Little Angel Theatre                             and Royal Shakespeare Company                          present           ...
Introduction to the pack and other useful resourcesThis pack is designed to support your visit to the show            One ...
Background information:                                                                                                Joh...
The Story of The TempestThe play begins with a storm at sea. Twelve years agoProspero, the Duke of Milan, was usurped by h...
The Tempest with puppetsThe first decision faced by Peter Glanville, the script           As well as the seagulls other de...
Where to start?Shakespeare begins his play with a storm. There are, of            When they get to other side of the circl...
Act 1 Scene 2 – The back-storyIn this scene Prospero’s daughter Miranda comes to him              Text fragmentsto tell of...
Arriving on the islandProspero and Miranda land on a remote island. Exactly               Extension activitieswhat that is...
Caliban                                       Caliban (Alec Clunes)                                       The Tempest 1957...
Designing and making puppets - CalibanThe puppet for Caliban was designed and made by                    Make your own pup...
Designing and making puppets - Caliban                                                                                    ...
Designing and making puppets - CalibanMake Your Own Caliban PuppetResearch1. Pick out words and phrases from the text that...
Designing and making puppets - CalibanInspired by Lyndie’s design using coiled cane tocreate the movement in Caliban’s tor...
Designing and making puppets - ArielAriel – Ariel is represented by two different               Ariel’s Storypuppets. The ...
Additional Activities   Before seeing the show                                         A spell for a stormPredicting the s...
Resources and Links                                      Useful resourceswww.littleangeltheatre.comMore information about ...
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Little angel-rsc-tempest-education-pack-2011

  1. 1. Little Angel Theatre and Royal Shakespeare Company present The TempestEducation and Participation Resource Pack Written for Little Angel Theatre by Sarah Schofield Royal Shakespeare Company activities written by Miles Tandy Little Angel Theatre 14 Dagmar Passage, Islington, London, N1 2DN 0207 226 1787
  2. 2. Introduction to the pack and other useful resourcesThis pack is designed to support your visit to the show One recommended book for KS2 focusing onand includes information and resources about the The Tempest with a simplified version of the storyprocess of creating this production of The Tempest, told in rhyming couplets and basic ideas forthe decisions that were made in the research and writing and activities based on the story is:development stages, the designing and puppet makingstages and the rehearsal rooms. Shakespeare Can Be Fun: The Tempest for kids by Lois Burdett £5.95 published by FireflyThe pack includes suggestions for activities related to Books and available from the RSC website.the production that are geared towards Key Stage Twoand Lower Key Stage Three but can be adapted forolder or younger pupils.Our production is an edited version of the full length playusing Shakespeare’s words and this pack contains extractsfrom the script. Within it the RSC have created a resource ofactivities which act as ways in to the language, play andthemes for you and your students. We believe the best wayfor young people to explore Shakespeare’s texts is on theirfeet. For KS3 as well as using the full length versionThis pack is designed to help you explore the plot, of the play we recommend:characters and themes of The Tempest in your own school. Itis based on the three principles of the Royal Shakespeare Manga Shakespeare: The Tempest £7.99Company’s manifesto for Shakespeare in schools, Stand up available from the RSC websitefor Shakespeare. The three principles are: Illustrated by leading UK manga artists, this Do it on your feet series feeds into the growing popularity of See it live manga worldwide, and presents Shakespeares Start it earlier classic works in a highly visual and dynamic form. Shakespeares tale of fantasy has fascinatedThe suggested activities can be done in your classroom (or audiences for centuries. This is the perfecthall or studio space) either before you come to see the show, platform for a new generation to fall in love withafterwards, or a combination of both. All the activities Shakespeares genius.exemplify the ‘Do it on your feet’ principle: children will geta deeper understanding of the play, its language and themes, Other resources you might find useful whenif they are up on their feet enjoying playful, active practically teaching Shakespeare with studentsexploration together. They have been designed with KS2 can be found on the RSC website.and KS3 students in mind, but can be readily adapted for age groups. Page 2 
