BULLY RICHARD - Tara-Artstara-arts.com/media/files/Bully Richard Education...Ratcliffe (Sir Richard Ratcliffe) and Lovel (Lord Lovel) loyal supporters of Richard. BULLY RICHARD Education

BULLY RICHARD

Interactive Drama Workshops for Key Stage Two

Education Resource Pack

created by Helen Cadbury

BULLY RICHARD Education Resource Pack

TARA ARTS 356 Garratt Lane London SW18 4ES Tel: + 44 (0) 20 8333 4457 Fax: + (0) 20 8870 9540 www.tara-arts.com

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Shakespeare’s infamous villain will stop at nothing to become king. In his vicious ascent to the English throne, he displays all the classic hallmarks of a bully – he enjoys power, expects people around him to follow his orders, feels insecure and humiliated. This Education Resource Pack provides additional materials to explore the issues raised in the Bully Richard Workshop. It includes advice for dealing with bullying, practical approaches to classroom drama and an introduction to teaching Shakespeare at Key Stage Two. Pages which can be used directly by pupils themselves are labelled classroom activity. Script extracts The company will use a selection of extracts from the text during the workshop. They are reproduced at the end of this pack, for photocopying purposes, with Director’s notes for classroom use after the workshop – it is not necessary for children for study these in advance, as this may pre-empt the practical learning outcomes of the workshop itself. With thanks to:

Greenwich Theatre Kidscape UK NSPCC



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Contents About TARA 4 Introduction by Jatinder Verma – Artistic Director of Tara Arts 5 Shakespeare’s Life And Works 6 The Story Of Richard III 7 Synopsis 7 Character Profiles 8 Richard IIIs Family Tree - Classroom Activity 9 The Wars Of The Roses - Classroom Activity 10 Literacy Worksheet - Classroom Activity 11 Practical Approaches To Drama At Key Stage Two Richard III Mapped To The National Curriculum 12 Games And Exercises – Warming Up for Shakespeare 13 Status Games 14 How to Speak Shakespeare 15 Design Your Own Production TARA Style - Classroom Activity 16 Would You Like To Have Been An Actor In Shakespeare’s Day? - Classroom Activity 17 Tackling Bullying In School - a Checklist For Teachers 18 Dealing With Bullying - advice For Children 19,20 Drama About Bullying: Notes For Teachers 21 Workshop Extracts with Director’s Notes 22-34 Further Resources 35 Feedback Form 36



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ABOUT TARA ARTS no passports

Last year Tara Arts celebrated its 30th birthday. Tara’s three decades of making cross-cultural theatre began on 25th August 1977, with an adaptation of Rabindranath Tagore’s anti-war play, ‘Sacrifice’: this was chosen in part as a response to the death of Gurdip Singh Chaggar, a 17-year old Sikh boy living in Southall, who fell victim to a racist murder. The company’s mission is uncompromisingly modern - no passports. It champions cross-cultural diversity through the production, promotion and development of work that defies all barriers to the imagination.

No passports for the stories we tell No passports for the artists we work with No passports for our audiences

This diversity is reflected in the company’s work: TaraTours – brings vibrant adaptations of European and Asian classics and new writing to theatre venues around the country and abroad; TaraSchools - brings the great stories of the world to children in junior schools, as well as providing workshop residencies; TaraStudio - based in South London, this intimate 50-seater Studio is a creative hotbed for emerging artists, featuring theatre, dance, music and comedy performances and explorations.

“Tara’s work is a terrific synthesis of east and west.” Sir Richard Eyre

“Tara have stretched British cultural life and helped to make those of us with different origins

visible to ourselves and others.” Naseem Khan, OBE

A still from THE TEMPEST - Tara’s 30th anniversary production



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INTRODUCTION Jatinder Verma

Two hundred years ago, Charles and Mary Lamb introduced Shakespeare to children through their wonderful book, ‘Tales from Shakespeare’. Though largely abridged to prose, their Tales, nevertheless, made frequent use of Shakespeare’s own words “as little foretastes of the great pleasure which awaits them in their elder years”. Today, TARA’s intention is that children need not wait to ‘grow up’ before enjoying Shakespeare’s language and characters. We believe that Shakespeare’s language is inherently poetic: conveying meaning through a series of delicately constructed images. Poetry is the stuff of children’s lives today – from rhymes and jingles to raps and songs that are used to convey stories in our media-savvy age. Significantly, Lamb’s Tales did not include Richard III. Perhaps they felt that the character of the villainous king was an unwholesome example to put before young people. For us, however, Richard equates with the bully in the playground, and hence is entirely within the world in which our children grow up – in and out of schools. So the purpose of this workshop programme is twofold: (a) to bring Shakespeare’s Richard III within the imaginative world of children; and (b) to do this via direct experience of his words. All good poetry gives a lifetime of pleasure – if only because it unfolds meanings throughout one’s life. Shakespeare is a life companion for every child today. Jatinder Verma Artistic Director



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SHAKESPEARE’S LIFE AND WORKS Year Shakespeare’s Life Works 1564 Shakespeare Born

1582 Shakespeare Married

1583 Birth of daughter Susanna The Queen's Company formed in London

1585 Birth of twins, Judith and Hamnet

1587-1592 Departure from Stratford Establishment in London as an actor/playwright

The Comedy of Errors Titus Andronicus The Taming of the Shrew Henry VI, 1,2,3 Richard III

1593 Continues to work in London as an actor and playwright

Venus and Adonis Begins writing the Sonnets, probably completed by c.1597 or earlier Two Gentlemen of Verona Love's Labour's Lost

1594 Founding member of the Lord Chamberlain's Men The Rape of Lucrece

1594-1596 Prosperity and recognition as the leading London playwright 1596 Hamnet dies aged 11

A Midsummer Night's Dream Romeo and Juliet Richard II The Merchant of Venice

1597-1599 Purchases New Place, Stratford.

