Download QUEENSLAND THEATRE CONSTELLATIONS by NICK PAYNE

 QUEENSLAND THEATRE
CONSTELLATIONS by NICK PAYNE
Education Resources for teachers
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Compiled by Heidi Irvine.
The activities and resources contained in this document are designed as the
starting point for educators in developing more comprehensive lessons for
this production. Heidi Irvine is Producer of Education and Youth programs
for Queensland Theatre. You can contact Heidi on
[email protected]
© Copyright protects this Education Resource.
Except for purposes permitted by the Copyright Act, reproduction by
whatever means is prohibited. However, limited photocopying for classroom
use only is permitted by educational institutions.
CONTENTS
1.
2.
3.
4.
5.
At the theatre – Some basic etiquette
The fine print – Details about the production
In the circle – Practical classroom activities
Script Excerpts
Tasks – Ideas for Responding
Page 2
Page 3
Page 5
Page 14
Page 17
AT THE THEATRE
We’d like to welcome you to the experience of attending a live performance
– while we know you get all the etiquette stuff, here’s a reminder of some
simple information you can pass on to your students.
1. We ask you to get involved in the performances by applauding and
laughing at appropriate moments. If you have a question – ask your
teacher at the interval/end of the show or one of the cast, if you have
a chance for a Question & Answer session.
2. Food or drink is not permitted in the theatre
3. Live theatre is different to TV – the actors on stage can hear and see
you and there are other members of the audience to think about. If
you need to leave the performance for any reason, please ensure this
is done quickly and quietly and at an appropriate break in the action
4. Switching your phone to silent isn’t the only thing to do. Please ensure
that you switch off your mobile phone and leave it in your bag before
the performance begins. The glow of the iPhone screen is obvious to
others and is very distracting!
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THE FINE PRINT
Director: Kat Henry
Writer: Nick Payne
Assistant Director: Kerith Atkinson
Designer: Anthony Spinaze
Lighting Designer: Ben Hughes
Composer/Sound Designer: Guy Webster
Cast: Lucas Stibbard and Jessica Tovey
Play runs for 80 minutes, no interval.

There is one scene in the play where the two characters are talking about
their relationship and the infidelity in the relationship. There is a heated
discussion about one character engaging in a sexual relationship with
another person. It is in no way overt or graphic but it is spoken about.
Here is a sample of the text below. It is repeated a few times, in the lyrical
style that is the text;
Roland: How many's a few, Mary?
Marianne Six. Maybe seven.
Roland Spread out.
Marianne: What?
Roland: Were the six or seven times you had sex spread out over a particular period of
time?
Marianne: Yes.
Roland: Are you together, then, d'you wanna be together? Mary, do the two of you Marianne: I don't know.
Roland: Is he moving in?
Beat.
When do you want me to move out?
Marianne: There's no rush. Roland How old is he? Marianne He's twenty-four.
Roland: Twenty-four? Marianne Yes .
Roland: He's a child.
Marianne: He's twenty-four, Roland. Roland Where do you have sex?
Marianne: All sorts of places.
Roland: Fuck does that mean?
Marianne: It's means we've had sex in more than one place.
Roland: Here?
Marianne: Roland, of course we've not had Roland: His place?
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Venue
Queensland Theatre, Bille Brown Studio
Constellations by Nick Payne
Play
Term
About the Play
Roland meets Marianne at a barbeque. She’s
a physicist, he’s a beekeeper. They are an
unlikely match, but this is not your average
boy-meets-girl love story. Multiverse theory
is explored through the infinite possibilities of
a single relationship. Constellations is an
explosive play about love, fate and free will.
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Roland knows a lot about honey. Marianne
knows a lot about physics. With little in
common, the probability of them meeting,
let alone getting along, is slim to none. Yet in
a single moment the possibilities are infinite,
inexplicable and even miraculous. We track
multiple eventualities of Roland and
Marianne’s relationship to the point at which
Marianne is diagnosed with terminal cancer.
Curriculum Links and
Suitability
Years 11 - 12



Drama
Science
Philosophy
Constellations contains
references to sexual
relationships and adult
relationships. Constellations
contains frequent medium
level coarse language.
