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ANIMAL FARM Teachers’ Resource Kit
teachers’
resource kit
Created & performed by shake & stir theatre co
Teachers’ Notes compiled by Naomi Russell.
© This Resource Kit is protected by Copyright.
Limited photocopying for classroom use
permitted by educational institutions.
www.shakeandstir.com.au
© www.shakeandstir.com.au
Established in 2006, shake & stir has rapidly become one of Australia’s leading
contemporary youth theatre companies. shake & stir produce an annual season of inschool and Mainhouse productions and a series of in-school workshops for primary and
secondary students reaching a combined total audience of over 180,000. In-school
productions include 50-minute Shakespeare adaptations, Shakespeare compilations and
a program of moral-based performances targeting key issues affecting youth. shake &
stir was the first company to incorporate extensive multimedia into in-school productions
and the first to offer a Shakespeare performance specifically created for primary
students. shake & stir’s Mainhouse productions extend upon the in-schools program
targeting audiences both young and young at heart. In 2011, shake & stir’s Helpmann
Award nominated STATESPEARE embarked on a four-month national tour, visiting
theatres in QLD, NSW, VIC, SA and TAS. In 2012, shake & stir staged their adaptation
of George Orwell’s 1984 at QPAC. This sold-out production received rave reviews,
broke box office records and will embark on an extensive national tour in 2014. In 2013
shake & stir will be presenting 3 Mainhouse productions. In January, the company's
youngest Mainhouse production Out Damn Snot was co-produced with La Boite Theatre
Company. From February shake & stir’s multi award-winning adaptation of George
Orwell’s Animal Farm will tour theatres nationally, returning to QPAC in May for a
strictly limited season. In August, the company’s new production Tequila Mockingbird,
inspired by Harper Lee’s To Kill a Mockingbird, will premiere at the Cremorne Theatre
QPAC. In addition to a busy annual performance schedule, shake & stir theatre co has
an after school drama program reaching approx 400 primary and secondary students
across South East QLD.
shake & stir theatre co is a privately owned company, co-founded by Ross Balbuziente,
Nelle Lee and Nick Skubij that operates outside of government support.
For full information please visit www.shakeandstir.com.au
Mission: To motivate, educate & relate to youth via theatre and an infectious enthusiasm
for the live arts.
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table of contents...
About the Show: All you need to know!
Shhh! Theatre Etiquette: The do’s and don’ts
George Orwell: What you need to know
In a Nutshell: A contextual summary
Discussion Questions
Useful Links
Meet and Greet: The animalistic cast & crew
Getting Busy: Classroom Activities - Pre and Post Show
Starter. Word Bingo
Warm Up. Liar Liar & Animalisms
Theme 1. Power Play
Theme 2. Greedy Little Pig
Theme 3. All Animals are Equal
Theme 4. Rebellion
What now? Classroom Resources
Animal Profiles
Dramatic Elements
Drama: Forming/Presenting/Responding
English: Persuasive/Expository/Reflective/Imaginative
Writing a Critical Review
Reviewing the Show: Student worksheet
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5
6
7
8
8
9-13
14-15
16
17-19
20-21
22-23
24-27
28-33
34-38
39
40
41
42-45
a note to teachers using the teachers’ notes...
All of the activities in this booklet have been created to be used pre or post show.
Some are more suited to a Drama classroom, whilst others were created for
English or History - BUT all can be adapted for use in your subject area! You are
the teacher, you know your students best.
We have also included the Common Curriculum Elements (CCE’s) that are used
in each activity. This is a guide for you as a teacher, and also helps the students to
see what skills they need and how they can be used in other subject areas.
Please enjoy the activities and the show! If you have any questions about the
notes, please email the Education Liaison, Naomi Russell:
[email protected]
Also, we would love to hear from you or your students - if they want to share any
particular creative tasks they have completed please email:
[email protected]
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ABOUT THE SHOW:’
TIME: 85 mins + 10 minQ&A
Suitability: Grades 8-12. Teacher discretion needed for early
high school years due to simulated violence.
ACTIVITIES FOR USE IN: Drama, English & History
Four legs good, two legs bad.
Animal Farm, one of the most controversial and studied political commentaries
returns to Brisbane in a multi-award winning, physical theatre production. Playing
for a strictly limited season, George Orwell's simple yet intensely powerful fairy
tale illustrates with stunning clarity and grotesque beauty how greed and power
corrupts and with devastating consequences, can change the course of history.
Revolution has taken place at Manor Farm. The pigs have assumed control and
under the principles of Animalism a better life free from human service is promised
to all. Guided by a simple set of rules and an unrelenting respect for authority, it is
not long until the rules that promised freedom become the chains that bind the
animals once again.
Directed by Michael Futcher and realised by shake & stir and a cast of
Queensland's most dynamic actors, Animal Farm promises to be one of the most
shocking, relevant and wickedly funny theatre events of 2013. Pig in and you will
not be disappointed.
CREDITS:’
Creators: Ross Balbuziente, Nelle Lee & Nick Skubij
Adaptor: Nick Skubij
Director: Michael Futcher
Designer: Josh McIntosh
Lighting Designer: Jason Glenwright
Sound Designer: Guy Webster
Projection Designers: optikal bloc
Dramaturg: Michael Futcher
Production Photography: Stephen Henry
Featuring: Ross Balbuziente, Tim Dashwood, Nelle Lee, Bryan Probets
& Nick Skubij.
FOUR LEGS GOOD,
TWO LEGS BAAAAAD
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shhh! theatre etiquette: the do’s and don’ts
shake & stir is a live theatre company and many of your students may be
unfamiliar with standards of behavior for a live theatre audience. Below are
some guidelines for your consideration. Please go over these points with
your students prior to the performance:

We encourage your students to actively participate in our performances
by applauding, laughing and asking/answering questions at the end.

Food or drink is not encouraged during a performance as it is distracting
to both the actors and other audience members.

General chitchat, talking and moving around the classroom or
performance space while the performance is underway is not
encouraged. Live theatre is different to Television or Film – the actors on
stage can hear and see as well!

Questions are welcome and encouraged but will be restricted to the
designated question time at the end of each performance.

Please ensure that your students switch off their mobile phones and
leave them in their bags before the performance begins.

Finally - enjoy the show!
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George Orwell
what you need to know
A BRIEF HISTORY
Orwell was born Eric Arthur Blair on 25 June 1903 in eastern India, the son
of a British colonial civil servant. He was educated in England and, after he
left Eton, joined the Indian Imperial Police in Burma, then a British colony.
He resigned in 1927 and decided to become a writer. In 1928, he moved to
Paris where lack of success as a writer forced him into a series of menial
jobs. He described his experiences in his first book, 'Down and Out in Paris
and London', published in 1933. He took the name George Orwell, shortly
before its publication. This was followed by his first novel, 'Burmese Days', in
1934.
An anarchist in the late 1920s, by the 1930s he had begun to consider
himself a socialist. In 1936, he was commissioned to write an account of
poverty among unemployed miners in northern England, which resulted in
'The Road to Wigan Pier' (1937). Late in 1936, Orwell travelled to Spain to
fight for the Republicans against Franco's Nationalists. He was forced to flee
in fear of his life from Soviet-backed communists who were suppressing
revolutionary socialist dissenters. The experience turned him into a lifelong
anti-Stalinist.
Between 1941 and 1943, Orwell worked on propaganda for the BBC. In
1943, he became literary editor of the Tribune, a weekly left-wing magazine.
By now he was a prolific journalist, writing articles, reviews and books.
In 1945, Orwell's 'Animal Farm' was published. A political fable set in a
farmyard but based on Stalin's betrayal of the Russian Revolution, it made
Orwell's name and ensured he was financially comfortable for the first time
in his life. 'Nineteen Eighty-Four' was published four years later. Set in an
imaginary totalitarian future, the book made a deep impression, with its title
and many phrases - such as 'Big Brother is watching you', 'newspeak' and
'doublethink' - entering popular use. By now Orwell's health was
deteriorating and he died of tuberculosis on 21 January 1950.
This biography was found at: http://www.bbc.co.uk/history/historic_figures/orwell_george.shtml
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A CONTEXTUAL SUMMARY
Old Major, the old boar on Manor Farm, calls the animals on the farm for a meeting, where he vilifies the
humans and teaches the animals a revolutionary song, "Beasts of England".
