Suitable for

Key Stage 2 3 4

Bridge 3Inspired by As You Like It

Supported by

Dr Mortimer & Theresa Sackler Foundation

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Every Child Matters is fundamental to the curriculum, which should enable all young people to become:−− Successful learners who enjoy learning, make progress and achieve.−− Confident individuals who are able to lead safe, healthy and fulfilling lives.−− Responsible citizens who make a positive contribution to society.

Below we have provided a list of cross-curricular links and references to the PLTS which you may find useful as you plan a balanced and engaging curriculum for young people in your establishment, which supports the ECM agenda.

These sessions are the result of extensive pilot work with a range of students and schools; therefore you may have confidence that the activities outlined are purposeful and driven by learning. The sessions are designed to be delivered with pace, and activities should be snappy and energetic.

Drama

These lessons encourage students to:−− Work imaginatively and creatively in collaborative contexts,

generating, developing and communicating ideas.−− Consider and explore the impact of social, historical and

cultural influences on drama texts and activities.−− Reflect on and evaluate their own work and the work of

others.−− Develop and demonstrate competence in a range of

practical, creative and performance skills.−− Actively engage in the process of dramatic study in order to

develop as effective and independent learners and as critical and reflective thinkers with enquiring minds.

−− Explorative strategies−− Narrating−− Role play−− Forum theatre−− Rehearsal techniques−− Clowning techniques

−− The drama medium−− The use of sound and/or music−− The use of space and/or levels−− The use of movement, mime and gesture−− The use of voice−− The use of spoken language

−− The elements of drama−− Action/plot/content−− Climax/anti-climax−− Rhythm/pace/tempo−− Contrasts−− Characterisation

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InTroDucTIon BrIDgE 3: AS You LIKE IT

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Introduction

English

These lessons encourage students to:−− Use imagination to convey themes, ideas and arguments,

solve problems, and create settings, moods and characters.−− Express complex ideas and information clearly, precisely and

accurately in spoken communication.−− Make fresh connections between ideas, experiences, texts and words.−− Use creative approaches to answer questions, solve problems

and develop ideas.−− Connect ideas, themes and issues.−− Reflect and comment critically on their own and others’

performances.−− Respond critically, constructively and cogently in order to

clarify points and challenge ideas.−− Take different roles in organising, planning and sustaining

discussion in a range of formal and informal contexts.

−− Work purposefully in groups, negotiating and building on the contributions of others to complete tasks or reach consensus.

−− Take part in informal and formal group or pair discussions, requiring them to take on a range of roles.

−− Use a range of dramatic approaches to explore complex ideas, texts and issues in scripted and improvised work.

−− Select different dramatic techniques to convey action, character, atmosphere and tension, and justify choices.

−− Evaluate drama performances that they have watched or taken part in.

−− Take part in individual and group improvisation and performance.−− Explore texts that enable them to make connections between

experiences across time and literary traditions.−− Select different dramatic techniques to convey action,

character, atmosphere and tension, and justify choices.

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InTroDucTIon BrIDgE 3: AS You LIKE IT

Independent enquirersYoung people:−− Explore issues, events or problems from different

perspectives.−− Consider the influence of circumstances, beliefs and feelings

on decisions and events.−− Support conclusions, using reasoned arguments and

evidence.

creative thinkersYoung people:−− Generate ideas and explore possibilities.−− Ask questions to extend their thinking.−− Connect their own and others’ ideas and experiences in

inventive ways.−− Question their own and others’ assumptions.−− Try out alternatives or new solutions and follow ideas

through.−− Adapt ideas as circumstances change.

Team workersYoung people:−− Collaborate with others to work towards common goals.−− Reach agreements, managing discussions to achieve results. −− Adapt behaviour to suit different roles and situations,

including leadership roles. −− Show fairness and consideration to others. −− Take responsibility, showing confidence in themselves and

their contribution. −− Provide constructive support and feedback to others.

reflective learnersYoung people:−− Invite feedback and deal positively with praise, setbacks and

criticism.−− Communicate their learning in relevant ways for different

audiences.

Self-managersYoung people:−− Work towards goals, showing initiative, commitment and

perseverance.−− Organise time and resources, prioritising actions.−− Anticipate, take and manage risks.−− Manage their emotions, and build and maintain relationships.

Effective participatorsYoung people:−− Propose practical ways forward, breaking these down into

manageable steps.−− Identify improvements that would benefit others as well as

themselves.−− Try to influence others, negotiating and balancing diverse

views to reach workable solutions.

