Drama for Everyone!Teacher’s Guide

Intermediate Drama: Grades 4 – 6

©2010 Western Cape Education Department

Edumedia (WCED) 3 Station Road, Mowbray

PO Box 13266, Mowbray, 7705 Tel: (021) 689-9536 • Fax: (021) 685-7421

edumedia@pgwc.gov.za http://edumedia.wcape.school.za/catalog

Drama for Everyone!Teacher’s Guide

Intermediate Drama (Grades 4 – 6)

Contents

Track 1 – Creative play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 •Namegamewithrhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 •Stop/Goreversals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 •Themazegame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 •Focusandconcentrationgame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 •Action/reactiongame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Track2–Warmingupthebody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 •Riddingthebodyoftension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 •Rollingupanddownthespine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 •Ragdolls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 •Wizardsandhumans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 •Neutralposturevs.Character . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 •Relaxation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Track3–Warmingupthevoice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 •Breathingexercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 •Makingrelaxedsounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 •Resonance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 •Pitchwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 •Articulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 •Projection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 •Expressiveness/Puttingitalltogether . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Track4–Exploringthesenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 •Listeningexercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 •Blindfoldexercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 •Touchandremember . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 •Whatcanyoufeel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 •Senseofsmellexercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 •Imaginativeplaywithsuperheroes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Track5–Exploringmovementdynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 •ExploringSize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 •ExploringShapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 •ExploringWeight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 •Journeyscombiningspatialawarenessandmovementdynamics . . . . . . . . . . . 23 •Movementswithprops:Whatisthisobject? . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Track6–Mime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 •WhatamIdoing? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 •WhereamI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 •Whatisthisobject? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 •Whoarewe? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 •Tellingastorywithoutwords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Track7–BasicPuppets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 •Puppetmaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 •Bringingapuppettolife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Track8–Buildingadramafromastimulus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 •PLOT–Whatstoryarewetelling? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 •CHARACTER–Whoisinthedrama? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 •LOCATION–Whereandwhendoesthedramatakeplace? . . . . . . . . . . . . . 34

Track9–BringingitallTogether . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 •CreatingDialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 •Rehearsing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 •Performing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Questionnaire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

1

Track 1: Creative play

Drama is fun. It uses every aspect of what we are as human beings. It uses and develops our physical, vocal, emotional, social, imaginative and analytical resources. It does this through playful activities that came naturally to us as children. In drama classes, it is important that learners feel comfortable enough to play freely, since ‘playing’ is a major part of the learning.

The teacher needs to use the games as opportunities to teach basic skills such as cooperation, listening, support, communication, trust, quick thinking, problem-solving and confidence. Any games can be used, provided the teacher has thought through what the focus of the game should be. Asking learners to bring games that they enjoy playing can be a way to bring them actively into the learning.

These activities help learners to work together successfully in the drama class. They create a safe environment in which more complex activities can be undertaken, since basic boundaries and skills have been established in a fun, interactive way.

2

1.1 Name game with rhythm

Possible Music IntegrationInthisgame,abasicclappingrhythmisused.Learnershavetoconcentrateinordertomaintaintherhythm,whilesayingtheirnameandthenameofsomeoneelseinthegroup.Thiscanbeusedasa‘gettingtoknowyou’exerciseatthebeginningoftheyear,oritcanbeusedasafocusexerciseatanypoint.

Me

th

od Thelearnerssitinacircle.Theystartabasicrhythmoftwoclaps,

followedbyclickingtherightfingersandthentheleftfingers.Therhythmshouldremainsteadythroughoutthegameandnotspeedup.

Onthefirstclap,alearnersaystheirownnameloudlyandclearly.Onthesecondclap,thesamelearnersaysthenameofsomeoneelseinthecircle.Onthetwoclicks,thereissilence.

Thepersonwhosenamewascalledoutnowsaystheirnameonthefirstclap,andthenameofsomeoneelseinthecircleonthesecondclap .

Thechallengeistokeepgoingwithoutbreakingtherhythm.Afteryouhavepractisedforawhile,youcanmakethegamemoredifficultbysayingthatanyonewhogetstherhythmwrong,willbeout.Theywillcontinuetoclapandclick,buttheirnamecannotbecalledout.Theothersneedtorememberthisotherwisetheytoowillbe‘out’.

Therearemanyothernamegamesthatcanbeusedeffectively.

3

1.2 Stop/Go reversals

Possible Dance IntegrationThisgameisusedtoteachcontrolanddiscipline,whilealsodevelopinglistening,awarenessofthegroupandspatialawareness.

Me

th

od Learnerswalkthespace.Theyshouldnotwalkinapattern,but

shouldfillallthegapssothatatalltimestheyareevenlyspacedacrosstheroom.Whentheteachercalls‘Stop’,theyshouldstopimmediately.Explainwhatatotalfreezeis.Thereshouldbenomovementwhatsoeverinanypartofthebody,andthelearnershouldbebalancedinspace,notwobblingorfallingover.

Whentheteachersays,‘Go’theystarttowalkagain.Theyrepeatthisuntiltheyaredoingtheexercisewell.

Thentheteacherreversesthesignals.Now,whenshesays‘Stop’,shemeans‘Go’andviceversa.Thisforcesthelearnerstoconcentrateandremember,ratherthansimplylisteningtotheliteralmeaningoftheword.

Otherinstructionscanbeaddedovertime:‘Run’/‘Crawl’,whicharelaterreversedsothatrunmeanscrawlandcrawlmeansrun,and‘Sit’/‘Stand’.(Whentheseinstructionsarereversed,theteachercanaddthefollowing:‘Stand’nowmeans‘Sit’,and‘Sit’nowmeanscontinuetodowhateveryouwerelastdoing,inotherwords,ignorethisinstruction.)

1.3 The maze game

Possible Dance IntegrationInthisgame,learnersgaingreaterphysicalcontrol,aswellasdevelopingspatialawareness.

Me

th

od Dividetheclassinhalf.Halfofthegroupwillpositionthemselves

aroundthespacewithatleastanarm’slengthbetweeneachlearner.Theotherhalfofthegrouphavetomovethroughthemazefromonesideoftheclassroomtotheother,withouttouchingasingleoneofthestationarypeople.Iftheytouchsomeone,thentheyareoutandhavetofreezeinthespace.Countthenumberofpeoplewhogettotheothersidewithouttouching.

Repeat,sothatthegroupthatwasstillcannowexperimentwithmoving.Whichevergroupgetsmostmembersacrossthespacewithouttouching,isthewinner.

Youcanmakethisgamemorecreativebyusingimagery.Thestillgroupcouldbetreesinaforest,buildingrubble,parkedcars.Thosemovingthroughthespacearehunters,orbuilders,orshoppers.Thiscanintroduceamimedelementtothegame,wherelearnersmustcreateappropriateshapeswiththeirbodies.

4

1.4 Focus and concentration games

Thesegameshappeninpairs,andallowforamoreintensefocusandconcentration.

1.4.1 The 1,2,3 game:

Me

th

od Inpairs,learnerscounttothreeindifferentways.

A:1,B:2,A:3;B:1;A:2;B:3etc.

Oncethishasbeenestablishedandpracticed,thentheoneisreplacedbyaclap,sothesequencebecomes:A:clap,B:2,A:3;B:clap;A:2;B:3etc.

Afterthishasbeenpracticed,thenthe2isreplacedbyastamp,sothesequencebecomes:A:clap,B:stamp,A:3;B:clap;A:stamp;B:3etc .

Oncethishasbeenpracticed,thenthe3isreplacedbythepersongentlytouchingtheirpartner’shead.Thesequencenowbecomes:A:clap,B:stamp,A:touchpartner’shead;B:clap;A:stamp;B:touchpartner’sheadetc.

1.4.2 Mirror exercisePossible Dance IntegrationInthemirrorexercise,partnersworktocopyoneanother’smovementsexactly,asamirrorimageofoneanother.Sometimeslearnersneedtoberemindedthatasinamirror,ifpersonAmovestheirrightarm,thenpersonBshouldbemovingtheirleftarmsimultaneously.Theaimisfortheexercisetobecomesofluid,happeningatexactlythesametime,thatitisdifficulttotellwhoisleadingthemovement.Theexercisemusttakeplaceintotalsilence,andeyecontactshouldbekeptatalltimes.

