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Switching on to

Shakespeare:A Midsummer Nights Dream

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SPEECH & LANGUAGE THERAPY IN PRACTICE SPRING 20024

hy should young people with

severe and profound learning

disabilities want to experience

the story line, the atmosphere

and the language of

Shakespeares A Midsummer Nights Dream in

performance on stage at Shakespeares Globe

Theatre? Vygostsky (1978, p.88) observed,

Human learning presupposes a specific social

nature and a process by which children grow into

the intellectual life of those around them.

Life experiences and opportunities for people

with the highest support needs are often very

restricted, and so Vygotsky presents us with an

interesting challenge: if we do share a social

nature, and the intellectual life of a shared cul-

tural heritage, how might we include people with

multiple disabilities? Our poetry workshops are

an exploration of this question.Shakespeare seemed an obvious starting point:

his monumental and enduring influence on

English language and culture has been described

by Bernard Levin (1983, 167-168) in one long and

enthusiastic sentence:

If you cannot understand my argument, and

declare Its Greek to me, you are quoting

Shakespeare; if you claim to be more sinned

against than sinning, you are quoting

Shakespeare; if you recall your salad days, you are

quoting Shakespeare; if you act more in sorrow

than in anger, if your wish is father to the thought,

if your property has vanished into thin air, you are

quoting Shakespeare; if you have ever refused to

budge an inch or suffered from green-eyed jeal-

ousy, if you have played fast and loose, if you have

been tongue-tied, a tower of strength, hoodwinked

or in a pickle, if you have knitted your brows, made

a virtue of necessity, insisted on fair play, slept not

one wink, stood on ceremony, danced attendance

(on your lord and master), laughed yourself into

stitches, had short shrift, cold comfort or too

much of a good thing, if you have seen better

days or lived in a fools paradise - why, be that as

it may, the more fool you, for it is a foregone con-

clusion that you are (as good luck would have it)

quoting Shakespeare; if you think it is early days

and clear out bag and baggage, if you think it is

high time and that is the long and short of it, if

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you believe that the game is up

and that truth will out even if it

involves your own flesh and

blood, if you lie low till the

crack of doom because you sus-

pect foul play, if you have your

teeth set on edge (at one fell

swoop) without rhyme or rea-

son, then - to give the devil his

due - if the truth were known

(for surely you have a tongue in your head), you

are quoting Shakespeare; even if you bid me good

riddance and send me packing, if you wish I was

dead as a doornail, if you think I am an eyesore, a

laughing stock, the devil incarnate, a stony-heart-

ed villain, bloody-minded or a blinking idiot, then

- by Jove! O Lord! Tut, tut! for goodness sake!

what the dickens! but me no buts - it is all one to

me, for you are quoting Shakespeare.Our second aim was for participants to develop

language and communication skills within the frame-

work of the poetry workshops. Examples include:1. Awareness

demonstrating any kind of awareness of the

sights and sounds of the activities

2. Anticipation

for example, demonstrating an anticipation of the

loud donkey noises that end two of the activities

3. Turn-taking

participating, in any way, in the turn-taking call

and response structure of the activities

4. Showing self

the participant demonstrates a this is me behaviour

to gain someone elses attention by, for example,

smiling, laughing, eye contact, and vocalizing

5. Showing objects

this is a look at this, attention-sharing behaviour

6. Giving objects

in contrast to the showing objects behaviour7. Seeking physical proximity

moving, or turning, towards another person to

indicate intention or desire to communicate

8. Gaze alternation

looking from an object to someone else - or

vice versa - as a means of sharing attention

9. Joint attention

two or more people are intentionally looking

at the same thing (or person) at the same time

10.Declarative pointing

pointing to an object, while look-

ing at the communication partner

before, during or after the point,

to indicate look at that.

Participants who do not have

speech may also use VOCAs (Voice

Output Communication Aids).

Anecdotal evidence suggests that,

while many Alternative and

Augmentative Communication (AAC) users may

often be provided with switches to respond to

questions, they do not always have the opportu-

nities to initiate an interaction so, in particular, we

wanted to give participants who are switch users

the opportunity to initiate each of the exchanges. It

seems a priority that, when an aim is to encourage

the use of a switch and its social functions, we

should also provide opportunities for users to initi-ate and then to practise a new skill. Therefore the

lines that start each activity are context-setting,

and then become time-independent, so they can be

repeated as often as possible throughout the activ-

ity. This allows switch users to contribute through-

out the exchanges. It follows that it is also useful to

provide them with a pre-recorded message that is

the final line of an exchange, or of a song or story.

