post-show resources: drama pack

Transcription

1 post-show resources: drama pack

2 contents What this pack includes 3 Introduction: reflecting and reviewing 4 Student sheet 8: Glossary of roles in theatre 5 Lesson 1: Shared reflection and review 6 Lesson 2: Characterisation 7 Lesson 3: Costume 8 Student sheet 9: Interview 10 Student sheet 10: Costume sketches 12 Set Lesson 4: Set Design 14 Lesson 5: Lighting Design 15 Student sheet 11: Lighting effects 1 16 Student sheet 12: Lighting effects 2 17 Student sheet 13: Script extract 1 18 Lesson 5: Sound design 19 Student sheet 14: Script extract contents

3 What this pack includes Lesson Plans: Pre-lesson: Individual Reflection and Recall: Evaluation of Live Theatre Worksheet. Reviewing live performance is an important element of all Drama and Theatre Studies specifications at Key Stage 4 and Key Stage 5. Most exam boards allow students to take notes into their written examination. The purpose of this section is to provide some approaches to reflecting on the performance that will inform the students note taking. Lesson Plan 1: Shared R & R - Reflection and review of performance elements Learning objective: To recall and gather information quickly and efficiently. To inform the students note-taking. Lesson 2: Characterisation Learning objective: To use movement, gesture and facial expression to portray different characteristics. Lesson Plan 3: Costume design Learning objective: To examine and analyse existing costume in a production. Lesson Plan 4: Set design and staging Learning objective: To analyse how the set and staging was used to reflect different themes in the musical. Lesson Plan 5: Lighting design Learning objective: To evaluate the lighting design in Kinky Boots in detail. Lesson Plan 6: Sound design Learning objective: To explore and express yourself through sound design and peer collaboration. STUDENT SHEETS All lesson plans are followed by the relevant student resource sheets. This pack include printable resources: STUDENT SHEETS What this pack includes

4 REFLECTING AND REVIEWING Introduction for teachers This pack is designed to help students reflect on their visit to the theatre. These lessons focus on the creative decision making behind the production process. Teachers should encourage students to think about the nature of the decisions that have been made by the different theatre makers. These lessons can be taught discreetly for those students specialising in specific theatre craft, or they can be used as a basis of post-trip analysis and discussion for the whole class. Reminders for students: their personal response is the most important aspect of any review. Curriculum link: Reviewing live performance is an important element of all Drama and Theatre Studies specifications at Key Stage 4 and 5. Students can use these notes to: Evaluate the show in class group discussion Potentially take the notes into their written examination. Write fuller revision notes on their analysis of different production elements of a production Objectives: To know how to write about a production, either for coursework or in an examination To know how to identify things to write about, and know how to write about them To be ready to answer a question or complete coursework about their experience of a theatre production 4 REFLECTING AND REVIEWING

5 STUDENT SHEET 8: GLOSSARY OF ROLES IN THEATRE CREATIVE TEAM Writer / Composer The writer creates the play. If the play is also a musical, then it may also have a composer and lyricist. Director The director is responsible for realising the production on stage and leads the creative vision of the whole production. The director leads the rehearsals, collaborates with the designer, the musical director and the production team to make sure the production is the best it can be. They hand over responsibility for the production to an associate or assistant director once the production is open. Set Designer The designer is responsible for all aspects of the look and feel of the production. Working closely with the director to complement or realise the vision of the production, the Designer creates set designs and works with the production team to make sure the physical sets which are created are exactly as they should be. In smaller productions, the designer may also act as the costume designer. Scenic Artist The scenic artist is usually briefed by the Set Designer to produce one or several scenic works for theatre. These could be anything from cloud backdrops or the backdrop of a city such as New York or London, which is to be viewed out of a set window. They also paint any murals or paintings required and touch-up or finish work carried out by the painting team. They may also paint complex prop pieces. Musical Director The musical director leads the singing rehearsals and often also conducts the orchestra in a musical. Choreographer The choreographer works with the actors or dancers to create and rehearse any dance or movement sequences in the production. Lighting Designer Lighting plays a crucial role in the look of a production. The lighting designer works closely with the designer and the production team to design and set up the lighting and lighting effects of the show. Sound Designer Depending on the production, some may use a sound designer who creates the sound effects for the production, works to create soundscapes, or mixes the music to ensure it sounds as good as it can. Costume Designer The costume designer designs all the costumes for the production. They work with a costume team to source, make and fit costumes which are perfect for each character. Producer The producer is the champion of the project, who raises money to stage the production and brings on board key members of the creative team to bring the production to life. Company Performers A company is auditioned for each production. Actors and dancers work closely with the director and choreographer to create the characters in the show and perform the show every night. 5 STUDENT SHEET 8: GLOSSARY OF ROLES IN THEATRE

