Each year I post on The Drama Teacher the current topic I have given my Year 12 Drama class at school to research, write a script for, direct and perform for 20% of their assessment in this subject in their final year of high school.

Well, this year I struggled with actually delivering my topic to my students. It is such a heavy topic laden with responsibility, that I dumped the idea and went on the Plan B for a while, only to eventually give my students the option of two ensemble topics. They chose my first idea, so here it is below.

It is unquestionably the heaviest drama ensemble topic I have given students in many years of teaching. I have a small class this year, so they have formed one single ensemble group for this play. It will be in the vicinity of 45 minutes duration and the development and rehearsal time line (including research) is about 8 weeks of good working time, on a 10 week time line, with a two week holiday break in the middle.

I believe, with a topic such as this, all the planets need to align in order to pull it off successfully. The elements were there from the beginning. A small group of passionate, highly motivated, mature students, half of them school leaders in various areas such as College Captain, Drama Captains, Arts Captain, Public Speaking Captain etc. While not necessarily best friends, they are a close-knit group that is bonding further through the process of developing this ensemble performance. The stakes are high. It will either be a huge success that will no doubt bring audience members to tears, or it may miss the mark, altogether. My students know the risks and are prepared to take on the challenge.

We borrowed our performance title, Terror in Mumbai,  from a BBC documentary of the same name on the Dispatches program. My goal, as teacher, is to see how a group of 17-year old girls can tackle such a serious topic with sensitivity and maturity. Below is the task details I gave my students:

Terror In Mumbai

Background For several days in November 2008, ten gunmen terrorised India’s most populated city. Recruited by leaders of the militant organisation Lashkar-e-Taiba, the men quickly created panic and hysteria among the people of Mumbai.

In constant communication with their controllers in Pakistan during the event, the gunmen shot people in the streets, set off fires in hotels and detonated grenades in taxis and crowded cafes. As the world watched from afar, Mumbai’s antiquated police force was virtually helpless in trying to stop the pandemonium and carnage back home. By the time it was all over, nearly 200 people were killed and over 300 lay wounded.

How did ten gunmen control the city of Mumbai for so long? What was the background behind such a well organised and planned attack on one of the world’s biggest cities? What repercussions do the Mumbai killings have for other major cities of the world today?

Prescribed Performance Styles Theatre of Cruelty (Antonin Artaud), Epic Theatre (Bertolt Brecht).

Prescribed Theatrical Conventions Transformation of character, transformation of place, transformation of object, disjointed time sequences, pathos.

Prescribed Dramatic Elements Contrast, symbol, language.

Prescribed Stagecraft Elements Costume, props, multimedia, sound.

Plot The following plot ideas should be included in the ensemble performance. Other ideas and/or scenes may be added as necessary. At least one example of scenes out of chronological order must occur in order to satisfy the prescribed theatrical convention of disjointed time sequences. The performance must end with a message(s) for the spectator (audience).

  • Back story
    • The relationship between India and Pakistan
    • Previous terrorist attacks in Mumbai
    • Religious ideology of the militant organisation Lashkar-e-Taiba
    • The training of the Mumbai gunmen in Pakistan with Lashkar-e-Taiba
  • The event
    • Leopold café bombing
    • Taxi bombings
    • Taj Mahal Hotel and Oberoi Trident blasts and fires
    • Nariman House (Jewish Outreach Centre) siege
    • Chhatrapati Shivaji Terminus (train station) shootings
    • Response to the disaster by the Mumbai police force
    • Response to the disaster from the Indian government
    • Response to the disaster by Indian soldiers, marines and commandos
    • Media involvement and reporting of the events from within India and abroad
  • The aftermath
    • Victims stories
    • Interrogation by Indian police of captured gunman Ajmal Kasab
    • Public reaction to the events from the world’s media and political leaders
    • Lessons to be learned from the Mumbai attacks and repercussions for the future
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For some years now I have purchased The Weekend Australian newspaper for its cultural magazine Review. Sometimes, one in every three or four editions will have a lengthy article concerning the theatre. In recent months however, we have been spoiled and the strike rate has been more like three in four.

Recently there has been essays on playwright Enda Walsh and Irish theatre, American actress Julianne Moore, the state of the arts in Sydney and New South Wales, 22 year-old English playwright sensation Polly Stenham, the strength of contemporary Russian theatre, the place of arts festivals in Australia and Romanian playwright Eugene Ionesco.

This weekend John Bell, the founder of Australia’s national Shakespeare touring company, Bell Shakespeare, is interviewed on the eve of turning 70 and once again tackling the almighty role of King Lear. My personal love for Shakespeare began the day I opened King Lear in Year 11 Literature back at high school. From that day onwards, my interest in theatre accelerated at a rapid pace and even after reading Macbeth, Hamlet and most of the Bard’s other works, nothing in my opinion came close to the power of characterisation and playwriting that exists in Lear.

In fact, one of the reasons Lear is rarely seen these days on the stages of international theatre companies is because many quietly believe it to be “unstageable”. If not the play itself, then certainly the protagonist, Lear, King of Britain. Till the day I die, I will never forget the gaudiness, the campness and the grotesqueness of John Bell’s King Lear in Australia in 1998, directed by Barry Kosky.

Closer to home, Shakespeare is more relevant to me in the classroom. With a new group of Year 10 Drama students, I have placed them head-first into a Shakespearean monologue for their first assessment task at the beginning of the academic year. Their previous experience with Shakespeare has only been Romeo and Juliet last year in English class. Now, I have asked them to dive into the deep end of the pool head-on. Whilst they are definitely engaged (a sigh of relief), of course they are also bewildered, telling me Shakespeare’s use of words is so foreign to them (even after several lessons breaking the monologues into beats, reading plain language interpretations, doing research etc). From the article in Review, mentioned above, I have found my source of inspiration for my students from John Bell, himself:

Shakespeare is easier than anything else in that it’s memorable; the words are very beautiful. when I was young, I loved learning Shakespeare. It’s like learning a song or poem. It’s important to understand exactly what you’re saying, consult not just the footnotes, but dictionaries to get the meaning of the words, where they came from originally and how they differ today. Then it becomes easier. It’s helped by it’s rhythm and metre and rhyme.

I just walk around and around in circles with a book in my hands and repeat it over and over until it gets into my head. It’s growing into the role, like putting on clothes item by item until you’re fully inside it.

(John Bell)  Source: The Weekend Australian, 20-21 February 2010.

What better advice could I give to young students tackling Shakespeare in a Drama class for the first time? Perfect.

Link: Bell Shakespeare Company

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Well, most of this blog is about information and resources for effective Drama teaching, but I thought I’d post a few tips on how to ensure your students achieve beyond the expectations of everyone.

Learning Must Be Fun: Let’s face it, school isn’t exactly a bundle of laughs for many teenagers, so on the top of my priority list for effective Drama teaching is make sure as many of your lessons and activities as possible are fun for your students. While you’re at it, remind yourself that if you don’t make learning fun, you’ve lost half the class … instantly. I even take a risk and tell my students at the start of a course that one of my responsibilities is to ensure their learning in Drama will be fun for them and that they are encouraged to tell me whenever the fun has stopped!

Keep Your Students Engaged: I never stop asking my students what they’re into, no matter what year level. While my enquiries are genuine, it also enables me to stay young and by knowing what’s cool at the moment, I can always use this to my advantage to adapt a future exercise, drama game or activity, so my students remain engaged in Drama. These enquiries allow me to tailor ensemble performance topics to their interests etc. Being critical of your own teaching has its advantages, too. Mix it up a little and never get stale with your delivery, so your students keep engaged.

Know Your Students Well: I always make an effort to get to know my students, ask what bands their into, genres of music, films etc. Particularly if they are senior students. Always keep professional boundaries very clear. Never try to win students over by pretending to be their friend. You’re their teacher. But good teachers care for their students beyond the textbook and the classroom.

Set Clear Guidelines and Expectations: I set my expectations in the very first lesson of a Drama course, to avoid any confusion later on. I’ve blogged on The Drama Teacher before, that I will not accept laziness and lying (to the teacher) in my classroom. I make no apologies for it. I set my student expectations high at the beginning and spend most of my Drama courses encouraging (daring?) my students to see what they are capable of in Drama.

Ensure Everyone Respects Each other. Every Drama course I teach, at any level, begins with an agreement that my students firstly respect themselves, secondly respect other students in the class and thirdly respect me as their teacher. In return I tell them I will respect them all by default each time they enter my classroom. I ask students to respect why other students have elected to do this Drama course and to respect those that are less confident than themselves. This results in a warm atmosphere where less confident or able students are more prepared to take risks in performance work before their peers. I cannot emphasise enough the importance of respect in the Drama classroom.

Know Your Content. You can’t be a whiz in Drama teaching overnight. It takes time. Although I have blogged here before that in my opinion knowledge is not necessarily king in the Drama classroom, knowing your content certainly can’t go astray. Once you have gained much knowledge, two more things become important: firstly, remember we never stop learning and secondly, never be afraid to learn from a student. It empowers them and they respect you more as a teacher in return. Never pretend to know all the answers in front of your students.

90% Perspiration and 10% Inspiration. I’m sure many of you may have heard of this old adage. It’s true in Drama teaching, too. The most creative students you’ve ever seen in a Drama classroom will be useless if they are not prepared to put in the hard yards. I remind my students all the time, they have to be prepared to perspire if they want to achieve their own personal goals in Drama.

Keep Ownership with Your Students. When a school play or musical is a huge success, when an in-class Drama performance was fantastic, when your students performed beyond their wildest dreams … always keep the ownership with them, not you. While it may be true that you directed the musical, guided them in their class performance, or helped them every second step of the way, I always try to remind my students that the wonderful product they created belongs to them. This is when they smile and become very proud, but more importantly, realise what they are truly capable of in Drama. Encouragement and positive feedback will always return far bigger dividends than you ever expected in a discipline such as Drama.

Whether it is an A+ or a C, there’s nothing more satisfying than a Drama student being rewarded with a grade beyond what they believed they were capable of. Using these tips, above, has worked wonders for me over the years. I hope they work for you, too.

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