Biotechnology education

UNIT

through drama 19
European Initiative for Biotechnology Education

Contributors to this Unit

Fred Brinkman (Unit Co-ordinator)
Christa de Graaf, Jenny Lewis
 Het Europees Initiatief voor Biotechnologische Educatie (EIBE) stelt zich
tot doel vakkennis te verspreiden, inzicht en begrip te vergroten en het
maatschappelijk debat te bevorderen door middel van verbeterd
biotechnologisch onderwijs in scholen in de Europese Unie (EU).
EIBE
BELGIË/BELGIQUE ITALIA
Prof. Dr. Vic DAMEN/ Marleen van STRYDONCK, Universitaire Prof. A. BARGELLESI-SEVERI/Dr. Stefania UCCELLI/Dr. ssa.
Instelling Antwerpen (U.I.A.), Department Didactiek en Kritiek, A. CORDA-MANNINO, Centro di Biotecnologie Avanzate, Largo
Universitätsplein 1, 2610 Antwerpen, email [email protected] Rosanna Benzi 10, 16132 Genova., email [email protected], [email protected]
Dr. Maurice LEX, EC, GD XII E-1, SDME 9/38, Rue de la Loi 200,
1049 Bruxelles, Fax 0032/2/299-1860 LUXEMBOURG
Mr. John WATSON/Mr. Laurent KIEFFER, European School, 23
BULGARIA BLVD Konrad Adenauer, 1115 Luxembourg, email [email protected],
Prof. Raytcho DIMKOV, University of Sofia ‘St. Kliment Ohridski’, [email protected]
Faculty of Biology, Dr. Tzankov blvd. No. 8, 1421 Sofia, email
[email protected]
NEDERLAND
Dr. David J. BENNETT, European Federation of Biotechnology
CZESKÁ REPUBLIKA Working Party on Education, Cambridge Biomedical Consultants, Oude
˘ Delft 60, NL-2611 CD Delfte, email [email protected]
Dr. Hana NOVÁKOVÁ, Pedagprogram co-op Pedagogiká Fakulta UK,
Konevova 241, 1300 Praha 3. Fax +420/2/684 5071 Dr. Fred BRINKMAN, Hogeschool Holland, Communication Project,
P.O. Box 261, 1110 AG Diemen, email [email protected]
DANMARK Drs. Liesbeth van de GRINT, email [email protected]
Dr. Jan F.J. FRINGS, Pr. Marijkelaan 10, 7204 AA Zutphen, email
Dr. Dor te HAMMELEV, Association of Danish Biologists,
[email protected]
Sønderjyllands Alle 2, 2000 Frederiksberg, email [email protected]
Dr. Ana-Maria BRAVO-ANGEL, Secretariat of the Task Group on
Mrs Lisbet MARCUSSEN, Association of Danish Biologists,
Public Perceptions of Biotechnology, Oude Delft 60, NL-2611 CD Delfte,
Skolebakken 13, 5800 Nyborg, email [email protected]
email [email protected]
DEUTSCHLAND RZECZPOSPOLITA POLSKA
Prof. Dr. Horst BAYRHUBER/ Dr. Eckhard R. LUCIUS/ Mrs
Dr. Anna STERNICKA, University of Gdansk, Dept.of Biology, AL.
Renate GLAWE, Institut für die Pädagogik der Naturwissenschaften (IPN)
Legionow 9, 80952 Gdansk, email [email protected]
an der Universität Kiel, Olshausenstr. 62, 24098 Kiel, email [email protected]
kiel.de, [email protected]; [email protected] SCHWEIZ
Dr. Ognian SERAFIMOV, INCS-Centre of UNESCO, c/o Jörg-Zürn-
Gewerbeschule, Rauensteinstr. 17, 88662 Überlingen, email Dr. Kirsten SCHLÜTER, Höheres Lehramt Mittelschulen der
[email protected], [email protected] Universität Zürich, Winterthurerstr. 30, CH-8033 Zürich, email
Prof. Dr. Eberhardt TODT, Universität Giessen, FB Psychologie, Otto- [email protected]
Behagel Str. 10, 35394 Giessen, email [email protected]
Prof. Dr. Michael SCHALLIES, Pädagogische Hochschule, Heidelberg,
SVERIGE
FB Chemie, Im Neuenheimer Feld 561, 69120 Heidelberg, email Mrs. Margareta JOHANSSON, Föreningen Gensyn, P.O. Box 37,
[email protected] 26821 Svalöv, email [email protected]
Dr. Elisabeth STRÖMBERG, Östrabogymnasiet, Kämpegatan 36, 451
EESTI 81 Uddevalla, email [email protected]
Prof. Dr. Tago SARAPUU, Science Didactics, Dept., University of Tartu,
Vanemuise 46-211, Tartu 51014, email [email protected].
THE UNITED KINGDOM
Dr. John GRAINGER/ Mr. John SCHOLLAR/ Dr. Caroline
EIRE SHEARER, National Centre for Biotechnology Education, The
Dr. Catherine ADLEY, University of Limerick, Biotechnology Awareness University of Reading, Whiteknights, P.O. Box 228, Reading RG6 6AJ.,
Centre, Dept. of Chemical and Environmental Sciences, Limerick, email email [email protected], [email protected], [email protected]
[email protected] Mr. Wilbert GARVIN, email [email protected]
Mrs. Cecily LEONARD, University of Limerick, Dept. of Life Sciences, Dr. Jill TURNER, The Medical Biology Centre, The Queen’s University
Limerick, email [email protected] of Belfast, 97 Lisburn Road, Belfast BT9 7BL, email jill.turner@queens-
belfast.ac.uk
ELLADA Dr. Paul WYMER, 6 Park Way, Whetstone London N20 0XP, email
Prof. Vasilis KOULAIDIS/Ass. Prof. Vasiliki ZOGZA- [email protected]
DIMITRIADI, University of Patras, Dept. of Education, Rion, 26500 Dr. Jenny LEWIS, University of Leeds, Centre for Studies in Science
Patras, email [email protected], [email protected] and Mathematics Education, Leeds LS2 9JT, email
[email protected]
ESPAÑA Mr. Adam HEDGECOE, University College London, Dept. of Science
Dr. María J. SÁEZ, Dr. Angela GÓMEZ-NIÑO/ Rosa and Technology Studies, Gower Street, London WC1E 6BT, email
VILLAMANAN, Universidad de Valladolid, Dept. de Biologia Celular y [email protected].
Farmacologia, Geologo Hermandez Pacheco 1, Valladolid 47014, email
[email protected], [email protected], [email protected]

