Circus Learner's Module PDF

Page 1 of 22 GRADE 8 DRAMATIC ARTS TERM 3 NAME: _____________________________________ CONTENT Unit 1: The Circus Unit 2: Clowns & Clowning Unit 3: Mime, Melodrama & Stock Characters Unit 4: Elements of Physical Characterisation...

Page 1 of 22 GRADE 8 DRAMATIC ARTS TERM 3 NAME: _____________________________________ CONTENT Unit 1: The Circus Unit 2: Clowns & Clowning Unit 3: Mime, Melodrama & Stock Characters Unit 4: Elements of Physical Characterisation  Page 2 of 22 UNIT 1 History of the INTRODUCTION Why study the circus as part of the Drama syllabus? Well, besides its entertainment value, the circus has influenced many theatrical styles over time. For example, the tramp clown is evident in most of the characters used in Theatre of the Absurd; a theatrical style we study in Grade 11 / 12. In this unit, we will be looking at the history and development of the circus through the ages. ROMAN REPUBLIC (27 BC – 476 AD) 500 years! Circuses have a great history, which trace as far back as the Roman Republic, which was established in 27 BC. It was the most extensive political and social structure that ruled western civilization. The Romans ruled exclusively for the next 500 years, until 476 AD when the republic disbanded. Imperial Rome took over until the Romans were completely defeated by the Turks in 1453 AD. The term “circus” has its roots in the Roman word “arena” meaning ‘ring or circle’. The brutal Roman Gladiator battles of the Roman Republic performed in a circular stadium called the colosseum. However, the Roman “circus” was not a fun place to perform. Often, the star performers were eaten by lions, or killed in bloody combat as the soldiers fought each other to the death. Originally designed as a sporting event where Roman soldiers could match their skills against one another, Gladiator battles quickly turned into pure bloodshed! The bloodier the spectacle the more popular it became. People killing people, animals killing animals, animals killing people… Watch the scene from the movie Gladiator where Maximus (Russel Crowe) cries out to the crowd; “Are you not entertained” just as he’s finished killing all his opponents. And they love him for it!  Page 3 of 22 What is the etymology of the word circus: Derived from the Latin circus (with reference to the word _________ of Roman antiquity)? In the theatre, when the audience is seated all around the performers (just as they would have in a Roman arena) it is called: _________________________________________. What elements of the Roman circus has survived in our modern circus? _______________________________ _________________________________________________________________________________________ MEDIEVAL ERA (1000 AD – 1500 AD) 500 years With the decline of Imperial Rome, many of the countries it used to rule over, like Britain, were left defenseless against Saxon invasions (another term commonly used is Vikings) – a period known as The Dark Ages. Communication between villages broke down and small communities were left isolated and without knowledge of what was going on in the country. Groups of traveling entertainers began appearing – traveling from village to village to bring news, sing songs, and tell stories. For many people, these travelers were their only source of information outside their village and became very popular. They became known as minstrels and are the predecessor to the clown. Later in the 11th Century, a new entertainer appeared – the juggler. This entertainer has survived to the modern circus. Most of the time, these medieval performers would have entertained the crowds in a marketplace or tavern. However, sometimes for special occasions, they may have erected a temporary “booth stage” like the one depicted alongside. This stage was a made of a wooden platform erected on barrels or stilts to create height. Behind the stage was a four-poster structure enclosed with curtains, forming a booth. This is where the actors would wait for their cue or change. The period before the Medieval Era is called “The Dark Ages”. What is the reason for this name? _________________________________________________________________________________________ _________________________________________________________________________________________ Where else have we heard the term minstrel this year? ____________________________________________ Was the entertainment similar to this example? Why? ____________________________________________ __________________________________________________________________________________________________ What elements of the Medieval era has survived in our modern circus? _______________________________ _________________________________________________________________________________________  Page 4 of 22 ELIZABETHAN ERA (1558 – 1603 AD) Reign of Queen Elizabeth 1 In the time of Queen Elizabeth I, most of the turmoil and isolation of the country had been resolved and the British settled down into a more secure and prosperous life. However, the minstrels and traveling entertainers were now seen as vagabonds and their ‘gypsy’ life was a threat to the Christian way of life, which demanded structure and rule-abidance. Laws were passed and minstrels could be punished if found performing on a street corner. However, these entertainers soon adapted and began working in more permanent