Download Telling Tales Resource Pack - Almeida Theatre

ContentsHOW TO USE THIS RESOURCE PACKThis Almeida Projects Resource Pack aims to provide an insight into our process of taking theproduction from research stage to performance. We hope you will use it to extend and enrich theimpact of your visit to the Almeida Theatre.The pack is divided into four sections:• the play ­ detailed information on the plot and characters to refresh your pupils'memories• the production ­ articles on the creative process, with exclusive input from the artisticteam• themes ­ background material linked to themes from the play• practical exercises ­ these are for you to use to enable your pupils to explore the play infurther depth, in the classroom and beyondThe pack is not curriculum­specific but may be of particular use in the following learning areas:• Drama• English• PSHE/SEALContentsProduction Credits 3Plot Summary 4Characters 5Design 7Oladipo Agboluaje 9Ellen McDougall 11In the Rehearsal Room 13The Actor's View 15Storytelling 17Bullying 18Practical Exercises 19Script Extracts 25Almeida Projects 31Throughout this pack,puzzle pieces will directyou to practicalexercises connected to thepage content.Resource Pack: Telling Tales2

Nancy, Ahmed and Darren have hidden in the locker room of the school gym after their PE lesson.They don't want to go to their next lesson because Nancy and Ahmed have not done their homework– they were supposed to write a story – and do not want to be told off. Darren has done hishomework but doesn't want to miss out on the fun with Ahmed, who is his best friend, and Nancy.The boys are mucking about, play fighting. They talk about another boy, Jimmy, whom Ahmed sees atJudo. Ahmed says he is going to beat him up that evening to teach him not to pick on smaller boys.Nancy wants them to stop making such a noise so that they don't attract attention. She pretends tobe hurt.The bell rings for the next lesson. Suddenly Anu appears from behind a locker. The others did notknow she was there. Anu had been finishing off her homework ready for the next lesson. She is verygood at writing stories but is too timid to read them out loud to the class. The others don't want Anuto go to her lesson because they think she will tell the teacher where they are. She promises that shewon't tell on them.Anu goes to the door and discovers it is locked. The others are surprised but soon realise that thisgives them a good excuse for missing their lesson – they weren't hiding, they were locked in. Thechildren argue about who is the best story writer, who has and hasn't done their homework and whogets help from their parents. We begin to hear about the children's home lives: Ahmed thinks he's nogood at smart things, though he is good at Judo; Nancy didn't do her homework because she fellasleep on the sofa waiting for her dad to come round to take her out; Anu's mother thinks thatwriting stories is a waste of time and Darren's father is very strict but Darren has borrowed his iPadand brought it to school.Plot SummaryNancy decides they should have a storytelling contest. She tells Anu that she will go last and that ifshe doesn't tell her story Nancy will make school a misery for her. Nancy goes first. Her story isabout a little girl whose parents have parted and she wants to be with her father. She sneaks into hishouse where she finds some 'little people' who make toys for her father's new son. She helps thelittle people escape and, in return, they create a magical house for her to hide in so that she can bewith her father whenever she wants. Anu thinks Nancy's story is scary.Darren is next to tell his story which is about a boy called Darren and his friend Ahmed who go on anadventure to retrieve his father's smile. The father is an inventor whose smile has been stolen by thekites that he invented because they were jealous that he had started inventing hot air balloonsinstead. The boys travel by hot air balloon and do battle with the kites before returning, triumphant,with Darren's father's smile. Darren's father is happy even though Darren lost his iPad during theadventure. Ahmed joins in with Darren's story and Anu gives encouragement and advice.It is Ahmed's turn – Nancy says that he has to do a story of his own. Through Ahmed's story abouttwo warriors we come to understand that Jimmy, at Judo, isn't the big bully that Ahmed hadpreviously described but a smaller boy who had nonetheless beaten Ahmed at Judo. Ahmed isashamed that he is beaten by a smaller boy and is afraid of Jimmy who pushes him around.The bell rings for the end of school. Darren and Anu want to leave but Ahmed wants to stay so thathe has a good excuse not to go to Judo training. Darren is worried that Henry, another boy in theclass, will take his dad's iPad, but Ahmed reassures him that he'll sort it out. Eventually Nancyreveals that she has had the key all along. Anu leaves but soon returns. She has found the courage totell her story.Resource Pack: Telling Tales4

CharactersNancyNancy is 9. She likes to be in charge and to be thecentre of attention. Some might call her a leader,others a bully. Nancy has a quick mind and is goodat noticing and remembering things that people do.We know this because Nancy likes to show peopleup when they make mistakes. During the play webegin to understand that Nancy feels sad that herparents split up and her father has a new wife and anew baby. This explains why Nancy is jealous ofother people and is sometimes unkind to them tomake herself feel better.Darren built the hotair balloon in hisroom and flew awaywith it to find thekitesDarrenRehearsal photos of the castPhotos Bridget JonesDarrenDarren is 9. He is a sensitive boy who is kind toothers, wants to be involved in everything and triesto do the right thing. His father is very strict andpunishes Darren if he doesn't do well at school.Darren is sad and embarrassed that his father treatshim like this. Darren's best friend is Ahmed. Theyare a good match ­ they tease each other and playfight.Ahmed is physically stronger but Darren'skindness means that he doesn't judge Ahmed fornot being great at all the school lessons.5 Resource Pack: Telling Tales

