Bridge 1
Inspired by The Cherry Orchard
Suitable for
Key Stage 2 3 4
1
Introduction
Bridge 1: The Cherry Orchard
Curriculum Links
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.
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Explorative strategies
Still image/tableaux
Role play
Marking the moment
Hotseating
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The drama medium
The use of space and/or levels
The use of set and/or props
The use of movement, mime and gesture
The use of voice
The use of spoken language
The use of masks
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The elements of drama
Action/plot/content
Rhythm/pace/tempo
Sub-text
Contrasts
Characterisation
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Introduction Bridge 1: The Cherry Orchard
English
These lessons encourage students to:
−− Express complex ideas and information clearly, precisely and
accurately in spoken communication.
−− Make fresh connections between ideas, experiences, texts
and words.
−− Use imagination to create effects to surprise and engage the
audience.
−− Use creative approaches to answer questions, solve problems
and develop ideas.
−− Explore how texts from different cultures and traditions
influence values, assumptions and sense of identity.
−− Work with texts that enable them to make connections
between experiences across time and literary traditions.
−− Work with texts that enable students to analyse the values
and assumptions of writing from different cultures and
traditions, relating and connecting them to their own
experience.
−− Connect ideas, themes and issues.
−− Speak fluently, adapting talk to a wide range of familiar and
unfamiliar contexts and purposes.
−− Select the most appropriate way to structure and organise
their speech for clarity and effect.
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Reflect and comment critically on their own and others’
performances.
Respond critically, constructively and cogently in order to
clarify points and challenge ideas.
Listen with sensitivity, judging when intervention is
appropriate.
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.
History
Citizenship
These lessons encourage students to:
−− Develop a sense of period through describing and analysing
the relationships between the characteristic features of
periods and societies.
−− Explore the ways in which the past has helped shape
identities, shared cultures, values and attitudes today.
These lessons encourage students to:
−− Explore different kinds of rights and obligations and how
these affect both individuals and communities.
−− Understand that individuals, organisations and governments
have responsibilities to ensure that rights are balanced,
supported and protected.
−− Investigate ways in which rights can compete and conflict,
and understand that hard decisions have to be made to try
to balance these.
−− Engage with and reflect on different ideas, opinions, beliefs
and values when exploring topical and controversial issues
and problems.
3
Introduction
Bridge 1: The Cherry Orchard
Personal, learning and thinking skills which are supported and developed by the
Bridge 1 sessions:
Independent enquirers
Young 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 thinkers
Young 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 workers
Young 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 learners
Young people:
−− Invite feedback and deal positively with praise, setbacks and
criticism.
−− Communicate their learning in relevant ways for different
audiences.
Self-managers
Young 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 participators
Young 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.
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 1: The Cherry Orchard
Status and Changing Circumstances
Aims
✔✔ To use status exercise to explore the theme of ‘changing circumstances’ and make links to the world of the past, and to today.
✔✔ To use a range of drama techniques to develop an understanding of the main characters in The Cherry Orchard and how they interact.
✔✔ To develop character through structured improvisation.
Outcomes
✔✔ Participants will be able to use their body language and
movement to indicate high or low status.
✔✔ Participants will be able to consider and reflect upon the
relationship between high and low status characters and be
able to show this physically.
✔✔ Participants will be able to make connections between status
and relationships in The Cherry Orchard and the real world.
✔✔ Participants will understand and be able to show the
difference between real and assumed status.
✔✔ Participants will have a deeper understanding of the
characters in The Cherry Orchard.
✔✔ Participants will have developed their ability to use dramatic
exploratory techniques.
Equipment
✔✔ Worksheet 1 (copied and cut appropriately for the amount of participants in the group)
Additional
▲▲ These sessions assume a basic knowledge of the play The Cherry Orchard and awareness of its characters and socio-historic
context.
Duration
✔✔ Work is designed to be split into two one hour sessions but can be extended if desired.
1.1 Focus (Warm-up)
For participants to understand the importance of focus and group awareness.
➜➜ Ask participants to stand in a circle and focus their attention and energy on one point on the floor in the centre of the circle.
➜➜ Once they are able to create focus doing that, add in the further instruction that they must, at the same time as you, do the
following:
−− As one movement, stamp your right foot, punch your fists out at hip level and make a deep, manly ‘huh’ sound.
−− Demonstrate and then giveparticipants the chance to practice.