After Major’s sudden death, two younger pigs, Snowball and Napoleon, assume command and turn his
dream into a philosophy. The animals rebel and drive the drunken and irresponsible Mr. Jones from the
farm, renaming it "Animal Farm".
The Seven Commandments of Animalism are written on the wall of a barn. Snowball attempts to teach the
animals reading and writing and the pigs elevate themselves to positions of leadership.
Napoleon takes the pups from the farm dogs and trains them privately. When Mr. Jones tries retaking the
farm, the animals defeat him at what they call the "Battle of the Cowshed". Napoleon and Snowball struggle
for leadership. When Snowball announces his idea for a windmill, Napoleon opposes it. Snowball makes a
speech in favour of the windmill, whereupon Napoleon has his dogs chase Snowball away. In Snowball's
absence, Napoleon declares himself leader and makes changes. Meetings will no longer be held and
instead a committee of pigs will run the farm.
Using a young pig named Squealer as a mouthpiece, Napoleon announces that Snowball stole the idea for
the windmill from him. The animals work harder with the promise of easier lives with the windmill. After a
violent storm, the animals find the windmill shattered. Napoleon and Squealer convince the animals that
Snowball destroyed the windmill. Once Snowball becomes a scapegoat, Napoleon begins purging the farm,
killing animals he accuses of consorting with Snowball.
Napoleon abuses his powers, making life harder for the animals; the pigs impose more control while
reserving privileges for themselves. The pigs rewrite history, vilifying Snowball and glorifying Napoleon.
Squealer justifies every statement Napoleon makes, even the pigs' alteration of the Seven Commandments
of Animalism. The Commandments begin to change and evolve as each of the pigs find their own place as
‘leaders’. ‘Beasts of England’ is replaced by an anthem glorifying Napoleon, who appears to be adopting
the lifestyle of a man. The animals, though cold, starving, and overworked, remain convinced through
psychological conditioning that they are better off than they were when ruled by Mr. Jones.
Squealer begins to abuse his power and the other pigs. Mr. Frederick, one of the neighbouring farmers,
swindles Napoleon and attacks the farm, using blasting powder to blow up the restored windmill. Though
the animals win the battle, they do so at great cost, as many, including Boxer, are wounded.
Boxer continues working harder and harder, until he collapses while working on the windmill. Napoleon
sends for a van to take Boxer to the vet, explaining that better care can be given there. Boxer dies,
amongst speculation from the pigs that it was a cover-up from Squealer.
Years pass, and the pigs learn to walk upright, carry whips, and wear clothes. The Seven Commandments
are reduced to a single phrase: "All animals are equal, but some animals are more equal than others."
Napoleon holds a dinner party for the pigs and the humans of the area, who congratulate Napoleon on
having the hardest-working animals in the country on the least feed. Napoleon announces an alliance with
the humans and reverts the name of the farm to "Manor Farm".
The animals, overhearing the conversation, notice that the faces of the pigs have begun changing. During a
poker match, an argument breaks out between Napoleon and Mr. Pilkington when they both play the Ace of
Spades, and the animals realise that the faces of the pigs look like the faces of humans and no one can tell
the difference between them.
Adapted from a Synopsis found at http://en.wikipedia.org/wiki/Animal_farm
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DISCUSSION QUESTIONS/
 What is power? Think about leadership and what makes someone a good or bad
leader. Write down the 5 best/worst qualities of a leader.
 What differences did you notice between the play and the novel? Which did you enjoy
more and why? Create a PMI (plus/minus/interesting) chart with your findings.
 How do you release anger? What makes you angry? How can anger be used in a
healthy way?
 Have you ever felt that leaders contradicted themselves? Think about politicians and
the promises they make before getting elected. Why does this happen? Why are
humans such hypocritical people? Have you ever done something you said you
wouldn’t do?
 How does Orwell use foreshadowing in the novel? Think of specific examples (such
as the dogs attacking Boxer). How were these shown in the stage version?
 Discuss the quote “Four legs good, two legs bad”. How many times did the
commandments change throughout the story? WHY?
 Think about each of the characters names and try and come up with their symbolic
meaning. EG Snowball = gets bigger and bigger, or the snowball effect.
 What is totalitarianism and where else in history has it been seen before?
 Discuss the pros and cons of socialism VS communism. If you had to live under one
way of life, which would you choose and why?
 References to Animal Farm exist in all forms of pop culture. Why has it had such an
impact on writers/directors/musicians/illustrators?
USEFUL LINKS//
Social Media:
www.youtube.com/shakeandstirtheatreco (Animal Farm Trailer)
PLAYLAB
Electronic or print on demand copies of the Animal Farm script for sale: www.playlab.com.au
ORWELL
‘Why I Write’ George Orwell Essay: http://orwell.ru/library/essays/wiw/
The history behind Animal Farm: http://www.gradesaver.com/animal-farm/studyguide/section11/
http://en.wikipedia.org/wiki/Animal_Farm
STUDY NOTES
http://www.sparknotes.com/lit/animalfarm/
http://www.gradesaver.com/animal-farm/
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:
Meet the Cast and Crew
Ross Balbuziente - Cast
For shake & stir: Ross is the Co-Artistic Director of
shake & stir and has created over 20 youth productions
and performed in over 1000 performances. He cocreated and performed in STATESPEARE (2009, 2011,
2011 national tour), ANIMAL FARM (2011), 1984 (2012).
Other Theatre: Romeo & Juliet (QTC), Julius Caesar (La
Boite), Citizen Jane (JUTE), A Midsummer Night's
Dream, Two Weeks with the Queen, The Taming of the
Shrew, Little Shop of Horrors (Harvest Rain Theatre
Company), Assassins (Warehaus Theatre/QPAC), Of
Our Own Volition (Spangled Drongo Productions/Metro Arts), As You Like It, The
Comedy of Errors, Titus Andronicus and Monkey and His Magic Journey to the
West (Grin & Tonic Theatre Troupe). Ross developed and performed in an original
Shakespeare compilation production Strangers on the Globe Stage London.
As Director: shake & stir's annual in-school seasons and productions of
STATESPEARE, Out Damn Snot (shake & stir/La Boite), Thus I Die!, Bard-Wired,
Love is an Ass (University of Southern Queensland).
TIM DASHWOOD - CAST
For shake & stir: Debut. Other Theatre: Tim starred in
David Williamson’s World Premiere of Managing Carmen
(Queensland Theatre Company & Black Swan State
Theatre Company), Romeo & Juliet (QTC) , The Last 5
Years (Ignatians/QPAC), Dead Cargo (co-presented by
Metro Arts Independents), Fame - the Musical (2010
National Tour), The Importance of Being Earnest,
Rabbithole and The Exception & The Rule (QTC), The
Year Nick McGowan Came to Stay (La Boite), The Awfully
Big Adventures of Peter Pan (Harvest Rain), Much Ado
About Nothing (4mbs), The Reunion, Love Song
Dedications and Donna's Party (Metro Arts), Mandragora (Short & Sweet Festival
- awarded Best Actor & Best Drama). With the Queensland Arts Council, he has
toured regional Queensland in Zooillogical, idotluvdotu and Hermes and the
Naked Flame. Film & Television: the independent feature - Dartworth, and short
films: Cowboys, Stars & Angels, Cravings, Stolen Honour and Tunnel Vision
(QPIX - awarded QNFA Best Actor), Myles West (48 hr Short Film Festival –
Awarded Best Actor) and Tightrope (RACQ/Qld Police).
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Nelle Lee - Cast
For shake & stir: Nelle is a founding member and CoArtistic director of shake & sir and is kept busy each day
performing, teaching and creating youth theatre. Nelle cocreated, wrote and performed in STATESPEARE (2009,
2011, 2011 national tour), ANIMAL FARM (2011), 1984
(2012), Out Damn Snot (2013). Other Theatre: The
Crucible, Maxine Mellor's Mystery Project, Property of the
Clan (Queensland Theatre Company). Complete Works of
William Shakespeare by Chicks & ALICE (Harvest Rain
Theatre Company). Nelle also appeared in Magda's Fascination with Wax Cats
(The Forward Movement/Metro Arts Independence), Catholic School Girls (Three
Sisters Productions) and Newton's Law (Strut 'n' Fret/QLD Arts Council). Film &
Television: Sea Patrol seasons 2 & 3, Mortified and the feature film JUCY which
premiered at the Toronto International Film Festival in 2010. Training: Bachelor
Theatre Arts (Acting) from the University of Southern Queensland. Awards: 2011
USQ Alumnus Award, 2011 USQ Arts Faculty Award
Bryan Probets - Cast
For shake & stir: ANIMAL FARM (2011), 1984 (2012).
