PART 3: DRAMA RESOURCES

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NET^working: Using Drama in the English Classrooom

PART 3: DRAMA RESOURCES

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The schedules, worksheets, handouts, scripts and assessment rubric on pp. 50 - 61 were used by Tina Engelbogen to organise drama activities for her students:

• Program of Horizons Week, November 2006

• Worksheet — Model of a Report: Visit to Madame Tussaud’s Wax Museum, The Peak

• Student group drama script — House of Wax

• Form 2 drama activities — Instructions for Day 1 Games

• Timetable of drama activities

• Drama scripts for students — ‘Young Heroes of the War’, ‘The Gun Fight’ and ‘The Thief’

• Vocabulary list for classroom drama activities

• Forms 1 - 2 Speaking Assessment Scoring Criteria — Small Group Drama

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HORIZONS WEEK THE PEAK WAXWORK MUSEUM:

EXCURSION, WRITING AND DRAMA WORKSHOP TEACHERS: IRENE MAK AND TINA ENGELBOGEN

DAY 1: Excursion to The Peak Waxwork Museum Objective: To gather information and ideas for script-writing.

The students will:

• form six small groups to gather information;

• take photos of the wax figures;

• take notes and complete ‘Model of a Report’ (see sample with teacher instructions on p. 50); and

• conduct further research using the Internet to find background information on the wax figures as homework.

DAY 2: Writing workshop (Computer Room)

Objective: To develop creative scripts based on the written and visual materials.

The students will:

• complete reports on the excursion;

• receive teacher input on the topics and story ideas about the characters in Waxwork Museum;

• develop their original scripts by working cooperatively in small groups of five;

• discuss their scripts in groups;

• type up the first draft of their scripts;

• conference, develop and edit their scripts;

• publish the scripts at the end of the workshop on A3 paper in large font; and

• prepare for the oral presentations of scripts.

DAY 3: Drama workshop based on the scripts and photos (Student Activity Room) Objective: To make dramatic presentations of original scripts.

The students will:

• take part in warm-up games: slow/fast movement, freeze-frame, transforming statues, pace; (see p. 55)

• create tableaux, such as ‘Bringing characters to life’ and ‘In the wax museum at night’;

• post their scripts from Day 2 around the drama room;

• discuss their ideas from the scripts in small groups;

• dramatise and rehearse scenes using warm-up game movements; and

• present the scenes.

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MODEL OF A REPORT: VISIT TO MADAME TUSSAUD’S WAX MUSEUM Your name:

Group members: 1. __________________________ 2. ________________________

3. __________________________ 4. ________________________

SECTION HEADINGS CONTENT

INTRODUCTION (1 paragraph)

On (date), we went on an excursion to (place).

The (name of the place) was built in (date) and (general information about the place).

WHAT WE SAW (1 paragraph)

A general description of the place and exhibition

SECTIONS (5 short paragraphs)

A summary of the five sections of the exhibition:

• A short paragraph on each section of the museum

• The number and names of the wax figures in each section

DETAILS OF ONE EXHIBIT (2 paragraphs)

Describe one exhibit in greater detail by giving:

• Names of the characters;

• Description of their appearance;

• Information on their profession; and

• Why they are famous

DESCRIPTION OF HOW THE WAX

FIGURES ARE MADE (3 – 4 paragraphs)

In the description:

• Include a number and heading for each step; and

• Write short paragraphs to describe the steps of making the wax figures.

YOUR OPINION (1 paragraph)

In one paragraph,your opinion of the waxworks museum:

• Did you enjoy the excursion?

• Who was your favourite character? Why?

• What interesting information did you learn?

ANY OTHER

COMMENTS (1 paragraph)

Will you visit the museum again? Why or why not?

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(Sample Script from Day 2’s Writing Workshop)

HORIZONS WEEK STUDENT GROUP DRAMA SCRIPT:

HOUSE OF WAX

Characters: Narrator, Worker 1, Worker 2, Bruce Lee, Jackie Chan, Policeman

SCENE 1 (Madame Tussaud’s Waxworks Museum, at night. The wax figures of Bruce Lee and Jackie Chan stand very still, in the pose of fighting in their famous movies.)

Narrator: One night at the Waxworks, the museum workers were going around checking the figures. They were looking to see if any thieves were there. While they were checking, they saw two figures, Bruce Lee and Jacky Chan,coming to life.

(Two museum workers walk around the room and stop to check the wax figures.)

Worker 1: What’s happening? Look! (Pointing to the two figures. They move a little closer.) Worker 2: Don’t be crazy. (Look at the figures) On my God! They aren’t thieves ...they really are Bruce Lee and Jackie Chan! They are coming to life!

(Hide at sides)

Worker 1: It’s impossible! I can’t believe it! (Also hides and watches the figures.)

(The two figures slowly move their hands, their heads, step on one foot then the other. They see each other, and Bruce looks angrily at Jackie. He makes a kung fu pose.)

Bruce Lee (shouting angrily): Why did you take my numchukas? (weapon)

Jackie Chan (laughing): None of your business! I do what I want! I’m the star now!

Bruce Lee (his voice was low and angry): You are a thief! Let’s fight! I will beat you!

(They start to fight, showing their great martial arts skills. Jackie is funny. He moves to the side, pretends to be hurt, lies down dead, jumps over Bruce and runs away.)

Narrator: Jackie and Bruce began to fight. Bruce did some great kung fu, but Jackie could get away fast and do some funny movements.

Worker 1: We need to stop them! (Tries to go near to stop the fighters.)