➜➜ Now ask the participants to regain focus immediately after the ‘Huh’ in order to do the exercise more than once.
5
Lesson 1
Bridge 1: The Cherry Orchard
1.2 Status and Changing Circumstances
Participants explore contrasting roles within society through character work.
➜➜ Ask participants to start walking about the space under the following guidelines:
−− Move with energy and focus.
−− Use all the space available.
−− Move as an individual, not as a group or with your friends.
−− Be respectful of others in the space.
−− Avoid walking in a pattern.
−− Be aware of yourself and others at all times.
−− Do not interfere with another participants’ movement or be physical with anyone else unless you are told to be so.
−− Practise this method of working by using the commands ‘stop’, ‘freeze’, or ‘change’ (direction) until you are happy
that expectations are being met and participants understand the nature of this task.
➜➜ During a ‘stop’ moment, ask participants how a character with a high status may be shown. Consider the character traits:
−− Confident
−− Outgoing
−− Self assured
−− Strong self belief
−− High self esteem
−− Owns the room
➜➜ As they continue to walk, on your command ‘high’ they should switch to a high status walk.
➜➜ ‘Freeze’ them and choose a few examples of effective physicality to show to the class – you may point out heads held high,
puffed out chest or use of a long stride.
➜➜ Ask participants to walk again and on your command, switch to ‘high’ then as they walk coach them to use every part of their
body, and to make their movements larger than life or exaggerated.
➜➜ Next time you ask them to freeze, explain that you will tap them on the shoulder and ask them a question:
−− How do you feel about this space?
−− How do you feel about everyone else being here?
−− Do you look down on these people, or are you generous?
−− What sort of job do you do?
−− How do you spend your free time?
➜➜ Ask participants to move about the room again.
➜➜ During a ‘stop’ moment, ask participants how a character with a low status may be shown. Consider the character traits:
−− Insignificant
−− Low self esteem
−− Insecure
−− Feels unwelcome in the space
−− Anxious
➜➜ Walk them neutrally, then call ‘low’ to switch their walk to a low status walk. Call ‘Freeze’ and choose a few examples of effective
physicality to show to the class – you may point out use of a lower level or posture, heads down or a fearful facial expression.
➜➜ Ask participants to walk again and on your command, switch to ‘low ’ then as they walk coach them to use every part of their
body, and to make their movements larger than life or exaggerated.
➜➜ Next time you ask them to ‘freeze’, explain that you will tap them on the shoulder and ask them a question:
−− Are you comfortable in this space?
−− How do you feel about everyone else here?
−− Are you intimidated? Do you want to be seen?
−− What do you do for a living?
−− How do you feel about the world?
−− How do you feel about yourself?
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Lesson 1
Bridge 1: The Cherry Orchard
➜➜ Walk participants again and practise using ‘stop’, ‘high’, ‘low’ and ‘freeze’.
➜➜ During a ‘stop’ moment, tap half of the class on the shoulder and explain that they are to be the high status characters while the
rest of the class are low status characters.
➜➜ The low status characters are to remain still, dotted around the space. The high status characters are allowed to move about.
➜➜ Use questions as participants work, to encourage character development:
−− How do you feel with these low or high status people in your space?
−− What do you do when your paths cross?
−− What is your reaction to them? Pity, anger, indifference, jealousy, fear?
−− How can you show your feelings non-verbally?
−− Low status, what would you do if you could move?
➜➜ Tell the low status people they are allowed to move now, and coach them to react to one another. On your command ‘greet’ they
should stop and silently greet the nearest person to them in a way which they think is appropriate to their character.
➜➜ Swap roles over and repeat the activity, up until the ‘greet’ point. After the ‘greet’ command ‘freeze’ and tap and ask a few
questions:
−− To the high status characters:
−− What do you think about the other people now?
−− Do you have pity on them as you remember being low status?
−− Do you want revenge on them for their behaviour to you?
−− How did you show your feelings?
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To the low status characters:
How do you feel about these people and the fact that you are now low status?
Do you regret your earlier behaviour?
Do you wish you had acted differently?
Do you resent them for taking your place as high status characters?
1.3 Discussion
➜➜ Take this opportunity to get feedback from the group.
➜➜ Suggested questions could be:
−− How did that exercise feel?
−− Who preferred high/low status and why?
➜➜ You should also discuss the transition:
−− What effect did that have?
−− What did you discover about yourselves in that situation?
