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MoreMini-Plays

Blake’s Topic B

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This Topic Bank contains:n Part A—Puppetry (most suitable for lower primary students)n Part B—Eco-Plays (most suitable for middle primary students)n Part C—Whodunnit? (most suitable for upper primary students)

Each part contains:n an introduction for the teachern a sample script outlinen an activity task card for students

Author-educator Hazel Edwards runs Whodunnits? on site. Locations have included school camps,guesthouses, an old mansion, an aerodrome, old Fremantle Jail, Museum of South Australia, MonashUniversity and even Luna Park. Voice of the Forest was performed at Wilsons Promontory as part ofthe National Parks’ centenary celebrations. Visit her web site:www.newwebcity.com/hazel/edwards.htm

D3 n Fun and EasyDrama Activities

Lower, Middle and Upper Primary

by Hazel Edwards

2 © Blake Education—Fun and Easy Drama Activities: More Mini-Plays

Introduction

Puppetry can range from impromptu finger orsock puppets to elaborate marionettes, or full-sized puppeteers wearing black garb andmanipulating giant puppets in professionaltheatres. Puppets do not have to be peoplecharacters. They can be abstractions such asthe Feral Trolleys (which feature in thefollowing sample script), or objects like adoona. Using abstractions, or unlikely items,as puppets often appeals to highlyimaginative students. Puppets may be used inscripts with live actors, or purely forimprovisation.

Why use puppets?

ß A puppet performance (or wearing a mask)gives students a chance to hide behind anassumed personality. Shy students canparticipate without feeling on show.

ß The tactile aspect is important. Somestudents gain from making the puppetsfirst, and working out the story later. Otherstudents prefer to start with the script, anddesign the puppets to fit the roles.Encourage students to try both methodswhen making puppets.

Finger puppets

Finger puppets are easy and can be used:

ß as a narrator for storytelling

ß to perform at celebrations (for example abirthday puppet)

ß to encourage manual dexterity

ß for speech therapy

PuppetryPattern for basic finger puppet

Cut two out of felt and sew around edge. Glueor sew on features.

Pattern for basic walking fingerpuppet

Cut out of thin card and decorate. Put fingersthrough holes so puppet has legs to walk.

For all your teaching needs visit www.blake.com.au

3 © Blake Education—Fun and Easy Drama Activities: More Mini-PlaysThis page may be reproduced by the original purchaser for non-commercial classroom use.

Things to doMake the animal characters as eitherfinger puppets, paper-plate masks orhand puppets.

Take one character, for example a bilby,and find out some facts about realbilbies.

Improvise the plot as a group activityonce the puppets have been made.

Decide what will happen in the story.Each story needs something to gowrong. The Feral Trolleys and theSucking Monster (vacuum cleaner) arethe baddies in the following scenario.The Mops could be goodies.

The Narrator can hold the actual script(if there is one) in a folder.

Songs, special effects and music can beadded. One student can be the specialeffects expert and create sounds, at theright time.

Puppetry Script Outline

Narrator: When the shopping centre closes for the evening, the Night Shift begins.Silky the Bilby and her animal friends come out. They are the Night Shift.Each night they improve one thing, to thank the shopkeepers who leaveleftovers in bins just for them!

Listen! Here comes Silky. If we're quiet, she probably won't see us. Silky’seyesight is not the best! Silky does, however, see the bin overflowing withrubbish.

Cast:

NNaarrrraattoorr

SSiillkkyy tthhee BBiillbbyy

SSppiikkee tthhee EEcchhiiddnnaa

FFllaappppeerr tthhee PPllaattyyppuuss

LLiizz tthhee LLiizzaarrdd

GGrraaccee tthhee SSuuggaarr GGlliiddeerr

FFeerraall TTrroolllleeyyss

MMooppss

SSuucckkiinngg MMoonnsstteerr ((VVaaccuuuumm cclleeaanneerr))

Special Effects:TTrroolllleeyy WWhheeeellss

SSuucckkiinngg MMoonnsstteerr

Night ShiftNote for teacher:

Recycling leftovers (rubbish) is the theme of the story. The animals in this scenario misinterpret the rubbish

left by the shopkeepers as gifts for them to reuse creatively. (Students are also reusing ‘leftovers’ creatively, as

they construct their puppets.) This scenario provides young students with a familiar setting (shopping

centre), a problem, and some characters.



