CRASH – SERA MOORE WILLLIAMS

‘Homelessness, drugs, alcohol = a humorous and entertaining play?’
‘Maybe unlikely, but not impossible, as witnessed in Sêra Moore Williams’ latest play  “Crash” , which deals with the lives of three differing young characters – Rhys, the "geek", Elin, a middle class girl, and Wes, a "druggie". It’s a lively, punchy play ; an hour long piece of theatre that will resonate with youngsters, their parents and teachers and indeed with anyone who still harbours memories of those awful but glorious days of adolescence’.

Theatre in Education
Theatre in Education (TIE)
Theatrical performances by professionals (actors or teachers) usually in schools. However, TIE are also held in places such as :
•	Prisons
•	Children’s Homes
•	Hostels for the homeless
•	Churches / Chapels
•	Community Theatres
The main purpose of TIE is to use theatre and drama to create a wide range of educational opportunities across the curriculum. Every piece of TIE is designed with a specific target audience in mind, and the size of the audience and its location will largely depend on the nature of the production. Often, the project will contain a performance and either a workshop containing role-play exercises and discussions and/or educational pack. 

Cwmni Theatr Powys/ Powys Theatre Company:
Our aim is to use the power of theatre to emotionally shock the audience and provoke them into viewing the world from a different perspective.
We aim to provide exciting theatre of the highest standard – theatre that will entice audiences, appeal to their curiosity, and lead young people to actively participate in theatrical activities.

Cwmni Theatr HRH/HRH Theatre
Educational theatre can function in two ways.  It can inform or it can influence.  The former results in the audience walking away having learnt much, but having assimilated little.  For younger audiences the only lesson they invariably learn is that theatre is boring - thus the decline in younger audiences. 
To truly have an impact, to really make a change and to make an audience listen, a performance must affect, entertain and stimulate.

Further Research
Theatre in Education by Tony Jackson (Manchester University Press) 
Six TIE Programmes edited by Christine Reddington (Methuen) 
Theatre -in-Education Scripts edited by Pam Schweitzer (Methuen) 

Arad Goch

Research 

Task 1: Reading the play out loud in class

Aims and Objectives:

•	Research the play’s text
•	Understanding ‘the world of theatre’

Task:

As you read the play (as a class) complete the leaflet ‘Facts and Questions’ i.e. as you note details that are apparent in the text, subsequently, questions will arise:

See pupil worksheet 1.

Facts	Questions	
Scene 1:
Wes ac Elin have spent the night at Steve’s house
They had ‘crashed out’.

Etc	Scene 1:
Who is Steve?

Why have they ‘crashed out’?	

Exercises and further research :

•	List the problems that young people frequently face in their teenage years
•	What influences the behaviour and attitude of teenagers?

See pupil worksheet 1.

Task:

                                       

Devise a timeline for the play’s events – include the events leading up to the play’s beginning.

Task:

Create a map of the play’s locations, choosing a specific position for every location.

Task:

Study the poster below advertising the theatre company’s tour of the play around Wales. In what way do the images contained in the poster relate to the play’s message. How would the poster influence the prospective audience?

Think of the play’s title - ‘CRASH’ 
In groups, hold some brainstorming sessions outlining all the possible meanings that Sera Moore Williams could give to her play’s title.

Exploring Themes / The world of drama

Session No 1
Possible themes:
Adolescence and all the problems that accompany it/ youngsters stealing cars, driving them at great speeds, causing damage and injury to both themselves and the public in general / a computer crash, crashing a party, crashing out, crash metal, and a car crash.

Task:

Adolescence
•	Construct a tableaux displaying their understanding of the problems of adolescence.
•	Brainstorming – adolescence
•	A montage of words and pictures in the form of a poster conveying the many meanings and problems surrounding ‘Adolescence’ 

Joyriding and carjacking
•	A whole class / or divided into groups. Everyone must assume a role as part of a television debating programme outlining the problems of ‘Joyriding’. (Similar to the Jeremy Kyle programme) The teacher will assume the role of the presenting host of the programme. Begin by brainstorming the type of person that would appear in such a programme (Politician, Parent who has lost a child, Young joyriders, The victim of a carjacking, The friend of a person killed by joyriders ….) The host must ensure that the students will scrutinize all aspects of the theme. Use the following as stimuli :