Worker 2: How? (He hides from the fight. He is scared of the crazy, fighting figures.) Worker 1 (runs away from the fighters): Call the police! (calls on the phone) Police!

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Narrator: The workers called the police and the waxwork figures kept fighting.

SCENE 2 (A policeman arrives; the figures freeze. He looks around to find the fight.) Policeman: Where are they? (Looking around)

Worker 1: Here! (pointing to the two wax figures. They stand still.) Policeman (angrily): They are just two wax figures! Are you crazy?

Worker 2: No! They were moving! I saw them! (Tries to move Bruce’s arms) Policeman: Don’t be foolish! You are wasting my time!

(The policeman leaves, looking angry. The workers try to move the figures, but Bruce and Jackie don’t move. They are just waxworks again.)

Narrator (laughing and pointing as the two workers walk away, looking angry): After the police went away the two workers were fired. (The Bruce and Jackie figures shake hands, and go back to their places. They freeze in their usual positions.)

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INSTRUCTIONS FOR DAY 3 GAMES

1. Simon Says: (10 minutes)

• Ask students to stand in a circle or in 2 – 3 rows, facing the game leader.

• Explain that we will play a game following instructions from the leader.

• When the leader calls an instruction which begins with “Simon says” everyone must obey the instruction.

• If an instruction is given without “Simon says”, do not move. If you move, or cannot follow the instruction, you will be out of the game.

• The other teachers will eliminate those who move, sending them to sit and watch.

• Winners left standing will receive a prize.

• All return to chairs at the end.

• Select a Cat and Mouse for the next game.

2. Cat and Mouse: (15 minutes)

• Leader asks students to stand in 4 rows of 8; other teachers assist.

• Explain terms ‘Raise arms to shoulder height’, ‘Barrier’, ‘Chase’, ‘Catch’.

• Raise arms to shoulder height, to form a barrier.

• The Cat must try to catch the Mouse.

• The Cat and Mouse may walk or run between the rows, if there is no barrier.

• If the barriers are closed, they cannot go between the rows.

• The students may close the barrier to save the Mouse, if the Cat comes near.

• Other teachers monitor time and fair play.

• The game ends either when the Cat catches the Mouse or after 1 minute.

• Winning Cat or surviving Mouse wins a prize.

3. Fruit Salad: (10 minutes)

• All students seated on chairs in a circle.

• Teacher nominates students as ‘apple’, ‘orange’, ‘pear’ and ‘banana’.

• Explain that when each fruit is called, those students must swap chairs.

• When ‘Fruit Salad’ is called, all must change, while teachers remove chairs.

4. Mirrors: (15 minutes)

• Half the group play; half sit and watch. Change at the end of 4 minutes.

• Leader instructs students to form A and B pairs, spaced around the room.

• Other 2 teachers briefly demonstrate, obeying the commands of the leader.

• Explain and demonstrate the terms ‘Start’, ‘Freeze’, ‘Swap’, ‘Stop’.

• Students work through a series of movements, then ‘freeze’ on the command.

• Other teachers award prizes for the best/ funniest/most adventurous moves.

• Students instructed to ‘swap’ once or twice, then return to seats.

• The second half of the class goes through the same routine.

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5. Slow and Fast Movement

• Students get into pairs.

• Students choose one movement, such as pretending to chop down a tree

• They practise the movement in slow motion and then speeded-up.

• They take turns demonstrating the movement to each other.

6. Tableaux — same as ‘freeze frame’

• Students get into groups of 3-4.

• They decide on a scene to portray.

• Every group member must play a role in the scene.

• The teacher counts 3-2-1.

• On 1, the students freeze in position to portray the scene.

• Students ‘unfreeze’ when the teacher asks them to do so.

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DAY 3 HORIZONS WEEK ENGLISH DRAMA

Timetable Activities Resources 8.55 ^• Gather group together. Check attendance roll

• Read through today’s plan, explain steps

• Read through drama terms to be used today (go through the meanings)

• Attendance roll

• Plan of day

• Drama terms handout 9.00 ^• Movement games (see p. 53): whole group in a circle

• Simon Says

• Fruit Salad

• Cat and Mouse

• Mirrors

• Slow and Fast Movement

• Tableaux

9.25 ^• Improvisation on waxwork tableaux (groups of 3)

• Student 1 is the live person in a pose; Student 2 is the wax sculptor; Student 3 is the wax figure. The sculptor chooses and measures the feature on the live person to be replicated on the wax figure; construct the wax figure and compare it to the live person.

• Giving voices to the scenes (using mini-scripts)

• Movement, gestures and facial expressions of waxwork characters

• List of scenes from the Waxwork Museum

• Mini-scripts from Day 2

• Photos from Day 1 on wall display

9.55 In 7 small groups:

• Read through scripts; and

• Plan scenes using props and costume.

• Mini-scripts from Day 2

• Box of props 10.25 Rehearse scenes. Learn lines. Use props.

11.00 ^• Perform scenes

• Take a few photos of each group in a tableau.