Bilby: Great! Look at these leftovers. Hey Flapper!

Narrator: Silky picks up an old pair of sunglasses which were in the rubbish bin. Silkyis so busy playing with the sunglasses, that she bumps into Flapper thePlatypus, emerging from his hiding place.

Flapper: Hi Silky. Hey, what’s that noise?

[Special Effects: Feral Trolleys make rumbling noise]

Bilby: Did you hear that?

[Special Effects: Feral Trolleys make louder, threatening noise]

Narrator: Grace the Sugar Glider arrives, gliding gracefully.

Grace: Look out! The Trolleys are coming! I've seen Mean Trolleys…CrookedTrolleys...Nasty Trolleys...Wobbly Trolleys...Ankle-Snapping Trolleys and....they're CHASING US!

All: Not AGAIN!

Narrator: The frightened animals run and hide behind their friends the mops.

Now you finish this play.

You may wish to include a song or some music, for example:

When the shopping centre closes, the Night Shift comes on.

We wait until shoppers have gone home.

We wait until the cleaners have finished.

And we wait until the leftovers have been put out.

Then the Night Shift starts.



Gather stray socks, plus thread,needles, scissors, buttons and avariety of ‘bits’ to decorate yourpuppets.

Work in a group of three.

Create three puppets. Each puppetshould have one disability—one isdeaf, one is blind and the third hasa different type of disability (forexample no sense of humour, or nosense of direction).

Work out a one minute scene foryour puppets to act out. Your sceneshould contain:

a) conflict

b) suspense

c) a twist at the end

Remember, your puppets should actin character and should be easy totell apart.

Decide who will introduce your oneminute performance.

Turn a table upside down. Coverthe legs with a sheet, and let thesheet fall down one side of thetable, so that it forms a ‘wall’. Youcan use your puppets behind thiswall.

Perform your show.

After you have given your puppetperformance, ask the rest of theclass to comment on what workedwell, and what could be improved.

Puppetry Task Card

Sock Exchange



Introduction

An eco-play is an improvised script aroundlocal issues. It’s performed outside, using thenatural setting. Voice of the Forest, for example,was performed at Wilson’s Promontory byprimary school students as part of ParksVictoria’s centenary celebrations.

Why perform an eco-play?

You can choose an issue pertinent toyour local area. Voice of the Forest is aboutbush inhabitants co-operating against anoutside THREAT. The Parliament of theForest is holding an election to choose aleader of forest fauna and flora. Thisleader will lead the forest’s inhabitantsagainst the unspecified THREAT.

There is scope for lots of dressing up andimprovising of the lifestyles of birds,insects, animals, trees and humans.

Eco-plays can be incorporated across thecurriculum in the following learning areas:

ß Problem-solving skills for theoutdoors, like how to arrangesandbags so props won’t fall in thewind, or a Plan B for wet weather

ß Factual content about the environment,for example trees, insects and animals

ß Checking on long-range weatherforecasts for performance times makesscientific data relevant

There is scope to encourage communityinvolvement. Ask for family support inmaking props and helping withcostumes. Try local theatre or dancecompanies for the loan of costumes orprops, for example bee costumes.

How should an eco-play beperformed?

Build up a cast. Characters don’t need tobe people. Voice of the Forest charactersranged from a tall Eucalypt tree to feistyDung beetle to K Burra, the pop singer.

There is a risk of becoming too didacticwith a fact-based script, unless it islightened with humorous skits andspecial effects. Have choruses interruptwith singing and dancing commercialsenabling many students to participate. AEucy Oil Chorus could shower theaudience with student-made Eucalyptusleaves, after belting out their song.

Encourage audience involvement byhaving them wear Forest-Reality glasses.These glasses allow the viewer to enterthe world of dramatic imagination,where an ant and a tree can be seentalking together.

Construct a floral archway throughwhich the audience passes into theworld of the drama.

Have a twilight performance to takeadvantage of pleasant weather.

What types of props can be used?

Print LOUDER and SLOWER on promptpoles and use for directing performers.

Play music to add atmosphere.