6 Lesson 1: Shared R & R - Reflection and Review Duration: 50 minutes Learning objectives: To recall and gather information quickly and efficiently. To inform the students note-taking. Equipment: Large sheets of paper and pens Activity: Work in pairs or small groups. Divide up performance elements as different areas of focus, for example: acting, set design, lighting and sound, costume, directorial interpretation. You need a different area of focus for each group. Students work together to brainstorm their area of focus and record ideas. After two minutes pass sheet onto another group. They then have two minutes to read your notes and add their own ideas. Repeat this process until everyone has contributed something to each sheet. The last group brainstorming on each production element, presents their recollections back to the class. Photocopy each of the sheets so everyone has a copy to take away with them. What next? If they haven t already, ask students to complete the EVALUATION OF LIVE THEATRE WORKSHEET Encourage students to be analytical. Encourage the students to be critical. What were the strengths, what were the weaknesses? Have a general discussion and give examples of WHAT happened, HOW it happened, and WHY it happened in that way (what was the creative choice behind it?) Example: What: The moment the prototype Kinky Boot is made. How: Lola insisted the boot was red, and changed the boot colour from burgundy to bright red using clever staging. Why: This draws on the symbolism of colour and the contrast this vibrant red has from the rest of the set. Red = danger, sexiness and adventure. 6 Lesson 1: Shared R & R - Reflection and Review

7 Lesson 2: Characterisation Duration: 50 minutes - 1 hour Learning objective: To use movement, gesture and facial expression to portray different characteristics. Activity detail: Get students to move around the space as themselves. Instruct them to move forwards, backwards, sideways and diagonally clapping each time you change the direction. Say FREEZE. Tell them you are now going to give them a Kinky Boots character and when you clap your hands they must be that character and walk around the room in that role until you say FREEZE again and offer them a new character. Do this for all characters listed, encouraging facial expressions, usage of levels, physical theatre, mime, pause, etc. After each character walk stop the class and ask certain students to share their walk by performing it around the room. Then ask members of the audience to ask the actor to comment on their use of gestures, movements, mime, levels, facial expressions, etc, linking it to their live viewing experience watching Kinky Boots the musical. Characters: Charlie Nicola (Charlie s fiancé) Lola Don (tough, burly factory worker) 7 Characterisation

8 Lesson 3: costume Duration: 50 minutes - 1 hour Learning objectives: To consider the costume design choices in Kinky Boots. To make choices and design a costume according to what best suits the physical representation of the character and the performance. Printable resources: STUDENT SHEET 9: INTERVIEW DESIGN x 3 STUDENT SHEET 10: COSTUME SKETCHES Equipment: A variety of art supplies such as coloured pencils, markers, or crayons. For a 3-D effect, you may also wish to provide glue and a variety of sample fabrics, such as pieces of coloured leather, lace, faux fur, satin, Velcro, ribbon, etc... Starter: Ask students to read through the Design x 3 interview citing Greg Barnes creative decisions. Activity 1: Design a new show Announce to the group that they are going to become shoe designers and ask them to each take out several pieces of blank paper and select writing utensils from the provided art supplies. Explain that the participants are being tasked with the challenge to design shoes that they feel REPRESENTS them, both inside and out. Give participants the following instructions: Choose your base shoe type (i.e., boot, sneaker, sandal, high-heel, etc.) and draw or trace an outline on your paper. Choose material(s) and colour(s) for your shoe that you feel represent you and colour in your outline. Add at least four special features to your shoe (i.e., logo, laces, scuff marks, zippers, wings, pictures or designs, etc.). Select one SUPER POWER that you feel you already posses (i.e. shoes allow the wearer to be good at soccer, speak Spanish fluently, tap dance, etc.) and draw symbols representing that super power on your shoe design. Give your shoe a name and write it on the top of your paper. 8 costume

