SILENT MOVIES by Georgina Christou Extracted from Scene ... - Ista

SILENT MOVIES by Georgina Christou
Extracted from Scene 2011-12 March Issue 3

and funding for butoh in New York, partnering with Japan
Society and receiving support from the Rockefeller Multi-Arts
Production Fund, among other institutions. The fi rst festival
featured Waguri Yukio (Tokyo), SU-EN (Sweden – former
student of Ashikawa Yoko and member of Gnome), Shinonome
(Tokyo), Joan Laage (Seattle), Shinichi Koga (San Francisco),
and Zack Fuller (New York). After three biennial festivals with
extensive performance, lecture, fi lm screenings, and workshops
in 2003, 2005, and 2007, the organizers transitioned the format
into its current NY Butoh-kan model, focusing on ongoing
workshops with more than 18 different teachers, and training
the next generation of dancers (340 unique students to date).
They continue to co-produce performances for visiting masters
with partner organizations such as Dance New Amsterdam,
though not on the scale of the earlier festivals. They have
facilitated opportunities for local dancers to perform in the
works of visiting butoh masters, including Kasai Akira (Butoh
America presented by Japan Society), Murobushi Ko (Furnace
presented at Dixon Place), and Waguri Yukio (Labyrinth of Body
presented at CAVE).
New York being the large arts community that it is, there
are other artists and producers that present various workshops
and performances with butoh masters. These include Frenchborn
butoh dancer Vangeline, who founded Vangeline Theater
in 2002 and frequently presents Diego Piñon and Katsura Kan,
as well as coordinates a project for incarcerated women to
study butoh. Vangeline’s work focuses on ritual and healing,
infl uenced by Piñon’s Butoh Ritual Mexicano.
New York is a transient and disparate artistic community,
though, and without the continuous presence of a butoh
master like the Tamanos, who founded the fi rst American butoh
community in San Francisco, where they taught and created
work for more than 40 years, there is no consistent style or
lineage visible among the many artistic groups here that claim
butoh as a guiding infl uence in their work. At the same time,
there is also a great deal of experimentation – artists exploring
intersections of butoh with theater, digital and visual arts, music
and vocal improvisation, and burlesque. Perhaps this irreverent
mixing is necessary to bring butoh into its future potential (which
is also ironically returning it to its roots as an experimental art
form). Still, one needs a solid foundation and deep engagement
with any language if one is to learn how to use it properly.
Yoshito commented that Hijikata fi rst built something that he
could then break. Many students came to Hijikata with no prior
dance or movement training, and so he taught them ballet as
a foundation. In his own movement vocabulary, Hijikata mixed
ballet, German Neu Tanz, and pantomime. Yoshito is critical
of the younger generation of dancers who “just jump into the
butoh world with no practice.” He says, “People cannot make
a revolution if they don’t have a foundation,” so they should
“make fi rst, then break.”
Sources:
Anderson, Jack. “Dance in Review: Poppo and the Go-Go Boys
La Mama.” New York Times. October 25, 1993
Garnica, Ximena. Personal email to author, November 26, 2011.
Kuniyoshi, Kazuko. “Butoh Chronology: 1959-1984.” The
Drama Review: TDR , Vol. 30, No. 2 (Summer, 1986), pp.
127-141
Ono, Yoshito. Personal interview with the author, November
8, 2010.
Schechner, Richard, “Kazuo Ohno Doesn’t Commute,” The
Drama Review: TDR, Vol. 30, No. 2 (Summer, 1986), pp. 163-
169.
Stein, Bonnie Sue. “Butoh: Twenty Years Ago We Were Crazy,
Dirty, and Mad.” The Drama Review: TDR , Vol. 30, No. 2
(Summer, 1986), pp. 107-126
www.cavearts.org
www.eikoandkoma.org
www.jinen-butoh.com
www.kazuoohnodancestudio.com
SILENT
MOVIES
By georgina Christou
The need to fi ll a silence during performance is one of the main
misconceptions for drama students. But acting without words is what truly
turns a student into an actor. Silent Movies is the fi rst unit I look at when the
students enter the drama program in Year 7. Making them aware that they
are always acting because in reality over 70% of how we communicate is
through non-verbal communications and let’s face it, actions speak louder
than words.
Year 7 Silent Movies
About the unit
This unit looks at how silent movies are created. It focuses
specifi cally on the use of non-verbal communications such as facial
expressions, body language and exaggeration. Students work
towards creating their own silent movie for assessment.
Aims
• To explore through drama skills and conventions the genre of
‘silent movies’.
• To become familiar with working with a variety of students in a
productive way to create creative performances.
• To develop skills needed to create an original silent movie.
Essential Questions
Do we really need to speak to communicate
Objectives
• To be able to improve physical control
• To exaggerate movements and facial expressions
• To respond to different pieces of music
• To work with others to create a performance
• To respond through mime to a story
• To create an ending, with the help of others
• To be able to create an original silent movie
Lesson Mapping
Lesson 1 – Introduction to Mime
Lesson 2 – The fi ght/chase
Lesson 3 – Mood Music
Lesson 4 – The Poor Wretch
Lesson 5&6 – An original Silent Movie (Assessment)
Resources
Instrumental music
The Pink Panther theme tune
Charlie Chaplin Clip – YouTube
Placard – Example attached to unit
Blank Paper
Felt Pens / Pencils
The Poor Wretch – Story attached to unit
54 Issue 3 | 2011-12 March | Scene

