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Suitable for

Key Stage 2 3 4

Bridge 1Inspired by The Cherry Orchard

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Every Child Matters is fundamental to the curriculum, which should enable all young people to become:−− Successful learners who enjoy learning, make progress and achieve.−− Confident individuals who are able to lead safe, healthy and fulfilling lives.−− Responsible citizens who make a positive contribution to society.

Below we have provided a list of cross-curricular links and references to the PLTS which you may find useful as you plan a balanced and engaging curriculum for young people in your establishment, which supports the ECM agenda.

These sessions are the result of extensive pilot work with a range of students and schools; therefore you may have confidence that the activities outlined are purposeful and driven by learning. The sessions are designed to be delivered with pace, and activities should be snappy and energetic.

Drama

These lessons encourage students to:−− Work imaginatively and creatively in collaborative contexts,

generating, developing and communicating ideas.−− Consider and explore the impact of social, historical and

cultural influences on drama texts and activities.−− Reflect on and evaluate their own work and the work of

others.−− Develop and demonstrate competence in a range of

practical, creative and performance skills.−− Actively engage in the process of dramatic study in order to

develop as effective and independent learners and as critical and reflective thinkers with enquiring minds.

−− Explorative strategies−− Still image/tableaux−− Role play−− Marking the moment−− Hotseating

−− The drama medium−− The use of space and/or levels−− The use of set and/or props−− The use of movement, mime and gesture−− The use of voice−− The use of spoken language−− The use of masks

−− The elements of drama−− Action/plot/content−− Rhythm/pace/tempo−− Sub-text−− Contrasts−− Characterisation

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InTroDucTIon BrIDgE 1: ThE chErry orcharD

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curriculum Links

English

These lessons encourage students to:−− Express complex ideas and information clearly, precisely and

accurately in spoken communication.−− Make fresh connections between ideas, experiences, texts

and words.−− Use imagination to create effects to surprise and engage the

audience.−− Use creative approaches to answer questions, solve problems

and develop ideas.−− Explore how texts from different cultures and traditions

influence values, assumptions and sense of identity.−− Work with texts that enable them to make connections

between experiences across time and literary traditions.−− Work with texts that enable students to analyse the values

and assumptions of writing from different cultures and traditions, relating and connecting them to their own experience.

−− Connect ideas, themes and issues.−− Speak fluently, adapting talk to a wide range of familiar and

unfamiliar contexts and purposes.−− Select the most appropriate way to structure and organise

their speech for clarity and effect.

−− Reflect and comment critically on their own and others’ performances.

−− Respond critically, constructively and cogently in order to clarify points and challenge ideas.

−− Listen with sensitivity, judging when intervention is appropriate.

−− Take different roles in organising, planning and sustaining discussion in a range of formal and informal contexts.

−− Work purposefully in groups, negotiating and building on the contributions of others to complete tasks or reach consensus.

−− Take part in informal and formal group or pair discussions, requiring them to take on a range of roles.

−− Use a range of dramatic approaches to explore complex ideas, texts and issues in scripted and improvised work.

−− Select different dramatic techniques to convey action, character, atmosphere and tension, and justify choices

−− Evaluate drama performances that they have watched or taken part in.

−− Take part in individual and group improvisation and performance.

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history

These lessons encourage students to:−− Develop a sense of period through describing and analysing

the relationships between the characteristic features of periods and societies.

−− Explore the ways in which the past has helped shape identities, shared cultures, values and attitudes today.

citizenship

These lessons encourage students to:−− Explore different kinds of rights and obligations and how

these affect both individuals and communities.−− Understand that individuals, organisations and governments

have responsibilities to ensure that rights are balanced, supported and protected.

−− Investigate ways in which rights can compete and conflict, and understand that hard decisions have to be made to try to balance these.

−− Engage with and reflect on different ideas, opinions, beliefs and values when exploring topical and controversial issues and problems.

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Independent enquirersYoung people:−− Explore issues, events or problems from different

perspectives.−− Consider the influence of circumstances, beliefs and feelings

on decisions and events.−− Support conclusions, using reasoned arguments and

evidence.

creative thinkersYoung people:−− Generate ideas and explore possibilities.−− Ask questions to extend their thinking.−− Connect their own and others’ ideas and experiences in

inventive ways.−− Question their own and others’ assumptions.−− Try out alternatives or new solutions and follow ideas

through.−− Adapt ideas as circumstances change.