Other Theatre: Pygmalion, Waiting For Godot, Taking
Aim, The Alchemist, The Importance of Being Earnest,
Private Fears in Public Places, A Christmas Carol, The
Venetian Twins, Scapin, The Lonesome West, Mano
Nera, The Cherry Orchard, The Road to She-Devil's
Salon, The Works 2003 (Queensland Theatre
Company); Edward Gant's Amazing Feats of Loneliness
(with Sydney Theatre Company), As You Like It, The
Wishing Well, The Danger Age, The Year Nick
McGowan Came to Stay, Operator, Crèche and Burn,
Way Out West, Milo's Wake, Hermes and the Naked Flame (La Boite Theatre
Company/Queensland Arts Council) all for La Boite. The Composer is Dead (Out
of the Box); Australia The Show! (Hothouse Theatre Company); The A to Z of
Cabaret (Brisbane Cabaret Festival/Qld Arts Council); Zooillogical (Kite
Theatre/Schnapper Head), Credo the Innocence of God (Queensland Music
Festival); The Amazing Magician Goes Troppo (Queensland Ballet); Love's
Labour's Lost, As You Like It, The Woman in Black (Harvest Rain); King Lear
(Trocadero); The Legend of King O'Malley (On Giant's Shoulders); The Zoo Story
(QUT); Hamlet (Matrix Theatre/QPAC). Film: Singularity, A Heartbeat Away,
Daybreakers, Triangle, The Proposition, Nim's Island, Subdivision, The Horseman,
Punishment and Hildegarde. Television: Monarch Cove, Starter Wife, Fat Cow
Motel, Love Weights, Farmkids. Awards: Two Matilda Commendations (2003),
MEAA Award for Emerging Artist (2003). Training: Bryan is a graduate of USQ.
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Nick Skubij - Cast
For shake & stir: Nick co-created and performed in
STATESPEARE (2009, 2011, 2011 national tour). As a
co-founder and Co-Artistic Director of shake & stir
theatre co, Nick has devised, directed and performed in
numerous productions, ANIMAL FARM (2011) , 1984
(2012), Out Dam Snot (2013). Other Theatre: Nick has
performed with some of Australia's leading entertainers
including Zoe Ventoura, Colin Lane, Glenn Shorrock
and Rhonda Burchmore. Performances include Romeo
& Juliet (QTC), EUROBEAT (QPAC), Citizen Jane (JUTE), Crackle, Snap, Pop
(JUTE/QTC), Surviving Jonah Salt (KEDT/JUTE), Flutter (JUTE), The 25th
Annual Putnam County Spelling Bee (Oscar Theatre Co), The Fiveways
(Brisbane Festival) and A Midsummer Night's Dream (Harvest Rain Theatre
Company). Nick has also worked for Grin & Tonic Theatre Troupe in 2005-2006.
He has performed at a number of major arts festivals including Scene Change
Playwrights Festival (Tasmania), NT Festival of the Arts, Festival Cairns and
Brisbane Festival. Trained in classical dance, Nick has danced with the
Queensland Ballet and has choreographed and performed in various corporate
dance troupes. Film & Television: Second series of Channel 7's popular
children's television program TOYBOX.
Michael Futcher - Director
For shake & stir: ANIMAL FARM (2011), 1984 (2012). Other Theatre: Michael
has worked over the past 25 years with many of Queensland's major theatre
companies in various capacities, including actor, director, dramaturg and writer,
and, with Helen Howard, is the joint artistic director of Matrix Theatre. As Director:
For Queensland Theatre Company: Grimm Tales, Rabbit Hole, The Glass
Menagerie, Oz Shorts, A Life In The Theatre (Noosa Long Weekend), Blithe Spirit
(Assistant Director) and Explosions (education production); For La Boite: Walking
By Apple Tree Creek, The Drowning Bride, James and Johnno, Salt and, in coproduction with Matrix Theatre and the Brisbane Festival, the critically-acclaimed
A Beautiful Life, which toured nationally in 2000 winning Michael Best Director at
the Victorian Green Room Awards along with three other awards; For Matrix
Theatre: The Wishing Well, The King and the Corpse!, 1347 and Cutting Loose. In
2009, Michael's production of The Kursk (Matrix/Metro Independents/Critical
stages) toured nationally to over 35 venues receiving a Helpmann Award
nomination and 3 Matilda Awards, including Best Director. Other productions
include: Dirty Apple (Opera Qld/Backbone), Jane Eyre, Cymbeline, The Crucible,
Three Sisters, The Duel, The Cherry Orchard, Camille (QUT), Jane Eyre (USQ)
and Macbeth (Rheingold Theatre Club, London). Awards: Michael has won
several Matilda Awards, a Green Room Award and a Playlab Award, and been
nominated for a Helpmann Award, an Awgie, and 2 Queensland Premier's Drama
Awards.
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Josh McIntosh - Designer
For shake & stir: ANIMAL FARM (2011), STATESPEARE (2011, 2011 national
tour), 1984 (2012). Other Theatre: Josh has designed Rabbit Hole and design
consultant for Thom Pain (Queensland Theatre Company). The Kursk (with
Critical Stages & Matrix), The Wishing Well (with Matrix), The Danger Age, The
Year Nick McGowan Came To Stay, and Red Cap (La Boite). Spamalot and
April's Fool (Toowoomba's Empire Theatre). Josh has designed many shows for
Harvest Rain Theatre Company including Grease, Jesus Christ Superstar, Joseph
And His Amazing Technicolor Dreamcoat, A Midsummer Night's Dream, Cats,
Alice, Little Shop Of Horrors, Twelfth Night and The Lion The Witch & The
Wardrobe. Ithica Road, Chasing the Lollyman, and Snagged (deBase) and has
recently re-imagined Often I Find That I Am Naked. Josh is Artistic Director and
writer/collaborator of Directions Musical Theatre Company, who tour regularly
throughout Australia and overseas. Awards: Del Arte Chart Award every year
since 2004, and has had a few Silver Matilda Award nominations (2007, 2009,
2010).
Jason Glenwright - Lighting Designer
For shake & stir: ANIMAL FARM (2011), 1984 (2012), Out Damn Snot (2013).
Other Theatre: Most recent highlights include: The Removalists, Faustus (Co-Pro
Bell Shakespeare/Queensland Theatre Company), Water Falling Down, The Little
Dog Laughed, Thom Pain (Based On Nothing) (Queensland Theatre Company);
Ruben Guthrie, Julius Caesar (La Boite) The Kursk (La Boite/Matrix Theatre);
While Others Sleep (Expressions Dance), DRAG Queensland (Queensland Music
Festival); The Tempest (Zen Zen Zo); The Shining Path, Cake (JUTE); Gaijin
(Gardens Theatre); Grease, Aladdin, Jesus Christ Superstar, Songs For A New
World, Cinderella, Joseph And The Amazing Technicolour Dreamcoat, Peter Pan,
A Midsummer Night's Dream, The Sound Of Music (Harvest Rain/QPAC); My
Name Is Rachel Corrie, Blackbird (La Boite Indie); Dead Cargo, Trolley Boys,
Tender, The Truth About Kookaburras, The Pillowman, Bronte, The Ghost Writer,
The Kursk (Metro Independents); Chasing The Lollyman (Debase). Jason has also
worked as Assistant Lighting Designer on The School Of Arts and Betrayal for
Queensland Theatre Company. Awards: Three of Jason's lighting designs have
been awarded Silver Matilda Awards Jason was also has been a Silver Award for
Best Emerging Artist 2009. In 2010 Jason was engaged with Queensland Theatre
Company as an Emerging Artist.
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Guy Webster - Composer / Sound
Designer
For shake & stir: ANIMAL FARM (2011), STATESPEARE (2009, 2011, 2011
national tour), 1984 (2012). Guy Webster is a composer, musician, sound
designer, performer and teacher. While his live performances have earned him a
reputation as a prolific and inspiring songwriter, his work in interactive composition
and sound design has featured in festivals, galleries and theatres in Australia,
Japan, UK, Europe, USA and China. Other Theatre: Orphans (Queensland
Theatre Company). Ruben Guthrie, I Love You, Bro, Pineapple Queen, The White
Earth, Kitchen Diva, Summer Wonderland, The Narcissist, Last Drinks, Urban
Dingoes and Creche & Burn (La Boite). Paradise - The Musical (Backbone Youth
Arts), Salome, Heavy Metal, Hamlet (Frank Theatre), Shifting Intimacies (ICA,
London), Cherish Exhibition (QPAC's Out of the Box Festival). Other Music: Guy
has released several CDs and performed on many stages supporting the likes of
Beth Orton, Ed Harcourt, Powderfinger, The Cruel Sea, Mad Professor, Eskimo
Joe, Ben Lee and Sarah Blasko.