1599 The Globe Theatre built on Bankside. Shakespeare is a shareholder and receives about 10% of the profits

Henry IV,1,2 The Merry Wives of Windsor As You Like It Much Ado About Nothing Henry V Julius Caesar

1600-1608 1601 Shakespeare's father dies

1603 The Lord Chamberlain's Men, now The King's Men, perform at court more than any other company

1608 Shakespeare's mother dies

Twelfth Night Hamlet Troilus & Cressida Alls Well That Ends Well Measure for Measure Othello King Lear Macbeth Antony and Cleopatra Coriolanus Timon of Athens

1609-1611 1609 Publication of the Sonnets Pericles Prince of Tyre Cymbeline The Winter's Tale The Tempest

1623 April 23, 1616 Shakespeare dies and is buried at Holy Trinity Church, Stratford



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THE STORY OF RICHARD III Richard III is based on true historical events, but Shakespeare altered certain things to fit the drama of his play. For example, there is no historical basis for Richard being hunched or particularly ugly. His brother Clarence was at least as scheming as he was, but in the play he is portrayed as being more innocent. The play is also the last in a series of history plays, so sometimes refers to events and characters from the previous plays. This can be confusing for a modern audience, but suggests that Shakespeare’s audience would have followed the histories of their ancient kings in chronological order, watching out for their favourite characters, rather like we watch soap operas. Technically, Margaret would have been dead before the events in Richard III but Shakespeare may have decided that she was too good a character to lose, with her viscous tongue and her curses.

SYNOPSIS As the play begins Richard, Duke of Gloucester, is on the winning side in the battles between the House of York and the House of Lancaster. The Lancastrian King Henry VI and his son have been murdered by Richard and his brother Clarence. Richard’s older brother has become King Edward IV and everything is briefly at peace. However, Richard would like to be King so he plots against his brother Clarence. He persuades Anne, widow of Henry VI’s son, to marry him, in order to strengthen his position. While Richard continues to plot he is cursed by Margaret (who was Queen and wife of the murdered Henry VI). Clarence has prophetic dreams. He does not suspect Richard, whose plot succeeds. Their elder brother, Edward IV, has Clarence executed.

When King Edward IV dies, his son should become King but he is only a

child and Richard is made his protector. Richard locks the child prince and his brother in the Tower. Richard’s former allies, Earl Rivers, Lord Grey and Lord Hastings could stop his rise to power so he has them executed. The Duke of Buckingham, Richard’s friend and ally, persuades the citizens of London to make Richard king. To make sure there is no threat to his crown he has the princes in the Tower murdered. Anne dies, possibly at Richard’s hand. He is now free to marry again and chooses Elizabeth, sister of the two young princes he has killed. A rebellion begins against Richard lead by Henry Tudor, Earl of Richmond. Richard gathers the remains of his allies and meets Henry’s army in battle at Bosworth Field. Richard is defeated, in the end he does not even have a horse and Henry, Earl of Richmond kills him. Richmond is crowned Henry VII, the first Tudor monarch.



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CHARACTER PROFILES

Richard – Duke of Gloucester, later Richard III. A villain. He has no nice side. He is good at convincing people to do what he wants. He is not afraid to fight and has a successful history as a soldier. He tells the audience he is ugly although he manages to win Anne as his wife. The Duke of Buckingham – He becomes Richard’s closest supporter. Richard describes him as “my other self.” He is influential and brings about the citizens’ support of Richard. Clarence – George, Duke of Clarence. Richard’s brother, ahead of him in line to the throne if their brother Edward dies (which he does, by which time Clarence has conveniently been executed). Clarence is portrayed as gentle and trusting and believes Richard is on his side. He has done bad deeds and now thinks they have come back to haunt him. Derby – Lord Stanley, Earl of Derby is the stepfather of Richmond (Henry Tudor) and Richard does not trust him. Derby realises how dangerous Richard is and tries to warn Hastings. Hastings- Lord Hastings, The Lord Chamberlain, holds considerable power. Richard knows that Hastings would be unlikely to support him as monarch. He is a trusting, honest man and does not suspect that Richard is plotting to kill him. Catesby – Sir William Catesby, Richard’s loyal servant. An uncomplicated character who does his master’s bidding, including arranging the murders of the Princes in the Tower. Ratcliffe (Sir Richard Ratcliffe) and Lovel (Lord Lovel) loyal supporters of Richard. Although they don’t appear in the scenes for the workshop, the play also features: Anne – widow of Edward, the son of Henry VI. Against her better judgement, she marries Richard. Elizabeth – wife of Richard’s brother Edward IV and the mother of the Princes, who Richard locks in the Tower. Her daughter Elizabeth is the object of Richard’s affections towards the end of the play. Margaret – widow of Henry VI. She has a sharp tongue and curses Richard calling him a “poisonous bunch-backed toad” and “a hell-hound.”



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Grandparents

Uncle Mum Aunty

Me, my brothers and sisters

RICHARD III’s FAMILY TREE classroom activity

As you can see, Richard’s claim to the throne goes a long way back into his ancestry, but there is a more direct line to the crown, which has passed to his distant cousin Henry VI. Richard’s brothers are also both ahead of him in the queue. His plot to win the crown back for the House of York is fatal for his rivals, but there is a winner. His brother’s daughter Elizabeth finally marries Henry Tudor, who has killed Richard III at the Battle of Bosworth Field. He becomes Henry VII, she becomes Queen and their son is Henry VIII.