9 Lesson 3: costume continued Activity 2: Design a new costume for The Angels Use the sketches from Student Sheet 10 to help with style. Look at what all The Angels costumes have in common in terms of style, fabrics, colours. Analyse as a class which British features and iconic elements have been stylised in these costumes. Students can trace the outline of one Angel from Student Sheet 10 and design their own costume. What else, quintessentially British, might you use to inspire a design for an Angel. The inspiration might be a British job (farmer, tea-shop owner) or it might be something more abstract (Paddington Bear, Stonehenge). 9 costume continued

10 STUDENT SHEET 9: INTERVIEW DESIGN x3 GregG Barnes Costume Designer (GB) Josh Marquette Hair Designer (JM) David Rockwell Scenic Designer (DR) Join us as we jump into conversation with three members of the KINKY BOOTS design team! Q: Can you describe your design concept for KINKY BOOTS the musical? DR: The goal was to create sets that reference the locations depicted in the film, but in no way attempt to physically recreate them. At the start of the design process, from the first conversation with the director and choreographer, Jerry Mitchell, the idea was to design a single physical environment that could somehow serve the entire play up until the final transformation to the climactic scene at the International Milan Shoe Fair. The result was what could be described as a three-dimensional collage of an aging British shoe factory. GB: The concept? It is a big word isn t it? I d say that the design celebrates family in a funny way; the extended family that we all create once we leave home and go out into the word to find our way. The family of the Factory Workers and the family that Lola has created with her Angels are different in so many details but, at heart, they have more in common than it first appears. JM: The design behind KINKY BOOTS shows the flat, regular working life in a factory verses the theatrical beauty of drag queens on stage. The time period is contemporary but for the hair design, I tried as much as possible to keep the factory workers a little bit dated; like they have been hanging onto a style from their youth. They got stuck at their favorite period of life about 20 years ago like so many people do. DR: It is a crucial part of the story that the Price & Son factory has been overseen by generations of the Price family. Our basic environment became the interior of the factory, yet not in any naturalistic way, but only suggesting what it might feel like to work in such a place. It is not until the final scene of the show that there is any large transformation. The show moves away from the small world of Northampton to the larger more exotic world of the Milan Shoe Fair a world that is as alien as the factory was familiar and towards which the story has been moving all along. Q: The juxtaposition between the two lead characters (Lola and Charlie) is extreme. How do the elements of your design support both of the characters worlds? GB: Colour is always your most important tool. Next, we shape the little details that aid the actor in telling the story. The factory workers wear a lot of layers and colours that are cool like clothes that are worn and have little stories that are built in because of how they are used at the factory. A little trick that we have built in with the Factory ladies is that their clothes become a bit brighter and tidier as they spend time with Lola. She inspires them to take a bit more care with their...there is a kind of honesty in the design that pulls people instantly into a story of real people and the lessons that are learned about the universality of feelings and the common traits that we all share... appearance. The men resist Lola and we try to help that along as well. DR: To contrast Charles and Lola s lives, we designed the factory to be able to transform itself from the staid, solid, iron and brick world of Charlie s Northampton, and of Charlie himself, to the flash and dazzle of Lola s drag club in London, and of Lola herself. Our primary method to create this transformation was based on rivets a major part of 19 th century factory design. There are thousands of rivets in the design of the factory on stage. Of course, none of them are real; most are tiny domes made of wood and painted to appear like iron rivets. But more than 1,200 are actually small dome-shaped LED lights that when not lit look just like all the other rivets, but when illuminated can dance and flash and chase and change to whatever colour is called for. Therefore, when it s time for Lola s early scenes in London or the later dance numbers with Lola and her Angels in the factory, the use of the LED lights in conjunction with the costumes and the shifts in the stage lighting allows an almost instantaneous shift from Charlie s world to Lola s and back again. JM: Contrary to the world of the factory, the drag queens are beauty and style in one way or another and some have a trashy style! Again, I worked closely with Gregg to come up with individual looks for these girls. Lola has to be the opposite of Charlie. Charlie is handsome with hair that is perhaps due for a cut whereas Lola is all glamour inspired by many of today s current divas. The ladies around Lola complement his style with individual characteristics of their own. I used the world around me to design these looks. I saw what women are wearing on television and in fashion magazines and on the street. GB: In contrast to the world of the factory and the workers, the Angels and Lola wear clothes that are brighter, more fashion conscious, more theatrical. They are performers and create the illusion of being women. There is a lot of thought and care that have gone into getting them right. Continued on next page 10 interview