locations designed specifically for such events. This was the great period of William Shakespeare and Christopher Marlowe. Who is a vagabond? A person who wanders from place to place without a ________ or a _________. What elements of the Elizabethan era has survived in our modern circus? _____________________________ _________________________________________________________________________________________ 17TH CENTURY (1600s AD) In the seventeenth century, country fairs were a popular event with the English. They became the major venue for performers to show off their skills. These fairs tended to be disorderly and noisy events, and it took a tough and strong individual to be successful at them. However, they provided the perfect platform for acrobats, jugglers, ropedancers, and bear trainers. In addition, riding exhibitions became a regular feature. ANIMAL CRUELTY Thankfully, entertainment is not as gruesome as it was in ancient Rome. However, one could argue that the use of animals for entertainment is still a form of cruelty. Read the two articles on Teams and take a stance: I agree / disagree with using animals in entertainment (circus and film). ____________________________________________________________________ Provide the logical reasons for your stance: ________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________  Page 5 of 22 What elements of the 17th Century have survived in our modern circus? _______________________________ _________________________________________________________________________________________ 18TH CENTURY (1700s AD) The modern circus (as we know it today) developed in England during the 1700s by the Briton Philip Astley. In 1768, he set up his riding school on the south side of the River Thames, opening it with a demonstration of his riding skills. Shortly after, he started charging 6 pence admission. With the profits made from this simple beginning, he could purchase some land near Westminster Bridge, and built the first circus building. Originally, it was an open field surrounded by a kind of circular grandstand. Later he covered the whole area with a roof. While other acts were added to the show, the riding act was still the main attraction and this led to another standard feature of the modern circus - the ringmaster, the person who controlled the movement of the riders and their horses. The ringmaster survived to be the “director” of the circus acts. This new form of entertainment finally reached America in 1793, when the first complete circus program was presented in Philadelphia. The early traveling shows were very simple; usually the simple musical accompaniment of a violin, the riding act, a juggler, a ropedancer, and a few acrobats. What elements of the 18th Century have survived in our modern circus? _______________________________ _________________________________________________________________________________________  Page 6 of 22 19TH CENTURY (1800s AD) The ‘golden age’ of the circus began in about 1870, initiated by the American P.T Barnum. His show was advertised as "The Greatest Show on Earth". Ten years later, Barnum went into partnership with James Bailey and their show became known as Barnum and Bailey Circus. Their show was so huge it needed three rings. Barnum cashed in on the popularity of circus animals and exhibited unusual and unique creatures such as the world's “largest” elephant, Jumbo. In 1884, the five Ringling Brothers started their first circus. During the following years they purchased six other shows including, in 1907 (after the death of Bailey), Barnum & Bailey’s. The Ringling Brother’s circus is perhaps one of the most famous circuses ever known. They were the first to introduce the tent known as The Big Top. The iconic circus declined in recent years due to high operating costs and long, costly legal battles with animal rights groups, such as the one to eliminate elephant acts. In May of 2017, after 146 years in the business, The Ringling Brothers closed. CIRCUS STORIES The circus performance itself begins with a parade called a ‘spectacle’ (or ‘spec’ in circus lingo). As the band plays a lively tune, circus performers and animals march around the arena. The animals wear bright velvet or satin ornaments. Beautiful horses with shiny coats prance by proudly. The clowns make the audience laugh with their funny tricks; all with the intention to entertain. Modern circus performers were part of the same family, in which most of the members of the family would contribute in some way to the circus act. Circus families had special status and passed their skills from generation to generation.  