Team workersYoung people:−− Collaborate with others to work towards common goals. −− Reach agreements, managing discussions to achieve results. −− Adapt behaviour to suit different roles and situations,

including leadership roles. −− Show fairness and consideration to others. −− Take responsibility, showing confidence in themselves and

their contribution. −− Provide constructive support and feedback to others.

reflective learnersYoung people:−− Invite feedback and deal positively with praise, setbacks and

criticism.−− Communicate their learning in relevant ways for different

audiences.

Self-managersYoung people:−− Work towards goals, showing initiative, commitment and

perseverance.−− Organise time and resources, prioritising actions.−− Anticipate, take and manage risks.−− Manage their emotions, and build and maintain relationships.

Effective participatorsYoung people:−− Propose practical ways forward, breaking these down into

manageable steps.−− Identify improvements that would benefit others as well as

themselves.−− Try to influence others, negotiating and balancing diverse

views to reach workable solutions.

Personal, learning and thinking skills which are supported and developed by the Bridge 1 sessions:

DVD resources

An accompanying DVD which you may wish to use as an additional resource throughout these lesson plans is available. To request your copy, please contact us by e-mailing [email protected].

mailto:education%40oldvictheatre.com?subject=OVNV%20Education%20DVD%20request

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LESSon 1 BrIDgE 1: ThE chErry orcharD

Status and changing circumstances

1.1 Focus (Warm-up)

For participants to understand the importance of focus and group awareness.

−➜ Ask participants to stand in a circle and focus their attention and energy on one point on the floor in the centre of the circle.−➜ Once they are able to create focus doing that, add in the further instruction that they must, at the same time as you, do the

following:−− As one movement, stamp your right foot, punch your fists out at hip level and make a deep, manly ‘huh’ sound.−− Demonstrate and then give participants the chance to practice.

−➜ Now ask the participants to regain focus immediately after the ‘Huh’ in order to do the exercise more than once.

Equipment

−✔ Worksheet 1 (copied and cut appropriately for the amount of participants in the group)

aims

−✔ To use status exercise to explore the theme of ‘changing circumstances’ and make links to the world of the past, and to today. −✔ To use a range of drama techniques to develop an understanding of the main characters in The Cherry Orchard and how they interact.−✔ To develop character through structured improvisation.

outcomes

−✔ Participants will be able to use their body language and movement to indicate high or low status.

−✔ Participants will be able to consider and reflect upon the relationship between high and low status characters and be able to show this physically.

−✔ Participants will be able to make connections between status and relationships in The Cherry Orchard and the real world.

−✔ Participants will understand and be able to show the difference between real and assumed status.

−✔ Participants will have a deeper understanding of the characters in The Cherry Orchard.

−✔ Participants will have developed their ability to use dramatic exploratory techniques.

additional

−▲ These sessions assume a basic knowledge of the play The Cherry Orchard and awareness of its characters and socio-historic context.

Duration

−✔ Work is designed to be split into two one hour sessions but can be extended if desired.

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1.2 Status and changing circumstances

Participants explore contrasting roles within society through character work.

−➜ Ask participants to start walking about the space under the following guidelines:−− Move with energy and focus.−− Use all the space available.−− Move as an individual, not as a group or with your friends.−− Be respectful of others in the space.−− Avoid walking in a pattern.−− Be aware of yourself and others at all times.−− Do not interfere with another participants’ movement or be physical with anyone else unless you are told to be so. −− Practise this method of working by using the commands ‘stop’, ‘freeze’, or ‘change’ (direction) until you are happy

that expectations are being met and participants understand the nature of this task.

−➜ During a ‘stop’ moment, ask participants how a character with a high status may be shown. Consider the character traits:−− Confident−− Outgoing−− Self assured−− Strong self belief−− High self esteem−− Owns the room

−➜ As they continue to walk, on your command ‘high’ they should switch to a high status walk.−➜ ‘Freeze’ them and choose a few examples of effective physicality to show to the class – you may point out heads held high,

puffed out chest or use of a long stride. −➜ Ask participants to walk again and on your command, switch to ‘high’ then as they walk coach them to use every part of their

body, and to make their movements larger than life or exaggerated. −➜ Next time you ask them to freeze, explain that you will tap them on the shoulder and ask them a question:

−− how do you feel about this space? −− how do you feel about everyone else being here?−− Do you look down on these people, or are you generous? −− What sort of job do you do?−− how do you spend your free time?

