Y8 Meaning Through Movement - turton.uk.com · THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME...
Transcript of Y8 Meaning Through Movement - turton.uk.com · THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME...
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Drama
Y8 Meaning Through Movement
Name
Tutor Group
Teacher
This booklet contains your homework tasks for this unit of work. In addi on, material for class work such as scripts can be found in the back of the booklet.
Your homework will be set and reviewed on
Monday Tuesday Wednesday
Thursday Friday
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Homework
During this scheme you will have a piece of homework each week.
It is important that homework is completed on me and done to the best of your ability. In a few cases, homework tasks will relate to the following week’s classwork, therefore, if you do not complete the work you will not be in as strong a posi on to start your learning the following week.
If you are struggling with any of the pieces of work please come and find a member of the Drama Department who will happily help you.
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6) What skills did you need in order to successfully create you
movement sequences? Explain when you demonstrated
these skills.
7) Describe how you adapted your voice and physicality to
show one of the characters you played.
8) Explain what your biggest challenge has been during this
scheme and why.
9) Which moment of your work was the most successful and
why?
10) If you could improve your performance what would you do
and why?
11) Which performance (group or individual) did you admire
most and why?
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Meaning Through Movement Evalua on
Before you start your work make sure:
‐You are wri ng in either blue or black pen
‐You have wri en the date in the top le hand corner of your book
‐You have wri en the tle in the centre of your page at the top
‐You have underlined your date and tle with a ruler
You should answer the following ques ons in your book. All answers should be completed in full sentences.
1) In what year was Fran c Assembly founded and by who?
2) Select three words that Fran c Assembly use within their
company aims and explain what they mean.
3) Why does Fran c Assembly choose not to define their work
as ‘physical theatre’?
4) When working as an ensemble, what skills are necessary in
order for the ensemble to work successfully? Provide details
of when you demonstrated these skills.
5) Describe how you incorporated a movement sequence into
your performance. Explain what impact this had on the
audience.
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Task Pg
1 Using your knowledge organiser, revise all informa on regarding Fran c Assembly and key spellings
4
2 Evaluate the Fran c inspired movement that you have created in class, use the ques ons provided.
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3 Use your knowledge and understanding of the character Christopher to create a character profile.
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4 Learn the sec on of script that provides the audience with an account of Christopher’s rou ne.
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5 Read the interview with Sco Graham and answer the ques ons provided.
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6 Use your knowledge and understanding of the characters of Judy and Ed to respond to a series of ques ons.
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7 Write down the movement sequence you created and rehearse it at home.
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8 Create a storyboard (comic strip) of ten key moments from the play.
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9 Start preparing for your performance and set yourself 3 targets for your performance.
18
10 Con nue to prepare for your performance and bring in any props or costume next week.
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11 Reflect on your performance 20
12 Complete your end of unit assessment. 21
Done
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Homework Task One: Set date Check date
Examining the prac ce of theatre company Fran c Assembly and learning the spellings of key performance words.
For homework task one you must use your knowledge organiser (Pg 32‐33)to revise informa on surrounding the theatre company Fran c Assembly. In addi on you should learn the spellings and defini ons of the words below. You must be ready to answer ques ons about Fran c Assembly and spell these words correctly for next week’s homework check.
Contemporary
(Con-temp-or-ary)
Uncompromising
(Un-com-pro-mis-ing)
Collaboration (Coll-ab-or-a-tion)
Relevant (Rel-e-vant)
Engaging (En-gag-ing)
Ensemble (En-sem-ble)
Performance (Per-for-mance)
When Frantic say they are uncompromising it means they are unwilling to change for the sake of others. They are proud of their work and of their unique style.
Something that is contemporary is said to be modern or happening in the present.
Working with others to produce something.
Appropriate to what is being done.
Making an audience interested in a performance
A group of actors who perform together.
The act of presenting a play, concert, or other form of entertainment.
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Technical cue sheet
You may wish to use music during your performance. It is strongly advised that you use music in any movement sequences, as it will help you maintain a steady beat when moving. If you do need music you need to complete the cue sheet so that the person opera ng your music knows when to start and end your track.
Track Cue line End
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Performance brief
For your assessment you will be assessed in the following areas:
‐Your ability to work cohesively as an ensemble during rehearsals and the final performance.
‐Your ability to demonstrate different characters by using your vocal and physical skills.
‐Your ability to use movement in performance to create meaning and aid story telling.