Personal, learning and thinking skills which are supported and developed by the Bridge 3 sessions:

DVD resources

An accompanying DVD which you may wish to use as an additional resource throughout these lesson plans is available. To request your copy, please contact us by e-mailing education@oldvictheatre.com.

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LESSon 1 BrIDgE 3: AS You LIKE IT

Siblings

1.1 The court

Students enter into the world of the play by becoming characters from the Court and experiencing the usurpation of Duke Senior.

−➜ Prior to the students entering the space, set one chair in the room which will become the Duke’s chair and, if possible, mark an entrance to ‘the Court’. It would also be useful to have appropriate music playing.

−➜ Engineer a controlled entrance of the students into the space and allocate each student a character card (Worksheet 1); explain the following:

−− The information on the card is the character that they are to play.−− The Court is not a safe place to be at the moment – no one knows for certain who is their ally or enemy.−− They must try to subtly find their allies without revealing too much.

−➜ The penultimate student to enter is given the Duke Frederick card and should be stood opposite the chair but at a distance.−➜ The last student to enter is given the ‘Duke Senior’ card; at this point, you should announce their entrance into the Court as

follows:−− Lords, Ladies and Gentlemen, pray silence, please. Please bow for the ruler of this court, Duke Senior!

−➜ Encourage everyone to bow to Duke Senior as he enters and escort Duke Senior to the chair where ‘he’ should sit once everyone has bowed.

−➜ At this point, ask everyone to freeze and listen to the following information:−− You are now in the court of Duke Senior, a fair and just Duke, but there is unrest in the city and therefore you are

either allied to Duke Senior or his brother, Duke Frederick. There are those in this room who are your friends, but there are those who are your enemies. The supporters of Duke Senior generally have positive character attributes and those who support Duke Frederick are the opposite. You must now try to find your allies in this room and remember who they are. You should also somehow show your allegiance to whichever Duke you support. But be careful not to reveal yourself to your enemies – your life could depend on it.

Equipment

−✔ Worksheet 1a–1d (sliced for distribution)−✔ Worksheet 2 (one copy only required)−✔ Worksheet 3 (copied for distribution)

−✔ A chair−✔ Appropriate Courtly/Elizabethan music−✔ Pre-prepared flip chart (1.2)

outcomes

Aims

−✔ To create the world of the play for the students to work in.−✔ To develop an understanding of the plot and characters.

−✔ To explore certain relationships within the play through improvisation and text work.

−✔ Students will be able to respond spontaneously to the imagined situation. −✔ Students will be able to use a range of script based rehearsal techniques, and to analyse their efficacy. −✔ Students will be able to recognise key characters and will be familiar with the simplified plot.

Additional

−▲ The initial exercise for this lesson involves the teacher being in role. As each student enters, they are also given roles to play and should be encouraged to stay in role as their classmates enter in order to create the world of the play. It would be useful to have another member of staff available for this exercise.

Duration

−✔ The session will last approximately one hour though it can be extended as required.

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LESSon 1 BrIDgE 3: AS You LIKE IT

−➜ Allow up to one minute of interaction, offering support when needed.−➜ Ask all students to freeze and place the Dukes at either side of the room. −➜ Explain that each Duke must now choose who they think is a supporter and ask their supporters to stand beside them.−➜ Once each side is fully populated, ask them to stay on either side of the room.−➜ Using your assistant, go to each group and give the relevant instructions:

To Duke Senior and his men:−− They are to have a special banquet and no one else is invited. −− They know there is unrest in the city but don’t believe anything will happen tonight.−− All they are concerned with is drinking and being merry.−− If at any point they are told to leave the court, they must do so immediately and stand at the side of the room.

To Duke Frederick and his men:−− Duke Senior is having a banquet tonight but they are not invited.−− They hate Duke Senior and his allies and so will be staging a coup to take over the court and finally seize power.−− Each of Duke Frederick’s men must choose one of Duke Senior’s allies to usurp. −− When Duke Frederick gives the signal, the usurpation will begin; each person will walk slowly to stand behind their

chosen target. Duke Frederick must stand behind Duke Senior.−− When everyone is in position, Duke Frederick will signal again and they each will place a hand on their target’s

shoulder and state ‘Leave this Court. You don’t belong here.’