Have The Flight of the Bumble Bee for Beeschorus. (Have performers wear blackswimming caps.)

Have the Eucy Oil Chorus dance to rapmusic as they shower leaves.

Play ‘fiery music’ as backgroundwhenever the THREAT is mentioned.(You could also have yellow and redstreamers which wave in the wind.)

Eco-Plays



Cast (minimum 10, maximum unlimited!)

DDUUNNGG BBEEEETTLLEE——feisty, loud and difficult

OORRGGAANNIISSEERR——very polite. Can be any animal,bird, insect or human. Have the actor choose.

FFLLIIEESS’’ CCHHOORRUUSS (any number)—Irritable

LLYYRREEBBIIRRDD—imitates any noise with ease.Beautiful tail feathers shaped like a lyre.

LLYYRREEBBIIRRDD’’SS MMAATTEE——assertive

KKOOOOKKAABBUURRRRAA ((KK BBUURRRRAA TTHHEE PPOOPPSSIINNGGEERR))—has a loud laugh. Pop singer. (Actorwill need to sing.)

MMRRSS KK—his mate, who sticks up for herself

WWEEDDGGEE--TTAAIILLEEDD EEAAGGLLEE (non-speaking part)

IINNSSEECCTT CCHHOORRUUSS (any number)

VVOOIICCEE OOFF TTHHEE FFOORREESSTT—can be a voice-over,a single actor, or trio with masks

AAUUDDIIEENNCCEE —are invited to participate, as ifthey are characters too

Props Pile of dung which can be a brown beanbag

Microphone for Kookaburra the popsinger

Nest for Mrs K

Lyrebirds’ nest with moss and othervegetation

Eco-Play Script Outline

Voice of the ForestExtract: Dung Beetle Cameo

Note for teacher:

Although an unusual choice, the dung beetle demonstrates how a quirky cameo can be developed from dry

facts. Enthusiastic students often research their roles further once these have been allotted. Facts have to be

respected, but as scriptwriters your class can dramatise a bit. Descriptive details attached to the cast list can

be helpful, for example: DUNG BEETLE: Introduced cleaner of the environment. Compost creator. Lives in

cow pat, horse or dog manure.

DUNG BEETLE [emerging from pile ofmanure] Who wants me?

ORGANISER: Oh! Excuse me.

DUNG BEETLE: Why?

ORGANISER: Excuse me forinterrupting. I can see you’re busy.

DUNG BEETLE: Always busy. I’m acleaner-upper...

Let’s face it. If I didn’t work, you’dhave manure everywhere. Would youlike that?

ORGANISER: [tripping over manure]Er...No. I suppose not.

DUNG BEETLE: I’m the best dung-burierin the business.

ORGANISER: Dung...er...manure doyou mean?

DUNG BEETLE: Dung is dung, butpeople use other names.

ORGANISER: What do you do?

DUNG BEETLE: Clean up



pastures...break up the dung…burydung in the ground for breeding andfeeding.

You see, my mate and I dig a nestunder the dung.

Our beetle tunnels help water and airget into the soil.

Roots work better because of MYwork. Because I eat only dung, I helpthe environment. Creative recycler,that’s my occupation.

ORGANISER: Do others value yourwork?

DUNG BEETLE: Fly pests hate me. Idestroy their breeding sites.

FLIES: [crossly] That’s right. Dungbeetles muck things up.

ORGANISER: Are you planning onbreeding yourself?

DUNG BEETLE: Of course. [shows ballshapes] These are brood masses.Each has several eggs. My eggshatch into larvae. My larvae feeds onthe dung within the brood mass.Later, my beetle children will dig out.Then they’ll fly to fresh dung pads...start to feed and breed, I’m glad tosay.

ORGANISER: If you’re so useful, whydoes anyone attack you?

DUNG BEETLE: Birds and foxes are aproblem. But I tunnel fast.

[LYREBIRD approaches withLYREBIRD’S MATE; ORGANISERturns.]

ORGANISER: Were you introduced?

[LYREBIRD offers wing to shake]

DUNG BEETLE: Yes, I’ve met Lyrebirdbefore.

ORGANISER: No I mean, were you anINTRODUCED species?

Did you come from outside?

