teachers resource kit - Queensland Performing Arts Centre ... · © 2 Established in 2006, shake & stir has rapidly become one of Australia’s leading contemporary youth theatre

ANIMAL FARM Teachers’ Resource Kit

www.shakeandstir.com.au

teachers’resource kitCreated & performed by shake & stir theatre coTeachers’ Notes compiled by Naomi Russell.© This Resource Kit is protected by Copyright.Limited photocopying for classroom usepermitted by educational institutions.

© www.shakeandstir.com.au

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Established in 2006, shake & stir has rapidly become one of Australia’s leadingcontemporary youth theatre companies. shake & stir produce an annual season of in-school and Mainhouse productions and a series of in-school workshops for primary andsecondary students reaching a combined total audience of over 180,000. In-schoolproductions include 50-minute Shakespeare adaptations, Shakespeare compilations anda program of moral-based performances targeting key issues affecting youth. shake &stir was the first company to incorporate extensive multimedia into in-school productionsand the first to offer a Shakespeare performance specifically created for primarystudents. shake & stir’s Mainhouse productions extend upon the in-schools programtargeting audiences both young and young at heart. In 2011, shake & stir’s HelpmannAward nominated STATESPEARE embarked on a four-month national tour, visitingtheatres in QLD, NSW, VIC, SA and TAS. In 2012, shake & stir staged their adaptationof George Orwell’s 1984 at QPAC. This sold-out production received rave reviews,broke box office records and will embark on an extensive national tour in 2014. In 2013shake & stir will be presenting 3 Mainhouse productions. In January, the company'syoungest Mainhouse production Out Damn Snot was co-produced with La Boite TheatreCompany. From February shake & stir’s multi award-winning adaptation of GeorgeOrwell’s Animal Farm will tour theatres nationally, returning to QPAC in May for astrictly limited season. In August, the company’s new production Tequila Mockingbird,inspired by Harper Lee’s To Kill a Mockingbird, will premiere at the Cremorne TheatreQPAC. In addition to a busy annual performance schedule, shake & stir theatre co hasan after school drama program reaching approx 400 primary and secondary studentsacross South East QLD.

shake & stir theatre co is a privately owned company, co-founded by Ross Balbuziente,Nelle Lee and Nick Skubij that operates outside of government support.

For full information please visit www.shakeandstir.com.au

Mission: To motivate, educate & relate to youth via theatre and an infectious enthusiasmfor the live arts.


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table of contents...About the Show: All you need to know! 4Shhh! Theatre Etiquette: The do’s and don’ts 5George Orwell: What you need to know 6In a Nutshell: A contextual summary 7Discussion Questions 8Useful Links 8Meet and Greet: The animalistic cast & crew 9-13Getting Busy: Classroom Activities - Pre and Post ShowStarter. Word Bingo 14-15Warm Up. Liar Liar & Animalisms 16Theme 1. Power Play 17-19Theme 2. Greedy Little Pig 20-21Theme 3. All Animals are Equal 22-23Theme 4. Rebellion 24-27What now? Classroom ResourcesAnimal Profiles 28-33Dramatic Elements 34-38Drama: Forming/Presenting/Responding 39English: Persuasive/Expository/Reflective/Imaginative 40Writing a Critical Review 41Reviewing the Show: Student worksheet 42-45

a note to teachers using the teachers’ notes...

All of the activities in this booklet have been created to be used pre or post show.Some are more suited to a Drama classroom, whilst others were created forEnglish or History - BUT all can be adapted for use in your subject area! You arethe teacher, you know your students best.

We have also included the Common Curriculum Elements (CCE’s) that are usedin each activity. This is a guide for you as a teacher, and also helps the students tosee what skills they need and how they can be used in other subject areas.

Please enjoy the activities and the show! If you have any questions about thenotes, please email the Education Liaison, Naomi Russell:[email protected]

Also, we would love to hear from you or your students - if they want to share anyparticular creative tasks they have completed please email:[email protected]


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ABOUT THE SHOW:’TIME: 85 mins + 10 minQ&ASuitability: Grades 8-12. Teacher discretion needed for earlyhigh school years due to simulated violence.ACTIVITIES FOR USE IN:Drama, English & History

Four legs good, two legs bad.

Animal Farm, one of the most controversial and studied political commentariesreturns to Brisbane in a multi-award winning, physical theatre production. Playingfor a strictly limited season, George Orwell's simple yet intensely powerful fairytale illustrates with stunning clarity and grotesque beauty how greed and powercorrupts and with devastating consequences, can change the course of history.

Revolution has taken place at Manor Farm. The pigs have assumed control andunder the principles of Animalism a better life free from human service is promisedto all. Guided by a simple set of rules and an unrelenting respect for authority, it isnot long until the rules that promised freedom become the chains that bind theanimals once again.

Directed by Michael Futcher and realised by shake & stir and a cast ofQueensland's most dynamic actors, Animal Farm promises to be one of the mostshocking, relevant and wickedly funny theatre events of 2013. Pig in and you willnot be disappointed.

CREDITS:’

Creators: Ross Balbuziente, Nelle Lee & Nick SkubijAdaptor: Nick SkubijDirector: Michael FutcherDesigner: Josh McIntoshLighting Designer: Jason GlenwrightSound Designer: Guy WebsterProjection Designers: optikal blocDramaturg: Michael FutcherProduction Photography: Stephen HenryFeaturing: Ross Balbuziente, Tim Dashwood, Nelle Lee, Bryan Probets& Nick Skubij.

FOUR LEGS GOOD,

TWO LEGS BAAAAAD


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shhh! theatre etiquette: the do’s and don’ts

shake & stir is a live theatre company and many of your students may beunfamiliar with standards of behavior for a live theatre audience. Below aresome guidelines for your consideration. Please go over these points withyour students prior to the performance:

We encourage your students to actively participate in our performancesby applauding, laughing and asking/answering questions at the end.

Food or drink is not encouraged during a performance as it is distractingto both the actors and other audience members.

General chitchat, talking and moving around the classroom orperformance space while the performance is underway is notencouraged. Live theatre is different to Television or Film – the actors onstage can hear and see as well!

Questions are welcome and encouraged but will be restricted to thedesignated question time at the end of each performance.

Please ensure that your students switch off their mobile phones andleave them in their bags before the performance begins.

Finally - enjoy the show!


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George Orwellwhat you need to know

A BRIEF HISTORY

Orwell was born Eric Arthur Blair on 25 June 1903 in eastern India, the sonof a British colonial civil servant. He was educated in England and, after heleft Eton, joined the Indian Imperial Police in Burma, then a British colony.He resigned in 1927 and decided to become a writer. In 1928, he moved toParis where lack of success as a writer forced him into a series of menialjobs. He described his experiences in his first book, 'Down and Out in Parisand London', published in 1933. He took the name George Orwell, shortlybefore its publication. This was followed by his first novel, 'Burmese Days', in1934.

An anarchist in the late 1920s, by the 1930s he had begun to considerhimself a socialist. In 1936, he was commissioned to write an account ofpoverty among unemployed miners in northern England, which resulted in'The Road to Wigan Pier' (1937). Late in 1936, Orwell travelled to Spain tofight for the Republicans against Franco's Nationalists. He was forced to fleein fear of his life from Soviet-backed communists who were suppressingrevolutionary socialist dissenters. The experience turned him into a lifelonganti-Stalinist.

Between 1941 and 1943, Orwell worked on propaganda for the BBC. In1943, he became literary editor of the Tribune, a weekly left-wing magazine.By now he was a prolific journalist, writing articles, reviews and books.

In 1945, Orwell's 'Animal Farm' was published. A political fable set in afarmyard but based on Stalin's betrayal of the Russian Revolution, it madeOrwell's name and ensured he was financially comfortable for the first timein his life. 'Nineteen Eighty-Four' was published four years later. Set in animaginary totalitarian future, the book made a deep impression, with its titleand many phrases - such as 'Big Brother is watching you', 'newspeak' and'doublethink' - entering popular use. By now Orwell's health wasdeteriorating and he died of tuberculosis on 21 January 1950.