−➜ Ask participants to move about the room again.−➜ During a ‘stop’ moment, ask participants how a character with a low status may be shown. Consider the character traits:

−− Insignificant−− Low self esteem−− Insecure−− Feels unwelcome in the space−− Anxious

−➜ Walk them neutrally, then call ‘low’ to switch their walk to a low status walk. Call ‘Freeze’ and choose a few examples of effective physicality to show to the class – you may point out use of a lower level or posture, heads down or a fearful facial expression.

−➜ Ask participants to walk again and on your command, switch to ‘low ’ then as they walk coach them to use every part of their body, and to make their movements larger than life or exaggerated.

−➜ Next time you ask them to ‘freeze’, explain that you will tap them on the shoulder and ask them a question: −− are you comfortable in this space? −− how do you feel about everyone else here? −− are you intimidated? Do you want to be seen? −− What do you do for a living? −− how do you feel about the world? −− how do you feel about yourself?

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−➜ Walk participants again and practise using ‘stop’, ‘high’, ‘low’ and ‘freeze’. −➜ During a ‘stop’ moment, tap half of the class on the shoulder and explain that they are to be the high status characters while the

rest of the class are low status characters. −➜ The low status characters are to remain still, dotted around the space. The high status characters are allowed to move about. −➜ Use questions as participants work, to encourage character development:

−− how do you feel with these low or high status people in your space? −− What do you do when your paths cross? −− What is your reaction to them? Pity, anger, indifference, jealousy, fear? −− how can you show your feelings non-verbally? −− Low status, what would you do if you could move?

−➜ Tell the low status people they are allowed to move now, and coach them to react to one another. On your command ‘greet’ they should stop and silently greet the nearest person to them in a way which they think is appropriate to their character.

−➜ Swap roles over and repeat the activity, up until the ‘greet’ point. After the ‘greet’ command ‘freeze’ and tap and ask a few questions:

−− To the high status characters:−− What do you think about the other people now?−− Do you have pity on them as you remember being low status? −− Do you want revenge on them for their behaviour to you?−− How did you show your feelings?

−− To the low status characters:−− How do you feel about these people and the fact that you are now low status? −− Do you regret your earlier behaviour? −− Do you wish you had acted differently? −− Do you resent them for taking your place as high status characters?

1.3 Discussion

−➜ Take this opportunity to get feedback from the group.−➜ Suggested questions could be:

−− how did that exercise feel? −− Who preferred high/low status and why?

−➜ You should also discuss the transition:−− What effect did that have? −− What did you discover about yourselves in that situation?

−➜ Split participants into small groups and give each group a discussion card (Worksheet 1) Ask them to talk as a group then elect a spokesperson to feedback to the rest of the class, which should form the plenary of this session.

Duration

−✔ The session will last approximately 1 hour though it can be extended as required.

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2.1 Starter

−➜ Display 6 flipchart sheets around the room with the character names LUIBOV, VARYA, YASHA, DUNYASHA, LOPAKHIN and TROFIMOV on them.

−➜ Allocate participants a number from 1 – 6 and ask all the 1s to go to a character, all the 2s to the next character and so on...−➜ Give the group 1 minute to write down as much information onto the flipchart sheet as they can, about that character, then

call ‘change!’ and they rotate to the next sheet and add all they can about the next character. Continue for 6 minutes until all characters have been rotated around.

2.2 Status changes

−➜ Using the flipchart sheets and as a whole group, discuss the changes in status for the characters of The Cherry Orchard. −➜ Hand out the character cards (Worksheet 2) to groups of 2 or 3 and set the task to create two still images: one showing the

REAL or CURRENT status of the character and one showing their PREVIOUS or DESIRED status (depending on which character they are allocated).

−➜ Share the images and discuss the different statuses in the character’s lives.

character

Equipment

−✔ Worksheet 1 (copied and cut appropriately for the amount of participants in the group)

−✔ Worksheet 2

−✔ Worksheet 3 −✔ Pre-prepared flip chart sheets−✔ Marker pens

aims

−✔ To use status exercise to explore the theme of ‘changing circumstances’ and make links to the world of the past, and to today. −✔ To use a range of drama techniques to develop an understanding of the main characters in The Cherry Orchard and how they interact.−✔ To develop character through structured improvisation.

outcomes

−✔ Participants will be able to use their body language and movement to indicate high or low status.

−✔ Participants will be able to consider and reflect upon the relationship between high and low status characters and be able to show this physically.

