extremes in
the environment
This drama is based on Two Summers by (Heffernan and Blackwood) and Flood (French and Whatley). The combination of these two beautiful texts allows students to compare and contrast Australia’s changing and diverse natural environment. The contrasting illustrations and language used by the authors and illustrators encourage students to understand and use different styles when writing.
Two Summers explores the story of a country family and a boy who visits twice over two summers. The book explores the contrast between a healthy farm and a farm in drought. The illustrations by Freya Blackwood provide wonderful images for students to use to delve into the fictional world of the farm.
Flood describes the story of the 2011 floods that affected many people in Queensland and northern New South Wales. French’s poetic language is wonderfully evocative for students and Whatley’s illustrations capture the mood and chaos of the floods.
This drama has strong links to exploring environmental sustainability and examining and comparing life in regional and urban Australia. There are other examples of quality children’s literature you can use to link to this drama, listed below.
| TEXTS: |
|
| YEAR LEVEL: | Appropriate for years 3–5 |
| ENGLISH/LITERACY FOCUS: | Descriptive language and confidence in oracy |
| KEY THEMES: | Australia’s natural environment; natural disasters; city and country; flood and drought; environmental sustainability |
| AIMS: | To explore and compare two literary texts; to develop confidence in oracy; to develop descriptive language skills; to explore Australia’s natural environment; link to Geography and Sustainability |
| RELATED TEXTS: |
|
| RESOURCES: |
|
Workshop 1: TWO summers
DEVICE: Word Bank
Grouping: Groups of five.
Purpose: To introduce key themes in the drama and to develop vocabulary. Word banks also encourage students to make connections to the text.
Resources: Art and writing materials and butchers’ paper.
Lay out five large pieces of butchers’ paper on the floor around the classroom. On the top of each piece write a heading, selecting from the following: Summer, Outback, Disaster, Nature, Change. In small groups, ask students to rotate through each piece of paper, brainstorming and writing down as many words, phrases and images that they believe relate to the theme.
DEVICE: Freeze Frames (depicting words)
Grouping: Groups of five (same groups as above).
Purpose: To embody key themes in the text.
Resources: Quiet instrumental music and clapping sticks.
Ask the groups from the previous activity to return to their home Word Bank and read and discuss the ideas, words, phrases and images that their peers have listed that are associated with their theme word.
Ask each group to create two frozen images (Freeze Frames), one that depicts their theme word and one that depicts the opposite of their theme word. The Freeze Frames of the theme word might not be literal; instead they might be symbolic or representational. The entire group must be in both Freeze Frames.
Once the groups have devised their two Freeze Frames, ask the students to think about how they can transition from one frozen image to the other.
Note: If this is the first time students are presenting a transition between Freeze Frames, you might like to use clapping sticks and count five seconds for the group to slowly morph from the first to the second frozen image.
Playing quiet music, invite the students to present their two Freeze Frames. Discuss their experiences and observations.
DEVICE: Discussion
Grouping: Whole class.
Purpose: To predict what the text might be about. To read two images (visual literacy) and compare and contrast them.
Resources: A copy of Two Summers.
As a class, look at the front and back cover art of Two Summers. Knowing that the book is titled Two Summers, ask the students to think of a question beginning with ‘I wonder … ’ about the book. For example, ‘I wonder if the story takes place on a farm’ or ‘I wonder if the story is set in Australia’ etc.
Workshop 2: two summers
READ Two Summers from page 1 to the end of page 8 ‘We tried fishing, but Rick wanted to see how far we could rock the boat before it tipped’.
DEVICE: Visualisation
Grouping: Whole class.
Purpose: To visualise the farm and develop descriptive language through the senses and to consider the Mood and Space. This visualisation activity also helps students think about emotive and descriptive language for the setting of the text.
Resources: Quiet instrumental music (e.g. The Pastoral Symphony; The Moldav).
Ask the class to sit scattered on the floor and close their eyes. You may wish to play some quiet music to create mood in this activity.
Once everyone is settled, ask the students to think about the farm that is depicted in Two Summers. Ask them to imagine that they are at the farm. Ask the students to think about what they can see, what they can hear and what they can feel at the farm.
Keeping their eyes closed, each student needs to form a sentence about the farm starting with one of the following phrases:
- At the farm I can see …
- At the farm I can hear …
- At the farm I can feel …
Then, with the quiet music playing, go around and tap each student on the shoulder, which will signal to them that it is their turn to say their sentence.