Further information and facts regarding ‘Joyriding’.
•	Over 1,000 young people are killed in car accidents every year
•	More young girls die as passengers rather than drivers
•	Males under 20 years of age are involved in a third of all accidents 
•	Over 60% of passengers believe that driving too quickly increases the probability that their partner will be involved in an accident 
o	20% of passengers are frightened and are afraid that both they and their driver could be killed or injured 
o	25% of passengers admit to pressing an imaginary brake with their foot.
•	One in every four drivers that are killed or seriously injured in the UK are under the age of 25, even though one in every fifteen drivers are actually that age.
•	Drivers between the ages of 17 and 19 are six times more likely to be involved in an accident which involves alcohol in comparison with drivers between the ages of 30 and 34 years of age 
•	A third of those killed or seriously injured in motor accidents in Wales are under 25 years of age 
•	Speed is a contributory factor in around a third of all fatal road accidents
•	A fifth of all new drivers are involved in a motor accident within the first 12 months of passing their driving test  
•	New drivers are responsible for 29% of all motor accidents 

Drink-driver could not remember hit-and-run
A young driver was so drunk he could not remember knocking down a pedestrian in a hit-and-run crash. Mark Hubbard, 19, from Welshpool, drove erratically and without headlights, Mold Crown Court heard. He admitted driving dangerously, drink driving and failing to stop at the scene of an accident. The court was told he had drunk up to 10 pints of beer. Victim, Charlie Birch, had stepped out into the road to warn Hubbard he was driving without his lights at 2am in the morning. Hubbard did not appear to slow down or try to avoid Mr Birch, but seemed to accelerate as he drove at him, the court heard. Hubbard’s Escort hit Mr Birch head on and he was thrown into the air. He suffered whiplash and knee injuries. Hubbard later abandoned his car and ran off and was only arrested after a police chase on foot. Hubbard was jailed for 12 months, banned from driving for three years and ordered to take an extended driving test. 

Article 1                                 Article 2

The extent of the problem
In 2004, there were 23,714 recorded hit-and-run incidents involving personal injury, a rise from 18, 357 in 1997. Not only have hit-and-run incidents increased dramatically since 1997, but people killed or injured in such crashes has also increased from 119 in 1998 to 145 in 2004. 

	

Characters - background

Background work on the characters and their relationships
A workshop on the theme ‘Status / Conflict / Bullying’

Task:

Warm-ups:
Everyone walk around the acting space. Establish a series of instructions, e.g. walk, run, freeze. Try to ensure that the students move from one instruction to the next as quickly and sharply as possible. Then, change the rules. Now every rule assumes the opposite of the original, so if the instruction is to ‘run’, you must ‘walk’ etc

Working as a Pair. Ask the student to try to hit their partner’s knees. Every time they succeed, they will be awarded a point. Discuss the notion of conflict between the partners and the notion of attack and defence. 

Repeat the exercise, but this time try to strike your partner’s right hand which is located at the base of their spine. Discuss the notion of ‘tactics’.

 ‘Status’ exercises
Discuss ‘Status’. Try to get the students to think of words that will affect and influence status, e.g. wealth, upbringing, confidence…..etc. Encourage them to think of status in terms of how one person reacts to another.

Task:

The group will walk around the acting space. As they move around, guide them using a status grading of between 1 and 5, and encouraging them to think about how they would define each level physically. Begin with 1 as the lowest status level (shy, weak, lacking in confidence) rising through each level until you reach 5 as the highest status level (confident, arrogant, snobbish).

Provide each pupil with a piece of paper with a number from 1 to 5 on it, denoting a status level. They must keep this number a secret. As they walk around the acting space, ask them to think of how their status would affect parts of their bodies. Discuss each part, beginning with the feet and legs and assess how they would walk – posture, shoulders, head -  What do you do with your arms? Which part of your body leads the others? Ask them to make specific decisions denoting their status and to overplay their movements and gestures. 

Now encourage them to greet each other by saying “Hello” and to interact for a while.

Without using speech, ask them to form a line with the lowest in status at one end and the highest at the other. Improvise for 20 seconds :

(i)	Person 1 knocks at the door - Person 2 answers. Person 1 is lost and requires help. Then, reverse the roles.
(ii)	Repeat the exercise but also change both parties’ status.

What is the meaning of  ‘status?’ (your importance in relation to others)

Who has the highest status at your school?
Who has the highest status in the country?
Who might be lowest in terms of status?

(iii)	Change the status of the above characters and perform the piece again.

What has happened?
What has changed?

Ask the students to discuss their feelings as they react to the various people of differing statuses. 