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CLASSROOM ACTIVITIES PRE AND POST SHOW
STARTER: WORD BINGO
The following game is great as a starter in class. This game gets students
familiar with some of the language in ANIMAL FARM and also gauges their
prior knowledge. It can be played multiple times with the same or different
words depending on the level of the class or challenge required.
How to play....
1.Put up a list of 20 words on the board.
2. Students draw a naughts and crosses table in books.
3. Students choose 9 words that they think they know the meaning of and
write these in their table.
4. Teacher randomly reads out the meanings of the words on the list (but
not the word itself).
5. Students cross off words they have when they hear the meaning of it.
6. Bingo is won by being the first to get a line of 3 (or all 9 depending on how
long you want the game to last!).
Two example lists can be found on the following page...
slavery
conscious
rebel
Orwell
Squealer
Snowball
vaguely
stupefied
corruption
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List One
Meaning to read out....
List Two
Meaning to read out....
Orwell
The author of Animal Farm and
1984.
Boxer
A character who works tirelessly and never
gives up.
stupefied
To make someone unable to think or
feel properly.
vaguely
Indefinite, unclear or uncertain.
retribution
A punishment that is considered to
be morally right or fully deserved.
Capitalism
A belief system where a country’s wealth
is controlled by the wealthy and they invest
in the poor to make money.
treachery
To betray or deceive people in
power above you.
signified
To symbol or represent.
conscience
The little voice in your head that tells
you when you’re doing something
wrong.
Commandments
A rule that a group live by.
conscious
To be awake and alert.
contradiction
A combination of ideas that opposed one
another.
ignorance
The be oblivious to what’s really
going on around you.
perpetually
Constantly or always doing something.
revenge
To seek justice for a wrong
especially in a mean way.
shrewd
Showing sharp powers of judgement.
foreshadowing
A literary device used to hint at
events in a novel.
literate
To be able to read and write.
pervading
To spread or infiltrate into every part
of something.
hierarchical
The rank or order of things/people in
society.
privilege
To favor one thing or person over
another.
indefatigable
untiring, incapable of being tired out.
maxim
A short statement expressing a rule
or belief.
drudgery
hard, menial or dull work.
Napoleon
The leader of Animal Farm.
rebellion
To act out against someone in power.
manipulate
To twist something to your own
advantage.
primitive
rude, crude or vulgar.
betrayal
To be unfaithful or disappoint
someone by turning against them.
menacing
A person or thing that is likely to cause
danger or harm.
blame
When you hold someone else
responsible.
emboldened
Given the strength or confidence to do
something.
coward
Being too scared to do something.
Snowball
The character who is blamed for the
betrayal against Animal Farm.
greed
Wanting more than you need or
have.
corruption
Dishonest conduct by those in power.
tedious
Boring or long winded.
propaganda
Materials made to make people believe
whatever the governments wants them to.
Republic
A state in which supreme power is
held by the people and their elected
representatives, and which has an
elected or nominated president.
Squealer
Napoleon’s right hand pig who tells the
animals whatever they need to hear at the
time.
envious
To be jealous of someone or
something.
espionage
spying on, or using spies to find out
information.
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WARM UP: LIAR LIAR
Have students think of 2 true things and 1 lie about themselves. Tell them to try
and think of things that people may not believe but are actually true, and
something that may or may not be true but is actually a lie. They then get into
small groups and tell their three things. The other members of the group need to
try and guess which was a lie and which were true.
This game is great to highlight how easy it can be to confuse or mislead someone
who trusts you. Ask students to think about which characters do this in ANIMAL
FARM.
WARM UP: ANIMALISMS
Students stand in a circle. Go around the circle and students each choose an
animal (no double ups allowed) One person starts the game by saying their animal
twice and then someone else in the circle (try to encourage them to not choose
the person next to them).
EG ‘Pig Pig: Hen Hen’. The person who is Hen continues the game. ‘Hen Hen,
Donkey Donkey’..... The twist of the game comes by telling students they cannot
show their teeth whilst speaking (and they can’t simply cover their mouth with their
hands!). A funny game to get students laughing and acting silly in front of each
other. Variations: Can be played using their names, animal noises, moods,
anything to suit your class!
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THEME: POWER PLAY
1 Define Power [Noun]
1: the ability to do something or act in a particular way, esp. as a faculty or quality:
the power of speech [with infinitive] the power to raise the dead (powers) his
powers of concentration.
2: the capacity or ability to direct or influence the behavior of others or the course
of events: the idea that men should have power over women; she had me under
her power.
▪ Political or social authority or control, esp. that exercised by a government: the
party had been in power for eight years.
▪ The right or authority that is given or delegated to a person or body: police do not
have the power to stop and search.
2 Create a Powerful Character
Use this process to create a character. If you would like, you can take one of the
Animal Profiles (page 28-33) and have the students read and choose one of those
characters. From there, they undertake this process and create a dynamic and
interesting character.
5 mins/ Warm up - Everyone walking at same time but each person working on his
or her own...
5 mins/ Lie down/ eyes closed, body relaxed
5 mins/ You’re walking with someone through a town...what’s the town like... is the
sun shining? Is it raining? What year is it? What can you smell...? Is there a bird?
Can you see them or only hear them?
1 min/ Slowly get up to sitting position
2 mins/ Ask students to think about their chosen character
2 mins/ Think of a mantra for your character, if they had a motto, what would it be?
3 mins/ Begin to repeat the mantra in your head, finding different inflections and
emphasis in the words
2 mins/ Lay back down and get back into a state of relaxation and readiness
5 mins/ Wake up character walk them around space
5 mins/ Deliver your mantra to other characters in the room. Listen to others, react
and then move on
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3 mins/ One by one ask students to become more aggressive in getting people to
hear what they have to say. Try using a range of tactics, not just volume of voice
or body language
5 mins/ Questions and Reflection – Elements, conventions, style, character,
energy...
Here are some questions that you can use to encourage thought and development
of character...
▪ Gender / age / skinny / fat / tall / small / hair-colour / eye colour / footwear / skin
colour? If this character was something, what would it be; car / food / shoe / song
etc.
▪ Put your hand on your stomach and feel your character’s centre... breathe into
that centre... what is in there that makes them tick? What can you see that is the
core of them... it could be a colour... an object... or a flower... fire... water... what
can you feel and see deep inside them.
▪ What makes them happy? Pet hate? Favourite food?
▪ How do they move.... slow / fast / shy / confident...
3 Create a powerful voice
Here is a vocal warm-up you can do with students to get them using their voice
and thinking about ways to be powerful in voice and expression.
WARM UP
“A.E.I.O.U” Exaggerated facial expressions - MAKING IT AS LARGE AS YOU
CAN
“Puh” lips are together pushing out the air PROJECT, STRENGTHEN
“HMMMM” Humming continuously - START SOFTLY, GRADUALLY GET
LOUDER
“HMMMM up and down the mountain”
“Brrrr” incorporation the tongue, Brring continuously - STARTING SOFTLY,
GRADUALLY GET LOUDER
“Burrr up and down” SIREN
Hold tongue “Candice should never be lazy on Tuesday” & “Zip lost his paper
umbrella”
Same lines, no tongue
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4 Thou Shalt Not...
The 7 Commandments of Manor Farm are created by Old Major to make the farm
a more equal and ethical place to live. Each of the Commandments throughout the
text are adapted and interpreted differently, to suit different desires and
needs/wants.
THE ORIGINAL COMMANDMENTS
1
Whatever goes upon two legs is an enemy.
2
Whatever goes upon four legs, or has wings, is a friend.
3
No animal shall wear clothes.
4
No animal shall sleep in a bed.
5
No animal shall drink alcohol.
6
No animal shall kill any other animal.
7
All animals are equal.
If you were to create 7 Commandments for your life, what would they be? How do
they differ from others in the class? Take a moment to write them down and share.
Think about how your life experiences dictate what you believe and what you do
every day.
Now try and create just one commandment. Which one would you choose? WHY?