Me

th

od PersonAandpersonBfaceoneanother.Theymakeeyecontact

andestablishstillness.ThenPersonAstartstomoveapartoftheirbodyveryslowly.PartnerBmovesthecorrespondingpartoftheirbodyinexactlythesameway,atexactlythesametimeasA.PartnerAshouldmoveslowlyandwithconsiderationtotheirpartner.Theycaneventuallybecomebolderintheirmovements,movingacrossthespace,usingdifferentlevels,usingdifferentspeedsofmovement(butnevertooquicktomakeitimpossiblefortheirpartnertofolloweasily).

5

1.5 Action/reaction games

Inthesegames,aleaderinitiatesanactionormovement,whichisthenreactedtobythegroup.Thegamesteachconcentration,groupworkandbreakdowninsecuritiesaroundmovement.

1.5.1 Follow the leaderM

eth

od Possible Dance Integration

Inthisgame,onepersonistheleader.Theymoveinaparticularwayaroundthespace,andtheotherlearnershavetocopytheirmovementcompletely.Whentheteachercalls“change”,anewleadershouldtakeover,withoutanydiscussionamongstthelearners.Thenewleaderwillinitiateadifferentkindofmovement.Encouragelearnerstousedifferentdirectionsofmovement(forwards,backwards,sideways),differentlevelsofmovement(low,medium,high),differentrhythmsofmovement(slow,fast),differentstylesofmovement(stomping,skipping,running,crawling),differentweights(heavy/light)etc.

1.5.2 Simon says Note:therearedifferentversionsofthisgame,withslightlydifferentrules.Hereisoneversion.

Me

th

od Theleader(whocanbetheteacher)says“Simonsaysdothis”

anddemonstratesamovementoraction.Thelearnersrepeatthemovementoractionaspreciselyaspossible.Iftheleaderusesthewords,“Simonsaysdothat”,thentheinstructionshouldbeignoredandthelearnersshouldcontinuedoingwhatevertheywerelastdoing,ratherthanrespondingtothenewinstruction.Encouragelearnerstotakeovertheleadingofthegameoncetheyarefamiliarwithit.

1.5.3 KING spells kingThisgame,whichisalsocalled“Grandmothers’footsteps”,“Slyfox”andvariousothernames,isanexerciseinfreezingandmovinginacontrolledway.

Me

th

od Onepersonis“on”andstandsatthefarendofthespacefrom

theothers.Thispersonturnstheirbackonthegroup.Thegrouptriestocreeptowardsthepersonwhois“on”,whiletheystandfacingawayfromthegroupsayingthewords“K-I-N-GspellsKing!”loudlyandclearly.(Othergamesusecounting,orotherrhymes.).Assoonasthephrasehasbeenspoken,thepersonwhoison,turnsaroundquicklytofacethegroup.Iftheyseeanyonewhoisnotfreezing,theypointthemoutandthispersonwillbe“out”andhastogobacktotheirbeginningposition(i.e.asfarawayfromthe“on”personaspossible).Theobjectistogettothepersonwhois“on”withoutbeingcaughtout.Thefirstpersontogettotheendbecomesthenextpersontobe“on”.

6

Track 2: Warming up the Body

Possible Dance, Music Integration

Warming up the body is vital; it not only prevents injury, but it also develops physical awareness, co-ordination and strength over time. It also develops concentration and mobilises the muscles and joints in a safe way. Unnecessary tensions are released and the body is prepared for more complex tasks.

2.1 Ridding the body of tension

Therearedifferentwaystoridthebodyoftension.Usingimagerycanbehelpfultostimulatelearners’imaginations.Makesurethatallpartsofthebodyandthespinearewarmedup.

Me

th

od Standing in neutral

7

Me

th

od Warming the hands and fingers

Startwithonehand,andshakeoutthefingersasthoughyouareshakingoffwater.Thenwriggleallthefingersasthoughyouaretypingorplayingapianoveryquickly.Thenstretchthefingersoutandcurltheminoneaftertheother.Dothiswithbothhands.Callsomeonetowardsyouwithyourhands.Gesturethemawayfromyou.Indicatethattheyshouldmovetotheleftortheright.Withyourhands,makepulsingstarsallovertheskyaboveyourheadandbehindandinfrontofyourbody.

Warming arms and shoulders:Thenswinganarmeasilyinthearmsocket.Swingitforwardsandbackwards,rockingwiththemotion.Makecircleswiththearmuntilitfeelslooseandfreeintheshouldersocket.Repeatontheotherside.

Pushyourshouldersuptowardsyourears,andreleasewhilebreathingout.Rollyourshouldersbackwardsandforwards.Rollthemtogetherandalternately.

8

Me

th

od Warming the neck

Letyourheaddropdowntowardsyourchest.Letitgentlynodlikeyouaresaying‘yes’.Thenshakeitgentlylikeyouaresaying‘no’.Letithangagainincentre.Feelthestretchupthebackoftheneck.Thenraisetheheadslowly,liftupthechin,andopeningyourmouth,lookattheceiling(feelthestretchupthefrontoftheneck).Makesurethatthismovementisgentleasnecksaredelicateareasandneedtobewarmedupwithcare.

Facingfront,dropyourheadtotheleftshoulderandthentotheright.

Warming faceSqueezeyourfaceupverytightly.Thenstretchitoutaswidelyasyoucan.Makethebiggestsmilethatyoucan.Imaginethatthereisanannoyingmosquitoflyingaroundyourface,andyoucan’tuseyourhandstogetridofit.Movefacialmusclesinsteadtoflickitaway.

Warming spine:Snakeyourspineindifferentdirections.

Warming hipjoints and legs:Withyourhips,makecirclesintheairasthoughyouarekeepingupahulahoop.Dothisisbothdirections(see below left) .Circleyourfeetoneatatime.Changedirection.Shakewateroffafoot.Swingyourfootfromthekneesocketgentlywhilekeepingyourbalance.

Finishing off:Shakeeverythingout.Shakeoutthesoundaswell(agentle“huh”sound).

9

2.2 Rolling up and down the spine

Thisexerciseisaclassicwarmingupexerciseforthespinethatisusedinalldramaclasses.Itisimportanttokeeptheheadcompletelyrelaxedwhileyouarehangingandrollingupanddown.

Me

th

od Learnersstandwiththeirfeetundertheirhips,facingforwards,and

theirkneeslooseandrelaxed.Theyimaginethattheirheadisgettingveryheavy.Theyletthecrownoftheheadleadtherestofthespinedowntowardsthefloor.Shouldersandarmsremainrelaxedthroughtherollingdown.Theneckandthenthespinefollowstheheaduntilthelearnerishangingcompletelyover,theirlegsbentslightly.Theirarmsshouldbelooseandrelaxedattheirsides,theirhandsclosetothefloorandtheirheadsshouldberelaxed.Ifyoutouchsomeone’shead,itshouldbounceawaygently,ratherthanbeingrigidandheld.Askthechildrentorelaxasmuchaspossibleinthispositionwithoutlettingtheirlegsgiveway.Thentheyshouldrebuildupthespinebyfirstdroppingtheirtailbone,softeningtheknees,andbuildingupslowlythroughthespine.Theyshouldfeelasthoughtheyareplacingonebuildingblockontopofanother.Theyworkthroughthewholeback,lettingtheshouldersdropintoplaceandfinallyallowingtheheadtofloatupuntiltheyareuprightoncemore.Makesurethechinisnotliftedattheend,butinlinewiththefloor.

2.3 Rag dolls

Me

th

od Explainthatthelearnerswillworkinpairs.Onewillbethedoll

makerandonewillbetheragdoll.Havearagdolltodemonstrate,orexplainhowlooseandfloppyaragdollis.Thedollmakerwillmovetheragdollaround,alwayspayingattentiontolookingaftertheirragdoll.Emphasisethatthereshouldbenoviolentortoofastmovements.Theragdoll’sjobistostayrelaxedandallowtheirbodytobemanipulatedbytheirpartner.Afteratime,theywillswopoverroles.Endtheexercisewitheveryonelyingonthegroundlikearagdoll,relaxingeverymuscleintheirbodies.

2.4 Wizards and humans

Me

th

od Onepersonisawizardandoneahuman.Thewizardhasaninvisible

wireattachedtotheirpartner’snoseandcanleadhimwhereverhewants.Oncethepartnershiphasdonethissuccessfully,youcansuggestthatthewizardaddotherinvisiblewires,attachedtootherpartsofthebody,andsocontrolhispartnerwithoutevertouchinghim.