Page 7 of 22 CIRCUS STORIES CONTINUED In some circuses, some of the ‘acts’ were called ‘freak shows’ as they used the oddities and deformities of the performers to draw the audience in. For example, the ‘bearded lady’ or the ‘midget’. In the freak show, we see the grotesque and the comic; we are both drawn to and repelled by what we see. When we watch The Greatest Showman, you will witness how the people who were labelled as “freaks” felt. 20TH AND 21ST CENTURY (1900s and 2000s AD) In the 1960s and 1970s, many circuses began to lose popularity as other forms of entertainment came into being (such as TV) and many people became more interested in animal rights. These contemporary circuses moved away from animal acts and included more daring acts, acrobatics and stunts performed by people only, intended to thrill the audiences and bring them back to the circus. In France, the style of circus shifted. The focus shifted onto the theatrical elements, where the lights and music were specifically crafted to enhance the mood of the act, and a basic narrative (story) was introduced to the show. The show was also more daring, slick and precise where the transitions between acts were choreographed with military precision. Such a contemporary circus is Cirque Du Soleil (“circus of the sun” in French). All performers are trained in gymnastics, athletics and dance. The Cirque Du Soleil continues to evolve, and in 2012 they produced their own film; Cirque Du Soleil: World’s Away that focuses on the love story of young aerialists who lose each other in the different “tents”/worlds. What is an aerialist? A person who performs acrobatics _____________ __________ on a tightrope or a trapeze. Let’s share circus stories! Write down as many words as you can that are associated with the circus you watched: _______________________ __________________________________________________________ __________________________________________________________  Page 8 of 22 CIRCUS ACT CATEGORIES Circus Acts are placed into 3 categories. As a class, discuss what you think they are, and write them below. Provide an example for each. (1) _______________________________ Example _____________________________ (2) _______________________________ Example _____________________________ (3) _______________________________ Example _____________________________ Create a “Flow Map” to revise theory on Unit 1: History of the Circus Roman Era: (27 BC – 476 AD) Medieval Era: (1000 AD – 1500 AD) 16th Century: (1558 – 1603) 19th Century (1800s) 18th Century (1700s) 17th Century (1600s) 20th and 21st Century (1900s and 2000s) Circus Stories  Page 9 of 22 UNIT 2 Clowns and Clowning INTRODUCTION Clowning is an art. It requires skill, physical agility, dramatic ability, a firm understanding of human nature, imagination, wit and a strong sense of the comic. It uses timing, surprise, anticipation, slapstick and sometimes an anti-climax as elements of humour. The clown is a common character in modern-day theatre. There are three types of clown. THE WHITEFACE CLOWN 1.1 This clown is characterised by a sense of sophistication, grace, culture, charm and wit. This clown covers all exposed skin (face and neck) with white make-up and paints their features on top with black greasepaint. There are 2 major classes of the whiteface clown: 1.1 CLASSIC / NEAT WHITEFACE CLOWN: This class of whiteface clown has a white base with delicate make-up to accentuate the eyes & mouth. Traditionally this clown wears a one-piece outfit, or a beautifully decorative suit. 1.2 1.2 GROTESQUE / COMEDY WHITEFACE CLOWN: He is a zanier, less intelligent style of clown. The make-up & hair is exaggerated to emphasise the outrageous nature of this clown. He will usually have a red nose painted on top of the white greasepaint. This clown will wear bizarre, exaggerated clothing, which is still neat. Who is this performer? ________________ Which clown is he? ___________________ What is his character’s name? ___________  Page 10 of 22 THE AUGUSTE CLOWN This clown is the fool – he does everything wrong – trips himself up; interrupts other performers; creates comedic conflict. He is colourful, thus seemingly cheerful: he wears colourful curly wigs and bright primary colours such as red, blue and yellow. However, he is also grotesque as all his features are exaggerated: a small funny hat, with wide pants and big shoes. What they wear is always either too big or too small. Their key distinctive features are their big red nose and baggy clothing. The make-up starts on a flesh-base with exaggerated facial features painted on top, particularly the eyes and mouth. The features express a joyful demeanor. Like his clothing, his mannerisms are also exaggerated, absurd and unpredictable. This clown is recognizable in every slapstick comedy routine of comic actors today. *See slapstick on PAGE 11. THE TRAMP CLOWN He is a stock character. *See stock character in Unit 3. His stock character is an exaggerated caricature of the hobo / tramp / beggar. He emphasises the traits that typify a person as a tramp such as a slouchy gesture, slow movement and a generally sad demeanour. The tramp’s costume may look shabby, patched & battered. His make-up is a modified version of the Auguste: usually his base is also flesh-toned, but there are shadows under the eyes, the illusion of an unshaved beard and the lips are drawn downwards. This clown influenced the silent film artist Charlie Chaplin. In 1972, Chaplin received an Honorary Academy Award for "the incalculable effect he has had in making motion pictures the art form of this century". His performance is characterised by slapstick combined with pathos (tragedy), typified in the tramp's struggles against adversity. This clown is also evident in one of the most important works of theatre; Samuel Beckett’s Waiting for Godot, which is the story of two tramps waiting endlessly for a character that never arrives. We study this play in Grade 11 / 12.  Page 11 of 22 SLAPSTICK For homework, investigate the word “slapstick”. 