This biography was found at: http://www.bbc.co.uk/history/historic_figures/orwell_george.shtml


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A CONTEXTUAL SUMMARY

Old Major, the old boar on Manor Farm, calls the animals on the farm for a meeting, where he vilifies thehumans and teaches the animals a revolutionary song, "Beasts of England".

After Major’s sudden death, two younger pigs, Snowball and Napoleon, assume command and turn hisdream into a philosophy. The animals rebel and drive the drunken and irresponsible Mr. Jones from thefarm, renaming it "Animal Farm".

The Seven Commandments of Animalism are written on the wall of a barn. Snowball attempts to teach theanimals reading and writing and the pigs elevate themselves to positions of leadership.

Napoleon takes the pups from the farm dogs and trains them privately. When Mr. Jones tries retaking thefarm, the animals defeat him at what they call the "Battle of the Cowshed". Napoleon and Snowball strugglefor leadership. When Snowball announces his idea for a windmill, Napoleon opposes it. Snowball makes aspeech in favour of the windmill, whereupon Napoleon has his dogs chase Snowball away. In Snowball'sabsence, Napoleon declares himself leader and makes changes. Meetings will no longer be held andinstead a committee of pigs will run the farm.

Using a young pig named Squealer as a mouthpiece, Napoleon announces that Snowball stole the idea forthe windmill from him. The animals work harder with the promise of easier lives with the windmill. After aviolent storm, the animals find the windmill shattered. Napoleon and Squealer convince the animals thatSnowball destroyed the windmill. Once Snowball becomes a scapegoat, Napoleon begins purging the farm,killing animals he accuses of consorting with Snowball.

Napoleon abuses his powers, making life harder for the animals; the pigs impose more control whilereserving privileges for themselves. The pigs rewrite history, vilifying Snowball and glorifying Napoleon.Squealer justifies every statement Napoleon makes, even the pigs' alteration of the Seven Commandmentsof Animalism. The Commandments begin to change and evolve as each of the pigs find their own place as‘leaders’. ‘Beasts of England’ is replaced by an anthem glorifying Napoleon, who appears to be adoptingthe lifestyle of a man. The animals, though cold, starving, and overworked, remain convinced throughpsychological conditioning that they are better off than they were when ruled by Mr. Jones.

Squealer begins to abuse his power and the other pigs. Mr. Frederick, one of the neighbouring farmers,swindles Napoleon and attacks the farm, using blasting powder to blow up the restored windmill. Thoughthe animals win the battle, they do so at great cost, as many, including Boxer, are wounded.

Boxer continues working harder and harder, until he collapses while working on the windmill. Napoleonsends for a van to take Boxer to the vet, explaining that better care can be given there. Boxer dies,amongst speculation from the pigs that it was a cover-up from Squealer.

Years pass, and the pigs learn to walk upright, carry whips, and wear clothes. The Seven Commandmentsare reduced to a single phrase: "All animals are equal, but some animals are more equal than others."Napoleon holds a dinner party for the pigs and the humans of the area, who congratulate Napoleon onhaving the hardest-working animals in the country on the least feed. Napoleon announces an alliance withthe humans and reverts the name of the farm to "Manor Farm".

The animals, overhearing the conversation, notice that the faces of the pigs have begun changing. During apoker match, an argument breaks out between Napoleon and Mr. Pilkington when they both play the Ace ofSpades, and the animals realise that the faces of the pigs look like the faces of humans and no one can tellthe difference between them.

Adapted from a Synopsis found at http://en.wikipedia.org/wiki/Animal_farm


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DISCUSSION QUESTIONS/ What is power? Think about leadership and what makes someone a good or bad

leader. Write down the 5 best/worst qualities of a leader. What differences did you notice between the play and the novel? Which did you enjoy

more and why? Create a PMI (plus/minus/interesting) chart with your findings. How do you release anger? What makes you angry? How can anger be used in a

healthy way? Have you ever felt that leaders contradicted themselves? Think about politicians and

the promises they make before getting elected. Why does this happen? Why arehumans such hypocritical people? Have you ever done something you said youwouldn’t do?

How does Orwell use foreshadowing in the novel? Think of specific examples (suchas the dogs attacking Boxer). How were these shown in the stage version?

Discuss the quote “Four legs good, two legs bad”. How many times did thecommandments change throughout the story? WHY?

Think about each of the characters names and try and come up with their symbolicmeaning. EG Snowball = gets bigger and bigger, or the snowball effect.

What is totalitarianism and where else in history has it been seen before? Discuss the pros and cons of socialism VS communism. If you had to live under one

way of life, which would you choose and why? References to Animal Farm exist in all forms of pop culture. Why has it had such an

impact on writers/directors/musicians/illustrators?

USEFUL LINKS//Social Media:

www.youtube.com/shakeandstirtheatreco (Animal Farm Trailer)

PLAYLAB

Electronic or print on demand copies of the Animal Farm script for sale: www.playlab.com.au

ORWELL

‘Why I Write’ George Orwell Essay: http://orwell.ru/library/essays/wiw/

The history behind Animal Farm: http://www.gradesaver.com/animal-farm/study-guide/section11/

http://en.wikipedia.org/wiki/Animal_Farm

STUDY NOTES

http://www.sparknotes.com/lit/animalfarm/

http://www.gradesaver.com/animal-farm/


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Meet the Cast and Crew:

Ross Balbuziente - CastFor shake & stir: Ross is the Co-Artistic Director ofshake & stir and has created over 20 youth productionsand performed in over 1000 performances. He co-created and performed in STATESPEARE (2009, 2011,2011 national tour), ANIMAL FARM (2011), 1984 (2012).Other Theatre: Romeo & Juliet (QTC), Julius Caesar (LaBoite), Citizen Jane (JUTE), A Midsummer Night'sDream, Two Weeks with the Queen, The Taming of theShrew, Little Shop of Horrors (Harvest Rain TheatreCompany), Assassins (Warehaus Theatre/QPAC), Of

Our Own Volition (Spangled Drongo Productions/Metro Arts), As You Like It, TheComedy of Errors, Titus Andronicus and Monkey and His Magic Journey to theWest (Grin & Tonic Theatre Troupe). Ross developed and performed in an originalShakespeare compilation production Strangers on the Globe Stage London.As Director: shake & stir's annual in-school seasons and productions ofSTATESPEARE, Out Damn Snot (shake & stir/La Boite), Thus I Die!, Bard-Wired,Love is an Ass (University of Southern Queensland).

TIM DASHWOOD - CAST

For shake & stir: Debut. Other Theatre: Tim starred inDavid Williamson’s World Premiere of Managing Carmen(Queensland Theatre Company & Black Swan StateTheatre Company), Romeo & Juliet (QTC) , The Last 5Years (Ignatians/QPAC), Dead Cargo (co-presented byMetro Arts Independents), Fame - the Musical (2010National Tour), The Importance of Being Earnest,Rabbithole and The Exception & The Rule (QTC), TheYear Nick McGowan Came to Stay (La Boite), The AwfullyBig Adventures of Peter Pan (Harvest Rain), Much AdoAbout Nothing (4mbs), The Reunion, Love SongDedications and Donna's Party (Metro Arts), Mandragora (Short & Sweet Festival- awarded Best Actor & Best Drama). With the Queensland Arts Council, he hastoured regional Queensland in Zooillogical, idotluvdotu and Hermes and theNaked Flame. Film & Television: the independent feature - Dartworth, and shortfilms: Cowboys, Stars & Angels, Cravings, Stolen Honour and Tunnel Vision(QPIX - awarded QNFA Best Actor), Myles West (48 hr Short Film Festival –Awarded Best Actor) and Tightrope (RACQ/Qld Police).