10

2.5 Neutral posture vs. Character

Me

th

od

Explainthatwewanttofindawayofstandingthatdoesn’tgiveawayanycluestotheaudienceaboutwhoweareorwhatwearefeeling.Thisiscalled“neutralposture”,wherethebodydoesnotshowanysignofacharacter.Itisalsowherethebodyisproperlyalignedandthereisnounnecessarytensioninthebody.Youmaywanttodemonstratepooralignmentorunnecessarytension,sothatthelearnerscanunderstandtheconcept,astheteacherinthevideoisdoing.

Nowinstructthelearnerstostandinneutral.Theirfeetarehipdistanceapart,theirkneesfaceovertheirmiddletoes,theirkneesarerelaxed,theirhipsarenotpushedforwardorback,theirspinesaregrowinguptowardstheceiling,theirshouldersarerelaxedandtheirarmsarehangingeasilyattheirsides,theirchinsareinlinewiththeground,thecrownoftheheadisreachingtowardstheceiling.

Oncetheyhavefoundthisposture,askthemto“takeaphotographofitintheirminds”.

Nowhavethempairupandmirroroneanother’sneutralposture.Theyshoulddecidewhoisgoingfirstandthenwitheachinstruction,oneofthepairleadstheposeandtheothermirrorsit.Askthemtofindtheposturefor:anoldperson,aboxerinthering,alazyperson,aballetdancer,averyshyperson,averyangryperson,averysickperson.Betweeneachofthesepostures,letthemreturntoneutral,sothattheycanfeelthedifferencebetweenneutralpostureandthecharacter’sposture.

Mirroringhelpsthemtoseeaswellasfeeltheposturebeingcreated.

11

2.6 Relaxation

Relaxationisimportantasitallowsthebodytocooldown,andforthelearnerstobecomemoresettledaftervigorousactivity.Learnersshouldbeabletoidentifyintheirbodiesthedifferencebetweentensionandrelaxationofthemuscles.Thisrelaxationexerciseworkswellattheendofaclass.

Me

th

od Theteachertakesthelearnersthroughtheexperienceusingthe

followingscript:“Imaginethatyouareacandleburningbrightly.Yourheadistheflame.Feelyourselfgrowingstraightandtalltowardstheceiling.Asthewaxgetshotter,soyoubegintomelt.Whatpartofyourbodyismeltingfirst?Keepmelting.Findwaysfordifferentpartsofyourbodytomelt.Eventuallyyouaregoingtobeapuddleofwaxonthefloor.Relaxthereandfeeleverypartofyourbodymeltingintothefloor.”

12

Track 3: Warming up the Voice

The voice is a very important tool for drama and must be used safely and effectively. It is important that children learn that shouting is not good for their voices. They need to learn how to breathe properly, how to warm up the voice so that they don’t hurt their voices when performing and how to make sounds more clearly for better communication. They should also enjoy making sound, and use their voices in expressive and interesting ways for drama.

When you do a voice warm-up, follow the order of the exercises as given. You do not need to do all the exercises every time. Choose one exercise from 3.1, one exercise from 3.2 etc. The order of exercises is very important if the voices are to be warmed up, rather than over-stressed.

At times, the teacher has been given a script. This is just a suggestion of a way to explain the exercise and gives you a sense of the kind of things you can say. Follow the basic principles, but make the script your own!

3.1 Breathing exercises

Breathingexercisescalmandcentrethelearner.Theyalsobuildawarenessandmusculartone.Thetwomainareasofbreathingwhichareimportantareincreasingbreathcapacityandcontrollingthebreathleavinginordertosupportsound.Thefollowingexerciseshelplearnersdothis.

Me

th

od 3.1.1 Teacher’sscript:“Imagineacandleinfrontofyou.Canyouseeitburning?Nowblowthecandleout.Howmuchbreathdidyouneedtodothat?Nowimaginethreecandlesinfrontofyou.Blowthemout.Howmuchmorebreathdidyouneedtodothat?Howoldareyoutoday?Imagineacakewiththatnumberofbirthdaycandlesonit.BlowthemalloutusingonlyONEbreathtodothis.Howmuchmorebreathdidyouneedforthat?”

13

Me

th

od 3.1.2 Teacher’sscript:“Imaginethatyouareanartist.Youaregoing

topaintapictureusingyourbreath.Eachtimeyoubreatheout,imaginethatyourbreathislikeapaintbrushwithaparticularcolourpaint.Paintablueskyacrossthetopofyourcanvas.Paintgreengrass.Paintahouseoratreeorahighmountain.Paintflowersinthegrass.Workouthowmuchbreathyouneedforeachaspectofyourpainting.Canyouseethepictureyouarepaintinginyourmind’seye?”(Youmaywanttousespecificnon-voicedsoundsforthisexercise,suchasss,ff,th,orsh).

3.1.3Asklearnerstobreatheinandfeelwhatpartsoftheirbodiesareexpanding.Cantheyfeelwherethebreathisgoing?Getthemtoimaginetheirlungslikeballoons,whichcanexpandinalldirections.Eachlearnershouldputtheirhandsontheirownribcageandfeeltheexpansionoftheribcageastheybreathein.Breatheinforacountofthree,holdthebreathforonecount,andthenbreatheoutforacountofthree.Onceyouhavedonethissilentlyafewtimes,stopandrest.Nowbreatheinforthree,holdthebreathforonecountandcountaloudononebreathtothree.Onthenextbreath,countaloudtofour,andsoonuptoten.Makesurethatyoudonotgettenseorstartpushingthebreathout.Youstillwanttoberelaxedwhenyoudothis.

3.1.4 Yourlungsexpandtothefrontandtotheback.Sometimesweforgetabouthowimportantthebackiswhenbreathingin.Teacher’sscript:“Sitlikeafrogandbreatheinandout.Canyoufeelyourbackexpandingatall?

3.1.5Nowcrossyourarmsacrossyourchestandputyourhandsonyourshoulders.Breatheinandout.Canyoufeelyourbackexpanding?Keepingthisposition,dropslightlyforwardandbreatheinandoutinthisposition(likearunnerafterrunningarace).Canyoufeelyourbackexpanding?”

14

3.2 Making relaxed sounds

Warmupthevoicewithsimplesoundsclosetothenaturalpitchofthechild.(Thispitchisfoundwhensomeonesays“uh-huh”withaminimumofeffortorvolume.)

Me

th

od 3.2.1 Teacher’sscript:“Takeabigyawn.Canyoufeelyourjaw

droppingdownandtheinsideofyourmouthstretchingup?Stretchwithyourwholebodywhileyouyawnlikeyouarewakingupinthemorning.Makeasoundwithyouryawn.Whatsoundcomesoutnaturally?(ThesoundwillbeanAh-likesound.)Nowleanforwardwithyourwholebodyandyawnforwards,stretchingyourmouthforwardtowardstheoppositewall.Whatsoundcomesoutnaturally?(ThesoundwillbeanOO-likesound.)Let’sdoanother“Ah”yawn.AndanotherOOyawn…”

3.2.2 Teacher’sscript:“Inlife,wesighforallsortsofreasons.We’regoingtoexploresomeofthosemoments.Let’simaginethatweareveryrelaxed.It’salovelysunnyday,andwearegoingtosighwithenjoyment.Breatheinandsigh...(sigh)Nowweimaginethatweareverylateforsomething.We’regoingtogetintobigtrouble.Weareracingandweareverytense.Wegetthereandwefindthatthetimehaschanged.Wearenotlateafterall.Sighwithrelief…(sigh)We’resadbecauseourbestfriendcan’tcomehomewithusthisafternoon.Wewerereallylookingforwardtothat.Let’ssighwithsadness….(sigh)Andwe’vejusteatenthebest,mostdeliciousmeal.Let’ssighwithpleasureatthemealwe’vejusteaten…(sigh)”(Addyourownexamplesofreasonstosigh,makingsurethattheyarerelevanttothecontextofthelearners.)

3.3 Resonance

Resonanceiswherethevoicegainsstrengthandrichnessthroughsettingupsympatheticvibrationsinthespacesandsurfacesofthebody.Learnersshouldbecomeawareofthevibrationstheyaremakingwhentheymakesound.

Definition: Resonance is the amplification and modification of the basic laryngeal tone by means of sympathetic vibrations in the cavities and surfaces of the body.