AhmedAhmed is 10. He is the tallest boy in the class, he isgood fun, lively and enjoys larking about. Ahmed'sbest friend is Darren whom he protects. Ahmed feelsovershadowed by his older brothers who both didvery well at school and feels a pressure to be good atsport so that his father will be proud of him. Ahmedbelongs to a Judo club where he is paired with a boycalled Jimmy. Gradually it becomes clear that Jimmyis stronger than Ahmed which has undermined hisconfidence.CharactersThis is why nobodyin my school messeswith me!See page 21for a practicalexercise aboutcharacterAhmedAnuradha (aka Anu)Anu is 9. She loves writing stories and is very good atit, but she is shy and doesn't like to read them outloud to the class. Anu is hard working in class and athome but her mother wants her to be a doctor andthinks that her story­writing is a waste of time. Anudoesn't have close friends. Some of the otherchildren in the class respect her and others think sheis a bit of a teacher's pet.Resource Pack: Telling Tales6

DesignDesign is one of the most thrilling aspects of theatrecraft. The look of a show helps to set mood,atmosphere, time and place. Design elements forany production include set, lighting, sound andmusic.Almeida Theatre ­ empty stagePhoto Lara PlatmanAt the Almeida Theatre the set design is the first and last thing theaudience sees. As soon as the audience enters they can see the setand this, together with any sound effects, or music, will begin todetermine how they will experience the production. This initialimpression helps to set the tone for the story to come.The designer, therefore, has to consider what impression he wantsto make on the audience before the play begins. The designer willlook for clues in the play text and will liaise with the director and theplaywright about these.There are also practical considerations for the designer, such ashow big the stage is; what kind of flexibility is required in terms ofentrances and exits; and whether the play is set in a specific timeperiod. The designer often has to be very creative designing a setwhich calls for several different locations.Designing for the Almeida TheatreThe Almeida Theatre was not purpose­built as a theatre so does nothave the specialised architectural features which typify mostpurpose­built performance venues: a flytower, orchestra pit, wings,offstage area (indeed our ‘back stage’ is actually ‘sub­stage’ in theexcavated basement directly below the stage floor). This means thatour designers and production teams have to come up withingenious solutions to create innovative sets in our ‘found space’.The building is famous for its large curved brick wall at the back ofthe stage. This feature of the building is used as part of the setdesign for many of the Almeida’s productions. Even when the actualwall is not visible in the set, the brickwork is often echoed as afeature in the design.A BRIEF HISTORY:The Almeida Theatreseats 325 people, andre­opened in 2003after extensiverefurbishment. Thebuilding dates back to1837, and wasoriginally theIslington Scientificand LiteraryInstitution. Duringthe war it was usedas a Salvation ArmyCitadel, and was latera toy factory, before itwas converted into atheatre in the late1970s.7 Resource Pack: Telling Tales

Design for Telling TalesTelling Tales is performed on the set of another production, The House of Bernarda Alba, which istaking place at the Almeida Theatre in the evenings when Telling Tales takes place during the day. Thismeans that the set for Telling Tales is an adaptation of another set. The House of Bernarda Alba takesplace in a house in Iran whereas Telling Tales happens in the locker room of a school gym in England.The director was keen for the scenery to feel claustrophobic, as the young people are confined in thelocker room throughout the play. This transformation has been made by the simple addition of someschool­style lockers and the dramatic use of sound and light. While the set is static throughout theplay, the lights and sound change to suggest each of the worlds that is conjured by the young people,as they begin to tell their tales.model box for The House of Bernarda AlbaPhoto Bunny ChristieThis photograph shows the model box of the setfor The House of Bernarda Alba. The set wasdesigned by Bunny Christie. The designer startsby reading the script and begins to consider howbest to create the world of the play on the stage.Sometimes the setting will be very realistic –recreating a room on the stage, at other times thedesigner will be aiming to create an atmospherethrough colour and space. The designerdiscusses their ideas with the director and thencreates a model box to show to the actors, thedirector and everyone else involved in theproduction so that they can imagine how the playis going to look whilst they are rehearsing.Usually the actors will not work on the real setuntil the last few days of rehearsal. The set isconstructed in another building and thenassembled on the stage.DesignBelow you can see the model boxes for two other recent productions at the Almeida Theatre:Model Box for The Master BuilderDesigner Vicki MortimerModel Box for House of GamesDesigner Peter McKintoshSee page22 for apractical exerciseabout designResource Pack: Telling Tales8

Oladipo AgboluajeOladipo Agboluaje was born in Hackney. He has written several plays including:God is a DJKnock Against My Heart (Theatre Centre)For One Night Only (PBAB)The Wish CollectorThe Garbage King (Unicorn)British­ish (Talawa/New Wolsey)The EstateIya­Ile ­ The First Wife (Tiata Fahodzi)The Christ Of Coldharbour Lane (Soho Theatre)The Hounding of David OluwaleHe is currently teaching Gender, Race andPerformance at Florida State University, Londoncampus.I used to write comicbook stories. Mybrother, who wasgood at drawingwould do theartwork and I'd fillin the bubbles withdialogue.9 Resource Pack: Telling Tales