−✔ Participants will be able to make connections between status and relationships in The Cherry Orchard and the real world.

−✔ Participants will understand and be able to show the difference between real and assumed status.

−✔ Participants will have a deeper understanding of the characters in The Cherry Orchard.

−✔ Participants will have developed their ability to use dramatic exploratory techniques.

additional


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2.3 Exploring character

−➜ Ask for six volunteers to play the characters on the cards and ask them each to take a chair to a space in the room and to sit on it. Split the remaining participants into six groups and ask them to go and sit on the floor in front of that character.

−➜ The character is then asked to leave the chair space and then on command to walk into the space and sit down on the chair in role.

−➜ Those sat on the floor are given three minutes to question the character about themselves and their place in life. −➜ Reflect on this activity by asking those who played the characters ‘what did you reveal?’ and ‘what did you want to keep

hidden?’ and ‘why?’

2.4 Status and relationships

−➜ Using what they know about this character, ask the groups to create a representational tableaux, showing the character in their official place in society, with the rest of the group assuming other characters in the play and placing themselves in a position which represents their relationship and status to the main character.

−➜ Each character must show their real position and their real relationship to the main character. −➜ Encourage participants to use LEVELS and PROXEMICS to indicate the relationships and status differences. −➜ Ask participants to then create a second tableaux to show the characters’ desired status positions in relationship to the main

character. −➜ Ask them to practise shifting from one to the other. −➜ Watch each group and discuss:

−− Which character thinks they have the highest/lowest status? −− Did any character not feel the need to change? −− What can we tell about the relationships between these characters?

2.5 character and Scenario Work

−➜ Split the group into small groups of three, four or five. Give each group a scenario (Worksheet 3) and time to prepare the scenario for performance to the rest of the group. Remind them before they start:

−− Be clear on what you wish to achieve from your scene.−− Ensure you know who is playing which part, your entrances and exits, key lines and blocking. −− Make sure you rehearse considering your audience awareness, and where they will be sat to watch!−− Each scene must have a clear frozen position to start and end neatly.

−➜ Show each piece, and after each group’s performance, ask them to mark a moment in their piece by freezing that moment:−− When a character feels their status is challenged, −− When a character experiences a status change or −− at the moment of highest tension depending on the group and the content of their piece.

−➜ In feedback discussion, remark particularly on how status can create tension; this discussion should form the plenary of your session.

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using Masks to Explore Status

Equipment

−✔ Worksheet 4 (for your own reference)−✔ Worksheet 5 (copied and prepared)−✔ Worksheet 6 (copied and prepared)−✔ Half masks in the style of Commedia dell’arte characters.

−✔ Antibacterial wipes for the masks−✔ A box or other heavy/bulky looking item−✔ Flipchart paper and pens (some flip sheets need to be pre-

prepared with questions written on them)

aims

−✔ To introduce the skills for using mask effectively.−✔ To use status exercises in order to understand the world of

The Cherry Orchard.

−✔ To explore, through physical character work, the different situations in the play.

outcomes

−✔ Participants will be able to use their bodies to convey emotion physically.

−✔ Participants will understand the levels of physicality and be able to confidently experiment with these in their Drama work.

−✔ Participants will understand and be able to show an internal and an external emotion.

−✔ Participants will be able to use basic mask conventions to create scenes.

−✔ Participants will be able to develop characters with contrasting status levels, and indicate the relationship between them clearly using mask conventions.

−✔ Participants will understand the importance of status in The Cherry Orchard, and where status features in the play.

Duration

−✔ To cover the concepts in this unit in reasonable depth you will need to allow two hours.

additional


3.1 Emotion Freezes: Physical Scale (Warm-up)

−➜ Ask participants to start walking about the space under the following guidelines:−− Move with energy and focus−− Use all the space available−− Move as an individual, not as a group or with your friends. −− Be respectful of others in the space−− Avoid walking in a pattern−− Be aware of yourself and others at all times−− Do not interfere with another participants’ movement or be physical with anyone else unless you are told to be so.

−➜ Practise this method of working by using the commands ‘stop’, ‘freeze’, or ‘change’ (direction) until you are happy that expectations are being met and participants understand the nature of this task.

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−➜ During a ‘stop’ moment, explain that next time you are going to call out an emotion and that they will then have a three second countdown to find a space and physicalise that emotion in a freeze, using every part of their body.

