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QUEENSLAND THEATRE CONSTELLATIONS by NICK PAYNE Education Resources for teachers 1 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! 2 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? 3 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. 1 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 4 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. 5 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. 7 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 8 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? 9 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. 10 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. 11 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. 12 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? 13 SCRIPT EXCERPT ONE 14 SCRIPT EXCERPT TWO 15 SCRIPT EXCERPT THREE 16 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 17 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 18 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. 19 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. 20 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) _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ ________________________________________________________________ Themes and Issues: What themes and issues are illuminated in the play? Explain how. What questions are raised for the audience? _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ 21 _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ ________________________________________________________________ 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. _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ Dramatic Tension: Identify the major tensions in the play that entertain the audience/elaborate on one of the major themes. Analyse two specific examples. _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ 22