Drama Syllabus Links and
Further Reading
Category 1: Absurdism
Constellations has the hallmarks
of a contemporary absurd piece
with links into the style of absurd
theatre. The style of writing and
the cyclical style of narrative
makes it perfect as link into study
of the absurd.
Category 2: Postmodern
Theatre
Students will be moved by the
love story of Marianne and
Roland, and challenged by the
rich yet accessible references to
quantum physics.
https://www.youtube.com/watc
h?v=Xp5dvDj6hj0
http://www.newyorker.com/cult
ure/culture-desk/nick-paynesconstellations-a-singularastonishment
https://www.youtube.com/watc
h?v=BTxRcu53JTI
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IN THE CIRCLE – PRACTICAL CLASSROOM ACTIVITIES
IDENTIFYING KEY MOMENTS
Recommended use: First post-show lesson(s), especially if students are
preparing for a Responding task.
 Ask students to recall, in two minutes, all the moments that particularly
stood out to them. Either jot these down or tell to a partner.
Descriptions should be brief, just enough to job the memory.
 Invite responses to any of the following. (Select and adjust according
to the focus of your unit/assessment.) Half the class is to present their
response while the other half observes. The observing students are to
then select the moment they consider the most powerful (from the
first group’s responses.) They re-present this to the first group. At any
point students can make adjustments to the presentation to ensure
that the recollection is exact. It is important to be specific at this point,
while the memory is most fresh. Continue this process for as long as
useful. Students should be recording the examples - you may wish to
nominate a scribe.
 A moment when role was clearly communicated through the body show using a single gesture. (Individual)
 A moment when the ensemble effectively created focus on one
character (Four students)
 A moment when multiple points of focus were being managed (Four
students)
 A moment when the mood was changed abruptly - show the ten
seconds either side of the change. (Two-Four students)
 A moment when you empathised with or identified with one of the
characters - show through a 30-second scene or describe (Two
students)
 Strong use of tableau (Four students)
 A moment when skills of performance communicated
something/someone that wasn’t there (Individual)
 Effective use of contrast - show through a 15-second scene (TwoFour students)
 Any other examples appropriate to your class needs.
 Students are to record a number of key moments in their books in as
much detail as possible, which can later be referred to/used as
examples.
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CHARACTERS’ COMFORT ZONES
Break class into groups, and assign each group a character. They are to
draw a simple outline of a person. Inside the body, students list all the
character’s internal characteristics such as values, feelings, worries, and
hopes. Outside the body, they list the character’s external characteristics,
such as behaviour, speech, how they treat others, and how they are
perceived. As students are completing this activity, you may wish to prompt
their considerations, e.g.:






What are their sources of pain?
What makes them happy?
What makes them stressed?
How do they relax?
What do they like to do with friends?
What do they want in life?
Ask students to consider (one at a time) where the character feels most at
home, a situation that places them on the edge of their comfort zone, and a
situation in which they are completely terrified or lost. Each group is to
create three short scenes which demonstrate these.
Share and discuss each group’s three scenes. Questions for discussion:
 Why did you decide on that situation?
 What happened in the play that suggested that about the character?
 Where did the character exist most: in their comfort zone, on the
edge, or completely out of it?
 How did the character respond to these situations? What
performance choices communicated that response?
 How does placing characters outside their comfort zone create
tension and propel the narrative?
ROLE AND TELL
This activity clarifies student understanding of the original story whilst
exploring ensemble storytelling and direct address. Students should have an
existing understanding of the story.
 With the group sitting in a circle, pass the die clockwise. Each student
rolls the die once and passes it on. This continues until someone rolls
a 6. This student must stand up and begin to tell the story of
Constellations. They are to focus on articulating the important parts of
the story clearly and concisely. They are to deliver it to the circle as
their audience. The rest of the students listen attentively whilst
continuing to pass the die around. When another student rolls a 6
6

they must stand and continue the story, aiming for a continuous flow
without unnecessary repetition. This process continues until the class
(and teacher) is satisfied that the story has been fully told.