What will my assessment look like?
You will select 4‐5 key moments from the story ‘The Curious Incident Of The Dog In The Night‐Time’.
For each moment you will create a tableau and then layer dialogue from the play into your tableau.
You will then find a way to transi on between your scenes.
A er crea ng your scenes you should examine where you could add some of the following sequences that you have created this term into your work. You should include at least one movement sequence.
‐The police scene ‐Christopher's rou ne ‐Mum’s le er ‐Paddington sta on
This will be performed as one performance. You will be assessed as an individual and this mark will contribute towards your end of year test score.
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Prac se your spellings
Prac se your spelling on this page. Write the word above the defini on and then check you’ve spelt it correctly. If you get it wrong, try again.
Something that is said to be modern or happening in the present.
Being unwilling to change for the sake of others.
Working with others to produce something,
Something that is appropriate to what is being said and done.
Making an audience interested in a performance.
A group of actors who perform together.
The act of presenting a play, concert, or other form of entertainment.
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Homework Task Two: Set date Check date Evalua ng your Fran c inspired movement. For Homework Task Two, answer the ques ons about your Fran c inspired movement below.
1‐ Describe what skills were necessary during the ‘Quad’ sequence that you created at the start of the lesson. Explain why these skills were needed.
2‐ Describe how you ini ally felt when asked to create your movement sequence using Round/By/Through.
3‐How did your performance change when you began to examine the moment before the touch, the moment of the touch and the moment a er the touch?
4‐Which piece of music did you feel suited your piece more and why?
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THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME ‘Curious’ is a novel written by Mark Haddon. In 2014 playwright Simon Stephens approached Mark and told him he wished to adapt his novel for the stage. He enlisted the help of Director Marianne Elliot and Frantic Assembly to help bring the world of Christopher Boone to life. The play begins with Christopher Boone discovering that his neighbour’s dog Wellington has been killed with a garden fork. Christopher makes it his mission to discover who killed Wellington and along the way uncovers hidden truths about his own life.
GLOSSARY OF TERMS
Contemporary– Something this is contemporary is said to be modern or happening in the present. Uncompromising– When Frantic say they are uncompromising it means they are unwilling to change for the sake of others. They are proud of their work and of their unique style. Collaboration– Working with others to produce something. Relevant-Appropriate to what is being done. Engaging-Making an audience interested in a performance Ensemble-A group of actors who perform together. When working as an ensemble you must have focus, discipline, trust, resilience and you must be able to listen. Ignition-A performance group designed to find talent in young people aged 16-20 Building Blocks-The act of breaking down the devising process into small and simple tasks. The building blocks can be built upon and come together to create on performance. Push Hands– An activity designed to build trust between partners and develop an awareness of movement. Hymns Hands– A sequence of movements using only the hands.
Round/By/Through– A sequence built up of a series of movements created by the actors. To help this process the actors can use the words round/by/through to create their sequences.
Scan the QR code below to watch how Frantic Assembly create their movement sequences.
Check your understanding: -With a partner test your spelling and definitions of key words
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WHO: Frantic Assembly was founded in 1994 by Scott Graham, Steven Hogget and Viki Middleton. Currently Scott is the only founder left in the company as Viki and Steven have pursued different careers within the industry. Frantic Assembly is one of the UK’s leading contemporary theatre companies, producing thrilling, energetic and uncompromising theatre, constantly attracting new audiences. In collaboration with a wide variety of artists, Frantic Assembly continues to create new work that places equal emphasis on movement, design, music and text. Frantic Assembly is interested in the power of collaboration and the endless possibilities of theatre. They have a strong desire to tell stories, making them relevant and engaging for their audiences. They are driven to tell stories in voices we won’t often hear, and find talent in places we don’t often look.
Turton Drama: Meaning Through Movement
WHAT: As well as creating their own shows, they have provided movement direction for others such as; ‘The Curious Incident Of The Dog In The Night-time’ . They have also set up a company called Ignition, which is a free, national training programme for young men and women aged 16-20. It aims to seek out talent in unexpected places and is committed to helping young people from across the UK with different backgrounds, skills and stories come together to find their individual and collective strength.
