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Yh H (   * P n| [ 8  )TU{MJm$I\'] _M -m     g7 h   >   BG U H Y1    d C %  $UC4 y7ufT_l9_n3 !ch^0q l&<Zh#7R` 2?Zt?!t@zwD@  XoR]/H_fX.J~cJL'2: bFd~CCxnlAll CategoriesLC:\Program Files\Common Files\Microsoft Shared\Clipart\CagCat50\EN00378_.wmf KkQuill96 Story Group Class9q FMicrosoft Publisher 3.0MSPublisher.39qCompObj9VCONTENTSCompObj^SummaryInformation(eCHNKINK TEXTTEXT`{FDPPFDPP~FDPPFDPPFDPCFDPCFDPCFDPCFDPCFDPCSTSHSTSHSTSHSTSH<SYIDSYIDZ\SGP SGP INK INK BTEPPLC Ĉ BTECPLC (FONTFONT STRSPLC ҉MCLDMCLD0 The Boss is a particularly sneaky kind of man . He listens to all the gossip and then starts to divide the work-force against each other. He tells one person one thing and another something else. The workforce then start to argue amongst themselves. In our scene, although this is a comedy, it is black humour because when the audience has laughed they may well think&  Oh dear, that s not really funny at all and may think about what the man is actually doing to his men. Niemoeller s poem was a clear signal that this was a personal response to his experience of the war and the Jews& an oppressed and hated group of people in Germany. Hitler s system of eliminating anyone or anything he did not consider fitted his ideal of the Aryan Race was largely visited upon Jews, gypsies and homosexuals. The leaflet on  Bullying is a modern publication and focuses on a problem many young people have to cope with in today s society& .in school, at home and later on at work there are many places in which people get bullied and many reasons for doing so. Both stimuli relate to the theme of abuse of power and powerlessness and are ideal starting points for drama. Script - The Interrogation Lubitz - prisoner Schmidt - interrogator Setting - a small, dark cell. Lubitz is curled up in a blanket, he is clearly not comfortable. The only sound is of water dripping ceaselessly. He coughs intermittently. After some moments a harsh light is switched on giving the impression of a door which has been opened. The sound of a door opening is also heard. Schmidt - (Harshly) Up on your feet, Lubitz! Quickly! Lubitz struggles with his blanket but rises unsteadily, shielding his eyes. Schmidt - Well, Pastor, we meet at last& ..are you ready to answer some questions? Lubitz - I have nothing more to say. Schmidt - You don t seem to realise the seriousness of your position, Lubitz. You have been found guilty of fraternising with Jews. For what purpose? Lubitz - I have merely helped them to buy food and basic provisions. That is not an un-Christian thing to do, I think. Schmidt - It is not a patriotic thing to do, Lubitz, You know that Hitler has decreed that the Jews are to be considered outcasts, to be treated as less than animals. You are a fool to have done this. Why do you persist in trying to undermine the fatherland? Lubitz - Why do you try to mis-interpret the gospels and teaching of Christ? Schmidt - You re a fool, man! Why are you in here? Lubitz - The question surely is& & & why are you not? Schmidt tense with rage stands in front of Lubitz for a moment or two, his hands and body tense with his anger and hatred. Then he quickly turns around, leaves the cell and the sound of a door banging shut is heard while the cell is once more plunged into darkness. Lubitz sinks down into his former position. The Development Phase  AO2  Pastor Neimoeller A. Student  GCSE 2002/3 Edexcel Candidate number : 0000 Centre number: 23256 Diary of Abraham Levi - written in Dachau I don t think that I will last until tomorrow evening, an certainly that is my hope as then I will surely avoid a horrible death in the  shower block . I sleep little now as I seem to hear the wails and shouts of the day s poor unfortunates who formed the day s quota. I don t know which is worse& .hearing their dreadful cries of anguish or removing the bodies afterwards and taking from the bodies the hair, gold teeth or jewellery which the Nazi bastards want to sell. I thought my heart would break entirely when I saw Ezra lying there lifeless under the heap of distorted limbs& . A lifelong friend, a good and kind man always& dying like an animal in that charnel house. I dare not think of my wife or children& ..O God! Release me& .release me! Either my heart will explode with anger or sorrow& .. why does the world not see? Why do they stand by and do nothing? The Response Phase  AO1  Pastor Neimoeller A. Student  GCSE 2002/3 Edexcel Candidate number : 0000 Centre number: 23256 STILL IMAGES We did some still images relating to each stimulus and tried to show the fear of the victims and the cruelty of their oppressors. One example was how the Jews had to bury their own dead and then throw themselves into the pit to be shot. We showed a series of linked images which illustrated this. Another image was of a group of Jews being taken away while ordinary German citizens looked on without helping. Using the second stimulus we showed a series of images of children being intimidated at the school gate and others pretending not to notice and another of a person sat alone with everyone else turning their backs on him. I got a really strong sense of the same type of feelings in both situations& although the Jews died which illustrates the level of fear and intimidation that occurred. HOT-SEATING The still images gave us a sense of character& .and when we further