1. What is the origin of the term “slapstick” i.e. where does it come from? Hint: Italy… _________________________________________________________________________________ _________________________________________________________________________________ _________________________________________________________________________________ 2. Comedians use slapstick routines in their performances. Watch either of the YouTube clips on google classroom (4a or 4b) of comedians using slapstick. In your own words, explain what the term “slapstick comedy” means. _________________________________________________________________________________ _________________________________________________________________________________ _________________________________________________________________________________ Slapstick is also used extensively in Melodrama. *See Melodrama in Unit 3.  Page 12 of 22 Create a “Tree Map” to revise theory on Unit 2: Clowns and Clowning 3 TYPES OF CLOWN Whiteface Clown Auguste Clown Tramp Clown 2 classes  Page 13 of 22 UNIT 3 Mime, Melodrama & Stock Characters DEFINITION OF MIME Mime is the art of telling a story, expressing a mood or emotion, or describing an action without using words. Through mime, we can show how we feel, who we are and what we are thinking using action and facial expressions. All the clown types use mime in their physical characterisation. PRINCIPLES OF MIME 1. Mime uses the art of gesture – this is when you use only physical movement of the body and face to express meaning. NO VOICE! 2. Mime uses theatrical exaggeration of the movements to enhance the meaning – the movement and facial expressions are not quite “authentic”; they are heightened and stylised. 3. Mime is the visual interpretation of everyday activities presented through movement – the humour in mime is when the mime artist distorts / enhances actions that are ordinary and recognisable to the audience. They will often use stock characters to enhance this connection with the audience because they are recognisable characters (later in the unit). PERFORMANCE STYLE In performance, a mime artist must:  Immediately establish a recognisable character, location and time for the audience.  Have a few, selective locations.  Vary the rhythm of their movement between fast and slow to maintain audience interest.  Build towards an exciting climax or anti-climax.  Include feelings and emotion so that the audience can sympathise with the character.  Practise extensively, especially in front of the mirror, for accuracy of movement. Every miniscule move is critical.  Be 100% focused throughout. Marcel Marceau  Page 14 of 22 WHAT IS MELODRAMA? Melodrama is a theatre genre that was very popular from the mid- 1800s to the early 1900s. It eventually lost popularity due to the World Wars, the Great Depression and the new theatrical genre, Realism. However, a resurgence of Melodrama is seen in many modern-day films. Film makers will use romance, action, and improbable and sensational events to draw the audience into the film. This is because Melodrama appeals to our emotions. CHARACTERISTICS OF MELODRAMA It is characterised by extravagant theatricality and sentimentality. The plot of a Melodrama is full of sensational incidents / events that are highly unlikely in real life. There is always romance, extraordinary action and good always triumphs over evil. The acting style is exaggerated, stylised and theatrical. In this style of performance, where you need to establish a character quickly using mainly your face and body, it is best to consider portraying a stock character. Theatricality means artificial, pompous, spectacular, or extravagantly dramatic. Sentimentality means exaggerated and self-indulgent tenderness, sadness, or nostalgia. Sensational means causing great public interest and excitement. What does it mean when someone calls you melodramatic? Can you think of an example of a modern-day film that uses Melodrama? WHAT IS A STOCK CHARACTER? This is a fictional character based on a common social type. Stock characters are universal, which means that the essential “type” this person represents is recognisable anywhere in the world. However, they do rely on a country’s culture for the name, unique personality traits, manner of speech, and costume. Examples of stock characters: the noble hero, the long-suffering heroine, the hard-hearted villain, the absent-minded professor, the clumsy side-kick, the old soldier and the shrew.  Page 15 of 22 What is the difference between a stock character and a stereotype? ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ Create a “Brace Map” to revise theory on Unit 3: Mime, Melodrama and Stock Characters Principles: Mime: Performance Style Characteristics: Melodrama: Plot: Mime, Melodrama and Stock Characters Acting style: Examples: Stock Character: Stock character vs stereotype:  Page 16 of 22 UNIT 4 Elements of Physical Characterisation ELEMENT DEFINITION DEFINITION: Posture is the alignment of your spine, without any unnecessary tension or strain, in such a way that your body is balanced, flexible and coordinated. The drama neutral position is the correct posture for a character that does not have any distinct age or gender specifications. It allows the actor to feel at ease, alert and poised for action. A relaxed actor with good posture will give a dramatically convincing performance with a full, flexible voice and