  3. 3. Background information: John Wright The Little Angel Theatre Theatre founderThe Little Angel TheatreDedicated to Puppetry Over the next 30 years, the Little Angel team created and performed over 30 full-scale shows,John Wright, the founder of The Little Angel Theatre with John and his wife Lyndie designing, making,was born in South Africa in 1906. He travelled to England performing and directing as they establishedin 1935 and worked as an assistant stage manager for the Little Angel as ‘The Home of British Puppetry.’Ballet Rambert while studying at the Central School of Art Little Angel shows were taken to 23and Design. It was during this time he saw a puppet International Festivals, representing Britain.performance by Podrecca’s Piccoli and became hooked. John Wright died in 1991 but the work of theJohn made his very first puppet in 1938. theatre continued apace. 2011 is our 50th anniversary, so look out for lots of excitingHe returned to South Africa at the outbreak of the shows and projects. www.littleangeltheatre.comSecond World War and continued to make and performwith puppets in his home country. When the war ended he The Little Angel Theatre and The RSCreturned to England, overland, performing with his The Tempest is the second collaboration betweenpuppets along the way. the two companies, the first being Venus and Adonis which was staged in both Stratford and atIn 1961 John and his troupe found a derelict The Little Angel Theatre in 2004 and revived intemperance hall in Islington and transformed it into a 2007. The Tempest team includes puppetsmagical little theatre, specially designed for the designed and made by Little Angel Theatrepresentation of marionette shows. It opened on Saturday founder member Lyndie Wright, direction and24th November 1961 as ‘The Little Angel Marionette script edited by Little Angel Theatre artisticTheatre’. This was to be the first purpose built puppet director Peter Glanvilletheatre the country had seen for many years and the onlyone with a permanent long string marionette bridgeconstructed backstage. The bridge was designed forpuppeteers to stand on while they manipulate longstringed puppets who perform on the stage below leavingthe audience unable to see the puppeteers. The originalbridge is used to this day. The theatre has a traditional‘proscenium arch’ and seats 100 audience members. ‘Venus and Adonis’ puppets by Lyndie Wright from the 2004 RSC and Little Angel collaboration Page 3 
  4. 4. The Story of The TempestThe play begins with a storm at sea. Twelve years agoProspero, the Duke of Milan, was usurped by his brotherAntonio with the support of Alonso, King of Naples, andthe king’s brother Sebastian. But for the help of Alonso’sadvisor, Gonzalo, he would have been killed with his onlydaughter Miranda. Gonzalo furnished them with themeans to survive, including Prospero’s precious books,and cast them to sea. They eventually landed on a remoteisland, once ruled by the witch Sycorax, but now inhabitedby her only son Caliban.Upon his arrival Prospero released Ariel, a powerful spiritwho had been enslaved then imprisoned by Sycoraxbefore she died. Ariel promised to remain in Prospero’s Caliban by Ellie Kurttzservice for the next thirteen years. He adopted Caliban as astudent and taught him with Miranda, until he attemptedto assault her. On the island the stranded travellers are separated, with the invisible Ariel directing their wanderings. TheProspero, aware that this is an auspicious day, has seen King of Naples searches for his son Ferdinand,that a passing ship contains his brother and the co- fearing he has drowned. The king’s brother plots toconspirators. Prospero commands Ariel to raise a storm to kill him and seize the crown. The drunken butler,shipwreck the usurpers, so he can execute his revenge. Stephano, and the chef Trinculo, encounter Caliban and are persuaded to kill Prospero so they can rule the island. Ferdinand meets Miranda and the two fall instantly in love. Prospero sets heavy tasks to test Ferdinand and when he is satisfied that he has met all the challenges, Photo shows David Prospero presents the young couple with a betrothal Fielder (Prospero) and ceremony celebrating, and testing, their new unity. Jonathan Storey (Ariel) in the Little Angel RSC Tempest As Prospero’s plan draws to its climax, he vows that Photo by Ellie Kurttz upon its completion he will abandon his magic arts. © RSC Ariel brings the king and his followers to Prospero and he confronts his enemies. Finally, Prospero grants Ariel his freedom and prepares to leave the island for Milan and his Dukedom. Page 4 