hot-seated these I found a great deal of fear, sadness and confusion was a part of every victim s character. One person felt that he would like to commit suicide& .but the thought of his wife stopped him. The exercise also gave us ideas for scenarios like the one in which the two German children who played together before the war were forbidden to see each other again when the war started& and then the non-Jew finds out that his friend has been taken away. Sometimes it was hard to tell which characters were from which time period and situation as they were so similar. Later, we used the  hot-seating idea and changed it into an interrogation between a German officer and a Jew and this formed part of our eventual drama. We decided to make our drama jump backwards and forwards in time  cross-cutting in order to show the similarities between the situation in the past and in the present...as if it was a warning for people to be careful, it can easily develop into prejudice and persecution. We used different lighting for each era  a red hue for the past during the war and straightforward naturalistic lighting for the present day. In this way we hoped the audience would realise that we were exploring the two eras in order to convey our ideas about bullying. ROLE ON THE WALL This was useful as we were able to view our own characters and have other people make their contributions to give greater detail. For example, the German officer who had to interview the Pastor about the poem which he was distributing to other people was found to be someone who really wanted to make his father proud of him. He felt that if he got higher and higher up the ranks his father would like him more. His cruelty to the Jews was something he liked to do& .but he knew that he had to do it anyway so that he might get promotion. In the other work on the other stimulus, the bully had a father who beat him and put him down a lot& .so he took it out on weaker people. Again, there was some similarity between the characters and their reasons for being like they were. FORM We did a sort of documentary drama which linked the two ideas& ..we wanted to make the point that it isn t a big step from a playground bully to a sort of Hitler figure. We had the German soldiers and the bullies played by the same characters and the victims of the Germans were also the victims of the bullies. We thought about changing them around& which would have been a bit ironic& .but decided that it might give the message that if you are bullied then you have an excuse to be a bully at another time. Doing it this way gave it a sense of continuity. We used a split-stage in parts of our drama to make the point that they were so similar& .sometimes the words of each bully and victim were exactly the same to underline the point. At other times we used still image on one side and brought it to life on the other side. The Evaluative Phase  AO4  Pastor Neimoeller A. Student  GCSE 2002/3 Edexcel Candidate number : 0000 Centre number: 23256 CONCLUSIONS We realised how very similar the two ideas were, that the weak or different people were always the victims and that unless you are in a position of power it is very hard to take a stand against what is happening. NEWS REPORT We used a news reporter to interview various characters and to narrate parts of the drama so that an overview of the situations could be given, and to draw the similarities to the audience' attention. The news report form also provided the means to show photographs using still images and  film clips . We used photographs of the Jews digging graves and begging on the streets, and the bullies laughing about the money they d taken from their victim with the victim lying on his stomach beneath them. We used  film clips of marching soldiers and the gang approaching their victim, and Hitler inspecting the soldiers with a Jew who had been beaten up held between them and a teacher lining up his class& with the victim pushed to the back. Mime with voice over was used when a Jew was stoned to death and a victim of bullies was being jeered at by a crowd of children in a playground. We had one victim who played both the Jew and the bullied child and each side of the acting area represented the German people and the bullies both focusing on the one victim. We hoped here to make a strong statement about the similarities of the situations. CONVENTIONS News report - we used a news reporter to interview various characters and to narrate parts of the drama so that an overview of the situations could be given, and to draw the similarities to the audience' attention. The news report form also provided the means to show photographs using still images and  film clips . We used photographs of the Jews digging graves and begging on the streets, and the bullies laughing about the money they d taken from their victim with the victim lying on his stomach beneath them. We used  film clips of marching soldiers and the gang approaching their victim, and Hitler inspecting the soldiers with a Jew who had been beaten up held between them and a teacher lining up his class& with the victim pushed to the back. Mime with voice over was used when a Jew was stoned to death and a victim of bullies was being jeered at by a crowd of children in a playground. We had one victim who played both the Jew and the bullied child and each side of the acting area represented the German