−− Emotions you could use are: JEaLouSy angEr haPPInESS SaDnESS EMBaraSSMEnT FEar

−➜ Run this exercise a couple of times through to establish the routine of the exercise, commenting positively on participants who have successfully embodied the emotion.

−➜ ‘Stop’ participants and explain the physical scale, which runs from 1 – 10. 10 is the most exaggerated you can possibly, possibly achieve showing that emotion, with every part of your body and face stretching to show the emotion clearly. 1 is simply a tiny hint at showing the emotion physically.

−➜ Do a whole group example using happiness. Call ‘Happiness 1, 3-2-1, freeze!’ and participants should stand showing a tiny hint of happiness. Then call ‘Happiness 5, 3-2-1, freeze!’ and repeat once again with Happiness 10.

−➜ Now ask participants to walk around the space and you call any emotion with any number, then 3-2-1 freeze. Choose particularly good examples to share with the class.

−➜ Ask participants to stop in a space on their own. Ask for examples when you may feel one emotion on the inside but have to show another on the outside (your best friend tells you she is going out with the boy you secretly fancy; you’re picking up a spider which you are terrified of, but you don’t want to lose face) Ask participants to decide on an example for themselves and then instruct them to walk around neutrally.

−➜ This time you call, call ‘double emotion 4, 3-2-1, freeze’ depending on which part of the scale you wish them to explore. Share good examples and discuss how we might reveal to an audience our inner emotions while physically showing the outer emotions.

−➜ End this activity with a brief discussion, making links with Chekhov in terms of how very little of what is felt by the characters is actually shown or said.

3.2 Introduction to masks

Participants have the opportunity to create characters from a physical starting point in order to free themselves physically and explore larger than life characters.

−➜ Participants should be sat in a semi circle on the floor, with the masks laid out for them to see clearly. Using Worksheet 4 explain the history of the masks.

−➜ Ask each participant to choose a mask, but explain that this should be an instinctive decision and not deliberated over. −➜ Organise participants into a circle, holding their masks in their hands, and cover mask etiquette with them.

−➜ Ask participants to turn out from the circle and put on the mask. When told, they should turn back in to experience the initial reaction of seeing the others in the mask and see how it feels for them. Allow them to look at one another for 30 seconds then ask them to turn away and remove the mask.

Mask Etiquette

−− Always treat a mask with respect. −− Do not mistreat the mask by swinging it around or poking your fingers through its eyes. −− When returning the mask, use a wipe to clean inside it, paying particular attention to the mouth area. −− When you put on your mask you are creating the illusion of being a different character, so you must always put it on/

take if off in the wings or facing away from your audience. −− The more physical you are with the mask on, the more believable you will be. −− The mask only works when you are facing the audience or in profile. If you turn away from the audience the illusion is lost. −− It is a half mask; therefore your mouth and your lower jaw can be seen. This means you should ensure that you are

working those parts of your face. −− Your audience want to believe in the character you are creating so be brave in your choices. −− You may only have limited vision so be careful moving about the space.

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−➜ Encourage participants to explain how it felt to wear the mask and to see others in the masks. −➜ They will now have the chance to get to know their masks and will work individually to do so.

−➜ Bring participants back to the circle and briefly discuss how these exercises felt, then ask participants to find a space, and to turn away to put on their masks.

−➜ Count participants down into a frozen starting position, explaining that this should be at the top end of the physical scale – the bigger the physicality, the more convincing the character is. You may wish to repeat this exercise to coach participants into pushing their physical boundaries to level 10.

−➜ ‘Action’ participants to start moving around the room and give them time to play with their character, trying different movements and physicalisations.

−➜ On your command, ask participants to add a vocalisation to their character which reveals something about them – a grunt, squeal, hum, whistle, growl, murmur etc...

−➜ On your command, ask participants to stop and greet the nearest person to them, using their vocalisation. Once you have done this a few times ask them to use the word ‘hello’. Remind participants to consider the apparent status of the people they greet, and how that changes the way they interact.

−➜ Ask participants to remove the mask and have a brief discussion about the experience:−− how did it feel to wear the mask? −− Was anyone surprised by what they did? or what they saw others do?−− Did you enjoy becoming the mask character?

Standing in the circle:

−➜ First, ask them to hold the mask in one hand so that it is facing them; their fingertips should come up over the forehead and their forearm should sit where the mouth is. It should be held at arm’s length.