NO ANIMAL SHALL
KILL ANY OTHER ANIMAL
WITHOUT CAUSE.
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THEME: GREEDY
LITTLE PIGS
1 THE GREEDY RINGLEADER
Students form a large circle on floor facing in.
One student leaves the room while the circle decide who will be their ringleader
and he/she chooses a physical movement. The student re-enters the space and
moves into the centre of the circle only when invited by the teacher.
The ringleader begins their movement while the group copies his/her physical
action, they must try and switch the action without being caught. Game continues
until the student guesses correctly the ringleader and a new student is chosen to
restart the game.
VARIATION: Teacher chooses one or two students to STEAL the power from the
ringleader (tell them secretly, without the class knowing). Play the game and then
discuss the results, commenting on how the real ringleader felt and if it was
confusing for the student trying to guess the ringleader.
2 THE GREEDY POEM
Read the poem on the following page and complete these activities:
 What do you think it means? Are there any characters in the poem? If so,
who are they?
 What different interpretations could there be? Share all with the class.
 Who is the character telling the story? What’s their thoughts on greed?
 Who are they judging?
 What do you think GREED is? How is it viewed in society?
ACT IT OUT
In small groups act out/ retell the poem in an interesting way. Try and move
beyond just saying the words and acting them out. Rehearse and present
back to the class.
WHAT HAPPENS NEXT
Rehearse the poem but continue the story showing what happens next
between the characters. Flesh it out and see where it takes you. Does one
character get punished for their greed? Does the narrator find themselves
becoming greedy?
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GREED
BY ANONYMOUS
Full of gluttony
Piggish smirk carved
on eager face,
a true jack o' lantern
you are.
Sinking your teeth
into the leg of greed
selfish juices
dribble down
vile chin,
you begin to laugh
snorting as you continue
like a pig eating its swill,
bile burns
in my throat
as I watch.
Wasteful with
your paper money
you play your own
personal monopoly,
but sadly
you do not lose,
taking over
with your
sack of gold,
you do believe you've won
but watch out
I'm not yet done.
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THEME: ALL ANIMALS
ARE EQUAL
1 Role-Playing.
Have students discuss or role-play one of the following situations:
Your school gets a new principal and they changes all the old rules, some in ways
that seem unfair. Some students organise a protest and ask for a voice in setting
rules. The principal rejects this without explanation. What will you do? What
guidelines will you follow to determine how far your protest should go to gain
equality?
You are reading two different newspapers one day, and you see that they tell
different versions of the same event. How do you decide which to believe?
2 Writing Propaganda.
Have students write a description of a school policy or rule that exists in their life,
workplace etc. First have them use an informational, objective style that would be
appropriate for a newspaper. Then have them rewrite the article as propaganda,
changing language to reflect the interests of an individual trying to manipulate
student opinion.
3 Socialism vs. Communism
Have students research the two political systems of socialism and communism
and write a comparison. Identify the principles the systems have in common; then
explain how the two systems differ.
4 EQUALITY on the farm
Ask for 5 volunteers to be Squealer and give each one of the excerpts found on
the following page. Set the rest of the class up like a town meeting on ANIMAL
FARM, with each student playing a different animal with a different concern at the
meeting. All the Squealers must convince the rest of the class as best they can
using only the lines in front of them but the rest of the class may ask whatever
they want. Reinforce they can ONLY answer with their set lines. Debrief with the
class how silly (hopefully) the Squealers all sounded when they kept saying the
same thing over and over.
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COMRADE NAPOLEON HAS DECREED IT. As you were comrades.
Comrades. A quick word - Tactics. I hope that none of you here doubt
for even a minute the decisions of Comrade Napoleon. Napoleon is
brave and strong. He’s smart and decisive. He merely pretended to
oppose the windmill to get rid of Snowball, who as we all now know
was a very dangerous character of a bad influence. Tactics, comrades,
tactics! Tactics comrades, tactics…
Bravery is not enough! One mistake, and our enemies would be upon
us. Surely, comrades, you do not want Jones back?
I trust that everyone here appreciates the sacrifice that comrade
Napoleon has made in taking this extra labour upon himself. Do not
imagine that leadership is all fun and games! It is a deep and heavy
responsibility. No one believes more firmly than Napoleon that all
animals are equal. He would be only too happy to let you make your
decisions for yourselves. But sometimes you might make the wrong
decisions and then where should we be?
Are you certain that this is not something you dreamt? Have you any
record of such a resolution? Is it written down anywhere?
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THEME: REBELLION
1 Beasts of England
The Anthem is a song written to solidify the beliefs of the animals and to inspire
them to success. After reading The Anthem, think about what a good anthem is
supposed to do. Anthems were originally written to stir patriotic feelings for
soldiers and fighters; we also listen to anthems and sing before important events
and sporting matches. What makes a good anthem?
Using the table below, break down and interpret some of the language from The
Anthem.
words/phrase
Feelings or/
emotions it
evokes
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what action IT
should inspire
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BEASTS OF ENGLAND
Beasts of England, beasts of Ireland,
Beasts of every land and clime,
Hearken to my joyful tidings
Of the golden future time.
Soon or late the day is coming,
Tyrant Man shall be o'erthrown,
And the fruitful fields of England
Shall be trod by beasts alone.
Rings shall vanish from our noses,
And the harness from our back,
Bit and spur shall rust forever,
Cruel whips no more shall crack.
Riches more than mind can picture,
Wheat and barley, oats and hay,
Clover, beans, and mangel-wurzels
Shall be ours upon that day.
Bright will shine the fields of England,
Purer shall its waters be,
Sweeter yet shall blow its breezes
On the day that sets us free.
For that day we all must labour,
Though we die before it break;
Cows and horses, geese and turkeys,
All must toil for freedom's sake.
Beasts of England, beasts of Ireland,
Beasts of every land and clime,
Hearken well and spread my tidings
Of the golden future time.
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2 snowball’s “betrayal”
Snowball was a key player in the Rebellion and was awarded Animal Farm - First
Class after the Battle of the Cowshed, but was then cast aside by Napoleon and
chased out of ANIMAL FARM. Discuss with students where he may have gone
from here and if they believe that he ever tried to return. Students could then:
▪ Write in role as Snowball after he was chased away covering how he
was feeling towards the animals (in particular Napoleon and Squealer), if he wants
to come back and what he plans to do next.
▪ Use the script excerpt below to come up with or improvise an alternate
ending to Snowball’s exit.
Squealer:
Comrades. It is now time to vote on the windmill. Listen carefully to the
arguments.
Narrator 1: Snowball made an eloquent and persuasive speech and in glowing
sentences painted a picture of Animal Farm’s glorious future…
Snowball:
…a future, comrades, thanks to our beloved windmill, of no struggle and
toil, but instead of leisure and comfort: hot and cold water, heating in the
winter and electricity for every type of farm machinery you can imagine.
This is ours, comrades! Vote yes to the windmill!
Snowball sits to cheers.
Squealer:
Comrade Napoleon…
Napoleon:
The windmill is nonsense and nobody must vote for it.
Napoleon sits.
Snowball:
Is that all comrade? You have nothing better to say than that?
Napoleon snorts
Snowball:
Well, comrades, I think that your decision is clear is it not? You may begin
your vote.
A terrifying baying sound is heard followed by screams and howls from the other animals.
Two fearsome dogs attack Snowball....
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▪ Write an extra scene that could be included in ANIMAL FARM
where Snowball returns to the farm. If students are stuck as to where to start they
could use the script below for the beginning or ending of the scene.
Loud thunder crack.
N3:
The wind raged so hard that the farm buildings rocked on their foundations
and the barn nearly lost its roof.
N5:
In the morning, a terrible sight met their eyes.
ALL:
The windmill was in ruins!
The animals walk slowly past the ruins. Napoleon enters. Napoleon surveys the damage.
Pig:
Maybe we didn’t build it strongly enough.
Napoleon gives the pig a death stare, and the dog growls at him. The pig retreats.
Napoleon sniffs the ground. He whispers with Squealer.
Napoleon:
Comrades. Do you know who is responsible for this? SNOWBALL!!! (he
grows more and more furious) This traitor has crept here under cover of
night and destroyed our work of nearly a year! I hereby pronounce the
death sentence on Snowball. The award of Animal Hero, second class, to
be given to any animal that brings him to justice. Snowball’s death will solve
all problems. No more Snowball, no more problems.
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Animal profile - old major
WHAT AGE IS YOUR CHARACTER? Human Years: 60 – 65?