−➜ Allow Duke Senior and his men to improvise being at a banquet whilst the others stand and watch.−➜ Encourage Duke Frederick to give the signal when you feel it is appropriate and remind them to move slowly.−➜ Once the usurpation has taken place, escort Duke Frederick to the chair and announce the following:

−− Lords, Ladies and Gentlemen, pray silence, please. Please bow for the ruler of this court, Duke Frederick.−➜ Once the bow is complete, come out of role and bring all students together in a sitting circle.−➜ Discuss what they have just experienced. Suggested questions could include:

−− What was the story of what just happened?−− How did it make you feel?−− How did it feel to take/lose power?

1.2 Sibling rivalry

Students improvise a short scene based on a situation from the play which explores Orlando and Oliver’s relationship.

−➜ Explain to students that there are two sets of brothers in the play that have a troubled relationship – Duke Senior and Duke Frederick.

−➜ Explain that Orlando and Oliver are brothers who live in the court. Orlando is the first character we meet in the play who tells us of his problems.

−➜ Read out the edited version of Orlando’s opening speech (see Worksheet 2) and discuss what is said. Suggested questions could include:

−− What is the relationship like between orlando and oliver?−− How does oliver treat orlando?−− How does this make orlando feel?

−➜ Explain that their relationship is the first we learn of in the play. So, as Shakespeare opens his play with this, the students are now going to explore these characters and their relationship.

−➜ Organise students into pairs and ask them to improvise a short scene with the following information (displayed on the flip chart for constant reference):

−− Orlando has just finished his speech about his brother when Oliver enters.−− The brothers really dislike each other.−− Orlando has had enough of his brother.

−➜ Allow up to two minutes for students to improvise this scene offering support when needed.−➜ Ask students to sit where they are working and watch back no more than three scenes.

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LESSon 1 BrIDgE 3: AS You LIKE IT

1.3 Text Based Sibling rivalry

Using acting techniques, students explore the first scene between Orlando and Oliver.

−➜ Bring everyone into a circle and explain that in the play, Oliver really enters after Orlando’s speech and they have an argument which they will now look at.

−➜ Hand out copies of the text (see Worksheet 3: Orlando and Oliver Duologue – edited) and ask for two volunteers to read the scene.

−➜ Once completed, have a brief discussion to ensure that everyone understands the content.−➜ Explain that they will now work through the text using various professional acting techniques in order to fully explore the scene.

They should work in the pairs that they were in previously.−➜ Ask each pair to find a space and then work through the following techniques one by one. Model each technique with a

volunteer or your assistant before the students try it.−− Students stand back to back and whisper the lines to one another.−− Students stand 10 feet apart but maintain the intensity of the previous technique.−− Students can only move in certain directions – move forward / move backward / turn towards your partner / turn

away from your partner. The impulse to move should be dictated by the meaning of the text.

−➜ Once all techniques have been explored, discuss with students what they have discovered through using these techniques.−➜ Explain that they will now explore further what they have learnt by working on the scene and trying to incorporate what they

have just worked on.−➜ Allow no more than five minutes for students to rehearse their scenes.−➜ Organise students into an audience and watch as many of the scenes as time allows.

1.4 Plenary

Students discuss what they have learnt about the world of the play, the brothers and the efficacy of the various acting techniques they have explored.

−➜ Encourage students to discuss characters that they have met and their relationships at this point. −➜ Stand students in a circle and ask them in turn to voice the most useful rehearsal technique they have used so far, and why.

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LESSon 2 BrIDgE 3: AS You LIKE IT

Enter the Forest

2.1 Physical/Vocal Warm-up

To ensure that students are physically/vocally warmed up in preparation for working with Shakespeare.

−➜ Ask students to find a space in the room and make sure that they can see you.−➜ Explain that professional actors always ensure that they are physically and vocally ready to rehearse and these exercises will help

them to do this.−➜ Work through the exercises below one by one, making sure that everyone has engaged fully and giving enough time for the

exercise to have effect.−➜ Ensure that all exercises are done from standing in neutral – feet under your hips; arms by your side; shoulders down; looking

straight ahead.

Equipment

−✔ Worksheet 4 −✔ Pre-prepared flip chart (2.2)

outcomes

Aims

−✔ To explore the setting of the play.−✔ To imaginatively create the world of the play.

−✔ To use improvisation and text to develop an understanding of Rosalind and Celia.

−✔ Students will have a thorough knowledge and understanding of the characters of Rosalind and Celia and their relationship with one another.

−✔ Students will able to speak edited versions of Shakespeare’s text with fluency and meaning.

−✔ Students will be able to use a range of acting and rehearsal techniques to improve their understanding and performance.

Additional

−▲ It would be useful to have another member of staff present to assist in Activity 2.4.

Duration

−✔ The session will last approximately one hour though it can be extended as required.