➜➜ Split participants into small groups and give each group a discussion card (Worksheet 1) Ask them to talk as a group then elect a
spokesperson to feedback to the rest of the class, which should form the plenary of this session.
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Lesson 2
Bridge 1: The Cherry Orchard
Character
Aims
✔✔ To use status exercise to explore the theme of ‘changing circumstances’ and make links to the world of the past, and to today.
✔✔ To use a range of drama techniques to develop an understanding of the main characters in The Cherry Orchard and how they interact.
✔✔ To develop character through structured improvisation.
Outcomes
✔✔ Participants will be able to use their body language and
movement to indicate high or low status.
✔✔ Participants will be able to consider and reflect upon the
relationship between high and low status characters and be
able to show this physically.
✔✔ Participants will be able to make connections between status
and relationships in The Cherry Orchard and the real world.
✔✔ Participants will understand and be able to show the
difference between real and assumed status.
✔✔ Participants will have a deeper understanding of the
characters in The Cherry Orchard.
✔✔ Participants will have developed their ability to use dramatic
exploratory techniques.
Equipment
✔✔ Worksheet 1 (copied and cut appropriately for the
amount of participants in the group)
✔✔ Worksheet 2
✔✔ Worksheet 3
✔✔ Pre-prepared flip chart sheets
✔✔ Marker pens
Additional
▲▲ These sessions assume a basic knowledge of the play The Cherry Orchard and awareness of its characters and socio-historic
context.
Duration
✔✔ The session will last approximately 1 hour though it can be extended as required.
2.1 Starter
➜➜ Display 6 flipchart sheets around the room with the character names LUIBOV, VARYA, YASHA, DUNYASHA, LOPAKHIN and
TROFIMOV on them.
➜➜ Allocate participants a number from 1 – 6 and ask all the 1s to go to a character, all the 2s to the next character and so on...
➜➜ Give the group 1 minute to write down as much information onto the flipchart sheet as they can, about that character, then
call ‘change!’ and they rotate to the next sheet and add all they can about the next character. Continue for 6 minutes until all
characters have been rotated around.
2.2 Status Changes
➜➜ Using the flipchart sheets and as a whole group, discuss the changes in status for the characters of The Cherry Orchard.
➜➜ Hand out the character cards (Worksheet 2) to groups of 2 or 3 and set the task to create two still images: one showing the
REAL or CURRENT status of the character and one showing their PREVIOUS or DESIRED status (depending on which character
they are allocated).
➜➜ Share the images and discuss the different statuses in the character’s lives.
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Lesson 2
Bridge 1: The Cherry Orchard
2.3 Exploring Character
➜➜ Ask for six volunteers to play the characters on the cards and ask them each to take a chair to a space in the room and to sit on
it. Split the remaining participants into six groups and ask them to go and sit on the floor in front of that character.
➜➜ The character is then asked to leave the chair space and then on command to walk into the space and sit down on the chair in
role.
➜➜ Those sat on the floor are given three minutes to question the character about themselves and their place in life.
➜➜ Reflect on this activity by asking those who played the characters ‘what did you reveal?’ and ‘what did you want to keep
hidden?’ and ‘why?’
2.4 Status and Relationships
➜➜ Using what they know about this character, ask the groups to create a representational tableaux, showing the character in their
official place in society, with the rest of the group assuming other characters in the play and placing themselves in a position
which represents their relationship and status to the main character.
➜➜ Each character must show their real position and their real relationship to the main character.
➜➜ Encourage participants to use LEVELS and PROXEMICS to indicate the relationships and status differences.
➜➜ Ask participants to then create a second tableaux to show the characters’ desired status positions in relationship to the main
character.
➜➜ Ask them to practise shifting from one to the other.
➜➜ Watch each group and discuss:
−− Which character thinks they have the highest/lowest status?
−− Did any character not feel the need to change?
−− What can we tell about the relationships between these characters?
2.5 Character and Scenario Work
➜➜ Split the group into small groups of three, four or five. Give each group a scenario (Worksheet 3) and time to prepare the
scenario for performance to the rest of the group. Remind them before they start:
−− Be clear on what you wish to achieve from your scene.
−− Ensure you know who is playing which part, your entrances and exits, key lines and blocking.
−− Make sure you rehearse considering your audience awareness, and where they will be sat to watch!
−− Each scene must have a clear frozen position to start and end neatly.