  5. 5. The Tempest with puppetsThe first decision faced by Peter Glanville, the script As well as the seagulls other design and performanceeditor and director was which parts of the play and which elements help to set the scene of ‘an island’ includingof Shakespeare’s characters would be represented with the set and sounds before a word is even spoken.puppetry. There is a clear divide between the indigenouscreatures of the island, and those who have landed there as As this is a small scale production designed to transfervisitors. This has informed some of the choices about the between two theatres the set is very simple and staysuse of puppets. the same throughout the whole play.The Seagulls – Peter wanted the seagulls to represent The set is integral for setting the scene of the islandnature and the natural inhabitants of the island. Their and also represents different elements as well as beingpresence also makes it very clear right from the start that extremely functional (performers and puppets can sitthis is an island surrounded by sea. The gulls are the first and stand on the set where necessary).thing the audience see’s, but when Prospero enters they flyaway as if disturbed by his presence. We see them again at The curved structures that make up most of the setthe end as balance and the natural order of things is represent the waves that surround the island, thereturned to the island. carcass of the wrecked ship and the destruction of nature and balance on the island.Ariel – As a creature of the Island and ‘spirit’ it was The production also features wire sculpted shadowdecided that Ariel would be represented by a puppet. The puppets behind a boat sail shadow screen as well asbeauty of puppetry means that puppets are free to do vicious dogs and an unappetising dinner!whatever you need them to do, so flying and ‘shapeshifting’ are not a problem for this character.Caliban – Often portrayed by an actor as a ‘slave’ andmore human than monster Peter decided that our Calibanwould be more monster than man and with the freedomof puppetry to design a character from scratch this was anopportunity not to be missed. Page 5 
  6. 6. Where to start?Shakespeare begins his play with a storm. There are, of When they get to other side of the circle, they ‘tag’course, countless ways that this can be done on stage and another student who will be the next to run acrossyour pupils will enjoy creating their own version. You may with a line of their own. As they get more confident,choose to make the storm together as your first activity, or you can have more than one student crossing theyou may decide to explore the back story first (see page 6 circle at a time – this will create a controlled, butfor the back story exercise), and then build up to very spectacular effect.Prospero’s sighting of the ship and his use of his magic tocreate it. If you have a parachute available, another variation could be to perform your voice and body stormSeat your students in a circle and begin an exploration of while creating the effect of waves with everyonethe voice and body sounds (clapping, clicking, stamping seated around the parachute. Then you can add in aetc.) we can use to create a storm together. Experiment by version of the parachute game ‘sharks’: one playerbeginning slowly , for example, with very gentle clapping goes under the parachute, moves around the circleor clicking to suggest rainfall, and gradually adding sounds and taps another on the foot. This player must thenas the storm builds. The students will soon realise that this disappear beneath the ‘waves’ (the parachute),can work really well if someone (you or one of the screaming a line from the play as they go. Thestudents) takes the role of a ‘conductor’, bringing players player that tapped them on the foot comes out fromin and controlling the build-up to a deafening and under the parachute, they swap places and the gametempestuous storm. You might also try starting with a continues.huge and dramatic crash straight away. What matters mostis that your students understand that they can make Text Fragmentschoices about how they do this, but that those choicesshould be informed by the impact they want to have on anaudience. ‘Take in the topsail’Once you have created an effective storm with voice and ‘Tend to th’master’s whistle’body sounds, try adding percussion instruments andmaybe experimenting with other sounds, using furniture ‘Blow, till thou burst thy wind, if roomand other objects around the room. enough’Over the sound of the storm you have created together, ‘Down with the topmast! Yare! Lower,you can add in some lines from the opening Act 1 Scene 1 lower!’