WHO DO YOU THINK YOU ARE?

Can you fill in your family tree? How many generations back can you go? Put the names of your family onto your tree. You may need to add branches above or to the sides. Here’s an example.

Richard, Earl of Cambridge (son of 5th son of Edward III) m. Anne Mortimer (great-great-granddaughter of Edward III)

Richard Duke of York m. Cicely Neville

Edward IV

The Princes Edward and

Richard

Elizabeth marries Henry VII

George Duke of Clarence

Richard (III) Duke of Gloucester



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THE WARS OF THE ROSES classroom activity

The Wars of the Roses is the name given to a series of civil wars* between 1455 and 1485. The White rose symbolised, or stood for, the House of York and the Red Rose symbolised the House of Lancaster. When Henry VII defeated Richard III at the Battle of Bosworth Field, he unified the two sides under the Tudor Rose.

Henry’s armies also used the symbol of the red dragon on their flags and banners and Richard’s army used the image of a white boar. Research Activities Does your school have a badge or a symbol? Does your borough or city have an animal or a plant on its official crest? Choose a country and find out if it has a national flower or animal. Design Activity Design a banner for your class showing a plant or an animal. How will you show the personality of your class? Are you brave as a lion or wise as an owl? What colours will you use? Strong reds? Calm blues? If you choose a plant, what are its qualities, for example: is it a beautiful flower or a life giving fruit? * a civil war is a war fought between people of the same country



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LITERACY WORKSHEET classroom activity

Richard III ACT I scene I But I, that am not shaped for sportive tricks, Nor made to court an amorous looking-glass; I, that am rudely stamp'd, and want love's majesty To strut before a wanton ambling nymph; I, that am curtail'd of this fair proportion, Cheated of feature by dissembling nature, Deformed, unfinish'd, sent before my time Into this breathing world, scarce half made up, And that so lamely and unfashionable That dogs bark at me as I halt by them; Why, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to spy my shadow in the sun And descant on mine own deformity: And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days. Q: How many times does Richard say I, me or my in this speech? What impression does that give of his personality? Q: Why do you think the dogs bark at him? Q: Could you draw a picture of Richard III based on the information on this speech? Then, if you have access to the internet, you could look for a portrait of the real Richard III. How does he compare to Shakespeare’s words and your own picture?



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PRACTICAL APPROACHES TO DRAMA AT KEY STAGE TWO Mapped to the National Curriculum

Range Range Range a) improvisation and working in role

b) scripting and performing plays

c) responding to performances.

Skill Skill Skill a) create, adapt and sustain different roles, individually and in groups. b) use character, action and narrative to convey story themes, emotions and ideas in devised and scripted plays.

c) use dramatic conventions to explore characters and issues, e.g. hotseating, flashback, representing issues in different ways. (naturally skill sets overlap in these activities)

evaluate their own and others' contributions to the overall effectiveness of performances.

Activity Activity Activity Whole class role play. Richard III is dead. But in the afterlife a court tries him on a charge of treason, murder and kidnap. Will he go to heaven or hell? Assign roles for the witnesses, his victims, the defence and prosecution lawyers, and jury. Have a copy of the synopsis of Richard III to hand for reference, as well as the extracts from the workshop. Each character will be ‘hot-seated’ on the witness stand. The jury will decide if Richard is guilty. You can explore in discussion how Richard and his defence team try to make excuses for his actions.

Create your own version of Richard III but in a new setting, perhaps Richard is trying to take over a multi -national business or a planet in the future, instead of a country. Use different drama techniques to tell the story, such as flashbacks. When you have come up with your story, rehearse and perform it to your class. NB You could use The Animated Tales film as an accessible way into the whole story

Write a review of the scenes you have watched in Bully Richard. Things to think about: Speech, movement, how the actors changed character, language, body language, facial expression.



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PRACTICAL APPROACHES TO DRAMA AT KEY STAGE TWO Games and exercises – warming up

Why play warm up games? You may be thinking that your class don’t need to warm-up, they’re pretty bouncy and you spend a lot of time trying to calm them down, but warm-up games are about concentration, working as a team and using your body in a controlled way. You will need to be in the hall for these games. The Visible and Invisible Ball All the players stand in a circle. Using a soft ball or a bean bag they throw and catch the ball across the circle. The person throwing says their own name (e.g. Sam) and the name of the person they are throwing to (Sam to Alisha). Then Alisha throws it, saying her name and the person she is throwing to. Once everyone has had the ball at least once, ask them to try it without speaking, they must use eye contact to check the person is ready. The ball should stay active, not be held for more than a moment. (Try it at the beginning of the year when you have new class, you’ll learn the names far quicker this way!) If they find this pretty easy, add a second ball that goes at the same time, see if you can get up to 3 going! Then: remove the real balls and ask the group to imagine an invisible ball that they throw and catch, as it crosses the circle it changes. For example, it begins as a tennis ball, now it is a netball, now a tiny superball, now a huge, heavy watermelon. The throwers and catchers must adapt how they handle the invisible ball to show its weight and size. The group learn to work together, to accept an idea, to mime an imaginary object, to improve their eye contact. They are doing all the things an actor has to do on stage. The Swordless Swordfight - in pairs At the battle of Bosworth Field, Richard’s army is engaged in hand to hand combat with Henry’s army. Each soldier has one hand behind their back with the palm facing outwards, their other hand is the sword, hand closed, index finger pointing. A ‘hit’ is scored on the other player when they touch the palm of their hand, no other physical contact is allowed. Play for two minutes and add up the score. (A level of honesty is required!) Stop and discuss, how difficult was it to play the game? N.B. The game only works if all players keep to the rules. It’s about agility, not aggression. Secrets and Lies (in pairs) Ask each player to tell their partner 3 things about themselves, 2 are true and 1 is a lie. They can be straight forward things that happened today or things they like or dislike, it’s up to them. Then swap. Ask them if they can tell what is true? Ask some players to tell their three ‘facts’ to the group. Can the group decide which is the lie? Unpack which lies are the most convincing. Discuss what it would be like to live a lie. Richard lies all the time. How does he make it so convincing? What would it be like to be close friends with a liar? Or ruled by a liar?