Camera

11.45 Short evaluation:

• Appreciation of performances

• Fill in simple evaluation forms

Evaluation forms

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HORIZONS WEEK DRAMA

VOCABULARY OF DRAMA TERMS USED IN CLASSROOM ACTIVITIES

• play

• drama

• theatre

• onstage

• offstage

• solo

• partner

• group

• role

• status

• leader

• follower

• master

• slave

• character

• narrator

• chorus

• hero

• villain

• clown

• victim

• imagine, pretend

• copy

• watch, look

• hear, listen

• change

• transform

• join, split

• improvise

• plan

• practise

• show

• rehearse

• perform

• evaluate

• plot, story

• act

• scene

• entrance

• exit

• dialogue

• monologue

• duologue

• narration

• script

• conflict

• development

• twist (plot)

• climax

• resolution

• pose

• move

• start, stop

• freeze

• fast, slow

• high, medium, low

• stand, sit, kneel, lie

• crawl, walk, jump

• twist, turn

• space

• circle

• semicircle

• rows

• setting

• large props

• hand props

• costume

• mirror

• oppose

• respond

• react

• mime

• gesture

• raise, lower

• bend, straighten

• shape

• tense, relax

• attack

• defend, save

• give, receive

• stop, go

• open, close

• speak, say

• whisper

• shout

• laugh, cry

• loud, quiet

• angry

• cheerful

• afraid, courageous

• shy, confident

• funny

• serious

• sad

• joyful

• silence

• sound

• stress, pause

• intonation

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1

2

3

4

5

Score • Minimal pronunciation level • Minimal pausing, stress and intonation • Occasionally conveys meaning

• Adequate pronunciation • Minimal pausing, stress and intonation • Able to convey basic meaning

• Mostly accurate pronunciation • Generally appropriate pausing, stress and intonation • Able to convey some meaning

• Mostly accurate pronunciation • Appropriate pausing, stress and intonation • Mostly able to convey meaning

• Accurate pronunciation • Appropriate pausing, stress and intonation • Able to convey meaning

Pronunciation, stress, pause, intonation • Occasional attempt at emotions • Differentiated from other characters

• Attempt to convey emotion • Occasional sense of character

• Some expression of emotion • Some sense of character conveyed

• Expression of emotion • Interpretation of character • Some sense of originality

• Clear expression of emotion • Recognisable interpretation of character

Expression of emotion, interpretation of character • Basic interaction strategies responding to others

• Minimal cooperation • Occasional eye contact • Simple turn-taking strategies to maintain interaction

• Some group cooperation • Occasional eye contact and gestures • Able to follow stage directions • Basic pace and timing of dialogue

• Good group cooperation • Clear eye contact and gestures • Able to interpret stage directions • Reasonable pace and timing

• Outstanding group cooperation • Expressive eye contact and gestures • Able to extend stage directions

Cooperation in Group, Communicative Strategies • Names and key words

• A few lines

• Partial

• Most of the script

• Total recall Memorise Script

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Hamlet in a Hurry

(from David Johncock)

Cast: Hamlet, Gertrude, Claudius, Narrator, Ophelia, Polonius, Ghost, Horatio, Laertes, Player King, Player Queen, Villain, Fortinbras, Soldiers and Guards

The curtain opens to reveal Hamlet alone onstage. He is pacing up and down in an emotional state.

Narrator: Our story’s set in Denmark in the medieval era.

Ophelia’s the heroine. Prince Hamlet is the hero.

Hamlet was depressed. He was overcast and moody.

His father’s recent death had made him feel morose and broody.

One day his uncle said to him:

Enter Claudius and Gertrude

Claudius: Why can’t you have more fun?

Hamlet: Oh no my Lord, you’ve got it wrong. I’m too much in the sun.

Gertrude: Now listen to your mother. Young boy, stop acting queer. It makes us all so anxious; it fills our hearts with fear.

Hamlet: Well I’m truly very sorry, but what choice have I got, mother.

My dad’s been dead two months and now you’re married to his brother.

Claudius: How dare you say such things, my boy? Come Gertrude, leave him be!

Exit Claudius and Gertrude

Hamlet: Why did my mother marry him? Alas! Oh woe is me! Exit Hamlet

Narrator: Meanwhile at Ophelia’s place, her father was a-grating because he’d just found out that she and Hamlet had been dating.

Enter Polonius and Ophelia

Polonius: You silly girl, you silly girl! You really shouldn’t trust. A shallow youth like Hamlet whose head is filled with lust.

Ophelia: Oh Daddy dear, I’m sorry. Please tell me what to do.

Polonius: It’s simple, dear Ophelia. Tell Hamlet that you’re through.

Ophelia: But daddy, dear, I love him!

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Polonius: Ophelia, please hush!

You think it’s love but really it is just a teenage crush.

Exit Ophelia, crying, followed by Polonius Enter Hamlet

Narrator: That night outside the palace gate, Hamlet saw a ghost.

Enter Ghost. Hamlet reacts with exaggerated surprise.

Ghost: I am your father’s spirit and I’m burnt as crisp as toast.

I died while I was sleeping, son. I died unsanctuated.

So now I am in purgatory. It makes me so frustrated!

Hamlet: How did you die?

Ghost: Murder most foul – most horrid at the best.

Your Uncle Claudius poisoned me and now I know no rest.

Oh you must get revenge for this. Kill Claudius. Kill the king – But don’t upset your mother. Don’t tell her anything.

Exit Ghost. Enter Horatio.

Narrator: Then Hamlet met his classmate. Horatio was his name.

Hamlet: Horatio, Horatio! Oh woe! Oh fie for shame!

My royal father’s murdered. His ghost did I just see;

There’s more in heaven and earth, pal, than in your philosophy.

Narrator: Horatio asked Hamlet:

Horatio: Will you come back to the uni?

Hamlet: Not yet, my friend; I’m staying here to make folks think I’m loony.

If everybody thinks I’m nuts and that my mind’s amiss It will make it so much easier to get revenge for this.

Horatio: Revenge? That’s really serious. Who was it killed your dad?

Hamlet: It was my Uncle Claudius. It really makes me mad.

Exit Horatio. Hamlet pretends to be insane. Enter Polonius, concealed. He reacts with exaggerated surprise on seeing Hamlet’s “madness”.

