John Godber says…"I want to create theatre that connects with people's lives, not a piece of candy floss”

“Plays – are a way of understanding the world”

TeechersJohn Godber’s fast-moving comedy is set in a High School. Taking a wry look at our education system, it tells the story of three students and their various trials and tribulations in class and in life.

The play concentrates mainly on their experiences in drama class and on the drama teacher, Mr Nixon,exploring his struggles with pupils and staff during his time at the school.

John Godber style

• John Godber’s style of theatre, according to The Oxford Encyclopedia of Theatre and Performance is:

“accessible to northern working class oral cultures, utilizes a small ensemble who play multiple characters, has physical gags and mocks the establishment.”

So what is John Gober’s ‘STYLE’?Every practitioner develops their own style and it would be unrealistic to expect to find every distinctive element of that style in every piece of their work.

Five significant fingerprints of this style are: A structure that makes use of a large number of short episodes,

each of them moving along with considerable rapidity A reliance on multi-role playing, primarily as a result of working

with a small number of actors Emphasis on what the actors do, rather than on sets, costumes or

props (this is also a feature of small-company work) Stereotypically working-class characters (often from the north of

England), generally with humorous traits and/or rough language Situations that provide a commentary on contemporary society.

Does Godber’s style remind you of anyone ?

Clue:– Theatre

practitioner– Not Stanislavski– German– Created Epic

Theatre

…got it yet?

John Godber’s style was influenced by the work of Bertolt Brecht

“Brecht is often seen in this country as being quite dry, but in reality he was funny. I like his idea of Epic Smoke theatre, where theatre was playing to working class audiences and people would drink and smoke. We tried to do this at Hull Truck, encourage people to take their drinks in so they were comfortable and so it wasn’t a bourgeois experience.Also it’s about the way he approached the work. Brecht didn’t want a stuffy theatre, and sometimes English theatre can be very stuffy. There’s often a gentrification of the process in British theatres.”

Non- Naturalistic Drama techniques

• Multi-rolling• Direct-address• Breaking the fourth wall• Comedy• Singing• Narrating/choral speaking• Over emphasising/stylised acting• Social and political message• Minimal set / costumes / props

“Audiences often clap wood. (The set) It gets in the way! In ‘Teechers’

we just have chairs.” John Godber

With only three cast members playing twenty characters there are a multitude of rapid costume changes that will keep the audience enthralled and entertained by the slight differences that create a whole new persona. The minimal props are brilliantly utilized to create a change of scene and atmosphere.

MULTI-ROLLING

One of Brecht's techniques which helps remind the audience they are watching a play and should not be identifying with a an actor who has become just one character

Teechers is a subtle comment on the state versus private education divide but its main focus is on the intense difficulties facing teachers and the exuberance of being a teenager. All these issues are handled in a light-hearted fashion with great hilarity and comedic wit.

This is a very clever, funnyplay that fully demonstrates the incredible versatility of the cast.

Off script character exploration

• Down the Park

• Corridors

• The Staff Room

Each take a role from the character sheet and devise a short

scene with one of the following titles…

To be a Success. . .I attempt to contribute ideas on how the work can be moved forward

4

I attempt to reflect on the work in progress 5

I sometimes listens to others in the group 6

I contributes ideas on how the work can be moved forward 7

I understand how my contribution affects the work 8

I listen and encourage others in the group 9

I listen well and reflect fully on the work in progress 10

I am sensitive to the needs of others in the group and guide them through problems

11

I use a good range of drama terms when discussing the work in progress

12

I show a thorough critical awareness of the work in progress and have real vision in terms of how it can be moved forward

13

I am very clear about my role in the group and understand the strengths and weaknesses of the group as a whole

14

I use an excellent range of drama terms when discussing the work in progress

15

The Characters

Working with the script

In groups of three explore the extract

from page 6 to page 8 of the play.

Explore different ways of using non-

naturalistic drama to present the scene.

To be a Success. . .I begin to use gesture and movement to communicate my character

9 E

Occasional use of facial expressions gives some insight into the characters emotion at that moment

10 E

Gesture and movement is appropriate to my character and their situation

11 D

Use of space gives some ideas as to the status and feelings of my character in their situation

12 – 13 D

Fairly clear voice with an attempt at changing the pitch and tone to suit the mood

14 – 16 D

Some expression in the voice communicates the emotion of the character

17 – 18 C

Use of facial expressions begin to show a development of the emotions of the character

19 - 21 C

Gesture and movement is more thoughtful as pace and pause is considered in order to start building the tension / or comedy

22 – 23 C

Clear vocal skills show a more confident handling of the role, allowing the character to be developed

24 – 27 B

Gesture, movement and facial expressions are sustained so that the character is clearly communicated to the audience

28 – 32 B

Very clear vocal skills are sustained, using a variety of pitch, tone and expression that creates a believable character

33 – 37 A

The character is thoroughly sustained so that the performance has a real impact on the audience

38 – 41 A

Believable relationships are built during the performance through an extensive range of drama skills

42 – 45 A*

Workshop Evaluation

• What have you learned about the play Teechers?

• What activities did you do in the workshop?

• What non-naturalistic acting techniques have you learned and used in the workshop?

• How has the workshop helped you to develop your understanding of the characters?