WHAT IS YOUR CHARACTER’S To overthrow and revolutionise the way that the animals are
SUPER- OBJECTIVE FOR THE PLAY? treated and recognised on the farm.
WHAT IS/ARE YOUR CHARACTER’S To lead the animals in a revolution and take back their
OBJECTIVE/S FOR THE dignity, worth and value.
SCENE/PLAY?
WHAT IS/ARE THE OBSTACLE/S FOR The humans, who are seen as cruel and heartless masters.
YOUR CHARACTER IN THIS
SCENE/PLAY?
WHAT IS YOUR RELATIONSHIP WITH
THE OTHER CHARACTERS?
WHAT IS THE MAIN SITUATION THAT
YOUR CHARACTER IS IN?
WHAT IS THE HISTORY BEHIND Old Major is seen as homage to both Lenin and Marx, the
YOUR CHARACTER? founders of Communism in Modern Russia. In similarities
with reality, Old Major’s skull is displayed in the barn after
his death; much like Lenin’s embalmed body was placed on
display in public.
WHAT SYMBOLIC PROPS WILL YOUR
CHARACTER HAVE?
WHEN (IF ANY) IS THERE A TURNING
POINT WHERE YOUR CHARACTER
CHANGES MOOD OR THOUGHT?
WHAT PRECEDING EVENTS HAVE
TAKEN PLACE PRIOR TO YOUR
SELECTED SCENE?
WHAT PROCEEDING EVENTS WILL
TAKE PLACE AFTER YOUR CHOSEN
SCENE?
WHAT VOCAL ALTERATIONS DO
YOU NEED TO MAKE FOR YOUR
CHARACTER?
WHAT MOVEMENT /PHYSICALITY
WILL YOUR CHARACTER NEED?
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animal profile - napoleon
WHAT AGE IS YOUR Human Years: 45-50?
CHARACTER?
WHAT IS YOUR CHARACTER’S To overthrow the humans. To gain ultimate power.
SUPER- OBJECTIVE FOR THE
PLAY?
WHAT IS/ARE THE OBSTACLE/S The humans, who are seen as cruel and heartless
FOR YOUR CHARACTER IN THIS masters. Towards the end of the play, the other animals
SCENE/PLAY? who get in his way.
WHAT IS YOUR RELATIONSHIP
WITH OTHER CHARACTERS?
WHAT IS THE MAIN SITUATION
THAT YOUR CHARACTER IS IN?
WHAT IS THE HISTORY BEHIND Napoleon is based on Josef Stalin and is the main
YOUR CHARACTER? villain of ANIMAL FARM. He uses propaganda from
Squealer and threats and intimidation to keep the other
animals in line. Among other things, he gradually
changes the Commandments for his benefit. He is sly
and unwavering in achieving his goals.
WHAT SYMBOLIC PROPS WILL
YOUR CHARACTER HAVE?
WHEN (IF ANY) IS THERE A There are moments throughout the text where we see
TURNING POINT WHERE YOUR that Napoleon is more driven by power than the good
CHARACTER CHANGES MOOD for the animals.
OR THOUGHT?
WHAT PRECEDING EVENTS
HAVE TAKEN PLACE PRIOR TO
YOUR SELECTED SCENE?
WHAT PROCEEDING EVENTS
WILL TAKE PLACE AFTER YOUR
CHOSEN SCENE?
WHAT VOCAL ALTERATIONS DO
YOU NEED TO MAKE FOR YOUR
CHARACTER?
WHAT MOVEMENT
/PHYSICALITY WILL YOUR
CHARACTER NEED?
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animal profile - snowball
WHAT AGE IS YOUR Human Years: 45-50?
CHARACTER?
WHERE IS YOUR CHARACTER Manor Farm or ANIMAL FARM
FOR THE SELECTED SCENE?
WHAT IS YOUR CHARACTER’S To overthrow the humans. To make the farm a fair and
SUPER- OBJECTIVE FOR THE equitable place to be, a utopian society.
PLAY?
WHAT IS/ARE THE OBSTACLE/S The humans, who are seen as cruel and heartless
FOR YOUR CHARACTER IN THIS masters. Napoleon, who is Snowball’s biggest rival and
SCENE/PLAY? nemesis.
WHAT IS YOUR RELATIONSHIP
WITH OTHER CHARACTERS?
WHAT IS THE MAIN SITUATION
THAT YOUR CHARACTER IS IN?
WHAT IS THE HISTORY BEHIND Snowball is based on Leon Trotsky. He works hard to
YOUR CHARACTER? gain the trust and respect of the other pigs. He creates
a good first harvest and is favoured well amongst the
other animals on the farm. Napoleon, unwavering in his
hunt for power and corruption, uses rumours and heresy
to drive him from the farm. Napoleon’s powerful tactics
accompanied by the growing dislike for Snowball from
the other animals is no match for Snowball alone.
WHAT SYMBOLIC PROPS WILL
YOUR CHARACTER HAVE?
WHEN (IF ANY) IS THERE A Snowball faces a massive power challenge in the text.
TURNING POINT WHERE YOUR Whilst his want is for an egalitarian society, his desire is
CHARACTER CHANGES MOOD rivaled and quashed by Napoleon.
OR THOUGHT?
WHAT PRECEDING EVENTS
HAVE TAKEN PLACE PRIOR TO
YOUR SELECTED SCENE?
WHAT VOCAL ALTERATIONS DO
YOU NEED TO MAKE FOR YOUR
CHARACTER?
WHAT MOVEMENT
/PHYSICALITY WILL YOUR
CHARACTER NEED?
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animal profile - squealer WHAT AGE IS YOUR Human Years: 45-50?
CHARACTER?
WHAT IS YOUR CHARACTER’S To overthrow the humans. To support and promote
SUPER- OBJECTIVE FOR THE Napoleon as the ruler of ANIMAL FARM.
PLAY?
WHAT IS/ARE THE OBSTACLE/S The humans, who are seen as cruel and heartless
FOR YOUR CHARACTER IN THIS masters. Snowball and any other animals that support
SCENE/PLAY? him.
WHAT IS YOUR RELATIONSHIP
WITH OTHER CHARACERS?
WHAT IS THE MAIN SITUATION Squealer serves as Napoleon's right hand pig and
THAT YOUR CHARACTER IS IN? minister of propaganda. Squealer manipulates the
language to excuse, justify, and extol all of Napoleon's
actions.
WHAT IS THE HISTORY BEHIND
YOUR CHARACTER?
WHAT IS YOUR CHARACTER
WEARING?
WHAT SYMBOLIC PROPS WILL
YOUR CHARACTER HAVE?
WHEN (IF ANY) IS THERE A Squealer debates by complicating it and he confuses and
TURNING POINT WHERE YOUR disorients. When questions persist, he usually uses the threat
CHARACTER CHANGES MOOD of the return of Mr Jones, the former owner of the farm, to
OR THOUGHT? justify the pigs' privileges. Squealer uses statistics to
convince the animals that life is getting better and better.
Most of the animals have only dim memories of life before the
revolution; therefore, they are convinced. In the end, he is the
first pig to walk on his hind legs.
WHAT PRECEDING EVENTS
HAVE TAKEN PLACE PRIOR TO
YOUR SELECTED SCENE?
WHAT VOCAL ALTERATIONS DO
YOU NEED TO MAKE FOR YOUR
CHARACTER?
WHAT MOVEMENT
/PHYSICALITY WILL YOUR
CHARACTER NEED?
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animal profile - boxer
WHAT AGE IS YOUR Human Years: 60-70 by the end.
CHARACTER?
WHERE IS YOUR CHARACTER Manor Farm or ANIMAL FARM
FOR THE SELECTED SCENE?
WHAT IS YOUR CHARACTER’S To work harder. To please Napoleon.
SUPER- OBJECTIVE FOR THE
PLAY?
WHAT IS/ARE THE OBSTACLE/S
FOR YOUR CHARACTER IN THIS
SCENE/PLAY?
WHO ELSE IS INVOLVED IN THE
SCENE?
WHAT IS YOUR RELATIONSHIP
WITH THEM?
WHAT IS THE MAIN SITUATION
THAT YOUR CHARACTER IS IN?
WHAT IS THE HISTORY BEHIND Boxer represents the working class - works hard,
YOUR CHARACTER? doesn’t question authority and doesn’t try to change.
WHAT IS YOUR CHARACTER
WEARING?
WHAT SYMBOLIC PROPS WILL
YOUR CHARACTER HAVE?