During the first week of rehearsals, Almeida Projects talked toOladipo Agboluaje about the process of writing Telling Talesand about how and why he became a writer.Telling Tales was commissioned by the Almeida Theatre. That is to say, thetheatre asked Oladipo to write the play. They wanted a new piece that waslinked, in some way, to another play called The House of Bernarda Alba,written by the Spanish playwright Federico García Lorca. The House ofBernarda Alba was due to be staged at the Almeida Theatre at the sametime but for an older audience. Oladipo took two particular themes fromThe House of Bernarda Alba as a starting point for Telling Tales. The firstwas the idea of oppression – he was interested in the way that thebehaviour of one person can affect the lives of the people around them,and he wanted to investigate how oppression can be shown as soft andhard power. The second theme was the parent­child relationship, andhow parents have a lasting influence on their children. This is a themethat has been explored by many playwrights and poets. In The House ofBernarda Alba the central character is the mother Bernarda who keeps heradult daughters on a very short rein so that they have no independence,no romance and no happiness. In Telling Tales we don't see any of theparents but we hear about them through the children and understandthat the children's behaviour is often linked to the things that theirparents have done or have omitted to do.Telling Tales is set in the locker room of a school gym. This is anotherparallel with The House of Bernarda Alba which takes place in aclaustrophobic house from which the Alba girls would love to escape.Oladipo felt that in some ways any enclosed space would have workedwell for Telling Tales but the school gym offered a place where the childrencould hide and not be found unless they wanted to be.As part of his research process Oladipo visited a local primary school, thePakeman Primary School in Islington, to explore ideas with the childrenthere. When you are writing a play for young people it is important tokeep them in mind and ask their opinions at all times. Oladipo wasimpressed and surprised by the range of questions and ideas that thepupils at Pakeman came up with.It is possible that some of the young people who come to see this playmight one day want to be playwrights themselves. Oladipo's advice tothem is, “write whatever you desire to write, not what is in fashion orwhat you think a theatre wants, but what you feel you have to write.There's no fun being stuck for months writing a story you have nopassion for”. He started writing when he was very young. “I used to writecomic book stories. My brother, who was good at drawing, would do theartwork and I'd fill in the bubbles with dialogue. I got into playwriting inmy mid­twenties after I did a theatre degree. I enjoyed acting but my heartwas in writing. Anyone who wants to be a playwright must be prepared towork hard, read a lot and see as much theatre as they can. They also haveto persevere”.Resource Pack: Telling TalesWrite whatever youdesire to write, notwhat is in fashion orwhat you think atheatre wants, butwhat you feel youhave to write.Oladipo Agboluaje10

Ellen McDougallAt the end of a busy day ofrehearsals, Ellen spoke to AlmeidaProjects about how she approacheddirecting this play with a youngaudience in mindTelling Tales is a brand new play. How involvedwere you in the writing process?I came on board after the first draft had beenwritten. So I wasn't involved in thecommission side of it but I've been working onit since about mid November. There have beenat least three drafts. I've read each one, madenotes and discussed it with the writer.Probably the biggest change is that the firstdraft I read was set in Anu's house and then itmoved into a school.How did you start the rehearsal process?I had prepared character biographies of eachcharacter which I did, and I always do, byreading through the script and writing downany facts about the time and place that thestory takes place in. That includes whathappens before the play starts and anyquestions that I've got. I send those questionsto the writer. Sometimes they don't answer them.Sometimes they say it's up to me. But I sendthem everything just in case they do know, then Iknow everything that the writer has imagined.Then, I use the facts about time to construct abiography for each character using the referencesin the script to things that have happened beforethe play starts. So, for example, the event whenJimmy has beaten up Ahmed has happened aweek before the play starts. I use those facts tobuild up a character biography for each characterthat starts from when they were born right up towhen the play starts.So, on the first day we read those and the actorsasked questions about them. Some things weresurprising and some things obviously weren't.Then from those character biographies we'd pickout key events in their back story that they coulddo improvisations of. So, for example, weimprovised the day that Ahmed got beaten up byJimmy at Judo; and we improvised a time whenDarren's dad locked him in his room to do hishomework; we improvised one of the times whenNancy was waiting for her dad to come and visitEllen McDougall in rehearsalPhoto Bridget Jonesand he never showed up. So they've all got areally clear picture of what happens before theplay starts and only when we've done all of thosedo we actually start looking at the script.Does Telling Tales have one particular messagethat you're really keen to get across?Yes. We tell stories, everybody tells stories, aboutthe things that they're most afraid of as a way totry and understand them better. So, all of thecharacters, as soon as they are given the chanceto tell a story, latch straight on to the thing thatthey're most worried about in their real life. Sothe stories are very revealing about eachcharacter.Telling Tales is set in a confined space and thefour characters are there all the way through.What particular challenges does that give you asa director?The challenge is to create a really clearatmosphere in that space. The challenge for all11 Resource Pack: Telling Tales

those actors to completely imagine that spaceand know exactly where it is – what's outside thedoor, for example.The play has been written for a young audience.How does that affect the way that you direct it?We've done a couple of workshops at PakemanSchool. We read them some of the stories andperformed different sections of the script and Iwatched how they responded to it. I got theimpression when we did a section of the playthat if there's more than one thing happening onthe stage at a time that can be confusing.Particularly as a lot of the events are quiteintense and important, so I really want to makesure that it's very clear where you should belooking on stage at each point. The children werevery concerned about two of the characters'relationship: they have some very direct conflictnear the beginning of the play and the childrenwere concerned that one character wasseemingly bullying another character and therehadn't been an event to explain that. So I want tobe careful to make sure it's really clear whythere's this tension between those twocharacters.Why did you want to become a director and whatadvice would you give to any children who cometo see this play who think they'd like to do thatjob?I'm really interested in the way people behavetowards one another, how people read each otherand how our behaviour can affect the way otherpeople think about any situation. That intriguesme and that's what I really love unpicking in therehearsal room by examining what's going on inthe script and what's going on in the subtext ofthe script. I also love reading. I did an Englishdegree so I'm really interested in telling storiesand I love watching an audience experience astory. I want to make sure that an audience of aplay that I've directed feel like they can reallyimagine everything that's happening on thestage. My advice to any children who would,some day, like to be a director would be to readlots and to enjoy thinking about what makes youlike a story. What makes it exciting?Everybody tellsstories about thethings that they'remost afraid of.Ellen McDougallEllen's directing credits include Ivan and the Dogs (ATC/Soho Theatre),nominated for an Olivier Award 2011; Hot Mess (Latitude/Arcola Tent);Scarlett and the Silent Disco (Everyman Theatre); Am I Comforting You Now?(Theatre Cafe, Company of Angels); The Invisible Woman (Young Vic/ATC);Jerusalem (Burton Taylor Studio); Betting on the Dust Commander (AlbanyTheatre); A Kind of Alaska (BAC); Cymbeline (Bedlam Theatre). Ellen trainedat the NT Studio and Young Vic, and has worked as Assistant Director toKatie Mitchell, Bijan Sheibani, Marianne Elliott, Felix Barratt (Punchdrunk),and Joseph Alford. She was Director in Residence at the NT Studio 2009,and is Associate Artist at ATC and an Associate Reader at Soho Theatre. Shewas awarded the Runner­Up Prize in the James Menzies­Kitchin MemorialTrust Award for Young Directors in 2008. In 2012, she will direct two newadaptations of Antigone and Philoctetes (Unicorn Theatre).Resource Pack: Telling Tales12