➜➜ Show each piece, and after each group’s performance, ask them to mark a moment in their piece by freezing that moment:
−− When a character feels their status is challenged,
−− When a character experiences a status change or
−− At the moment of highest tension depending on the group and the content of their piece.
➜➜ In feedback discussion, remark particularly on how status can create tension; this discussion should form the plenary of your
session.
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Lesson 3
Bridge 1: The Cherry Orchard
Using Masks to Explore Status
Aims
✔✔ To introduce the skills for using mask effectively.
✔✔ To use status exercises in order to understand the world of
The Cherry Orchard.
✔✔ To explore, through physical character work, the different
situations in the play.
Outcomes
✔✔ Participants will be able to use their bodies to convey
emotion physically.
✔✔ Participants will understand the levels of physicality and be
able to confidently experiment with these in their Drama work.
✔✔ Participants will understand and be able to show an internal
and an external emotion.
✔✔ Participants will be able to use basic mask conventions to
create scenes.
✔✔ Participants will be able to develop characters with
contrasting status levels, and indicate the relationship
between them clearly using mask conventions.
✔✔ Participants will understand the importance of status in The
Cherry Orchard, and where status features in the play.
Equipment
✔✔
✔✔
✔✔
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Worksheet 4 (for your own reference)
Worksheet 5 (copied and prepared)
Worksheet 6 (copied and prepared)
Half masks in the style of Commedia dell’arte characters.
✔✔ Antibacterial wipes for the masks
✔✔ A box or other heavy/bulky looking item
✔✔ Flipchart paper and pens (some flip sheets need to be preprepared with questions written on them)
Additional
▲▲ These sessions assume a basic knowledge of the play The Cherry Orchard and awareness of its characters and socio-historic
context.
Duration
✔✔ To cover the concepts in this unit in reasonable depth you will need to allow two hours.
3.1 Emotion Freezes: Physical Scale (Warm-up)
➜➜ Ask participants to start walking about the space under the following guidelines:
−− Move with energy and focus
−− Use all the space available
−− Move as an individual, not as a group or with your friends.
−− Be respectful of others in the space
−− Avoid walking in a pattern
−− Be aware of yourself and others at all times
−− Do not interfere with another participants’ movement or be physical with anyone else unless you are told to be so.
➜➜ Practise this method of working by using the commands ‘stop’, ‘freeze’, or ‘change’ (direction) until you are happy that
expectations are being met and participants understand the nature of this task.
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Lesson 3
Bridge 1: The Cherry Orchard
➜➜ During a ‘stop’ moment, explain that next time you are going to call out an emotion and that they will then have a three second
countdown to find a space and physicalise that emotion in a freeze, using every part of their body.
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Emotions you could use are: JEALOUSY
ANGER
HAPPINESS
SADNESS
EMBARASSMENT
FEAR
➜➜ Run this exercise a couple of times through to establish the routine of the exercise, commenting positively on participants who
have successfully embodied the emotion.
➜➜ ‘Stop’ participants and explain the physical scale, which runs from 1 – 10. 10 is the most exaggerated you can possibly, possibly
achieve showing that emotion, with every part of your body and face stretching to show the emotion clearly. 1 is simply a tiny
hint at showing the emotion physically.
➜➜ Do a whole group example using happiness. Call ‘Happiness 1, 3-2-1, freeze!’ and participants should stand showing a tiny hint
of happiness. Then call ‘Happiness 5, 3-2-1, freeze!’ and repeat once again with Happiness 10.
➜➜ Now ask participants to walk around the space and you call any emotion with any number, then 3-2-1 freeze. Choose
particularly good examples to share with the class.
➜➜ Ask participants to stop in a space on their own. Ask for examples when you may feel one emotion on the inside but have to
show another on the outside (your best friend tells you she is going out with the boy you secretly fancy; you’re picking up a
spider which you are terrified of, but you don’t want to lose face) Ask participants to decide on an example for themselves and
then instruct them to walk around neutrally.
➜➜ This time you call, call ‘double emotion 4, 3-2-1, freeze’ depending on which part of the scale you wish them to explore. Share
good examples and discuss how we might reveal to an audience our inner emotions while physically showing the outer emotions.
➜➜ End this activity with a brief discussion, making links with Chekhov in terms of how very little of what is felt by the characters is
actually shown or said.
3.2 Introduction to masks
Participants have the opportunity to create characters from a physical starting point in order to free themselves physically and explore
larger than life characters.