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Nelle Lee - CastFor shake & stir: Nelle is a founding member and Co-Artistic director of shake & sir and is kept busy each dayperforming, teaching and creating youth theatre. Nelle co-created, wrote and performed in STATESPEARE (2009,2011, 2011 national tour), ANIMAL FARM (2011), 1984(2012), Out Damn Snot (2013). Other Theatre: TheCrucible, Maxine Mellor's Mystery Project, Property of theClan (Queensland Theatre Company). Complete Works ofWilliam Shakespeare by Chicks & ALICE (Harvest Rain

Theatre Company). Nelle also appeared in Magda's Fascination with Wax Cats(The Forward Movement/Metro Arts Independence), Catholic School Girls (ThreeSisters Productions) and Newton's Law (Strut 'n' Fret/QLD Arts Council). Film &Television: Sea Patrol seasons 2 & 3, Mortified and the feature film JUCY whichpremiered at the Toronto International Film Festival in 2010. Training: BachelorTheatre Arts (Acting) from the University of Southern Queensland. Awards: 2011USQ Alumnus Award, 2011 USQ Arts Faculty Award

Bryan Probets - CastFor shake & stir: ANIMAL FARM (2011), 1984 (2012).Other Theatre: Pygmalion, Waiting For Godot, TakingAim, The Alchemist, The Importance of Being Earnest,Private Fears in Public Places, A Christmas Carol, TheVenetian Twins, Scapin, The Lonesome West, ManoNera, The Cherry Orchard, The Road to She-Devil'sSalon, The Works 2003 (Queensland TheatreCompany); Edward Gant's Amazing Feats of Loneliness(with Sydney Theatre Company), As You Like It, TheWishing Well, The Danger Age, The Year NickMcGowan Came to Stay, Operator, Crèche and Burn,Way Out West, Milo's Wake, Hermes and the Naked Flame (La Boite TheatreCompany/Queensland Arts Council) all for La Boite. The Composer is Dead (Outof the Box); Australia The Show! (Hothouse Theatre Company); The A to Z ofCabaret (Brisbane Cabaret Festival/Qld Arts Council); Zooillogical (KiteTheatre/Schnapper Head), Credo the Innocence of God (Queensland MusicFestival); The Amazing Magician Goes Troppo (Queensland Ballet); Love'sLabour's Lost, As You Like It, The Woman in Black (Harvest Rain); King Lear(Trocadero); The Legend of King O'Malley (On Giant's Shoulders); The Zoo Story(QUT); Hamlet (Matrix Theatre/QPAC). Film: Singularity, A Heartbeat Away,Daybreakers, Triangle, The Proposition, Nim's Island, Subdivision, The Horseman,Punishment and Hildegarde. Television: Monarch Cove, Starter Wife, Fat CowMotel, Love Weights, Farmkids. Awards: Two Matilda Commendations (2003),MEAA Award for Emerging Artist (2003). Training: Bryan is a graduate of USQ.


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Nick Skubij - Cast

For shake & stir: Nick co-created and performed inSTATESPEARE (2009, 2011, 2011 national tour). As aco-founder and Co-Artistic Director of shake & stirtheatre co, Nick has devised, directed and performed innumerous productions, ANIMAL FARM (2011) , 1984(2012), Out Dam Snot (2013). Other Theatre: Nick hasperformed with some of Australia's leading entertainersincluding Zoe Ventoura, Colin Lane, Glenn Shorrockand Rhonda Burchmore. Performances include Romeo

& Juliet (QTC), EUROBEAT (QPAC), Citizen Jane (JUTE), Crackle, Snap, Pop(JUTE/QTC), Surviving Jonah Salt (KEDT/JUTE), Flutter (JUTE), The 25thAnnual Putnam County Spelling Bee (Oscar Theatre Co), The Fiveways(Brisbane Festival) and A Midsummer Night's Dream (Harvest Rain TheatreCompany). Nick has also worked for Grin & Tonic Theatre Troupe in 2005-2006.He has performed at a number of major arts festivals including Scene ChangePlaywrights Festival (Tasmania), NT Festival of the Arts, Festival Cairns andBrisbane Festival. Trained in classical dance, Nick has danced with theQueensland Ballet and has choreographed and performed in various corporatedance troupes. Film & Television: Second series of Channel 7's popularchildren's television program TOYBOX.

Michael Futcher - DirectorFor shake & stir: ANIMAL FARM (2011), 1984 (2012). Other Theatre: Michaelhas worked over the past 25 years with many of Queensland's major theatrecompanies in various capacities, including actor, director, dramaturg and writer,and, with Helen Howard, is the joint artistic director of Matrix Theatre. As Director:For Queensland Theatre Company: Grimm Tales, Rabbit Hole, The GlassMenagerie, Oz Shorts, A Life In The Theatre (Noosa Long Weekend), Blithe Spirit(Assistant Director) and Explosions (education production); For La Boite: WalkingBy Apple Tree Creek, The Drowning Bride, James and Johnno, Salt and, in co-production with Matrix Theatre and the Brisbane Festival, the critically-acclaimedA Beautiful Life, which toured nationally in 2000 winning Michael Best Director atthe Victorian Green Room Awards along with three other awards; For MatrixTheatre: The Wishing Well, The King and the Corpse!, 1347 and Cutting Loose. In2009, Michael's production of The Kursk (Matrix/Metro Independents/Criticalstages) toured nationally to over 35 venues receiving a Helpmann Awardnomination and 3 Matilda Awards, including Best Director. Other productionsinclude: Dirty Apple (Opera Qld/Backbone), Jane Eyre, Cymbeline, The Crucible,Three Sisters, The Duel, The Cherry Orchard, Camille (QUT), Jane Eyre (USQ)and Macbeth (Rheingold Theatre Club, London). Awards: Michael has wonseveral Matilda Awards, a Green Room Award and a Playlab Award, and beennominated for a Helpmann Award, an Awgie, and 2 Queensland Premier's DramaAwards.


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Josh McIntosh -Designer

For shake & stir: ANIMAL FARM (2011), STATESPEARE (2011, 2011 nationaltour), 1984 (2012). Other Theatre: Josh has designed Rabbit Hole and designconsultant for Thom Pain (Queensland Theatre Company). The Kursk (withCritical Stages & Matrix), The Wishing Well (with Matrix), The Danger Age, TheYear Nick McGowan Came To Stay, and Red Cap (La Boite). Spamalot andApril's Fool (Toowoomba's Empire Theatre). Josh has designed many shows forHarvest Rain Theatre Company including Grease, Jesus Christ Superstar, JosephAnd His Amazing Technicolor Dreamcoat, A Midsummer Night's Dream, Cats,Alice, Little Shop Of Horrors, Twelfth Night and The Lion The Witch & TheWardrobe. Ithica Road, Chasing the Lollyman, and Snagged (deBase) and hasrecently re-imagined Often I Find That I Am Naked. Josh is Artistic Director andwriter/collaborator of Directions Musical Theatre Company, who tour regularlythroughout Australia and overseas. Awards: Del Arte Chart Award every yearsince 2004, and has had a few Silver Matilda Award nominations (2007, 2009,2010).