DUNG BEETLE: Yes. We’re not greattravellers. We’re still within ahundred kilometres of our releasespots.

ORGANISER: So, you’re not a NATIVEbeetle. Will this count against you inthe upcoming election?

DUNG BEETLE: Why should it? Migrants



are needed. I was invited here fromEurope to do a job....or my great-grand beetle was. Local dung beetlescan manage the pellet droppings ofnative marsupials. But you need aEuropean expert for European cattledung.

Australia’s my adopted country... andthe forest is my home.

I will fight any threat to the Forestcycle.

ORGANISER: Heard that Kookaburrawill be standing against you.

DUNG BEETLE: Ha. Ha. that’ll be alaugh.

ORGANISER: So you know about theTHREAT then?

DUNG BEETLE: Which one?

ORGANISER: The thing which willdestroy our forest.

KOOKABURRA: [flies in, appeals toaudience] Can you help me?

Got a problem with a Wedge-tailedEagle that’s flying around.

Whenever Kookaburras call [warningKookaburra sound] it means Freeze!Wedge-Tailed Eagle overhead!

Stop everything. Point your billsskywards. Stiffen like a rod.

Then we look like a stick to any Eagleoverhead. Try it.

[invites audience to make a stick pose]

Bill pointing. Or stick making it’scalled.

[KOOKABURRA practises withAUDIENCE; targets particular people]

Each night, we bunch together on twoor three roosting trees.

Have our evening chorus. Preenourselves. Wipe our bills.

ORGANISER: Why do you bunchtogether?

KOOKABURRA: Safer.

Have you ever seen a kookaburrawith glasses?



[Everyone shakes their heads.]

No? I’ve got GREAT eyesight. Cansee a worm, snail, insect, frog, lizardor snake or even small birds...

INSECTS: We know. Our cousins whowent to dinner with you, didn’t comeback!

KOOKABURRA: Fast food chain. Ouryoung Burras also like MacReptiles.

We prey on smaller animals. Largerones, like the Wedge-Tailed Eagleprey on us. LOOK OUT! [warningKookaburra sound] Stick-like![Audience freeze into stick shapes]

[WEDGE-TAILED EAGLE enters andflies out again]

MRS K: I think the eagle’s gone now.Hi! I’m Mrs K. He’s my mate. Knewhim BEFORE he became a famouspop singer. Now, back to work!We’re checking our old nest.

[Pokes around. Rearranges chips anddust. Checks it out. Kookaburrassquawk at each other contentedly.]

I plan to hatch our little ones whenthere’s plenty of food around.

Unluckily, there’s not much foodaround before they hatch. That’s whymy mate needs to feed me then.Famous pop singers like Burra aren’tkeen on food shopping.

We like to use the same nest, but ifpossums or bees move in, we leave.

KOOKABURRA: Eagle overhead!Freeze!

[AUDIENCE react untilKOOKABURRA says ‘All clear.’ ]

DUNG BEETLE: What can we do aboutthis THREAT?

KOOKABURRA: The Wedge-TailedEagle?

DUNG BEETLE: No. The forest THREATto all of us.

ORGANISER: We need a forest-creature to tell our tale to the World.

LYREBIRD: My tail is the best around.Looks like a lyre. [displays tail]

ORGANISER: Tell stories do you?

LYREBIRD: Yes.

ORGANISER: Do you tell lies?

LYREBIRD: I’m not that sort of a



LYREBIRD. [annoyed] My tail hassixteen long distinct feathers. Look.They are shaped like the ancient lyre.That’s the reason for my name.

ORGANISER: Sorry. What else can youdo?

LYREBIRD: Sing. Mimic.

[mimics current pop singers—someone to whom audience willrelate]

And I listen as well.

[long silence]

ORGANISER: You're a good listener.

LYREBIRD: But I’m shy. If anyonewatches, I run away.

ORGANISER: Public speaking isimportant. Where do you live?

LYREBIRD: In the forest.

ORGANISER: I know that! But whereexactly?

LYREBIRD: I like to keep that secret.

ORGANISER: Where will we send amessage? Got a phone or faxnumber? Email?

LYREBIRD: No. But listen! [imitatesmobile phone ringing]

ORGANISER: Terrific. Now where doyou live, so I can drop off thepamphlets?