FRANCE
Prof. Gérard COUTOULY, LEGPT Jean Rostand, 18, Boulevard de la
Victoire, 67084 Strasbourg Cedex, email [email protected]
Prof. Laurence SIMONNEAUX, ENFA, Toulouse, Boîte Postale 87,
31326 Castanet-Tolosan Cedex, email [email protected]

EIBE co-ordinator
Prof. Dr. Horst BAYRHUBER, Institut für die Pädagogik der Naturwissenschaften (IPN) an der Universität Kiel, Olshausenstr. 62, 24098 Kiel, Deutschland.
Tel.: ++49-431-880-3129, Fax: +49-431-880-3132 email: [email protected].

EIBE secretariat
Renate GLAWE, Institut für die Pädagogik der Naturwissenschaften (IPN) an der Universität Kiel, Olshausenstr. 62, 24098 Kiel, Deutschland.
Tel.: +49-431-880 3132, Fax +49-431-880 3132, email: [email protected].
.......

2 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA EIBE European Initiative for Biotechnology Education 2000
 UNIT
Biotechnology education
through drama
19
European Initiative for Biotechnology Education

Contents World Wide Web

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★
MATERIALS

❙ Development team, copyright 4 Few areas are developing as rapidly as biotech-

nology. So that they can be revised and kept up-
❙ About this Unit 5 to-date then distributed at minimum cost, the
EIBE Units are published electronically.
❙ Why drama? 6
These pages (and the other EIBE Units) are
available throughout Europe and the rest of the
❙ Educational drama
world on the World Wide Web. They can be
Aims 7 found at:
Objectives 7
Evaluation 9 www.eibe.org

❙ The Direction 10 All of the EIBE Units on the World Wide Web
Practical notes for direction 12 are Portable Document Format (PDF) files.
This means that the high-quality illustrations,
❙ Production planning 14 colour, typefaces and layout of these docu-
ments will be maintained, whatever computer
you have (Macintosh - including Power PC,
❙ An example of a student
Windows, DOS or Unix platforms).
production about genetic
modification 15 PDF files are also smaller than the files from
Evaluation 16 which they were created, so that it will take less
time to download documents. However, to view
the EIBE Units you will need a suitable copy of
the Adobe Acrobat ® Reader programme.