Jason Glenwright - Lighting Designer

For shake & stir: ANIMAL FARM (2011), 1984 (2012), Out Damn Snot (2013).Other Theatre: Most recent highlights include: The Removalists, Faustus (Co-ProBell Shakespeare/Queensland Theatre Company), Water Falling Down, The LittleDog Laughed, Thom Pain (Based On Nothing) (Queensland Theatre Company);Ruben Guthrie, Julius Caesar (La Boite) The Kursk (La Boite/Matrix Theatre);While Others Sleep (Expressions Dance), DRAG Queensland (Queensland MusicFestival); The Tempest (Zen Zen Zo); The Shining Path, Cake (JUTE); Gaijin(Gardens Theatre); Grease, Aladdin, Jesus Christ Superstar, Songs For A NewWorld, Cinderella, Joseph And The Amazing Technicolour Dreamcoat, Peter Pan,A Midsummer Night's Dream, The Sound Of Music (Harvest Rain/QPAC); MyName Is Rachel Corrie, Blackbird (La Boite Indie); Dead Cargo, Trolley Boys,Tender, The Truth About Kookaburras, The Pillowman, Bronte, The Ghost Writer,The Kursk (Metro Independents); Chasing The Lollyman (Debase). Jason has alsoworked as Assistant Lighting Designer on The School Of Arts and Betrayal forQueensland Theatre Company. Awards: Three of Jason's lighting designs havebeen awarded Silver Matilda Awards Jason was also has been a Silver Award forBest Emerging Artist 2009. In 2010 Jason was engaged with Queensland TheatreCompany as an Emerging Artist.


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Guy Webster - Composer / SoundDesigner

For shake & stir: ANIMAL FARM (2011), STATESPEARE (2009, 2011, 2011national tour), 1984 (2012). Guy Webster is a composer, musician, sounddesigner, performer and teacher. While his live performances have earned him areputation as a prolific and inspiring songwriter, his work in interactive compositionand sound design has featured in festivals, galleries and theatres in Australia,Japan, UK, Europe, USA and China. Other Theatre: Orphans (QueenslandTheatre Company). Ruben Guthrie, I Love You, Bro, Pineapple Queen, The WhiteEarth, Kitchen Diva, Summer Wonderland, The Narcissist, Last Drinks, UrbanDingoes and Creche & Burn (La Boite). Paradise - The Musical (Backbone YouthArts), Salome, Heavy Metal, Hamlet (Frank Theatre), Shifting Intimacies (ICA,London), Cherish Exhibition (QPAC's Out of the Box Festival). Other Music: Guyhas released several CDs and performed on many stages supporting the likes ofBeth Orton, Ed Harcourt, Powderfinger, The Cruel Sea, Mad Professor, EskimoJoe, Ben Lee and Sarah Blasko.


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CLASSROOM ACTIVITIES -PRE AND POST SHOW

STARTER: WORD BINGO

The following game is great as a starter in class. This game gets studentsfamiliar with some of the language in ANIMAL FARM and also gauges theirprior knowledge. It can be played multiple times with the same or differentwords depending on the level of the class or challenge required.

How to play....1.Put up a list of 20 words on the board.2. Students draw a naughts and crosses table in books.3. Students choose 9 words that they think they know the meaning of andwrite these in their table.4. Teacher randomly reads out the meanings of the words on the list (butnot the word itself).5. Students cross off words they have when they hear the meaning of it.6. Bingo is won by being the first to get a line of 3 (or all 9 depending on how

long you want the game to last!).

Two example lists can be found on the following page...

Orwell Squealerslavery

Snowball vaguelyconscious

stupefied corruptionrebel


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List One Meaning to read out.... List Two Meaning to read out....

Orwell The author of Animal Farm and1984.

Boxer A character who works tirelessly and nevergives up.

stupefied To make someone unable to think orfeel properly.

vaguely Indefinite, unclear or uncertain.

retribution A punishment that is considered tobe morally right or fully deserved.

Capitalism A belief system where a country’s wealthis controlled by the wealthy and they investin the poor to make money.

treachery To betray or deceive people inpower above you.

signified To symbol or represent.

conscience The little voice in your head that tellsyou when you’re doing somethingwrong.

Commandments A rule that a group live by.

conscious To be awake and alert. contradiction A combination of ideas that opposed oneanother.

ignorance The be oblivious to what’s reallygoing on around you.

perpetually Constantly or always doing something.

revenge To seek justice for a wrongespecially in a mean way.

shrewd Showing sharp powers of judgement.

foreshadowing A literary device used to hint atevents in a novel.

literate To be able to read and write.

pervading To spread or infiltrate into every partof something.

hierarchical The rank or order of things/people insociety.

privilege To favor one thing or person overanother.

indefatigable untiring, incapable of being tired out.

maxim A short statement expressing a ruleor belief.

drudgery hard, menial or dull work.

Napoleon The leader of Animal Farm. rebellion To act out against someone in power.

manipulate To twist something to your ownadvantage.

primitive rude, crude or vulgar.

betrayal To be unfaithful or disappointsomeone by turning against them.

menacing A person or thing that is likely to causedanger or harm.

blame When you hold someone elseresponsible.

emboldened Given the strength or confidence to dosomething.

coward Being too scared to do something. Snowball The character who is blamed for thebetrayal against Animal Farm.

greed Wanting more than you need orhave.

corruption Dishonest conduct by those in power.

tedious Boring or long winded. propaganda Materials made to make people believewhatever the governments wants them to.

Republic A state in which supreme power isheld by the people and their electedrepresentatives, and which has anelected or nominated president.

Squealer Napoleon’s right hand pig who tells theanimals whatever they need to hear at thetime.

envious To be jealous of someone orsomething.

espionage spying on, or using spies to find outinformation.


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WARM UP: LIAR LIAR

Have students think of 2 true things and 1 lie about themselves. Tell them to tryand think of things that people may not believe but are actually true, andsomething that may or may not be true but is actually a lie. They then get intosmall groups and tell their three things. The other members of the group need totry and guess which was a lie and which were true.

This game is great to highlight how easy it can be to confuse or mislead someonewho trusts you. Ask students to think about which characters do this in ANIMALFARM.

WARM UP: ANIMALISMS

Students stand in a circle. Go around the circle and students each choose ananimal (no double ups allowed) One person starts the game by saying their animaltwice and then someone else in the circle (try to encourage them to not choosethe person next to them).

EG ‘Pig Pig: Hen Hen’. The person who is Hen continues the game. ‘Hen Hen,Donkey Donkey’..... The twist of the game comes by telling students they cannotshow their teeth whilst speaking (and they can’t simply cover their mouth with theirhands!). A funny game to get students laughing and acting silly in front of eachother. Variations: Can be played using their names, animal noises, moods,anything to suit your class!


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THEME: POWER PLAY

1 Define Power [Noun]1: the ability to do something or act in a particular way, esp. as a faculty or quality:the power of speech [with infinitive] the power to raise the dead (powers) hispowers of concentration.2: the capacity or ability to direct or influence the behavior of others or the courseof events: the idea that men should have power over women; she had me underher power.▪ Political or social authority or control, esp. that exercised by a government: theparty had been in power for eight years.▪ The right or authority that is given or delegated to a person or body: police do nothave the power to stop and search.

2 Create a Powerful Character

Use this process to create a character. If you would like, you can take one of theAnimal Profiles (page 28-33) and have the students read and choose one of thosecharacters. From there, they undertake this process and create a dynamic andinteresting character.

5 mins/ Warm up - Everyone walking at same time but each person working on hisor her own...

5 mins/ Lie down/ eyes closed, body relaxed

5 mins/ You’re walking with someone through a town...what’s the town like... is thesun shining? Is it raining? What year is it? What can you smell...? Is there a bird?Can you see them or only hear them?

1 min/ Slowly get up to sitting position

2 mins/ Ask students to think about their chosen character

2 mins/ Think of a mantra for your character, if they had a motto, what would it be?

3 mins/ Begin to repeat the mantra in your head, finding different inflections andemphasis in the words

2 mins/ Lay back down and get back into a state of relaxation and readiness

5 mins/ Wake up character walk them around space

5 mins/ Deliver your mantra to other characters in the room. Listen to others, reactand then move on


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3 mins/ One by one ask students to become more aggressive in getting people tohear what they have to say. Try using a range of tactics, not just volume of voiceor body language

5 mins/ Questions and Reflection – Elements, conventions, style, character,energy...Here are some questions that you can use to encourage thought and developmentof character...▪ Gender / age / skinny / fat / tall / small / hair-colour / eye colour / footwear / skincolour? If this character was something, what would it be; car / food / shoe / songetc.▪ Put your hand on your stomach and feel your character’s centre... breathe intothat centre... what is in there that makes them tick? What can you see that is thecore of them... it could be a colour... an object... or a flower... fire... water... whatcan you feel and see deep inside them.▪ What makes them happy? Pet hate? Favourite food?▪ How do they move.... slow / fast / shy / confident...