Following this activity, invite a discussion of what stood out for the students during the visualisation.
DEVICE: Mapping
Grouping: Groups of four or five.
Purpose: To collectively think about the area where the story takes place. Mapping will build on from the visualisation learning experience.
Resources: Art and writing materials, butchers’ paper.
Provide each group with a metre-long (minimum) roll of butchers’ paper and some art and writing materials.
Ask each group to draw a map of the farm in Two Summers.
Ask students to think about what we know is definitely on the farm from the text and illustrations, and what we imagine could also be in the area where the story takes place. Ask the students to discuss what might be on the map before they start drawing.
The maps can be drawn in several different ways: from an aerial (bird’s eye) view; it could be a pictorial map; or it might include a key with different symbols.
Once each group is finished mapping, invite each group to present their map to the rest of the class.
Note: If possible, display the maps on the classroom walls for the duration of the unit.
This activity could also link to the geographical skill: mapping.
Follow-up: Write a description of the farm using the Visualisation and Mapping activities. Write from the perspective of the farmer’s son who is narrating the story.
Workshop 3: Two Summers
DEVICE: Role on the Wall
Grouping: Whole class (or groups).
Purpose: To explore the two central characters in the story, Rick and the farmer’s son. To ensure students have a shared understanding. To develop vocabulary and language skills.
Resources: Butchers’ paper and art and writing materials.
Draw two outlines of people on some butchers’ paper. Identify which outline will be Rick and which will be the farmer’s son and write their names above the head of the outlines. As a class, think of a name for the farmer’s son. (In this drama, we are going to call him Jack.)
Start with Jack. Ask the students to think of words that describe Jack physically and write these words on the outside of the outline. On the inside of the outline, brainstorm words that describe Jack’s personality, his attributes, and details of his history. Be as specific as possible.
Repeat the activity with Rick. Think about how the two characters know each other. What kind of relationship do they have? Why would Rick visit Jack on the farm?
These outlines can be kept on the wall of the classroom throughout the drama.
DEVICE: Role Walk
Grouping: Whole class or individually.
Purpose: To physically embody the two different characters. To make connections between the two characters and the students’ own world.
Resources: Quiet instrumental music.
Following on from the Role on the Wall learning experience, ask the class to stand neutrally in their own space. (You may need to explain what physical neutrality is.) Once the class has come to neutral, play some quiet music and ask them to move around the room walking as neutrally as possible. Ask the students to move silently around the room making sure they don’t bump into anyone and trying to focus only on themselves.
While the students are walking neutrally, ask them to think about the character of Rick (building on the previous Role on the Wall). Ask them to think about what we know about the character and what we imagine about the character. Ask them to gradually start taking on the physicality of Rick and walking as Rick around the space. (Rick is probably very similar to the children in the class if the school is in an urban area.) Then, ask them to return to neutral and keep moving around the space. Now, ask the students to think about the character of Jack and gradually ask them to start taking on the physicality of Jack and walk as Jack around the space.
Gradually bring the students to stillness.
As a class discuss what it was like to physicalise the two characters. Were there similarities or key differences? You may like to use a compare and contrast chart or similar graphics to record the class discussion.
Re-READ from page 8 ‘Last summer we went swimming … ’ to the end of page 12 ‘Dad says Rick will be in for a bit of a shock’.
Follow-up: Individually, students take on the role of Rick and write a diary entry describing what he can see as he arrives at the farm for the second summer. (They will need to see the illustrations on pages 12 and 13 of the dry farm.)
Several students might share their descriptive writing with the class.
Workshop 4: Two Summers
READ from page 15 ‘We’ll still take him mustering … ’ to the end of page 22 ‘They aren’t too fat this year’.
DEVICE: Freeze Frames
Grouping: Groups of three.
Purpose: To embody and depict these two contrasting moments. Students will need to focus on Character, Mood and Tension.
Resources: A copy of Two Summers.
Ask students to get into groups of three and look at the illustrations on pages 22 and 23 (depicting two similar, yet different scenes from the first and second summers). Ask the students to create two Freeze Frames depicting these two contrasting events. All group members need to be in both Freeze Frames. The groups need to think about how they can show the change in mood, tension and time.
Ask the groups to add a caption, word or line of dialogue for each Freeze Frame.
When the groups are ready to present, play some quiet music. Use the ‘eyes open, eyes closed’ convention to transition between the three Freeze Frames.