VOICE OF THE FOREST: Thosepamphlets were made from paperwhich came from wood, which camefrom a forest.

Use them wisely.

Don’t waste any paper.

It all came from ME! They are ME!

LYREBIRD: I live at The Mound,Australia. Over here. [whispers tomate; scratches with back legs]

Pretty roomy really. [gestures to rootsof fallen trees, dried grass and softtree fern moss] Made it myself.

LYREBIRD’S MATE: [indignantly] Excuseme! Don’t forget my work.

DUNG BEETLE: Or mine in the rest ofthe forest. Maybe I will stand for theelection.



1. Sequel

Improvise a sequel to the Voice of theForest dung beetle script.

ß Who is elected?

ß What is their argument/platform?

ß How is the THREAT defeated?

2. Prequel

Try a prequel (what came before).

ß How long have each of the characterslived in the forest?

ß Have the forest residents beenthreatened before?

ß Which of the forest characters arefriends?

3. Adopt a Character

Imagine you are one of the forestcharacters. Decide what you would liketo see happen in the forest.

4. Lucky Dip

ß Put the names of endangered speciesinto a hat.

ß Draw out one name. You will take onthe role of this endangered species.

ß Find out three facts about your speciesor your situation.

ß Give a speech as your character. Theunderlying theme of your performanceis ‘Time’s running out…’.

5. Animal Rap

Divide into small groups. Choose ananimal, insect or bird. Choreograph anAnimal Rap with each character in thegroup acting like their creature.

6. Footprints From the Past

Paint a frieze of footprints or paw markswhich relate to specific creatures.

7. Animal Fashion Parade

Choose an animal from the forest anddesign an appropriate costume. Hold afashion parade and have each animaltake turns to act as compere.

8. Class Election

Have a class election. In groups of aboutfive students, decide what will be yourplatform. This means you will need to statewhere your party stands on particularissues. Each party should present theirstance to the rest of the class. Remember tohave a catchy name for your party. Aftereach group has presented their position,and outlined their differences to otherparties, hold the election.

9. Tree Party

Not all trees are green. Have a tree partywhere each guest is dressed as a specialtree. Plan a special menu which includeswoody food, for example wood chips,tree-ring snacks, leaf mould mousse andsawdust sprinkles.

10. Ancient Times

The dung beetle in ancient Egypt wasconsidered sacred. Devise a ‘This is YourLife’ program for the Egyptian dungbeetle. Feature other creatures from theforest as guests.

Eco-Play Task Card



Introduction

A Whodunnit? is a mystery script with a logical

plot and a real setting, but with fictitious

characters, including sleuths and suspects. The

script can be written or improvised on-site, based

on a plot which includes clues and character

descriptions. Whodunnit? scripts revolve around:

ß motive—why something is done

ß method—way it’s done

ß opportunity—when and where it’s done.

Conflict should be included in the drama but no

violence or dead bodies. These are too easy and are

used by lazy writers. Types of conflict in a

Whodunnit? could include:

ß something lost or thought to be lost

ß mix-up of people, places or property.

Characters should be easily distinguishable, with

definite motives for their actions.

Why use a Whodunnit? script?

Use a Whodunnit? script to:

ß be involved in creating a mystery

ß stress clever plot twists rather than violence

ß use clues which link to the historical

background or setting

ß work on location using the site

ß encourage divergent and analytical thinking.

How should a mystery script be used?

ß Find a local site, for example a historic building

with several entrances and exits. Establish the

reasons why people might visit this site.

ß Check the site for potential clues. Decide on

cast roles.

ß Workshop on-site. Appoint a director, clues co-

ordinator, plotting team, and actors.

ß Allow constructive criticism from the group and

opportunities for rewriting.

ß You may decide to dispense with a complete

script, and instead improvise from an agreed

plot outline.

ß After the performance, get feedback from others

on what went well, and what could be

improved.

What types of props can be used?

ß Select ten clues which can be placed on the site

beforehand, for example key, single muddy

sneaker, note, photo, or a distinct footprint.

These are versatile clues, and there could be

more than one reason for them being there.

ß A map of the site. This could be hand drawn or

an official map.

Is there any necessary preparation?

ß Discuss the three mystery elements of motive,

opportunity and method.

