D3

n Fun and Easy

Drama Activities Lower, Middle and Upper Primary

Blake’s Topic Bank

More Mini-Plays by Hazel Edwards

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 teacher n a sample script outline n 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, Monash University and even Luna Park. Voice of the Forest was performed at Wilsons Promontory as part of the National Parks’ centenary celebrations. Visit her web site: www.newwebcity.com/hazel/edwards.htm

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Puppetry Introduction

Pattern for basic finger puppet

Puppetry can range from impromptu finger or sock puppets to elaborate marionettes, or fullsized puppeteers wearing black garb and manipulating giant puppets in professional theatres. Puppets do not have to be people characters. They can be abstractions such as the Feral Trolleys (which feature in the following sample script), or objects like a doona. Using abstractions, or unlikely items, as puppets often appeals to highly imaginative students. Puppets may be used in scripts with live actors, or purely for improvisation.

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

Why use puppets?

ß

A puppet performance (or wearing a mask) gives students a chance to hide behind an assumed personality. Shy students can participate without feeling on show.

ß

The tactile aspect is important. Some students gain from making the puppets first, and working out the story later. Other students prefer to start with the script, and design the puppets to fit the roles. Encourage students to try both methods when making puppets.

Pattern for basic walking finger puppet Cut out of thin card and decorate. Put fingers through holes so puppet has legs to walk.

Finger puppets Finger puppets are easy and can be used:

ß ß

as a narrator for storytelling

ß ß

to encourage manual dexterity

to perform at celebrations (for example a birthday puppet)

for speech therapy

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Puppetry Script Outline

Night Shift Note 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.

Cast:

Things to do Make the animal characters as either finger puppets, paper-plate masks or hand puppets. Take one character, for example a bilby, and find out some facts about real bilbies. Improvise the plot as a group activity once the puppets have been made. Decide what will happen in the story. Each story needs something to go wrong. The Feral Trolleys and the Sucking Monster (vacuum cleaner) are the baddies in the following scenario. The Mops could be goodies. The Narrator can hold the actual script (if there is one) in a folder.

Narrator Silky the Bilby Spike the Echidna Flapper the Platypus Liz the Lizard Grace the Sugar Glider Feral Trolleys Mops Sucking Monster (Vacuum cleaner)

Special Effects: Trolley Wheels Sucking Monster

Songs, special effects and music can be added. One student can be the special effects expert and create sounds, at the right time.

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 leave leftovers in bins just for them! Listen! Here comes Silky. If we're quiet, she probably won't see us. Silky’s eyesight is not the best! Silky does, however, see the bin overflowing with rubbish. 3 © Blake Education—Fun and Easy Drama Activities: More Mini-Plays This page may be reproduced by the original purchaser for non-commercial classroom use.

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Bilby:

Great! Look at these leftovers. Hey Flapper!

Narrator:

Silky picks up an old pair of sunglasses which were in the rubbish bin. Silky is so busy playing with the sunglasses, that she bumps into Flapper the Platypus, 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…Crooked Trolleys...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.

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Puppetry Task Card

Sock Exchange Gather stray socks, plus thread, needles, scissors, buttons and a variety of ‘bits’ to decorate your puppets. Work in a group of three. Create three puppets. Each puppet should have one disability—one is deaf, one is blind and the third has a different type of disability (for example no sense of humour, or no sense of direction).

Turn a table upside down. Cover the legs with a sheet, and let the sheet fall down one side of the table, so that it forms a ‘wall’. You can use your puppets behind this wall. Perform your show.

Work out a one minute scene for your puppets to act out. Your scene should contain: a) conflict

After you have given your puppet performance, ask the rest of the class to comment on what worked well, and what could be improved.

b) suspense c) a twist at the end Remember, your puppets should act in character and should be easy to tell apart. Decide who will introduce your one minute performance.

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Eco-Plays Introduction An eco-play is an improvised script around local issues. It’s performed outside, using the natural setting. Voice of the Forest, for example, was performed at Wilson’s Promontory by primary school students as part of Parks Victoria’s centenary celebrations.