THE COMPANY: Frantic Assembly are a company who use movement as an integral part of their practice. They can be seen as sitting under the wide and varied umbrella of ‘physical theatre’, though it is certainly not a term they themselves use to define their work. The company feel that the label ‘physical theatre’ brings with it a set of expectations and they were not interested in definitions, as, to them, they felt like limitations. Their unorthodox route into theatre presented them with a world of possible styles and approaches, and to them, this was their strength. Frantic are known for working from a starting point and through a collaborative devising process, develop the ways in which they will present a text. The artistic director of the company does not come into the rehearsal process with a clear vision of the production, rather a few images, a list of song titles, various physical images, quotations and text extracts. From this the company works together to create moments within the production. They start small and gradually layer and develop their work. They refer to this as the building blocks.
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Homework Task Three: Set date Check date
Understanding the character Christopher Boone
Lives at home with his Dad Ed.
For Homework Task Three complete the role on the wall with Christopher Boone in mind. The informa on that you place around the figure should be informa on that you have gathered about Christopher. The informa on you add to the inside of the figure should describe how you would perform as Christopher. Two examples have been given to help you.
Has a neutral facial expression
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Learning script for performance
For Homework Task Four you should learn a sec on of script from Christopher’s rou ne. This can be found on page 23
Learning scripts is not an easy task and people have different ways of memorising scripts. One way you can memorise scripts is to create a visual picture of what is happening in the scene. For each significant moment of the script, draw an image that represents what is being said. Below are the significant moments in the script. Your images should be completed on the next page. The first one has been done for you.
1‐ I came home from school one day and no one answered the door
2‐So I went and found the secret key that we keep under a flower pot outside the kitchen window
3‐I le myself into the house and wipe my feet on the mat.
4– I put the keys in the bowl on the table.
5– I took my coat off and hung it by the side of the fridge so it would be ready for school the next day
6– And gave three pellets of rat food to Toby who is my pet rat
7– I made myself a raspberry milkshake
8‐ and heated it up in the microwave
9– Then I went up to my bedroom and turned on my bedroom light
10‐and played six games of Tetris and got to level 38, which is my fourth best ever score.
11‐An hour later Father came home from work.
Homework Task Four: Set date Check date
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6‐ Ed finds out that Christopher has been talking to Mrs. A and that she has told him about Judy and Rogers affair.
Ed‐ Don’t give me that. You knew exactly what you were doing.
7‐Christopher discovers le ers from his mum who he
believes to be dead, hidden under his fathers bed.
Christopher‐ Then I no ced lots of envelopes and they were all addressed to me. And this was interes ng and confusing.
8‐ Christopher runs away to find Judy and tells her that Ed said she was dead
Christopher‐ Father said you were dead
Judy‐ What?....Oh my god.
9‐ Judy and Ed confront each other at Roger’s flat in London. Christopher is in the bedroom listening
Ed‐ What is the use in wri ng to him…I cooked his meals, I cleaned his clothes….
Judy‐ So you thought it was ok to tell him his mother was dead?
10‐ Christopher gets an A* in his maths A level.Siobhan‐ Aren’t you happy?
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Curious Incident– 10 key moments
1‐ Christopher and Mrs Shears surround her dead dog in her front garden. It has a garden fork s cking out of it. Both are distressed.
Mrs Shears‐ What in Christ’s name have you done to my dog?
2‐ Christopher and Ed (his father) are talking at home.
Christopher wants to know where his mother is.
Ed‐ I’m afraid you wont be seeing your mum, for a while….she needs rest…she has a problem with her heart.
3‐ Christopher talks to Mrs. Alexander, his neighbour as he’s trying to find out who killed Wellington.
Christopher‐ I don’t talk to strangers but I’m doing detec ve work.
4‐Christopher pretends he is an astronaut in space.
Christopher‐ …And I can pretend I’m in space…and all I could see would be stars.
5‐ Christopher remembers a holiday in Cornwall and his mother trying to persuade him to come into the sea
Judy‐ Christopher! Look its lovely.
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Comprehension with wider reading
For Homework Task Four, read the following interview with Sco Graham and answer the ques ons that follow in your books.
Sarah Gough, Arts Editor, chats to Sco Graham, Movement Director of Olivier‐winning West End and Broadway produc on The Curious Incident of the Dog in the Night‐Time.Sco Graham, co‐founder of physical theatre company Fran c Assembly, has an impressive por olio. Responsible for a fresh reimagining of Othello, as well as devising modern classics like Abi Morgan’s Lovesong, it was no surprise that the Na onal Theatre called on him to choreograph their adapta on of Mark Haddon’s award‐winning novel. I cha ed to the man behind the movement about his own company as well as Curious Incident’s unprecedented success. Your company is pioneering in many ways, what with the energy and physicality you generate on‐stage. What inspired the crea on of Fran‐c Assembly?