3 Create a powerful voice

Here is a vocal warm-up you can do with students to get them using their voiceand thinking about ways to be powerful in voice and expression.WARM UP

“A.E.I.O.U” Exaggerated facial expressions - MAKING IT AS LARGE AS YOUCAN

“Puh” lips are together pushing out the air PROJECT, STRENGTHEN

“HMMMM” Humming continuously - START SOFTLY, GRADUALLY GETLOUDER

“HMMMM up and down the mountain”

“Brrrr” incorporation the tongue, Brring continuously - STARTING SOFTLY,GRADUALLY GET LOUDER

“Burrr up and down” SIREN

Hold tongue “Candice should never be lazy on Tuesday” & “Zip lost his paperumbrella”

Same lines, no tongue


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4 Thou Shalt Not...

The 7 Commandments of Manor Farm are created by Old Major to make the farma more equal and ethical place to live. Each of the Commandments throughout thetext are adapted and interpreted differently, to suit different desires andneeds/wants.

THE ORIGINAL COMMANDMENTS

1 Whatever goes upon two legs is an enemy.

2 Whatever goes upon four legs, or has wings, is a friend.

3 No animal shall wear clothes.

4 No animal shall sleep in a bed.

5 No animal shall drink alcohol.

6 No animal shall kill any other animal.

7 All animals are equal.

If you were to create 7 Commandments for your life, what would they be? How dothey differ from others in the class? Take a moment to write them down and share.Think about how your life experiences dictate what you believe and what you doevery day.

Now try and create just one commandment. Which one would you choose? WHY?

NO ANIMAL SHALL

KILL ANY OTHER ANIMAL

WITHOUT CAUSE.


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THEME: GREEDYLITTLE PIGS

1 THE GREEDY RINGLEADER

Students form a large circle on floor facing in.

One student leaves the room while the circle decide who will be their ringleaderand he/she chooses a physical movement. The student re-enters the space andmoves into the centre of the circle only when invited by the teacher.

The ringleader begins their movement while the group copies his/her physicalaction, they must try and switch the action without being caught. Game continuesuntil the student guesses correctly the ringleader and a new student is chosen torestart the game.

VARIATION: Teacher chooses one or two students to STEAL the power from theringleader (tell them secretly, without the class knowing). Play the game and thendiscuss the results, commenting on how the real ringleader felt and if it wasconfusing for the student trying to guess the ringleader.

2THE GREEDY POEM

Read the poem on the following page and complete these activities: What do you think it means? Are there any characters in the poem? If so,

who are they? What different interpretations could there be? Share all with the class. Who is the character telling the story? What’s their thoughts on greed? Who are they judging? What do you think GREED is? How is it viewed in society?

ACT IT OUTIn small groups act out/ retell the poem in an interesting way. Try and movebeyond just saying the words and acting them out. Rehearse and presentback to the class.

WHAT HAPPENS NEXTRehearse the poem but continue the story showing what happens nextbetween the characters. Flesh it out and see where it takes you. Does onecharacter get punished for their greed? Does the narrator find themselvesbecoming greedy?


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GREEDBY ANONYMOUS

Full of gluttonyPiggish smirk carvedon eager face,a true jack o' lanternyou are.Sinking your teethinto the leg of greedselfish juicesdribble downvile chin,you begin to laughsnorting as you continuelike a pig eating its swill,bile burnsin my throatas I watch.Wasteful withyour paper moneyyou play your ownpersonal monopoly,but sadlyyou do not lose,taking overwith yoursack of gold,you do believe you've wonbut watch outI'm not yet done.


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THEME: ALL ANIMALSARE EQUAL

1 Role-Playing.Have students discuss or role-play one of the following situations:

Your school gets a new principal and they changes all the old rules, some in waysthat seem unfair. Some students organise a protest and ask for a voice in settingrules. The principal rejects this without explanation. What will you do? Whatguidelines will you follow to determine how far your protest should go to gainequality?

You are reading two different newspapers one day, and you see that they telldifferent versions of the same event. How do you decide which to believe?

2 Writing Propaganda.Have students write a description of a school policy or rule that exists in their life,workplace etc. First have them use an informational, objective style that would beappropriate for a newspaper. Then have them rewrite the article as propaganda,changing language to reflect the interests of an individual trying to manipulatestudent opinion.

3 Socialism vs. Communism

Have students research the two political systems of socialism and communismand write a comparison. Identify the principles the systems have in common; thenexplain how the two systems differ.

4 EQUALITY on the farm

Ask for 5 volunteers to be Squealer and give each one of the excerpts found onthe following page. Set the rest of the class up like a town meeting on ANIMALFARM, with each student playing a different animal with a different concern at themeeting. All the Squealers must convince the rest of the class as best they canusing only the lines in front of them but the rest of the class may ask whateverthey want. Reinforce they can ONLY answer with their set lines. Debrief with theclass how silly (hopefully) the Squealers all sounded when they kept saying thesame thing over and over.


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COMRADE NAPOLEON HAS DECREED IT. As you were comrades.

Comrades. A quick word - Tactics. I hope that none of you here doubtfor even a minute the decisions of Comrade Napoleon. Napoleon isbrave and strong. He’s smart and decisive. He merely pretended tooppose the windmill to get rid of Snowball, who as we all now knowwas a very dangerous character of a bad influence. Tactics, comrades,tactics! Tactics comrades, tactics…

Bravery is not enough! One mistake, and our enemies would be uponus. Surely, comrades, you do not want Jones back?

I trust that everyone here appreciates the sacrifice that comradeNapoleon has made in taking this extra labour upon himself. Do notimagine that leadership is all fun and games! It is a deep and heavyresponsibility. No one believes more firmly than Napoleon that allanimals are equal. He would be only too happy to let you make yourdecisions for yourselves. But sometimes you might make the wrongdecisions and then where should we be?

Are you certain that this is not something you dreamt? Have you anyrecord of such a resolution? Is it written down anywhere?


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THEME: REBELLION

1 Beasts of England

The Anthem is a song written to solidify the beliefs of the animals and to inspirethem to success. After reading The Anthem, think about what a good anthem issupposed to do. Anthems were originally written to stir patriotic feelings forsoldiers and fighters; we also listen to anthems and sing before important eventsand sporting matches. What makes a good anthem?

Using the table below, break down and interpret some of the language from TheAnthem.

words/phrase Feelings or/emotions it

evokes

what action ITshould inspire


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BEASTS OF ENGLAND

Beasts of England, beasts of Ireland,Beasts of every land and clime,

Hearken to my joyful tidingsOf the golden future time.

Soon or late the day is coming,Tyrant Man shall be o'erthrown,And the fruitful fields of England

Shall be trod by beasts alone.

Rings shall vanish from our noses,And the harness from our back,Bit and spur shall rust forever,

Cruel whips no more shall crack.

Riches more than mind can picture,Wheat and barley, oats and hay,

Clover, beans, and mangel-wurzelsShall be ours upon that day.

Bright will shine the fields of England,Purer shall its waters be,

Sweeter yet shall blow its breezesOn the day that sets us free.

For that day we all must labour,Though we die before it break;

Cows and horses, geese and turkeys,All must toil for freedom's sake.

Beasts of England, beasts of Ireland,Beasts of every land and clime,

Hearken well and spread my tidingsOf the golden future time.