In the Rehearsal RoomAlannah Olivia in rehearsalPhoto Bridget JonesYou’ll make yourlife a misery foryourself if you don’ttell people whatyou want or howyou feel.NancyJasmin is a Young Friend of the Almeida andaspiring director. As Assistant Director onTelling Tales, Jasmin has been learning byworking alongside professional director,Ellen McDougall. Here she talks about herexperience in rehearsals, through theprocess of taking the play from the page tothe stage.People often say that the role of an Assistant Director canbe varied. And I believe this to be true. I’ve doneeverything from collecting a lost cast member to gettinginvolved in improvisations and leading warm­up exercises.It’s been good to observe the stages of rehearsals. Fromworking on the script, reading it with the cast, just to get asense of it; doing improvisations of back­stories of thecharacters (creating memories); to marking the script intoevents and writing the intentions of all the characters. I’vefound it very useful to be in an entire rehearsal period andassist a professional director, Ellen McDougall.During the second week we had our first productionmeeting. I remember being in another production, as aperformer, and hearing about production meetings. Theyalways seemed like these clandestine meetings wherepeople gossiped about the cast members. I was happy toknow that none of this took place in a real productionmeeting! Instead we spoke about practical things likerehearsal venues, costumes and stage designs.The third week has been the most exciting for me. I haveseen the play really come to life. From all the work over thepast few weeks, I now see how useful it is for the actors toreally understand their characters. I have seen Ellen13 Resource Pack: Telling Tales

McDougall do what I imagine the role of a director is:direct. I’ve observed her tell the actors where she wantsthem to stand, talk to them about their diction and helpthem learning lines. Mid­week we had a fight director in,which was really fun, and for the first time I see howimportant everybody’s role is in making this production asuccess. From the stage managers to the technical andcreative teams, it really is a group effort.Also in the final week, there was the addition of musicand the play really came together. It was hard to imaginethat the play I had read three weeks ago was the sameplay that I watched during our first run­through. I hadseen the growth of the actors into their characters (thosetwo weeks of improvisation and table work were so vital!)and, the addition of music added a new texture to theplay.Next week sees the start of technical rehearsals, wherethe cast and creatives move over to the theatre, to beginthe final stages of production, where lights, sound andcostumes will all be added, to become the show theaudience will see.I can tell betterstories than anyonehere.NancyIn the Rehearsal RoomAlex Austin and Jamal Hue­Bonner in rehearsalPhoto Bridget JonesResource Pack: Telling Tales14

The Actor's ViewAlex Austin, whoplays Darren, tellsAlmeida Projectsabout the play, hischaracter and whathe's most lookingforward to about theperformancesAlex AustinPhoto Bridget JonesWhat is it you enjoy most about acting?I enjoy lots of things about acting: being on stage, meeting new people,falling in love with a character or script, the rehearsal process, discoveringnew approaches to the way you can work and being the centre of attentionfor an hour or so!The thing I enjoy the most though, is that moment you come off stageafter a show has just finished and you know that everything you’ve workedtowards in rehearsal has come together and you completely forget aboutthe horrible moment just before you go on stage and think, “WHY AM IDOING THIS!!”What was your first ever theatre experience?My mum and dad used to take me, my brother and my sister to Stratford’sTheatre Royal every Christmas for the panto. I was never a big fan of allthe singing and dancing but I was allowed to have an ice cream at theinterval if I behaved, which was usually my main priority! I loved the fudgeflavour best.How did you get involved in Telling Tales?Well I’ve been working with the Almeida’s youth strand (Young Friends ofthe Almeida) on various projects for coming up to three years now. I knewlate last summer that there were plans for a 'spin off' play that YoungFriends could be involved with, and I was very interested from then on in.I was lucky enough to be asked to audition by the lovely people at theAlmeida and was even luckier to get a part ­ so massive thanks to them!Do you want to become a professional actor? What are your next steps?I’d love to become a professional actor; it’s just whether anyone wants topay me to act! I’ve been lucky enough to have been asked onto someamazing projects that have allowed me to learn so much. I have begun tobuild up a network of some cool people that have opened doors to evenmore opportunities which is unexpected but brilliant seeing as I’ve been15 Resource Pack: Telling Tales

