Song Writting for T.I.E

For a couple of weeks me and my T.I.E group have been creating a song for our T.I.E play about gender equility. There were some challenges like the melody didnt sound serious it was too chearful so i changed the chords as i play the guitar and sing, frankie is playing the piano and singing too, abi is playing the drums and jack is doing the rap that me and frankie wrote. So we got over that and all the other challenges that came in our way. The lyrics are exerlent because they relate to the subject, gender equility. I loved working with frankie when we was writting this song because we both came up with great ideas together. I was just me and frankie writting the song because oter mebers of the group were missing but when it was written up I printed four copys off and gave everyone in the group a copy.

This is the song

Boys and Girls- written and performed  by Olly Smith, Frankie Cooniey, Abi Lee and jack Silkstone

(Intro 2 bars)

Verse 1

Girls can play football

Guys can dance

If their all given an equal chance

(2 bar musical bit)

Verse 2

Guys can like their pinks

Girls can like their blues

Many different colours surround the genders too

Rap

(Jacks rap, Abi starts to drum only using the kick drum)

Gender can pop up in everyday life

From jobs to sport to films and music to

So remember what I said today

Don’t bother trying to discriminate because

Chorus

(Olly stop guitar, Frankie only playing piano)

We are all the same

We only get judged by what we do

If I’m female then so are you, so are you

(3 bar musical bit all instruments start to play)

End chorus

(Only Frankie and Olly play the intro part for the end)

We are all the same

We only get judged by what we do

If I’m male then so are you, so are you

Theatre in Education (TiE)

This article discusses how both specialist and non-drama teachers might work with Theatre in Education (TiE) companies and is designed as a step-by-step guide for those who have not worked with TiE companies before.

Beginning with an explanation of what TiE companies are and how they operate, it then gives practical advice on selecting the most suitable ones and inviting them into your school. Finally, it offers helpful tips on how to prepare students for TiE performances. There is also a useful resources page and two case studies — one for primary and one for secondary level.

What is TiE?

When schools take students to the theatre it is usually to see a particular production. TiE, on the other hand, starts with an educational topic or debate and develops a show around it. There are a number of companies in the UK that specialise in producing theatre to be performed in schools. Such productions often have drama workshops attached and may involve the pupils in the performance itself.

Because these groups specialise in educational work, the performances have been designed with particular aspects of the curriculum in mind. Some will always link their work to a particular Key Stage, whilst others will design various projects for different ages. In addition, a number of companies aim their performances at specialised groups, for example, Oily Cart Children's Theatre works with students with multiple learning disabilities. TiE productions are also especially adapted for touring, making them flexible enough to perform well in school settings.

How does TiE compare with other theatre forms?

Children's theatre

Children's theatre is not always based on a specific curriculum area and may be part of the work of a non-specialised company. It could bring a children's story to life rather than having an educational focus on a particular topic, and is often aimed at the under-12 age group. In contrast, TiE companies usually travel to meet their audiences and address a specific topic of interest. They can cater for age groups up to 25-year-olds.

Community theatre

Community theatre companies and TiE share some of the same common ground, since both target their work at a particular social group and offer workshops in a socially motivated theatrical form. Cardboard Citizens works with homeless and ex-homeless people, while Clean Break works with female ex-prisoners.  However, such companies go further than TiE companies, in that they usually carry out training projects for adults in the particular area they are interested in, e.g. helping women get back to work. Further details on community theatre companies can be found at the British Council website.

Practical advice  

How do I find out about TiE in my area?

The best place to start is your local theatre or arts centre if you have one. You can either follow the links on their websites, or call their education department and ask if there are any TiE companies based there. Your local council or arts council office may also hold this information.

There are plenty of online TiE resources, and the internet is a great place to find extensive lists of theatre companies in the UK. Sometimes TIE companies will send mailings to schools although lack of funds can prevent extensive publicity, so it's worth being proactive. Exeter University's website offers a good list of TiE companies in the UK including Polka and Tiebreak. The British Council's Performance in Profile and Arts and Culture for Development Directory also provide extensive lists of theatre companies, and you can visit the TiE resources page for more information.