11 Q: What other factors have influenced your design? DR: The need to create a distinct transformation at the end of the show moving from Northampton to Milan was a considerable influence. So while our research for the factory concentrated on the look and feel of an old and worn out 19 th century factory building, in contrast, our research for the shoe fair focused distinctly on the 21 st century on the new, the fashionable, and the cutting edge. The result was sleek, tubular black steelwork walls and randomly attached mirror panels. The steelwork walls were an echo of the older factory ironwork, but their cool black finish and the crisp mirror panels were distinctly contemporary. Behind it all is a Bubble Light Wall, composed of more than 1,500 light bulbs attached to another mirrored surface and controlled by 16 circuits, which allow the lights to appear to chase each round and about as well as create innumerable flashing patterns. The desire was to create a high fashion funhouse that would stand in stark contrast to a far more serious Price & Son factory. GB: I always look to many sources for inspiration. [Director/Choreographer,] Jerry Mitchell and the cast all went and visited the actual factory where the story is set. Photos from those visits were extremely helpful. I also studied the film which is something that I usually avoid, but the extras in the background are actual factory workers (not actors) and it gives the film a texture that is honest. JM: I worked very closely with Gregg to craft a look for each character. Gregg is a master and very inspirational to watch as he carefully considers every aspect of a character and commonly gives actors ways to enhance their performances. For the character of Lauren, we went the opposite of dated. She is trying to be very hip and perhaps bleached her hair and styled it like someone she saw in a music magazine. She tries to settle into factory life but is maybe a little too feisty for it. This idea of a dated world is also reflected in David s beautifully rugged set and I think all design aspects complement each other very well. GB: I also called friends of mine in London and they turned me on to Coronation Street, which is a long running television series. I looked at many episodes of that for combinations of colour, how things are layered and the sort of work clothes that are featured in that working class setting. For the Angels and Lola that is more of a flight of fancy but I tried to make each one unique and to take advantage of the cast that has been assembled by studying their personas. I watched the first three seasons of RuPaul s Drag Race to inspire me as well! Q: In terms of design, what do you find most striking about this production? GB: I think we have created a beautiful, simple, cohesive design for the actor s to work through this touching and amusing story. I love how all of the elements support each other and that is a credit to the singular vision of Jerry Mitchell, our director. The story is based on real events and there is a kind of honesty in the design that pulls people instantly into a story of real people and the lessons that are learned about the universality of feelings and the common traits that we all share even though we come together from many diverse paths. DR: Three things in particular were very satisfying in the final design of KINKY BOOTS. First, the factory space successfully captured the sense of that gritty, old industrial work space, yet at the same time in a curiously romantic way was in keeping with the fairytale rhythms of a musical comedy. Second, the original concept of playing all of the scenes not just the literal factory scenes within the environment of the factory worked as well as it did. And lastly, the final scene at the Milan Shoe Fair was such a complete transformation, but with a relatively minimum amount of scenery. The stark contrast between the rusting, grimy treadmills of Northampton and the black lacquered chrome runways of Milan is very satisfying in the event. JM: This is a beautiful production. Every stage picture not only tells a story but looks richly textured and interesting as well! 11 interview continued