Optional extension: Depending on the class and their familiarity with
the text, you may wish to assign meaning to the other numbers. For
example:
1.
2.
3.
4.
5.
6.
Mime the story as it is being told
Augment the story with extra detail
Ask for clarification/ Ask a question (of the storyteller)
Give a correction or alternate viewpoint
Give an opinion about the story/a character
Tell the story
Not all rules need to be incorporated at once. It is recommended that one
rule is added or changed at a time.
Regardless of the rule being addressed, students should always focus on
the point of the story that the storyteller (number 6) is up to and aim to
maintain the storytelling flow.
 Reflect on the difficulties of the exercise with reference to:
 what was chosen as important parts of the story
 difficulty of maintaining storytelling flow
 difficulty of maintaining focus with competing aspects of the game to
address
 the creation of meaning for the audience - was it clear and engaging?
THEME EXPLORATION
This activity encourages students to consider the style of writing in
Constellations and how the use of repetitive/cyclical dialogue enforces
themes and stories in the play.
 Think Pair Share: Ask students to think about the themes of
Constellations. Share the three most important ones with a partner.
Ask the pairs to agree on two. Share this with the class.
 As a class, select four themes that are the most compelling/most
important. Assign one to each corner of the room.
 Students select one theme and move to that corner.
 Each group is to create a collage of songs, poems, images, etc. that
could relate to their theme. They could present this as a poster,
slideshow or performance.
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

Each group is to present to the rest of the class. Discuss how each
group’s presentation demonstrates the relevance of their theme to
contemporary life.
Optional extension: Students are to retell the story of Constellations
using only words from their collage activity. Rearrange and repeat as
much as necessary. If the class is working towards a Forming task,
students could be given time to workshop this into a short dramatic
treatment or performance outline.
ANALYSING DRAMA
Below is a great worksheet for breaking down a production and getting to
the “nitty gritty” of the play.
DEFINITIONS FOR DRAMA ANALYSIS
Protagonist The main character who is trying to get somewhere or get
something done
Antagonist
The character or force that is working against the
Protagonist
Setting
Where the play takes place
Mood
Is the play serious, funny, sad, etc.
Conflict
All stories have some sort of struggle or conflict. What is the
conflict? Conflict
can be any of the following:
 people against
people/society/businesses/government
 People against something inside, like their
feelings/heart/brain
 People against nature
Character
Look at what the characters say and what they do. Think of
Analysis/
how you would describe their emotions, their intelligence,
Descriptions their courage, their honesty, etc. Which ones are good?
Which ones are not good? If you met one of these
characters in real life, what type of things would you expect
them to say or to do? Imagine that the characters showed
up in your class. How would they behave? Characters can
be many things:
 honest, brave, intelligent, polite, kind
 dishonest, cowardly, unintelligent, rude, afraid
 funny, pretty, happy
 scary, ugly, sad
 big, loud, clumsy
 short, quiet, graceful
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Predictions
Retell the
Play
Dialogue
Action
Can you tell what will happen?
What do you think happens after? Make predictions about
what will happen with the characters at points during the
play. What would happen to the characters if you met
them? How would you expect them to treat you?
Be able to summarize what happens in the play. Know how
the characters feel about each other. Be able to explain why
the characters do what they do.
This is what the characters say. Find examples where the
characters say things that explain how they feel or how they
think. Things characters say are very important to
understand.
This is what the characters do. Character actions are
important to understand. Be ready to give examples of
character actions that show us what kind of person the
character really is.
LINKS TO ABSURD THEATRE
The style of Constellations provides a pathway into some of the hallmarks of
Absurd/Postmodern Theatre. The nature and style of the text allows the
audience to explore the play in a range of ways.
ACTING ABSURD - FOLLOW THE LEADER
Group students in pairs and ask them to nominate a master and a servant.
Play a piece of music (this will help provide movement cues when the
actions are repeated.)
(Suggestions: John Cage, Steve Reich, Mike Oldfield.)