The Acrobat ® Reader 3 programme is available

free-of-charge. It can be downloaded from:

http://www.adobe.com/

With this software, you can view or print the

EIBE Units. In addition, you will be able to
‘navigate’ around and search the documents
with ease.

PLEASE NOTE: Adobe and Acrobat are

trademarks of Adobe Systems Incorporated,
which may be registered in certain jurisdictions.
Macintosh is a registered trademark of Apple
Computer Incorporated.
.......

EIBE European Initiative for Biotechnology Education 2000 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA 3
 EIBE contributors © Copyright
● Fred Brinkman (Unit Co-ordinator) This EIBE Unit is copyright. The contribu-
Hogeschool Holland tors to this Unit have asserted their moral
School of Communication Studies right to be identified as copyright holders
POBox 261 under Section 77 of the Copyright, Designs
1110 AG Diemen and Patents Act, UK (1988).
The Netherlands
Educational use. Electronic or paper copies
● Christa de Graaf of this EIBE Unit, or individual pages from
Hogeschool Holland it may be made for classroom use, provided
School of Communication Studies that the copies are distributed free-of-
POBox 261 charge or at the cost of reproduction, and
1110 AG Diemen the contributors to the unit are credited and
The Netherlands identified as the copyright holders.

● Jenny Lewis Other uses. The Unit may be distributed by

The University of Leeds individuals to individuals for non-commercial
Centre for Studies in Sciencce and purposes, but not by means of electronic
Mathematics Education distribution lists, mailing (listserv) lists,
Leeds newsgroups, bulletin board or unauthorised
UK World Wide Web postings, or other bulk
distribution, access or reproduction mecha-
nisms that substitute for a susbscription or
Design, illustration and typesetting: authorised individual access, or in any
Caroline Shearer, NCBE, The University manner that is not an attempt in good faith
of Reading, RG6 6AJ to comply with these restrictions.

Commercial use. Should you wish to use

Acknowledgements this material in whole or in part for com-
mercial purposes, or to republish it in any
EIBE is grateful to the following people for form, you should contact:
their help in the production of this Unit:
● all the communication students in EIBE Secretariat
Diemen who participated in the drama c/o Institut für die Pädagogik
project and made it into such an event der Naturwissenschaften
in the theatre. Universität Kiel
Olshausenstraße 62
D-24098 Kiel
Germany

Telephone: + 49 431 880 3132

Facsimile: + 49 431 880 3132
E-Mail: [email protected]
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4 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA EIBE European Initiative for Biotechnology Education 2000
 About this Unit Safety
★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★
INTRODUCTION
In all of the EIBE Units, we have tried to
These materials have been devised by check that all recognised hazards have been
practising teachers and educationalists from identified and that suitable precautions are
several European countries, brought to- suggested.
gether with financial support and encour-
agement from DGXII of the European Where possible, the proposed procedures
Commission, under the auspices of EIBE, are in accordance with commonly-adopted
the European Initiative for Biotechnology general risk assessments. If a special risk
Education. assessment may be necessary, this has been
indicated.
The EIBE materials have been extensively
tested in workshops involving teachers However, users should be aware that errors
from across Europe. and omissions can be made, and that differ-
ent employers and educational authorities
The views expressed in this Unit and the adopt different standards. Therefore, before
activities suggested herein are those of the doing any activity, users should always carry
authors and not of the European Commis- out their own risk assessment. In particular,
sion. any local rules issued by employers or
educational authorities MUST be obeyed,
Particular attention should be paid to the whatever is suggested in the EIBE Unit.
general safety guidelines given in the intro-
duction to this Unit, and to the specific Unless the context dictates otherwise, it is
safety guidelines throughout the text. assumed that:

● practical work is carried out in a

properly equipped and maintained
science laboratory;
● any mains-operated equipment is
properly maintained;
● care is taken with normal laboratory
operations such as heating substances;
● good laboratory practice is observed
when chemicals or living organisms are
used;
● eye protection is worn whenever there
is any recognised risk to the eyes;
● pupils and/or students are taught safe
techniques for activities such as
handling chemicals and
microorganisms.
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EIBE European Initiative for Biotechnology Education 2000 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA 5
 Why drama? For the word theatre we also have to go
back to the Greeks. A – theatra- was a
★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ spectacle, that was being played in a –
WHY DRAMA?

theatron-, a theatre. We still use this word in

There are several meanings for the words its original meaning, but it can also be
drama, scene and theatre: found in many related words.
Drama in Japan, an aeroplane crashes, five
hundred people died. The terms drama, scene (stage) and theatre
You turn everything into a drama have similar origins and are used in the
Shakespeare has written some dramas. same sort of ways in contemporary lan-
guage.
The drama of the holocaust in World War
Two Theatre School, Drama School
Students put on a theatrical, they are acting,
There are also derivations from the word they dramatise.
drama: A play is a drama.
It was a very dramatic play
He is a dramatist The word drama encompasses a wide range
of activities. A drama can:
Word origins ● depict human nature through acting,
There is a greek verb –dran- that means: i.e. acting in a significant context;
doing, acting, acting with intention after a ● create an event: players performing
decision is made. In this sense there is a before an audience;
moment of choice after the action. The ● be a representation of conflict between
noun associated with –dran- is drama; people, giving a distilled view of an
meaning that which is being done; handled action, while still having a flexibility of
or acted. interpretation;
● it can explore different viewpoints in a
Greek also has the word –agoo-that means: tense situation, where participants have
I precede or lead, I am doing, I fight in a to place themselves in an identity that is
game. In Latin we can find the word – not their own, and where the audience
agere- meaning: agitating, acting, doing, is drawn into the conflict. This acting is
competing, striving, getting excited, incite, structured in space and time and
take action. This root can be found in demands by its nature an intellectual,
several English words, for example: physical and emotional involvement,
but strives also for new insight into the
he is an agitator, a troublemake;
subject explored.
Piscator is involved in the Agit-Prop-theatre
(Agitation propoganda); If we look at these descriptions it is appar-
Hamlet is the protagonist in Shakespeare’s ent that certain elements are essential to
play. drama:
● acting;
From this verb –agere- also comes the past ● people and situations;
participle: actum, which can be found ● tension and conflicts;
in several words that we use regularly: ● portrayal and expression;
actor, actress, acting; ● space and time;
a dramatic action; ● actors and audience;
● a plan.
in the third act the hero dies;
perform an act;
there is no action in that play.
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6 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA EIBE European Initiative for Biotechnology Education 2000
 Educational drama
★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★