acting professionally for such a short space of time. (My first professionaljob was only last summer).So I suppose my next steps are to carry on working hard, develop myacting skills, remember my P’s and Q’s and do as I’m told! Then hopefullyI’ll be on the right path.Tell me about Darren . . . . what's he like?Darren. Wow! He’s a lovely kid, don’t get me wrong, but he does try veryhard. He has managed to become best friends with the tallest andstrongest boy in the class (Ahmed), which awards him some statusamongst his schoolmates, but essentially he’s not very cool (as much ashe tries to be) ­ a bit like me!He does have good intentions though, even if he does steal his Dad’s ipadand brings it into school. I think he has a hard time at home, as his dad isvery strict with him and doesn’t seem to communicate much with him (ashe spends more time with his iPad then he does with Darren). Darren'salright though. He has a vivid imagination which Ms Peters’ storytellingclass has given him a creative outlet for ­ he uses writing his stories as away to escape, I reckon. So, yeah, I suppose Darren is cooler than heknows he is, but tries hard to get people to like him.What is it like playing somebody so much younger than yourself?Wicked! I love it because I am literally a 9 year old in a 19 year old's bodyand I’m sure the rest of the company can verify that! It has been reallyinteresting though being given the chance to tap into emotions throughthe eyes of a 9­10 year old. We have been doing this throughimprovisations and creating the back stories of our characters,influenced by our own experiences at that age. We've been able to seehow their world works and hopefully give a voice to an age group whocrave to be older and more grown up than they are, in the same way asI certainly did and the characters definitely do!The Actor's ViewWhat's the greatest challenge in this production?As with every production I’ve been involved in and just with life ingeneral, I’m not going to lie, getting up in the morning is alwaystough! I love my bed! Once I’ve had my breakfast though, and I'mout the door I’m alright and ready to roll!What are you looking forward to most about the performances?I hope the performances all go really well and everyone likes theshow. I’m looking forward to buying my mum a drink at theAlmeida Bar after the show she comes to ­ she’s taken anafternoon off work specially ­ and introducing her to ourdirector, the cast and some other important people so they canask her who she is and she can reply, “I’m his mother” reallyproudly!Alex Austin and Ellie Hope Herdman in rehearsalPhoto Bridget JonesResource Pack: Telling Tales16

StorytellingMoroccan storytellerPhoto LucaYou can’t rush a story!You have to create awhole world.NancyIn Telling Tales the children invent stories thatreveal a lot about their own anxieties. By listeningto one another's stories, the children begin todevelop greater understanding and tolerance.Storytelling has been, and continues to be, animportant part of life for communities and culturesthroughout the world.The role of the storyteller is sometimes formalisedand at other times spontaneous. In different culturesand different eras an overlap can be seen between thestoryteller and the preacher, the teacher, the healer,the parent, the historian, the troubadour and thepolitician.People tell stories for many reasons. Sometimes as away to keep memories of people and events alive.Sometimes as a way of reinforcing a moral viewpoint.Sometimes as a way of helping the listener to makesense of their own lives. Many traditional tales dealwith universal themes such as jealously, bravery, loveand loyalty. Whilst they resonate with the lives of thelisteners they often have a magical, or at leastexaggerated, quality to them.See page 19 for apractical exerciseabout storytellingDayak storytellerPhotoTaffy Thomas ­ British storytellerPhoto David MillerStorytellers from a rangeof backgrounds work orally. As the stories are notwritten down, they evolve and adapt each time theyare told. A great storyteller uses words and gesture totransport their audience to another world. Buildingtension, painting pictures, keeping the listeners'attention until the story is resolved, the memory isshared and the lesson is learned.17 Resource Pack: Telling Tales

In recent years schools have become more consistent about their procedures aroundbullying. Every school should have an anti­bullying policy. This is likely to include adefinition of bullying and an explanation of what the school community will do toprevent, identify, deal with and record incidents of bullying.Bullying is often defined as a sustained or persistent behaviour which sets it apart from asimple argument or falling­out. Sometimes the bullying behaviour may appear trivial but therepetition and persistence have a cumulative effect. Bullying can be physical and/orpsychological. It might involve name calling, threats, damaging or stealing possessions andspreading rumours and lies.Whilst it is important that bullying behaviour is stopped if it happens, it is even more importantthat it is understood and prevented. There are three parties to consider. Sometimes these arecharacterised as the victim, the bully and the ally or bystander. The reality is more subtle:• First of all, children who are confident and resilient are less likely to be bullied, it istherefore vital that children's confidence is boosted and their resilience strengthenedthrough a range of activities within school and beyond.Bullying• Secondly, children who bully often do so from a position of vulnerability ­they may be trying to raise their own status in a group, they may be jealousof others. Simply punishing their bullying behaviour will not have longterm effect if the underlying reasons are not considered.See page 20 for apractical exerciseabout bullying• Finally, bullying cannot thrive where it is not tolerated. It is vital thatfriends, parents and teachers create an environment where respect,kindness and clear communication are the norm and that they takeseriously, and act upon, anything that is, or could become, bullying behaviour.The following links will take you to a range of organisations that offer information and support aroundissues to do with bullying.Anti­Bullying Alliancewww.anti­bullyingalliance.org.ukFounded in 2002 by NSPCC and National Children's Bureau, the Anti­Bullying Alliance (ABA) brings togetherover 130 organisations into one network. We look to develop a consensus around how to stop and preventbullying. We aim to influence policy. And we work to develop and disseminate best practice.Beat Bullyingwww.beatbullying.orgBeatbullying works with children and young people across the UK to stop bullying. We empower young peopleso deeply affected by bullying that they can barely face going to school every day. We help young people tosupport each other. We help young people that bully to change their attitudes and behaviour. We shapeattitudes, and change behaviours.Red Balloon Learner Centreswww.redballoonlearner.co.ukThe aim of Red Balloons is the recovery of bullied children. We provide an 'intensive care' full­time educationfor children aged between 9 and 18 who are unable to go to school because they have been severely bullied. Atleast half of the students we take have attempted or seriously considered suicide.Child Linewww.childline.org.ukChildLine is a counselling service for children and young people.Resource Pack: Telling Tales18