Why perform an eco-play? You can choose an issue pertinent to your local area. Voice of the Forest is about bush inhabitants co-operating against an outside THREAT. The Parliament of the Forest is holding an election to choose a leader of forest fauna and flora. This leader will lead the forest’s inhabitants against the unspecified THREAT. There is scope for lots of dressing up and improvising of the lifestyles of birds, insects, animals, trees and humans. Eco-plays can be incorporated across the curriculum in the following learning areas: ß Problem-solving skills for the outdoors, like how to arrange sandbags so props won’t fall in the wind, or a Plan B for wet weather ß Factual content about the environment, for example trees, insects and animals

How should an eco-play be performed? Build up a cast. Characters don’t need to be people. Voice of the Forest characters ranged from a tall Eucalypt tree to feisty Dung beetle to K Burra, the pop singer. There is a risk of becoming too didactic with a fact-based script, unless it is lightened with humorous skits and special effects. Have choruses interrupt with singing and dancing commercials enabling many students to participate. A Eucy Oil Chorus could shower the audience with student-made Eucalyptus leaves, after belting out their song. Encourage audience involvement by having them wear Forest-Reality glasses. These glasses allow the viewer to enter the world of dramatic imagination, where an ant and a tree can be seen talking together. Construct a floral archway through which the audience passes into the world of the drama. Have a twilight performance to take advantage of pleasant weather.

What types of props can be used?

ß Checking on long-range weather forecasts for performance times makes scientific data relevant

Print LOUDER and SLOWER on prompt poles and use for directing performers.

There is scope to encourage community involvement. Ask for family support in making props and helping with costumes. Try local theatre or dance companies for the loan of costumes or props, for example bee costumes.

Have The Flight of the Bumble Bee for Bees chorus. (Have performers wear black swimming caps.)

Play music to add atmosphere.

Have the Eucy Oil Chorus dance to rap music as they shower leaves. Play ‘fiery music’ as background whenever the THREAT is mentioned. (You could also have yellow and red streamers which wave in the wind.)

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Eco-Play Script Outline

Voice of the Forest Extract: 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.

Cast (minimum 10, maximum unlimited!) DUNG BEETLE—feisty, loud and difficult

DUNG BEETLE [emerging from pile of manure] Who wants me?

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

ORGANISER: Oh! Excuse me.

FLIES’ CHORUS (any number)—Irritable

DUNG BEETLE: Why?

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

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

LYREBIRD’S MATE—assertive KOOKABURRA (K BURRA THE POP SINGER)—has a loud laugh. Pop singer. (Actor will need to sing.) MRS K—his mate, who sticks up for herself WEDGE-TAILED EAGLE (non-speaking part) INSECT CHORUS (any number) VOICE OF THE FOREST—can be a voice-over, a single actor, or trio with masks AUDIENCE —are invited to participate, as if they are characters too

Props Pile of dung which can be a brown bean bag Microphone for Kookaburra the pop singer

DUNG BEETLE: Always busy. I’m a cleaner-upper... Let’s face it. If I didn’t work, you’d have manure everywhere. Would you like that? ORGANISER: [tripping over manure] Er...No. I suppose not. DUNG BEETLE: I’m the best dung-burier in the business. ORGANISER: Dung...er...manure do you mean?

Nest for Mrs K

DUNG BEETLE: Dung is dung, but people use other names.

Lyrebirds’ nest with moss and other vegetation

ORGANISER: What do you do? DUNG BEETLE: Clean up

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pastures...break up the dung…bury dung in the ground for breeding and feeding. You see, my mate and I dig a nest under the dung. Our beetle tunnels help water and air get into the soil. Roots work better because of MY work. Because I eat only dung, I help the environment. Creative recycler, that’s my occupation. ORGANISER: Do others value your work? DUNG BEETLE: Fly pests hate me. I destroy their breeding sites. FLIES: [crossly] That’s right. Dung beetles muck things up. ORGANISER: Are you planning on breeding yourself?

DUNG BEETLE: Of course. [shows ball shapes] These are brood masses. Each has several eggs. My eggs hatch into larvae. My larvae feeds on the 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 to say. ORGANISER: If you’re so useful, why does anyone attack you? DUNG BEETLE: Birds and foxes are a problem. But I tunnel fast.

[LYREBIRD approaches with LYREBIRD’S MATE; ORGANISER turns.] ORGANISER: Were you introduced?

[LYREBIRD offers wing to shake] DUNG BEETLE: Yes, I’ve met Lyrebird before. ORGANISER: No I mean, were you an INTRODUCED species? Did you come from outside? DUNG BEETLE: Yes. We’re not great travellers. We’re still within a hundred kilometres of our release spots. ORGANISER: So, you’re not a NATIVE beetle. Will this count against you in the upcoming election? DUNG BEETLE: Why should it? Migrants

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are needed. I was invited here from Europe to do a job....or my greatgrand beetle was. Local dung beetles can manage the pellet droppings of native marsupials. But you need a European expert for European cattle dung. Australia’s my adopted country... and the forest is my home. I will fight any threat to the Forest cycle. ORGANISER: Heard that Kookaburra will be standing against you. DUNG BEETLE: Ha. Ha. that’ll be a laugh. ORGANISER: So you know about the THREAT then? DUNG BEETLE: Which one?