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STATUS GAMES

Being King is the most high status position you can be and Richard will stop at nothing to achieve this goal. In this exercise, we look at how you define status and how status affects what people do and say. It can be a useful beginning to a discussion on bullying. Is bullying part of the status games people play?

Cards Exercise 1. Shuffle a pack of playing cards and give one card to each member of the group.

Ask the group to line up in order of the value of their card from king down to ace, they must not say what is on the card, but rather, act out the social status of that card’s value. When they have negotiated their position in the line, ask them to reveal their card. Evaluate with the group how well they were able to express, physically or verbally, the aspects of their character’s status.

2. Re-shuffle the cards. Ask the group to remain the same social status but they

must now take on the ‘playing’ status of their new card value. Ask them to renegotiate their position in the line, observing closely what improvised conversations take place.

3. In pairs, develop the conversations from this encounter into small scenes.

See-saw Exercise 1. Create an imaginary scenario for two players: e.g. shop assistant and customer

in a shoe shop returning a pair of shoes for a refund. 2. Three volunteers, A, B and C. C stands where the other two can clearly see him

and hold his arms out on either side. When C raises or lowers his left arm, A must raise or lower her status accordingly and when he raises or lowers his right arm B must raise or lower her status. Initially the arms should raise and lower in opposition during the improvised scene, but it can be interesting to see what happens if both players are high status or both are low status.

3. Repeat with different players, locations and scenarios.

4. When you watched the scenes in the TARA workshop, what was the relative

status of the characters? Were there moments where status changed? How did the actors establish the status of their characters?

“Status is a confusing term unless it’s understood as something someone does…” Keith Johnstone, 1981



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How To Speak Shakespeare classroom activity

Most characters in Shakespeare’s plays speak in a special rhythm. It is a pattern that is also found in poetry, especially in a type of poem called a sonnet. The pattern is called an iambic pentameter. To work out what that means, let’s split the words up. The first bit - iamb - means two beats, the first is light (or unstressed) and the second is heavy (stressed). It sounds like dee-dum. Try clapping it. A light beat and a heavy beat. That’s iambic. The next bit - pentameter - has pent in it. What else has got pent in it? Pentagon? Pentangle? So you might have guessed that pentameter has something to do with five. The next part is meter. Well a meter measures things, the gas maybe or the amount of time you’ve paid to park the car. OK, so that gives us five measures of iamb. What does that mean? Well, it’s 5 dee-dums. Clap the rhythm as you speak.

Dee-dum dee-dum dee-dum dee-dum dee-dum

Try a conversation:

Come in, sit down and make a cup of tea I don’t mind if I do, you’re very kind

Can you make up your own iambic pentameters? Now try these:

“Now, by Saint John, the news is bad indeed” (Richard)

“O, do not slander him, for he is kind.” (Clarence)

“A horse! A horse! My kingdom for a horse!” (Richard)

There you are, now you can speak Shakespeare!



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DESIGN YOUR OWN PRODUCTION TARA STYLE classroom activity

Here are some costume design images from previous Shakespeare productions by TARA. Our style is based on colours and shapes from India and across the world.

Prospero’s cloak : The Tempest Miranda’s bright veil in The Tempest Glass and mirrors inspire colours

GROUP ACTIVITY How would you design costumes for Richard III? What colours would you use? 1. Create a colourscape – using a big sheet of paper, make a collage with fabric, pages from magazines, paint and pens to show the colours you would use in your production. 2. Each group member could choose a different character. (Use the sheet CHARACTER PROFILES for guidance) Draw the clothes. Explain your choices for that character. Show the shape and flow of each garment in your drawing. Write at the side what fabrics you will use. Colour it in or attach fabric to make it into a collage.

EXTENSION ACTIVITY Make miniature costumes and dress puppets or dolls (Action Man size is very effective). Create tableaux of the dolls in position, showing scenes from the play. Cut the side off a crisp box to create a stage with backdrop which can be painted or hung with fabric. Tableaux could be photographed and, using MS Publisher, students could create a photo-story with speech bubbles.

Richard III Trivia Richard of York Gained Battles in Vain – is a way of remembering the colours of the rainbow red, orange, yellow, green, blue, indigo, violet. How many did you use in your design? It’s also true! Richard III did win some battles but was defeated in the end, so it was all ‘in vain’ or in other words, a waste of time (not to mention lives).



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WOULD YOU LIKE TO HAVE BEEN AN ACTOR IN SHAKESPEARE’S DAY? Classroom activity

Did you know that all the women in Shakespeare’s plays were played by young men or boys? The theatre was built with an open roof so it could get very chilly! There were no electric lights or digital special effects. The scenery was very basic so Shakespeare relied on his words to paint a picture for his audience. When you were given your part to learn, it was written on a roll of parchment. It was too time consuming to write out the whole play for each actor so you would just have your own role written out (on a roll – get it!) You would learn your part and the cue, which would be the last words spoken by the previous speaker, and you would have to listen really carefully to what was being said to know when to speak. There were about 26 actors in Shakespeare’s company at any time. They would have been employed in several different plays, possibly performing two or three different plays in the same week. Could you have learnt all those lines? The audience could be as big as 2500 people. An actor needed a loud voice. If the audience didn’t like what they saw they would boo or pelt the stage with oranges but if they did like the performance they would cheer and clap wildly.

FOLLOW UP ACTIVITY Imagine you are an actor in Shakespeare’s Richard III. (You will have to imagine you are all men or boys, sorry, but those male actors had to imagine they were women, so you may have to pretend to be a man pretending to be a woman!) Write a letter home explaining what part you play and what it’s like in Shakespeare’s company.



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TACKLING BULLYING IN SCHOOL A Checklist for Teachers

Is there a clear anti-bullying policy which is active and understood by all stakeholders (parents, children, teachers, T.A.s and playground supervisors?) In your own classroom are you aware of the social dynamics of your class and do you alter seating and classroom arrangements when necessary? Could playground supervision be improved? Are there areas for quiet play? Is it possible to ‘buddy up’ vulnerable children? Do you use circle time to improve awareness and cohesion within the class? Could circle time be used to create peer solutions to group bullying issues? Have you got a “comments box” where children can alert you to problems in confidence? Do parents feel able to approach you with concerns? Do you have a clear monitoring framework to follow up incidents? Have you thought of having a “kindness week” with awards and recognition of positive behaviour? Do you have a way of acknowledging when those who have been bullying others have changed their behaviour? In extreme cases: Always report extreme concerns to your line manager. Keep accurate records of the situation as it progresses. Request advice from an appropriate person (e.g. Educational Psychologist) about the best way to support the child. Ask for classroom help if there is real danger to the child. Make sure everyone concerned (including teachers, parents, SENCO) understands the plan of support for the child. adapted from advice written by Kidscape available at www.kidscape.org



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DEALING WITH BULLYING Advice for Children

WHAT IS BULLYING?

When someone thinks it’s fun to make you sad or angry. When they won’t stop when you say you’ve had enough. If they take your friends away and leave you alone. If someone won’t let other people talk to you. If someone hurts you on purpose.

WHY DO PEOPLE BULLY ME? Bullies may be jealous of you. They may feel bad inside and want you to feel bad too. They may be scared nobody likes them. They may think it makes them look strong and that nobody will bully them if they bully you. They may be bullied at home and think it’s OK to bully you. They may think they are being clever or funny. They may think you won’t tell because you’re quiet and gentle. They may think you can take it because you’re chatty and outgoing. They may feel big when they make you cry. They may like calling you names and saying things about you which aren’t true

…basically a bully will find any excuse.



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DEALING WITH BULLYING Advice for Children continued

HOW CAN I STOP THEM?

Tell someone, a parent or teacher or another adult at school (bullies don’t like anyone to know what they’re doing). Stand up straight, look them in the eye. Take a deep breath and walk away calmly without saying a word – he or she may get bored and give up if you don’t react. If they carry on, say ‘No’ in your strongest voice. You can practice in the mirror at home, standing straight, looking them in the eye and saying ‘No!’

WHAT IF I’VE BEEN A BULLY? If you think you might have bullied someone, imagine what it felt like for them, say sorry and try to make it right. If you are unhappy, get help from a teacher or parent. Don’t take it out on someone else. We can all change. Think about what you say and do and stop yourself, before it happens again. Adapted from Don’t Bully Me: Advice for Primary Age Children - a downloadable booklet available form www.kidscape.org



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DRAMA ABOUT BULLYING: Notes for Teachers Drama is an excellent tool for exploring issues about bullying but it must be used with care. Advantages Drama can serve to bring the issue of bullying into an open forum. Enable pupils to understand / empathise with victim’s perspective. Gives children the opportunity to express feelings and experiences of bullying. Enables pupils to understand why children bully and how they might stop. Enables teachers to consider strategies for dealing more effectively with bullies, including alternative, peer initiated responses to them. Pitfalls Classroom drama should not become drama therapy. Emotive issues are being raised, teachers need to be aware of the possible sensitivities within the group. Never use actual case studies of people in the class or known to the class. Simple ‘magic’ answers can lead to false expectations. Danger of uncontrolled behaviour in an open space, e.g. acting out hitting or fighting during the drama. Techniques Still Image – ask pupils to create a picture or human sculpture which shows bullying. Ask the rest of the class to discuss what they see. Draw out: what is happening, what is the body language being used, what is each character thinking or saying out loud? Bring the image to life. Ask each small group to act out what happened one minute before the moment in the still image, and one minute afterwards. Be clear that any moments of violence must be stopped and frozen, then the reaction/effect is shown (as if the tape has ‘jumped’). Explain that this is necessary because stage fighting requires years of training before it can be done safely and convincingly so it cannot be done in school. Show one or two groups to the rest of the class. Ask the class what happens next? Ask a volunteer to step into the place of the victim to see if they can influence the scene so that it turns out differently. Repeat this with the other characters, bystanders, co-aggressors and lastly the main bully. Reinforce that there are always choices. Discuss possible outcomes and what would happen next. Reinforce the school policy. Methods which distance the participants Puppet Show Using simple Punch and Judy puppets write a script and perform a show where Punch, the bully, is challenged and changes his ways. (You could make your own puppets based on Richard III, the similarity between Shakespeare’s character and Mr Punch is no coincidence, they both have their roots in the stock character of European theatre tradition.) Plasticine Person – Jo(e) Small group activity Make a character called Jo(e) who spends a day at your school. Photograph his or her day, either in real settings or by creating scenery in shoe boxes. Ask the group to create a photostory (they can create frames and add speech bubbles and thought bubbles in MS Publisher) concentrating on how Jo(e) feels. This method may bring to light situations in school where pupils don’t feel safe. It may also enable bullies to empathise with the victim without losing face. You can talk to them about Jo(e)’s feelings and ways to help Jo(e) in a non-exposing way.



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WORKSHOP EXTRACTS With Director’s notes

KING RICHARD III by WILLIAM SHAKESPEARE

RICHARD THE BULLY

ACT I scene I – The making of the bully Lines 14-31. This extract has been selected for a couple of reasons. It can be used as part of the workshop for introducing the children to Shakespeare as it is part of the famous first speech in the play. It is a good example of the verse and iambic pentameter. It is jagged verse (i.e. not all perfectly 10 beats). Interesting to note the words Shakespeare chooses to emphasise with an eleventh or twelfth beat. It also sets out the character’s intentions and reveals many aspects of what we would recognise as traits of the typical bully. [Insecurity, jealousy, low self-esteem, vengeful, anger] But I, that am not shaped for sportive tricks, Nor made to court an amorous looking-glass; I, that am rudely stamp'd, and want love's majesty To strut before a wanton ambling nymph; I, that am curtail'd of this fair proportion, Cheated of feature by dissembling nature, Deformed, unfinish'd, sent before my time Into this breathing world, scarce half made up, And that so lamely and unfashionable That dogs bark at me as I halt by them; Why, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to spy my shadow in the sun And descant on mine own deformity: And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days. Here Richard rues the transformation following the end of the bloody Wars of the Roses to courtly, gentle and lecherous behaviour which is alien to the deformed and aggressive warrior. When he was winning battles no one cared about his appearance but now he feels insecure and humiliated. He decides to enact revenge by plotting his own path to ultimate power. Note the self-centred nature of the speech (personal pronoun used 11 times).



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Act I scene I – The Brainwasher and Actor We learn that Richard has set his eldest brother (King Edward) against his next brother (George of Clarence). By tormenting them both he clears a path for himself to jump closer to the front of the queue for the succession. Edward is gravely ill and with Clarence facing death in the Tower Richard’s progression to the throne is clearer. He also tries to drive a wedge between his own family and his detested in-laws who he sees as jumped up commoners. RICHARD Plots have I laid, To set my brother Clarence and the king In deadly hate the one against the other: ENTER CLARENCE GUARDED Brother, good day; what means this armed guard That waits upon your grace? CLARENCE His majesty Tendering my person's safety, hath appointed This conduct to convey me to the Tower. RICHARD Upon what cause? CLARENCE Because my name is George. RICHARD But what's the matter, Clarence? may I know? CLARENCE He hearkens after prophecies and dreams; And says a wizard told him that by G His issue disinherited should be; And, for my name of George begins with G, It follows in his thought that I am he. RICHARD Why, this it is, when men are ruled by women: 'Tis not the king that sends you to the Tower: My Lady Grey his wife, Clarence, 'tis she That tempers him to this extremity. We are not safe, Clarence; we are not safe. CLARENCE By heaven, I think there's no man is secure But the queen's kindred. RICHARD We are the queen's abjects, and must obey. Well, your imprisonment shall not be long; Meantime, have patience. CLARENCE I must perforce. Farewell.



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Exeunt CLARENCE and guards. RICHARD Simple, plain Clarence! I do love thee so, That I will shortly send thy soul to heaven, If heaven will take the present at our hands. This scene provides demonstration of Richard’s cruel bullying tactic of social isolation. Richard is solely responsible for his brother’s imprisonment by poisoning the King’s ears with gossip and rumours. He has manipulated the entire situation and to make matters worse he pretends to be Clarence’s friend and appears to be an innocent ally as he conversely tells Clarence that it is the King’s wife who is evil - again using rumour and gossip to poison his mind. And all the while (as he reveals at the end) he is planning to murder Clarence.



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ACT III scene IV – Ganging Up Following the deaths of his brothers (King Edward and Clarence), Richard is made Lord Protector to handle affairs of the Crown for the infant princes. With the support of Buckingham he holds a summit meeting of the nobility to try to influence the Lords to name him King and delay the coronation of the young prince. On learning that Hastings is against this idea, Richard lulls Hastings into believing he is in the good books. Here we see how the bully asserts his power over all the others in the room. Enter BUCKINGHAM, DERBY, HASTINGS, the BISHOP OF ELY, RATCLIFF, LOVEL, with others, and take their seats at a table HASTINGS My lords, at once: the cause why we are met Is, to determine of the coronation. In God's name, speak: when is the royal day? BISHOP OF ELY To-morrow, then, I judge a happy day. BUCKINGHAM Who knows the lord protector's mind herein? Lord Hastings, you and he are near in love. HASTINGS I thank his grace, I know he loves me well; But you, my noble lords, may name the time; And in the duke's behalf I'll give my voice, Enter RICHARD BISHOP OF ELY Now in good time, here comes the duke himself. RICHARD My noble lords and cousins all, good morrow. BUCKINGHAM Had not you come upon your cue, my lord William Lord Hastings had pronounced your part,-- I mean, your voice,--for crowning of the king. RICHARD His lordship knows me well, and loves me well. HASTINGS I thank your grace. RICHARD Cousin of Buckingham, a word with you. Drawing him aside Catesby hath sounded Hastings in our business, And finds the testy gentleman so hot, As he will lose his head ere give consent



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BUCKINGHAM Withdraw, my lord, I'll follow you. Exit RICHARD, BUCKINGHAM following HASTINGS His grace looks cheerfully and smooth to-day; For by his face straight shall you know his heart. DERBY What of his heart perceive you in his face? HASTINGS Marry, that with no man here he is offended; For, were he, he had shown it in his looks. DERBY I pray God he be not, I say. Re-enter RICHARD and BUCKINGHAM RICHARD I pray you all, tell me what they deserve That do conspire my death with devilish plots Of damned witchcraft. HASTINGS I say, my lord, they have deserved death. RICHARD Then be your eyes the witness of this ill: See how I am bewitch'd; behold mine arm Is, like a blasted sapling, wither'd up: And this is Edward's wife, that monstrous witch, That by her witchcraft thus has marked me. HASTINGS If they have done this thing, my gracious lord-- RICHARD If ? Thou protector of this damned strumpet-- Tellest thou me of 'ifs'? Thou art a traitor: Off with his head! Lovel and Ratcliff, look that it be done: The rest, that love me, rise and follow me. Exeunt all but HASTINGS, RATCLIFF, and LOVEL HASTINGS Woe, woe for England! not a whit for me; RATCLIFF Make a short shrift; he longs to see your head. LOVEL Come, come, dispatch; 'tis bootless to exclaim.



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HASTINGS O bloody Richard! miserable England! Come, lead me to the block; bear him my head. They smile at me that shortly shall be dead. Exeunt As with most bullies, Richard can not act successfully without a loyal number two. Here Buckingham flatters Hastings into believing he is Richard’s favourite and, when Richard arrives, drops Hastings in it by saying he was about to speak for the Lord Protector. Richard, learning that Hastings will not approve him being crowned, concocts a rage, blaming his deformity on witchcraft brought about by the Queen. Hastings is spuriously blamed and sentenced to death. He behaves so furiously that all the others in the room are aware of his power. Richard again ensures he has support by forcing two others (Ratcliffe & Lovell) to see the punishment is carried out. Everyone is so terrified of his rage and power they obey in case they are the next ones for the chop.



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Act IV scene III – Buckingham’s Error Through all manipulative and devious measures and with the help of Buckingham Richard is finally crowned King. Yet, typical of all bullies, he is feeling insecure about whether his power will hold. To assure his position he decides he must kill the rightful heirs to the crown – the two young princes, sons of King Edward. KING RICHARD III Stand all apart Cousin of Buckingham! BUCKINGHAM My gracious sovereign? KING RICHARD III Give me thy hand. Here he ascendeth his throne Thus high, by thy advice And thy assistance, is King Richard seated; But shall we wear these honours for a day? Or shall they last, and we rejoice in them? BUCKINGHAM Still live they and for ever may they last! KING RICHARD III Young Edward lives: think now what I would say. BUCKINGHAM Say on, my loving lord. KING RICHARD III Why, Buckingham, I say, I would be king, BUCKINGHAM Why, so you are, my thrice renowned liege. KING RICHARD III Ha! am I king? 'tis so: but Edward lives. BUCKINGHAM True, noble prince. KING RICHARD III Shall I be plain? I wish the bastards dead; BUCKINGHAM Your grace may do your pleasure. KING RICHARD III Tut, tut, thou art all ice, thy kindness freezeth: Say, have I thy consent that they shall die? BUCKINGHAM Give me some breath, some little pause, my lord Exit



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CATESBY [Aside to a stander by] The king is angry: see, he bites the lip. KING RICHARD III Hath he so long held out with me untired, And stops he now for breath? Enter STANLEY How now! what news with you? STANLEY My lord, I hear the Marquis Dorset's fled To Richmond, in those parts beyond the sea Where he abides. Re-enter BUCKINGHAM BUCKINGHAM My Lord, I have consider'd in my mind The late demand that you did sound me in. KING RICHARD III Well, let that pass. Dorset is fled to Richmond. BUCKINGHAM I hear that news, my lord. KING RICHARD III Stanley, he is your wife's son well, look to it. BUCKINGHAM My lord, I claim your gift, my due by promise, The earldom of Hereford and the moveables The which you promised I should possess. KING RICHARD III As I remember, Henry the Sixth Did prophesy that Richmond should be king, BUCKINGHAM My lord! KING RICHARD III Because a bard of Ireland told me once I should not live long after I saw Richmond. BUCKINGHAM My Lord! KING RICHARD III Ay, what's o'clock?



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BUCKINGHAM I am thus bold to put your grace in mind Of what you promised me. KING RICHARD III Well, but what's o'clock? BUCKINGHAM Upon the stroke of ten. KING RICHARD III Well, let it strike. BUCKINGHAM Why let it strike? KING RICHARD III Because that, like a Jack, thou keep'st the stroke Betwixt thy begging and my meditation. I am not in the giving vein to-day. BUCKINGHAM Why, then resolve me whether you will or no. KING RICHARD III Tut, tut, Thou troublest me;I am not in the vein. Exeunt all but BUCKINGHAM BUCKINGHAM Is it even so? rewards he my true service With such deep contempt made I him king for this? O, let me think on Hastings, and be gone To Brecknock, while my fearful head is on! Exit Again we see that nobody is safe from the paranoid and mood-changing bully. By just asking for a moment to consider whether to murder two children, Richard decides Buckingham can’t be trusted and has no further need for him. He has used him to get the Crown and now he has it, Buckingham is dispensible. In his treatment of Buckingham, Richard pulls out a hatful of childish bullying tactics – the silent treatment, talking over him to Stanley, pretending not to hear him, name-calling, belittling in public.