Developing a partnership with a local secondary school, college or university may also help. Many GCSE and A level Theatre Studies students undertake TiE projects in which they are assessed, as do some university students. In return for some feedback, this kind of partnership will enable you to have free performances and workshops in your school every year.

What do I do if I want to book a TiE company?

It is best to plan well in advance since many of the bigger companies get booked up terms ahead. Look on the company's website to get an idea of the kinds of projects available. Recommendations from other teachers can be helpful, whether through personal contacts or by asking the company itself to refer you. Discuss the plans with your department and year group team. It may be the case that the project touches on a number of curriculum areas, making a cross-curricular project appropriate.

The next stage is to phone the company to make more formal arrangements. Have a number of dates in mind and use the following checklist as a guideline:

• Whether your school is more interested in a performance, a workshop or both
• How many students are likely to be at the performance or workshop
• What age group or Key Stage you are catering for
• How much experience of theatre or drama workshops the students have
• What curriculum areas the performance or workshop will link to
• Whether the students concerned will have seen the theatre company's latest venue-based production (if appropriate)
• How long you have available for the performance or workshop
• How much space will be available
• Whether the company is likely to be able to set up in the space before-hand
• Whether you would like any follow-up visits
• Who the contact is at the school
• The school's full address with directions

The company will confirm the requirements the particular TiE project has in terms of space and time and numbers catered for, and discuss dates with you. Ask if there are any teacher resource packs and curriculum links available. A quote will be given as well as confirmation of where the invoice should be sent.

Finalise the details with your school and write to the theatre company to make your booking, asking for written confirmation. Include contact details of who will meet the company when they arrive.

Remember, it is not appropriate to add additional numbers to the performance or workshop on the day. Many companies will have a maximum capacity for a workshop (usually 15-20). If you want to alter the number of students attending the workshop you need to phone well in advance. It may be necessary to run two simultaneous workshops instead of one, which would increase the cost and the demands on space.

What if I have a particular topic in mind?

The topic you are considering may well be what is being offered, especially if it involves a pertinent issue from current affairs, or a book or play the students are studying. If you find that the area you would like covered isn't available, you could always make a suggestion and it should be considered next time they are planning something new.

Alternatively, you can ask a local theatre company to design a TiE project to your specifications. Some companies advertise this service and most smaller companies would consider it if asked. They may have done previous work on the topic you require and will therefore have something ready-made. Education departments in larger theatres and arts centres are particularly used to this approach.

It is worth remembering that there is a range of companies, some very specialist. A storytelling, animation, dance or puppet-making workshop could be geared to your area of interest if your local company happens to specialise in it. The drama department at your local college or university might be able to develop a tailored project with you which would be mutually beneficial.

In addition to the points covered in the previous checklist, consider the following issues when you call to discuss your requirements:

• How much experience of this topic do the students have?
• What amount of time do you have in mind?
• Do you want a one-off or a series of workshops?
• Can you be specific about a particular angle you would like the work to take? For example, instead of Brecht, ask for a voice workshop using Mother Courage; instead of fairy tales or storytelling, ask for a puppet-making workshop based on the Snow Queen.
• Will the students visit the theatre or do you want the company to come to your school
• What kind of budget do you have available?
• Can you be flexible? Have you considered a summer school, a weekend workshop, or series of after-school workshops instead?

How should students prepare for a performance?