Me

th

od 3.3.1 Teacher’sscript:“Wearegoingtostartwithhumming.Let’s

humonammm…canyoufeelyourlipsticklingwiththevibrationsofthehum?Humonaneasynote,nottooloud,justloudenoughforyoutofeelthevibrations.Canyouhumondifferentnotes?Canyoumakeatunewithyourhum?Let’sallhum‘happybirthday’together(oranyotherwellknownsong).”

15

Me

th

od 3.3.2 Teacher’sscript:“Nowstartplayingwithhummingonother

sounds.Let’shumonannnnn…Canyoufeelyournosevibratingandyourtongueonyourgumridge?Howmuchofyourfaceisticklingwiththathum?Humatunewithyournnn.Whatwordsstartwithnnn?”Repeatthiswithafewothervoicedconsonants–ng(canyoufeelthebackofthetonguevibrating?),zz(thetipofthetongue),vv(thebottomlip)etc.

3.3.3 Placepiecesofpaperwiththefollowingwordswrittenonthemaroundtheroom.Thelearnersmustmovefromonewordtothenextandfindthesoundsinthewordthattheycanhumon.…Wordsmayinclude:mountain,man,moon,nomad,haze,heave,song,noon,moaning,morning,naming,movingetc.Varywordsthatstartwiththehummedletterandthatcontainorendwiththehummedletters.

3.3.4 Saythephrase“moreandmoreandmoreandmore”etcwiththemouthgettingprogressivelylargerandwiderthroughthephraseuntilyoucannotmakeitanybigger.Encouragethelearnerstohaveayawningfeelingwhiletheyaresayingthephrase.

3.4 Pitch work

Possible Music IntegrationBeingabletouseawidepitchrangeisimportantforexpression.

Me

th

od 3.4.1 Trythefollowingpairsofwordsandputoneonahighernote

thantheother.Atthesametime,demonstratethemeaningofthewordwithanappropriategesture.Encouragethelearnersnottousethesamenotesoverandover:high/low;heaven/earth;fall/fly;down/up;yes/no;now/later;heavy/light.Leteachlearnerdemonstrateonepairtotheclass.

3.4.2Onhandsandknees,imaginethatyouhaveatoycarinfrontofyou.Usethesound“ng”andmakethenoiseofthecarmovingdownstreets,goinguphills,racingaroundcornersetc.Asyoudothis,yourpitchwillnaturallytravelupanddown.

16

3.5 Articulation

Articulationisaboutsayingsoundsclearlyandcrisply.Userhythmstohelpthelearnerspracticethesoundpatterns.

Definition: Articulation refers to the accuracy and agility of the moveable speech organs, (i.e. the tongue, jaw, lips and soft palate) in forming speech.

Me

th

od 3.5.1 Teacher’sscript:“Lickthebiggesticecreamyoucanfind.

Stickyourtonguerightoutofyourtonguetodoit.Makethosemovementsasbigasyoucan.Nowchewastickypieceoftoffee.Itishardworktogetyourteethawayfromoneanother.Noweatacrunchyapple.”

3.5.2 Imaginethatyouarebouncingaballonyourlips: b-b-b-b;bb-bb-bb-bb;bbb-bbb-bbb-b; repeatthepatternwithp,t,k,d,g,ch,j

3.5.3Tryoutthefollowingsoundpatterns: p–t–k;p–t–k;p–t–k–t-p–t–k;ptkt-ptkt-ptktetc. b–d–g;b–d–g;b-d–g–d–b–d–g;bdgd-bdgd-bdgdetc

3.5.4 Teachthelearnerstonguetwisters.Learnersshouldsaytheseslowlyandcarefullyatfirst,andthenstarttospeedup:

English - shiningsoldiers;Ruth’sredroof;apropercoppercoffeepot;hethrewthreefreethrows;uniqueNewYork;thebigblackbugbleedsblackblood;Sheenaleads,Sheilaneeds;Stupidsuperstition;PeggyBabcock

isiXhosa – Amaqand’enqil’aqhumkile; ndiqheleukuchebaixhegoinkqayi; baxabanaooxambexabanangengxogxobexakweyinxhubaxa; Iqaqalaziqikaqikakwazekwaqhawukauqhoqhoqho Iqaqalaziqikaqikakuqaqaqakwaqhawuk’uqhoqhoqho; Ixhegoliqumuqethuliguqengamadolo; Iqaqaalizivakunuka; Gqingomgqomouqhutywangamaqheya,elinyeiqheyalaqhokrangegquduenkqayinindaqondaukubandiqhunyiwe;Ndiqhel’uqhuqh’amaqab’inkweth’eQamgqobowa; Baxakekil’ooxambaxox’ubuxumbululubobuxelegu, ngamaxaxavithiamaxoki

17

Afrikaans – Sanniesêsysalsewesakkesoutsleep,sewesakkesoutisswaarsowaar. WieweetwaarWillieWouterwoon?WillieWouterwoonwaardiewestewindewaai! Drierooiribbokkespringoordiedoringdraad. Dieduiweldrukdiedommedonkiedwarsdeurdiedriedubbeledoringdraad,datdiedommedonkiedwarsdeurdiedriedubbeledoringdraaddwarsdraai.

3.6 Projection

Possible Music IntegrationProjectingisnotthesameasshouting.Shoutinghurtsthevoiceasthereistensioncreatedinthethroat.Projectionisclosertocallingandsinging,thantoshouting.Watchthelearnerstomakesurethattheyarenotleadingwiththeirchinswhiletryingtocallacrossthespace.

Me

th

od 3.6.1Calltosomeoneacrosstheroom.Calltosomeoneacrossthe

street.Calltosomeoneacrossafield.Doitgentlywithouteffort.Useyourarmtowaveatthesametime.Keepthebodyloose.

3.6.2 Singasongtogetherasaclass.Youcanusenurseryrhymes,familiarsongs,orsongsthatyouteachthem.Thesongbeingdemonstratedonthevideoisagreatactionsong,whichwarmsupthebodyatthesametimeaswarmingupthevoice. Insertmusicwithlyrics: TonyChestnutknowsIlovehim.Tonyknows.Tonyknows. TonyChestnutknowsIlovehim.That’swhatTonyknows.

3.7 Expressiveness / Putting it all together

Therearemanyexerciseswherelearnerscandemonstratetheirabilitytousetheirvoicesexpressively.Someofthesewillbeexploredlaterwhentheystarttodevelopcharactersorbuilddramas.Hereisasimplyactivitytoroundoffthewarm-up.

Me

th

od Sayyourname(orcounttoten)indifferentways:inawhisper,as

ifmeetingalonglostfriend,asifyouarescared,asifyouwanttoscaresomeoneelse,asifyouareaskingaquestion,asifyouareaghost,asifyouareateachertellingsomeoneoff,asifyouaresellingsomething,asifyouarepreaching.

18

Track 4: Exploring the senses

In these exercises, the learners are going to become more aware of their five senses. Drama requires observation of the world around us, and the ability to remember what has been observed in order to create the reality of the drama.

Me

th

od 4.1 Listening exercise:Learnerslieonthefloorandclosetheir

eyes.Theylistentopromptsfromtheteacher:“Whatisthenearestsoundyoucanhear?Canyouhearyourselfbreathing?Canyouhearsomeoneelsebreathing?Whatisthefurthestawaysoundyoucanhear?Whatistheloudestsoundyoucanhear?Andthehighestsound?Thelowest?Whatsoundscanyouhearthatareoutsidetheroom,butcloseby?”Takeyourtimewiththeseinstructionstogivethelearnerstimetoexperienceeachsound.Youmaycreatesomesoundsdeliberatelyusingeverydayobjects.Afterwards,discusswhatthelearnersheard.

4.2 Blindfold exercise:

19

Me

th

od Inpairs,oneofthepairisblindfolded(useatieorspecially

madeblindfolds).Thiswillmakethemveryawareofthesensesthatareactivatedwhentheirsenseofsightisnotabletowork.Thepartnershouldguidethemaroundtheroom,encouragingthemtousetheirhandstoexploretextures,andtheirhearingandsenseoftouchtofeelwheretheyareinspace.Youmaydecidetocreateanobstaclecourseforthemtomovearoundandover.Thepartnermayguidethemwithahandandwiththeirvoice,orwiththeirvoicealone.