[invites audience to make a stick pose]

ORGANISER: The thing which will destroy our forest.

Bill pointing. Or stick making it’s called.

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

[KOOKABURRA practises with AUDIENCE; targets particular people]

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

Each night, we bunch together on two or three roosting trees.

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

Have our evening chorus. Preen ourselves. Wipe our bills.

Stop everything. Point your bills skywards. Stiffen like a rod. Then we look like a stick to any Eagle overhead. Try it.

ORGANISER: Why do you bunch together? KOOKABURRA: Safer. Have you ever seen a kookaburra with glasses?

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[Everyone shakes their heads.] No? I’ve got GREAT eyesight. Can see a worm, snail, insect, frog, lizard or snake or even small birds... INSECTS: We know. Our cousins who went to dinner with you, didn’t come back! KOOKABURRA: Fast food chain. Our young Burras also like MacReptiles. We prey on smaller animals. Larger ones, like the Wedge-Tailed Eagle prey on us. LOOK OUT! [warning Kookaburra sound] Stick-like! [Audience freeze into stick shapes]

[WEDGE-TAILED EAGLE enters and flies out again] MRS K: I think the eagle’s gone now. Hi! I’m Mrs K. He’s my mate. Knew him BEFORE he became a famous pop singer. Now, back to work! We’re checking our old nest.

[Pokes around. Rearranges chips and dust. Checks it out. Kookaburras squawk at each other contentedly.] I plan to hatch our little ones when there’s plenty of food around. Unluckily, there’s not much food around before they hatch. That’s why my mate needs to feed me then. Famous pop singers like Burra aren’t keen on food shopping. We like to use the same nest, but if possums or bees move in, we leave. KOOKABURRA: Eagle overhead! Freeze!

[AUDIENCE react until KOOKABURRA says ‘All clear.’ ] DUNG BEETLE: What can we do about this THREAT? KOOKABURRA: The Wedge-Tailed Eagle? DUNG BEETLE: No. The forest THREAT to all of us. ORGANISER: We need a forestcreature 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

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LYREBIRD. [annoyed] My tail has sixteen long distinct feathers. Look. They are shaped like the ancient lyre. That’s the reason for my name. ORGANISER: Sorry. What else can you do? LYREBIRD: Sing. Mimic.

[mimics current pop singers— someone to whom audience will relate] And I listen as well.

[long silence] ORGANISER: You're a good listener. LYREBIRD: But I’m shy. If anyone watches, I run away. ORGANISER: Public speaking is important. Where do you live? LYREBIRD: In the forest. ORGANISER: I know that! But where exactly? LYREBIRD: I like to keep that secret. ORGANISER: Where will we send a message? Got a phone or fax number? Email? LYREBIRD: No. But listen! [imitates mobile phone ringing] ORGANISER: Terrific. Now where do you live, so I can drop off the pamphlets?

VOICE OF THE FOREST: Those pamphlets were made from paper which came from wood, which came from 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 to mate; scratches with back legs] Pretty roomy really. [gestures to roots of fallen trees, dried grass and soft tree fern moss] Made it myself. LYREBIRD’S MATE: [indignantly] Excuse me! Don’t forget my work. DUNG BEETLE: Or mine in the rest of the forest. Maybe I will stand for the election.

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Eco-Play Task Card 1.

Sequel

6.

Footprints From the Past

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

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

ß Who is elected? ß What is their argument/platform? ß How is the THREAT defeated?

7.

2.

Prequel

Try a prequel (what came before).

ß How long have each of the characters lived in the forest?

ß Have the forest residents been threatened before?

ß Which of the forest characters are friends?

3.

Adopt a Character

Imagine you are one of the forest characters. Decide what you would like to see happen in the forest. 4.

Lucky Dip

ß Put the names of endangered species into a hat.

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

ß Find out three facts about your species or your situation.

ß Give a speech as your character. The

underlying theme of your performance is ‘Time’s running out…’.

5.

Animal Rap

Divide into small groups. Choose an animal, insect or bird. Choreograph an Animal Rap with each character in the group acting like their creature.

Animal Fashion Parade

Choose an animal from the forest and design an appropriate costume. Hold a fashion parade and have each animal take turns to act as compere. 8.

Class Election

Have a class election. In groups of about five students, decide what will be your platform. This means you will need to state where your party stands on particular issues. Each party should present their stance to the rest of the class. Remember to have a catchy name for your party. After each group has presented their position, and outlined their differences to other parties, hold the election. 9.