So I joined a Drama society at University because I just wanted to do a bit of theatre. When I did that I had no idea that there was this whole world of physical theatre out there. At the society I met my friend and co‐founder Steven Hogge . The two of us got inspired by the work of a local company in Swansea who were very physical and visual – we didn’t know theatre could be like that. Steven and I were very switched on to it and just wanted to learn more about it. Our English degrees started to dri into the background a li le bit. It was the mutual valida on of telling each other that we could go for this that convinced us to try it. We wanted to create theatre that felt 4D, so that you could feel the heat behind it, you could smell it. Without that it was just dressing up and telling stories.
Homework Task Five: Set date Check date
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Voice Five Tickets.
Voice One Taxis.
Voice Two First Aid.
Voice Four Eastbourne Terrace.
Voice One Praed Street.
Voice Five The Lawn
Voice Three Q Here Please.
Voice Four Upper Crust.
Voice One Sainsbury’s
Voice Two Local informa on.
Voice Five Great Western First.
Voice Four Posi on Closed.
Voice One Closed.
Voice Two Posi on Closed.
Voice Three Sock Shop.
Voice Four Fast Ticket Point.
Voice Five Millie’s Cookies
Voice Two Coffee.
Voice Three Fergie to Stay at Manchester United
Voice Four Freshly Bakes Cookies and Muffins
Voice One Cold Drinks.
Voice Two Penalty Fares.
Voice Three Warning.
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Paddington sta on Christopher Le , right, le , right, le , right.
Voice One Sweet Pastries.
Voice Two Heathrow Airport Check‐In Here.
Voice One Bagel factory.
Voice Five Eat.
Voice Three Excellence and taste.
Voice Four Yo! Sushi.
Voice One Sta onlink.
Voice Two Buses.
Voice Five WH SMITH.
Voice Four Mezzanine.
Voice One Heathrow Express.
Voice Two Clinique.
Voice Three First‐class lounge
Voice Four Fullers.
Voice Five EasyCar.co.
Voice Two The Mad Bishop
Voice Three And Bear Public House
Voice Four Fuller’s London Pride.
Voice One Dixons
Voice Two Our Price.
Voice Three Paddington Bear at Paddington Sta on
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Is it the movement that comes first? How have you approached the movement direc on of Curious Incident? What existed first in this case was the novel. Mark Haddon’s book posed an incredible challenge but it’s also a gi . Somebody said to me: “you do realise you’re about to adapt the na on’s favourite novel.” No pressure! Simon Stephens (the playwright) decided he wouldn’t take a commission from anybody; he’d just go and write it. In his wri ng he already knew two things: he wanted Marianne Elliot to direct it and he wanted Fran c Assembly to do the movement. So with that in mind it gave him a li le bit of confidence to take some risks.
Has Curious Incident been your biggest challenge? Yes, but it’s important to set yourself new challenges. It’s a very brilliant team. All of us were taking risks and none of us were sure this would work. The Na onal Theatre, who produced and created it, weren’t convinced it would work. It’s taught me a massive amount and I’ll carry this experience through to new work.
Task five con nued
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Ques ons 1‐ What official tle does Sco Graham have during the process of crea ng the show?
2‐Who approached Sco Graham to choreograph the adapta on of Curious?
3‐Sco says ‘We wanted to create theatre that felt 4D, so that you could feel the heat behind it, you could smell it.’ What do you think he meant by this?
4‐Why do you think people thought adap ng the na on’s favourite novel would be such a challenge?