4.3 Touch and remember: Teacher’sscript:“Inpairs,closeyoureyesandexploreoneanother’shands.Feeleverydetailoftheirhand.Howlongaretheirnails?Howbigistheirpalm?Howlongaretheirfingers?Nowopenyoureyesandmoveawayfromyourpartnertotheotherendoftheroom.Closeyoureyesandslowlyandcarefullymovearoundtheroom.Whenyoumeetpeople,investigatetheirhands,usingyoursenseoftouchonly.Canyoufindyourpartnerwithoutcheatingandopeningyoureyes?”

4.4 What can you feel?Inthisexercise,eachpersonhastobringthreeobjectstoclassthateachhasadifferenttexture.Theyshouldnotshowtheseobjectstotheirpartner.Thepartnerisblindfoldedandhastoguesswhattheobjectsarebyfeelingthem.Learnersshouldthinkaboutwhatwordstheywouldusetodescribeeachobject.Introduceavocabularyaroundtouchsensationsbyplacingawholelotofwordsonthewalloronthefloor:rough,smooth,sticky,prickly,spongy,soft,wet,hotetc.Learnerscanafterwardsallocateanobjecttoeachword.

4.5 Sense of smell exercise: Teacher’sscript:“Imaginethatyouarestandinginagarden?Whatarethedifferentthingsyoucansmell?Canyousmellfreshlymowngrass?Canyousmellroses?Canyousmellfragrantherbs?Imaginethatyouareholdingyourfavouriteflowerupclosetoyournose.Breatheinthescentofthatflower…Nowimaginethatyouarestandingonarubbishdump.Whatsmellscanyousmell?Canyousmellrottenfood?Canyousmellfishthathasgonebad?Canyousmellabananapeel?Whatotherthingscanyousmell?Howdoesyourbodyfeelwhenyouhavetobreatheinthesesmells?Nowgobacktothegarden.Breatheinthescentoftheflowersagain.”Dothesameexercisewiththesenseoftaste.Imaginetastingdifferentthings.Afterwards,discusswhatwasthelearners’favouritetaste(orsmell)ofthemall?

20

Me

th

od 4.6 Imaginative play with superheroes.Inagroupoffive,each

learnertakesononesuperheroquality.Oneofthelearnershasthebesteyesightintheworld,thebestsenseofsmell,thebestsenseoftaste,etc.Eachlearnershouldgivetheirsuperheroaname(e.g.SharpEyes,SharpFingers,SharpEars,SharpTongue,SharpNose,ortheycanmakeuptheirownnames).Asagroup,theydecideonasituationwheresomeoneisindanger.Together,inanimprovisedscene,theydemonstratehowtheyusetheirsuperhumanstrengthstorescuethepersonfromthisdanger.

21

Track 5: Exploring movement dynamics

Possible Dance Integration

In these exercises we are going to explore different aspects and dynamics of movement. We are going to develop a movement vocabulary, which will be helpful when starting to do mime in the next section.

5.1 Exploring Size

Me

th

od

22

Me

th

od Asklearnerstoconsiderallthewordstheycanthinkofrelatingto

size:big,small;tall,short;huge,tiny;wide,narrowetc.Onaseriesofsuccessivetapsonadrumortambourine,askthelearnerstomovefromoneextremetotheother.Forexample,(fortinytohuge)thelearnerscurlintoatinyball.Withsuccessivetapsonadrumortambourine,theygrowlargerandlargeruntiltheyareattheirbiggestsize.Thentheyshrinksuccessively,witheachtaponthedrumortambourine.Imagerycanalsobeusefulforexploringsize.Letthemexploreshiftingbetweenbeingatinymouseandahugeelephant,adelicateflowerandthenanenormoustree,ababyandthefattestmanintheworld.

5.2 Exploring Shapes

Me

th

od Inthesameway,explorewordsthatrelatetoshapes,forexample,

straightorcurved,uprightorbending,roundorsquare,rigidorflexible.Asklearnerstoexploreamachinewhereeverymovementusesonlystraightlinesandangularmovements.Eachlearnershouldfindawayfortheiractionstofitintotheactionsoftherestofthegroup.Thisworksbestwhenonelearnerstartsanaction,andthenextlearneraddsontotheactionsofthefirstlearner,findingawaytouseadifferentlevelorangletomakethemovementssynchronisewithoneanother.Inthesameway,askthelearnerstocreateamachinewhereeverymovementisfluid,curvedandrounded.Againimagerycanbeusedtocreatedifferentkindsofshapes.

5.3 Exploring Weight

Me

th

od Thedynamicofweightisveryimportantinmovement,danceand

mime.Learnersshouldbeabletocompareanduselightandheavymovements.Usingimagery,getthemtoexplorearangeofdifferentweights:

Teacher’sscript:“Bealeaffloatingonthebreeze.Digaholeintheground.Floatlikeabutterfly.Kickaheavyball.Letyourlegsbefilledwithleadwhileyourheadisfilledwithair.”

23

5.4 Journeys combining spatial awareness and movement dynamics

Learnerstravelthroughspaceatamoderatepace,keepingequaldistancebetweenthemandfillingallthegaps.Alternatebetweennormalpaceandslowmotion.

Definition: Slow motion is where movements happen at a pace far below normal speed. The movements need to be fluidly connected to one another for this to be effective.

Slow motion allows learners to focus on the detail of their movements and to gain more control over each separate movement. You do not need to use all the suggestions below in one class. Vary your imagery from session to session.

Me

th

od Instructthelearnerstogoonajourneywheretheyexperience

differentkindsofmovingthroughspace.Theyshouldstayawareofothersandneverbumpintoanyoneoranythingintheroom.

Teacher’sscript:“Youarewalkingthroughafieldoftallweeds.Youhavetopushyourwaythrough.Youarewalkingonapileoffeathers.Theyaresoftandstickingtoyourfeet.Youarewalkingonsand.Thesandgetshotterandhotter.Youarewalkingthroughpuddles.Thepuddlesgetdeeperanddeeperuntilyouarewalkingthroughapondandthenthroughafastflowingriver.Youarewalkingonafarawayplanetwherenothinghasanyweight.Youarecrawlingalongthetopofaveryhigh,verynarrowridge.Youarewalkingalongalowwall.Youarecrawlingasifyouarelookingforants.Youarecrawlingthroughaverynarrowtunnel.Youarebouncinggentlyonthespot.Youarebouncinglikearubberball.Youarebouncinglikeaveryheavyball.Youarebouncinglikeaping-pongballgoingoffinlotsofdifferentdirection.Dothisnormalspeed.Dothisslowmotion.Howmuchharderisittomoveinslowmotion?”

24

5.5 Movements with props: What is this object?

Definition: Properties are the movable articles or objects used onstage. They may be merely decorative or have a functional use within the drama.

This exercise uses real props to evoke imaginative responses. It encourages clear movements and is an excellent introduction to the next section dealing with Mime. Collect a whole bunch of interesting and differently sized objects (e.g. a hat, a broom, a bucket, a suitcase, a ball, a pen, etc.)

Me

th

od Placethreepropsinthemiddleofthecircle.Asksomeoneinthe

circletowalkintothecircleandusethepropinthewayitwasmeanttobeused.Someonewouldwearthehat,sweepwiththebroometc.Onceeachitemhasbeenusedinthewayitwasmeanttobeused,thenexttimeitispickedup,itmustbetransformedbythepersonusingit,intosomethingelse.Thehatcanbecomeafan,oraflag,orababy.Thebroomcanbecomeamotorbike,amicrophone,agolfclub.Nooneisallowedtousethepropinthesamewaytwice.Itshouldalwaysbepossibleforthegroupwatchingtoanswerthequestion“whatisthisobject”clearly.Changethepropsinthemiddleofthecirclewhenyoufeelthatmostpossibilitieshavebeenexhausted.

25

Track 6: Mime

Possible Dance Integration

In this series, learners will explore some of the basics of mime.

Definition: Mime is nonverbal, physical communication to tell a story or explore an idea. Mime relies on the imagination of the audience (and performer) to fill in the details of what is not actually present. It is important that learners concentrate and respect what they have created (for example, encourage them not to walk through a wall that has just been created through mime, or simply drop their imaginary object once they have used it).

26

6.1 What am I doing?

Thisexerciseintroducesthelearnerstothenotionofaction.Definition: Action is any activity or event performed on the stage.