Tree Party

Not all trees are green. Have a tree party where each guest is dressed as a special tree. Plan a special menu which includes woody food, for example wood chips, tree-ring snacks, leaf mould mousse and sawdust sprinkles. 10.

Ancient Times

The dung beetle in ancient Egypt was considered sacred. Devise a ‘This is Your Life’ program for the Egyptian dung beetle. Feature other creatures from the forest as guests.

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Whodunnit? opportunities for rewriting.

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 You may decide to dispense with a complete script, and instead improvise from an agreed plot outline.

ß motive—why something is done

What types of props can be used?

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 After the performance, get feedback from others on what went well, and what could be improved.

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 something lost or thought to be lost

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

ß mix-up of people, places or property.

Is there any necessary preparation?

Characters should be easily distinguishable, with definite motives for their actions.

ß Discuss the three mystery elements of motive, opportunity and method.

Why use a Whodunnit? script?

ß Choose and place some clues on-site. This allows for real clues to be seen and examined.

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 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 encourage divergent and analytical thinking.

ß Provide a hypothetical scenario which has several possibilities.

How should a mystery script be used?

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

ß Find a local site, for example a historic building with several entrances and exits. Establish the reasons why people might visit this site.

Other things to do

ß Check the site for potential clues. Decide on cast roles. ß Workshop on-site. Appoint a director, clues coordinator, plotting team, and actors.

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.

ß Allow constructive criticism from the group and 13 © Blake Education—Fun and Easy Drama Activities: More Mini-Plays

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Whodunnit script outline

The Case of the Burnt Church There has been a fire in an old church. Your brief…

Hints

ß Work out whodunnit.

ß There is no one correct answer.

ß Create your sleuth’s dossier.

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

ß Work out why your suspects might be involved. 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. Perform your solution. Clues

ß Think about ‘What if?’. What if there had been a fire in the church? Who did it? Why? Was it accidental or deliberate? When? How? Who else might be suspected? What was their motivation? (Reward? Reputation? Solving a puzzle? Clearing the blame?)

ß sneakers with different laces

ß Think of a good title, for example Burnt Out, Getting Your Fingers Burnt and Hot Art.

ß walking stick with stickers showing areas walked

Suspects

ß timer which ticks

Jogger (because who notices a jogger?)

ß Chinese coin with writing on it

Property developer

ß hammer/screwdriver

‘Heavenly Pizza’ chef

ß key ring, but no key

Art dealer (stained-glass windows, church gold)

Use the actual objects or find substitutes.

ß letter opener ß photo of couple standing in front of a New York landscape ß money box with stopper missing

Ex-priest Neighbour (ashamed of rundown church property beside own)

ß airline eyeshade for sleeping ß three candles on a stand 14 © Blake Education—Fun and Easy Drama Activities: More Mini-Plays This page may be reproduced by the original purchaser for non-commercial classroom use.

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Whodunnit task card 1.

Choose a local, real site with several exits and different reasons for people to visit, for example a museum, gallery or old school.

2.

You need to visit the site beforehand in order to decide what its dramatic possibilities are. Think about the following:

characters!) Try to ensure they have reasons for being in or near the location. Decide which character will be the sleuth—will they be someone who enjoys playing detective or will your script include an actual police officer? 5.

Develop dossiers for each of your suspects, with some detail of their background. Useful suspects could include a courier, an estate agent with alternative plans for the area, or a former owner.

6.

Decide who is the culprit, and refine your plot. Make sure you have developed the character of each suspect; it helps to see the mystery from their viewpoint. Look at motive opportunity and method.

ß Why might someone want to close this down? ß Where might a fire or gas leak start? ß What could be heard, smelled, or seen around here? ß Could anything be overheard in specific places? ß Are there areas where you get reflections or distortions?

You could make your plot more sophisticated by including the possibility that more than one suspect is working together.

ß Are there any unlocked or selflocking doors? ß Check the position of fire escapes. Now you need to decide on your mystery—what needs to be solved. 3.

Construct a timetable. This will help you plan where each suspect is at a given time. Design a practical way of keeping tabs on suspects’ moves. (For example you could have a map of all the rooms and entrances, with pins representing each character, showing their positions.

8.

Using your site, present your Whodunnit? to the rest of the class. Each suspect in your group should present the mystery from their point of view. Allow your audience time to examine the site and clues before your sleuth presents their conclusion as to whodunnit!

Choose some clues which could have many uses. For example a bunch of keys with a name tag that is impossible to read; a photograph of signs or people; foreign currency; or a half burnt candle. You will also need to use clues that are easy for you to find or place. Some of the clues should be able to be picked up and examined.

4.

7.

Create a cast list of characters. (Remember that each character needs to be played by a member of your group so don’t create too many

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