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ACT IV Scene IV – Strange Orders Richard’s monarchy descends into chaos and an invading army is gathering force under Richmond to rid England of her tyrant bully King. Richard’s supporters are beginning to desert and here we see the bully desperately abusing those who have been too scared to leave him. A reflection of his own frail grasp of power and influence. Enter RATCLIFF; CATESBY following KING RICHARD III How now! what news? RATCLIFF My gracious sovereign, on the western coast Rideth a puissant navy; to the shore 'Tis thought that Richmond is their admiral; KING RICHARD III Some light-foot friend post to the Duke of Norfolk: Ratcliff, thyself, or Catesby; where is he? CATESBY Here, my lord. KING RICHARD III Fly to the duke: To RATCLIFF Post thou to Salisbury When thou comest thither-- To CATESBY Dull, unmindful villain, Why stand'st thou still, and go'st not to the duke? CATESBY First, mighty sovereign, let me know your mind, What from your grace I shall deliver to him. KING RICHARD III O, true, good Catesby: bid him levy straight The greatest strength and power he can make, CATESBY I go. Exit RATCLIFF What is't your highness' pleasure I shall do at Salisbury?



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KING RICHARD III Why, what wouldst thou do there before I go? RATCLIFF Your highness told me I should post before. KING RICHARD III My mind is changed, sir, my mind is changed. Enter STANLEY How now, what news with you? STANLEY None good, my lord, to please you with the hearing; Nor none so bad, but it may well be told. KING RICHARD III Hoyday, a riddle! neither good nor bad! Once more, what news? STANLEY Richmond is on the seas. KING RICHARD III There let him sink, and be the seas on him! STANLEY He makes for England, there to claim the crown. KING RICHARD III Is the chair empty? Is the sword unsway'd? Is the king dead? the empire unpossess'd? What heir of York is there alive but we? And who is England's king but great York's heir? Then, tell me, what doth he upon the sea? STANLEY Unless for that, my liege, I cannot guess. KING RICHARD III Unless for that he comes to be your liege, Thou wilt revolt, and fly to him, I fear. STANLEY No, mighty liege; therefore mistrust me not. KING RICHARD III Where is thy power, then, to beat him back? Are they not now upon the western shore? STANLEY No, my good lord, my friends are in the north.



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KING RICHARD III Cold friends to Richard: what do they in the north, When they should serve their sovereign in the west? STANLEY I'll muster up my friends, and meet your grace Where and what time your majesty shall please. KING RICHARD III Ay, ay. thou wouldst be gone to join with Richmond: I will not trust you, sir. STANLEY Most mighty sovereign, You have no cause to hold my friendship doubtful: I never was nor never will be false. KING RICHARD III Well, Go muster men; but, hear you, leave behind Your son, George Stanley: look your faith be firm. Or else his head's assurance is but frail. Exit Enter a Messenger Messenger My gracious sovereign, Sir Edward Courtney With many more confederates, are in arms. Enter another Messenger Second Messenger My liege, in Kent the Guildfords are in arms; And every hour more competitors Flock to their aid, and still their power increaseth. Enter another Messenger Third Messenger My lord, the army of the Duke of Buckingham-- KING RICHARD III Out on you, owls! nothing but songs of death? He striketh him Take that, until thou bring me better news. Third Messenger The news I have to tell your majesty is Buckingham's army is dispersed and scatter'd; And he himself wander'd away alone, No man knows whither.



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KING RICHARD III I cry thee mercy: There is my purse to cure that blow of thine. Hath any well-advised friend proclaim'd Reward to him that brings the traitor in? Third Messenger Such proclamation hath been made, my liege. KING RICHARD III March on, march on, since we are up in arms; A royal battle might be won and lost Some one take order Buckingham be brought To Salisbury; the rest march on with me. As Richard gets increasingly confused he takes his weaknesses out by scolding, swearing, commanding and beating his allies and messengers. Throughout the scenes chosen, we see Richard as a bully. He is driven by ambition fuelled by a feeling of inadequacy and a violent temperament. He never acts heroically but gets his way by bullying in a whole scope of ways. His tactics throughout rely on creating an air of fear around him, a real threat that he has the power to kill anyone that crosses him and allowing no one to relax in his presence. We see him bullying in: a relational way – convincing peers to reject or isolate someone or to bully those that associate with his target; he verbally abuses people - by name-calling, public humiliation, spreading foul rumours and gossip, harassment, manipulation; and when all else fails he has no problem resorting to physical bullying – beating, punching, torturing, imprisoning and executing his victims. At the end of the play Shakespeare gives us moral hope, as our bully is killed in battle friendless, alone and detested in the annals of history for the next four hundred years.



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Further Resources

Weblinks

www.tara-arts.com

www.bullying.co.uk

www.nspcc.org

www.kidscape.org

The NSPCC runs distance learning courses in child protection training. Follow the weblinks below for further details. http://www.nspcc.org.uk/Inform/trainingandconsultancy/EduCare/educare_wda47928.html http://www.nspcc.org.uk/Inform/trainingandconsultancy/learningresources/safeguardingchildrenasharedresponsibility_wda47874.html http://www.shakespeare.org.uk the comprehensive site for all things Shakespearean from the Shakespeare Birthplace Trust. Books 101 Drama Games and Activities (Paperback) by David Farmer Teaching Shakespeare: A Handbook for Teachers (Cambridge School Shakespeare) (Paperback) By Rex Gibson Film Richard III from Shakespeare The Animated Tales by Aida Ziablikova This version reduces the whole play to 30 minutes. The film is a good way to digest the whole story and to put the scenes in the workshop into context. It could also be used as an introduction to students to put the play into their own words. Their challenge could be to come up with a 15 minute Richard III!



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Bully Richard

Education Resource Pack

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Documents

BULLY RICHARD - Tara-Artstara-arts.com/media/files/Bully Richard Education...Ratcliffe (Sir Richard Ratcliffe) and Lovel (Lord Lovel) loyal supporters of Richard. BULLY RICHARD Education