Practical ExercisesTelling Tales deals with a number of themes that are particularlyinteresting to explore in the classroom, for example: storytelling;honesty; families; friendships and bullying. Below is a selection ofexercises and activities for use in lesson time to investigate thesethemes further and develop drama and theatre­craft skills. The exerciseshave not been presented here as whole lessons but as a pick and mixselection. When you deliver them to your class you may need toincorporate appropriate warm up and close down activities.Exercise 1: Collaborative StoriesDuration: 20 minutesAim: To explore collaborative ways of creating oral stories. (See notes about storytelling onpage 17 for a little background.)Practical Exercise:Gibberish: (whole class) Ask each person in the group how their journey to school was, theymust answer using gibberish nonsense talk. The person to their left must translate using thesilliest, story, the more over the top the better. E.g. Dan was late to school because anelephant got stuck in the tube doors. Restrict it to one line each for a large group.Round the circle ­ 5 words each: (small groups) For this second activity the groups are goingto create equally silly, over the top stories. One person in each circle starts, when they havesaid 5 words the person to their left carries on with the same story. Whilst it is fine for thestory to be bizarre, remind the children that it should make some sort of sense (it's notgibberish), for example the character remains constant. Let the story go round the circle a fewtimes before you stop the groups.Random order ­ This is like 'Round the Circle', but when one person has done their 5 wordsthey point to anyone else in the circle who then has to carry on.Evaluate: Whole class discussion. How good were the stories? What would improve them?Could you take elements of these oral stories (characters, events, settings) to be developedas written stories?Exercise 2: ImprovisationDuration: 20 minutesAim: To explore the importance of 'setting' in a story or a play.Practical Exercise:Telling Tales is set in the locker room of the school gym. Start with a discussion about why thewriter might have chosen this setting and what effect it had on the characters.19 Resource Pack: Telling Tales

In small groups the children are going to choose another confined space for a scene to be setin. (This could be a lift, a bedroom, a car etc.) The children will devise a short (1 min) scenethat will make clear to the audience a) where it is set, b) how the children got stuck there, andc) how the children are feeling about being there.Evaluate: Share these scenes and test whether a) b) and c) above are all clear to the audience.Ask the audience to suggest what could happen next in each scene.Exercise 3: Status and BullyingDuration: 30 minutesAim: To look at how the status of a character can be shown without words.Practical Exercise:Practical ExercisesMouse, Cat, Dog: (whole class) The children walk around the room. They are all mice. Eachchild secretly picks two people in the room (without telling them). One is a cat (they arescared of cats and have to stay as far away from them as possible) another is a dog (dogs canprotect the mice from the cats if they are between them). Each mouse (child) has to try tokeep their dog between them and their cat. Freeze the group. Ask them to look around at theshape that has been created. Ask them which character in Telling Tales was referred to as amouse (Anu). Can they see a link between this game and the experience of bullying or beingbullied? (In simplistic terms mouse=victim, cat=bully, dog=ally/bystander but please seepage 18 about bullying for a more nuanced understanding).Bully, Victim, Ally: (groups of 3) The children are going to create tableaux (still, silent picturesusing their bodies) of a bully, a victim and an ally. How much can they communicate to theiraudience about a) what is happening b) who each character is c) how they feel, and d) wherethey are?Evaluate: Share these tableaux and discuss as a class.Resource Pack: Telling Tales20

Practical ExercisesExercise 4: Characters ­ Emotions and EmpathyDuration: 30 minutesAim: To look at characters from the perspective of the emotions they are feeling anddisplaying.Practical Exercise:Colourful emotions ­ Start with a discussion about which colours you might associate withdifferent emotions. Using a Pen and Paper jot down the ideas. Ask each child to choose onecolour from the list (but not to tell anyone else). Now they are going to walk around the roomin the style of their colour, i.e. if they chose red they may be a very angry person, or yellow ­ asunny happy person. The first time they walk around they should be silent, and then allowthem to greet one another by saying 'hello' as they walk around. As this develops they canbegin to have short conversations still using the character of the colour they have chosen.Stop the group and split them in half. One half makes and audience, the other half continuesthe exercise. After a short time stop the performers and encourage the audience to guesswhat colours they can see and why. Swap the groups round and do the same exercise.Characters in context ­ this is a development of the exercise above. The children will work inpairs and will keep the emotion/colour that they have developed above. (It is important thatthey are not paired with someone with the same emotion/colour). Ask each pair to improvisea scene at a bus stop of their characters meeting. Set these conditions to the improvisation:• the first line must begin with, “I missed a class already, I can’t be late to go home”(which is a line from the play)• at the end of the improvisation one person has to leaveEvaluate: Watch some of these improvisations and encourage the audience to identify howeach character was feeling, why they might have been feeling this way and how this affectedtheir behaviour.21 Resource Pack: Telling Tales