Narrator: So Hamlet moped about the place, his clothes all in a mess.

He kept pulling silly faces and displaying signs of stress.

Polonius, the silly fool, completely taken in, informed the king:

Hamlet goes upstage. Enter Claudius.

Polonius: Your nephew should be in a loony bin.

Claudius: Oh tell me please, Polonius, why has the boy gone crazy?

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Polonius: I think Ophelia dumped him. That’s why his mind is hazy.

Exit Polonius

Narrator: Now Hamlet wasn’t sure if what the ghost had said was true So he arranged a play to help him find an extra clue.

Hamlet (aside): Ghosts aren’t all that reliable; they might say anything So I will use a play to catch the conscience of the king.

(to Claudius) My Lord and King, we’re putting on a play - and you’re invited.

I think that when you see it, it will make you quite excited.

Claudius: Oh Hamlet, I will surely come to see your little play.

You know I like performances. They make me feel so gay.

Exit Claudius Enter Ophelia

Hamlet: But soft, the fair Ophelia! To be or not to be?

That is the question, ain’t it? Get thee to a nunnery.

Ophelia: My lord, I thought you loved me and I would be your bride.

Hamlet: Oh no, you are mistaken. My love for you has died.

Enter Polonius, Claudius and Gertrude. Hamlet, Ophelia, Gertrude, Claudius and Polonius sit to watch the play within the play. Enter Player King and Queen

Narrator: The players came onto the stage. Each player played his part.

The play that they performed struck deep into King Claudius’ heart.

The player king spoke first. He said:

Player King: I love you, but I’m old.

Soon I shall die, my queen. In truth it makes me feel so cold.

To think that after I am gone you will be all alone

So you have my permission - wed again when I am gone.

Player Queen: Oh no, that I can never do.

To you alone I must be true.

A second time I kill you dead.

If second husband joins my bed.

Player King: Oh my beloved, goodly wife,

More precious to me than my life.

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I know your love for me runs deep

But now I’m tired. It’s time to sleep.

Enter Villain

Narrator: In crept a villain who declared.

Villain: The king’s life can’t and shan’t be spared.

This goodly man stands in my way But not for long. He dies today.

Oh you may think it foul and cruel and tragic.

But he must die. Oh poison, work your magic!

Narrator: At this, King Claudius in a rage chased the players from the stage.

Claudius: Give me some light. Away. Oh woe!

Exit All Except Claudius

How much does this young Hamlet know?

I can’t let him reveal my sin;

Instead I’ll have to do him in.

Exit Claudius

Enter Gertrude and Polonius

Narrator: Then Hamlet went to his mother’s room, Filled with thoughts of wrath and doom.

Polonius, hidden behind the curtain,

Made a noise.

Polonius: Ah!

Narrator: Hamlet was certain

That it was Claudius.

Hamlet: Take that!

Narrator: … he cried.

He stabbed the drapes. Polonius died.

Polonius staggers about the stage melodramatically and dies as unrealistically as possible.

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At this, Queen Gertrude, still in bed, Pulled up her blankets, then she said Gertrude: Oh heavens, boy, are you insane?

Oh help! Polonius is slain.

I dread to think what you might do.

Will you murder your mother too?

Hamlet: Oh mother, please don’t make a fuss.

I thought that it was Claudius.

Gertrude: Your step-father? Oh Hamlet, why Do you think he deserves to die?”

Hamlet: He killed my father, mother. Look Upon the man whose life he took.

My father was a real hero.

My uncle, next to him, is zero.

Exit Hamlet and Gertrude

Narrator: When Claudius was told about this There was one thing he didn’t doubt.

Enter Claudius, pacing to and fro

Claudius: This Nephew of mine has to go.

But how to kill him? I don’t know

Exit Claudius. Enter Ophelia

Narrator: Then poor Ophelia heard the news It made her suffer from the blues.

And from the way Ophelia acted People knew she was distracted.

A father killed, a lover spurned

Oh how she wept! All overturned Her mind was by young Hamlet’s wrongs;

She started singing silly songs.

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Ophelia: (sings to tune of Scarborough Fair))

Are you going to Elsinore Fair?

Parsley, sage, rosemary and thyme.

Remember me to Hamlet who’s there – He was once a true love of mine.

Narrator: Then with these words upon her lips Down to the stream Ophelia slips

Ophelia at this point climbs onto a raised platform in the rear of the stage and falls into the “river” behind it.

Picking flowers, she falls in.

She doesn’t even try to swim.

Instead, she drowns. She’s full of water.

The father’s dead; so is the daughter.

Ophelia had a brother and his name was Laertes.

Enter Laertes brandishing a sword angrily. Guards attempt to block his access to the palace.

He was quite a handsome fellow and was in his early thirties.

When he heard about the death of his dear sister and his father He was absolutely livid. He created a palaver.

He stormed into the palace shouting Laertes: Get out of my way!

Claudius killed my family so Claudius must pay.

Enter Claudius

Claudius: Laertes, you’re mistaken. I am on your side

Hamlet is the reason why your dad and sister died.

He mustn’t get away with this. His actions have been cruel So for the sake of justice you and he should have a duel.

Laertes: Great plan! I’m good at fencing.

Claudius: But just in case you slip

We’ll make double sure that Hamlet dies. Your foil will have a tip That’s poisoned. If that doesn’t work we’ll go on to plan B.

I’ll poison Hamlet’s drink – one sip and he’ll be history.

Enter Hamlet and Gertrude; Ophelia is laid out on a platform.