−➜ Ask them to look at the mask and take in all the facial detail. −➜ Ask them to think about what kind of character it is – grumpy, young, shy etc.. −➜ They should make some decisions about who this person is and what they are interested in. They should decide the characters

status.

Walking around the room:

−➜ As participants were holding the mask facing them, ask them to turn it so that it is facing away from them and allow the mask to lead them around the room, exploring everything.

−➜ Ask participants to decide what the mask is most interested in – for example the curtains, floor, smells, light etc.. They should still avoid other people at this point.

−➜ Instruct participants to start to imitate the face of the mask with their own face and think about how that feels.

Working physically:

−➜ Ask participants to begin altering their movements and physicality to become the character. Coach them to consider:−− how their pace might change−− What their feet and legs start to do −− how their posture might change−− other physical changes to their body −− Showing the mask’s status through physicality (levels and reactions to others)

3.3 Meet the Mask characters

Participants explore the characters individually or in pairs in various situations with the rest of the group as audience in order to develop audience awareness, performance skills and good mask technique.

−➜ Organise the group to be sat on the floor as an audience. Ask for one volunteer who must put on a mask (they must be sure of the status of the mask character they choose) enter the space and sit on a chair, showing their status. They must remain in role, showing their status as they sit.

−➜ Ask for feedback from the audience and coach the volunteer to repeat this exercise until everyone is happy that the physical work is pitched and performed appropriately for the mask chosen.

−➜ Interview the mask character for a job but explain they may only speak Russian, and in this situation can only say “No”.

−− Possible jobs: nursery school teacher chef Bouncer Queen/King Pop star Dog walker air steward Sewer worker Prime minister

−− Possible questions: So you think you’re here to interview for the post of _________, yes? Do you think you’d make a good _________? Do you have any skills for this job? are you actually interested in doing this job? Do you think there’s someone out there who could do this job better than you? Would you like to work as something else?

−➜ Hold a brief discussion with the audience about what was successful about the mask portrayal and what ‘works’ when you are in the mask. Draw out suggestions such as larger than life gestures, slowing down your movement and always exaggerating.

−➜ Ask for a new volunteer and tell them they are going to be interviewed as the Russian prime minister. Ask them to choose and wear the most appropriate mask, and enter and sit on the chair.

−➜ Interview them about life in Russia (they can only speak Russian). −➜ Ask for a second volunteer (without mask) to translate. −➜ Again, hold a brief discussion to evaluate the work. Summarise that a key to mask work success is to keep actions, movements

and gestures simple and larger than life. −➜ Ask for two volunteers and ask them to choose masks with contrasting status. There is one chair. The characters should enter

from different sides of the stage area, and they both wish to sit down. ‘Action’ and see what happens. −➜ Evaluate with the audience and repeat the activity. −➜ Split the group into twos or threes and give out situation cards (Worksheet 5)−➜ Watch a couple of examples of each piece and draw out from the audience what is effective when working in masks – these may

include exaggerated movement and gesture; vocalising sounds; audience awareness - write these up on a flipchart for reference in the next activity.

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3.4 Directing a mask scene and developing mask work

Participants have the opportunity to develop scenes with their mask characters which explore situations and characters from The Cherry Orchard.

−➜ Organise participants into groups of three with a fourth person as a director. Explain the importance of the director in terms of creating scenes in mask:

1. The director provides the outside perspective which helps the performers to know if the mask character is effective.2. The director can give detailed notes on staging as they can see the whole picture. 3. They keep the performers focused and on task, therefore the performers must listen and respond to their director

with respect.

−➜ Give each group a mask scene from Worksheet 6 to develop. Their work should last about two minutes and the status play between the characters should be clear. Keep the flipchart from the last activity clearly displayed for the directors’ reference.

−➜ Remind groups after five minutes of the flipchart and the focus of their work. −➜ Watch the scenes together and encourage feedback on each piece, using the flip chart as criteria for comments.

3.5 Plenary

−➜ Split participants into four groups and ask them to sit in their groups around a piece of flipchart paper. −➜ The paper should have one of four questions on it:

What have you discovered about yourself as a performer now that you have worked with masks?

What is the benefit of using a mask to create a character?

how important is status in The cherry orchard?

how does a change of status affect the characters’ different perspectives?

−➜ Give participants three minutes with a pen and ask them to write down their thoughts. −➜ Ask one member of each group feedback to the group as a whole.

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WorKShEET 1: DIScuSSIon carDS BrIDgE 1: ThE chErry orcharD

In today’s world when is status thrust upon people?How do they deal with it? What implications does it have on their lives?