12 STUDENT SHEET 10: COSTUME SKETCHES 12 STUDENT SHEET 10: COSTUME SKETCHES

13 STUDENT SHEET 10: COSTUME SKETCHES continued 13 STUDENT SHEET 10: COSTUME SKETCHES continued

14 Lesson 4: set design Duration: 50 minutes - 1 hour Learning objective: To analyse how the set and staging was used to reflect different themes in the musical. Activity: Ask the class to discuss the set design in groups. You may want to print a selection of the images from the Images Pack. Share back their observations with the class. Use the following questions to prompt analytical responses. How did the set help tell the story? Did it look realistic, or has the designer used some abstract features to tell the story? What colour palette has the designer used? How does the set move and change during the production? What elements are available to a set designer when working in the theatre? (Set moving in from the wings, or from above or below the stage.) How does this help to portray the story? What features did you like, what stood out? Ask students to think about how the themes and different characters of Kinky Boots are portrayed through the set. Extension and Key Stage 5: Props: Design a prop for one of the Kinky Boots characters. How does this prop represent the character? 14 lesson 4: set design

15 Lesson 5: Lighting Design Duration: 50 minutes - 1 hour Learning objective: To evaluate the lighting design in Kinky Boots in detail. Printable resources: Use this link to print this fantastic Lighting Drama Terms Poster : STUDENT SHEET 11: LIGHTING EFFECTS 1 STUDENT SHEET 12: LIGHTING EFFECTS 2 STUDENT SHEET 13: SCRIPT EXTRACT 1 Starter: Discuss the lighting design questions from the Evaluation of Live Theatre Worksheet focusing on students initial responses to lighting design and how this worked with the overall set and costume design of the show. Ask students to complete Student Sheet 11: Lighting Effects 1. Remind students of different lighting effects on the sheet: gobos, gels, fading, projection etc. Main activity: Read through script extract on Student Sheet 13 with students. Explain this is from Act 2 where Lola sings in her father s nursing home. Look at the photograph on Student Sheet 13 - Lighting effect 2. This shows the lighting state for this scene. Ask students to annotate the picture and add any other comments about the effect of this lighting state. Can students analyse why the lighting designer, Kenneth Posner, has chosen this lighting state? What consideration has he had to make? Ask students to list some questions that Kenneth would have to ask himself and the creative team. What effect does it have on the audience? How does it emphasis the message in Lola s song and the effect on the audience? 15 Lesson 5: Lighting Design

16 STUDENT SHEET 11: LIGHTING EFFECTS 1 Fill in the following table. Did you notice any of the below being used in the performance of Kinky Boots? If so, which scene? What effect did this have on the atmosphere of the scene? Lighting effect Colour Scene or moment in storyline Effect on mood or atmosphere. How did it make the audience feel? How did it enhance the storytelling? Gobbos Gels Spotlights Filters Gauzes Projections Blackout Fading and cross faders 16 STUDENT SHEET 11: LIGHTING EFFECTS 1

17 STUDENT SHEET 12: LIGHTING EFFECTS 2 Look at the light state below, which is taken from Lola s song Hold me in your Heart in Act 2. What specific lights have been used here to light the space? What effect does the lighting have on the overall performance of the song? Did they help to build atmosphere, and if so, in what way? 17 STUDENT SHEET 12: LIGHTING EFFECTS 2