Initiated by a switch userEach of the six activities from A Midsummer

Nights Dream (see figure 1) contain extracts of

original text that is performed in call and response

(one or more persons calling out the words, and

the others then repeating those words or respond-

ing by any movement or sound). Each of the work-

shop activities can be initiated by a switch user say-

ing the first line, as indicated in italics in figure 1.

Each first line is also time-independent and can be

used repeatedly throughout each activity. For

example, Titanias snoring initiates the first

exchange and, when repeated, can contribute to

the comic effect of the activity. The final line of

each activity, also indicated in italics in figure 1, is

called out by everyone together. Participants with

sensory impairments may also use a drum or tam-

bour, and the resonance of the wooden stage. In

the classroom a resonance board can be used.

We have been very fortunate in having access to the

if you agree withShakespeare when he says

Question your desires never anything can be

amiss When simplenessand duty tender it

How happy some oer

other some can be!

Read this

Keith Park turns bard as two groups of pupils with severe and profound learning disabilities participate in aseries of poetry workshops at Shakespeares Globe Theatre. Get your communication aids, parachute, glitteryblanket and drum ready, and prepare to join in the fun...

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6. Let the audience look to their eyes

So says Bottom, convinced that their play Pyramus andThisbe will move the audience to tears. TheMidsummer Nights Dream is full of references to eyesand the imagery of vision. Helena says Love looks notwith the eyes but with the mind and that Demetrius isdoting on Hermias eyes - an indication that this mightnot be true love. All the mistakes follow from magicpotions to the eyes. This is a brief selection of poeticimages about eyes and vision from the play. Linesfive and six are spoken by Hermia as the two coupleswake up in the woods the next morning, dazed andconfused. The final two lines are Oberons, as hereleases Titania from the magic spell of her love for

the donkey-headed Bottom.SssshhhhUpon thy eyes I throwAll the power this charm doth oweI see these things with parted eye,When every thing seems double.I will her charmed eye releaseAnd all things shall be peaceSssshhhh

Activity:These lines are spoken quietly, initiated by the switchusers Sssshhhh, while a parachute is gently raisedand lowered over all participants. As the final longSssshhhh is spoken the parachute is released andcovers everyone, and is followed by as long a silenceas possible. This is a calm and quiet activity to endthe workshop.

5. Pyramus and Thisbe

This is the silliest stuff that ever I heard. Sosays one of the characters (V, i) about the playPyramus and Thisbe presented by Bottom andhis friends to the nobles at court. It ends withPyramus, believing Thisbe to be dead, stabbinghimself (lines 1-4); Thisbe then appears, seesPyramus dead, and duly stabs herself (lines 5-7).

OooohhhhO Fates, come, come!Cut thread and thrum;Quail, crush,Conclude and quell!And, farewell, friends;Thus Thisbe ends:AdieuAdieuByeeeeee!!

Activity:A chance for some real over-the-top acting, withthe words being accompanied by grand sweepinggestures. A pre-recorded melodramatic groan -Oooohhhh - on a switch initiates the activity,and can then be repeated throughout, toaccentuate the comedy of the awful acting. Alarge glittery blanket (the wall through whichPyramus and Thisbe have been talking) is heldup by one or two people so that everyone cansee it. It is gradually lowered over someone asthe adieus are called out, and then thrown oversomeone as everyone suddenly shouts Byeeee!

Figure 1 - Workshop activities from A Midsummer Nights Dream

1. Oberon

Storyline:Oberon, the king of the fairies, is having anargument with his queen Titania (II, ii). He decides to teachher a lesson, and puts a magic herb on her eyes as she sleeps.She will fall in love with whatever she sees when waking up -Bottom, with the head of a donkey (III, i). Titania is snoring.....

Zzzzzzzzzzzzzz..........

What thou seest when thou dost wake,Do it for thy true-love take;When thou wakest, it is thy dear:Wake when some vile thing is near.Eee - Eee - Eee - Eee orr!!!I pray thee, gentle mortal, sing againEee orr!! Eee orr!! Eee orr!!