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Narrator: At fair Ophelia’s funeral Hamlet jumped into her grave.

Laertes shouted angrily:

Laertes: That’s no way to behave!

Hamlet: I cannot bear to leave her, so bury me here too.

Laertes: I’d love to see you buried, but my sister’s grave won’t do.

Come see me at the palace at eight o’clock tonight

But don’t forget your fencing foil. We’re going to have a fight.

Exit Ophelia. Enter Horatio. All except Laertes and Hamlet sit to watch the fencing bout.

Narrator: So everybody came to see the fearsome fencers fight.

King Claudius made double sure his plan would work just right.

Laertes: En garde!

Hamlet: Take that!

Laertes: Touché!

Hamlet: You missed!

Narrator: The fencers shouted out.

Then Gertrude said:

Gertrude: I’m thirsty.

Narrator: And she drained the poisoned cup.

Claudius: That drink was meant for Hamlet! Now Gertrude’s number’s up!

Narrator: The fencers dropped their swords and in the scuffle both were hurt.

The poison did its work and left them lying in the dirt.

Hamlet: I’m dying, Denmark, dying - and soon I will be dead.

I have to get revenge for this. The sin upon your head

Must be avenged. Take that – and drink the poison in this glass.

Claudius: Hamlet, you have killed me! Alas! Alas! Alas! I die!

Gertrude: I die!

Laertes: I die!

Hamlet: I die!

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Horatio: (reaching for a sword) Oh please let me die too!

Hamlet: Horatio, you mustn’t! There’s work for you to do.

You have to tell the world about what happened here.

The violence and sorrow of my story must be told. The rest is silence.

Horatio: I’ll really miss you, Hamlet. You truly were the best

And now may flights of angels come and sing you to your rest.

Narrator: Just then in came Prince Fortinbras with his Norwegian army.

Enter Fortinbras and soldiers.

Fortinbras: Goodness grief, what’s happened here? Has everyone gone balmy?

In the state of Denmark something surely must be rotten But Hamlet’s precious memory must never be forgotten.

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Mini Macbeth

(from David Johncock) Narrator: This is the story of Macbeth

And of his sad, untimely death.

It is a cautionary tale

Of how ambitious men can fail And serves to warn us, one and all How easily the great can fall;

If to temptation you should yield Your crimes are sure to be revealed.

Macbeth: I am a Thane - or Scottish Lord - I think my title’s fair reward And I’m renowned for my great loyalty

To Duncan and to Scottish royalty Oh yes, I’m glad to serve my liege Indeed, I broke Macdonwald’s siege And made the Norsemen run and flee Back home across the cold North Sea.

But then, returning from this fight, I met three witches late one night I did not know that, on the heath, They planned for me to come to grief.

First Witch: Macbeth! You will be Thane of Cawdor, The place beside the Scottish border.

Macbeth: The second greeted me:

Second Witch: All hail!

Macbeth: The third assured me:

Third Witch: Without fail, You shall be king.

Narrator: These prophecies

Stirred up in him a foul disease;

Though he was noble, true and good And always did the things he should The witches’ potent forecasting

Still made him eager to be king.

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Banquo: Why has temptation filled your mind?

To all its dangers you seem blind.

Temptation! What a fatal flaw! - You’ve never felt this way before.

Narrator: Though Banquo tried to warn Macbeth, To his companion he was deaf.

Thus, we should note, a sticky end Awaits us if we shun a friend.

Just then an urgent message came;

Messenger: Macbeth will now be Cawdor’s Thane

Macbeth: And, since one witch has spoken true, I now believe the other two

Have not just taunted me with fiction.

Banquo: Your mind is filled with great prediction.

Narrator: To his wife, he sent a letter Her reaction was no better

Than his. In fact it was much worse Lady Macbeth: Upon myself I call a curse.

Come, come, you spirits of the night And fill me up with wrath and spite.

To help my husband reach his goal I’ll gladly give away my soul.

I will do anything at all

I’ll even swap my milk for gall.

Macbeth: My love, don’t you think regicide’s a risky venture?

Lady Macbeth: Where’s your pride?

If you’re the man you claim to be You’ll murder Duncan easily.

Why must you cast your schemes aside?

Why is it that you can’t decide?

I hope you don’t think I am nagging

But when I see your spirits sagging…

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Macbeth: The thought of murder makes me pale And what about if we should fail?

Lady Macbeth: I have a plan that can’t go wrong The king will die before too long.

Narrator: That night, when Duncan came and stayed He did not know he’d been betrayed.

Duncan: This castle is a pleasant spot I really like it quite a lot.

Staying here will be a blast!

Lady Macbeth: Sleep well. This night will be your last.

Duncan: My guards, outside the chamber door Lay in a stupor on the floor

I didn’t have the slightest notion

That they’d been plied with sleeping potion.

(Macbeth enters)

Macbeth? Can’t you see I’m in bed?

Help! Murder! Ho!

Macbeth: The king is dead.

Lady Macbeth. Oh dear, this isn’t what we planned You’ve got the daggers in your hand.

Give them to me, you foolish man So I can finish off the plan.

Narrator: She took them to the scene of crime And smeared the servants, just in time Because just then somebody knocked Upon the gate, which was unlocked And in came Lennox and Macduff

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Lennox: Tonight has really been quite rough.

Macduff: I think I’ll go and wake up Duncan.

Narrator: He soon came back, his features sunken.

Macduff: Horror, horror, look inside.

Oh bloody sight! The king has died.

Lennox: Oh horrible! What should we do?

It seems his servants did it, too.

Macbeth: I’ll check this out. I’m lost for words.