free, expressive movements. Posture The drama neutral position includes the following: the chin is in line with the floor, the back of the neck is lengthened upwards, the shoulders are above the hips, the upper back and chest are wide, the spine is lengthened, the hands hang loosely, the knees are soft, the legs are active but not tensed, and the feet are placed under the hips and the toes point forwards. However, to create age and gender in characters, we can manipulate our spine to look like an old person or the opposite gender. Posture is very important to consider as it effects the way we speak. If we are bent over, it restricts our airflow, making it more difficult to breathe and thus our voice will sound raspy. This is effective if the character we are playing is old, but not effective if we are playing a younger character.  Page 17 of 22 DEFINITION: The term movement is used to describe every moment your character walks, runs, sits, stands, leans, bends. In other words, the larger body movements of your lower torso (everything from Movement the waist down). Movement must always be motivated by what the character wants in the scene. DEFINITION: These are the smaller movements of the character, specifically referring to the hand, arm, shoulder and head movements. Gesture Gesture is very expressive of the character’s emotions (movement must be motivated by this as well). An actor must be very careful to use their gesture to convey the emotions of the character (and not their personal nerves) DEFINITION: These are the expressions we wear on our faces to reflect our emotions. An actor must always consider how their face is expressing (or hiding) the character’s emotions. It is important to use all the features of the face to avoid looking deadpan on stage. This includes your mouth, nose, cheeks and eyebrows. Facial Expression Consider the following: is the character smiling tentatively or smiling expansively, grimacing in pain or sneeringly, smug or nervous, calm or excited, frowning from worry or anger. Sometimes we must exaggerate our facial expressions so that our emotions are more visible on stage. It is a delicate balance between exaggeration and naturalism.  Page 18 of 22 THREE MAIN FUNCTIONS OF A WARM-UP (from Term 1): 1. ______________________________________________________________________________________ 2. ______________________________________________________________________________________ 3. ______________________________________________________________________________________ SIX KEY EXERCISES OF A PHYSICAL WARM-UP ROUTINE 1. Locomotive movement: This involves moving around the room by walking, running, skipping, hopping, jumping, or leaping to increase your oxygen intake. 2. Swings: These movements loosen the joints for ease of movement. Swing the top part of your body from side to side; swing your arms and your legs forwards and backwards to get a range of movement. 3. Spinal Stretch: This is essential to protect your spine. Stand in drama neutral position, breathe in and drop your chin onto your chest. Roll down till your hands touch the floor, concentrating on the curvature of the spine. Keep your head heavy and relaxed, looking through your knees. Then bend your knees a little more and drop your pelvis towards the ground. Roll up slowly, stacking your vertebrae one on top of the other (whilst your head remains heavy, chin on your chest). Once your upper back has straightened, lift your head gently. 4. Axial Movement: This involves movement away from the vertical axis of the spine. The range of movement includes – twists, turns, rolls, bending forward and backwards, reach up to the ceiling, rocking forwards and backwards, reaching over to the side. 5. Extensions: This involves extending different parts of the body, while keeping balance, to develop strength and control. This could be a standing hamstring and quads stretch; and stretching over to the side in a lunge position. 6. Feet and Hand warm up: This warm up involves flexing and pointing, following the movement through the toes, metatarsals, arch and heel of the feet and the finger, palm and wrist of the hands.  Page 19 of 22 Write down the specific exercises to remember for future practical assessments and tests: 1. Locomotive 2. Swings 3. Spinal Stretch 4. Axial Movement 5. Extensions 6. Feet and Hand Warm Up Create a “Bubble Map” to revise theory on Unit 4: Physical Characterisation Movement Gesture Posture Elements of Physical Characterisation Facial Expressions  Page 20 of 22 TASK 11 MIME COMIC DUOS AIM 2.1: Polished improvisation based on a particular style: comedy PURPOSE OF THE TASK You are going to apply some of the dramatic skills you have begun to develop in a polished mime comic-duo performance. You must set high standards for yourself in your physical expression; communicating your stock character accurately because you have worked hard to find ways to improve the characterisation of your stock character constantly. You must use improvisation skills to develop an interesting story that explores the whimsical, incongruous and unexpected. Choreograph the story to a suitable piece of music that enhances the mood and meaning and reflected that you have found the humour. STEP 1 – PREPARATION Information Check Your teacher will put you into groups of TWO, or THREE, depending on the class size. 1 