Lesson video

Hello, and thank you for joining me for this lesson today.

My name is Mrs. Butterworth and I will be guiding you through your learning.

Now, in this lesson, we will be watching and discussing "Small Island" Act One, Scene Two.

Now this means that you will need to make sure that you have access to the National Theatre's recording of the production of "Small Island." So, do make sure you have access to that before you start this lesson.

We will also be watching videos of Rufus Norris discussing Act One, Scene Two, which is really exciting to get an insight from the director himself.

And I cannot wait to share this with you.

So gather up what you need, and let's get started.

In this lesson, you will use Rufus Norris's ideas to explain how different stage techniques bring Act One, Scene Two of "Small Island" to life.

Now, before we delve into the lesson, let's look at those all-important keywords.

Now, these keywords you may notice popping up throughout the slides, but you may also hear Rufus Norris use them when you are watching the clips of him.

Now, these words are "transition," "archive footage," and "pragmatic." Now, transition can be used in theater, and it's a way of moving from one scene or moment to another using sound, lighting, movement, or set changes.

So you may hear Rufus Norris talking about the transition between Act One, Scene One and Act One, Scene Two, and that transition between those scenes.

We also have the word "archive," which can refer to a collection of old documents, photos, or videos kept for their historical importance.

So Rufus Norris talks about archival footage, so that the footage used within the play, which brings us on to our next keyword.

So, footage is a recorded video or film, okay? So it's another word of another way of saying "video" or "film," and it's often used to show real events or add meaning on stage or screen.

And then that final word, "pragmatic," is dealing with things in a practical and realistic way, rather than focusing on what is ideal or theoretical.

Now the outline of our lesson looks like this.

We're going to begin by exploring Act One, Scene Two, with Rufus Norris.

So we will be listening to videos of him, and then it will be over to you to watch Act One, Scene Two, with a little guidance from me.

So let's begin.

So in this first video, we are going to watch Rufus Norris introduce Act One, Scene Two.

When you have watched the video, you'll be expected to answer the following questions.

Why did Rufus Norris ask Helen Edmundson to introduce the cinema scene between Queenie and Bernard? And what three things does Rufus Norris say were used to create the bombing on stage? Now, it may be worth just thinking about these ideas as you watch the video, but most importantly, you need to be listening to what Rufus Norris is saying.

So you may want to gather a pen or a laptop to take some notes, but as I said, most importantly, make sure you are listening.

So hopefully everyone is ready now because I'm going to press play on the video now.

<v ->Act One, Scene Two is Queenie's story,</v> and we start with her, as I remember it, in the middle of a fight with Bernard about furniture leaving the house.

Now, of course, we have a transition that takes us with Michael's journey out of Jamaica to Britain.

We have a transition that takes us into the Blitz, into the war.

And again, we are using the language of cinema and projection, using a lot of found footage, archive footage to set the scene.

And we've been in a hot country, and we're going to a cold country.

So we bring in a lot of people with big coats.

And out of that, we are birthed into Scene Two, and this argument with between Queenie and Bernard, Queenie breaks out of it to talk to the audience.

And again, you know, we've got somebody saying, "I'm completely in control of this situation, and you think I'm mad because I'm with this crazy person, and why am I with him? Well, I'll tell you." She's very straightforward, pragmatic, down-to-earth, and in control of that story.

And she tells us the story until the story catches up with her and Bernard goes off to to war.

And then we've got the arrival of the three airmen and her surprise meeting with the person who's gonna change her life, which is, of course, Michael.

And the direct address promptly stopped.

There's a little use of cinema.

This was one thing, actually, which was not in the original draft of the play.

And I knew as a director, this is the scene where Queenie and Bernard go to the cinema and she decides she's going to break off the engagement.

This scene was not in the original draft, but I just had a memory that it was in the book.

And of course, I'd read the book several times.

And so I went back to the book and found this scene and said to Helen, "Look, any chance of getting the cinema in here, because it will just strengthen the use of," and she immediately said, "Yes, no problem," and rewrote it immediately.

And I absolutely love that scene because, of course, it gives me another chance to play with the idea of love, what you give up in your pursuit for what you really want.

And we've got, of course, on the cinema that Queenie and Bernard are at, you've got this ridiculous Hollywood love scene of these two actors in the style of what we were told love was about at that time.

You know, we go and see really complex movies now.

Television's really great, and complicated, and there's huge amounts of it.

In those days, there would be one movie playing at the cinema, and it probably would set up the idea of a love story like you see in that one.

And of course, that's the opposite of what Queenie is feeling.

So again, the use of the cinema and projection within that.

The other thing, you know, that was always a little bit unfair on Hortense, if I'm honest, is the fact that there's a lot more gags in it.