➜➜ Participants should be sat in a semi circle on the floor, with the masks laid out for them to see clearly. Using Worksheet 4 explain
the history of the masks.
➜➜ Ask each participant to choose a mask, but explain that this should be an instinctive decision and not deliberated over.
➜➜ Organise participants into a circle, holding their masks in their hands, and cover mask etiquette with them.
Mask Etiquette
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Always treat a mask with respect.
Do not mistreat the mask by swinging it around or poking your fingers through its eyes.
When returning the mask, use a wipe to clean inside it, paying particular attention to the mouth area.
When you put on your mask you are creating the illusion of being a different character, so you must always put it on/
take if off in the wings or facing away from your audience.
The more physical you are with the mask on, the more believable you will be.
The mask only works when you are facing the audience or in profile. If you turn away from the audience the illusion is lost.
It is a half mask; therefore your mouth and your lower jaw can be seen. This means you should ensure that you are
working those parts of your face.
Your audience want to believe in the character you are creating so be brave in your choices.
You may only have limited vision so be careful moving about the space.
➜➜ Ask participants to turn out from the circle and put on the mask. When told, they should turn back in to experience the initial
reaction of seeing the others in the mask and see how it feels for them. Allow them to look at one another for 30 seconds then
ask them to turn away and remove the mask.
11
Lesson 3
Bridge 1: The Cherry Orchard
➜➜ Encourage participants to explain how it felt to wear the mask and to see others in the masks.
➜➜ They will now have the chance to get to know their masks and will work individually to do so.
Standing in the circle:
➜➜ First, ask them to hold the mask in one hand so that it is facing them; their fingertips should come up over the forehead and
their forearm should sit where the mouth is. It should be held at arm’s length.
➜➜ Ask them to look at the mask and take in all the facial detail.
➜➜ Ask them to think about what kind of character it is – grumpy, young, shy etc..
➜➜ They should make some decisions about who this person is and what they are interested in. They should decide the characters
status.
Walking around the room:
➜➜ As participants were holding the mask facing them, ask them to turn it so that it is facing away from them and allow the mask
to lead them around the room, exploring everything.
➜➜ Ask participants to decide what the mask is most interested in – for example the curtains, floor, smells, light etc.. They
should still avoid other people at this point.
➜➜ Instruct participants to start to imitate the face of the mask with their own face and think about how that feels.
Working physically:
➜➜ Ask participants to begin altering their movements and physicality to become the character. Coach them to consider:
−− How their pace might change
−− What their feet and legs start to do
−− How their posture might change
−− Other physical changes to their body
−− Showing the mask’s status through physicality (levels and reactions to others)
➜➜ Bring participants back to the circle and briefly discuss how these exercises felt, then ask participants to find a space, and to turn
away to put on their masks.
➜➜ Count participants down into a frozen starting position, explaining that this should be at the top end of the physical scale –
the bigger the physicality, the more convincing the character is. You may wish to repeat this exercise to coach participants into
pushing their physical boundaries to level 10.
➜➜ ‘Action’ participants to start moving around the room and give them time to play with their character, trying different
movements and physicalisations.
➜➜ On your command, ask participants to add a vocalisation to their character which reveals something about them – a grunt,
squeal, hum, whistle, growl, murmur etc...
➜➜ On your command, ask participants to stop and greet the nearest person to them, using their vocalisation. Once you have done
this a few times ask them to use the word ‘hello’. Remind participants to consider the apparent status of the people they greet,
and how that changes the way they interact.
➜➜ Ask participants to remove the mask and have a brief discussion about the experience:
−− How did it feel to wear the mask?
−− Was anyone surprised by what they did? Or what they saw others do?
−− Did you enjoy becoming the mask character?
12
Lesson 3
Bridge 1: The Cherry Orchard
3.3 Meet the Mask Characters
Participants explore the characters individually or in pairs in various situations with the rest of the group as audience in order to
develop audience awareness, performance skills and good mask technique.
➜➜ Organise the group to be sat on the floor as an audience. Ask for one volunteer who must put on a mask (they must be sure of
the status of the mask character they choose) enter the space and sit on a chair, showing their status. They must remain in role,
showing their status as they sit.
➜➜ Ask for feedback from the audience and coach the volunteer to repeat this exercise until everyone is happy that the physical
work is pitched and performed appropriately for the mask chosen.
➜➜ Interview the mask character for a job but explain they may only speak Russian, and in this situation can only say “No”.