The “servant” is to follow their master’s index finger with their nose. Over one
minute of action, the pairs are to recall every movement made. Repeat the
actions exactly, master and servant working together.
Students are to then repeat the movements as exactly as possible, but
working alone (i.e. separate from their partner.)
Invite half the class to watch while the others repeat a section of their
movements again (still alone.) Swap and repeat with the other group.
Questions for discussion:
 How would you describe the images created?
 Did the actor achieve a sense of focus?
 Was purpose evident in the actions?
 Did the actions seem to have any meaning?
 If someone walked in on the exercise, how would it look to them?
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
How could this activity be seen as an analogy for Absurdism?
(Consider the apparent lack of direction and higher meaning, possible
sense of being lost or confused, humour created out of absurdity.)
ABSURD USE OF LANGUAGE - QUESTIONS
Questions for Discussion:
 What is the purpose of language, as we usually think of it?
 If the writer wishes to show a dramatic metaphor of an absurd world,
would language have the same purpose and be used in the same
way?
 How might you expect language to be used in Constellations?
 Have you ever been in a situation where you didn’t understand the
language being used around you?
 How did this feel?
 How did the words sound?
Explore the use of meaningless language through the following game:
Students stand in a circle. They are to pass a ball to another student while
asking a question. The student who receives the ball does not answer the
question, but replies with another question, passing the ball to another
student.
Questions for discussion:
What is the result of only asking questions?
When questions go unanswered, what effects can that have?
What do unanswered questions suggest about humanity’s ability to know
and understand the world?
What meaning is communicated to the audience when characters pose
questions that are never answered, or when they seem to ignore other
characters?
ABSURD USE OF LANGUAGE - YES/NO/HI/THANK YOU/WHAT
Instruct students to create, in pairs, a scene using only the words yes, no, hi,
thank you, and what.
Although the overall effect will be absurd rather than realistic, students
should still deliver each line meaningfully. Their scenes must include:
 repetition
 a section of quick banter
 a moment of silence and stillness.
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You may wish to assign each pair a place or situation to prompt their scene
development. (E.g. at a vet’s surgery, first day of school, at a fast food
restaurant, at the cinema waiting for the movie to start.)
Present and reflect. Questions for discussion:
 Was the performance easy or difficult to perform?
 Were the lines delivered meaningfully?
 Did the characters succeed in communicating with each other?
 What variations were evident in the delivery of the words which
affected the meaning being communicated to the audience?
 How did the scenes feel to watch?
 What meaning was communicated to the audience?
 How do these concepts relate to what we already know about Theatre
of the Absurd?
REALIST AND POSTMODERN THEATRE
Key characteristics of Realism and Postmodern Theatre:
Modernist Realism
Postmodern Theatre
Meaning
The artist’s job is to assist the
audience to uncover and
understand the truth.
The artist’s job is to pose
questions. Multiple truths are
possible.
Director - Actor
relationship
The director interprets the
writer’s message and shapes
the action.
Actors, writers, and directors
are in a more fluid relationship.
Theatrical
conceits
Creates an illusion that the
stage is the real world.
The sense of illusion is
permeable, disrupted or
absent.
Audience
Suspends their disbelief.
Active meaning-makers,
aware that they are
experiencing art.
Symbol
Symbols are created through
realistic language, action and
visuals used to layer meaning.
Can be used in abstract ways,
as direct metaphor as well as
adding to mood and
experience.
Setting
Specific; Accurately
communicated through set,
costume, and language.
Liminal spaces are explored things can be one thing and
something else
simultaneously.
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EXPLORING DIRECTORIAL CHOICES IN ADAPTATION
Provide students with a script excerpt from below.
In groups, students’ workshop the excerpt and explore contrasting
directorial choices, e.g.:

Fourth wall / Direct address

Melodramatic / Deadpan delivery

Fast paced / Use of silence and stillness
Share a selection of these workshopped scenes and observe the effect that
different directorial/performance decisions have on the communication of
dramatic meaning.
Select a group of students to recreate the scene as seen from one of the
excerpts below. The rest of the class should work as directors and
dramaturges to assist in recreating the scene as exactly as possible. (Set and
costume can be indicated or described.)