READ from page 24 ‘There’ll be branding to do … ’ to the end of the book (page 28) ‘ … He might even bring some rain … ’
DEVICE: Teacher in Role/Hot-seating – Jack (the farmer’s son)
Grouping: Whole class.
Purpose: To explore the character of Jack (the farmer’s son) and contextualise the role of children living on a farm.
Resources: A hat or plaid shirt.
Explain to the students that you are going to go into role as the farmer’s son Jack and students have the opportunity to interview the character and ask him questions. You might like to use a suggestive costume element such as a hat or a plaid shirt to symbolise that you are in role. Then, start Hot-seating as Jack. To step out of role, simply remove the costume element. Following this strategy, you may also wish to debrief with the students about anything that stood out from the activity.
DEVICE: Hot Seat
Grouping: Whole class.
Purpose: To explore different perspectives of life on the land and the drought by other members of the community.
Invite four volunteers from the class to sit on chairs at the front of the room. These volunteers will take on the role of other characters in the text and possibly characters that are not in the text. You might like to interview Jack’s father and mother, a schoolteacher from the country town etc. Students can reflect on the interview.
Workshop 5: Flood
DEVICE: Soundscape
Grouping: Whole class.
Purpose: To create rain and introduce the idea of the flood.
Stand the class in a circle and explain to them that together, we are going to make a Soundscape of rain. Ask the students to copy your actions as you make them.
- Rub two hands together
- Click fingers on both hands
- Clap hands together
- Clap hands with thighs
- Stamp feet on the flood
Once you get to stamping feet on the floor, repeat the actions going backwards (build to a climax and then work back to silence).
Discussion: Ask the class to think about a time that it rained and rained. What did it feel like? Has anyone ever been in a flood before?
READ Flood from the beginning to page 6 ‘It sounded like a flood’.
Note: You may like to explore the song ‘Three Feet High and Rising’ by Johnny Cash.
DEVICE: Visualisation
Grouping: Whole class.
Purpose: To visualise the flood and develop descriptive language through the senses and to consider the Mood and Space. This Visualisation activity also helps students think about emotive and descriptive language for the setting of the text.
Resources: A copy of Flood and quiet instrumental music.
Ask the class to sit randomly on the floor and close their eyes. You may wish to play some quiet music to create mood in this activity. Once everyone is settled, ask the students to imagine that they are one of the four family members who have retreated to the roof of their house during the flood that is depicted on page 6. Ask the students to think about what they can see, hear and feel on the roof.
Keeping their eyes closed, each student needs to form a sentence about the flood starting with one of the following phrases:
- On the roof I can see …
- On the roof I can hear …
- On the roof I can feel …
Then, with the quiet music playing, go around and tap each student on the shoulder, which will signal to them that it is their turn to say their sentence.
Following this activity, invite a discussion of what stood out for the students during the Visualisation.
Follow-up: Individually, ask students to write a paragraph describing how the flood waters rose so high so quickly and how the family ended up on the roof.
READ page 7 ‘Volunteers filled sandbags … ’ and look at the illustrations on pages 7 and 8.
DEVICE: Tableau and Tapping In
Grouping: Groups of six students.
Purpose: To explore Character, Roles, Relationships and attitudes through Tapping In. This strategy requires students to decide on a character and consider their motivation. This strategy assists in developing inferential comprehension.
Resources: A camera/recording device connected to a printer.
Part 1: The Tableau
Students are going to depict the family being rescued in a tinny (small boat) by two volunteers. In groups of six, they are going to create a Tableau (a single Freeze Frame) depicting this scene.
Ask the students to think about the following Elements of Drama:
- Role: who are you?
- Relationship: what is your relationship to the other characters and your attitude towards them? How will you show this through body language and facial expression?
- Space: what is the space around you communicating to the audience?
- Focus: what are you focusing on as the character at that particular frozen moment?
Part 2: Tapping In
Ask a group to set up their Tableau and invite the other groups to become the audience. Once the audience has had a moment to observe the Tableau, you can ‘Tap In’ to each of the frozen characters. As you tap the students on the shoulder, you can ask them a question.
Questions may include:
- Can you say only one word describing how you feel at this moment?
- Can you say a sentence about how you are feeling at this moment?
- Can you say what your character’s motivation is in one sentence?
- Can you tell me: ‘Who are you?’, ‘What do you think about what is happening?’, ‘Do you think you’ll see your home again?’ etc?
Follow-up: Students can draw their character, or you can take photographs of the new Tableaus and students can annotate the images to include speech bubbles or thought bubbles or a paragraph to describe what is represented.
Workshop 6: Flood
DEVICE: Role Play/Improvisation
Grouping: Groups of four.
Purpose: To explore Situation and Character. To improvise in role as characters in the text.
Resources: A copy of Flood.
Re-visit the illustrations on pages 7 and 8 (the family being rescued).
In groups of four, decide who is going to play each of the four family members (Father, Mother, Son and Daughter). Ask the students to improvise a 30-second conversation between the family members as they arrive at a shelter after being rescued. Once the groups have rehearsed, they present to the class.
READ from page 9 ‘Daylight came at last … ’ to page 22 ‘They offered hands and homes’.
DEVICE: Freeze Frames
Grouping: Groups of four to six students.
Purpose: To embody the Situation and explore Mood and Tension.
Resources: A copy of Flood.
In groups, students choose either page 19/20 or page 21/22. The group is going to create three Freeze Frames bringing that image to life. All group members need to be in all three Freeze Frames. Students need to create their own transition between their Freeze Frames.
Once the groups have rehearsed, ask them to present their Freeze Frames to the rest of the class. You might play some quiet music to keep focus and mood.
READ from page 24 ‘Slowly, the flood crept back … ’ to the end of page 26 ‘They gave from across the world’.
DEVICE: Postcard
Grouping: Whole class.
Purpose: To create an image of the clean-up depicted on pages 25 and 26 of Flood. This strategy explores Focus, Role, Relationships, Tension and Mood.
Resources: A copy of Flood.
A Postcard is a single image that we add to one student at a time. One student will enter the space and take a pose as a character in the scene. As they enter the space they will say which character they are and what they are doing. Then the second student moves into the space, states who they are and what they are doing and takes up a frozen pose. This continues until everyone is in the whole class Postcard.
Follow-up: As one of the family members, students should write a diary entry of the day they were finally able to return home after the floods. What was left of their home? How are the other family members reacting?
READ from page 27 ‘The river shone … ’ to the end of the book.
Workshop 7: Flood
The final workshop in this series uses Readers’ Theatre to retell the story of Flood by Jackie French. You may wish to invite another class to come and watch what your class devise after this workshop or you may just wish for the class to show each other their Readers’ Theatre sections of Flood.
DEVICE: Readers’ Theatre
Grouping: Split the class into five or six even groups.
Purpose: Readers’ Theatre can develop confidence in oracy and fluency in reading as it requires students to script a small part of the text and read it to the rest of the class with facial expression and limited gesture and movement.
Resources: Class copies of Flood; highlighters.
Divide the book up into five or six sections. Create scripts of five or six sections of the text by highlighting the dialogue. Once the groups have been formed and the students have been provided with a copy of their section of the text, provide the following instructions. You may need to talk through these and provide examples.
The following instructions are based on Beyond The Script, by Robyn Ewing and Jennifer Simons (2004, p. 88):
Step 1 – As a group just practise reading the script together.
Step 2 – As the group continues to practise, think about the aspects below and, as a group, decide on:
Verbal expression: How will you speak your part?
- Tone (for example happy/sad)
- Volume (for example loudly/softly)
- Pace (for example quickly/slowly)
Body language
- Facial expressions
- Hand and other body gestures and movements
Position: In Readers’ Theatre you do not move very much, and you face the audience.
- Where will you stand or sit?
- Will you alter your position at times?
Sound effects: Do you want to use:
- Instruments?
- Body percussion?
Elements of Drama
Think about the following Elements of Drama:
- Contrast
- Focus
- Tension
- Mood
- Time
Step 3 – As a group, students go through and annotate their copy of the script using the above instructions, focusing on voice and sound. When you divide the script into sections, you may wish to all say the entire script together, or to break it down so that pairs of students speak together.
Step 4 – Consider how the group can add limited movement to the performance to add meaning. In Readers’ Theatre there isn’t a lot of movement, so the group might all be standing in a line and only use facial expressions and gestures on the spot to communicate meaning along with their voices.
Step 5 – Rehearse the Readers’ Theatre script.
Step 6 – Perform the Readers’ Theatre piece.
Note: Steps 3 to 5 may take several sessions.
To conclude, students may wish to reflect on the process and what could be improved.