In fury, I have killed the guards.

I was so angered by the sight I lost all sense of wrong and right.

Lady Macbeth: I faint!

Macduff: Look to the lady, quick!

The bloodshed’s made her really sick.

Lennox: What shall we do? This looks quite bad.

Malcolm: Will people think I killed my dad?

Lennox: They’ll pin the blame on you with ease I think you should go overseas.

Macbeth: Now Malcolm’s gone, I’ll claim the throne And so receive the crown at Scone.

Despite my royal coronation I’m still filled with great vexation.

The things the witches have foretold Even make my blood run cold

And so I might assuage my doubts I’ll hire

Murderers: A bunch of vicious louts

Who’d gladly slit a throat for fun!

Macbeth: Go, murder Banquo and his son.

(24)

Murderers: Oy, you!

Banquo: Yes, what was that you said?

Murderers: It’s no use fighting us. You’re dead!

Macbeth: Did the plan go without hitch?

Murderers: We dumped the body in a ditch.

Banquo’s dead. That much is done But then we couldn’t catch his son.

Narrator: Macbeth reacted to this news Hysterically; he had the blues And when he had to entertain A crowd of Scottish noblemen

They were surprised to see their host Proclaiming

Macbeth: I have seen a ghost!

The ghost of Banquo, cloaked in gore!

Lady Macbeth: Oh darling, are you really sure?

Look again – there’s nothing there!

Why must you give us such a scare?

Macbeth: My situation isn’t nice

I’ll ask the witches for advice.

You midnight hags know lots of stuff.

First Witch: Listen well! Beware Macduff.

Second Witch: However, you can laugh to scorn

Any man of woman born.

Third Witch: I think your prospects should be good Until you see great Birnham Wood

Marching up to Dunsinane.

Macbeth: A marching wood? Are you insane?

There’s one more thing I want to know.

Witches: Sorry, Mac, we’ve gotta go!

(25)

Narrator: Macbeth decided he’d act tough By ordering the murder of Macduff.

The murderers found he wasn’t in And so they rounded up his kin And, angry that Macduff had fled They killed his family instead.

Malcolm: Meanwhile, I’ve been on the run.

But when I heard what Mac had done And all the news of Scotland’s plight I swore that I would go and fight.

I’ve gathered up ten thousand men To march with me on Dunsinane To hide ourselves I think we should

Chop branches down from Birnham Wood.

Macbeth: Do you think I will lose my rattle?

I am not afraid of battle After all, I’m pretty certain I won’t yet face my final curtain.

Messenger: The queen is dead.

Macbeth: Can it be so?

That comes as quite a dreadful blow.

And who are you?

Macduff: My name’s Macduff.

Macbeth: Put down your sword. I’ve had enough.

I killed your kids; I killed your wife

But please don’t make me take your life – All men of woman born who try

To fight with me are bound to die.

Macduff: Ah, is that so? Your hope’s forlorn Since I was not of woman born;

Despair your charm, you cruel barbarian;

I was delivered by Caesarean.

(26)

Macbeth: I never thought of that. Enough!

It’s time to fight; lay on, Macduff!

Narrator: They battled fiercely, thane on thane Till finally Macbeth was slain.

Macduff: At last! Off with the tyrant’s head!

The evil murderer is dead!

Macbeth no longer calls the shots, So all hail Malcolm, king of Scots!

Narrator: The moral of our tale is plain:

From treachery you cannot gain.

Nor should you dip your toe in sin Lest you should sink much further in.

As for listening to witches

Who promise fortune, fame and riches, That’s something you should never do Since it could be the end of you.

David Johncock is from Torbay in the southwest of England.

He has been teaching in Hong Kong since 1996 and has been the NET at Marymount Secondary School in Happy Valley since 1998.

(27)

Old Man Yu and the Mountains

(from Stephen Cooley)

CHARACTERS:

Narrator, Old Man Yu, Yu's Wife, Little Turnip Boy, The Yellow River Man, Yellow House Mountain, Big Ying Mountain

CHORUS:

Yu's 3 sons, Yu's 3 daughters, Yu's many, many grandchildren STORY:

Narrator: This is the story of Old Man Yu.

Chorus: Old Man who?

Narrator: Old Man Yu. Old man Yu was a very old man.

Chorus: How old was Old Man Yu?

Narrator: Old Man Yu was a very old man.

He was nearly eighty-two.

Chorus: Eighty-two? Wow, that's old.

What kind of man was Old Man Yu?

Narrator: Old man Yu was a foolish old man. Everybody said so.

Chorus: Everybody said so?

Narrator: Old man Yu was a foolish old man.

Everybody said it was true.

He lived with his wife in a very small house, A small house built for two.

Chorus: He lived with his wife in a very small house,

A small house built for two.

(28)

Narrator: Facing the very small house of Old Man Yu were two enormous mountains. These mountains stood right beside each other. One was named

"Yellow House" and the other was named "Big Ying". They were both over ten thousand feet high, and together they were four hundred miles wide.

Old Man Yu: "Yellow House" and "Big Ying"

Ten thousand feet into the sky

Chorus: What an inconvenient thing to live near hills so high!

Old Man Yu: "Yellow House" and "Big Ying” four hundred miles from side to side Chorus: What an inconvenient thing to live near hills so wide!

Narrator: Every morning when the sun came up, Old Man Yu began walking to the village on the other side of the mountains. It would take him all day to get there. By the time he arrived, he would have to start walking home. He would arrive home every evening as the sun was going down. His wife would shake her head when she saw him. She would say to herself:

Yu's Wife: What a fool, what a fool!