Me

th

od

Learnerspairup.Eachlearnermimesasimpleactionfortheirpartner(cooking,sewing,sweeping,playingsoccer,playingchessetc.).Thepartnerwatchescarefullyandmirrorstheactionspresentedtothem–thisslowsthelearnersdownandforcesthemtobeclearandcarefulintheirmovements.Oncetheyhavedonethisforaminuteorso,theyshouldfreeze(atasignalfromtheteacher),andthepartnermustguesscorrectlywhattheactionwasthattheyweredoing.Theythenswopover.Freezetheactionatdifferentpointstofocustheirattentiononwhattheyaredoing.

6.2 Where am I?

Thisexerciseintroducesthelearnerstothenotionoflocation.Definition: Location is the place or setting depicted in a drama.

Me

th

od Learnersbreakintogroupsof4or5people.Thereshouldbeeven

numbersofgroupsintheroom.Eachgroupgetsgivenalocation(e.g.taxirank,beach,shops,trainstation,soccermatch),ortheycanchoosetheirown.Thegroupthinksabouthowtomakeatableau(frozenimage,likeaphotograph)ofthatlocation,usingtheirbodiesinsuchawaythatthelocationwillbecleartotheviewer.Oncetheyhavemadetheirtableaux,theothergroupwalksarounditandlooksatitfromallangles,andthendecides,throughdiscussion,whatthelocationisthatisbeingrepresented.

27

6.3 What is this object?

Thisexerciseintroducesthelearnerstothenotionofproperties(‘props’).Seedefinitionabove.

Me

th

od Sittinginacircle,thelearnerspassaroundanimaginarymagicbox.

Whenitcomestothem,theytakeanobjectoutoftheboxslowlyandcarefully,andshowwiththeirhandswhattheobjectisthroughhowtheyhandletheobject.Encouragethelearnerstobeverydetailedbutalsoclearandsimpleintheirmovements.Theyshouldusetheirsensestorememberwhattheweightoftheobjectwouldbe,thesize,shapeandtexture.Throughthewaythattheyhandletheobject,theyshouldshowtheirfeelingaboutit–Isitsomethingtheyarescaredof?Isitveryprecioustothem?etc.Theyshoulddemonstrateusingtheobjectinsomeway,beforetheyputitbackandpassthemagicboxontothenextperson.

6.4 Who are we?

Thisexerciseintroducesthelearnerstothenotionofcharacter.Italsoemphasisesbodylanguageandattitudethroughmakingstatuesinpairs.

Definition: Character is the term used to describe the human or non-human persona or role created by an actor in a drama.

Me

th

od Inpairs,learnersdecidewhowillbethestatueandwhothe

sculptor.Thesculptormouldstheperson’sbodypartsandposturetotakeonaparticularattitudeandpose.Thestatueshouldremainabsolutelystillandquiet,butallowthemselvestobemovedandpositionedbythesculptor.Oncethesculptorhasworkedonallthedetailsofthepicture(includingfacialexpression),theystepbackfromtheirstatue.Thestatuesmustremainfrozeninspace.Allthesculptorslookatthestatuesanddecidewhichtwostatueswouldlookgoodtogetherorworktogether.Oncetheyhavedonethis,oneofthestatuescandroptheirfreezeandmoveacrosstotheirnewpartner,tocreateatableau.

Definition: A tableau is a still image or a frozen moment, created by posing still bodies in space. It is rather like a photograph, in that it communicates a representation of an event, an idea or a feeling. The plural of tableau is ‘tableaux’.

Me

th

od Onceallthestatueshavetakenuppositioninatableauandthere

aremanytableauxformedintheroom,thesculptorsmoveacrosstothestatuetheymade.(Theyshouldnowbeingroupsoffour–twostatues,twosculptors).Thesculptorsdecidewhatishappeninginthepictureandtogethergivethesceneinfrontofthematitle.Oneofthesculptorsclapstheirhandstomakethescenecometolife(withoutwords).Theothersculptorwillwatchthesceneuntilitisclearwhatishappening,andthenclaptheirhandsagain,sothatthescenefreezesoncemore.Discusswhetherthemimedsceneswereclearornot.Iftheywereclear,whatmadethemso?Ifnot,whynot?

28

6.5 Telling a story without words

Thisprocessallowslearnerstodevelopamimedstory.

Me

th

od Learnerswritealocation,acharacterandanobjectontothree

separatepiecesofpaper.Thesepiecesofpaperaregatheredintothreehats(orsimply,threepiles).Thelearnersdivideintopairsandeachpairmustthendrawapieceofpaperfromeachofthethreepiles.Forexample,apairmightdraw“beach”,“nurse”and“apple”.

Usingthesethreeclues,theyneedtodecideonastorywherethesethreeelementscanbebroughttogethereffectively.Perhapsanurse(whoisoff-duty)seesachildonthebeacheatinganapple,whostartschoking.Shehelpsthechildbygivingherfirstaid.Thelearnersshouldkeepthestoryassimpleaspossible;itshouldtakenomorethan2minutestoperform.

Theythenworkontellingthisstorywithoutwords.Remindthemtousetheirsenseswhencreatingthestory(e.g.feelthebreezeonyourface,breatheinthefreshair,tastetheappleasyoueatitetc.)

Askthemtocreateacleartableauatthebeginningofthestorytolocatewheretheyare.Eachcharactershouldbeclearlydemonstrated(considerposture,wayofwalking,physicalattitude)andthestoryshouldhaveaclearending.Thelearnersshouldfreezeinatableauagainattheendoftheirstory.Whentheydemonstratetheirmimefortherestoftheclass(oranothergroup),theaudienceshouldlookoutforthethreeitems–thecharacter,locationandobject–andtrytoguesswhattheymightbe.Ifthemimehasbeenclear,thiswillbeeasiertodo.Usealittletimeaftereachmimetodiscusswhatmadesomethingclearorunclear.Remembertostaypositiveinthefeedbackwiththeclass.

29

Track 7: Basic Puppets

Possible Visual Art Integration

In this section, learners will learn how to make and use simple hand puppets.

Definition: A puppet is an inanimate object, moved by hand or by wire, in order to give it the impression of being alive. It may be used as a character in a drama.

7.1 Puppet making

Therearemanydifferentwaystomakepuppets.Thismethodusesasockasabase.(Othermethodsincludegloves,paperbags,Styrofoamballsonsticks,simpleshadowpuppetsusinganoverheadprojectorasthelightsourceetc.)

Me

th

od Eachlearnerneedstobringanoldsocktoclass(oraskfor

donationsandbuildupasupply).Thereshouldbeanumberofdesignelementsforthelearnerstouse–colouredpaper,tinsel,scrapsoffabric,glue,felt,wool,buttons,scissors,colouredpaintsorpens,glitter,pipecleanersetc.Learnersshouldplaceasockontheirhand,withtheheelofthesockonthebackofthehand,andtheirfingersinthetoesection.Theyshouldfindwheretheirthumbcomesto.Thisiswherethemouthwillbe.Thethumbwillformthebottomlip,andthefingerswillformthetoplip.Cutoutamouthpieceshapedlikethisfromstiffcardboard(cerealboxeswilldo),andfolditinhalf.Insertitbetweenthethumbandfingers(whicharestillinsidethesock)andglueittothesocktocreatethemouth.Onceitisin,fabriccanbegluedontothecardboardtocreate,forexample,apinkinteriortothemouth.

30

Me

th

od Withchalkorpins,markwheretheeyes,noseandearsneedtobe

inrelationtothismouth.Woolorpipecleanersmakegreathair;lipscanbedrawnonwithkokipens,eyescanbemadeoutofbuttons,cut-outcardboardorfabricshapes.Thepuppetcanbedressed,byaddingdetailtothelegofthesock(whichcoversthewristandpartoftheforearm).

7.2 Bringing a puppet to lifeM

eth

od 7.2.1Learnersshouldfirstworkbythemselvestoanimatetheir

puppet.Theyneedtoputtheirfocusonthepuppetallthetime(lookingatthepuppetandnotattheaudience),andworktokeepitalive.Theyshouldpractisesayingsimplephraseslike“hello”,“howareyou”whilemovingthemouthofthepuppetinsynchronisationwiththewords.

7.2.2 Thentheycanstarttofocusonwhatkindofvoicetheirpuppetshouldhave.Isithighpitched?Lowpitched?Loud?Squeaky?Letthemthinkaboutthevoicesthattheyheartheirfavouritecharactersuseincartoons.Whatkindofvoiceisappropriatefortheirpuppet?