Physical

−➜ Stretch as though you have just got out of bed – it’s fine to yawn!−➜ Shake out your whole body.−➜ Rag doll – reach high into the air, stretching up and on tip-toes;

then flop down, bending at the waist so fingers touch the floor and sway there; lift up slowly, uncurling the back and ensuring your head is the last part to come up (repeat two or three times).

−➜ Slowly, look down – look to the left – look up – look to the right (repeat several times and then do the other way).

−➜ Massage your face.−➜ Pigs and rabbits: pigs – scrunch your face up as tight as possible;

rabbits – open your mouth and eyes as fully as possible. Move between them several times.

−➜ Breathing – inhale to a count of 3 – hold for 3 – exhale to a count of 3. Repeat several times. Then increase to a count of 5, 8, 10 (though still only hold your breath for a count of 3).

−➜ Stick your tongue out as far as possible and then bring it back in. Repeat several times.

Vocal (Repeat each exercise as necessary)

−➜ Blow through your lips and make a noise like a siren (up and down the scale).

−➜ Hum for five seconds (allowing the sound to resonate in your lips, head and chest) then open your mouth to make a full, open ‘aaaahhhhh’ sound.

−➜ Work through the vowel sounds (a, e, i , o, u) stretching your face as fully as possible with each sound.

−➜ Work through the following consonants saying each one at least ten times with energy, in this order

−− B(uh), D(uh), G(uh), P(uh), T(uh), K(uh)

nB This is not a comprehensive warm up so can be added to as appropriate.

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LESSon 2 BrIDgE 3: AS You LIKE IT

2.2 Meet rosalind and celia

Students improvise a pivotal moment in the lives of the two main female characters.

−➜ Remind the students of the two sets of brothers they have met (Duke Frederick and Duke Senior; Orlando and Oliver) and explain that whereas the two sets of brothers in the play don’t like each other, there are two cousins in the play who are very close – Rosalind and Celia.

−➜ Explain the following information (also displayed on a flip chart for constant reference):−− Celia is the daughter of the current Duke (Duke Frederick) and Rosalind is the daughter of the usurped Duke (Duke

Senior). They have grown up together and are very close – they even share a bedroom. Duke Frederick allows Rosalind to stay when he usurps her father because of her relationship with his daughter but he is very unpredictable and he changes his mind, ordering Rosalind to be banished. This means that Celia will never see Rosalind again.

−➜ Explain that the following improvisation will explore this relationship as it is a central relationship of the play; it’s important to improvise within the plots of plays in order to discover more about the characters.

−➜ Organise the students into pairs and ask them to label themselves A and B.−➜ Explain that A is Celia and B is Rosalind; Rosalind has just been told she has to leave or she will be executed. The scene that the

students will now improvise will explore their reactions.−➜ Allow no more than three minutes for the improvisations and offer support when needed.−➜ Once completed, bring all students into a circle to discuss what they discovered about the characters. Suggested questions could

include:−− What was the relationship like between Rosalind and Celia?−− How did they react/respond to the news of the banishment?−− What solutions did they come up with?

−➜ With a volunteer or an assistant, read out the text below to explain what actually happens in the play.

−➜ Encourage a brief discussion to ensure all students understand what the characters actually decide to do and not if any of the students came up with the same solution.

cELIA Rosalind lacks then the love Which teacheth thee that thou and I am one; Shall we be sundered, shall we part, sweet girl? No, let my father seek another heir!

roSALInD Why, whither shall we go?cELIA To seek my uncle in the Forest of Arden.

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LESSon 2 BrIDgE 3: AS You LIKE IT

2.3 Journey into Arden

Through a visualisation exercise, students explore the world of Arden.

−➜ Explain that actors often need to create the world of the play clearly in their own minds as it makes the world much clearer for the audience if the actor fully believes in it.

−➜ Ask everyone to find a space in the room and sit down.−➜ Explain that in the play, after Rosalind and Celia decide to leave the court, they both agree to disguise themselves for safety.

Rosalind decides to dress as a boy and call herself Ganymede and Celia dresses as her sister and call herself Aliena. In the play, the next time the audience see them is in the forest but, as actors, we would want to explore how it feels for them to leave the court and have to escape from their home into the unknown.

−➜ Explain that the students will now do a visualisation of this journey by being the character of either Celia or Rosalind. You will talk them through the various stages of their journey and they must enact what is happening, trying to engage as much as possible with the various emotions that they will feel.

−➜ Encourage all the students to start with their eyes closed and allow them up to 20 seconds to recall the atmosphere of the court; the danger and the suspicion. They should also imagine how they will escape remembering if they get caught, they will be executed.

−➜ Using the following guidelines, take the students through their journey into the forest:−− Pack up your belongings and say goodbye to your childhood room/home;−− move quietly through the corridors and find a way out;−− close the door behind you. There is no return now.−− Awareness of the constant sense of danger; if you are discovered, you could be put to death but definitely will be

separated forever.−− Move through the streets of the city, listening to the night time noises.−− Once you are finally free of the city, take a moment to look back one last time.−− Now move through the meadows – there is much more space and clear air to breathe;−− allow yourself a moment to notice how different it feels.−− You now enter the Forest of Arden.−− Take some time to explore the forest and see what’s there; notice the trees, the wind, the smells of the forest, the

various animals, etc.−− You notice a camp fire which you head towards and encircle, listening to the crackle of the fire.

−➜ The exercise should finish with everyone in a circle round the campfire. −➜ Ask them to shake off the characters of Rosalind and Celia and explain that they are now in a different world which is much

freer; they are away from the constraints of the court and in the land that Duke Senior and his ‘merry men’ inhabit.−➜ Encourage a brief discussion about what they have just experienced and how much they entered the world of the play.

2.4 In the Forest

Students improvise short scenes to fully engage with the world of the forest.

−➜ Explain that different characters have different viewpoints of the forest and the next exercise will give them the opportunity to explore this.

−➜ Split the group in two and ask them to go to either side of the room. Label one half As and the other half Bs.−➜ Using your assistant, one of you go to each group and give the relevant instructions:

group A−− Explain that they are to play Rosalind who loves being in the forest; therefore everything they see, smell, hear,

touch, taste makes them happy and pleased to be here.

group B−− Explain that they are to play Celia who hates the forest; therefore everything they see, smell, hear, touch, taste

makes them miserable and want to go home.

−➜ Organise the two groups into pairs with each other (A and B) and explain that they will now explore the forest further but this time it will be with someone rather than on their own; therefore they will need to describe to their partner what they see and how it makes them feel.

−➜ Allow them to improvise this interaction for up to two minutes.−➜ Bring everyone back into a circle and discuss what they discovered though their improvisations.

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LESSon 2 BrIDgE 3: AS You LIKE IT

2.4 rosalind and celia in words

Using acting techniques, students explore a conversation between Rosalind and Celia.

−➜ Bring everyone into a circle and explain that in the play, once they are settled in the forest, Rosalind comes across Orlando (who has also fled the Court) and discovers that he is in love with her. But as she is still in disguise as a Ganymede she cannot reveal her true feelings – that she loves him too so she decides to test his love, in the guise of Ganymede.

−➜ Hand out copies of the text (see Worksheet 4: Rosalind and Celia Duologue) and ask for two volunteers to read the scene. −➜ Explain that the context of the scene is Orlando has not arrived at an arranged meeting with Rosalind (Ganymede) which has

made her unhappy.−➜ Once completed, have a brief discussion to ensure that everyone understands the content.−➜ Explain that they will now work through the text using various professional acting techniques in order to fully explore the scene

(as with the previous session). They should work in the pairs that they were in previously.−➜ Ask each pair to find a space and then work through the following techniques one by one. Model each technique with a

volunteer or your assistant before the students try it.−− Students can only move in certain directions – move forward / move backward / turn towards your partner / turn

away from your partner. The impulse to move should be dictated by the meaning of the text−− Celia stands still; Rosalind moves on every line. Then vice versa.−− Rosalind whispers; Celia talks loudly. Then vice versa.

−➜ Once all techniques have been explored, discuss with students what they have discovered through using these techniques.−➜ Explain that they will now explore further what they have learnt by developing the scene and trying to incorporate what they

have just worked on.−➜ Allow no more than five minutes for students to rehearse their scenes.−➜ Organise students into an audience and watch as many of the scenes as time allows.

2.4 Plenary

Students discuss what they have learnt about the world of the play, the characters and the efficacy of the various acting techniques they have explored.

−➜ Ask students to stand in parallel lines, facing one another. On your left is Rosalind and on your right in Celia. As you walk down the lines, ask students to voice a fact about their character as you pass them.

−➜ Ask students to reflect upon the various acting techniques that they have explored and how useful they would be in the rehearsal room.

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LESSon 3 BrIDgE 3: AS You LIKE IT

clowning

3.1 Iambic Pentameter call and response

Students gain an understanding of iambic pentameter through a call and response exercise.

−➜ Organise students into a standing circle and ask them to repeat after you. −➜ Starting simply, work through various rhythms using your body to create the beat eg slapping your legs, clapping, etc and after

each one that you do, the group should copy your movements in response.−➜ Allow the rhythms to become more complicated though they shouldn’t catch out the students; it should become rhythmic in

terms of your actions and their responses.−➜ Eventually, change the rhythm to a vocal call and response of iambic pentameter (da dum da dum da dum da dum da dum).−➜ Use the sequence on the next page to develop students’ understanding of this:

Equipment

−✔ Worksheet 5−✔ Flipchart for use in 3.4

outcomes

Aims

−✔ To gain an understanding of iambic pentameter.−✔ To explore a scene using clowning techniques.

−✔ To use clowning in order to explore character, plot and stage craft.

−✔ Students will be able to identify and speak confidently in iambic pentameter.−✔ Students will be able to use a range of clowning techniques appropriately in performance. −✔ Students will further their knowledge of the play and its characters.

Duration

−✔ The session will last approximately one hour though it can be extended as required.

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LESSon 3 BrIDgE 3: AS You LIKE IT

−➜ Once completed, discuss with students what they understood of that exercise and iambic pentameter in general. Ensure that they understand the following:

−− The rhythm is like a heartbeat in order to physically effect the audience sometimes without them consciously knowing.

−− The changes in rhythm often highlight a change in mood or a break from the norm.−− When characters speak in prose or a different rhythm, it tells the audience something else about what’s going on.−− It wasn’t just Shakespeare who used it.

˘ / ˘ / ˘ / ˘ / ˘ / In Shakespeare people speak within ten beats

˘ / ˘ / ˘ / ˘ / ˘ / Throughout the play this rhythm then repeats

˘ / ˘ / ˘ / ˘ / ˘ / The language it all flows from note to note

˘ / ˘ / ˘ / ˘ / ˘ / But then he might surprise you with a change

˘ / ˘ / And break it up.

˘ / ˘ / ˘ / ˘ / ˘ / ˘ Or add another beat that’s not expected.

˘ / ˘ / ˘ / ˘ / ˘ / Then bring it back together once again

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LESSon 3 BrIDgE 3: AS You LIKE IT

3.2 Basic clowning

Using various clowning techniques, students develop a further understanding of stage craft.

−➜ Ask the students to sit as an audience at one end of the room.−➜ Explain that the characters they have looked at in previous sessions are generally recognisable and more naturalistic characters.

However, Shakespeare often wrote characters in scenes that were funny and lightened the mood of the play through more physical work and a strong awareness of the audience.

−➜ Tell them that they are now going to explore the realm of clowning within the world of As You Like It as there are some key moments where the actors will have rehearsed using clowning techniques; assure them that these exercises will help them to find their own inner clown and the more brave they are during the exercises, the more they will get out of them.

−➜ Take them through the following activities using volunteers from the group:

clapping game (playing with pleasing the audience):−− Ask for one volunteer to leave the room. −− Once they have left, explain to the remaining students that they need to decide on a simple task for the volunteer to

do (eg; lie down in the centre of the room) but they can’t tell the volunteer – all they can do is indicate if they are getting it right through clapping; clap more rapidly when the volunteer is getting close; clap less if they start to get it wrong.

−− Bring the volunteer back in and explain that they have a task to do but the only clue they will get is through the audience applause; more means they are on the right lines, less clapping means they need to do something else.

−− Allow the exercise to run until the volunteer gets it right.−− When finished, ask for feedback on what worked and when we most enjoyed what the volunteer was doing.−− Repeat with two or three more volunteers.−− Explain that this exercise shows how appealing it is when a performer is trying to please an audience but doesn’t

know how to.

giving a gift (playing with failure)−− Ask for two volunteers and ask them to label themselves A and B.−− A is going to try to give B a gift (the more mundane the gift, the better eg; a biro); A must think it’s the most

amazing gift and really believe that B should have it. No matter what, A must keep trying to find ways for B to have the gift but always in a positive way. B does not want the gift and can be quite cruel in dismissing A. Neither A nor B must be physical with each other.

−− Allow the exercise to run for as long as seems appropriate.−− When finished, ask for feedback on what worked and when we most enjoyed what A/B were doing.−− Repeat with another pair of volunteers.−− Explain that this exercise shows how failing to do what you need to do can be great to watch.