−− Possible jobs: Nursery school teacher
Chef
Bouncer
Queen/King
Pop star
Dog walker
Air steward
Sewer worker
Prime minister
−− Possible questions: So you think you’re here to interview for the post of _________, yes?
Do you think you’d make a good _________?
Do you have any skills for this job?
Are you actually interested in doing this job?
Do you think there’s someone out there who could do this job better than you?
Would you like to work as something else?
➜➜ Hold a brief discussion with the audience about what was successful about the mask portrayal and what ‘works’ when you are in
the mask. Draw out suggestions such as larger than life gestures, slowing down your movement and always exaggerating.
➜➜ Ask for a new volunteer and tell them they are going to be interviewed as the Russian prime minister. Ask them to choose and
wear the most appropriate mask, and enter and sit on the chair.
➜➜ Interview them about life in Russia (they can only speak Russian).
➜➜ Ask for a second volunteer (without mask) to translate.
➜➜ Again, hold a brief discussion to evaluate the work. Summarise that a key to mask work success is to keep actions, movements
and gestures simple and larger than life.
➜➜ Ask for two volunteers and ask them to choose masks with contrasting status. There is one chair. The characters should enter
from different sides of the stage area, and they both wish to sit down. ‘Action’ and see what happens.
➜➜ Evaluate with the audience and repeat the activity.
➜➜ Split the group into twos or threes and give out situation cards (Worksheet 5)
➜➜ Watch a couple of examples of each piece and draw out from the audience what is effective when working in masks – these may
include exaggerated movement and gesture; vocalising sounds; audience awareness - write these up on a flipchart for reference
in the next activity.
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Lesson 3
Bridge 1: The Cherry Orchard
3.4 Directing a mask scene and developing mask work
Participants have the opportunity to develop scenes with their mask characters which explore situations and characters from The
Cherry Orchard.
➜➜ Organise participants into groups of three with a fourth person as a director. Explain the importance of the director in terms of
creating scenes in mask:
1. The director provides the outside perspective which helps the performers to know if the mask character is effective.
2. The director can give detailed notes on staging as they can see the whole picture.
3. They keep the performers focused and on task, therefore the performers must listen and respond to their director
with respect.
➜➜ Give each group a mask scene from Worksheet 6 to develop. Their work should last about two minutes and the status play
between the characters should be clear. Keep the flipchart from the last activity clearly displayed for the directors’ reference.
➜➜ Remind groups after five minutes of the flipchart and the focus of their work.
➜➜ Watch the scenes together and encourage feedback on each piece, using the flip chart as criteria for comments.
3.5 Plenary
➜➜ Split participants into four groups and ask them to sit in their groups around a piece of flipchart paper.
➜➜ The paper should have one of four questions on it:
What have you discovered about yourself as a performer now that
you have worked with masks?
What is the benefit of using a mask to create a character?
How important is status in The Cherry Orchard?
How does a change of status affect the characters’ different
perspectives?
➜➜ Give participants three minutes with a pen and ask them to write down their thoughts.
➜➜ Ask one member of each group feedback to the group as a whole.
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Worksheet 1: Discussion Cards
Bridge 1: The Cherry Orchard
!
In today’s world when is status thrust upon people?
How do they deal with it? What implications does it have on their lives?
Consider reality TV stars, lottery winners or the Royal Family.
!
In today’s world when do people earn their status change?
How do they change their circumstances?
Consider Lord Alan Sugar, Kylie Minogue or the Prime Minister.
!
Talk about slavery, and focus on South Africa and apartheid, and America
and segregation. Both of these countries now have black leaders.
How has the colour of people’s skin affected their status in
their home country?
!
Talk about how the role of women has changed over the past 100 years.
Consider the vote for women, female bishops or executive female bosses.
How are high status women perceived and how do men react to this?
!
Talk about times when a large population has been
suppressed – Jewish people, Native Americans and Aborigines.
Who held the high status in these situations?
Why did they assume higher status?
!