(see opposite for text fragments). ‘A plague upon this howling!’If you have the students seated in a circle to perform theirstorm, individuals can run across the circle calling out one ‘Lay her ahold, ahold!’of the lines as they go – they will need to make sure theycan be heard above the tempest! ‘All lost! To prayers, to prayers! All lost!’ ‘Mercy on us! – We split, we split! – Farewell my wife and children!’ Page 6 
  7. 7. Act 1 Scene 2 – The back-storyIn this scene Prospero’s daughter Miranda comes to him Text fragmentsto tell of her distress at seeing the poor sailors suffer fromthe shipwreck. He tells her they have come to no harm, ‘Thy father was the Duke of Milanand continues to explain how he and Miranda came to be And a prince of power.’on the island: how he was usurped by his brother Antonio;how Antonio had plotted with Alonso, King of Naples ‘The government I cast upon my brotherand Prospero’s enemy; and how, but for a kind and loyal And to my state grew stranger, beingservant called Gonzalo, Prospero and Miranda might have transportedbeen killed. And rapt in secret studies.’Divide the students into groups. Give each group a ‘In my false brotherfragment of text from Prospero’s lines (see opposite for Awakened an evil naturetext fragments) and ask them to make a short moving The King of Naples, being an enemyimage that includes that line. Encourage them to be To me inveterate, hearkens my brother’s suit’creative with this, perhaps using the line more than once,perhaps including other non-verbal sounds. Encourage the ‘Fated to th’pupose, did Antonio openstudents to avoid being too literal in what they do, The gates of Milan, and i’th’dead of darknesscombining sound, words and movement to create the The ministers for th’purpose hurried thencefeeling of the line. Me and thy crying self.’ ‘In few, they hurried us aboard a barque,With younger pupils you will probably want to tell the Bore us some leagues to sea’back story first, perhaps getting some of them up to act itout as you describe what happened. But with older ‘A rotten carcass of a butt, not rigged,students you may prefer to assemble their voice and Nor tackle, sail, nor mast: the very ratsmovement pieces into a single piece first, before Instinctively have quit it.’discussing the story that they tell. ‘To cry to th’sea that roared to us; to sigh To th’winds, whose pity sighing back again, Did us but loving wrong.’ ‘Thou wast that did preserve me. Thou didst smile, Infusèd with a fortitude from heaven’ ‘Knowing I loved my books, he furnished me From mine own library with volumes that I prize above my dukedom’ Page 7 
  8. 8. Arriving on the islandProspero and Miranda land on a remote island. Exactly Extension activitieswhat that island is like is open to all sorts of You can develop their ideas through drawing andinterpretation: it might be anything from a tropical painting, by creating their own models and designs forparadise to an arctic wasteland. the island, or by using a range of cloths, camouflage nets etc. to create a whole environment in yourYou and your students can create your own version of classroom.the island using a ‘word carpet’. You will need a goodnumber (enough for 2 or 3 per student) of scraps of A5 Meeting Calibanpaper and some large marker pens. Caliban is referred to in a number of ways:Create a word carpetAsk the students about the sort of island they imagine A freckled whelp, hag-born – not honouredProspero and Miranda arriving on. One might say, for with a human shapeexample, that they landed on a beach of golden sand.Write the phrase ‘beach of golden sand’ on one of the Thou poisonous slave, got by the devil himselfscraps of paper and place it on the floor. Thou most lying slaveWalking a little way from it, ask what you would see ifyou crossed the beach. Add this idea on a second piece Abhorrèd slaveof paper and put that on the floor. Ask the students to move around the room on theShow how this technique can be used to build on each command ‘go’ and stop on the command ‘stop’.other’s ideas to create an entire island of words withscraps of paper all over the floor. As they write and add After each ‘stop’, get them to make an immediatetheir own scraps to the word carpet, encourage the physical representation of the phrase you call out fromstudents to use rich descriptive language to give a sense