Aims
Intrinsic
These are mainly to do with personal
development of the player, and only a little
to do with the development of dramatic
skills. The central aims are for the player to
develop:
● self-confidence;
What is dramatisation ● emotional maturity;
To represent, give expression to, design or ● self awareness;
create something that can use players (and ● awareness of others;
other props) to depict aspects of society (in ● ability to work as part of a group;
the form of people and situations) to an ● communication skills.
audience.
The player is the central point, the work
With stage acting, as with spoken language, progresses from the player.
there is considerable intuitive knowledge of
what to do to be understood. Dramatisation Extrinsic
involves the portrayal of expression in These concentrate on the situation, the
words and gestures that is in everybody’s surroundings and real life of the player. The
nature. It can be compared with the pre- central aims are for the player to develop:
tend play of young children. Inside each of ● insight into his/her situation and an
us lives an “actor”. When you played moth- understanding of how to change it;
ers and fathers at playschool you did not ● increased knowledge/understanding of
think about acting, you just took up a role. the topic (language, history, literature,
politics, social studies)
However, dramatisation involves more then
just actions. It requires thought about the Artistic
subject portrayed and an understanding of The central aims are for the player to:
the dramatic process. ● gain an insight into and knowledge of
the creative process in the theatre;
The process of making a drama will in- ● develop creative and critical skills as
volve: both player and audience.
● a thorough knowledge of the subject
matter; Objectives
● physical, emotional and intellectual Communication
involvement; Producing a play challenges all the partici-
● increasing understanding of both the pants to clarify their own attitudes and
above through the creative process; wishes. Participants will gain a better under-
● insight into the dramatic process; standing of how to:
● realisation that knowledge of ● understand his/her own and others
something can lead to knowledge about feelings, individually and as part of a
it which then leads to a new group;
understanding. ● express these feelings in aspects of the
play;
● explore and enlarge upon intuition;
● understand the balance between reality
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EIBE European Initiative for Biotechnology Education 2000 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA 7
 and fiction; Evaluation
Participation will also develop skills in There are many different reasons for using
creativity, imagination, concentration, self- drama in education, evaluation will depend
confidence, responsibility and social inter- these but questions that could be discussed
action. are:
● What is the goal of this exercise, this
Social scene?
Drama can challenge the player’s values. It ● Is that goal realised/ achieved? If so,
can help individuals to recognise and why? If not, why not?
understand how they make choices. ● Was the exercise, the assignment, the
Particularly, participants will develop: scene of the play, fit to achieve the
● a wider outlook and awareness of goals? How could it be improved?
different viewpoints; ● What did you learn? Why?
● a sense of place within society; ● What problems did you discover? As a
● critical abilities in respect of individual player? As spectator?
and group values;
● an understanding of how drama can Analysis can be carried out in four stages;
manipulate emotions; observation, interpretion, speculation and
● an understanding of how drama can experience.
highlight aspects of society.
Observation
Traditional This is concerned with what happened and
Drama gives players an opportunity to what was its significance.
practice their inventive and creative skills. In ● What characters did we see? What were
addition participants will gain: they doing? (Gestures, mimics, attitude,
● knowledge of the basic process of play movement, where were they
production; looking…).
● an insight into the use of drama to ● What are they saying? (Words;
express ideas; sentences; noises...).
● a working knowledge of props such as ● What was the setting of the play? What
puppets, masks, costumes, make-up, did the stage look like?
decor. ● How were characters portrayed? How
did they relate to each other?
● When did the play take place? Years
ago? The present? Over what period?
● Was the length of the play too short or
too long?

Interpretation
Bart was continuously moving on his stool at the bar.
This would be an observation, interpreta-
tion would ask the questions:
● Why was he doing that?
● Why did he buy everybody drinks?
● Why is he a bodybuilder type?
● Why is he constantly looking at the
waitress at the pool table?
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8 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA EIBE European Initiative for Biotechnology Education 2000
 demonstrate that theme?
● What else could be used? The same
situation and people, but with another
storyline?

Experience
Personal experiences of both the players
and the spectators are valuable in terms of
how they view the whole assignment, the
effect that assignment has had on them
individually and what they have learnt from
it.

Some questions for the players:

● What was the overall impression of
being a part of the play?
● What did you like about your role?
What did you not like?
● Could you imagine yourself in the
Other interpretative questions might be: leading part?
● What made you see that it was around ● Were the other characters true to life?
midnight? ● Was what you showed also interesting
● What is the real ‘theme’ of the play? for the spectators? How can you know?
● What are the highlights of the play? ● Did you find it nice/boring/ exciting/
● What play structure did they use? And interesting?
why? ● How did you work together?
● Which acting techniques were used? ● What did you think of the assignment?
● What are the relationships between the ● How did you handle it?
characters and how are you able to tell? ● For how long did you practise?
● Do you think that the assignment was
Speculation carried out properly?
Speculating about other situations, derived ● What advice would you give a group
from the play, can be useful to deepen the starting at the beginning?
understanding of a theme and to search for ● What did you think of the use of
new ideas. For instance: scenery, props and space?
The context:
● What would have happened if the
scenes wore played at another place?
● What if it was not set at night but in
the afternoon?

The parts:
● What would have happened if Bart and
John were not related?
● If the waitress was not Bart cousin?
● What if they were less outspoken
characters?

The problem:
● What other situations could we find to
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EIBE European Initiative for Biotechnology Education 2000 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA 9
 The direction
★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★
DIRECTION

As coach you aim to create an unthreatening

atmosphere:
● welcome every suggestion;
● allow the freedom to make suggestions
without being judged (good, bad,
wrong, funny..) or condemned as
impractical (how are we going to do it?
is that possible?); the questions can be less open:
● ensure nobody feels that they have ● Do you fall in love?
failed; ● Do you have fights with your parents?
● ensure that everybody has a chance to ● Did you ever have a friendship that did
contribute; not go so well?
● point out that all ideas will not lead to
success, that some will fail is normal If there is still no response, use personal
and necessary. experiences as an example, when you were
fourteen and what you were doing. Ask the
Remember: students about similar experiences.
● A short good show is better then a long
bad one. The theme does not have to be about a
● In phases that appear to be stuck, go single subject, but can be about several
and do something else, make a move, themes at the same time, e.g. friendship and
go for a walk, play a game. Sometimes love. But the maximum is three, otherwise it
the players will solve the problems becomes cumbersome.
themselves.
● Always think and be positive, let the Brainstorming
players know and tell them that with ● Once a theme/ subject is chosen,
everybody’s input it will work. arrange a whole group brainstorming
● Pat on the back and praise a lot. session where all ideas are noted on a
large board. Nothing is rejected at this
Choosing a theme stage, all ideas are welcomed.
Possible themes (just in case); teasing and
being teased, wanting to belong, romance, ● From the list considered the most
love, sexuality, friendships, loneliness, importance aspects of the subject?
conflicts with parents, taking responsibility, Circle these, don’t delete or remove
insecurity. anything yet!

If possible the themes should be suggested ● Choose a title from the most
by the students themselves. Ask open importance items. This can always be
questions: changed, but it is important to have a
● What issues are important at the title, it gives a direction.
moment?
● What could be important to show to Idea development
other people in a play? A small group are given the task of organis-
● What kind of characters do you want ing the results of the brainstorm phase and
to play? writing them down. This is about giving the
subject more depth, grouping thoughts,
If there are no suggestions or responses,
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10 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA EIBE European Initiative for Biotechnology Education 2000
 feelings, ideas and coming up with situa- The definite script must be determined.
tions that can be explored in a next phase. The characters must be set. Everybody
Every idea is good and accepted. must be motivated to make the choices
work.
The storyline
Ideas are selected that can be placed in one The search for clothing, props, decor can
story. The following questions will need to start. Lighting and sound must be chosen.
be answered:
● Who are the characters? (Father, son, Refinement
friend…) The play must be polished in every detail
● What is the theme? until it cannot be improved anymore.
● What is the location of the story? Besides the rehearsals the play must be
(Living-room, bedroom, hotel..) walked through at least three times, not
● Why are they undertaking this? loosing the context of the play.
(historical, coincidence, theme)
● When is the play? (year 1800, at this The full dress rehearsal
moment, in the future) This is the last phase before the final play. It
● How does it progress? ( in what form) is called a full dressed rehearsal because
everything is played like it’s for “real”.
If there is a lack of ideas at this stage the The players are not allowed to stop and
coach will need to suggest some. Choices must go on even if mistakes are made.
will need to be made about:

Situation: such as different people, not

known to each other, in the same circum-
stances, experiencing the same event. (on
the train, bus, plain crash).

Theme: the theme is the thread through

the production, different parts may appear
to have nothing to do with each other, but
they will need some common theme:
dancing, singing, sketches about sex.

Form: such as modern dance, opera, a

storyteller.

There must then be a choice about who will

work the ideas into a presentable form.
This can be done in the group, but some-
times it is necessary to work in smaller
groups (2/3 students) it depends on the
choice of the story/thread. In this phase
steering is important: decide the best way to
shape the story, considering the theatrical
effect.

Selection
Decisions must be made in this phase.
What is, and what is not going to be used.
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EIBE European Initiative for Biotechnology Education 2000 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA 11
 For work with the production team:
Practical notes for The Stage
Make a plan of the stage to show where
the director everything must stand (see Figure 1, page 13).
★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★
Scene changes
First of all you have to divide up the tasks, The director devises the walking, standing
allocate responsibilities for the script, lights, and sitting positions for the set. A sketch
sounds, sets, costumes and make-up. should be made for every change (some-
times this does not work in the reality, be
For work with the cast: flexible). You can also work with the actors
Interpretation on stage and then make sketch notes. The
The word is self-explanatory, each actor will sketches should be annotated with sections
make his/her own interpretation of their from the script (see Figure 2, page 13).
role. This may differ from what the writer
originally intended. The following questions Set and costume design
will need to be addressed by the actors: Scenery
Sketches from the front of the stage should
Motivation be made for all the scenes.
● Why are you going to work with this
part? Why do you personally like this Costumes
part? Drawing/ pictures/ photographs or pieces
● What must the audience know/ learn/ of fabric and a description are needed for
understand? each cotume.