WHEN (IF ANY) IS THERE A At one point Boxer points out that Snowball received the
TURNING POINT WHERE YOUR Animal Hero - First Class after the Battle of the
CHARACTER CHANGES MOOD Cowshed, but he is quickly told that he must be
OR THOUGHT? mistaken and he believes what he is told.
WHAT PRECEDING EVENTS
HAVE TAKEN PLACE PRIOR TO
YOUR SELECTED SCENE?
WHAT VOCAL ALTERATIONS DO
YOU NEED TO MAKE FOR YOUR
CHARACTER?
WHAT MOVEMENT
/PHYSICALITY WILL YOUR
CHARACTER NEED?
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animal profile
WHAT AGE IS YOUR
CHARACTER?
WHERE IS YOUR CHARACTER
FOR THE SELECTED SCENE?
WHAT IS YOUR CHARACTER’S
SUPER- OBJECTIVE FOR THE
PLAY?
WHAT IS/ARE THE OBSTACLE/S
FOR YOUR CHARACTER IN THIS
SCENE/PLAY?
WHAT IS YOUR RELATIONSHIP
WITH OTHER CHARACTERS?
WHAT IS THE MAIN SITUATION
THAT YOUR CHARACTER IS IN?
WHAT IS THE HISTORY BEHIND
YOUR CHARACTER?
WHAT IS YOUR CHARACTER
WEARING?
WHAT SYMBOLIC PROPS WILL
YOUR CHARACTER HAVE?
WHEN (IF ANY) IS THERE A
TURNING POINT WHERE YOUR
CHARACTER CHANGES MOOD
OR THOUGHT?
WHAT PRECEDING EVENTS
HAVE TAKEN PLACE PRIOR TO
YOUR SELECTED SCENE?
WHAT VOCAL ALTERATIONS DO
YOU NEED TO MAKE FOR YOUR
CHARACTER?
WHAT MOVEMENT
/PHYSICALITY WILL YOUR
CHARACTER NEED?
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DRAMATIC ELEMENTS
DRAMATIC
ELEMENT
GENERAL
QUESTIONS
APPLICATION in
animal farm
ROLE
Was the piece
character or plot
driven? How were the
roles used to help
create the story? Did
the actors play more
than one role? How did
they do this? What
changes were evident
in their performance?
Was the role
convincing? How were
the roles established
and maintained? What
role did that character
have in the drama?
All the actors play more than one role.
Identify with students that they were
changed by costuming, props, voice and
movement. Discuss the effectiveness of
the changes and how this was also
symbolic of the ‘everyman’.
Think about how different roles served
different purposes. EG Boxer represents
the working class. Squealer was used as
Napoleon’s representative and would
‘speak to the masses’ about decisions
that were made.
Language
How were words used
to create power? What
was the subtext behind
some of the
memorable lines? How
did the language help
to shape the drama?
What was interesting
about the language?
Was it hard to
understand?
Language is important in ANIMAL
FARM as the animals can speak, but not
all can read or write. This becomes very
important as Napoleon and Squealer
change the commandments to suit their
agenda, but the other animals have to
get Benjamin to read to them aloud as
they cannot read. Words are used in a
very powerful way in the play - think
about the commandments and how we
(as the audience) never saw them there was no evidence of their existence.
Performers will take
on one or more roles
throughout a dramatic
piece. This requires
them to embody
someone or
something beyond
themselves to make a
believable and
credible character for
the audience. It is
also important to think
about their role in the
dramatic action. Is it
pivotal? Supportive?
The words that are
spoken. It’s the
foundation of a textbased play. Subtext
should also be
analysed as well as
stage directions when
reading and
interpreting a play.
Movement Was the movement
The way an actor
uses their body to
show
emotions/reactions.
Blocking on stage.
Movement can be
literal or abstract,
depending on the
piece.
symbolic in anyway?
How was movement
contrasted by stillness?
What effect did this
have? How did the
blocking change the
way you interpreted the
play? Was the
movement direct or
fluid? Why was it done
this way?
34
Movement is used a variety of ways in
ANIMAL FARM - including repetition,
rhythm, fast and slow paced. The actors
have to use movement symbolically to
create the illusion of animals. This play
relies heavily on the physicality of the
actors and the use of physical theatre to
create the characters. Ensemble work is
also important and the unison of the
actors also represents the movement of
the masses or the movements of one relate this back to Brecht’s gestus.
Also consider the different movements
for the humans - it was very robotic and
NON human.
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DRAMATIC
ELEMENT
GENERAL
QUESTIONS
APPLICATION in
animal farm
SPACE
How was the space
used? Did it feel open
or closed? Was it cold
or warm? How did the
actors interact with the
space? What did the
space between the
actors tell you about
the characters?
The space on the stage is used well to
represent different parts of the farm. The
actors climb all over the set and use a
variety of levels to create space. You
could also examine the physicality of the
characters and how the actors
manipulate their physical form to portray
and represent different people/animals.
One of the biggest challenges the actors
face in ANIMAL FARM is that they are
characterising animals. How do they do
this, realistically and artistically?
STATUS
Who had the power in
each scene? How
could you tell? How
was the status shown?
What techniques were
used to create status
on the stage? Does
anyone challenge the
status? Where does
the power shift in the
play? Why does it
shift? Can you rank the
characters in order of
status? What key
moments shift this?
Power is shown on stage through levels,
blocking, movement and language.
Consider the way Napoleon moves
compared to the other characters and
how he shows his status.
The staging also helps create status.
The animals use the variety of levels to
show status and power.
Also think about the subtle changes in
sound and lighting that help to clarify the
status changes throughout the play.
The humans have their status taken
away from them through their robotic
movements and hessian head bags.
What do we look at?
How were you made to
look at this? How did
the characters create
focus? How did the set,
lighting or A/V help
focus the action? What
or who kept your focus
on the stage?
The focus in ANIMAL FARM is on the
power struggle between the animals and
their motivation. Whilst for some of the
animals it is about creating a utopian
society, for others it becomes about
power and the lust for recognition.
The personal and
general space used
on stage. This can
refer to ‘the space
between’ or how the
actors used the stage
space to create a
specific reaction.
The power behind a
role. Who has control
in a scene and how
the power shifts
between characters.
This can be
determined through
language, movement,
gesture, voice,
costuming, staging,
lighting and A/V
designs.
focus
How attention is
directed on stage to
what is most worthy
of attention. This also
relates to an actor’s
focus.
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Think about how other production
elements were used to create focus lighting/sound/visual elements.
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DRAMATIC
ELEMENT
GENERAL
QUESTIONS
APPLICATION in
animal farm
MOOD
What did you feel
throughout the drama?
Do you think this was
the intended reaction?
How were elements
such as lighting, set
design and A/V used to
help create and
maintain the mood?
This is a dark play. The mood is almost
constantly down with elements of
lightness thrown in, but it still goes
through waves. See if students can plot
the mood on a graph, showing key
moments of heightened mood.
Consider the vast mood changes - the
light and comedy brought by Mollie
compared to the sadness created by
Boxer’s death and the loss felt by the
other animals.
SYMBOL
What could the deeper
meaning have been for
things you saw on
stage? Was lighting,
sound or A/V used in a
symbolic way? Was
this effective? Were
props or costumes
used in a symbolic
way?
ANIMAL FARM is full of symbols.
Discuss the symbolism of the following:
the costume/props used to represent
each animal, Mollie’s ribbons, the use of
masks over the human’s faces.
Also discuss the symbolism of the entire
story as an allegory and the history of
the Russian Revolution.
TENSION
How did the tension
engage you? What
were you invested in?
How was it built
between characters?
Why was the tension
broken? How did it
happen?
Tension exists in every scene of
ANIMAL FARM. It is created between
each of the characters and the various
storylines in the play. You could examine
how the tension changes dependent on
the situation. For example, look at the
relationship between Napoleon and
Snowball.
Each character has their own tension
created - for example Squealer creates
tension of the task when trying to
convince the other animals that
Napoleon is right. The dogs create
tension of mystery through their constant
threats.
CONTRAST
What binary
oppositions were used
in the drama? (EG light
VS dark) How were
these highlighted? How
did they help to create
dramatic
action/meaning? Were
they effective?
One of the main points of contrast within
ANIMAL FARM is explored through the
relationships the animals have with each
other and with their human counterparts.
How does each character resonate with
the audience and their expectations?