There's a lot more fun to be had.

There are the characters that come into it, Arthur and Queenie's auntie; these are very funny characters.

And it gave us a chance to have a lot of fun with the sweet shop and with her death, with all kinds of things.

And of course, Bernard also is quite.

You know, he becomes a tragic character later on, but he's quite a ridiculous character when you meet him.

So tracking the humor through Scene Two is quite an interesting aspect of it.

And again, you know, how do you do a bombing, you know, in a stage without throwing an awful lot of facts at it? And this is where, again, the use of video can work very closely with what you're doing in a live way.

We had actors on stage who were moving, but we also had shadows.

And shadows are another theme that runs all the way through our use of projection, video projection.

So you'll have shadows, huge shadows being blown at the wall when the explosions happen.

And we also added in some props.

So coats would fall down from above.

So you've got three things going on, which give the idea of much more action than is actually going on on stage.

If you took one of them away, you'd think, "Hm, this isn't very effective." So Scene Two is again a useful way of looking at what are the layers that can give you the effect that you want the audience to feel.

<v ->Thank you for listening so well to that video,</v> and hopefully, you got some really interesting ideas from it.

I find it fascinating hearing from the director himself about choices and ideas and that creative process.

For me, it like really deepens my understanding of the production.

And I hope you feel the same way, too.

Okay, so now it is over to you to answer the following questions.

Why did Rufus Norris ask Helen Edmundson to include the cinema scene between Queenie and Bernard? And what three things does Rufus Norris say were used to create the bombing on stage? You will need to pause the video to give yourself time to do this.

So when you have finished, we'll feedback.

Pause the video now.

Okay, great! So let's just see what Sam came up with.

So, Sam, in answer to the question, why did Rufus Norris ask Helen Edmundson to include the cinema scene? Sam answered in this way.

"Norris asked to include the cinema scene to highlight the theme of what people give up for love and to contrast Hollywood's idealized love with Queenie's reality.

It also strengthened the play's cinematic style." That's a really great answer from Sam, and it's also something to be looking out for when you come to watch Act One, Scene Two.

So, thinking about your own answers, I'd like you to spend a few moments discussing, please, or if you are working by yourself, you can jot down some ideas or think quietly to yourself.

But can you add anything to Sam's answer? Pause the video to complete that task now.

Okay, and now let's move on to that second question.

What three things does Rufus Norris say were used to create the bombing on stage? Let's see what Izzy's come up with.

So Izzy answered video projection, shadows, including large-scale shadows on the wall, and props, like coats falling.

And again, if you haven't already seen this production, when you come to watch it, seeing those things in action is really interesting, like how this scene uses props to create that dramatic bombing scene.

Okay, so now I have a question for you, and it's over to you to pick the correct answer.

So let's read that question together first.

How does Rufus Norris describe Queenie's character during Act One, Scene Two? So you need to think back to that video you have just watched.

So how does Rufus Norris describe Queenie's character during Act One, Scene Two? So in a moment, you'll need to pause the video to decide whether the answer is A, B, C, or D.

Okay? So pause the video now, and we'll share the answers in a moment.

Okay, are we feeling confident? Who can remember back to the video? Lots of you.

Great! So hopefully we have all got the answer C.

So Rufus Norris describes Queenie as pragmatic, down-to-earth, and in control of her story.

Now let's have a look at task A.

So you are going to be asked to discuss the following questions.

If you're working by yourself, you may wish to jot down some ideas or even just think quietly to yourself, but you are required to answer the questions.

So the questions are: What do you already know about Act One, Scene Two from your reading? And how do you think theatrical elements like staging and Queenie's direct address might change your understanding or feelings about the scene compared to reading it? So that first question is all about thinking about what you already know about the scene and recapping that.

And the second question really focuses on your expectations and how you think those theatrical elements might work in that scene.

Okay, so make sure you have to complete that task, and you will need to pause the video to give yourself time to do that now.

Okay, thank you so much, everyone, for your hard work.

Hopefully, you're beginning to realize that you already know a lot about this play.

So let's just feed back some ideas.

So we have Lucas here.

So Lucas's answer to the first question, "What do you already know about Act One, Scene Two?" is this.

He has said that Queenie and Bernard argue about donating furniture.

We learn about Queenie's background and her reasons for marrying Bernard.

And the scene ends with the start of World War II as Bernard joins the RAF and declares his love.

Michael arrives.

Yes, that tense moment when Michael arrives in that scene.

So, thinking about your own answers now, can you just spend a few moments discussing? Can you add anything to Lucas's answer? You know what to do.

You're gonna need to pause a video to give yourself time to do that.

Off you go.

And now let's have a look at that second question.

How do you think theatrical elements like staging and Queenie's direct address might change your understanding or feelings about the scene compared to reading it? So let's see what Laura answered.

So Laura has said that "Maybe seeing Queenie talk to the audience will make her story feel more personal or real.

The staging and effects might also help me feel the mood and setting better than reading alone.

I'm hoping it will be really powerful!" And that's a great response from Laura.

I really like how she shared her expectations of the production and what she's expecting of that.

So that's really great.

So I now want you to consider your own answers and your own feelings towards this and discuss, please, to what extent do you agree and why.

Pause the video to do that task now.

Well done, everyone, and thank you so much for your hard work so far.

We are now moving on to my favorite part of the lesson, which is all about watching Act One, Scene Two.

So you do need to make sure that you have access to the recording of the National Theatre production of "Small Island," and we will be watching Act One, Scene Two, which begins with a transition and ends with Michael's entrance.

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

So the first one is Queenie's use of direct address and how she's presented as a character.

I also want you to think about how that direct address makes you feel as an audience member, how it encourages you to engage with that character, build a relationship, create empathy, just how that direct address really works on you as an audience member.

I also want you to remember what Rufus Norris said about how humor is used throughout, and also that all-important use of video projection and those shadows and props.

So remember, Rufus Norris was really talking about how props are used to bring that bombing scene to life.

Okay, so is everyone ready to watch the video? Great.

So when you are ready, pause the video and watch your video.

Off you go.

So how was that for you all? I really hoped you enjoyed watching that scene and noticing those transitions and all of those theatrical elements, as well as being introduced to the characters, Queenie and Bernard.

So I would like you to answer a question now on that scene.

So the question is, what happens during the air raid siren scene that changes the relationship between Queenie and Bernard? So what happens during the air raid siren that changes the relationship between Queenie and Bernard? So you'll need to pause a video to decide whether the answer to that question is A, B, C, or D.

Pause a video to come up with your answer now.

Are we ready for the answer? Okay, great.

Hopefully, we all have an answer now.

And well done to everyone who noticed that it's A, Bernard expresses his love for Queenie for the first time.

So that is what happens that really changes their relationship.

Okay, so we're looking at task B now, and what I would like you to do this is just write a short response to the following question.

How did watching Act One, Scene Two change your understanding or feelings about the scene compared to reading it? Okay, so this is all about your personal response.

So let's read that question again.

How did watching Act One, Scene Two change your understanding or feelings about the scene compared to reading it? So you could consider the following things in your answer: a moment or theater effect that stood out for you.

So, something that really had an impact on you.

How the actors changed your view of the characters.

So perhaps you're feeling differently about Queenie or Bernard.

Whether the staging or direct address made the scene clearer or even more engaging.

And how watching the scene affected your feelings about its emotions or themes.

So there's lots for you to think about, and I'm really looking forward to seeing what you come up with.

But you will need to gather what you need to get this task completed.

And when you are ready, pause the video and off you go.

Great, thank you so much, everyone.

I loved hearing all of the different responses to that scene.

And this is something I love about theater is it evokes so many different responses and reactions in all of us.

Plus, it brings the text to life, doesn't it? So let's look at how Jun answered.

So here is Jun's answer.

He has said that "Watching Act One, Scene Two revealed subtle tensions between Queenie and Bernard through body language and pauses, adding depth to their conflict." Oh, I like that.

"I really enjoyed the humor throughout the scene.

I couldn't believe how intense Michael's arrival was.

The first interaction with Queenie was charged with unexpected emotion.

The live performance made the connection feel immediate and powerful, adding a new layer of tension I hadn't felt from just reading the text." That's a lovely answer from Jun, and something I totally agree with.

I think when I watched Michael arriving, I was just like, (gasps) so I wonder how you feel about that? Okay, so what I would like you to do now is thinking about your own answers and your own responses, just think, take a few minutes to discuss to what extent do you agree with Jun and why.

So pause the video to complete that discussion task now.

And that concludes this lesson, and I really hoped you enjoyed watching Act One, Scene Two, and are looking forward to seeing more.

Let's just remind ourselves of some of the things that we have looked at today.

Act One, Scene Two transitions from Kingston, Jamaica, to London, England.

In Act One, Scene Two, we are introduced to Queenie, who uses direct address until her story catches up with her.

Norris explains the use of video footage to create specific atmosphere and settings.

Norris uses actors, shadows, and props to overcome staging challenges and vividly create the impact of the bombing.

And Norris acknowledges the humor in the scene compared to Scene One.

Thank you again for joining me for this lesson, and I hope to see you all again soon.

Until then, I'm gonna say goodbye.