based on The Panchatantra, India’s Aesop’s Fables … Arts & Polka...They were often from a set of Amar Chitra Katha comic books, which illuminated with words and pictures, a story

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Polka Theatre, 240 Broadway, Wimbledon, SW19 1SB +44 (0)20 8543 4888 www.polkatheatre.com

Polka is a registered charity no. 256979, company no. 938592, VAT no. 238 9709 18

based on The Panchatantra, India’s Aesop’s Fables.

Teacher Resource Pack

National tour

September 2018 to March 2019

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http://www.polkatheatre.com/





a new play by Tara Arts and Polka Theatre

by Shamser Sinha

for ages 7 to 12 years

based on The Panchatantra, India’s Aesop’s Fables.

Near the foothills of the Himalayas, three orphans open a magical book

under a Banyan tree. They were told the book wouldn’t give them

answers but they’d learn from it, so they stir a pot of milk and watch as

three stories of the forest rise from the pages. Stories of a headstrong

Crow, a Mongoose who wants a family, and a brave Tiger come vibrantly

to life, with masks, movement and music.

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Dear Teacher,

Tara Arts & Polka’s production of Three Sat Under the Banyan Tree was written

by Shamser Sinha. The exercises in this pack have been devised to support

pupil’s engagement in the play before and after seeing the performance. The

curriculum activities are suitable for Key Stages 2 and 3, years 3 – 6 with

extensions to modify the activity for the age and ability of the group.

How to use this pack:

Part 1: Pre-Show Activities

Older pupils will enjoy reading our interview with writer, Shamser Sinha who

shares his experiences of how he first became a playwright. Use the pre-show

activities on pages 6 and 7 to help familiarize your pupils with the characters and

world of the stories. The discussion activity on page 7 can introduce pupils to

fables and anticipate the morals and learning they can take away from the

stories in the play.

Part 2: Post-Show Activities

The activities on pages 8-11 encourage pupils to research other stories from the

Panchatantra to adapt into a performance or to consider how the morals from

the stories in Three Sat Under the Banyan Tree could apply to life today.

The practical drama exercises on pages 12 - 19 include warm-ups to enable

pupils to engage imaginatively with the characters from the story and reflective

exercises to explore the themes. Finally, there are suggested activities to

develop pupil’s ideas and performance skills into small group performances that

can be shared in the class or in an assembly.

Part 3: Shadow Puppetry

In the last part of our activity pack we have included instructions for pupils to

make their own shadow puppets inspired by the play or to create their own

stories.

Enjoy the show!

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An Interview with the Writer: Shamser Sinha

1. When did you first become interested in writing plays?

I never had drama lessons at school. And we never read any plays either. After

leaving primary school, I didn’t have an English lesson for 2 years because of a

teacher’s strike and a staff shortage. So, the world of theatre didn’t enter my

universe until one day about 8 years ago when my friend decided she didn’t

fancy watching Transformers in the cinema and dragged me to a play about

teenagers in Hackney – not far from Leytonstone where I grew up. It connected

with me and my experience working with young people in Hackney and so it was

then I became interested in writing a play and so I did. I was lucky as it won an

award and was put on at The Finborough Theatre. Looking back to primary

school though, I did love writing stories. I could make things up without having

to worry about rules and grammar. But I probably learnt grammar by having fun

making stories. So, without George Tomlinson Primary School I probably

wouldn’t be a playwright.

2. What topics do you like to write about?

I like writing about children, young people, anyone really who is at the wrong

end of money, fortune and the wars we fight.

3. Did you read the Panchatantra tales as a child?

I read different stories from India some of which were from The Panchatantra

even though I didn’t know that then. They were often from a set of Amar Chitra

Katha comic books, which illuminated with words and pictures, a story that I

could imagine even further in my head.

4. Why did you choose a mixture of humans and animals as your characters?

Some of the stories in the Panchatantra just have animals, others have animals

and humans.

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5. Why did you choose the crow, mongoose and tiger stories?

I wanted to tell a set of stories that had characters at the centre of them who

were young and vulnerable and had to figure things out for themselves. Adults

don’t always act the way they should and they certainly don’t always know

everything. This resonates with my experience of working with vulnerable

children and teenagers, who had to figure what to do, why and when. Some

were child refugees, many were orphans, and others had been treated badly by

schools, the police or the immigration authorities. When I thought of that and

the Panchatantra, I thought of what happens to the Crow, Mongoose and Tiger.

6. What is the Banyan Tree, and why did you include this in the title?

Various stories from The Panchatantra have the Banyan Tree in them, and it felt

like I could build a magical world from the tree, its branches and the beat of

animal feet. The Banyan Tree is a massive tree with many twining branches. It

starts out as a seed that grows in a hole or crevice of another tree.

7. What do you want your audience to experience and what messages from

the play do you want them to think about?

I want the audience to be thrilled because they’re stories that we’re less used to

encountering in the UK. The words, sounds, music and masks are used to tell

stories whose meaning you might want to think about yourself. They do not

propose morals like the ‘good’ or ‘bad’ that we’re used to getting from stories in

the UK. Instead, the story offers up different paths and choices. What do you

think the stories mean? That’s something I’m hoping the children and adults

ponder.

As for a message, that’s a tricky one. I think be skeptical of what you’re told,

think of why it might be true and why it might not be. So, when you decide to

believe in something, it’s something that resonates with you. Very important if

you are a child who is navigating through life and will grow up in the world

adults are messing up.

8. What advice would you give young writers?

In your stories, make up the world you want to write. Not the world people want

you to write. Don’t get stuck on what people say is great writing if you don’t like

it, or the definitive way of doing something, if you don’t want to do it that way.

strike - to refuse to continue working. resonate - to produce a positive or powerful personal response. skeptical - having or showing doubt; questioning. definitive – considered to be the best of its type.

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Part One: Pre-show Activities

Read the summary of the play below and choose a word from the box to fill in

the gaps.

The title of the play comes from the ____________ tree which is frequently

mentioned in The Panchatantra stories.

The play begins with the Three Shoemakers, Mahendra (12), ____________ (9) and

Jayaben (6) who are hiding from the King and the war. Their father, not their

birth father but a ____________ man who adopted and looked after them was

sentenced to death by the King. The Father worked for the King as a ___________.

Sick of making swords and ______________ he wanted to make shoes, because

many in the Kingdom were shoeless. The father disobeyed the King and was

sent to his death. The children ran away and hid in the __________. Now they

have nothing but their shoemaking skills, the trees and the book the Father gave

them, “The _________________.”

The play is about the 3 ___________ refugee shoe makers exploring the book’s

stories. But it is also about children developing the ability to think for

_____________ as they may at one time or another face _____________ and

obstacles in their lives. Rather than “right” or “wrong”, the stories encourage us

to think about __________ and consequences and the different _____________ we

can choose.

Panchatantra themselves kindly actions weapons Banyan Maker barriers pathways orphan forest Yasmin

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How can fables teach us morals?

Look at these common sayings: what is the moral?

Don’t judge a book by its cover.

A watched pot never boils.

Fools rush in where angels fear to tread.

Don’t put all your eggs in one basket.

Look before you leap.

A leopard cannot change its spots.

A picture paints a thousand words.

An apple a day keeps the doctor away

The Panchatantra The Panchatantra is an ancient collection of Indian animal fables that were believed to have been originally written in Sanskrit by Vishnu Sharma more than 2500 years ago. It is believed that the stories were written to educate and entertain the children of the royal family. Each of the stories in the Panchatantra uses animal characters to present a moral or idea.

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Part Two: Post-show Activities

What do you think are the morals or lessons learnt in the 3 stories in Three Sat Under the Banyan Tree?

Draw a line to match the story to an idea or moral:

Story 1: The crows and owls are at war. Tarabai, a young crow is constantly told by her uncle to build nests and hide, although she just wants to play. Story 2: A woman adopts a mongoose as a pet for her young child. The woman sees and treats the mongoose differently to her child, which saddens the mongoose. Story 3: A tiger and jackal are ordered by the Lion King to kill a beast accused of disrupting the balance of the forest.

Be true to yourself even when others treat you differently. Sometimes we need to follow our conscience as well as doing our duty. We can make our own decisions even when our opponents are bigger than us.

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Draw a picture to show how one of these moral lessons could relate to our lives today.

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Stories from The Panchatantra

1. Using the internet, ask pupils to research and read some of the other Panchatantra stories. Choose one to read together as a whole class or divide the class into groups and assign each group a different story.

2. Give the students the template on the next page to create a storyboard of the beginning, middle and end of the story / stories you have read. Alternatively, pupils can use their drawing on page 9 as the starting point to create their own original modern-day story with a moral.

3. Pupils draw a picture to show the sequence of events in the story and write sentences to describe what is happening under the picture.

4. They can include speech and thought bubbles to show what the characters are thinking and saying.

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Story Title: __________________________________________

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Part Two: Post-show Drama Activities Warm Ups Stop / Go Begin a game of STOP and GO; ask the children to move about the space on their own, without walking into or touching another person. When you say STOP, ask them to stop where they are as still as a statue; comment on those who have focus and concentration. When you say GO, ask them to move off. Repeat a few times to build up discipline in the game. Now explain that when you say STOP you are going to introduce a few of the characters we have met in the play. Ask them to use facial expressions and body language to embody the character: Tarabai, the young Crow Tawny the Tiger (with a tummy ache). Foe Crusher, the Owl King Suranga, the ape. Make Me A…: Divide the participants into groups of around five or six. Call out, ‘Make me a…’ and then choose an object or scene that relates to the play. For example, ‘Make me a… …Banyan Tree.’ …crow’s nest.’ …King Cobra’ …an elephant.’ The groups then have to the count of ten to use their bodies to make that thing. They should be encouraged to work in silence. When they are ready, they should freeze in position. Give the groups an opportunity to look at each other. Extensions: It can be fun to bring the object or scene to life on the count of three, encouraging the groups to think about appropriate movement and sound. For older groups, try qualifying the noun with an adjective, for example, ‘a lonely spider’, ‘an enchanted castle.’ etc.

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Almonds and Walnuts, Frogs and Mice: A variation on Grandmother’s footsteps. The group stands at one end of the room. “Crow” (Grandmother) stands at the other with a ball at her feet. She turns her back and begins to say ‘Almonds and walnuts, frogs and mice.’ She turns and faces the group of “owls” on the word ‘mice’. When she has her back turned, the group must sneak up on her. When she is facing the group they must be completely still. If they move they must return to the back of the room. When the group reaches Grandmother, they must attempt to steal the ball and, passing it between them, return it to the back of the room. Every time Grandmother faces the group, she has one guess at who has the ball. If she gets it right, the ball is returned to her and the game begins again. If she gets it wrong, the game continues. The group wins by taking the ball all the way to their end of the room. Rhythm Detectives Ask the children to stand in a circle. Choose one volunteer to be the detective. The detective must stand in a corner of the room facing the wall or covering their eyes whilst you choose the leader by tapping them gently on the shoulder. The leader will wave to the whole group so everyone knows who they are following. This is all done silently so the detective cannot hear. Explain to the class that they should focus their eyes on the person standing opposite them in the circle and use this focus as well as their peripheral vision to follow the leader's movements – if they all stare directly at the leader the detective will guess the leader's identity straight away. Ask the detective to re-join the group and stand in the centre of the circle. The detective has three chances to guess who the leader is. Each member of the class should be following the movements of the person standing opposite them. The leader should try to use their hands and feet to create a rhythm such as clicking fingers, tapping or clapping for the circle to follow. In the play, the actors use different rhythms to suggest different emotions and the characteristics of the animals.

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Forest Soundscapes First, ask everyone in the group to close their eyes and imagine the forest where the three children are hiding. In particular, ask them to think about what sounds they might hear there. Tell them that, in a moment, you would like them to make one of these sounds; this could be vocal, or made using the body or the floor. When you give the cue, ask everyone to make their sound and to keep repeating it until you tell them to stop. When you have finished, discuss the impact of the soundscape with the group. Was it effective? Did anyone have a particular picture in their mind when you heard the sounds? Conducted Soundscapes As above, but using a conductor. The conductor will point to people when it’s time for them to start making their sound and will agree a signal for ‘stop’. Other signals can be built in along the way if appropriate, for example raising and lowering volume, speeding up or slowing down. In this version, it is easier to hear contributions from individuals before building up into a whole group soundscape. Once signals have been agreed, you can pass the responsibility (and power!) of conducting to members of the group. Small Group Soundscapes: After the initial whole group soundscape, split into smaller groups of around 5. Ask each group to consider the emotion or atmosphere they would like to evoke. Encourage them to play with where they place the audience. How close will they come to the audience? Do they perform behind the audience members’ backs? Could the audience be enclosed by performers? There should be time to play with lots of different ways to make sounds, perhaps introducing simple instruments too. Once the audience is seated each time, ask them to close their eyes and listen carefully to each group’s performance. Ask for feedback on what was successful, what images or feelings came to mind etc.

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Reflecting on the Play: Opinion Lines: Place two signs ‘agree’ and ‘disagree’ at opposite sides of the room. Tell your group to think of this as a line; it is a sliding scale. Explain to your group that when you say a statement, for example, Tawny was wrong to not follow the King’s orders, they should find a place to stand on the line to show how much they agree or disagree with what you’ve said. Choose a few people to explain why they’ve chosen to stand where they have. Encourage them to give as many reasons as they can. You are likely to find that the children’s reasons spark new statements to try. Extension: Instead of asking participants to explain their own position on the line, ask them to justify somebody else’s position. For example, if child A strongly agrees ask them to give you reasons on behalf of child B, who strongly disagrees. This is an excellent way to encourage your group to look at all sides of an argument and to try to understand other people’s ideas. They will probably find this difficult but it’s worth persevering!

Read the interview with actress Rose Marie-Christian https://lovelondonloveculture.com/2018/09/28/interview-with-rose-marie-christian/

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https://lovelondonloveculture.com/2018/09/28/interview-with-rose-marie-christian/







Performing the Script In pairs, read through the script extract on the following pages from the story Tawny the Tiger. Ask students to act out the script thinking about how they can add tension to the scene. Consider:

• Pauses • Changes in volume • Contrasts between slow and sudden movements.

Ask pairs to show their scene or moments from their scene with the class.

(There is a loud noise)

Tawny:

You heard that?

Veer:

Thunder? But there’s no clouds

Tawny:

That’s not thunder. I see eyes

Veer:

Yeah, yeah so do I.

(Suddenly, there is another booming sound)

Where is it?

Tawny:

Who could move like that?

(Another boom)

Veer:

The grass is swaying. But there’s no one there. A demon? What do you

think Tawny?

Tawny:

Maybe an elephant?

Veer:

A demon elephant!

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Tawny:

Could be…

Veer:

It’s not come out

Tawny:

Maybe there’s two of them, or even three

Veer:

Where is it then? It’s scared

Tawny:

It sounds fierce

Veer:

Fierce but scared, that’s why it’s not come out

Tawny:

An animal in fear attacks.

(Another louder boom. Veer starts skulking)

What are you doing?

Veer:

One thing I can do is creep. And creep silently. I’ll spy on it. You stay

here. (Veer goes to look.) O, o. (Gathers courage) I am fierce. A fierce

Jackal!

(Boom)

(Veer returns) I’m scared

(Boom)

And it’s coming

(Boom)

I can-n-n-n. I c-c-c- can’t step out and face it. It’s coming to eat us

(Boom) It’s your job. Your duty. The King said so.

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Hot Seating Ask two children to sit on chairs in front of the group. Explain that they are friends Tawny the Tiger and Veer the Jackal who have now met the “beast” that the King instructed Tawny to kill. Facilitate the group in asking the two characters questions to uncover their thoughts and feelings. Reinforce that the two children being Hot Seated must stay in character but they can choose not to answer a question if they don’t want to. As a variation, the Hot Seating can be done in small groups or in pairs with each person taking turns to be either Tawny or Veer while their partner interviews them. Conscience Alley Through this technique, the class can further explore Tawny’s dilemma. Ask the class to stand in two lines facing each other. Ask one student, to symbolically be Tawny and walk slowly between the two lines. As Tawny passes each pair they say aloud the thoughts that he might be thinking. This can be done with the students holding arms up and holding hands with the person opposite them to create an arch and a tunnel effect. Extension: Experiment with one line saying aloud the opinions Tawny would hear from Veer and the other expressing Surunga’s.

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Creating a Performance: Beginning, Middle, End Working in groups of 4 or 5, ask the children to come up with three key moments in one of the stories in Three Sat Under the Banyan Tree or one of the other Panchatantra stories they have read or their own story. If you have made storyboards of the stories (see page 11), students can look at these for support. Each group must come up with a freeze frame for each of these important moments. Encourage them to use exaggerated facial expressions and body language and use different levels to create an interesting image. Extension 1: Bring the freeze frames to life by thought tracking each of the characters. Explain that when you tap them on the shoulder, they must say exactly what their character is feeling at that moment. Extension 2: Ask each group to come up with movements that they can use as transitions between the three freeze frames. Give groups a count down from 10 to move between the freeze frames. Explore using music or rhythmic sounds to support the transitions. Creating a Short Performance

Use the previous exercise to create the main structure of the performance and allocate students to add narration to each of the freeze frames. The narrator can stand apart from the freeze frame or one of the characters can “step out” of the picture to narrate the action and then return to their place in the image. Depending on the ability of each group, more freeze frames, lines of dialogue and movement can be added. The story can continue to be a sequence of freeze frames or can be acted out. Ask the groups to begin and end with a freeze frame that they hold for 3 seconds to maintain a clear beginning and end to their performance. These can then be shared with the rest of the class or in an assembly inspired by the visit to see Three Sat Under the Banyan Tree.

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How to Make a Shadow Puppet (A)

What you will need:

- Coloured card

- Scissors

- Masking tape

- Lollipop sticks

Instructions:

1) Draw an outline of your animal on an A4 piece of

coloured card.

2) Cut out the outline of your animal using scissors.

3) Draw on/ decorate, or cut holes in your animal in the places where the

eyes, nose and mouth are.

4) Tear off a small piece of masking tape and

attach a lollipop stick to the back of your

animal.

5) Your shadow puppet is ready to use!

Part Three: Shadow Puppets

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Here are a few templates to give you some ideas!

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How to Make a Shadow Puppet (B)

What you will need:

- Coloured card

- Scissors

- Brass paper fasteners

- Sharp pencils

- Masking tape

- Glue

- Wooden skewers/ straws

Instructions:

1) Lay the card flat, and draw individual

body parts of the animal

2) Using scissors, cut out each body part separately.

3) Poke holes into the card at the points where

the limbs connect to each other, using a sharp

pencil.

4) Secure the limbs using brass paper fasteners,

by putting fasteners through the front of the

puppet, then turning the puppet over, and

securing the fasteners at the back

5) Attach skewers or straws to each limb at the

back with masking tape and glue, so that you

can hold the animal and move the limbs.