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Worksheet 2: Character Cards
Bridge 1: The Cherry Orchard
LIUBOV
VARYA
HIGH STATUS
HIGH STATUS
Facts
Previously wealthy landowner
Useless with money
Loves her family dearly; two daughters (Anya
and Varya) and her brother (Gaev)
Facts
Adopted into a rich family
Manages the family house and grounds (the estate)
Would love to be independent
Characteristics
Generous
Flirtatious
Characteristics
Considerate
Formal
YASHA
DUNYASHA
LOW STATUS (but acts like he’s high)
LOW STATUS (but aspires to be higher)
Facts
A footman (servant) to Liubov
Likes to drink Champagne
Believes he should be more than he is
Facts
Maidservant
Engaged to be married but in love
with someone else (Yasha)
Considers herself to be nearly a lady
Characteristics
Arrogant
Chauvinist
Characteristics
Sensitive
Unfaithful
LOPAKHIN
TROFIMOV
HIGH STATUS (but raised himself from lower)
HIGH STATUS (but doesn’t believe in status)
Facts
Used to be a servant but now is very wealthy
Wants to make as much money as possible
Doesn’t have any family
Facts
Mature student
Has revolutionary ideas
Speaks his mind
Characteristics
Ambitious
Hard-working
Characteristics
Passionate
Unromantic
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Worksheet 3: Scenarios
Bridge 1: The Cherry Orchard
COMING HOME
−− A group of people arrive home after a long absence and are met by friends and family who want to
know why they have stayed away for so long....?
−− Your scene must include a moment of tension due to a status conflict between two or more characters
from the play.
−− Your scene must include the following line from the play:
‘When I wake up I’m going to go straight out into the garden. If only I could
get some sleep!’
BAD NEWS
−− One of your hosts a party for friends and family. Someone at the party receives unexpected bad news.
−− Your scene must include a moment of tension due to a status conflict between two or more characters
from the play.
−− Your scene must include the following line from the play:
‘It’s so boring here, and the food they give you in the kitchen is disgusting’
STRANGER AT THE PICNIC
−− A group of friends and family are gathered for a picnic when a stranger arrives with an unusual request...
−− Your scene must include a moment of tension due to a status conflict between two or more characters
from the play.
−− Your scene must include the following line from the play:
‘You only have to try to get something done and you soon find out how few
decent, reliable people there are’
GOOD NEWS
−− One of your hosts a party for friends and family. Someone at the party receives unexpected good news.
−− Your scene must include a moment of tension due to a status conflict between two or more characters
from the play.
−− Your scene must include the following line from the play:
‘I might as well be some kind of insect’
REUNION
−− A group of friends and family have a reunion where a secret is revealed....
−− Your scene must include a moment of tension due to a status conflict between two or more characters
from the play.
−− Your scene must include the following line from the play:
‘Oh, if only I could lose the weight of this stone I carry in my breast. If only I could
forget everything up to now’
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Worksheet 4: Commedia dell’Arte
Bridge 1: The Cherry Orchard
What is Commedia dell’Arte?
Commedia dell’Arte is a type of comedy developed in 16th and 17th century Italy, characterised by improvised text based
on plot outlines (scenarios). Commedia dell’Arte featured stock characters, some of whom wore distinctive masks. Literally,
it means comedy (Commedia) of the professional guilds or artists (dell’Arte). Its popularity in Renaissance Europe can
be attributed to the talents and special skills of the actors who were acrobats, dancers, musicians, orators, quick wits,
and improvisers possessing thorough insights into politics and human nature. The audience loved the stock characters
and their antics, much the way audiences through the ages have loved Shakespeare’s characters and (in a more modern
equivalent) the characters of Friends or modern slap-stick.
Where was it performed?
Most Commedia troupes performed outdoors in city and town piazzas on stages they brought with them in horse-drawn
carts, along with their equipment, props, costumes, curtains, and ladders. The stages were usually built high (up to two
meters), allowing spectators an unobstructed view of the action, and giving actors a storage area and changing room
underneath. Some of the better Commedia troupes performed in Renaissance theatres such as Palladio’s theatre in Vicenza
or the Petit Bourbon in France.
Why is Commedia dell’Arte important?
In all periods of Western culture since the Renaissance, Commedia dell’Arte has been a conscious or subconscious
presence. Using sexually challenging language and physical comedy, Commedia pokes fun at elements of society’s
respectable values by means of exaggerated styles and insightful character traits. The stock characters below can be found
in music, visual arts, dance, and theatre as themselves or as inspiration for specific characters:
Arlecchino (Harlequin) – a servant who is like a five year old; eager to please, sympathetic and loves food; nimble
and agile acrobat.
Colombina – female servant; flirty, sometimes crafty, often without morals.