Lesson 1 – Focus: Exaggeration
Resources
1) Music
2) YouTube clips – Charlie Chaplin and mime
Objective:
• To improve physical control
• To exaggerate movements and facial expressions
Starter / Introduction:
Introduce Mime.
Show a picture of Charlie Chaplin and ask members of the class if they know who
he is.
Show a short clip from ‘City Lights’
• Discussion on silent movies – can you understand what is going on even though
there is no dialogue
• What else do they use to aid the storyline (music, placards)
Inform the class that in 5 weeks they will create their own Silent Movie.
Development:
Starter – whole class
Going round the circle each student must mime receiving a gift box and opening
it to reveal what is inside. (teacher to model first) Students can decide the size of
their box.
Pairs
Ask the students to imagine that they are throwing a tennis ball to one another.
• stop them and model some good examples
• ask them to re-do the exercise particularly focusing on their eye line and
‘seeing’ the ball
*Please note: you may also play around with the size and weight of the ball to
make the exercise fun!
Task – individually
Each student must create an exaggerated mime of trying to frantically tear up a
piece of paper BUT no matter how hard they try It will not tear!!
Now ask the students to try and pick up a coin that is stuck to the floor – again no
matter how hard they try it will not budge!
*Add music to the previous task. (slow, depressing track followed by an upbeat
track)
Q. How does music change the scene
Q. Does it help to inform us about character
Task – Groups of 4
Working as a team try and dislodge a chair stuck to the ground. Remember to
exaggerate!
Task – Groups of 4 / 5
Create a routine that has a clear beginning, middle and an end that involves sticky
glue.
Q. How can we make this funny
Q. How can exaggeration be used
Watch and evaluate
Q. Identify a specific moment when the group used clear exaggeration.
Key Words:
• Exaggeration
• Music
Lesson 2 – Focus: Placards
Resources
1) Paper
2) Felt tips / colored pencils
3) Example of a placard
Objective:
• To improve physical control
• To exaggerate movements and facial expressions
Introduction (Or Starter):
Starter: going around the circle students must mime an everyday activity – others to guess. Teacher to model first.
If necessary show another silent movie clip (recommended – The General from YouTube)
Recap learning so far.
Development:
Task – individual
Ask students to mime the following actions on the spot;
• Running,
• Throwing a punch
• Performing a kick
• Pointing a finger
Experiment with music and how this can change the actions.
Task – Individual
Using still poses ask the students to show these different stock characters;
• A teacher
• A homeless person
• A police officer
• A bully
• A hero
Model good examples as you go along and encourage students to use as much
exaggeration as possible in their facial expressions and body language.
Q. why is (name of student) so successful in their portrayal of (stock character).
Q. what are they doing to make it super clear
Task – Pairs
Use 3 still images to create a non-contact fight scene.
(Make it clear that this work takes the form of still images and it is not an
opportunity to play fight!) Remind students of lesson objectives.
*introduce placards (example words: Pow! Crash! Bang!)
Q. where are these commonly seen (comics)
Ask the students to create one placard per pair to include in their scene.
Task – Pairs
Show a chase scene through 3 still images. Move between each image in slow
motion.
*Ask the class to perform either the fight scene or chase scene.
Class to evaluate in relation to Learning Objectives.
Key Words:
• Exaggeration
• Music
www.ista.co.uk Scene | Issue 3 | 2011-12 March 55