The atmosphere
created. It helps to
focus the action and
‘move’ the audience
into different feelings
and emotions
throughout the piece.
The deeper or implied
meaning of props,
costumes, lighting,
text, sound or
movement.
The driving force of
the dramatic action. It
must be built,
maintained or broken
at various points in
the dramatic action.
The use of polarised
or opposing elements
is important to
highlight differences
in the dramatic action.
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DRAMATIC
ELEMENT
GENERAL
QUESTIONS
APPLICATION in
animal farm
costume
How were costumes
used to show role?
Were they symbolic?
Were they effective?
What changes were
made by characters
playing more than one
role?
The costumes in the play are kept very
simple. All the actors wear black jeans
and a white singlet, splashed with mud.
They add in other props to indicate
character/animals. EG Boxer has a
brush head for his mane, headbands
with ears are used for the pigs and
Mollie has ribbons for her hair and a
rope for a tail. These simple costumes
allow for quick changes between
characters and also add to the symbolic
meaning of the allegory.
lighting
Were the lights used to
show time passing?
Was a spot light used
to highlight key
characters/scenes/ele
ments? How effective
were the use of
blackouts? Was colour
used in the lighting? If
so, why?
Jason Glenwright has created a
lighting design that helps support and
create the mood in the play. It’s a dark
design with lights used to focus the
action and aid the narration.
audio/
visual
What did you see or
hear that didn’t come
from an actor onstage?
What impact did the
A/V have on the telling
of the story? Did it
support your
understanding of what
was going on? Was it
effective in creating
mood? Did it help to
show emotion/thought?
How was diegetic and
non-diegetic sound
used?
The play begins with an animal slaughter
shown through shadow work and
screens. Why do you think they chose to
show this throw the shadows rather than
on stage?
Listen carefully to the sounds used
during the play. Although they are very
subtle at times they really add to the
mood and story.
Sound FX are also used for thunder and
help indicated time and place.
Set
What did the set look
like? How did you react
when you first saw it?
Did it move during the
play? How effective
was it in establishing
the setting? Was it
symbolic?
Josh McIntosh’s set is simple and
functional. He has created the illusion of
the farm through the materials such as
corrugated iron and wood. The set has
many clever holes and slots for changes
and to allow the actors to create different
places on the farm.
The clothes and
props a character has
are important when
creating and
establishing role for
both the actor and the
audience.
Lighting can be used
for several purposes to establish mood,
emphasize space,
show a change in
day/night, or to
symbolise a variety of
things.
Any external sound or
image that is used on
stage to help tell the
story, create mood,
establish the setting,
show inner thoughts
and/or subtext.
The design on stage.
It may be minimal or
detail, moveable or
stagnant.
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DRAMATIC
ELEMENT
GENERAL
QUESTIONS
APPLICATION in
animal farm
context
What do you already
know about the text
before seeing it? When
was it written? Why
was it written? Can it
be set
anywhere/anytime or is
the setting and time
pivotal to the meaning?
What do you need to
know in order to make
sense of the narrative?
When going to see ANIMAL FARM
every audience member brings their own
context to the show. It is a novel that has
sparked much political debate and
conversations. Orwell’s own political
beliefs are steeped in the text. It was
originally called ANIMAL FARM - A
fairy story which was a satirical poke at
the very serious nature of the book.
Although it’s not imperative to have read
the novel before seeing the play, most
people will have some understanding or
awareness of the political nature of the
novel.
BRECHTIAN
How was the play
influenced by Brechtian
elements? What
examples of his
techniques were used
in the play? What is the
play’s didactic
message?
HISTORIFICATION – we have the story of
the Russian Revolution – but how much of it
can be related to politics today? What do we
learn from this show?
GESTUS – the combination of a gesture and
a social meaning into one movement is used
throughout ANIMAL FARM – how often are
the characters’ movements representing the
‘everyman’ or ‘society’?
BREAKING THE FOURTH WALL /
NARRATION – The actors break the fourth
wall and speak directly to the audience in the
form of narrators at several points in the
play.
POLITICAL SONG – Beasts of England is
used as a political song to rally the masses –
but it then banned by Napoleon. Squealer
performs a rather lovely tribute to Napoleon
towards the end of the play.
Context is the lens in
which we view the
drama. It is the
background
information that
audiences bring with
them to a
performance, which
ultimately influences
their interpretation of
the play. Context can
also be created on
stage through the way
the narrative is
shown.
ELEMENTS
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forming, presenting
and responding tasks
task one: group presenting
Choose a scene from ANIMAL FARM and present a polished performance.
Remember to think about the performance style, ensemble work, use of physical
theatre techniques and the dramatic elements mood, symbol and role.
task two: written forming
As a director you have been asked to present a dramaturgical folio showing your
interpretation and vision for your production of ANIMAL FARM. You need to
include: director’s notes; in depth text analysis; venue information and staging
options; casting ideas; character profiles and promotional design.
task three: written responding
You are a writer for The Courier-Mail and you’ve been asked to write a critical
review of shake & stir’s ANIMAL FARM. You should focus on 2 - 3 key
scenes/moments and the validity of these. Remember to include a brief synopsis;
critique of the acting, representation of characters, direction and style; strengths
and weaknesses of the production and and overall opinion. It should be presented
as a newspaper review with relevant images headings and other conventions.
[visit the shake & stir facebook page for a huge selection of production stills]
A modeled example can be found on page 41.
Here’s a review by Sommer Tothill from the 2011 Production of ANIMAL FARM at QPAC:
http://www.brisbanetimes.com.au/entertainment/theatre/animal-farm-20110825-1jb73.html
“This play is nothing if not unremittingly vibrant; just like any farmyard
it is non-stop in its melee of action and noise. The chaos is raucous, the grief tangible.
The sound increases in ominous layers of desperation and doubt until the final terrible
crescendo, which we all know is nigh but hope might still change."
--Sommer Tothill
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persuasive, expository, reflective
and imaginative tasks
task one: persuasive essay writing
Pretend you are a major theatre company and you want to adapt a classic novel of
your choice for the stage. Write a persuasive speech arguing why this classic
novel would be perfect as a staged version and how you plan to adapt it for a
theatrical audience. Make sure you clearly outline the dramatic conventions you
wish to use and how the characters/story would change for the stage.
task two: ANALYTICAL panel discussion
Compare and contrast the two opposing leadership models of Napoleon and
Snowball. Why don’t they get along? What do they have in common? What was
Orwell trying to teach us through these two very different characters?
In your response you should discuss both the live theatre experience and the
novel/play script when supporting your arguments.
task three: reflective writing
Pretend you are a writer for a major newspaper and you’ve been asked to write
the obituary for the character of Snowball or Old Major. You could research what
was said about Trotsky (for Snowball) and Lenin & Marx (for Old Major) but your
obituary should focus on the characters presented in ANIMAL FARM. Reflect on
their lives and what others may have said about them.
task four: imaginative writing
Using some the themes and political issues raised in ANIMAL FARM write a
dystopian short story which focuses around the downfall of a major character.
:
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Responding to theatre
As a student watching live theatre, you need to be aware of how you felt, what
elements worked well and how the director and actors achieved their goals. Use
the following sheet to help analyse the play - write as much as you can and make
sure you think about WHY they did things the way they did. What were they trying
to achieve?
animal farm - shake & stir theatre co
ADAPTED BY:
DIRECTED BY:
LIGHTING BY:
DESIGNED BY:
SOUND BY:
AUDIO/VISUAL DESIGN:
ACTORS:
Synopsis:
Briefly outline the plot in 75 words or less and then evaluate how effectively
the play entertained the audience.
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Characters:
Why are the characters so engaging to watch? Did you feel for Boxer? Did
you hate Squealer? You can elaborate on one character more however you
need to address at least 2 of the characters in the play.
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physical theatre elements:
How did the actors create the illusion of animals? What physical theatre
elements were used? How effective were they? Explain two examples in
detail.
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Themes and Issues:
What themes and issues are illuminated in the play? Explain how. What
questions are raised for the audience?
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Dramatic Tension:
Identify the major tensions in the play that entertain the audience/elaborate
on one of the major themes. Analyse two specific examples.
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Costumes:
How were costumes used in the production? Were they symbolic in any
way? Explain two examples in detail.
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Recommendation/
Overall Opinion:
Why would you recommend this play? Why would it appeal to your target
audience?
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Remember The shake & stir creative team would LOVE to hear
from you be it glowing, bad or ugly.... Send us your reviews:
[email protected]
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