As a collaborative process, each one of you needs to contribute equally to both the process and product. Pick ONE of the following scenarios: Accident / Misfortune / Disaster in the: kitchen OR in the garden OR at the gym OR 2 in the restaurant OR at the construction site OR in the car OR at the birthday party OR at the funeral OR out hunting OR in the classroom OR on the sports field OR on the stage OR one of your choice (check with your teacher first to see that it is suitable). Find ONE SYMBOL for each actor to use in performance to represent your choice 3 of setting. Each actor is only allowed one item: either a prop OR a costume item. Each actor’s item must be used as part of your performance to help convey the story. Pick ONE of the following contrasting stock character pairs = “comic-duo” a. Large and small b. Clever and dumb c. Brave and cowardly 4 d. Hero and villain e. Outcast and popular f. Talented and incompetent g. Your own choice (check with your teacher). IMPROVISE some unique ideas about your stock character using your posture, 5 facial expressions, movement and gestures. Work as a pair to help each other strive for accuracy in expression.  Page 21 of 22 STEP 2 – MUSIC Information Check Find a suitable piece of music for your mime and bring it to your next lesson on:. The music must enhance the humour of the mime, so choose 6 a piece of music where you are able to use the various accents / beats of the music creatively to enhance your story. It is also preferable to choose a piece of music that has “sound effects”, a change 7 in tempo and doesn’t have lyrics. STEP 3 – CREATING THE MIME Information Check In your pair / trio, use your piece of music to create a short mime, using 8 exaggerated physical expression to tell an interesting story, based on one of the scenarios and one of the stock character pairs. Your characters must be distinct versions of the comic-duos. Stock characters are 9 acceptable but try find some unique nuances to your individual character that make them different to others. Your mime only needs to last about 1 minute. If you can edit your music to the 10 correct length that would be more effective than having someone stop it for you, but either option is acceptable. Practise your mime sequence so that your movements are synchronised effectively 11 with the music. OPTIONAL: If you wish, you may create intertitles1 to help explain the story. This can be done on cardboard / paper or on a screen (using PowerPoint). If you do this, 12 you will have to enlist the assistance of another person to change the slide / hold up the caption at the appropriate moments (unless you can coordinate sound and image in one set of slides). STEP 4 - PERFORMANCE Information Check Your teacher will assess your performance during a lesson. You must wear drama 13 neutral (black top and black loose-fitting or stretchy pants). Remember to bring your rubric, music, prop / costume item and optionally the intertitle. 1 In black and white movies, a printed explanation of dialogue or occurrences was used to explain a scene.  Page 22 of 22 TASK 11 MIME COMIC DUO PERFORMANCE RUBRIC AIM 2.1 NAME: ______________________________ DATE: ___________________________ Contrasting stock character pair: ____________________________________________________________ Scenario: ________________________________________________________________________________ THE LEARNER: /10 COMMENTS Uses improvisation skills to develop an interesting story that explores the whimsical, incongruous and unexpected, resulting in a comic performance. Selects a suitable piece of music that enhances the mood and meaning of the story. The choreography of the mime works effectively with the music and reflects the humour. Has set high standards for themselves in their physical expression; communicating the stock character accurately; evident in their movement, gestures, posture & facial expressions. Ensures the relationship between the contrasting pairs enhances the humour of the mime; is interesting and engaging. Uses the stage space, prop or costume item (symbol) to communicate their setting effectively. TOTAL /50 Read through the instructions, Steps 1 – 4 carefully to ensure you understand all aspects of the task. Check the rubric for your assessment criteria. Ask your teacher to explain any areas of confusion or uncertainty. At the end, reflect on what you have learnt and consider any areas on which you would like to improve in the future Get into your pair/trio and unpack and ways in which the task can improve the task together by discussing the for your teacher. steps. Confirm which scenario & character pair you have chosen. Choose your prop or costume item. Here we go! Time to present your mime to the class through physical Improvise! Be creative, experimental expression and music. and BRAVE! Play around with various physical expressions and mishaps at your chosen location. Find a suitable piece of music to perform to. Don’t Get your teacher and another pair be afraid to put your ideas forward. of your peers to look at your mime to get appropriate feedback. Decide which mishap works best and develop the arc of the story to Refine your movement and gesture. create an interesting rhythm. Start Practise the routine and ensure that your striving for accuracy in your physical timing is precise and effective. expression.