Consider reality TV stars, lottery winners or the Royal Family.

In today’s world when do people earn their status change?How do they change their circumstances?

Consider Lord Alan Sugar, Kylie Minogue or the Prime Minister.

Talk about slavery, and focus on South Africa and apartheid, and America and segregation. Both of these countries now have black leaders.

How has the colour of people’s skin affected their status in their home country?

Talk about how the role of women has changed over the past 100 years. Consider the vote for women, female bishops or executive female bosses.

How are high status women perceived and how do men react to this?

Talk about times when a large population has been suppressed – Jewish people, Native Americans and Aborigines.

Who held the high status in these situations? Why did they assume higher status?

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LIuBoVhIgh STaTuS

FactsPreviously wealthy landownerUseless with moneyLoves her family dearly; two daughters (Anya and Varya) and her brother (Gaev)

characteristicsGenerousFlirtatious

yaShaLoW STaTuS (but acts like he’s high)

FactsA footman (servant) to LiubovLikes to drink ChampagneBelieves he should be more than he is

characteristicsArrogantChauvinist

LoPaKhInhIgh STaTuS (but raised himself from lower)

FactsUsed to be a servant but now is very wealthyWants to make as much money as possibleDoesn’t have any family

characteristicsAmbitiousHard-working

VaryahIgh STaTuS

FactsAdopted into a rich familyManages the family house and grounds (the estate)Would love to be independent

characteristicsConsiderateFormal

DunyaShaLoW STaTuS (but aspires to be higher)

FactsMaidservantEngaged to be married but in love with someone else (Yasha)Considers herself to be nearly a lady

characteristicsSensitiveUnfaithful

TroFIMoVhIgh STaTuS (but doesn’t believe in status)

FactsMature studentHas revolutionary ideasSpeaks his mind

characteristicsPassionateUnromantic

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WorKShEET 2: characTEr carDS BrIDgE 1: ThE chErry orcharD

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WorKShEET 3: ScEnarIoS BrIDgE 1: ThE chErry orcharD

coMIng hoME −− A group of people arrive home after a long absence and are met by friends and family who want to

know why they have stayed away for so long....?−− Your scene must include a moment of tension due to a status conflict between two or more characters

from the play. −− Your scene must include the following line from the play:

‘When I wake up I’m going to go straight out into the garden. If only I could get some sleep!’

BaD nEWS −− One of your hosts a party for friends and family. Someone at the party receives unexpected bad news. −− Your scene must include a moment of tension due to a status conflict between two or more characters


‘It’s so boring here, and the food they give you in the kitchen is disgusting’

STrangEr aT ThE PIcnIc−− A group of friends and family are gathered for a picnic when a stranger arrives with an unusual re-

quest...−− Your scene must include a moment of tension due to a status conflict between two or more characters


‘You only have to try to get something done and you soon find out how few decent, reliable people there are’

gooD nEWS −− One of your hosts a party for friends and family. Someone at the party receives unexpected good news. −− Your scene must include a moment of tension due to a status conflict between two or more characters


‘I might as well be some kind of insect’

rEunIon−− A group of friends and family have a reunion where a secret is revealed....−− Your scene must include a moment of tension due to a status conflict between two or more characters


‘Oh, if only I could lose the weight of this stone I carry in my breast. If only I could forget everything up to now’

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WorKShEET 4: coMMEDIa DELL’arTE BrIDgE 1: ThE chErry orcharD

What is commedia dell’arte? Commedia dell’Arte is a type of comedy developed in 16th and 17th century Italy, characterised by improvised text based on plot outlines (scenarios). Commedia dell’Arte featured stock characters, some of whom wore distinctive masks. Literally, it means comedy (Commedia) of the professional guilds or artists (dell’Arte). Its popularity in Renaissance Europe can be attributed to the talents and special skills of the actors who were acrobats, dancers, musicians, orators, quick wits, and improvisers possessing thorough insights into politics and human nature. The audience loved the stock characters and their antics, much the way audiences through the ages have loved Shakespeare’s characters and (in a more modern equivalent) the characters of Friends or modern slap-stick.

Where was it performed? Most Commedia troupes performed outdoors in city and town piazzas on stages they brought with them in horse-drawn carts, along with their equipment, props, costumes, curtains, and ladders. The stages were usually built high (up to two meters), allowing spectators an unobstructed view of the action, and giving actors a storage area and changing room underneath. Some of the better Commedia troupes performed in Renaissance theatres such as Palladio’s theatre in Vicenza or the Petit Bourbon in France.