ß Choose and place some clues on-site. This allows

for real clues to be seen and examined.

ß Get students to walk around observing the site

and noting or physically collecting the clues.

(Sometimes students may pick up items the

organiser didn’t intend to be clues. Take

advantage and include these in the plot

regardless.)

ß Provide a hypothetical scenario which has

several possibilities.

ß Give out a cast list of five or six suspects.

Other things to do

ß Move around performing scenes at appropriate

sites chosen by the director.

ß Have a Clue Crew who select, place or collect

clues for others’ stories.

ß Have a Mystery Fest with different plots based

on the same clues and site.

Whodunnit?



The Case of the Burnt ChurchThere has been a fire in an old church.

Whodunnit script outline

Your brief…

ß Work out whodunnit.

ß Create your sleuth’s dossier.

ß Work out why your suspects might beinvolved.

ß Use at least three clues.

ß Create a dossier for your major suspect (doer).

ß Plot what happened and why.

Share your WhoDunnit? on site. Performyour solution.

Clues

Use the actual objects or find substitutes.

ß sneakers with different laces

ß walking stick with stickers showing areaswalked

ß timer which ticks

ß Chinese coin with writing on it

ß hammer/screwdriver

ß key ring, but no key

ß letter opener

ß photo of couple standing in front of aNew York landscape

ß money box with stopper missing

ß airline eyeshade for sleeping

ß three candles on a stand

Hints

ß There is no one correct answer.

ß Discuss motive, method and opportunity.Remember, non-violent mysteries arecleverer than those where characters arejust ‘bumped off’.

ß Think about ‘What if?’. What if therehad been a fire in the church? Who didit? Why? Was it accidental ordeliberate? When? How? Who elsemight be suspected? What was theirmotivation? (Reward? Reputation?Solving a puzzle? Clearing the blame?)

ß Think of a good title, for example BurntOut, Getting Your Fingers Burnt and HotArt.

Suspects

Jogger (because who notices a jogger?)

Property developer

‘Heavenly Pizza’ chef

Art dealer (stained-glass windows, churchgold)

Ex-priest

Neighbour (ashamed of rundown churchproperty beside own)



1. Choose a local, real site with severalexits and different reasons for peopleto visit, for example a museum, galleryor old school.

2. You need to visit the site beforehand inorder to decide what its dramaticpossibilities are. Think about thefollowing:

ß Why might someone want to closethis down?

ß Where might a fire or gas leak start?

ß What could be heard, smelled, orseen around here?

ß Could anything be overheard inspecific places?

ß Are there areas where you getreflections or distortions?

ß Are there any unlocked or self-locking doors?

ß Check the position of fire escapes.

Now you need to decide on yourmystery—what needs to be solved.

3. Choose some clues which could havemany uses. For example a bunch ofkeys with a name tag that isimpossible to read; a photograph ofsigns or people; foreign currency; or ahalf burnt candle.

You will also need to use clues that areeasy for you to find or place. Some ofthe clues should be able to be pickedup and examined.

4. Create a cast list of characters.(Remember that each character needsto be played by a member of yourgroup so don’t create too many

characters!) Try to ensure they havereasons for being in or near thelocation. Decide which character will bethe sleuth—will they be someone whoenjoys playing detective or will yourscript include an actual police officer?

5. Develop dossiers for each of yoursuspects, with some detail of theirbackground. Useful suspects couldinclude a courier, an estate agent withalternative plans for the area, or aformer owner.

6. Decide who is the culprit, and refineyour plot. Make sure you havedeveloped the character of eachsuspect; it helps to see the mysteryfrom their viewpoint. Look at motiveopportunity and method.

You could make your plot moresophisticated by including thepossibility that more than one suspectis working together.

7. Construct a timetable. This will helpyou plan where each suspect is at agiven time. Design a practical way ofkeeping tabs on suspects’ moves. (Forexample you could have a map of allthe rooms and entrances, with pinsrepresenting each character, showingtheir positions.

8. Using your site, present yourWhodunnit? to the rest of the class.Each suspect in your group shouldpresent the mystery from their point ofview. Allow your audience time toexamine the site and clues before yoursleuth presents their conclusion as towhodunnit!

Whodunnit task card


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