Stand, Sit, Lie (playing with physicality)−− Ask for three volunteers and ask them to label themselves A, B and C.−− Tell them during the scene, one person must be stood, one person must be sat and one person must be lying down.−− Explain that the first stage is to practice with just the physicality so without words, they should play with someone

always being stood, sat or lying down. This means that whenever a player changes position, one of the other players must also change position to maintain the balance.

−− Allow them to do this for no more than 30 seconds.−− Explain that the next stage is to improvise a scene whilst remembering that someone must always be stood, sat or

lying down. Set up a scenario (eg; three friends getting ready for a party) and allow them to improvise for no more than one minute.

−− The final stage is that they should continue the scene but now must also incorporate the following; A is in love with B, B is in love with C and C doesn’t love anyone.

−− Allow them to play with this for no more than one minute.−− When finished, ask for feedback on what worked and when we most enjoyed what A/B/C were doing.−− Explain that clowning can be very physical and even basic ideas like that can change the scene and make it more

comic.

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LESSon 3 BrIDgE 3: AS You LIKE IT

3.4 clowning Scene

Students work with a scene from the play to explore using these techniques with text.

−➜ Explain to the students that they will now get the opportunity to play with these skills by acting out a scene from the play. −➜ Bring the group into a circle and give each student the scene (Worksheet 5: Clowning As You Like It)−➜ Explain that the characters in the scene are Rosalind, Phoebe, Silvius and Orlando; Silvius loves Phoebe, but Phoebe loves

Rosalind (who she thinks is a boy), Orlando loves Rosalind and Rosalind loves Orlando but he also thinks she’s a boy at this stage.

−➜ Ask for four volunteers to read the scene.−➜ Discuss it, ensuring everyone’s understanding and pinpointing any moments which could be highlighted as ripe for comedy.−➜ Organise the students into groups of four and ask them to find a space; they should cast the piece and read through the scene

again.−➜ Once they have read through, remind them of the three elements of clowning that they have learned about (pleasing the

audience, playing with failure and physicality) and ask that they ensure these elements are evident in their pieces. Display the elements on the flip chart as a reminder while they work.

−➜ Allow them up to ten minutes (if necessary) to work on their scenes.−➜ Organise the students into an audience and watch as many scenes as time allows.−➜ Ask students to highlight any particular moments which worked particularly well after each showing.

3.5 Plenary

Students discuss what they have learnt about the comedy in the play and clowning.

−➜ Encourage students to discuss what they have learned about clowning and the effect it can have on an audience. −➜ Which was the easiest/hardest technique to use?

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WorKSHEET 1A BrIDgE 3: AS You LIKE IT

Your character is: Low ranking LordCharacter attributes: Bossy and head strongAllied with: Duke Senior When you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Low ranking LordCharacter attributes: Always telling jokesAllied with: Duke Senior When you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Low ranking LordCharacter attributes: Hard working and efficientAllied with: Duke Senior When you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Head ServantCharacter attributes: Talkative and friendlyAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: guardCharacter attributes: Take your job very seriously, very disciplinedAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: guardCharacter attributes: Always smiling, love your jobAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: MessengerCharacter attributes: Quick and efficientAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: JokerCharacter attributes: Happy, always telling jokesAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

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WorKSHEET 1B BrIDgE 3: AS You LIKE IT

Your character is: ServantCharacter attributes: Very young and nervousAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: ServantCharacter attributes: Hard working and eagerAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Advisor to the DukeCharacter attributes: Very clever and loyalAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Advisor to the DukeCharacter attributes: Knows his own mind but considerateAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: High ranking LordCharacter attribute: Very old and frailAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: High ranking LordCharacter attribute: Loud voice, always life and soul of the party!Allied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Low ranking LordCharacter attributes: Cunning and schemingAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Duke SeniorYou are the current ruler of the Court.Character attributes: Good hearted and wiseWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

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WorKSHEET 1c BrIDgE 3: AS You LIKE IT

Your character is: ButlerCharacter attributes: Clumsy, but eager to pleaseAllied with: Duke SeniorWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Advisor to the DukeCharacter attributes: Manipulative and jealousAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Low ranking LordCharacter attributes: Secretive and suspiciousAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Head ServantCharacter attribute: Argumentative and rudeAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: guardCharacter attributes: Strong and loyalAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: guardCharacter attributes: Arrogant and rudeAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: MessengerCharacter attributes: Devious and untrustworthyAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: JokerCharacter attributes: Hates the Court, sarcasticAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

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WorKSHEET 1D BrIDgE 3: AS You LIKE IT

Your character is: ServantCharacter attributes: Hard working but cruelAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: guardCharacter attributes: Difficult and disloyalAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Advisor to the DukeCharacter attributes: Scheming and ruthlessAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Advisor to the DukeCharacter attributes: Bossy and domineeringAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: High ranking LordCharacter attribute: PompousAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: High ranking LordCharacter attribute: Very young and lazyAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: ButlerCharacter attributes: Uncaring and argumentativeAllied with: Duke FrederickWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

Your character is: Duke FrederickYou are the brother of the current ruler – Duke Senior. You dislike him and want to be Duke.Character attributes: Jealous, cruel, ambitiousWhen you hear ‘Freeze’, you must freeze in position and await the next instruction!