6) Your puppet is ready to use! Experiment by moving the limbs around with

the wooden skewers.

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How to Make a Shadow Puppet Theatre

What you will need:

- 1 big cardboard box

- 1 sheet of tissue paper, tracing paper, or white fabric

(large enough to cover one side of the cardboard box)

- Scissors

- Sticky tape/ masking tape

- Lamp/ large torch

Alternatively, if you have an overhead projector to project the puppets onto the

screen you can use this as your theatre.

Instructions

1) Using scissors, cut out the back panel of your box.

2) Cut out the front flaps ( ) of the cardboard box, leaving

the side flaps attached to rest the theatre on the table.

3) Cut out a smaller square from the front panel of the

cardboard box.

4) On the inside of the box, using tape, attach a sheet of

tissue/ tracing paper or white material to cover the

opening you have just cut out.

5) Position the theatre on the edge of a table

6) Place a torch/ lamp behind, lighting up the tissue paper

7) Your theatre is ready to use! Place your puppets in

between the light source and the screen, and put on a shadow puppet

show!

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Thank you!

We hope you have enjoyed Three Sat Under the Banyan Tree and your visit to Polka Theatre on national tour with Tara Arts www.tara-arts.com/news/tara-arts-co-

production-with-polka-theatre-three-sat-under-the-banyan-tree We can also provide plenty of opportunities for follow-up activities. Polka’s experienced team of actors, directors, storytellers and puppeteers are on hand to deliver a range of workshops in your school. We can create a bespoke workshop for you and your pupils based on the play you have seen or to introduce your pupils to your next curriculum topic. Whether it’s a puppet-making session exploring your favourite pets, a storytelling masterclass to celebrate World Book Day, a drama workshop discovering the wonderful women who have changed the course of history or a chance to develop your poetry skills – we will create a tailor-made workshop for you and your pupils. For more information, please visit our websites: www.tara-arts.com/get-involved/education

polkatheatre.com/home/schools/

Or contact Abigail, Polka’s Schools Relationship Officer to request a workshop enquiry form: [email protected] Or contact Tara Arts at [email protected]

We will look forward to seeing you soon!

Best wishes,

The Creative Learning Teams

www.tara-arts.com


http://www.tara-arts.com/news/tara-arts-co-production-with-polka-theatre-three-sat-under-the-banyan-tree

http://www.tara-arts.com/news/tara-arts-co-production-with-polka-theatre-three-sat-under-the-banyan-tree

http://www.tara-arts.com/get-involved/education

https://polkatheatre.com/home/schools/

mailto:[email protected]

mailto:[email protected]





FIRST ELIZABETH AWARD FOR DEBUT PERFORMANCE

Tara Arts is delighted to announce a new Award made possible through a generous donation.

The Elisabeth Award for Debut Performance is designed to support drama school graduates take their first steps towards a professional career.

The inaugural year of the Award supports Raj Swamy, a graduate of E15 Acting School, joining the company in its co-production with Polka Theatre of Three Sat Under the Banyan Tree.

We are delighted our Tara Friends scheme has taken a significant step in ensuring the sustained participation of more diverse performers in the theatre industry.

Raj Swamy

Raj Swamy is making his professional debut with Tara Arts since graduating from East 15 Acting School, where he studied BA World Performance. Raj has been involved in television productions such as Bad Education and Birds of a Feather and recently played the role of Kharak in feature film Red Joan alongside Judi Dench.

www.tara-arts.com


https://www.tara-arts.com/blog/three-sat-under-the-banyan-tree

https://polkatheatre.com/event/banyantree/

https://polkatheatre.com/event/banyantree/

Documents

based on The Panchatantra, India’s Aesop’s Fables … Arts & Polka...They were often from a set of Amar Chitra Katha comic books, which illuminated with words and pictures, a story