Why is commedia dell’arte important? In all periods of Western culture since the Renaissance, Commedia dell’Arte has been a conscious or subconscious presence. Using sexually challenging language and physical comedy, Commedia pokes fun at elements of society’s respectable values by means of exaggerated styles and insightful character traits. The stock characters below can be found in music, visual arts, dance, and theatre as themselves or as inspiration for specific characters:

arlecchino (harlequin) – a servant who is like a five year old; eager to please, sympathetic and loves food; nimble and agile acrobat.

colombina – female servant; flirty, sometimes crafty, often without morals.Il Dottore (The Doctor) – says he knows everything but actually knows nothing; loves the sound of his own voice;

claims to be the doctor of all subjects.The captain – the cowardly braggart soldier.Pantaloon – the old man who pleased poverty but is obsessed with money.Pulcinella – the clever prankster and scheming clown (possibly the origin of Punch from Punch & Judy).

The MasksIn the course of the development of the Commedia dell’Arte, there grew up certain traditions which held fast for many years. The rascally servant, the old man, the lady’s maid and the like – stock characters which appeared in every play – always wore a conventional dress, with masks. In general these masks may be classed under four or five groups: Pantalone and the Doctor, both old men; the Captain, a young man of adventure; the valet or jester, usually called Zanni; the hunchback Pulcinella; and another old man, somewhat different from the first two.

The oldest masks in Commedia dell’Arte were outrageously grotesque. They covered the whole face, except lips and chin and were made from a skin that was stretched on a wooden mould, or from a wax millboard; their colour was usually brown or black. A mask type was represented by one actor and there are records about actors who played their personages until an old age. When a famous actor who was known for playing Harlequin (GD Biancolelli) died in Paris, there was news going around the town: Arlequin est mort.

a lasting legacyBecause Commedia was alive and well during Shakespeare’s time, he was greatly influenced by its style. Italian names are pervasive throughout his plays, and the similarities between his characters and plots are particularly evident in a farce like The Taming of the Shrew or The Comedy of Errors. In the first Folio text, an old and foolish suitor to Bianca is referred to as “Gremio a Pantelowne.” The impact of Commedia can also be seen in French pantomime, the English harlequinade, Moliere, and even today, in the work from artists like Nobel Prize-winning playwright Dario Fo.

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WorKShEET 5: SITuaTIonS BrIDgE 1: ThE chErry orcharD

Two characters (a and B) of contrasting status.

−− A is an old servant who is very happy in his job and proud to be a servant.

−− B is a young servant who thinks he is destined for better things but he still has to work.

−− A must get B to move a box from one side of the room to the other.

−− B must find as many reasons as possible not to do it.

−− You must not talk in the scene, but you can vocalise noises (mutters, grunts, sniffs etc...)

Three characters (a, B and c) of contrasting status.

−− A and B are in love and only want to hold hands.

−− C is As older sibling and doesn’t think B is good enough for A so wants to split them up!

−− Begin the scene with A and B meeting secretly in the woods and bring C in at an appropriate time.

−− C must find as many (non violent) ways to split them up as possible.

−− You must not talk in the scene, but you can vocalise noises (mutters, sighs, sniffs etc...)

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WorKShEET 6: ScEnarIoS BrIDgE 1: ThE chErry orcharD

grouP onECharacters −− A wealthy widow−− A disobedient servant−− A needy neighbour

Scene Both the servant and the neighbour want money from the widow but she only has enough to give to one person.

FocusDecide what each character wants from the scene or from the other characters and they must stay focused on that objective.

PointerThink about the previous exercises you’ve done regarding status play and showing your characters and see if those ideas can be incorporated.

grouP TWoCharacter−− A talkative uncle−− An over-excited girl−− A sensible sister

SceneThe sensible sister wants everyone to go to bed as it’s late but she is struggling to persuade the others.



grouP ThrEECharacters−− A clumsy clerk−− A ditzy maidservant−− An arrogant footman

SceneThe maidservant is almost engaged to the clerk but is in love with the footman; she doesn’t want to break it off with the clerk but wants to be alone with the footman.



grouP FourCharacters−− A rich man who used to be a servant−− An overly generous sister−− A forgetful brother

SceneThe rich man wants to help the brother and the sister but they are constantly distracted by other things.



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