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2 snowball’s “betrayal”

Snowball was a key player in the Rebellion and was awarded Animal Farm - FirstClass after the Battle of the Cowshed, but was then cast aside by Napoleon andchased out of ANIMAL FARM. Discuss with students where he may have gonefrom here and if they believe that he ever tried to return. Students could then:

▪ Write in role as Snowball after he was chased away covering how hewas feeling towards the animals (in particular Napoleon and Squealer), if he wantsto come back and what he plans to do next.

▪ Use the script excerpt below to come up with or improvise an alternate

ending to Snowball’s exit.

Squealer: Comrades. It is now time to vote on the windmill. Listen carefully to thearguments.

Narrator 1: Snowball made an eloquent and persuasive speech and in glowingsentences painted a picture of Animal Farm’s glorious future…

Snowball: …a future, comrades, thanks to our beloved windmill, of no struggle andtoil, but instead of leisure and comfort: hot and cold water, heating in thewinter and electricity for every type of farm machinery you can imagine.This is ours, comrades! Vote yes to the windmill!

Snowball sits to cheers.

Squealer: Comrade Napoleon…

Napoleon: The windmill is nonsense and nobody must vote for it.

Napoleon sits.

Snowball: Is that all comrade? You have nothing better to say than that?

Napoleon snorts

Snowball: Well, comrades, I think that your decision is clear is it not? You may beginyour vote.

A terrifying baying sound is heard followed by screams and howls from the other animals.Two fearsome dogs attack Snowball....


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▪ Write an extra scene that could be included in ANIMAL FARMwhere Snowball returns to the farm. If students are stuck as to where to start theycould use the script below for the beginning or ending of the scene.

Loud thunder crack.

N3: The wind raged so hard that the farm buildings rocked on their foundationsand the barn nearly lost its roof.

N5: In the morning, a terrible sight met their eyes.

ALL: The windmill was in ruins!

The animals walk slowly past the ruins. Napoleon enters. Napoleon surveys the damage.

Pig: Maybe we didn’t build it strongly enough.

Napoleon gives the pig a death stare, and the dog growls at him. The pig retreats.Napoleon sniffs the ground. He whispers with Squealer.

Napoleon: Comrades. Do you know who is responsible for this? SNOWBALL!!! (hegrows more and more furious) This traitor has crept here under cover ofnight and destroyed our work of nearly a year! I hereby pronounce thedeath sentence on Snowball. The award of Animal Hero, second class, tobe given to any animal that brings him to justice. Snowball’s death will solveall problems. No more Snowball, no more problems.


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Animal profile -old majorWHAT AGE IS YOUR CHARACTER? Human Years: 60 – 65?

WHAT IS YOUR CHARACTER’SSUPER- OBJECTIVE FOR THE PLAY?

To overthrow and revolutionise the way that the animals aretreated and recognised on the farm.

WHAT IS/ARE YOUR CHARACTER’SOBJECTIVE/S FOR THE

SCENE/PLAY?

To lead the animals in a revolution and take back theirdignity, worth and value.

WHAT IS/ARE THE OBSTACLE/S FORYOUR CHARACTER IN THIS

SCENE/PLAY?

The humans, who are seen as cruel and heartless masters.

WHAT IS YOUR RELATIONSHIP WITHTHE OTHER CHARACTERS?

WHAT IS THE MAIN SITUATION THATYOUR CHARACTER IS IN?

WHAT IS THE HISTORY BEHINDYOUR CHARACTER?

Old Major is seen as homage to both Lenin and Marx, thefounders of Communism in Modern Russia. In similaritieswith reality, Old Major’s skull is displayed in the barn afterhis death; much like Lenin’s embalmed body was placed ondisplay in public.

WHAT SYMBOLIC PROPS WILL YOURCHARACTER HAVE?

WHEN (IF ANY) IS THERE A TURNINGPOINT WHERE YOUR CHARACTER

CHANGES MOOD OR THOUGHT?

WHAT PRECEDING EVENTS HAVETAKEN PLACE PRIOR TO YOUR

SELECTED SCENE?

WHAT PROCEEDING EVENTS WILLTAKE PLACE AFTER YOUR CHOSEN

SCENE?

WHAT VOCAL ALTERATIONS DOYOU NEED TO MAKE FOR YOUR

CHARACTER?

WHAT MOVEMENT /PHYSICALITYWILL YOUR CHARACTER NEED?


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animal profile - napoleon

WHAT AGE IS YOURCHARACTER?

Human Years: 45-50?

WHAT IS YOUR CHARACTER’SSUPER- OBJECTIVE FOR THE

PLAY?

To overthrow the humans. To gain ultimate power.

WHAT IS/ARE THE OBSTACLE/SFOR YOUR CHARACTER IN THIS

SCENE/PLAY?

The humans, who are seen as cruel and heartlessmasters. Towards the end of the play, the other animalswho get in his way.

WHAT IS YOUR RELATIONSHIPWITH OTHER CHARACTERS?

WHAT IS THE MAIN SITUATIONTHAT YOUR CHARACTER IS IN?


Napoleon is based on Josef Stalin and is the mainvillain of ANIMAL FARM. He uses propaganda fromSquealer and threats and intimidation to keep the otheranimals in line. Among other things, he graduallychanges the Commandments for his benefit. He is slyand unwavering in achieving his goals.

WHAT SYMBOLIC PROPS WILLYOUR CHARACTER HAVE?

WHEN (IF ANY) IS THERE ATURNING POINT WHERE YOURCHARACTER CHANGES MOOD

OR THOUGHT?

There are moments throughout the text where we seethat Napoleon is more driven by power than the goodfor the animals.

WHAT PRECEDING EVENTSHAVE TAKEN PLACE PRIOR TO

YOUR SELECTED SCENE?

WHAT PROCEEDING EVENTSWILL TAKE PLACE AFTER YOUR

CHOSEN SCENE?


CHARACTER?

WHAT MOVEMENT/PHYSICALITY WILL YOUR

CHARACTER NEED?


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animal profile - snowball


Human Years: 45-50?

WHERE IS YOUR CHARACTERFOR THE SELECTED SCENE?

Manor Farm or ANIMAL FARM


PLAY?

To overthrow the humans. To make the farm a fair andequitable place to be, a utopian society.


SCENE/PLAY?

The humans, who are seen as cruel and heartlessmasters. Napoleon, who is Snowball’s biggest rival andnemesis.




Snowball is based on Leon Trotsky. He works hard togain the trust and respect of the other pigs. He createsa good first harvest and is favoured well amongst theother animals on the farm. Napoleon, unwavering in hishunt for power and corruption, uses rumours and heresyto drive him from the farm. Napoleon’s powerful tacticsaccompanied by the growing dislike for Snowball fromthe other animals is no match for Snowball alone.



OR THOUGHT?

Snowball faces a massive power challenge in the text.Whilst his want is for an egalitarian society, his desire isrivaled and quashed by Napoleon.




CHARACTER?


CHARACTER NEED?


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animal profile - squealer -


Human Years: 45-50?


PLAY?

To overthrow the humans. To support and promoteNapoleon as the ruler of ANIMAL FARM.


SCENE/PLAY?

The humans, who are seen as cruel and heartlessmasters. Snowball and any other animals that supporthim.

WHAT IS YOUR RELATIONSHIPWITH OTHER CHARACERS?


Squealer serves as Napoleon's right hand pig andminister of propaganda. Squealer manipulates thelanguage to excuse, justify, and extol all of Napoleon'sactions.


WHAT IS YOUR CHARACTERWEARING?



OR THOUGHT?

Squealer debates by complicating it and he confuses anddisorients. When questions persist, he usually uses the threatof the return of Mr Jones, the former owner of the farm, tojustify the pigs' privileges. Squealer uses statistics toconvince the animals that life is getting better and better.Most of the animals have only dim memories of life before therevolution; therefore, they are convinced. In the end, he is thefirst pig to walk on his hind legs.