Task:

Describe the status of Els, Rhys and Wes at the beginning of the play.
See Worksheet No 3.
Encourage them to think about how status can convey opposite characteristics about characters. 
Look at the scene on Pages 56 – 59.  Use the games (above) to map the change of status of Wes and Rhys in this scene.

Control Exercises.
Divide the group into pairs, A & B. 
A holds his hand close to B’s face. 
B has to follow the hand, carefully keeping the same distance from the hand at all times.
A has to convey his feelings as he is controlled.
B explains what it was like to be in control.
Switch roles with A leading and B following.
Discuss how A treated B as they played the exercise secondly.

Personalise those feelings and attitudes to the characters of ‘CRASH’.

Task:

Conflict Exercises (See Leaflet 4 Pupil Notebook):

Study the following lines from the text of the play:

(Page.16)
Wes: Would you come with me?
Els: I dunno! Are you driving?
Wes: Would you come with me? If I was?
Els: Maybe!

(Page. 20)
Els: (BEAT) I can relax when I’m with him. He understands how things can be with parents.
Rhys: Yeah? (BEAT) Has he been to your house?
Els: No! He does’nt want to.
Rhys: Oh...

(Page. 53)
Wes: You two are quite alike, aren’t you?
Els: Get lost! I’m not like him. And I don’t fancy him either! I’ve fallen out with him, and I’m worried.
Wes: (SARCASTICALLY) Worried? Wwwww!
Els: Worried so much it really hurts. In my head. Ok? I don’t expect you to understand that kind of pain, do I?
Wes: What?

In small groups discuss and note:
•	What is the nature of the conflict?
•	Who is in charge?
•	What are the characters’ motives?

Feed the information back to the class.

Development. Divide the class into pairs. They must remember and maintain the motivation of the characters, but this time, one of the characters is allowed only to use the word ‘YEAH’ and the other only ‘NO’. e.g.

(Page.16)
Wes: Yeah?
Els: No! no?
Wes: ‘yeah? 
Els: No!

They must maintain the same motivation BUT, of course, they must find different ways of expressing their characters’ motivation, status and conflict.

Present the work and discuss the effect that withdrawing language has on the material. Replay the same scene but this time, re-introduce the element of language. Assess the effectiveness of their communication skills now.

Discuss:
Describe the conflict within the play?
Is it possible to empathise with this conflict as actors and audience members?
Link this with the notion of  ‘genre’ in the play – TIE.

Task:

Identity 
A warm-up activity. Chairs are put in a circle. One member of the class sits in the middle without a chair. The person in the middle must try to get the others to change position by suggesting categories that others may belong to, e.g. ‘move to another chair if you own a pet ….’ (the person in the middle must, of course, belong to this category). The person left without a chair must now be in the middle and has to suggest a new category and subsequently the game progresses. 

The whole class walks around the acting space. They must choose someone that they truly like (love). The objective of the game is to get as close to that person as possible without them knowing. Encourage the pupils to think about how they feel about being close to that person and to understand the inner emotions that accompany that situation.
 
They must now choose a different person. Someone that they hate. They must stay as far away as is possible from that person. Sum up their feelings when that person comes closer to them. Finally, they must try to keep the person they like between themselves and the person they hate. Then, everyone should freeze and assess their effectiveness. 

Task:

Look at the opening scene before presenting it:
(i)	Els and Wes growing closer to each other
(ii)	Els and Wes growing further apart 
Remember to fulfil the emotions of the game in your staging of the work.

Identity 2
One by one the pupils walk from the back of the class and stand before their peers saying “Hello, my name is….” 
Discuss how difficult this is and the kind of feelings and emotions that everyone experienced.
Explain that everyone adds a level of performance. Why?
Repeat the exercise trying to be as natural as possible. Is it possible?

Discuss (with the class as a whole) ‘IDENTITY’ 
What is ‘identity’?
What range of words describe the ‘identity’ of a person?

Task:

Divide the class into small groups. They should focus on either Els, Wes or Rhys. The group must notate a list of words that best describe that character, giving them their identity.
See Worksheet 5:

 Detailed study of characters

RESEARCH

Task:

Divide the class into pairs, then divide the scenes between the pairs. 

Scene. 1 = Pages  5-16
Scene 2 = Pages 17 – 22
Scene 3 = Pages 23 – 27
Scene 4 = Pages 28 – 32
Scene 5 = Page 33
Scene 6 = Pages 34 – 37
Scene 7 = Pages 38 – 39
Scene 8 = Pages 40  - 46
Scene 9 = Pages 47 – 53
Scene 10 = Pages 54 – 59
Scene 11 = Pages 60 – 61
Scene 12 = Pages 62 – 65
Scene 13 = Pages 66 – 71
Scene 14 = Pages  72 – 74 
Scene 15 = Pages 75 - 80

Read the scene/scenes again noting two things:

•	What the charcters say about themselves
•	What the other characters say about them.

Task:

Groupwork.
Give each group a character.
Ask them to list the character’s thoughts about itself, beginning with :

I am………

Encourage the pupils to think carefully and to include negative thoughts as well as positive ones.
See Worksheet 6.

PRACTICAL EXAMINATION OF THE CHARACTERS

Task:

Warm-ups. The Hot Seat. One person sits in a chair as one of the play’s characters. The class then ask questions of that actor as in role play. All three characters in the play must in turn sit in the Hot Seat. 
Development
Many pieces of TIE begin with a tableaux accompanied by a speech presenting the characters to the audience. 
Divide the class into groups of three.  
Ask them to construct a few sentences introducing the three characters to the audience (at the beginning of the play) e.g. “I’m Els. I’m 15 years of age. I hate school and can’t wait to leave. My parents get on my nerves BUT I’m in love …His name is Wes….lush! “

In groups, they must each choose one character for the practical task. 
They will be required to walk onstage, creating a physical snapshot of that character and then deliver their lines, one by one. They must decide who will go first, second and third, choosing a suitable onstage location in relation to the others. 
Present the work.

Discuss each group’s vision. How did their interpretations differ? What does this say to us about the process of characterization?

Repeat the same exercise but, this time, introduce the three characters at the end of the play. 

Discuss how the characters have changed and evolved during the play. 

Assembling the background / full picture.

Task:

#

Improvised Work:
Use the following stimuli as a springboard in working on the text of the play.

ELS
(i) Imagine that Els’ mother has been called into the school by the Headmaster to discuss the changes in her daughter’s attitude. 

(ii) Imagine that two of Els’ neighbours have overheard some gossip regarding Els’ recent behaviour. 

(iii) Devise and present a scene that shows how a strong willed character can influence another person to act in a way that contradicts their character. 

RHYS
(i) Imagine that you are Rhys and you wish to discuss your misgivings about Els with a friend / family member/ someone from the school. 

(ii) Imagine that Rhys reaches the cliff at the end of the play. Devise that scene.

(iii) Devise a scene between Els and Rhys a year before the events of the play.
 
WES
(i) Wes is out for the night with some of his friends and is being pestered about his relationship with Els.

(ii) Imagine that Wes gets caught by the police and is questioned regarding his reasons for stealing cars. 

(iii) Devise a scene where Wes and Elin meet for the very first time.

Present your work and discuss what new details have been learned about the characters. 

Task:

Practical Task:
Divide the class into groups. 
One character is given to each group. 
Each group must construct a tableaux of the characters’ families. Each character must add a word or phrase explaining their situation and personality.
The group will then present their tableaux, and, when the teacher strikes a person on his/her shoulder, they then deliver their line. 
Discuss the differences between the families. 
Discuss how your background and nurturing effect an individual’s personality. 

Directing

Directing Monologues 
Look at the scene on Page 33. Wes’s Monologue. This will enhance the understanding and use of tempo, pauses and emphasis in order to create mood and ambiance and to communicate meaning. 
(a)	Present the scene as a dialogue between Wes and his social worker. 
(b)	Replay the monologue placing the social worker’s dialogue in the mind of the actor and in the pauses. 
Look at Rhys’s Monologue on Pages 72 and 73. This will enhance building and communicating the tension within the scene. 
(a)	Work on the monologue focusing especially on the use of pauses and silence, tone of voice and variation of tempo and pace. 
(b)	Focus on movement, body language and the use of contrast through the monologue as you build towards the climax.

Directing difficult scenes

Look at the scene on Page 60 – 61. This will enhance understanding of the use of space.

(a)	Read the scene. Take note of the fact that the three characters are situated in different locations.
(b)	Each groups should use a different method of showing this, e.g. lighting, props, levels, spaces, 
(c)	Present the work and discuss.

Look at the scene on Page 75. This will enhance understanding of creating tension:

(a)	Read the scene. Take note of location and opening stage directions.
(b)	Note the use of levels on the set to create the effect of a cliff
(c)	Note the use of actors’ skills to create the illusion of a cliff
(d)	Add sound effects e.g. sound of wind / waves / seagulls
(e)	Note the use of lighting.

Using TIE techniques when directing:

Marking the moment
This is an extremely important technique in TIE. Marking the moment is the use of theatrical techniques, e.g. tableaux, specific gestures, drum beats or sound effects to underline the importance of a digramatic event e.g. when a character acts in a specific way, or when a specific decision has been made. 

Task:

Choose some key scenes from the play e.g. Page 54 – 59. Ask the pupils to work on these scenes using one of the aforementioned techniques in ‘marking the moment’.

Present their work. Discuss if using such a technique would be useful in a performance. Why? Or is it simply a technique for rehearsals only?

Investigating your choice of Acting Space / Stage

Questions to be answered through the medium of practical work:

What kind of space do you need in order to stage this play?
How many different spaces do you need?
How do the differing spaces influence the audience’s experience of the play?

Task:

Staging:

Look at the opening scene of the play. 
Divide the scene amongst the various groups. 
Appoint a director for each group.
Ensure each group has a specific and definite acting space. 
•	Arena 
•	Thrust 
•	Proscenium Arch
•	Traverse

Ask them to prepare their piece within their designated acting space. The director will help them to block the scene.
You must consider:
(i)	The characters’ location
(ii)	The movements / blocking required
(iii)	How the characters interact
(iv)	Eye contact / physical proximity

Each group will present the work to the other groups on the various stages with the audience situated in differing locations. Ask them to fill in the feedback form as they view the performances in order to assess the effectiveness of each acting space. 

See Leaflet 6 Pupil Notebook:

Discuss how practical each space/stage is in relation to staging and performing the whole play.

Staging Area

LOCATION
One feature of TIE is the fact that plays are usually episodic with scenes moving from one location to another swiftly, in a slick fashion.
Another feature is that companies are governed by the amount of props and set they can carry on tour. Consequently, audiences need to identify locations quickly and simply either through the use of basic but effective props or a few appropriate gestures. 

Task:

Sit in a circle. Two persons will be asked to walk into the scene. Please ensure that you have cards including information about the following locations at the ready:

See Worksheet 8 
•	On a sunny beach
•	In a lift
•	In a classroom
•	Outside in the rain

Etc.
Using only mime and gestures, the actors must communicate the location to the audience.

Task:

Divide the class into groups and distribute and array of differing locations from the play ‘CRASH’ amongst the groups. Ask them to decide how they would use mime, body language and props to convey the location of their specific scene to the audience. Then, ask them to prepare the opening piece before finally presenting and performing it to the rest of the class.

Activity – Set Design  

Task:

Look at the two scenes between Pages 62 – 71. The Disco Scene and then the scene on ‘Seagull Rock’

Imagine that you are the director of both these scenes. Before you begin to design your set, discuss the following:

•	The location of both scenes
•	The mood of both scenes
•	The requirements of both scenes.
•	What style would be most suitable – remembering to use appropriate terminology (minimalistic, naturalistic, symbolic)
•	The most effective staging
In pairs, design your set either :
(i)	In a cardboard box

or

(ii)	On a Floor plan

You must provide adequate reasons for your decisions.
See Leaflets 9,10,11,12 Pupil Notebook:

Task:

As the playwright refers to a minimalistic set, maybe you would prefer to consider using a backcloth in order to project images that will reflect and enhance each scene.

•	Take a look at each scene and through the technique of storyboarding, design some images that you would project onto a backcloth, carefully stating the reasoning behind your decisions. 

See Leaflet 13 Pupil Notebook:

PREPARATION FOR THE EXAMINATION PAPER

In order to answer the questions in the examination paper, work through the following exercises, which will help you understand how to go about your work confidently and successfully.

Advising the actor 

Task:

Groups of three.
One of you is going to direct the scene on Page 75 of the play. The other two will portray the roles of Wes and Elin. What ideas can you offer to the two actors? Prepare for it practically focusing on:

•	Onstage locations
•	The physical proximity of both actors
•	The movement of both actors – posture / gestures / facial expressions

Note your ideas on the Leaflet 14 Pupil Notebook under the headings:

•	Locations (stating why)
•	Movements (stating why)

Task:

Working as a pair:
Look at Wes’ speech on Page 70. Work on this speech by trying to focus on HOW to bring tension and emotion into your performance. Perform the speech focusing on the following:

Tempo
•	Quickly without taking a breath or pausing
•	Slowly and carefully
•	Hurriedly 
•	A mixture of the above

Tone
•	Proudly and boastfully
•	Afraid and full of panic
•	Shouting so as to get some attention
•	Imploringly
•	Shamefully and disrespectfully

Volume
•	Shouting 
•	Whispering
•	Lethargically
•	Apathetically

Note the most important words – ones you would emphasise.