people and the bullies both focusing on the one victim. We hoped here to make a strong statement about the similarities of the situations. MY CHARACTER We realised that we would have to have the various characters play two roles& . One in the past and one in the present so that the audience could make the link between the two. So, for example, I played the long-suffering Jewish Lubitz in the past (who is incarcerated in the prison cam) and in the present I play the friend who tags along but who doesn t say a great deal. Consequently, I am always getting into trouble by people who pick on me for NOT speaking up to agree with the bully/Boss. MIME and SLOW MOTION We realised that if we performed the sequence about the bullying and the beating prior to the interrogation at life speed it would perhaps not have the same impact on the audience. We decided, therefore to do this section in mime and slow-motion so that the audience would be able to appreciate the links from one to another (especially as certain parts of the movement sequences were the same) and would then be able to draw their conclusions about the similarity of the situations. It took some time to get the sequences as we wanted them but the use of music helped. ONE WORD SCENES We decided to use this convention during the bullies meeting...to make them appear rather thick and lacking in normal powers of speech. We added to this effect by having them in postures of  macho boys who just try to make everyone afraid of them by their very presence. We added to this a little by having the other characters react in large gestures of fear etc when they turn up to the playground. EVALUATION OF THE GROUP: I thought that some members of the group really worked hard to bring the work together. For example, Jane was really the driving force behind how we structured the Slow-motion mime section of the work. She has done some dance and because of this she had choreography skills that we used in this section. After a while we got to see for ourselves how the  stage pictures looked and were able to position ourselves for the best proxemics to communicate the ideas we had. As we became more involved with the work our energy levels were better and this gave the work more  punch and a greater impact. When we were constantly going over the same pieces of work, Mrs Chesney said that we were stuck...otherwise we d have moved on in the work. When we got stuck ...and it happened a few times., we found that we would each have to make one suggestion for a way of working, or for an image and this was enough to get us going again. I liked the way that our work became more powerful as we got the lighting and sound sorted out. It was quite amazing that the music, especially, really helped us with the atmosphere. The performance to the other drama group also helped us to see what sections of the work needed to be thought out better& as from their feedback we realised that we had not made some of it very clear. However, another two sessions starting from scratch in those sections sorted it our. EVALUATION OF SELF and PERSONAL VIEW: I was pleased with the outcome of my character from the present day, although less pleased with the character from the past. The present day character seemed easier to develop, in a way because of being able to model it, to some extent , on people I see around school. The body language, manner of speech and sneering laugh I took directly from someone I see at school almost everyday. I seemed to get stuck with my other character, though, because I didn t want to make them too alike and eventually it came out rather vague and lacking a proper personality. I felt that the way in which we had captured the sense of fear of the Jews was good and how we also realised the sorts of lives they were forced to live. However, we looked  Schindler s List which put it all in perspective for us and helped us to relate the bullying of people throughout the world. We also realised that since the destruction of the Twin towers in NY that even now, Muslims have to endure a similar sort of hostility. I am not entirely happy with the work although generally pleased. If we could do it again I think that it would be best to have two levels/platforms on the stage instead of the one we used. Also, I think that the split-focus work would have been easier to light if we had used two platforms and would have been easier to understand. Monologue of Thomas after the intimidation of Jimmy: Turns to the audience, still laughing about Jimmy  then the smile fades and he speaks: Don t ask me why I do it, don t look at me that way. It s not something I m proud of...but what can you do when it s either you or them (head nods towards Jimmy s silently weeping figure). I knew right from the start of the first year that Jimmy was marked out for beatings...it was something about the way he walked and the bag that he carried. Sad, though, coz I know he s OK...he only lives round the corner from me and he s got no dad. The way he walks around with his glasses slipping down his nose doesn t help& . People like  The Boss just see him and think  Victim!! . The Boss can suss out any weakness and play on it& . I should know, he does it to me from time to time, when there s no-one else to pick on. No, I m not proud of meself, but what would you do in my position? Eh? 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