7.2.3.Encouragethemtofindtheirpuppet’swayofmoving–aretheyquickandlight,orslowandheavy?Dotheyglideorbounce?Suggestdifferentmovementqualitieswhiletheyexplorewiththeirpuppets.

7.2.4Oncetheyhavebecomemoreawareofhowtheirpuppetoperates,movesandspeaks,theycanpairupwithanotherlearner.Suggesttopicslike“myfavouritefood”,“mypethate”,“myfavouritethingtodo”.Learnersshouldimproviseaconversationbetweentheirpuppetsinwhichtheytalkaboutthesetopics,usingtheirpuppetvoiceandattitude.Theyshouldavoidlettingtheconversationhappenbetweenthepuppeteers,butrather,bykeepingtheirfocusontheirownpuppets,allowthepuppetstoseemtospeaktooneanother.

7.2.5Asimplepuppetstagecanbecreatedbyhangingaclothoveradesk,andusingthedesktopasthestage.Thetableclothcanbechosenordecoratedtohaveaparticularlook(agrassymeadow,astreetetc.)Morecomplexstagescanbebuiltbyusingaboxwhichhaspartofitsfloorcutaway.Theboxisthenplacedontheedgeofatable,sothatthepuppeteerhasaccesstothecut-awaysectionofthefloor.Theinsideoftheboxcanbedecoratedtocreatethelocationforthepuppetshow.

7.2.5 Puppetscanbeusedindramastotellallkindsofstories,inwhichcasealltheaspectsdiscussedinTrack8and9arerelevanttothedevelopmentandperformanceofthisdrama.

31

Track 8: Building a drama from a stimulus

In this section, the learners will build a drama. Through Grades 4-6, different stimuli are suggested as the basis for a drama; some of these are:

Definitions: Fable (a moral story using animals, or elements of nature as the main characters), African story (a traditional or modern story set within an African context), social drama (a drama that uses a social issue such as xenophobia, HIV and Aids, lack of housing, as the core theme), cultural drama (a drama coming from cultural events such as weddings, funerals or other expressions of culture) or ritual (a customary practice or sequence of actions, often carrying symbolic meaning).

You may decide to give learners a specific stimuli to work on (everyone in the class is working on the same fable, for example), or you may leave the choice open to the learners for them to research and brainstorm (learners go home and find fables to share in class, and then decide with their group which one they will choose to work on). You may also decide to have them invent their own versions, provided that they understand the elements that the type of drama should contain.

Regardless of which stimuli is chosen, the following exercises will be important. You can decide how much of the terminology to use, depending on your learners’ experience and comfort with the terms.

32

8.1 PLOT – What story are we telling?

Definition: Plot is the unified structure of events in a literary or dramatic work.

Me

th

od 8.1.1Oncethelearnershaveselectedtheirstory,askthemtositina

circleandtellthestoryasentenceatatime,aroundthecircle.Oncetheyhavedonethis,theyshoulddiscussthefollowingquestions:Whatisimportantinthestory?Whathappensatthebeginningofthestory?Howdoesthestoryresolveitself?Whatarethekeymoment/sofconflictinthestory?

8.1.2Askthelearnerstomakethreetableaux:oneforthebeginningofthestory;onefortheendofthestory;onefortheclimax(orpointofhighesttensioninthestory).Theyshouldpresentthesetotheclassfordiscussion.

Questionstoaskoftheaudienceare:Werethetableauxclear?Couldweseewherethestorywasset?Couldweseeaspectsofthecharactersinthesetableaux?Whatneedstohappentogetthestoryfromthefirsttableau,tothesecondandthentothefinaltableau?

Theessentialelementsofthestoryshouldnowbeclearandscenesoractionpointscanbedefined.Aclassroomdramashouldhavenomorethansevenactionpointsintotal,ifthestoryistobeclearandfocusedintheperformance.Thelearnersshouldwritedowntheactionpointsfortheirdramaatthisstage.

8.1.3Getthelearnerstoimproviseeachoftheiractionpoints,usingacleartableauatthebeginningandendofeachscene.Thisforcesthemtoconsiderhowtobringtheirideasacrossmosteffectivelytoanaudience.Theyshouldfocusonreducingeachscenetoitsmostimportantelements.Atthisstage,anylearnercanplayanycharacterinthestory.

33

8.2 CHARACTER – Who is in the drama?

Me

th

od 8.2.1Askthelearnerstoidentifythekeycharactersinthedrama.Does

thedramahaveamaincharacter(protagonist)?Doesthischaracterhaveanopponent(orantagonist)inthedrama?Whoelseisimportant?Makesurethateverycharacterthatappearsonstageinthedramahasareasonforbeingthere.

Definition: The protagonist is the main character of a literary or dramatic work. The story revolves around their actions or choices, and the audience is usually sympathetic towards this character.

The antagonist is the opponent against whom another character struggles. The antagonist represents or creates obstacles for the protagonist. There may be more than one antagonist in a drama.

Me

th

od 8.2.2Whichofthecharacter’spointsofviewismostimportanttothe

audience?Whoarewesympatheticto?Doesthischangethewaythatthedramashouldbetold?Doesthedramaneedanarrator(acharacterwhotellsthestory)orisitpresenteddirectlytotheaudience?Theanswerstothesequestionsmaychangethewaythedramaisshaped.

8.2.3Askthelearnerstocasttheplayasagroup.Thiscanbedonedemocraticallybyvotingforlearnerstoplayparticularcharactersthroughaclosedeyeballot.Iftherearefewercharactersthantherearelearners,encouragelearnertobecreative.Theycanbeinvolvedbycreatingasoundtrackforthedrama,bytogethercreatingaparticularcharacter(e.g.threelearnerscreatethe“izim”,anogrecharacterinastory),orbycreatingthescenerythroughusingtheirbodiesininterestingways.Everylearnershouldbeinvolved.

8.2.4Oncethechoiceshavebeenmade,eachcharactershouldbeconsideredbothexternallyandinternally.Askthelearnerstoeachimaginethemselvesastheircharacter.Letthemwalkaroundtheroomastheircharacter.Howdoestheircharacterwalk?Howoldistheircharacter?Whatistheircharacterwearing?Whatattitudedoestheircharacterhavetootherpeoplethattheydon’tknow?Whatattitudedoesthecharacterhavetowardspeopletheydoknow?Letthecharactersmingleandgreetoneanother,demonstratingtheseattitudes,usingonlytheword“hello”.Bylimitingwhattheycansay,thelearnerhastofocusontoneofvoiceandattitude,ratherthanonthelanguagetheyareusing,whichdevelopsspecificvocalcharacterisations.

34

Me

th

od 8.2.5Getlearnersto

createacharactercollageforhomework–theymaycollectimagesfrommagazineordrawpicturesofpossiblecostumeitems,picturesofthingstheircharacteruseseveryday,orcollects,orlikestolookat.

Thisgivesthemanopportunitytoexploretheworldoftheircharacterandtoconsiderpossiblepersonalitytraits.

8.3 LOCATION – Where and when does the drama take place?

Me

th

od 8.3.1Whatisthelocationforthedrama?Istheremorethanonelocation

needed?Ifso,howshouldthestagespacebesetupsothattheactioncanmovesmoothlyandeasilyfromonescenetoanother?

8.3.2Askthelearnerstodemarcateastageforthemselves(theymaydothisbylayingdownwhitetapeonthegroundorbysimplyclearingaspaceintheroom).Theyshouldthenconsiderthemostessentialelementsinthatspace.Whatisneededforthedrama?Arethereitemsthatthedramacannotdowithout?Couldthesebemimed,ordoestheaudienceneedtoseethem?Howcanthedialoguebeusedtosetthescene?

8.3.3 Youmaydecidetolimitwhatthelearnerscanuseinthespace;forcingthemtousenopropsorsettingsatallmaypushthemtobemorephysicallycreative,byusingtheirbodies(orthoseofthegroup)andmimetocreatethescenery.Ifyouallowthemtomakeuseofactualsceneryandprops,makesurethattheyareabletojustifythechoiceofeachitem.Theyshouldalsopayattentiontowhattheprops/setpiecessayabouttheworldoftheplayandthecharactersthatareusingthem.Youmaydecidetolimittheiruseofpropstooneproponly.Thismaycreateafocusinthedrama.Youmaywanttoencouragethemtousedifferentspacesintheschoolfortheirdramas.