Why does my husband walk all day?

What a fool, what a fool!

What can I do? What can I say?

Narrator: As the years went by, Old Man Yu found it a great inconvenience to make these daily trips into the village. So one day, he decided that

"Yellow House" and "Big Ying" would have to be moved.

Chorus: Ten thousand feet into the sky,

Four hundred miles from side to side, Old Man Yu: "Yellow House" and "Big Ying"

You're much too high and much too wide!

I have an idea!

I will move "Yellow House" and "Big Ying".

I will move them out of my way.

(29)

Narrator: And so the next day, Old Man Yu called a family meeting and he told his wife, his three sons and their wives, his three daughters and their husbands, and his many, many grandchildren about his plan.

Old Man Yu: I will move "Yellow House",

I will move "Big Ying",

I will move them out of my way,

It's a difficult task — not an easy thing, But with your help, I say,

We can finish the job some day!

Narrator: His three sons and their wives, his three daughters and their husbands, and the many, many grandchildren of Old Man Yu thought this was a wonderful idea. They all cheered and gave him their undying support:

Chorus: Hooray! Hooray!

We will help you Old Man Yu!

We will move "Yellow House" and "Big Ying" too,

We will move them — yes it's true.

We will help you, Old Man Yu,

And we'll finish the job — it's true!

Narrator: Old Man Yu's Wife couldn't believe her ears.

She sneered at her husband:

Yu's Wife: What a foolish man you are, Old Yu,

What a foolish man, indeed!

How will you go about moving them?

You will never succeed!

"Yellow House" and Big Ying" are two big mountains!

Ha! Never mind moving these two big mountains … You cannot even move two small piles of cow-dung!

Narrator: Then Old Man Yu's Wife asked a question that made everyone stop

and wonder:

Yu's Wife: Even if you could move these two mountains, where would you put all the rocks and the dirt? Huh?

Chorus: Where will we put all the rocks and the dirt?

Where will we put them, Old Man Yu?

Where will we put all the rocks and the dirt?

We have no idea. Do you? Do you?

Narrator: Old Man Yu thought for a moment and without backing down, he answered his wife:

(30)

Old Man Yu: I will take all the rocks and the dirt far away,

To a far away place, you see.

I will take all the rocks and the dirt far away And throw them into the sea!

Narrator: His three sons and their wives, his three daughters and their husbands, and the many, many grandchildren of Old Man Yu thought this was a terrific solution. So for the second time, they all cheered and pledged to him their undying support:

Chorus: Hooray! Hooray!

We will take all the rocks and the dirt far away, And throw them into the sea — it's true!

Narrator: Even the neighbour's widow's son, named Little Turnip Boy, gave Old Man Yu his support. And he was only eight years old!

Turnip Boy: I will help you, Old Man Yu!

I will help take the rocks and the dirt far away And throw them into the sea — it's true!

I may be small, but I am strong, I want to help you, too.

Narrator: And so, off went Old Man Yu, his three sons and their wives, his three daughters and their husbands, his many, many grandchildren, and even Little Turnip Boy to work on moving the two big mountains, "Yellow House" and "Big Ying". The work was so grueling that in one year's time, Little Turnip Boy was only able to make one trip to throw away a few rocks and a bit of dirt into the faraway sea. Nevertheless, everyone remained enthusiastic, and worked hard to make Old Man Yu's dream of moving the two mountains come true.

Chorus: We will help you Old Man Yu!

We will move "Yellow House" and "Big Ying" too, We will move them — yes it's true.

We will take all the rocks and the dirt far away, And throw them into the sea — it's true.

And we'll finish the job — it's true!

(31)

Narrator: Then one day, on one of their trips to the faraway sea, they met a very clever and arrogant man who lived along the Yellow River. He was known as Yellow River Man, the cleverest and most arrogant man in the whole county. Yellow River Man mocked Old Man Yu, saying:

Y.R. Man: You foolish, old man!

I’ve been watching you,

Making trips to the faraway sea,

With rocks and dirt from the mountains!

Could it really be?

Are you throwing them into the sea?

Do you think you can really do it?

Do you really think you can?

Moving two big mountains Is a very foolish plan!

And look at you! You foolish man!

How old are you, anyway?

You must be over ninety now.

You’re closer to the grave each day.

Narrator: Then Yellow River Man asked a question that made everyone stop and wonder:

Y.R. Man: How do you expect to move two whole mountains in your lifetime? Huh?

Chorus: How do you expect to do it?

How can you do it, Old Man Yu?

Your lifetime’s nearly over now?

We don’t know. Do you?

Narrator: Old Man Yu thought for a moment and without backing down, he answered Yellow River Man:

Old Man Yu: Yellow River Man, I’m surprised at you!

Even Little Turnip Boy Can see what I must do

(32)

I do think Little Turnip Boy Has more insight than you.

I am an old man who is close to the grave This much of what you say is true.

But I have sons and daughters, Who have husbands and wives.

I have many, many grandchildren.

In time, they will bear their own children, Who, in turn, will bear even more children - And more and more and more children!

So, you see …

In time, my dream of moving these two mountains will come true.

As each day passes, my dream can only grow bigger.

And as each day passes, these mountains can only get smaller.

Narrator: Whether the Gods took pity on foolish Old Man Yu, or whether they feared that someday he would realise his dream and completely fill in the sea with “Yellow House” and “Big Ying”, we will never know. But the following day, the strangest thing happened. The two mountains completely disappeared from view and were never seen again in China. And this is the story of Old Man Yu.

Chorus: Old Man who?

Narrator: Old Man Yu.