the list above. Take time to look at examples of theirof what different parts of their island are like. representations of Caliban, but keep the activity pacey so that you get spontaneous, physical responses. YouNow show them how to take a partner on a ‘guided can use each phrase a number of times, encouraging thetour’ of the island. students to come up with a fresh interpretation eachYour partner closes his/her eyes and you lead them time.Now talk about the kind of character Calibanthrough the landscape of words, describing what you seems to be. You might also talk about the kindnesssee as you go, by using words and phrases from the that Prospero and Miranda showed him to begin with,word carpet. teaching him language and offering him ‘water with berries in’t’.Having represented Caliban physically, get the students to think about how they might costumeWhen everyone has had a go at leading and being led, him. They can draw their ideas, or you might like totalk about the kind of island they have created and how offer them a range of fabrics and other resources toProspero and Miranda might have felt when they first create their own ways of dressing him. Then look atarrived. some examples from past RSC productions (see the next page for photographs) and compare these with the students’ ideas and the way Caliban is represented in the Little Angel production. Page 8 
  9. 9. Caliban Caliban (Alec Clunes) The Tempest 1957 Directed by Peter Brook Photo by Angus Mcbean © RSCProspero (Alec McCowen, left) &Caliban (David Troughton, right) The Tempest 1993 Directed by Sam Mendes Photo by Reg Wilson © RSC Prospero (Patrick Stewart, left) & Caliban (John Light, right) The Tempest 2006 Directed by Rupert Goold Photo by Manuel Harlan © RSC Page 9 
  10. 10. Designing and making puppets - CalibanThe puppet for Caliban was designed and made by Make your own puppets!Lyndie Wright. Peter wanted the puppet to be large When you design and make a puppet make sure youand lumbering in contrast to the small light footed think about these things:Ariel puppet. Lyndie thought about howShakespeare described Caliban as half man half fish • Decide on the character first (before youand took that as her starting point, researching start drawing or making). Is it a person, anmythical underwater beasts. animal or a made up creature? Is it a character for a show you will be performing?The process of designing and making a puppet What is that character like? Match theinvolves not only thinking about what it will look character with a suitable puppet stylelike, but then also thinking about its movement. (marionette, glove, rod, finger, shadow etc.)How will it move? (what mechanisms will be used?) • Decide what your puppet will need to do if itWhat movements does it need to make according to is performing in a show (walk, swim, fly, nod,the script? What materials will be used to create the wave?) Which parts need to move or not?best effect along with being hard wearing and lightfor continuous use? Materials Remember that puppets have to be held up andCaliban is a rod puppet manipulated with rods on moved by a puppeteer so choose light materials.the back of the head, elbows and legs. It is If you make your puppet too heavy you won’t beconstructed using cane for the ‘ribs’, foam, papier- able to use it! Why not make an eco-friendlymâché and leather for his skin. All lightweight junk puppet from boxes/containers/oldmaterials, particularly important for such a large magazines and wrappingpuppet! He is manipulated by two puppeteers and paper/tubs/tubes/wool/string/clothes/bottlesvoiced by one of them. etc that would otherwise be thrown away? .Accompanying pictures illustrating the design • Draw a design for the puppet andprocess. remember to include: 1. What materials you will need. 1. Collecting pictures of ‘fish like’ creatures as a starting point and to get inspiration. 2. Which parts of the puppet will move – How? 2. Sketching of initial ideas for designs 3. Will any parts be jointed? (elbows or knees) 3. A small clay model of the chosen design to 4. Don’t forget to draw the get an idea of how it would look in 3D. rods/strings/controls etc that move the 4. A small model of the chosen design, to look puppet so that you know where they will go. at ideas for materials and how the finished 5. How will you fix the parts of the puppet puppet will move and look. together? 5. Caliban’s original face, which was removed 6. How you will show your puppet’s character? as Lyndie was not quite happy with his (facial expression, clothes, decoration) expression or the way it moved, so the rod on the back was altered and a new face designed. • As you make your puppet test it out as you 6. The finished puppet in rehearsals. go. Is it strong enough to use? Are the details clear (will an audience be able to see the face from a distance?) Does it move in the places it is supposed to? Page 10 