Lesson 3 – Focus: Food / Music
Resources
1) CD
2) Paper
3) Felt Tips / Colored Pencils
Objective:
• To respond to different pieces of music
• To work with others to create a performance.
Starter / Introduction:
Recap learning
What does the key word: plot mean
Development:
Task – small groups
Ask the students to listen to four pieces of music from the classical CD.
On paper each group must mind map any words that come to mind as they
listen to the tracks. (This could include; thoughts, feelings, emotions, pace etc)
Encourage each group to consider possible plots.
Continue with the task until all four tracks have been played. You may want to stop
after each one and ask for feedback from the groups.
Task continues
Ask the students to select one piece of music and create a scene to perform
alongside it.
Encourage them to use the learning from previous lessons.
Task continued
Ask the groups to show their piece to another group before they perform to the
whole class and the teacher. This is an opportunity for students to peer assess and
offer constructive criticism.
Performance and Evaluation
Q. What was successful about your piece
Q. What could you work on for next time
Q. How did the music help to shape your performance
Q. Why is useful to gain advice from other groups before you perform to the
entire class
Q. What does ‘plot’ mean
Key Words:
• Plot
• Mind Map
• Peer Assessment
Lesson 4 – Focus: The Poor Wretch
Resources
1) Poor Wretch Story
2) The Pink Panther theme tune
Objective:
• To respond through mime to a story
• To create an ending to a plot, with the help of others.
Introduction (Or Starter):
Practical warm-up of your choice.
Development:
Task – individual
Teacher narrates the poor wretch story to the class, whilst the class acts out the
movements. Encourage the students to do this alone without interaction with
one another. *Dimming the lights in the room often helps for those more self
conscious.
All students should end up lying on the floor ‘chained to the train tracks’!!
Ask the class to recap what has happened.
Task – Groups 4 / 5
Students must devise the ending to this story. They will all begin at the train tracks.
It can end with a hero/heroine coming to the rescue. It must finish with a still image.
Characters to include (group size permitting)
• poor person
• evil landlord
• evil sidekick
• hero / heroine
• police
*after a few minutes rehearsal stop the class and play the Pink Panther theme tune.
Ask them to perform their ending to this track.
Perform and evaluate
Q. How did they clearly show character
Q. How did music help
Key Words:
• Music
• Character
56 Issue 3 | 2011-12 March | Scene

Lesson 5/6 – Focus: Performance
Resources
1) Video Camera
2) Paper
3) Music
Objective:
• To be able to create an original silent movie
Introduction (Or Starter):
Recap all previous lessons and learning. (Slow motion, placards, use of music, stock characters, exaggeration)
Development:
Assessment Task – groups decided by teacher
Information for the students:
‘In groups you must create a silent movie that has a clear start, middle and an end.
It must last no longer than 3 minutes and incorporates your learning in this topic’.
You will be assessed individually on character and on movement’
Get the students to decide on a plot, structure and characters.
Decide what information can be given to the audience on a placard. Students may
use music.
This assessment can be given in lesson 5 and performed in lesson 6 if preferred.
Perform and teacher to grade (summative assessment)
*silent movies can be video recorded and can form the basis of a self assessment in
addition to the teacher assessment.
Additional information:
Depending on your group you might want to suggest titles as a starting point – for
instance:
• The haunted house
• Surprise!
• The birthday party
• The search
*Students are being assessed on their performance skills.
* Stop the students at a convenient point and go through the assessment criteria.
Key Words:
• Assessment
The Poor Wretch
It’s snowing, it’s very cold – you are shivering.
The house you live in is letting in the wind.
You are starving, you haven’t eaten for days.
You decide to check the cupboards one last time
for something to eat, but they are all empty.
You have an idea! Looking down at your feet
you remove your old boot. Smell the leather –
aaaahhhhh!! Take out the old lace that will do for
dessert. You find an old pan and you take it to
the sink to fill it with water. But alas, the taps are
frozen.
You hobble outside into the snow and collect
some in your pan. You come back inside, shivering
all the time. You find your last match – light it
carefully, light your candle and then hold your pan
over the candle. Slowly the snow begins to melt
and steam rises. You feel better already. Take your
old boot and put it in the pan. Stir it around. Smell
the aroma.
Suddenly you hear a knick at the door. You
ignore it, but it comes again. You go to the door
and open it. There stands the evil landlord and his
more than evil sidekick.
They burst into the room, searching for the
rent, but they find nothing. They march you out of
the house. You plead for mercy, but they force you
to march down the hill. At the bottom of the hill
they tie you to the train track, waiting for the arrival
of the next train!!
OUCH!
The street where I live…
Since moving to Taiwan in 2009 I have
continued to enjoy the extremely safe and
efficient city of Taipei. The local Taiwanese are
kind and welcoming individuals who make you
feel at home even if the vast majority of our
spoken communication is through smiles and
hand gestures (nice ones of course!). Taipei
American School is situated in the heart of the
expat community, Tienmu. We are spoilt for
choice when it comes to eating with a wide
range of western and local restaurants as well
as the popular night markets that specialize in
weird and wonderful foods.
From 2004 – 2010 Taipei’s 101 building held the title as the ‘world’s tallest
building’, it is truly a worthwhile attraction. There are also over 5000 temples
that encourage everyone to join in with their festivals and celebrations.
Although we have our fair share of rain the weather is generally beautifully
warm with clean air and blue skies. During spring, tourists and locals look
forward to the various cherry trees that bloom along the mountains, rivers
and valleys in Taiwan.
www.ista.co.uk Scene | Issue 3 | 2011-12 March 57