35

Me

th

od 8.3.4CreatingSoundscapes:

PossibleMusicIntegration

Createasoundscapeforthedrama:thiscanberealisticorexpressive.Inotherwords,itcanbelikeasoundtrackinamovie,providingatmosphereandcreatingsuspense,oritcansituatethedramabyprovidingsoundcluesfortheaudience(e.g.cockcrowing,windblowing,acaralarmgoingoffetc).

Definition: A soundscape is an atmosphere or environment created purely through sound.

Explorethecreationofsoundscapesbyaskinglearnerstocreatesomegeneralsoundstatesusingtheirvoices,bodypercussion(claps,clicks,slapsetc.)andanyimprovisedinstrumentsthattheycanfindintheroom(e.g.keys,rulers,pencils,paper,amugetc.).Giveeachgroupathemetostartoffwith–thunderstorm,railwaystation,beach,soccermatch,veldatnight.Theyshouldallocateaconductorinthegrouptotellthemwhentostartandfinish,whentogetlouderandsofteretc.Afterthegrouphaspractisedtheirparticularsoundscape,maketherestofthelearnersclosetheireyestolistentoit.Theyshouldthengivethegroupfeedbackonwhattheyheard–whatwasclear,whatneededtobemadeclearer.Theyshouldconsiderwhatcluescanbegiventhroughsoundabouttimeofday,place,evencountry.Thentheyshouldconsidertheirownactionpoints.Soundscapescanbeworkedonthatareappropriatetothedramabeingpresented,andwhichcreatetheatmosphereandlocationfortheaudience.

8.3.5Considerhowthespaceshouldbesetupinorderfortheaudiencetobestenjoythedrama.Youmaydecidetogivethemdifferentsuggestionsarounduseofspace,e.g.intheround(audienceallaround),intothecorner(audienceontwosides),end-on(audienceononeside)…Makesurethatlearnersunderstandthattheaudienceneedstoseetheactionclearlyandthatkeymomentsshouldbehighlightedfortheirattention.

Definitions: “Theatre in the round” is where the audience is seated on all sides of the action. Despite the term, the acting space may be circular, square or any other shape.

36

“Into the corner” staging is similar to a thrust stage, where there is a back to the performance area (the two walls of the corner), allowing for scenery to be placed there. The audience sits on two or three sides of the action.

“End-on” staging is similar to a proscenium arch stage, where the audience sits in rows facing the action, and there is a division between the actors and the audience.

37

Track 9: Bringing it all Together

All drama needs to be rehearsed and refined over time. Words need to be memorised, actions learnt, and the group needs to learn to work together so that there is flow and pace to the presentation. The focus of a scene needs to be made more specific and clear, particularly when scenes have been created through improvisation. It is important that learners are given time in class (and outside it) to refine their dramas before they perform and reflect on these performances.

9.1 Creating Dialogue

Improvisingdialogueisanecessaryelementtobuildingadramafromscratch.Itrequiresgoodlisteningskills,co-operationandtheabilitytounderstandwhatismostimportantinascene.

Definition: Dialogue refers to the words spoken by actors onstage. The term (‘di’) implies two people, although dialogue can involve more than two people. (Monologue is the term used for a speech by a single actor.)

Me

th

od 9.1.1Getlearnerstochooseanactionpointfromtheirdrama.They

shouldfirsttryactingthesceneoutwithoutanywords,toseewhatcanbecommunicatedthroughmeansotherthandialogue.Agreatdealofinformationcanbegiventotheaudiencewithouttheactorsactuallytalkingtooneanother,byusingmime,actions,soundeffectsetc.Oncetheseelementsareinplace,theycanmoveontothenextstep…

38

Me

th

od

co

nt. 9.1.2 Thenaskthemtoimprovisethedialoguefortheactionpoint.They

shoulddothisafewtimes(theymayevendecidetohavedifferentlearnersplayingthecharactersinthesceneinordertogeneratedifferentideas).Theyshouldselectonlythemostimportantpiecesofdialoguetoputonthestage.Oftenasceneshouldstartlaterratherthanearlier(i.e.wedon’tneedtohearpeoplesaying“Hello.Howareyou?”ineveryscene.)Letthescenestartfromaninterestingpoint,wheretheaudiencewillbeimmediatelydrawnintowhatishappening.

9.1.3 Learnersmustcheckthatthedialogueisappropriatetothecharacterspeakingit.Thetoneofvoice,useofvocabularyandmannerofspeakingshouldbeadjustedtosuitthecharacterbeingportrayed.Toexplorethis,haveeachlearnerchooseonelinefromtheirdrama.Inacircle,eachlearnermovesacrosstoanotherlearner,usingtheircharacter’sbodylanguageandposture.Theysaythelinetothislearner,usingthetoneofvoiceandattitudeoftheircharacter.Thelearnershouldlistencarefullyandthenrepeatwhattheyhavejustdonebymimickingtheposture,bodylanguage,attitude,voice,pieceofdialogueetc.Theythenchangetotheirowncharacter’sbodylanguageandposture.Theymovearoundandacrossthecircle,choosingsomeoneelsetoplaytheirownlineto.Thisrepeatsuntileveryoneinthegrouphasdemonstratedtheirowncharacterandmimickedsomeoneelse’scharacterinthegroup.

9.2 Rehearsing

Me

th

od 9.2.1Givelearnerssomethingdifferenttoconcentrateoneachtimethey

rehearseadrama.Forexample,“Thistime,rehearseitforcharacterdetail.Thistimeforpaceandbuildingtoaclimax.Thistimeforlisteningtooneanotherandresponding.”Asyouwatchthedramayourself,pickupwheretheproblemsareinordertosuggestwaystoimprovetheseforthenextrunthrough.Thisway,learnerskeepdevelopingthedrama,ratherthansimplyrepeatingmistakesorpoorversionsofthedrama.

9.2.2Astheyrehearse,thelearnersshouldbehoningthedrama.Thismeanstoconstantlymakechoicesaboutwhatneedstobeshown/spoken,andhow,inorderforittobemosteffectivefortheaudience.

9.2.3Makesurethatthelearnersrehearsewithalltheelementsofthedramainplace(props,costumes,setpieces,useoftheactualperformancespace–ifthesearetobeused)beforethefinalperformance.

39

9.3 Performing

Me

th

od

9.3.1 Encouragerespectforperformance.Makesurethattheaudienceknowswhatisexpectedofthemwhentheyarewatchingadrama.Theyshouldgivetheirfullattentiontotheperformance.Theyshouldbewatchingandlisteningforcertaincluesintheperformance.Theyshouldacknowledgetheperformanceafterwardswithapplause.

9.3.2Makesurethatthelearnerswarm-upandfocusbeforetheperformance.Thiswillimprovethequalityoftheperformanceandwilldealwithnervousnessandanxiety.

9.3.3Getthelearnerstosetuptheperformancespaceclearlyfortheaudienceandperformers.

9.3.4 Ensurethataftertheperformance,thereistimeforreflection.Havequestionsreadyfortheaudiencetoanswer,“Whatdidyouenjoyaboutwhatyoujustsaw?Whatdidyouseehappeninginthedrama?Wasanythinguncleartoyou?Doyouhaveanysuggestionsforimprovements?Whatwasthemostmemorablemomentinthedrama?”Thereflectioncanbeself-reflection,oranopendiscussionofoneanother’sperformances.Youmaychoosetogivethelearnersthequestionsintheformofaquestionnaireforthemtofilloutaloneorasagroup.Seeoverleaf.Itisimportantthatallaspectsofthedramaarediscussedandthatlearnersbecomeconfidentwithusingdramaterminology(e.g.props,costume,character,soundeffectsetc.)Makesurethatoverall,thereisafocusonthepositiveelementsintheclassfeedback.Thelearnersshouldfeelproudofwhattheyhaveachieved!

40

QUESTIONNAIRE:1. Whatdidyouenjoyaboutwhatyoujustsaw?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2. Whatdidyouseehappeninginthedrama?(Considertheplot/action,thecharacters,the

themes,thelocation,useofprops,soundeffectsetc.)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3. Wasanythinguncleartoyou?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4. Doyouhaveanysuggestionsforimprovementseithertomakethedramamoreclearor

moreeffective?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5. Whatwasthemostmemorablemomentinthedrama?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .