Lesson video

Hello, and thank you for joining me for today's lesson.

My name is Mrs. Butterworth and I have to say I am really excited for the lesson today because not only will we be watching act 1, scene 1 of "Small Island," but we'll be watching videos of the director, Rufus Norris, talk about his process and his ideas around the play.

So it's a really fantastic opportunity to hear from the director himself.

You will need to make sure that you have access to the national theater recording of the "Small Island" production in order to watch this.

Okay.

So, shall we get started? I can't wait.

Let's go.

In this lesson, you will use Rufus Norris's ideas to help you watch act 1, scene 1.

Now let's look at those all important keywords.

Now these, you may see them in the lesson, or you may even hear them in the videos as you watch them.

These words are Pathe news clips, ex-communicated, discrepancy, and communal.

Now, those Pathe news clips are those short, old-fashioned news videos, and they were shown in cinemas before TV was common and they were made by the film company Pathe.

And you'll see them being used throughout the "Small Island" production, and you'll also hear Rufus Norris talking about those.

Ex-communicated is to be officially removed or cut off from a church or group.

Discrepancy is a clear difference between two things that should match.

And finally, communal is shared by a group of people or used together.

So you could say something like a communal activity.

So the outline of our lesson looks like this.

We're going to begin by watching some videos of Rufus Norris introducing act 1, scene 1 before moving on to watch act 1, scene 1.

So do make sure you have access to the national theater production of "Small Island" in order to watch that part of the play.

So let's begin by introducing act 1, scene 1 with Rufus Norris.

So in this first video, you will watch Rufus Norris introduce act 1, scene 1.

When you have finished watching that, you will need to answer the following questions.

Why are the Pathe news clips important? And list three things that Norris says about how Hortense speaks in the play.

So as you are watching and really listening to that video, have these, have this task in the question in the back of your mind to help you complete that after the video.

So make sure you have everything you need to complete this.

You may need a pen, a laptop, but you will definitely need to be listening to that video.

Okay, so are we ready to watch it? Fantastic.

I'm going to press play now.

<v ->So act 1, scene 1 is a big scene, first scene of the play.

</v> And its Hortense's story.

There are a couple of things to bear in mind when watching the scene.

And the first one is the way that we begin it, which is with a cinema screen and we start by playing Pathe news clips from the time.

The reason we did this is to remind the audience, everybody in the audience would know where Jamaica is and our history of it.

But there's nothing like hearing the sound of somebody talking about Jamaica in this way at the beginning of the scene that takes you back to a different age where Jamaica and these far off countries, you know, with palm trees and things like that were talked about in this country.

Again, it's part of our history, but we didn't talk about it as a former colony, which had been enslaved for hundreds of years.

We talked about it as being beautiful, and here's some beautiful shots of beautiful places that discrepancy with the reality of the history of it.

And what we know about Jamaica now is deliberate.

So we're absolutely taking the audience at the beginning of the show into an understanding of the perception of that time.

It's also really important because we use a lot of video in the play.

And video is really complicated in theater because it's not emotionally linked to the action.

It can give you a nice backdrop, it can give you information, but unless you're careful, it's distanced from the action.

And theater is all about an emotional connection to the story of what's going on.

But it does appear literally in the story.

Gilbert has a fight in the cinema.

Queenie and Bernard have a breakup scene in the cinema.

So we wanted to start the story by just introducing this language that we're going to use later and later.

And that it thereby gives us theatrical permission to use video wherever we want it, in whatever way we want.

It also means that we can set up the storm in a way that doesn't mean we have to have massive fans or loads of furniture crashing all over the place or bits of set falling down.

You know, a hurricane is a terrifying thing.

To really represent a hurricane on stage would be, it would be very difficult and it certainly would be very difficult when you've got another 70 scenes to do in different places.

So that was, we started with a way that could, both, set up some of the language that we're gonna use and also introduce the storm that takes us into that first scene.

So that's one thing to just bear in mind is the use of cinema and the use of projection throughout our production.

The second thing, the way that Hortense is telling the story, she's talking to the audience, she's talking to the audience in a really, really confident way.

If you meet Hortense at the beginning of scene 1 and then you meet her at the beginning of act 2, they're like completely different people because one of them, the one in act 2 has totally had her heart broken and the one in act 1 hasn't, she's still naive.

Life has not yet dealt her, well, life has dealt to a difficult blow, but it's about to deal her a much more difficult one that she was loved by her grandmother.

So, she survived the loss of her parents, but she's about to have her heart broken.

So she's very, very confident and she's talking to the audience.

And during the course of scene 1, the action catches up with her, Michael comes, she thinks to rescue her, but she discovers it's actually to rescue the school teacher.

And she discovers that affair and has her heart broken, which leads her in turn to tell everybody what's happened, which again, leads to Michael being sort of ex-communicated by his family.

So, the way that direct address is used by Helen and in the production is another thing to keep an eye on.

The third thing I suppose is really the challenge of how you tell a really complicated story with a million scenes without having 82 tons of scenery and without having realistic sets.

And this is, for me, quite important.

Theater is a celebration of many aspects of storytelling, the live communication between the audience member and the actor, the live communication between the audience member and the other audience member, this is a communal gathering that we're talking about.

But it's also a shared language of imagination.

We say to you, we are gonna bring in three shutters and there's some chairs and there's a blackboard, and you are going to imagine the rest of the school room.

We're gonna play it as if the school room is there, but you can imagine it, which means that when you've got a tree or when you've got, when we move suddenly to the, you know, the kitchen table, we can do it quite deftly without having to bring on loads of stuff because we have engaged with our audience in an agreement that we are going to make believe in a way.

I think audiences have no problem with this at all as long as you're clear about it, and actually they love it because they understand what you're doing.

As long as the actors completely commit, they know that the whole school room is there.

So we see the whole school room because they do.

And it means that you can tell a very complicated story with a limited amount of set and props.

Those props in the school room are principally the chairs.

And, of course, they are used when the storm happens and they're thrown about and carried off to suggest the wind.

This happens in all the scenes, but scene 1 is the, in a way is the opportunity for us to lay out the kind of terms of storytelling that we're gonna engage with while telling "Small Island." <v ->Thank you for listening so well.

</v> It's really nice to see the director himself talking about the work, isn't it? And hopefully you've got lots of new ideas from listening to that first video.

Now we just need to spend a few minutes making sure you have answered the question why the Pathe news clip's important and listed those three things that Norris says about how Hor Tent speaks in the play.

Make sure you pause the video to give yourself time to complete that.

Off you go.

Okay, so, let's see how Jun answered those questions.

So first of all, why are the Pathe news clips important? So Norris refers to, Jun refers to Norris explicitly saying that they remind the audience of the time and place.

They also help us understand the discrepancy, that key word there, between how colonized countries were shown and the real experience.

Now thinking about your own answers, is there anything that you can add to Jun's answer.

Pause the video to give yourself time to discuss that.

And then that next task lists three things that Norris says about how Hortense speaks in the play.

And here is how Sophia answered.

She said that Norris says Hortense is confident and speaks directly to the audience in act 1, scene 1.

At the start, Hortense hasn't yet experienced heartbreak or disappointment, but this changes in act 2.

And then finally Norris describes how when the action captures up to her, the direct address fades.

So there's some really key things to be watching out for when we begin to look at the play.

So just spend a few moments discussing, can you add anything to Sophia's answer? Pause the video to give yourself time to do that discussion task.

Off you go.

So true or false time.

Let's read this long statement together.

Rufus Norris explains that the Pathe clips highlight the contrast between how colonized countries were portrayed and the reality of people's lived experience.

So we need to decide if that statement is true or false.

Let's read it through together again first.

Rufus Norris explains that the Pathe clips highlight the contrast between how colonized countries were portrayed and the reality of people's lived experiences.

Okay, so pause a video to come up with your true or false answer now.

Off you go.

Well done to everyone that got true, but I now need you to explain why that answer is true.

Pause the video to come up with your answer.

Off you go.

Okay, so let's share an example answer here.

Hopefully you have something similar.

So the Pathe clips often showed an idealized, one-sided version of the British Empire.

They ignored the struggles and injustices faced by many people in colonized countries.

And this is another thing you can be looking out for when you watch the production.

So how those Pathe clips really showed that idealized version of the British Empire and the effect that that has on you as an audience member on the production itself.

Okay, so task A I want you to think back to that video we have just watched where Rufus Norris is talking about the agreement between the performers and the audience.

So he says about how theater and how productions really rely on this agreement between the performers and the audience.

And he says that part of this is expecting the audience to use their imagination and meet the play halfway, especially when the set is simplistic or symbolic, okay? So it's all about this idea that a director will rely on the audience to use their imagination a bit.

They're not expecting to see something wholly realistic on the stage that they will need to bring their imagination to.

So what I would like you to do is I would like you to write your own version of this agreement in the first person beginning with "I agree to." So what are you going to do to make sure that you can really engage with the, the theater production that what are you going to do to ensure that you aren't expecting something wholly realistic? So you want to think about how you will respond to what you see and hear on stage and how you will bring your imagination and empathy as an audience member, okay? So again, think back to what Rufus Norris said in the video and start thinking about what you are going to do to make sure that you engage with this production.

So pause the video to get that task completed, and we'll feedback in a moment.

Off you go.

Okay, great.

So lots of different ideas there, which is fantastic.

So it's really worth thinking about this because, obviously, watching a play is very different to say watching TV or a film or reading a book.

So it's important to think about how we're going to engage with that process.

So here is what Andeep said, he says that he agrees to bring his imagination into the space knowing that what I see is only part of the story.

Andeep says, I agree to pay attention to the language of storytelling.

So he's thinking about the actor's voices and gestures and allow these choices to shape the world I picture.

And finally, Andeep says, I've agree to respond with empathy knowing that theater invites us, invites me not just to watch but to understand.

So I think what Andeep is saying there that he really wants to engage with the characters and their stories.

And really try and understand them as whole characters.

So now we've looked at Andeep's agreement, just spend a few moments looking back at your own answer and see if there's anything that you would like to add to this agreement.

So pause a video to give yourself time to do that.

Off you go.

Okay, so, now we are moving on to finally watching that first scene of "Small Island." So you'll now watch this production.

So you need to make sure that you have found the beginning of the play to where Hortense runs off stage, okay? And you've got the timestamps there to show you where act 1, scene 1 is in that production.

Now, as you watch the scene one, I want you to think about the specific things that Rufus Norris asks you to look out for.

So think about those use of Pathe video clips and projection.

Think about and look for Hortense's use of direct address and how she progresses as a character.

And really think about how the story is told through the language of storytelling, including voice, gesture, movement, and symbolic staging.

Okay, so, I think we are ready to watch the play.

So you will need to pause the video and make sure that you are ready to play the video yourself.

So when you are ready, pause this video and watch act one, scene one of "Small Island." Off you go.

Okay, fantastic.

How was it? I really love that opening scene.

I think the Hurricane and Hortense's direct address are just really evocative and really engaging and I really hoped you enjoyed seeing, the text really brought to life there.

So I want you to answer this question now.

So you'll need to pick A, B, C, or D.

What is the turning point during the hurricane that devastates Hortense? So what is the turning point during the hurricane that devastates Hortense? So you'll need to pause the video to pick your answer, A, B, C, or D.

Off you go.

Okay, are we feeling confident? Great.

Hopefully, we all got C.

Michael storms in and very dramatically and kisses Mrs. Ryder passionately.

And that's a real turning point in that scene and in the story as a whole.

And I think Hortense's reaction as well really helps us to empathize with her as a character.

Okay, so what I would like you to do now for task B is to answer the following questions.

Number one, what did you expect from the opening of "Small Island?" And did anything surprise you about how the story began on stage? So this is all about you and your experiences of that first scene.

What moment or image from the scene stayed with you the most and why? And finally, how did the use of direct address affect how you connected with Hortense? Did it make you feel included or more involved in her story? Okay, so there's three really good questions there to get you thinking about your own responses.

So pause the video to give yourself time to come up with those answers.

Off you go.

Okay, some really fantastic and thoughtful answers there.

Well done.

And again, a variety of answers, which is absolutely fine 'cause this is all about you and your experience of that first scene.

So Jacob has very kindly given us his answers here.

So let's see what Jacob came up with.

So that first question, what did you expect from the opening of "Small Island?" And did anything surprise you about how the story began on stage? Jacob said, I expected the hurricane to be loud and dramatic, but I was surprised by how it was created using light, movement, and sound.

It felt powerful without needing big effects.

And it shows how theater can suggest things in clever ways.

Now, I'd like you to consider Jacob's answer and to discuss to what extent do you agree and why.

If you're working by yourself, you may just wish to sit quietly and think by yourself.

Off you go.

Okay, great.

Now that next question.

What moment or image from the scene stayed with you the most and why? And there are so many to pick from, aren't there? So let's see what Andeep said.

Maybe you had something similar, maybe you got something completely different.

But Andeep said that the moment that stayed with him was the emotional intensity at the end of scene 1, when Michael's mother wailed in grief while Hortense frozen.

Her stillness was powerful, it showed her strength, but also how deeply she was affected.

It made the scene feel very real and moving.

I could almost feel her heartbreak.

It's a really lovely response from Andeep there.

And it shows how he has really connected with that moment on stage.

And that final moment is really powerful and really emotional, isn't it? So I'd like you to discuss, please, to what extent do you agree and why? Pause the video to get that done.

Okay, and that final question, how did the use of direct address affect how you connected with Hortense? Did it make you feel more included or more involved in her story? So this is how Izzy answered.

The direct address helped me connect with Hortense and revealed a lot about her character.

It showed her confidence, pride, and hope before things begin to fall apart.

Speaking directly to the audience made her feel honest and real, which made me care about her more.

Another great response there from one of our Oak pupils.

And I really like how Izzy has really considered how that direct address really affected her personally.

So this final reflection task I'd like you to discuss, please.

To what extent do you agree with Izzy and why? You know the drill now.

Pause the video and off you go.

Well done everyone, we have reached the end of the lesson and I really hope you've enjoyed that first part of the play.

Let's just remind ourselves of a few points that have come up in the lesson.

We know that Norris explains the importance of the Pathe news clips in positioning the audience in a specific time and place.

The direct address establishes Hortense as a confident character and fades as her heart is broken.

Norris describes the audience agreement that allows imagination and make believe in theater staging.

And act 1, scene 1 begins with that hurricane and introduces the character Hortense.

Thank you again for your hard work in this lesson and I look forward to seeing you again.

So, bye-bye, until then.