  11. 11. Designing and making puppets - Caliban 4. Model1. Collage of fish creatures 5. Calibans 1st face 2. Initial sketch 3. Clay 3D model 6. Finished puppet in rehearsal Page 11 
  12. 12. Designing and making puppets - CalibanMake Your Own Caliban PuppetResearch1. Pick out words and phrases from the text thatdescribe Caliban (some examples below from ourversion of the play).“Save for the son that she did litter here, a freckledWhelp hag-born – not honour’d with a humanshape.”“What have we here? A man or a fish? Dead or William Hogarth’s vision ofalive? A fish: he smells like a fish; a very ancient Caliban. Researching otherand fish-like smell. A strange fish. Legged like a people’s ideas of how Calibanman and his fins like arms! This is no fish, but an looks can inspire ideas forislander, that hath lately suffered by a thunderbolt.” your own design.“Why, thou deboshed fish thou, was there ever man Ideas for Puppet Typesa coward that hath drunk so much sack as I today?Wilt thou tell a monstrous lie, being but half a fish Shadow puppetsand half a monster?” Cut out black card. Shadow puppets can be jointed using split pins and cut out details added (using“Moon Calf” coloured tissue paper or cellophane). Sticks can be attached using self adhesive velcro. This allows for2. Create a collage of images found on the the sticks to be removed or adjusted into differentinternet or sketches of ideas that you could draw on positions.for inspiration. Research how Caliban has beenrepresented in other theatre or film versions of The Glove/hand puppetsTempest and take any particular features that you For younger children using socks as a starting point,like from these. pushing the toes into the hand to create a mouth is always a simple and effective way of creating a3. Draw a design of how your Caliban puppet puppet. Use long socks that go up the arm to createwill look thinking about what type of puppet it will an elongated body for Calibans ‘fish like’ frame. Usebe, what materials you might use, which parts will fabric, card, netting, feathers, decorative items tomove and how. individualise and accessorise the puppets. Staples or copydex glue work best for fixing on to fabric.4. Make a model/practice puppet. This couldbe a quick clay version to give a sense of your Table top rod puppetpuppet in 3D or a scaled down version using similar Use the instruction sheet as a starting point for amaterials. simple table top puppet version of Caliban. This would be for an upright puppet. Page 12 
  13. 13. Designing and making puppets - CalibanInspired by Lyndie’s design using coiled cane tocreate the movement in Caliban’s torso, you can trymaking your own ‘bouncing’ rod puppet.Materials:Paper cupsBBQ skewers (as thick as possible)NewspaperMasking tapeFeltString fig 1 fig 2CardDecorative paper and other items as required 1. Scrunch a ball of newspaper on to the end 5. Decorate the body. Flowing fabrics and of a BBQ skewer. Scrunch it roughly into decorative items with movement will add the shape of Caliban’s head you would like more life to the puppet (see fig 2). to create. Hold it together and in place on the end of the stick using masking tape. 6. Finish decorating the head with eyes, tongue, hair etc to create the effect you want to 2. Cover the masking tape using papier-mâché achieve. (Note, if you use something shiny (start with newspaper then use paper in for the eye’s it gives more life to the puppet). Caliban’s skin tone) . You can also add more shape and features such as noses and 7. Insert the stick with the head through the eye sockets by adding smaller balls of ‘bottom’ of the cup (use something sharp to newspaper in the right places. If using make a hole). tissue paper to colour the head let the newspaper base dry first or this can get 8. Secure the head with masking tape on the messy! underside of the bottom of the cup so that it does not slip out. 3. Leave the head on a stick to dry thoroughly. 9. Due to the ‘bounce’ created by the body this 4. Take a paper cup and cut a spiral to emulate puppet could be left as it is in its most simple the flexible body of our Caliban puppet, form. leaving the ‘bottom’ of the cup intact (see fig 1). 10. You can add felt arms by stapling them to the cup. These can be manipulated by holding the ends of the hands or by attaching a rod at the ends. Page 13 