Write your ideas (as a pair) on Leaflet 15 Pupil Notebook under the headings:
Tone, tempo and volume giving a specific example for each change of voice.

Task:

Look at the scene on Page 17. In this scene, we meet Rhys for the first time. Read the scene in pairs and describe simply how Rhys behaves. Then, proceed to try and explain WHY he behaves in this manner, i.e. outlining his MOTIVATION

Task:

Look at the scene on Page 54 between Rhys and Wes in the school yard. Work in groups of three – one director and two actors. Play the scene in contrasting ways in order to better understand how varying the interaction influences the nature of the characters’ relationship.  Use the following ideas (add your own ideas as well):

•	Wes is shy while Rhys is bullish
•	Rhys and Wes are afraid of each other
•	Both Rhys and Wes are aggressive 
•	Wes is bullish and aggressive while Rhys is indifferent
•	Wes is suspicious while Rhys is nonchalant
Etc

Decide HOW both would interact in order to illustrate the meaning of the scene and the nature of both characters.

Directing

In order to prepare thoroughly for the examination paper, you must consider the following aspects :

•	Costume
•	Lighting
•	Sound

The examiner could ask you to provide ideas for any of the aspects stated above. Use the following exercises to assist you in answering these questions.

Costume 

In order to prepare and design appropriate costumes for all three characters in the play, consider the following aspects:

•	Age of the characters
•	Social Class
•	Personal Characteristics

Task:

Use pictures from catalogues or from the Internet to construct a storyboard of ideas about each character. Try to think of:

•	A specific colour for EACH character
•	A specific style for EACH character
•	Appropriate items of costume for EACH character
•	Hairstyle and make-up
•	Your REASONS for each decision – ONE for EACH item

Remember that you need to design costumes for THREE completely contrasting characters.

Lighting 

The play uses an episodic style, i.e. many short scenes moving quickly from one location to another, with each scene different to the previous one in mood and with regard to time of day. Therefore, the utilisation of appropriate lighting is essential to convey such information. Lighting can also be used with good effect to define specific areas of the acting space.

You may think in terms of employing:

Spotlights for the monologues or to isolate a character in a specific area of the stage.

Fresnel / Floodlight / Wash of lighting in order to light larger areas of the stage.

You could consider different coloured gels to create a different atmosphere:
•	Light Blue – Cool Mood
•	Light Pink – Warm Mood (inwardly)
•	Dark Blue – Night-time
•	Yellow – A bright sunny day
•	Green – A forest or supernatural
•	Red – Danger or Fire

You may also consider the use of GOBOS on the backcloth in order to suggest some locations.

Task:

Look at the three scenes that begin on the following pages:

Page 5
Page 60
Page 62

Devise a lighting plan for the above scenes using Leaflet 16 Pupil Notebook.

Sound 

As you read through the play, you will surely have noticed the frequent use of sound effects. These are used again to create a certain atmosphere and also to indicate to the audience that we are in a certain location. 

Task:

Look at the scenes at the beginning of the following pages and then complete Leaflet 17 Pupil Notebook. 

Page 33
Page 54
Page 75

Staging  

As part of the examination paper, you will be required to explain HOW you would produce and stage specific scenes. You will need to include the following IMPORTANT information:
(Assessment Criteria)
•	A labelled Floor plan of your choice of stage (see the pupil notebook)
•	Show all entrances and exits and the location of the audience
•	Describe the staging style that you have chosen (naturalistic / minimalistic / symbolic)
•	Describe the details of your set –  furniture / props / colours / atmosphere and mood
•	Outline the reasons behind your decisions
•	Include examples / quotations from the text to support your answer

Task:

In pairs. 
As director, explain how you would stage the opening scene of the play. You can use the Assessment Criteria above as scheme of work for your answer. Include photographs and written work in order to finalise your task.
 
Once you have finished, exchange your work with another pair and mark each other’s work. Offer ideas on how the work could be improved against the Assessment Criteria.