Activity:One person (or two or three) is in the middle of the circle asTitania. The lines are spoken in call and response; after theexchange is initiated by Titania with the snoring sound recordedon the switch, everyone makes a very loud donkey noise.The first Eee orr is done rather like a sneeze (Eee Eee EeeEee-Orr! like Aah Aah Aah Choo!) to provide an exaggeratedanticipation. The donkey sounds can then be repeated twicemore - and even louder - in reply to Titanias words on wakingup. This activity is also done using a parachute: participants

gently wave the parachute over the sleeping head(s) ofTitania; the parachute is then dropped by everyone (as theEee-Eee-Eee is spoken) except one or two people who quicklypull back the material to reveal the waking Titania as everyonecalls out Eee-orrr! (Our parachute is dark blue with brightyellow stars - the sky of the Midsummer Night.)

2. Hermia to Helena

Storyline:Helena and Hermia are lost in the woodsand are very cross with each other (III, ii). Inthe play, Helena is often played by someonetall, and Hermia by someone short, hencethe painted maypole and dwarf insults inthe next two extracts.

You puppet, you!Painted maypole!How low am I?Not yet so lowBut that my nailsCan reach intoThine eyes!

Aaarrgghh!

Activity:This activity is initiated by Helenas wordsYou puppet you! pre-recorded on theswitch. Hermias lines are spoken withsimulated anger, starting quietly and gettinglouder each line, until the Aaarrgghh isscreamed out with everyone stamping theirfeet and waving their arms in a simulatedtemper tantrum. If Helenas words are

repeated by the switch user throughoutthe exchange, it contributes to the effectof two people having a noisy argumentOne or more participants can be in themiddle of the circle as Helena, to provide afocal point for Hermias invective.

3. Helena and Lysander,to Hermia

Storyline:Helena and Lysander take theirturn at insulting Hermia (III, ii).

Oooohhhh!When shes angryShe is keen and shrewd

Though she be but littleShe is fierceGet you gone you dwarfYou minimusYou beadYou acornOooohhhh

Activity:The Oooohhhh! on the switchstarts this exchange, which wedo in a pantomime dame style(think Julian Clary) to provide acontrast to the previous activity.It finishes with everyoneputting their hands on theirhips and calling out a veryexaggerated Oooohhhh!

Participants can also suggestanother character whose stylecan be imitated - ClintEastwood (make my day) orPatsy or Edina from AbsolutelyFabulous.

4. Bottom

Storyline:After his Midsummer Nights Dream,Bottom wakes up and announces: Iwill get Peter Quince to write a balladof this dream: it shall be calledBottoms Dream, because it hath nobottom (IV, i). But he just cannotget the words right.

Eee orrI have had a dreamMethought I was -Methought I had -The eye of manHath not heardThe ear of manHath not seenWhat my dream wasMan is but an assEee orrr!!

Activity:The Eee orrr that dominates thisexchange is heavily ironic: an Eeeeorrr that means something like stu -pid. Anyone who has ever seen JohnCleese and others playingthe verygormless Mr and Mrs Gumby (knottedhandkerchief on head, rolling eyes,trousers rolled up, arms held out likepenguin flippers, and calling outDhhrrr!) may have a role model.

Mark Rylance, Artistic Director of the Globe Theatre,meeting the group of pupils from Charlton School whoare doing A Midsummer Nights Dream on stage.

pisode 2: Hermia to Helena:Thine eyes!

Aaaarrrggghhh!!!How low am I?Not yet so lowBut that my nailsCan reach into

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SPEECH & LANGUAGE THERAPY IN PRACTICE SPRING 20026

Encounter: being present, being provided with

sensations.

Nicole attended each of the workshops. Shewas placed in the centre of the semi-circle ofthe participants, and was supported by amember of staff sitting next to her. Nicole layon the stage floor; participants stamped onthe stage floor during the words of theexchange so that she could feel the vibrations.

Awareness: noticing that something is going on.

When the gong was used during the workshops

(episodes 1 and 6), Nicole would often turntowards it. She also often looked at andreached for the parachute (episode 6) as it waslowered over her as well as the glittery blanket(episode 5).

Attention and response: showing surprise,enjoyment, dissatisfaction.

Nicole smiled when she was helped to use thedrum to set the tempo of the call and response.On several occasions she answered the soundand resonance of the gong by calling out in aloud and low call (confirmed by her family whowatched the video of the workshop).