CHARACTER?


CHARACTER NEED?


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animal profile -boxer


Human Years: 60-70 by the end.


Manor Farm or ANIMAL FARM


PLAY?

To work harder. To please Napoleon.


SCENE/PLAY?

WHO ELSE IS INVOLVED IN THESCENE?

WHAT IS YOUR RELATIONSHIPWITH THEM?



Boxer represents the working class - works hard,doesn’t question authority and doesn’t try to change.




OR THOUGHT?

At one point Boxer points out that Snowball received theAnimal Hero - First Class after the Battle of theCowshed, but he is quickly told that he must bemistaken and he believes what he is told.




CHARACTER?


CHARACTER NEED?


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animal profile




PLAY?


SCENE/PLAY?







OR THOUGHT?




CHARACTER?


CHARACTER NEED?


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DRAMATIC ELEMENTS

DRAMATICELEMENT

GENERALQUESTIONS

APPLICATION inanimal farm

ROLEPerformers will takeon one or more rolesthroughout a dramaticpiece. This requiresthem to embodysomeone orsomething beyondthemselves to make abelievable andcredible character forthe audience. It isalso important to thinkabout their role in thedramatic action. Is itpivotal? Supportive?

Was the piececharacter or plotdriven? How were theroles used to helpcreate the story? Didthe actors play morethan one role? How didthey do this? Whatchanges were evidentin their performance?Was the roleconvincing? How werethe roles establishedand maintained? Whatrole did that characterhave in the drama?

All the actors play more than one role.Identify with students that they werechanged by costuming, props, voice andmovement. Discuss the effectiveness ofthe changes and how this was alsosymbolic of the ‘everyman’.Think about how different roles serveddifferent purposes. EG Boxer representsthe working class. Squealer was used asNapoleon’s representative and would‘speak to the masses’ about decisionsthat were made.

LanguageThe words that arespoken. It’s thefoundation of a text-based play. Subtextshould also beanalysed as well asstage directions whenreading andinterpreting a play.

How were words usedto create power? Whatwas the subtext behindsome of thememorable lines? Howdid the language helpto shape the drama?What was interestingabout the language?Was it hard tounderstand?

Language is important in ANIMALFARM as the animals can speak, but notall can read or write. This becomes veryimportant as Napoleon and Squealerchange the commandments to suit theiragenda, but the other animals have toget Benjamin to read to them aloud asthey cannot read. Words are used in avery powerful way in the play - thinkabout the commandments and how we(as the audience) never saw them -there was no evidence of their existence.

MovementThe way an actoruses their body toshowemotions/reactions.Blocking on stage.Movement can beliteral or abstract,depending on thepiece.

Was the movementsymbolic in anyway?How was movementcontrasted by stillness?What effect did thishave? How did theblocking change theway you interpreted theplay? Was themovement direct orfluid? Why was it donethis way?

Movement is used a variety of ways inANIMAL FARM - including repetition,rhythm, fast and slow paced. The actorshave to use movement symbolically tocreate the illusion of animals. This playrelies heavily on the physicality of theactors and the use of physical theatre tocreate the characters. Ensemble work isalso important and the unison of theactors also represents the movement ofthe masses or the movements of one -relate this back to Brecht’s gestus.Also consider the different movementsfor the humans - it was very robotic andNON human.


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DRAMATICELEMENT

GENERALQUESTIONS


SPACEThe personal andgeneral space usedon stage. This canrefer to ‘the spacebetween’ or how theactors used the stagespace to create aspecific reaction.

How was the spaceused? Did it feel openor closed? Was it coldor warm? How did theactors interact with thespace? What did thespace between theactors tell you aboutthe characters?

The space on the stage is used well torepresent different parts of the farm. Theactors climb all over the set and use avariety of levels to create space. Youcould also examine the physicality of thecharacters and how the actorsmanipulate their physical form to portrayand represent different people/animals.One of the biggest challenges the actorsface in ANIMAL FARM is that they arecharacterising animals. How do they dothis, realistically and artistically?

STATUSThe power behind arole. Who has controlin a scene and howthe power shiftsbetween characters.This can bedetermined throughlanguage, movement,gesture, voice,costuming, staging,lighting and A/Vdesigns.

Who had the power ineach scene? Howcould you tell? Howwas the status shown?What techniques wereused to create statuson the stage? Doesanyone challenge thestatus? Where doesthe power shift in theplay? Why does itshift? Can you rank thecharacters in order ofstatus? What keymoments shift this?

Power is shown on stage through levels,blocking, movement and language.Consider the way Napoleon movescompared to the other characters andhow he shows his status.The staging also helps create status.The animals use the variety of levels toshow status and power.Also think about the subtle changes insound and lighting that help to clarify thestatus changes throughout the play.The humans have their status takenaway from them through their roboticmovements and hessian head bags.

focusHow attention isdirected on stage towhat is most worthyof attention. This alsorelates to an actor’sfocus.

What do we look at?How were you made tolook at this? How didthe characters createfocus? How did the set,lighting or A/V helpfocus the action? Whator who kept your focuson the stage?

The focus in ANIMAL FARM is on thepower struggle between the animals andtheir motivation. Whilst for some of theanimals it is about creating a utopiansociety, for others it becomes aboutpower and the lust for recognition.

Think about how other productionelements were used to create focus -lighting/sound/visual elements.


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DRAMATICELEMENT

GENERALQUESTIONS


MOODThe atmospherecreated. It helps tofocus the action and‘move’ the audienceinto different feelingsand emotionsthroughout the piece.

What did you feelthroughout the drama?Do you think this wasthe intended reaction?How were elementssuch as lighting, setdesign and A/V used tohelp create andmaintain the mood?

This is a dark play. The mood is almostconstantly down with elements oflightness thrown in, but it still goesthrough waves. See if students can plotthe mood on a graph, showing keymoments of heightened mood.Consider the vast mood changes - thelight and comedy brought by Molliecompared to the sadness created byBoxer’s death and the loss felt by theother animals.

SYMBOLThe deeper or impliedmeaning of props,costumes, lighting,text, sound ormovement.

What could the deepermeaning have been forthings you saw onstage? Was lighting,sound or A/V used in asymbolic way? Wasthis effective? Wereprops or costumesused in a symbolicway?

ANIMAL FARM is full of symbols.Discuss the symbolism of the following:the costume/props used to representeach animal, Mollie’s ribbons, the use ofmasks over the human’s faces.Also discuss the symbolism of the entirestory as an allegory and the history ofthe Russian Revolution.

TENSIONThe driving force ofthe dramatic action. Itmust be built,maintained or brokenat various points inthe dramatic action.

How did the tensionengage you? Whatwere you invested in?How was it builtbetween characters?Why was the tensionbroken? How did ithappen?

Tension exists in every scene ofANIMAL FARM. It is created betweeneach of the characters and the variousstorylines in the play. You could examinehow the tension changes dependent onthe situation. For example, look at therelationship between Napoleon andSnowball.Each character has their own tensioncreated - for example Squealer createstension of the task when trying toconvince the other animals thatNapoleon is right. The dogs createtension of mystery through their constantthreats.

CONTRASTThe use of polarisedor opposing elementsis important tohighlight differencesin the dramatic action.

What binaryoppositions were usedin the drama? (EG lightVS dark) How werethese highlighted? Howdid they help to createdramaticaction/meaning? Werethey effective?

One of the main points of contrast withinANIMAL FARM is explored through therelationships the animals have with eachother and with their human counterparts.How does each character resonate withthe audience and their expectations?


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DRAMATICELEMENT

GENERALQUESTIONS


costumeThe clothes andprops a character hasare important whencreating andestablishing role forboth the actor and theaudience.

How were costumesused to show role?Were they symbolic?Were they effective?What changes weremade by charactersplaying more than onerole?