Exercise 5: Working with the ScriptDuration: 20 minutesAim: To look at the script in light of the learning from the exercises above.Practical Exercise:Hand out script extracts (see pages 25 ­ 30 of this pack) and ask the groups (of 4) to decidewho is going to play each part and then have an initial read­through. Once they have donethis they should discuss the extract in their groups, thinking about any of the themes theyhave covered in the exercises 1 ­ 4 above. For example, they might consider:• who (if anyone) is the victim/bully/ally in this section?• who is friends with whom?• what colours would you associate with each character (emotions)?• how are the characters being affected by the place they are in?• WHY (rather than what) does each character say the things they say? (To comfortsomeone, to make someone look silly etc.).After this discussion ask each group to do a second read­through of their extract (bearingthese things in mind) ­ this time with the rest of the class listening. (Organise this so that theexcerpts are read in chronological order.)Evaluate: Ask the class to identify changes in the dynamics from one extract to the next.Exercise 6: Model Box MakingDuration: this is an extended taskAim: To explore ways of creating a setting for a story.Practical Exercise:Children can work singly or in pairs. They are going to create a model box as a setting for astory, or an episode from a story. For information about the function of model boxes see thedesign information on pages 7 and 8 and also the images of model boxes on pages 23 and 24which could be projected for all to see. The story they use for this task might be taken fromthe improvisation they created in exercise 2 above, or could be from a story they are readingor writing individually or as a class. In designing and making their model boxes they shouldconsider:• colour (think about the work on emotions in exercise 4 above)• space (does it need to feel confined, spacious, cosy?)• time (is the story set in a specific time in history or time of day?)Practical ExercisesThe children will need a cardboard box to start off with, with its top and front removed. Theywill also need to collect fabrics, papers and other materials once they have designed their box.It is important to stress that they can't include every idea but should select colours, texturesand objects that will create the atmosphere that they want.Evaluate: Display the boxes and ask children to apply words (on Post­It Notes) to describe theatmosphere created by each one. A similar costume­design activity could also be provided.The children would need to consider colours, styles etc. that would help to create thecharacter. They could draw and collage their designs using images from magazines, fabricscraps etc.Resource Pack: Telling Tales22

Practical ExercisesModel Box for The House of Bernarda AlbaDesigner Bunny ChristieModel Box for House of GamesDesigner Peter McKintosh23 Resource Pack: Telling Tales

Model Box for The Knot of the HeartDesigner Peter McKintoshModel Box for The Master BuilderDesigner Vicki MortimerPractical ExercisesResource Pack: Telling Tales24

Script Extract # 1Extract # 1: Telling Tales pages 6 ­ 7The bell rings for change of class.ANURADHA, holding an exercise book and pencil, appears from behind a locker.NANCY, DARREN and AHMED see ANURAHDA and jump with fright.NANCY:ANURADHA: I’m sorry!AHMED:Anu! You frightened us!I wasn’t scared!ANURADHA: The bell’s rung. Time for the next class.NANCY:ANURADHA: Nothing.NANCY:ANURADHA: Nothing.NANCY:ANURADHA: Nothing.NANCY:DARREN:We’re not deaf, thank you. What are you doing hiding in here?What do you mean nothing?What’s that you were writing?Your name should be Anu Nothing. You don’t say nothing. Youdon’t do nothing.Except write great stories.AHMED:Nancy?NANCY:Which Teacher has to read in class because she’s a mouse, rightThis is the first time I’ve heard you say anything, apart from ‘Yes,Miss Peters’.ANURADHA, eyes down, makes to leave.NANCY blocks her.NANCY:Where do you think you’re going?ANURADHA: Back to class.NANCY:DARREN:NANCY:And tell Ms Peters we’re hiding here? Not likely.Let her go, Nancy. She won’t tell.How do you know?25 Resource Pack: Telling Tales

ANURADHA: I just want to get back to class.DARREN:NANCY:AHMED:ANU nods.NANCY:ANURADHA:You just don’t want Ms Peters to say her story’s the best again.I don’t careCome on, Nancy. If Ms Peters finds the class swot missing she’llcome looking for her. Promise you won’t tell, Anu.Say it!I promise I won’t tell Ms Peters.NANCY steps aside. ANURADHA makes to leave. NANCY snatchesANURADHA’S exercise book.ANURADHA: Please!AHMED:NANCY:ANURADHA: I wasn’t!NANCY:ANURADHA:NANCY:AHMED:Nancy! Give it to her.(Reads it.) I knew it! She was going to tell on us.(Reads.) ‘Nancy, Darren and Ahmed are hiding in the lockerroom when they should be in class.’That’s not true‘And Ahmed begged Darren, ‘please’. He cried like a big baby.’(Snatches the exercise book from NANCY.) Give me that! (Reads.)See. It’s Anu’s homework. (Reads more.)Script Extract # 1NANCY:You fell for it.AHMED dreamily gets lost in ANU’s story.ANURADHA: Please...DARREN:Let’s hear it, Ahmed. Ahmed!DARREN snatches it off AHMED. ANURAHDA looks on in fear for her exercise book.Resource Pack: Telling Tales26

Script Extract # 2Extract # 2: Telling Tales pages 18 ­ 19NANCY: How big is the real Jimmy?AHMED: This big. (Raises his hand above his head.)NANCY: Is that right, Darren?DARREN: I don’t know. I never met him.NANCY: What?DARREN: I left before he turned up for training.NANCY: Darren!DARREN: I only stayed for five minutes.NANCY: You were talking like you knew him.DARREN: Ahmed told me about him.NANCY: (To AHMED.) So how big is the real Jimmy?AHMED: I just told you.NANCY: How big?AHMED: Fine. Don’t believe me. It was a stupid story anyway.AHMED goes to sit in a corner.NANCY: The real Jimmy’s smaller than you.AHMED:DARREN:NANCY:AHMED:NANCY:AHMED:NANCY:AHMED:NANCY:AHMED:DARREN:Whatever.Leave him alone. He’s not like that.Jimmy’s not the bully. It’s you.You pick on people!No I don’t!Yes you do! You made us hide in here with you.I said let’s hide and you followed me.You see!That’s nothing compared to you picking on a smaller kid.He’s picking on me!Serious?27 Resource Pack: Telling Tales