18 STUDENT SHEET 13: SCRIPT EXTRACT 1 hurt someone I love. LOLA is slowly revealed in flowing gown, upstage. CHARLIE (cont'd) But forget me. Forget Milan. Forget the boots and business. What I wanted to say was; if anyone ever tries to tell you you re something less than a man, you have them see me. If being a man means being brave enough to take on the entire world then you re the ONLY man I ve ever known. Certainly the best. You challenged Don to change his mind, but I m the one who really needed that lesson. MUSIC: HOLD ME IN YOUR HEART (vamp) CHARLIE (cont'd) So, this is Charlie from Northampton telling Simon from Clacton he s so terribly sorry. Goodbye, Lola. And thank you. INT. SMALL RECREATION ROOM LOLA YOU DON'T WANT TO SEE ME ANYMORE YOU CAN'T LISTEN TO ME LAUGH OUT LOUD YOU DON'T WANT TO SEE ME DANCE YOU CAN'T EVEN TAKE THE CHANCE THAT IT MIGHT REFLECT ON YOU YOU MISSED OUT ON THE BEST PART OF ME THE PART THAT MADE ME WHO I AM TODAY. OH, BUT THE BEST PART OF ME IS STANDING IN FRONT OF YOU AND LOVES YOU ANYWAY. HOLD ME IN YOUR HEART TILL YOU UNDERSTAND HOLD ME IN YOUR HEART JUST THE WAY THAT I AM HE hangs up the phone. LOLA steps forward and begins to sing. 18 STUDENT SHEET 13: SCRIPT EXTRACT 1

19 Lesson 5: Sound Design Learning objective: To explore and express yourself through sound design and peer collaboration. Printable resources: STUDENT SHEET 14: SCRIPT EXTRACT 2 Equipment: A range of percussion instruments, or plastic bottles, cutlery, cardboard boxes etc. Activity: Divide students into groups of 4 or 5. Read over the script extract together. Explain this is where Charlie is talking to factory worker Lauren. She is trying to convince him to change the types of shoes the factory makes. There is factory noise in the background and during the scene a telephone rings and the shoe alarms goes off. This signifies that a batch of shoes is ready on the production line. Show students pictures of factory interiors to help them visualise the heavy machinery and materials used. Give students ten minutes to play-build and develop a sixty second soundscape that demonstrates REINVENTION/CHANGE. All groups must have the same scene location (a shoe factory) but each student contributes a sound that represents something happening within the factory. Encourage the students to be creative, expressive and original with their sounds no dialogue at this stage. Tell students to think about repetition and layering. The lead sound designer could act as a conductor controlling the dynamics using hand gesture for volume, starting and stopping. Roam the room listening, suggesting and assisting where necessary. After 10 minutes stop the workshop and get groups to share their soundscape. Explain that the groups should now add lines of Kinky Boots dialogue from the script extract over the soundscape. Ask students to aim to create dramatic tension through the pauses, sounds and dynamics in their soundscape. Discuss how sound added to the effect of the dialogue. Groups share their newly REINVENTED factory soundscape. 19 Lesson 5: Sound Design

20 STUDENT SHEET 14: SCRIPT EXTRACT 2 CHARLIE is faced with LAUREN. CHARLIE But what else can I do? We can t keep making things that no one wants... LAUREN Then make something they do. CHARLIE Make something they do what? The MUSIC COMES TO A SCREECHING HALT. LAUREN Make something they do want. Change the product. CHARLIE This is a shoe factory. We make shoes. MUSIC - starts up again as a vamp. LAUREN Not ones anyone wants. Over at the Whitcomb factory: They noted a lack of all-weather hiking shoes. So they started making allweather hiking shoes and saved the factory. Toby s has started making sandals. All the sods who survived went out looking for an underserved niche market and aimed to fill the void. They didn t sit up in their offices whining, What else can I do? SHOE STORE FRONT IN LONDON: THE SHOE ALARM sounds along with the telephone in CHARLIE S OFFICE. 20 STUDENT SHEET 14: SCRIPT EXTRACT 2