The costumes in the play are kept verysimple. All the actors wear black jeansand a white singlet, splashed with mud.They add in other props to indicatecharacter/animals. EG Boxer has abrush head for his mane, headbandswith ears are used for the pigs andMollie has ribbons for her hair and arope for a tail. These simple costumesallow for quick changes betweencharacters and also add to the symbolicmeaning of the allegory.

lightingLighting can be usedfor several purposes -to establish mood,emphasize space,show a change inday/night, or tosymbolise a variety ofthings.

Were the lights used toshow time passing?Was a spot light usedto highlight keycharacters/scenes/elements? How effectivewere the use ofblackouts? Was colourused in the lighting? Ifso, why?

Jason Glenwright has created alighting design that helps support andcreate the mood in the play. It’s a darkdesign with lights used to focus theaction and aid the narration.

audio/visualAny external sound orimage that is used onstage to help tell thestory, create mood,establish the setting,show inner thoughtsand/or subtext.

What did you see orhear that didn’t comefrom an actor onstage?What impact did theA/V have on the tellingof the story? Did itsupport yourunderstanding of whatwas going on? Was iteffective in creatingmood? Did it help toshow emotion/thought?How was diegetic andnon-diegetic soundused?

The play begins with an animal slaughtershown through shadow work andscreens. Why do you think they chose toshow this throw the shadows rather thanon stage?Listen carefully to the sounds usedduring the play. Although they are verysubtle at times they really add to themood and story.Sound FX are also used for thunder andhelp indicated time and place.

SetThe design on stage.It may be minimal ordetail, moveable orstagnant.

What did the set looklike? How did you reactwhen you first saw it?Did it move during theplay? How effectivewas it in establishingthe setting? Was itsymbolic?

Josh McIntosh’s set is simple andfunctional. He has created the illusion ofthe farm through the materials such ascorrugated iron and wood. The set hasmany clever holes and slots for changesand to allow the actors to create differentplaces on the farm.


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DRAMATICELEMENT

GENERALQUESTIONS


contextContext is the lens inwhich we view thedrama. It is thebackgroundinformation thataudiences bring withthem to aperformance, whichultimately influencestheir interpretation ofthe play. Context canalso be created onstage through the waythe narrative isshown.

What do you alreadyknow about the textbefore seeing it? Whenwas it written? Whywas it written? Can itbe setanywhere/anytime or isthe setting and timepivotal to the meaning?What do you need toknow in order to makesense of the narrative?

When going to see ANIMAL FARMevery audience member brings their owncontext to the show. It is a novel that hassparked much political debate andconversations. Orwell’s own politicalbeliefs are steeped in the text. It wasoriginally called ANIMAL FARM - Afairy story which was a satirical poke atthe very serious nature of the book.Although it’s not imperative to have readthe novel before seeing the play, mostpeople will have some understanding orawareness of the political nature of thenovel.

BRECHTIAN

ELEMENTSHow was the playinfluenced by Brechtianelements? Whatexamples of histechniques were usedin the play? What is theplay’s didacticmessage?

HISTORIFICATION – we have the story ofthe Russian Revolution – but how much of itcan be related to politics today? What do welearn from this show?GESTUS – the combination of a gesture anda social meaning into one movement is usedthroughout ANIMAL FARM – how often arethe characters’ movements representing the‘everyman’ or ‘society’?BREAKING THE FOURTH WALL /NARRATION – The actors break the fourthwall and speak directly to the audience in theform of narrators at several points in theplay.POLITICAL SONG – Beasts of England isused as a political song to rally the masses –but it then banned by Napoleon. Squealerperforms a rather lovely tribute to Napoleontowards the end of the play.


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forming, presentingand responding tasks

task one: group presenting

Choose a scene from ANIMAL FARM and present a polished performance.Remember to think about the performance style, ensemble work, use of physicaltheatre techniques and the dramatic elements mood, symbol and role.

task two: written forming

As a director you have been asked to present a dramaturgical folio showing yourinterpretation and vision for your production of ANIMAL FARM. You need toinclude: director’s notes; in depth text analysis; venue information and stagingoptions; casting ideas; character profiles and promotional design.

task three: written responding

You are a writer for The Courier-Mail and you’ve been asked to write a criticalreview of shake & stir’s ANIMAL FARM. You should focus on 2 - 3 keyscenes/moments and the validity of these. Remember to include a brief synopsis;critique of the acting, representation of characters, direction and style; strengthsand weaknesses of the production and and overall opinion. It should be presentedas a newspaper review with relevant images headings and other conventions.[visit the shake & stir facebook page for a huge selection of production stills]

A modeled example can be found on page 41.

Here’s a review by Sommer Tothill from the 2011 Production of ANIMAL FARM at QPAC:http://www.brisbanetimes.com.au/entertainment/theatre/animal-farm-20110825-1jb73.html

“This play is nothing if not unremittingly vibrant; just like any farmyardit is non-stop in its melee of action and noise. The chaos is raucous, the grief tangible.The sound increases in ominous layers of desperation and doubt until the final terrible

crescendo, which we all know is nigh but hope might still change."--Sommer Tothill


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persuasive, expository, reflectiveand imaginative tasks

task one: persuasive essay writing

Pretend you are a major theatre company and you want to adapt a classic novel ofyour choice for the stage. Write a persuasive speech arguing why this classicnovel would be perfect as a staged version and how you plan to adapt it for atheatrical audience. Make sure you clearly outline the dramatic conventions youwish to use and how the characters/story would change for the stage.

task two: ANALYTICAL panel discussion

Compare and contrast the two opposing leadership models of Napoleon andSnowball. Why don’t they get along? What do they have in common? What wasOrwell trying to teach us through these two very different characters?

In your response you should discuss both the live theatre experience and thenovel/play script when supporting your arguments.

task three: reflective writing

Pretend you are a writer for a major newspaper and you’ve been asked to writethe obituary for the character of Snowball or Old Major. You could research whatwas said about Trotsky (for Snowball) and Lenin & Marx (for Old Major) but yourobituary should focus on the characters presented in ANIMAL FARM. Reflect ontheir lives and what others may have said about them.

task four: imaginative writing

Using some the themes and political issues raised in ANIMAL FARM write adystopian short story which focuses around the downfall of a major character.

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Responding to theatre

As a student watching live theatre, you need to be aware of how you felt, whatelements worked well and how the director and actors achieved their goals. Usethe following sheet to help analyse the play - write as much as you can and makesure you think about WHY they did things the way they did. What were they tryingto achieve?

animal farm - shake & stir theatre coADAPTED BY:DIRECTED BY:LIGHTING BY:DESIGNED BY:SOUND BY:AUDIO/VISUAL DESIGN:ACTORS:

Synopsis:Briefly outline the plot in 75 words or less and then evaluate how effectivelythe play entertained the audience.

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Characters:Why are the characters so engaging to watch? Did you feel for Boxer? Didyou hate Squealer? You can elaborate on one character more however youneed to address at least 2 of the characters in the play.

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physical theatre elements:How did the actors create the illusion of animals? What physical theatreelements were used? How effective were they? Explain two examples indetail.____________________________________________________________________

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Themes and Issues:What themes and issues are illuminated in the play? Explain how. Whatquestions are raised for the audience?

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Dramatic Tension:Identify the major tensions in the play that entertain the audience/elaborateon one of the major themes. Analyse two specific examples.

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Costumes:How were costumes used in the production? Were they symbolic in anyway? Explain two examples in detail.

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Recommendation/Overall Opinion:Why would you recommend this play? Why would it appeal to your targetaudience?

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Remember- The shake & stir creative team would LOVE to hearfrom you be it glowing, bad or ugly.... Send us your reviews:[email protected]


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Documents

teachers resource kit - Queensland Performing Arts Centre ... · © 2 Established in 2006, shake & stir has rapidly become one of Australia’s leading contemporary youth theatre