Reflect on the overall effect of the scene and the dramatic meaning
communicated. Compare the original text to the adaptation. Discuss how
each choice made in the direction and performance of the scene
contributed to this effect/meaning.
Evaluate the overall effectiveness of the scene. Students could then write an
evaluative paragraph using the workshopped scene as an example.
DELETED SCENES: REALIST IMPROVISATIONS
Revise the basic plot. Identify elements of the narrative that were referred to
or assumed, rather than shown on stage, and elements of the narrative that
remain a mystery, e.g. in between acts or after the play. Brainstorm what
might have happened.
In groups, students choose one of these events to workshop as a realistic
scene. Remind students of realist conventions and skills of improvisation,
e.g. responding to action in the moment.
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Before each group performs, run a circles of attention focusing exercise: Ask
students to close their eyes and become aware only of their own body,
breath, and current physical experience. Think about the given
circumstances of their character. They open their eyes and become aware
of the person or object in front of them. Silently name it and consider your
relationship to it (in character.) Expand your awareness to the whole scene,
other characters, the room or space you are in. Remind students that if their
focus drifts outside the scene, they can return to the first circle of attention their inner world.
Each group performs their scene.
Ask students to re-run their scene. At various points, freeze the action and
“hot seat” one of the characters. Suggested questions:
- How do you feel?
- How do you feel towards (other character) right now?
- What do you want?
- What are you going to do next?
Discuss:
- What made the improvisations believable?
- Were you successfully staying in character and in the moment?
- Did the action in Constellations feel real?
- How did the show allow for the audience’s imaginations to fill in “missing”
scenes?
- What aspects of the narrative required some interpolation or working out?
What were the clues provided for this?
- What aspects of the narrative were left open? What affect did this have on
audience engagement and response?
- Do you think there is a correct answer to what happened afterwards?
- What questions does the play leave the audience with?
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SCRIPT EXCERPT ONE
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SCRIPT EXCERPT TWO
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SCRIPT EXCERPT THREE
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TASKS – IDEAS FOR RESPONDING
If you are responding to the performance, here are some resources that will
help students to get writing. Both of these resources can easily be
reproduced as handouts for your students.
HOW CAN I USE THE ELEMENTS OF DRAMA?
The Elements of Drama can enhance a student’s understanding of a
production and its effectiveness.
The Elements of Drama include:
 Focus
 Space
 Role
 Relationships
 Time/Place/Situation
 Tension
 Structure
 Language/Sound
 Movement/Timing/Rhythm
 Atmosphere/Mood/Symbol/Moment
 Audience Engagement/Dramatic Meaning
Here are some activities which can enhance your students understanding of
some of the elements.
Character: Character exercises are vital and you may want to start with
exercises that focus on awareness of facial expression, tone of voice, body
language and movement. You could incorporate improvisations here or
choose excerpts from scripts. Some concepts you might also like to explore
here are making offers, accepting offers, accepting and committing to the
fiction, conviction/belief, status, and action/reaction.
Time/Place/Situation/Tension: Improvisation is key here. Play around with
scenes that allow students to explore not only some typical situations but
some unusual ones as well e.g. underneath a rock, at the bottom of the
ocean etc. Really focus on the concept of conflict here.
Language/Sound: Voice workshops are a brilliant starting point. Have
students become aware of their breath, throat and diaphragm. Consider
doing an accent workshop. Have them work with scripts to explore clarity,
volume, pitch, pace, inflection, emphasis and pause. Consider how
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atmosphere can be created using soundscapes and body percussion.
Explore scenes that use no sound or language.
Atmosphere/Mood/Symbol: Watch some film excerpts that use music to
guide the audience’s feelings in a scene. Consider the use of colour and set
in costumes and what they mean to the audience.
Audience Engagement/Dramatic Meaning: At the conclusion of every
exercise always ask the class what it was about the element of drama that
made the audience feel engaged in the action on stage and what they
understood was happening on stage because of that element. In adding this
in to your classroom discussion you are helping your students become
critical thinkers and theatre appreciators.