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WorKSHEET 2 BrIDgE 3: AS You LIKE IT

Extract 1

It was upon this fashion my father bequeathed me by will but poor a thousand crowns, and, as thou say’st, charged my brother Oliver, on his blessing, to breed me well: and there begins my sadness. Oliver keeps me rustically at home or, to speak more properly, stays me here at home unkept – for call you that ‘keeping’ for a gentleman of my birth, that differs not from the stalling of an ox? His horses are bred better. But I, his brother, gain nothing under him but growth – for the which his animals on his dunghills are as much bound to him as I. This is it, that grieves me, and the spirit of my father, which I think is within me, begins to mutiny against this servitude. I will no longer endure it, though yet I know no wise remedy how to avoid it.

orlando’s opening Speech (Edited)

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WorKSHEET 3 BrIDgE 3: AS You LIKE IT

Extract 1

oLIVEr Now, sir, what make you here?

orLAnDo Nothing: I am not taught to make anything.

oLIVEr What mar you then, sir?

orLAnDo Marry, sir, I am helping you to mar that which God made, a poor unworthy brother of yours, with idleness.

oLIVEr Marry, sir, be better employed, and be naught awhile.

orLAnDo Shall I keep your hogs and eat husks with them?

oLIVEr Know you where you are, sir?

orLAnDo O, sir, very well; here in your orchard.

oLIVEr Know you before whom, sir?

orLAnDo Aye, better than him I am before knows me: I know you are my eldest brother, and I have as much of my father in me as you.

oLIVEr [Raising his hand] What, boy!

orLAnDo [Seizing his brother] Come, come, elder brother, you are too young in this.

oLIVEr Wilt thou lay hands on me, villain?

orLAnDo I am no villain: I am the youngest son of Sir Roland de Boys; he was my father, and he is thrice a villain that says such a father begot villains.

oLIVEr Let me go, I say.

orLAnDo I will not till I please. You shall hear me. My father charged you in his will to give me good education: you have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities. The spirit of my father grows strong in me – and I will no longer endure it.

oLIVEr And what wilt thou do? I will not long be troubled with you: you shall have some part of your ‘will’; I pray you, leave me.

orLAnDo I will no further offend you than becomes me for my good.

orlando and oliver Duologue (Edited)

Extract 1: Act III, Scene V. The forest

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WorKSHEET 4 BrIDgE 3: AS You LIKE IT

[Enter ROSALIND (as GANYMEDE) and CELIA (as ALIENA)]

roSALInD Never talk to me; I will weep.

cELIA Do, I prithee; but yet have the grace to consider that tears do not become a man.

roSALInD But have I not cause to weep?

cELIA As good cause as one would desire: therefore weep.

roSALInD His very hair is of the dissembling colour.

cELIA Something browner than Judas’s: marry, his kisses are Judas’s own children.

roSALInD I’faith, his hair is of a good colour.

cELIA An excellent colour: your chestnut was ever the only colour.

roSALInD And his kissing is as full of sanctity as the touch of holy bread.

cELIA A nun of winter’s sisterhood kisses not more religiously: the very ice of chastity is in them.

roSALInD But why did he swear he would come this morning and comes not?

cELIA Nay, certainly, there is no truth in him.

roSALInD Do you think so?

cELIA Yes, I think he is not a pickpurse nor a horse-stealer but, for his verity in love, I do think him as concave as a covered goblet or a worm-eaten nut.

roSALInD Not true in love?

cELIA Yes, when he is in; but I think he is not in.

roSALInD You have heard him swear downright he was.

cELIA ‘Was’ is not ‘is;’ besides, the oath of a lover is no stronger than the word of a tapster: they are both the confirmers of false reckonings. O that’s a brave man! He writes brave verses, speaks brave words, swears brave oaths, and breaks them bravely. Who comes here?

[Exeunt]

rosalind and celia