Task Five Ques ons
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We had a lot in common. And then we realised that we were in love with one another ‐ I said that I couldn’t leave you and he was sad about that but he understood that you were really important to me. And you started to shout and I got cross and I threw the food across the room. Which I know I shouldn’t have done. You grabbed the chopping board and you threw it and it hit my foot and broke my toes. And a erwards at home your father and I had a huge argument. And I couldn’t walk properly for a month, do you remember and your father had to look a er you. And I remember looking at the two of you and seeing you together and thinking how you were really different with him. Much calmer. And it made me so sad because it was like you didn’t need me at all. And I think then I re‐alized you and your father were probably be er off if I wasn’t living in the house. And Roger asked me if I wanted to come with him. And it broke my heart but eventually I decided it would be be er for all of us if I went. And so I said yes. And I meant to say goodbye. But when I rang your father he said I couldn’t ‐ He was really angry. He said I couldn’t ‐ He said I couldn’t talk to you. And I didn’t know what to do. He said I was being selfish and that I was never to set foot inside the house again. And so I haven’t. I wonder if you can understand any of this. I know it will be difficult for you. I thought what I was doing was the best for all of us. I hope it is. Christopher I never meant to hurt you. I used to have dreams that every‐thing would get be er. Do you remember you used to say that you wanted to be an astronaut? Well I used to have dreams where you were an astronaut and you were on television and I thought that’s my son. I wonder what it is that you want to be now. Has it changed? Are you s ll doing maths? I hope you are. Loads and loads of love, Mother.
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Judy’s le er to Christopher 451c Chapter Road, London, NW2 5NG. 0208 887 8907 Dear Christopher. I said that I wanted to explain to you why I went away when I had the me to do it properly. Now I have lots of me. So I’m si ng on the sofa here with this le er and the radio on and I’m going to try and explain. I was not a very good mother Christopher. Maybe if things had been different, maybe if you’d been different, I might have been be er at it. But that’s just the way things turned out. I’m not like your father. Your father is a much more pa ent person. He just gets on with things and if things upset him he doesn’t let it show. But that’s not the way I am. Do you remember once when we were shopping in town together? And we went into Bentalls and it was really crowded and we had to get a Christmas present for Grandma? And you were frightened because of all the people in the shop. And you crouched down on the floor and put your hands over your ears and you were in the way of everyone so I got cross because I don’t like shopping at Christmas either, and I told you to behave and I tried to pick you up and move you. But you shouted and you knocked those mixers off the shelf and there was a big crash. And everyone turned round to see what was going on and there were boxes and bits of string and bits of broken bowl on the floor and everyone was staring and I saw that you had wet yourself and I was so cross and I wanted to take you out of the shop but you wouldn’t let me touch you and we just had to wait un l you stopped screaming. Your father was really nice about it at first and he made you supper and put you to bed and he said these things happen and it would be OK. I said I couldn’t take it anymore and eventually he got really cross and he told me I was being stupid and said I should pull myself together and I hit him, which was wrong, but I was so upset. We had a lot of argu‐ments like that. And a er a while we stopped talking to each other very much because we knew it would always end up in an argument. And I felt really lonely. And that was when I started spending lots of me with Roger. And I know you might not understand any of this, but I wanted to try to explain so that you knew.
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Inves ga ng characters For Homework Task Six I would like you to spend some me reflec ng on what you have read this lesson. I would like you to think about the characters Judy and Ed, and answer the following ques ons. You can read Judy’s le er on pages 26‐27 1‐How did you feel when hearing the le er?
2‐Who did you empathise more with and why?
3‐What reasons could Judy have had for leaving?
4‐Do you think Judy made the right decision? Jus fy your answer.
5‐Do you think Ed was right to hide the le ers from Christopher? Jus fy your decision.
6‐How do you think Christopher is feeling in this moment and why?
Task Six Ques ons
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Paddington movement sequence For Homework Task Seven you should write a step‐by‐step set of instruc ons on how to perform your movement sequence for Paddington Sta on. It may look something like this:
Step One: Walk forward 8 steps
Step Two: Make a sharp le turn
Step Three: Walk forward 8 steps. On the 3rd step raise your hand in the air.
Once you have wri en your sequence down, rehearse the sequence at least twice at home.
Homework Task Seven
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Policeman Why were you in the garden in the first place?
Christopher I could see Wellington in the garden, it looked like
someone tried to plant him.
Policeman Did you try to plant the dog?
Christopher No, I did not. I like dogs.
Policeman Is this your fork?
Christopher: No.
Policeman: You seem very upset about this. I’m going to ask you
once again.
Christopher starts groaning
Policeman: Terrific
Christopher carries on groaning.
Policeman Young man I’m going to ask you to stop making that
noise and to stand up please calmly and quietly.
Christopher carries on groaning.
Policeman Marvellous. Great. Just flipping‐
The Policeman tries to li him up by his arm. Christopher screams. He
hits the Policeman. The Policeman stares at Christopher. For a while the
two look at one another, neither en rely sure what to say or quite be‐
lieving what has just happened.
Policeman I’m arres ng you for assaul ng a police officer.