Writing a Review – Where do I start?
After watching a performance, you will have quite a strong sense of whether
or not it was effective. This is usually reinforced through your feelings of
whether or not you were engaged, moved, excited or disinterested in the
performance. The following categories and questions may assist students in
writing a review.
Introduction
Include the name of the play you are reviewing, the name of the playwright,
the theatre where the performance was held and the date of the
performance; if you choose, you may also indicate your overall impression
of the play.
Plot
This is the actual action that happens on stage. Try to reduce the whole
story into a brief paragraph that includes all the main events.
Discuss themes and issues
Outline the themes and issues that you feel were important in the play. The
themes and issues carry the message of the play and are important in
helping the audience gain meaning from the performance. You should also
discuss your impression of the directorial concept in your review. Comment
on the director’s interpretation of the play, and how the choice of dramatic
form and performance style helps to communicate the play’s themes and
issues.
Analyse character objective and motivation
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Describe and analyse the characters. To find the character’s objective, ask
yourself the question: What does the character want to achieve by the end
of the play? To find the character’s motivation, ask yourself the question:
Why does the character want to achieve their goal?
Evaluate the performer
(Give examples wherever possible!)
 How well did the actors use body language to express their
character?
 Were their movements and gestures appropriate for their character?
 How well did they use their voice to express character and deliver
lines?
 How focused did they seem during their performance?
 How convincing did the performer seem in their portrayal of their
character?
Comment on the use of the elements of production
Discuss how effective you think the use of sound, lighting, set and costume
were in the performance
Were the costumes suitable for the characters? How did the choice of
colours and designs suit the overall look of the performance?
Was the set an effective use of space? Was the set easy for the actors to
manoeuvre around? In terms of colour and layout, did its design enhance
the performance?
How did the elements of production support the directorial concept?
Did the signs and symbols used within the production enhance meaning?
Was special lighting used at any time for a particular effect?
Did the use of live or recorded sound enhance or detract from the
performance?
How did lighting and sound establish location and create atmosphere?
Conclusion
Sum up the overall success of the play.
Attached below is a Responding to Live Theatre Worksheet. It is a way to
get students thinking about their live theatre experience and is broken down
into sections so they can plot out their ideas easily and simplistically. It can
be the beginnings of a review, an essay response or even a short response
exam.
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EXAMPLE RESPONDING TASK
CONTEXT:
Constellations is embarking on a regional tour. The artistic directors of
various regional theatres are deciding whether it was a successful decision
to include the play in their 2017 season. You are to write a critical analysis of
the play, which will assist in their evaluation.
TASK:
 As an academic writer, you will employ your detailed and specific
knowledge and understanding of drama to analyse and evaluate how
effectively the performance employed the dramatic languages to
communicate dramatic meaning to the audience.
Your essay should specifically address the following:
 What dramatic style(s) and conventions did the performance use?
How effective were these choices in the context of contemporary
Australian theatre?
 How did the performance manage language and movement to
communicate situation and role?
 How did the performance manage dramatic focus and/or tension to
engage the audience and communicate dramatic meaning?
 How was the story reframed for a contemporary audience? Was it
made relevant to the lives of contemporary Australians (especially
young people)?
 What was the dominant theme or message of the play? How was this
communicated?
 Overall, how effective was the performance at creating meaning for a
contemporary audience?
 You need to clearly articulate your argument, ensuring that you justify
your evaluation with specific examples from the performance. Your
readers have not seen the show, so it is necessary to make your
examples detailed and explicit.
 You must use appropriate drama terminology. As your readers are the
artistic directors of regional theatres, they have a knowledge of the
dramatic languages and there is no need to define basic terms such
as the elements of drama.
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RESPONDING TO LIVE THEATRE WORKSHEET
NAME OF PLAY:
WRITTEN BY:
DIRECTED BY:
ACTORS:
Recommendation:
Why would you recommend this play? Why would it appeal to your target
audience?
Narrative:
(Briefly outline the plot in 75 words or less and then evaluate how effectively
the play will entertain the audience)
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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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Characters:
Why are the characters so engaging? 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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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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