Engagement: directed attention, intentionallooking, listening, showing interest, recognition.

On many occasions, Nicole looked at the whiteglittery blanket as it was lowered over her aspart of one of the activities (episode 5). Shealso directed her attention towards the gongand the parachute on many occasions.

Participation: supported participation, sharing,

turn-taking.

With the support of a member of staff, Nicolefully participated in the turn-taking of the calland response method of storytelling by beat-ing the drum. This enabled her to help initiateeach activity.

REV

stage of the Globe Theatre, and also the participation

of three actors from the Globe, whose enthusiasm

and commitment helped to make the workshops

very special. On several occasions we were also able

to use the musical instruments that were used in the

Globe Theatres summer production of Cymbeline.

To evaluate the workshops we are using a frame-

work for achievement based on the work of Brown

(1996) and Grove (1998). This is the evaluation form

for Nicole, who is 12 years old and has high support

needs including a dual sensory impairment:

I will roar, that I will do any mans

heart good to hear me; I will roar,

that I will make the duke say, Let

him roar again, let him roar again.

... I will roar you as gently as any

sucking dove; I will roar you as

twere any nightingale.

Dark night, that from the eye his

function takes,

The ear more quick of

apprehension makes;

Wherein it doth impair the seeingsense,

It pays the hearing double

recompense.

So we grew together,

Like to a double cherry, seeming

parted,

But yet an union in partition;

Two lovely berries moulded on

one stem;

So, with two seeming bodies, but

one heart.

Reflections

LINGUISTICS

NARROW INPERSPECTIVEHUMAN COMMUNICATION: ALINGUISTIC APPROACHGraham WilliamsonSpeechmarkISBN 0 86388 236 6 25.95The intended target audience for this text

includes professionals, teachers, carers and stu-

dents. It addresses human communication

from a linguistic perspective, including lan-

guage acquisition, language use, semantics,

grammar, phonetics and phonology.

Although most aspects of communication

were covered, the content tended to be

quite narrow in perspective, giving little con-

sideration to areas such as bilingualism, signlanguage and written language.

This book would be difficult for non-special-

ist readers to get into, as some sections tend-

ed to be technical in terms of written style

and terminology. Some quite good chapters

would be a suitable resource for profession-

als giving presentations, but for students this

would be better suited as a supplementary

text.

Betty Martin is a speech and language therapy

student at UCE, Birmingham.

LANGUAGEGENERALLY FUNKYTIME TO SING! (CD)The Centre for Creative PlayBlack Sheep Press (UK Distributor)12.00This CD has 26 traditional songs mostly, but

not all, familiar. The words are helpfully

enclosed.

Although sung at a slower pace than usual,

other features - the use of Sesame Street style

funny accents, occasionally quite uncomfort-

able phrasings, extra verses and potentially

confusing word changes (Head, Tummy, Knees

& Toes) - makes a few songs difficult and some-times irritating to listen to. However there is a

nice mix of adult and childrens voices on cer-

tain tracks.

The music is generally funky and interesting,

but some of the introductions and refrains

are long and potentially boring for those

with short attention spans.

When it worked I enjoyed singing along with

ohhh the okey cokey at the top of my lungs.

Unfortunately it didnt happen often enough

for me to recommend this as a must have.

A very good idea, but still needs some work.

Marion Hall is a speech and language thera-

pist working in Newcastle upon Tyne for the

community paediatric service.

Readers of our version of A Midsummer Nights

Dream may be interested to know that the

workshop materials have also been used in school

classrooms as well as onstage at the Globe

Theatre. Apart from the appropriate communica-

tion aids, the workshops only need a parachute, a

glittery blanket, a drum, and staff enthusiasm, to

be done anywhere.

Keith Park is an Advisory Teacher for Sense in

Greenwich and Lewisham, tel. 0771-502-6354,email: keith@busheyhillrd.demon.co.uk.

ReferencesBrown, E. (1996) RE For All. London: David

Fulton Publishers.

Grove, N. (1998) Literature For All. London:

David Fulton Publishers.

Levin, B. (1983) Enthusiasms. London: Curtis

Brown Ltd.

Vygotsky, L. (1978) Mind in Society: Cambridge:

Harvard University Press.

Nicole