AHMED:He pushes me around just because he beats me at judo.ANURADHA: Why didn’t you tell your Dad?AHMED:DARREN goes to him.DARREN:NANCY:AHMED:NANCY:Then he’ll know I’m not even good at sport. He’ll say I’m uselessat everything. (Starts crying.)Hey, easy, Ahmed.ANURADHA looks scared.Stop crying. You’ve got to be brave.You’re not the one who’s going to get beaten up.I know. That’s why I’m saying it. Now hush! It’s Anu’s turn.Script Extract # 2Resource Pack: Telling Tales28

Script Extract # 3Extract # 3: Telling Tales pages 20 ­ 21AHMED:DARREN:We’ve got to stay here until training’s over!No! I’ve got to go now!ANURADHA closes her notebook.NANCY:You’re not backing out.ANURADHA: Mrs Kyle will come soon.NANCY:ANURADHA: PleaseFootsteps approaching.NANCY:But she’s not here yetMs Kyle.DARREN runs to the door.AHMED:Darren! Don’t! Please...ANURADHA: I’ve missed a class already. I can’t be late for home.AHMED:Anu, please. I’m begging you...The footsteps get nearer. They are silent as the footsteps stop at the door. The dooris tried. The footsteps fade away. DARREN looks down.AHMED:Thanks, Darren. I owe you one. Thanks Anu.DARREN:NANCY:AHMED:NANCY:I’m in trouble anyway.Your iPad will still be in your bag.If it’s not in your bag I’ll go round to Henry’s and get it. Don’tworry, Darren.Ok Anu, your turn.Anu says nothing.NANCY:We’re waiting.Anu still says nothing. Nancy walks towards Anu, but passes her and unlocks thedoor.DARREN:NANCY:Nancy! You had the key. Why did you lock the door?I didn’t trust you too to keep quiet for a whole lesson.ANU hesitates. DARREN makes to leave. He sees AHMED looking worried.29 Resource Pack: Telling Tales

DARREN:NANCY:My Dad will be home by now. (Sits beside AHMED.)(To ANURADHA.) You can leave, Anu. I'm not going to makeyou read your story.ANURADHA heads for the door quickly.NANCY:You’ll make your life a misery for yourself if you don’t tell peoplewhat you want or how you feel.ANURADHA: But you do, and you’re not happy.NANCY:So?ANURADHA exits. NANCY shakes her head. She locks the door.NANCY:AHMED:NANCY:AHMED:All right, Ahmed, you hadn’t finished your story.It was rubbish.It was nice rubbish.What do you mean, ‘nice rubbish’?A knock. They freeze. NANCY creeps to the door and peeps through the window.She opens the door.ANURADHA enters.AHMED:Anu! Great, you can read your story.NANCY, DARREN and AHMED sit down. ANURADHA is about to begin. Shelocks the door.Script Extract # 3ANURADHA: Once upon a time there was this girl who lived in a world wherewishes never came true...The End.Resource Pack: Telling Tales30

AlmeidaProjectsTelling TalesAlmeida Projects Resource PackWritten and designed by JoBuffery and Charlie Payne withcontributions from studentsstudying for the AlmeidaTheatre's PG Certificate inApplied Theatre with YoungPeople: Facilitation.Telling Tales by Oladipo Agboluajewas produced at the AlmeidaTheatre 8 ­ 10 February 2012.The information in this ResourcePack is correct at the time of goingto Press. All rights reserved. ©Almeida Theatre. Published February2012.The Almeida Theatre is a RegisteredCharity No. 282167. The AlmeidaTheatre Company Limited, AlmeidaStreet, London N1 1TA. Use of thisAlmeida Projects Resource Pack isauthorised in connection with theAlmeida Projects work at theAlmeida Theatre. Any further use inany form must be approved by thecreators. The copyright of all originalmaterial remains with the creators.Almeida Projects photography:Bridget Jones.Almeida Projects is the Almeida Theatre’s creativelearning programme.Inspired by the Almeida Theatre’s productions, Almeida Projects delivers a rangeof high quality, innovative activities to make the theatre accessible to youngpeople, inspire them creatively and encourage an exploration of the power andpotential of theatre.Almeida Projects provides an active, creative link between our theatre andits audience, more specifically an audience that may not have consideredthat the theatre might not be for them.Our aim is to act as a catalyst to their energies, to their hunger toparticipate ­ celebrating the creativity of young people in the best way weknow how: by offering them our experience, our expertise and our uniquetheatre.Michael AttenboroughArtistic DirectorAlmeida Projects’ work draws on all aspects of theatre, working with thousands ofpeople each year, and includes: work in partnership with local schools; the YoungFriend of the Almeida scheme; and a subsidised ticket scheme for schools. Formore information please visit our website.almeida.co.uk/educationAlmeida Projects is supported by:AspenBank of America Merrill LynchJill BartonElm Capital Associates LtdRick GildeaThe Peter Harrison FoundationLinden IfeIslington CouncilMarket SecuritiesPinsent MasonsThe Rayne FoundationAndrea SullivanLondon Maration Runners:Jamie ArkellAndrew GoldstoneAndrea SullivanTrainee Workshop Leader BursaryDonors:Charlie & Nicky ManbyThe Sackler Trust