Il Dottore (The Doctor) – says he knows everything but actually knows nothing; loves the sound of his own voice;
claims to be the doctor of all subjects.
The Captain – the cowardly braggart soldier.
Pantaloon – the old man who pleased poverty but is obsessed with money.
Pulcinella – the clever prankster and scheming clown (possibly the origin of Punch from Punch & Judy).
The Masks
In the course of the development of the Commedia dell’Arte, there grew up certain traditions which held fast for many
years. The rascally servant, the old man, the lady’s maid and the like – stock characters which appeared in every play –
always wore a conventional dress, with masks. In general these masks may be classed under four or five groups: Pantalone
and the Doctor, both old men; the Captain, a young man of adventure; the valet or jester, usually called Zanni; the
hunchback Pulcinella; and another old man, somewhat different from the first two.
The oldest masks in Commedia dell’Arte were outrageously grotesque. They covered the whole face, except lips and chin
and were made from a skin that was stretched on a wooden mould, or from a wax millboard; their colour was usually
brown or black. A mask type was represented by one actor and there are records about actors who played their personages
until an old age. When a famous actor who was known for playing Harlequin (GD Biancolelli) died in Paris, there was news
going around the town: Arlequin est mort.
A lasting legacy
Because Commedia was alive and well during Shakespeare’s time, he was greatly influenced by its style. Italian names are
pervasive throughout his plays, and the similarities between his characters and plots are particularly evident in a farce like
The Taming of the Shrew or The Comedy of Errors. In the first Folio text, an old and foolish suitor to Bianca is referred to
as “Gremio a Pantelowne.” The impact of Commedia can also be seen in French pantomime, the English harlequinade,
Moliere, and even today, in the work from artists like Nobel Prize-winning playwright Dario Fo.
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Worksheet 5: Situations Bridge 1: The Cherry Orchard
Two characters (A and B) of contrasting status.
−− A is an old servant who is very happy in his job and proud to be a servant.
−− B is a young servant who thinks he is destined for better things but he still has to
work.
−− A must get B to move a box from one side of the room to the other.
−− B must find as many reasons as possible not to do it.
−− You must not talk in the scene, but you can vocalise noises (mutters, grunts,
sniffs etc...)
Three characters (A, B and C) of contrasting status.
−− A and B are in love and only want to hold hands.
−− C is As older sibling and doesn’t think B is good enough for A so wants to split
them up!
−− Begin the scene with A and B meeting secretly in the woods and bring C in at
an appropriate time.
−− C must find as many (non violent) ways to split them up as possible.
−− You must not talk in the scene, but you can vocalise noises (mutters,
sighs, sniffs etc...)
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Worksheet 6: Scenarios
Bridge 1: The Cherry Orchard
GROUP ONE
GROUP TWO
Characters
−− A wealthy widow
−− A disobedient servant
−− A needy neighbour
Character
−− A talkative uncle
−− An over-excited girl
−− A sensible sister
Scene
Both the servant and the neighbour want money
from the widow but she only has enough to give
to one person.
Scene
The sensible sister wants everyone to go to bed
as it’s late but she is struggling to persuade the
others.
Focus
Decide what each character wants from the scene
or from the other characters and they must stay
focused on that objective.
Focus
Decide what each character wants from the
scene or from the other characters and they
must stay focused on that objective.
Pointer
Think about the previous exercises you’ve done
regarding status play and showing your characters
and see if those ideas can be incorporated.
Pointer
Think about the previous exercises you’ve
done regarding status play and showing
your characters and see if those ideas can be
incorporated.
GROUP THREE
GROUP FOUR
Characters
−− A clumsy clerk
−− A ditzy maidservant
−− An arrogant footman
Characters
−− A rich man who used to be a servant
−− An overly generous sister
−− A forgetful brother
Scene
The maidservant is almost engaged to the clerk
but is in love with the footman; she doesn’t want
to break it off with the clerk but wants to be
alone with the footman.
Scene
The rich man wants to help the brother and the
sister but they are constantly distracted by other
things.
Focus
Decide what each character wants from the scene
or from the other characters and they must stay
focused on that objective.
Focus
Decide what each character wants from the
scene or from the other characters and they
must stay focused on that objective.
Pointer
Pointer
Think about the previous exercises you’ve
Think about the previous exercises you’ve done
done regarding status play and showing
regarding status play and showing your characters your characters and see if those ideas can be
and see if those ideas can be incorporated.
incorporated.
20