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Police Scene
Siobhan: He squa ed down next to me. He said to me:
Policeman: Would you like to tell me what’s going on here, young
man?
Christopher stops groaning
There is some me
Christopher li s his head from the ground
There is some me
Christopher looks at the policeman.
There is some me.
Siobhan I do not tell lies. Mother used to say that this was
because I was a good person. But it is not because I am a good person.
It is because I can’t tell lies.
Christopher The dog is dead.
Policeman I’d got that far.
Christopher I think someone killed the dog.
Policeman How old are you?
Christopher I’m fi een years and three months and two days.
Policeman And what precisely are you doing in the garden?
Christopher I’m talking to you
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Storyboarding key moments For Homework Task Eight, you should select ten key moments from the play. Once you have these ten moments you are going to create a storyboard, which details the moments. A storyboard is like a comic strip‐ it has a picture of the key moment alongside a small amount of wri ng to describe what is going on. See the example below if you are struggling.
Homework Task Eight
My key moments are: 1. 6.
2. 7.
3. 8.
4. 9.
5. 10.
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Christopher’s rou ne
I came home from school one day and no one
answered the door, so I went and found the
secret key that we keep under a flowerpot
outside the kitchen window. I let myself into the
house and wiped my feet on the mat. I put the
keys in the bowl on the table. I took my coat off
and hung it by the side of the fridge so it would
be ready for school the next day and gave three
pellets of rat food to Toby who is my pet rat. I
made myself a raspberry milkshake and heated
it up in the microwave. Then I went up to my
bedroom and turned on my bedroom light and
played six games of Tetris and got to level 38,
which is my fourth best ever score. An hour
later Father came home from work.
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Classwork material
In this sec on of your booklet you will find all the material that you will need during your lessons. For example: sec ons of script, your performance brief, a technical cue sheet and
your evalua on ques ons.
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Homework Task Nine
Preparing for performance
For Homework Task Nine you should prepare for your performance. Preparing for a performance includes the following:
‐Learning any lines you may have ‐Rehearsing any movement sequences you have created ‐Se ng yourself targets or goals for your upcoming performance
You will be assessed on the quality of your performance. If you have not learnt your lines, you will find it difficult to access higher band marks. If you struggle learning lines try: ‐Prac sing with a family member or friend ‐Crea ng visual images in your mind or on paper of what is happening on stage ‐Recording yourself and listening back to the recording.
Targets for my performance
Use the space below to set yourself two targets for your performance. These can be individual or they can involve the whole group.
1
2
3
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Homework Task Twelve
Evalua ng your performance
For Homework Task Twelve you are to complete your wri en evalua on that you began working on in class. The ques ons for this evalua on can be found on pages 36‐37
Things to remember
‐Wri en evalua ons should be completed in your exercise books
‐You should use either a blue or black pen
‐You should have the date in the top le hand corner and you should have a tle that reads ‘Meaning Through Movement Evalua on’
‐All ques ons should be answered in full sentences. This mean that the ques on itself must be embedded into your answer.
‐Your wri en work should be neatly presented and reflect your abili es.
‐Ensure you include a wide variety of vocal and physical skills.
Vocal Physical
Volume Pitch Facial Expression Pace Body Language Tone Gait Volume Gesture Accent Posture Pause
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Homework Task Eleven
Reflec ng on a performance
For Homework Task Eleven you are going to reflect on your final performance. Make notes on the ques ons below– these notes will help you with your wri en assessment next week.
1‐Did you achieve your targets/goals that you set prior to your performance?
2– What was the most successful moment in your performance and why?
3– Were there any moments in your performance when something didn't go to plan? If so how did you resolve this?
4– Which performance did you admire most and why?
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Homework Task Ten
Preparing for performance
For Homework Task Ten you should prepare for your performance. Preparing for a performance includes the following:
‐Learning any lines you may have ‐Rehearsing any movement sequences you have created ‐Collec ng any props or costume you will need for your performance
Costume and Props
The addi on of costume and props to a performance can really help to bring the ac on on stage to life for the audience. It is some mes easier to imagine a character if they have a piece of costume that represents them, or a par cular prop they use. Use the space below to write down what items of costume and props you will use in your performance and why. Next week bring these items with you to use in your performance. Please note– we do not want you to spend any money on this, get crea ve and use items that you already have access to.
I play the role of:
I have chosen to wear:
The reason I have chosen this item of costume is because:
In my performance I will use the following props: The reason for this is