him warm milk and bathedhim After much discussion, Bertie is allowed to keep the lion cub.
Tableaux creation: Preparation (15 mins)
Divide the class into groups of four or ?ve. Having recalled the events that lead up to Bertie being allowed to keep the lion cub, ask the groups to prepare a series of tableaux that tell this story.
Watching the tableaux and responding (15 mins)
Give a couple of groups the opportunity to show their series of tableaux to the rest of the class. If time allows, you may wish to allow all the groups to perform; however, ensure that you allow time for the audience to respond to what they have seen. Have the groups performing made interesting choices about what to show in their tableaux? Have they used facial expression and body language well? How easy is it to tell what is going on in the tableaux? Classroom discussion: Selling the lion to the circus (10 mins) 'Maybe his father would strap him - he'd threatened it often enough but Bertie didn't mind. His lion would have his chance for freedom, maybe not much of one. Anything was better than the bars and whips of a circus.' Invite students to share their thoughts on whether Bertie's father is right to want to sell the lion to the circus. How do they feel about animals in circuses generally? Does it make a difference that this book is set so long ago, or that the lion has not learned to live in the wild? Encourage students to consider the arguments for and against selling him. Decision alley: Should we sell the lion? (15 mins) Divide the class into two groups. Each group should stand opposite the other. Tell one group that they will present the argument for selling the lion to the circus, and the other that they will present the argument against. Nominate one student to walk between the two lines, i.e. down the decision alley. He or she will walk slowly, and as they do so the students on either side will take turns to say a sentence or two each to try to persuade the decision-maker to agree with their side. The decision- maker should try to hear each argument along the way. Upon reaching the other side, he or she should announce which side of the argument has been presented the most persuasively. Did the stronger side use a more effective tone or register to communicate their opinions? How did they capture the interest of the decision-maker effectively? If time allows, repeat this exercise a couple of times, choosing different decision-makers and also allowing for each group to swap and present the other side of the argument.
This exercise builds on students'
experience from Lesson 1 of creating tableaux. In addition to challenging them to make fullest use of facial expression and body language, remind them that they are trying to pick out the most important and/or interesting aspects of the story to depict.
Encourage the decision-makers in this
exercise to try to clear their minds of their own opinion, and to consider which group makes the stronger points, uses the most persuasive language, and puts their points across the most effectively by using the best vocal register and being audible. If you have students in the class who cannot make up their mind either way, these could be ideal candidates to walk the decision alley.
4Drama · Summer term 2 · 2015/16www.teaching-drama.co.uk
Scheme of work
Plenary (5 mins)
Draw the lesson to a close by inviting students to imagine themselves in Bertie's position. Could they let a beloved pet be sold to a circus? Did their opinions about the idea of selling the lion cub alter at all as a result of hearing the arguments presented in the decision alley?
Learning objectives
By the end of this lesson the students will:
Have used the text, their imaginations and factual information to consider trench warfare in World War I Have developed their listening, imagination and empathy skills
Have collaborated in small groups to devise drama
Have experience of sharing their work with each other Have experience of responding to the performances of others. It is important that students are familiar with The Butter?y Lion to the end of Chapter 9 (A Lot of Old Codswallop) for this lesson.
Classroom discussion: Trench warfare (10 mins)
'At seventeen, he'd found himself marching with his regiment along the straight roads of northern France up to the front line, heads and hearts high with hope and expectation. Within a few months he was sitting huddled at the bottom of a muddy trench, hands over his head, head between his knees, curling himself into himself as tight as he would go, sick with terror as the shells and whizzbangs blew the world apart around him. Then the whistle would blow and they'd be out and over the top into No Man's Land, bayonets xed and walking towards the German trenches into the ratatat of machine-gun re.' Open this lesson by re?ecting on trench warfare in World War I, as referenced in the book. Can students imagine what it must have been like for soldiers like
Bertie, and the kind of hardships they endured?
Imaginative listening exercise (10 mins)
Ask students to close their eyes, and to picture themselves as a soldier in a trench during World War I. Guide them through painting an imaginative picture in their heads. What can they hear? What is around them? Are they cold? Are they wet? What do they think will happen to them when they go into No Man's Land? Are they scared? Take a moment to invite feedback after the exercise. Did anything come to students' imaginations that surprised them?
Listening (10 mins)
Read aloud the section from Chapter 9 (A Lot of Old Codswallop) which begins 'At dawn they always had to come out of their dugouts' and which continues for four paragraphs, ending 'He was the hero of the hour, the pride of his regiment'.
Scene creation in groups (15 mins)
Divide students into groups. Around ?ve students per group would work well. Challenge the groups to try to stage some or all of the section of the book that they have just listened to. In this exercise, students can use both movement and words to tell the story, however they could also include some use of tableaux if that is helpful. Remind them that not all members of the group have to take on a role in each scene. Some could contribute by making sound effects, or using their bodies to create the 'scenery'.
Presenting the scenes (15 mins)
Give each group the opportunity to present their scenes. If you have lots of groups and time is tight, you may wish to ask the groups to 'story build'. One group could start by showing the beginning of the section of text acted out. Another group who have the next section can then take their turn, and so on as you work through the piece chronologically. It doesn't matter if the pieces don't match up perfectly, and any groups who have not taken a turn at the end can then have a go with a section of their choice. This is a good way to offer everyone the opportunity to share their work without taking up too much time to do so.
If you wish to extend this section of the
lesson, and to look at trench warfare in depth, there is a list of a few good online references given in Resource 2 at the end of this scheme.
In scene creation, groups will often
spend too much time planning and too little rehearsing, and time tends to run away. Giving constant reminders of how much time they have left as they go along can be helpful, as well as encouraging those who are struggling to attempt less rather than more in terms of their storytelling.
However a large part of this exercise is
about communicating as a group and working together, so you need not be too concerned if the work the groups have to present to each other seems a little under-rehearsed or rough around
5Drama · Summer term 2 · 2015/16www.teaching-drama.co.uk
Scheme of work
Responding to the drama (10 mins)
Once all the groups have performed, ask students to consider the work that they have just seen. What aspects of others' work did they particularly like? Did they feel any particular groups captured the atmosphere of the book well? Is there anything they feel they could do better if they had more time to go back and rehearse the work?
Learning objectives:
By the end of the lesson the students will:
Have experience of improvising in pairs
Have devised a duologue through improvisation and explored scripting that duologue
Have worked collaboratively with a partner
Have considered a character's thoughts and speci?c experiences Have used the dramatic technique of hot seating to further understand characters in the book; either answering questions in role, or questioning others, or both. It is important that students are familiar with The Butter?y Lion to the end of Chapter
11 (A Miracle, A Miracle!) for this lesson.
Warm-up: Reunited (10 minS)
This is an acting exercise that sets the mood nicely to move on to the duologue improvisations that follow. Students should nd a partner, and stand opposite them, forming two lines on either side of the space. Explain that you are going to give them a series of meetings to enact, and thatquotesdbs_dbs5.pdfusesText_9
The Butterfly Lion Exploring the book through drama by