This is the story of Old Man Yu, The man who moved two mountains!

(33)

The Frog in the Well

(from Stephen Cooley)

CHARCTERS:

Narrator, The Frog, The Turtle, Chorus

STORY:

Narrator: Have you ever heard the story of the Frog in the Well?

It’s a fable from China people like to tell Chorus: The Frog in the Well

The Frog in the Well It’s a fable from China people like to tell

Narrator: Once upon a time there was a frog in a well Who bragged to a turtle that lived in the sea.

Frog: Look at me. Look at me!

I'm so happy, can't you see?

Hear me tell. Hear me tell!

I'm so happy.

I'm a frog in a well!

Chorus: A frog in a well A frog in a well

Frog: When I go out, I jump about.

I jump about when I go out.

Where do I jump? Hear me tell —

I jump all around

the edge of the well.

(34)

Chorus: He jumps all around the edge of the well.

Turtle: You're very lucky, I can see

But I'd like to return to my home by the sea Frog: Not so quick! Hear me tell —

I'm so happy,

I'm a frog in a well.

Chorus: A frog in a well.

A frog in a well.

Frog: When I come home, I take a rest And for my rest, I like to test

These crevasses inside the wall

They're comfortable,

I've tried them all!

Chorus: They're comfortable, He's tried them all.

Turtle: I see your point. I envy you.

But I've got many things to do…

Frog: When I jump into the water it feels quite cool.

I can float on my belly

Turtle: (To himself) I believe this frog is quite a fool … all around the pool.

Frog: When I walk in the mud it covers up my feet

It's a wonderful way

for me to beat the heat.

(35)

Chorus: It's a wonderful way for him to beat the heat.

Frog: Look inside. Tell me

what do you see?

Wriggly worms,

Scurrying crabs,

Tiny tadpoles,

Slippery snails…

Not a single creature can compare with me!

Narrator: The frog then hopped up onto the wall and stood up straight and proud and tall.

Frog: I am the lord of this well And I stand tall here!

My happiness is beyond compare!

Chorus: His happiness is beyond compare!

Frog: Why don't you come here more often, dear sir?

Why don't you stay for a while with me?

Come up and have a look around

Before you return to your home in the Sea.

Narrator: Before the turtle could get his left foot into the well, his right foot got stuck. He hesitated. After a moment, he retreated. Then the turtle told the frog about his home by the Sea.

Turtle: I prefer my home by the Sea It's deeper than this shallow well.

I prefer my home by the Sea It's wider too. Hear me tell.

Chorus: Wider and deeper than this well?

Turtle: Much wider and deeper than this well.

(36)

Chorus: How wide is the Sea?

How wide? How wide?

Turtle: Even a distance of a thousand miles

Cannot give you an idea of the Sea's width.

Chorus: Wow, that's wide.

That's very wide!

How deep is the Sea?

How deep? How deep?

Turtle: Even a height of a thousand meters Cannot give you an idea of its depth.

Chorus: Wow, that's deep.

That's very deep!

Turtle: In the time of the great floods,

The waters of the Sea did not increase.

Chorus: That's wide! That's deep!

That's wide! That's deep!

Turtle: During the terrible droughts, The waters of the Sea did not decrease.

Chorus: That's wide! That's deep!

That's wide! That's deep!

Turtle: The Sea doesn't change with the passage of time The Sea doesn't change with the falling of the rain So the greatest happiness of all for me

Is to live by the Sea! Yes, to live by the Sea!

Chorus: To live by the Sea, To live by the Sea!

(37)

Chorus: To live by the Sea, To live by the Sea!

Narrator: After listening to the words of the turtle, the frog in the well was shocked, for he realised for the first time how insignificant he really was. He became very ill at ease and very humbled too.

Frog: Ribbit. Ribbit.

Chorus: The Frog in the Well.

The Frog in the Well.

That's the end of the story of The Frog in the Well.

(38)

Writing an Acrostic Script

It is very difficult for even those students who are good at English to sit down and write a script without any stimulus, framework or help from the teacher. If the teacher simply says,

‘Write a script!’ without offering any ideas for getting started or a framework for writing, the finished product may not meet teacher expectations. The teacher need not be a drama expert in order to help students write scripts but should scaffold the script-writing process.

The acrostic script provides a useful way for students to get started and enables the script- writing process to be supported by both the teacher and by other students. Writing an acrostic script is done in a number of steps, as described below, and is a valuable process as students have the opportunity to exercise their reading, writing, speaking and listening skills, work collaboratively, and comment on and correct each other’s work.

Step 1: The conflict

In order for students to get started on a script, there must be a seed idea or conflict about which they can write. This seed idea can be almost anything and can come from everyday life or may be drawn from books or other literary sources.

For example, the central conflict could be:

• an argument between a parent and a teenager about spending too much time on playing computer games;

• a disagreement between friends about the need to go window-shopping after school or to go home and study for a test;

• an argument between an older brother and a younger sister about helping with the dishes;

• a disagreement between adults about taking turn on doing shopping; or,

• after being kissed by a princess, the slimy frog became a handsome prince. The prince and princess marry. However, the princess has been waking up at night to find the prince missing. When he comes back very early in the morning, the princess confronts him and demands to know where he was (based on The Frog Prince by the Brothers Grimm).

• Hamlet wants to know why his mother remarried his uncle so soon after his father’s sudden and mysterious death. He confronts her in her bedchamber (derived from Shakespeare’s Hamlet).

When choosing the situation, the teacher should ensure that there are two main characters in the conflict, as the students will be divided into pairs and asked to write a script from the point of view of these two characters.