  14. 14. Designing and making puppets - ArielAriel – Ariel is represented by two different Ariel’s Storypuppets. The nature of the character involvesit’s capability to transform, so the two puppets, The decision to change the puppet made for Ariel is aas well as being able to move in different ways reflection of his personality which has been shaped by hisare slightly different in looks. The ‘flying’ Ariel life as a slave, first to Sycorax and then Prospero.has feathered wings and a tail that the rod Although Prospero released Ariel from the witch’s prisonpuppet version does not have. he was not truly free.The final design of Ariel was actually a second In groups tell Ariel’s story using Prospero’s lines from theversion. The original design was rejected by scriptthe designer and director as they felt it looked • Frozen images‘too friendly and clown like’. It was agreed • Frozen images with character thoughtsthat Ariel had a darker side and they wanted • Bringing the images to lifethis too be represented more clearly in thepuppet. Image 1 – This blue-eyed witch was hither brought with The original Ariel child and here was left by the sailors. Thou, my slave, As design with a clown-like face... thou report’st thyself, wast then her servant. Image 2 – And for thou wast a spirit too delicate to act her earthy and abhorr’d commands, refusing her grand hests. Image 3 – She did confine thee, by help of her more potent ministers and her most unmitigable rage, into a cloven pine Image 4 – within which rift imprison’d thou didst painfully remain a dozen years; within which space she died and left thee there. Image 5 – Then was this island – save for the son that she did litter here, a freckled whelp hag-born – not honour’d with a human shape. Image 6 – It was mine art, when I arrived and heard thee, that made gape the pine and let thee out. ... and the finished design with a less friendly face. Page 14 
  15. 15. Additional Activities Before seeing the show A spell for a stormPredicting the story Using the words and phrases from your ‘word carpet’ that you created earlier, get the students to composeIf the students have not yet seen the play, get them the spell that might have been in Prospero’s books ofto create tableaux and / or short scenes to predict magic that he used to create the storm.what might happen once Prospero has used theshipwreck to bring his enemies to the island. With younger pupils, you may choose to do this by taking the role of Prospero yourself and putting the • What will he do to his brother Antonio and students in role as the spirits who live on the island. King Alonso? Talk to them about the character of Ariel and how he works for Prospero – in effect they are creating Ariel as a collective role and helping Prospero to put his • What might happen when Miranda and spell together. Ferdinand meet? Their list of ‘ingredients’ might include things like: • Who else might be on the ship? Claw of crab from silver shore • What might Caliban do if he meets strangers on the island? Conjured clouds that darken and broodIf the students have already seen the play, ask them As they put their ideas together, show them howto create these tableaux or short scenes to predict these can be combined and edited to create awhat might happen when everyone returns to Milan. complete spell. • Do they all get along or is there more trouble? • Does Prospero keep his pledge to give up his magic? • Does Ferdinand become Duke and, if so, does he make a good ruler? Photo shows Jonathan Dixon (Caliban) and Brett Brown (Stephano) in the Little Angel RSC Tempest Photo by Ellie Kurttz © RSC Page 15 
  16. 16. Resources and Links Useful resourceswww.littleangeltheatre.comMore information about the history of the theatre and future puppet shows and workshops, including our Shakespeare Company website of the puppets for the production being made photos from the puppets being made in the workshop on Little Angel Theatre Flickr pagewww.bbcshop.comShakespeare’s Animated tales. The Bards most best-loved tales come to life in this vibrant animated collection.Volume 3 includes hamlet and The Tempest. the Fantastic Mr Fox puppets from our production and see how they work.Designed and made by Peter O’Rourke. Film clip. extracts from our production of ‘The Fabulous Flutterbys’. Film clip.www.facebook.comMake friends with Little Angel Theatre and RSC to keep up to date with the latest newsLittle Angel Theatre has some related items on sale.Ask when you visit: Little Angel Theatre Puppetry Scheme of WorkIncluding detailed lesson plans & templates for delivering puppetry in the Primary classroom,with links to literacy - £7 offers a free resource library for teachers via their website Page 16