The TiE company may be able to give you some specific pointers here and you may even be able to go and see a free performance beforehand so that you know what to expect. Here are some suggestions for classroom preparation:

• Explore some characters (Newton, Elizabeth Fry, the Snow Queen, for instance) from the subject area involved using freezes, on-the-spot mimes, tableaux and improvisation.
• Use objects as props, as well as words and phrases from the subject area involved to create improvisations which can then be discussed with the class.
• Ask students to create pieces of theatre in small groups based on a particular dilemma arising from the subject to be covered.
• Use group characters. Divide the class into two smaller groups and ask them to sit in circles to represent two characters. Ask one member of each group to sit at the front or in the middle of the drama space. Give the characters a dilemma (think of the particular situation and problem). The group characters (in the circles) have to decide on any action the character takes or any dialogue they speak.
• Ask students to perform a piece of text or improvisation to the group on a similar topic. Remember, some students will have never seen live theatre before. Talk about the role of the audience.
• Set up formal debates on the area to be covered in the TiE performance.
• Ask students to write letters taking on the role of fictional characters who will appear in the drama.
• Ask students to keep diaries as fictional characters who will appear in the drama, or record their thoughts and feelings about the drama and workshops, and the progress they have made.
• Ask students to write an article based on the history of the TiE company coming to visit.
• Create a display using material the students have researched, e.g. TiE, mask theatre or puppet-making.
• Create a storyboard of some of the main events in a story that is related to the subject area which will be covered.
• Use the particular theatre style (puppet-making, storytelling, pantomime, forum theatre) rather than the topic itself to prepare students for engaging with the piece.
• Ask an artist, musician, cartoonist or playwright to work alongside the students over a series of sessions to prepare for the TiE work.

Students may be given the chance to ask the actors or the characters questions. Prepare for this using hot-seating. Students take it in turns to sit in the hot seat in the role of a particular character while the others ask questions, or ask students to spend a minute interviewing each other in pairs on a particular issue.

Prepare specific questions for the actors/characters immediately beforehand.

If you know the refrains, particular actions, singing or moments when the students will be asked to join in during the performance, you could practice these to get the group used to it.

What can I do to follow-up after the company has gone?

Again, the company itself should have some specific suggestions and may offer follow-up workshops. You'll find that some of the activities suggested above in preparation will also work as follow-up activities. Make sure you download any packs available. You can also try:

• Asking students to write a newspaper-style review of the performance
• Writing letters to the theatre company about the experience
• Drawing scenes from the performance or workshop, and giving captions to the illustrations or photographs of the event
• Recreating parts of the performance or workshop, and hot-seating the characters, and/or discussing the issues which arise
• Using a particular prop or costume from the performance to remind students of what happened
• A discussion-based evaluation using specific criteria, such as design, characterisation, voice, movement and colour
• Extending the story of the performance — what happened next? What happened just before?
• Learning one of the songs, dances or refrains from the performance
• Creating puppets or junk sculptures based on aspects of the performance
• Giving students research projects based on one aspect of the subject area covered
• Asking students to complete their diaries, either as fictional characters or giving an evaluation of the performance

What other kinds of educational work go on in theatres and theatre companies?

Many established producing and regional theatres have an education department, such as the National Theatre and the Globe Theatre. Some venues offer courses specifically aimed at either adults or children, while others offer a more interactive experience with artists available to lead workshops in schools.

Resource packs and lesson plans are often available to download online. These generally concern the performances for that season, and the education department designs some of its work to encourage teachers to bring their students to these shows.

You can also take a group to visit the theatre, have a workshop and a backstage tour. The Globe has a pioneering and extensive partnership programme available for schools, colleges and universities through its education department. This differs from TiE in that it is designed using the play as a starting point rather than a particular issue within the play.

Drama teachers looking for specific training courses, whether for themselves or for students in a particular theatre form, such as physical theatre, mime or forum theatre, are advised to keep an eye on the websites of theatre companies such as the ones suggested here.

For students who are particularly talented in the performing arts, there are summer schools in theatre, dance and music, as well as youth theatres which can be attend more regularly. Entrance is by audition. Youth theatre is focused on theatre as an art form. It aims to teach students about acting (or other stage skills), omitting the teaching on particular topics or social issues offered by TiE. Students who are interested in taking up any of the performing arts or stage crafts professionally should be encouraged to attend a youth theatre since this is a good way of building up necessary contacts for the future. To become involved in a TiE company, they could audition for a youth theatre or try to gain work experience in a community or arts centre.