Subject Lighting
● What is the subject of the part in one Plans should be made for the positions of
word? (Desire, distance…etc.) the lights, what are the lighting needs for
each scene? What filters are needed for the
Theme spots? In what part of the play will fade-in,
● Describe the theme of the part in one fade-out, spots, darkness etc. be needed;
sentence. this is also a part of the script.
Example:
If with the realisation of desire, reality is being Stage property (props)
ignored, fate is going to hit home. List everything that is used during the play,
scene by scene e.g. gun, umbrella etc.
Conflict
● Whom versus whom? What versus Make up
what? Whom versus what? Create sketches of the make up for the
● What interests do the players have actors. Give a description of the character-
separately from each other? istics of the make up for the actors. What is
● What interests doe they have together? the base/foundation of the make up, list
sources of help.
Characterisation
● Develop your personal interpretation. Sound
Draw up a list of the special effects and
Style music. Make notes of when and where in
● What style do you choose? Is it the script to use fade in, fade out and other
different from the writer’s intention? effects.
Why do you use this style? (tragedy,
comedy, to be absurd).
.......

12 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA EIBE European Initiative for Biotechnology Education 2000
Figure 1. Example of a stage plan

door

bell
2
desk

3
table
door
1
Start of scene 4 lighting notes: 1 - socket 12 spot
2 - socket 10 lights
3 - socket 11 spot

Figure 2. Example of a scene plan

S
S

J J

Servant walks to the table, looks... Jane rings the bell...

M
M S

J
J

Martha is behind the counter. Martha: I presume you have identification?

Jane: Good afternoon, I’m here for the room.
Martha writes... to: I’m from Africa

M M
S
S
J
J

Jane: I have a passport, here it is. Martha (to the servant): i did not call you.
The servant walks back
.......

EIBE European Initiative for Biotechnology Education 2000 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA 13
 A suggested sequence
Production planning This describes one method of going about
★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ a production which may serve as a guide,
PRODUCTION

but there are many ways of doing it and it is

Auditions best to find your own style.
When and where are the auditions taking
place? What can the aspirant players do to 1. Read through by as many different
prepare themselves? How many players do people as possible.
you need? What are the selection criteria? 2. Select the parts you want to use.
3. Allocate the roles.
Rehearsals 4. Read through the in the chosen roles.
Outline the reheasal program. What pages 5. Talk about the interpretation (see the
of the script are you going to rehearse? practical notes).
Which parts need to be memorised? 6. Talk about the different characters (see
Role construction, division of tasks, role the practical notes).
interviews, walking through the scenes, 7. Play through with the script.
decisions of costumes, practice with make 8. Write role biographies.
up, lights and sounds, etc. in what way are 9. Select outfits and objects that
you going to show the scenes? What do you supplement the roles.
do with the behind the scene effects? 10. Memorise the script.
(Story teller, tape recording) 11. Role interviews, role forming,
(continue doing these as needed)
Production schedule 12. Decide upon the stage
A general time plan for all the production 13. For each scene: walk through, practise
activities. When are the costumes and the small parts, walk through again.
stage to be ready? When are you going to 14. Develop strategies to work on
practice the make up? When are you going problems:
to build the set? • write down what is difficult and what
works well;
Finance • play the parts at “ top speed”, no
A financial picture which outlines every breaks and silences, this may help to
cost for the production: stage, costumes, identify problems;
theatre, make up, publicity, tickets etc. Who • sing the scene as if it was an opera, it
will pay, can you look for sponsors? does not matter if is bad singing;
• play the scenes in a different style: a
Publicity comedy as a drama, a tragedy as a
Arrange for the design, production and comedy.
distribution of posters. Will there be a press 15. Pep talk.
release, what will it include?

Record book
Indispensible, for contact details and
records of the whole production: the title
and the writers, the names of all the players,
the assistants, lights, sounds, costumes,
make up, stage and a short summary of the
theme.
.......

14 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA EIBE European Initiative for Biotechnology Education 2000
 An example of a student production
about genetic modification
EXAMPLE

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★

The making of the cabaret programme booklet including a pre- and

In September 1999 nine non-science stu- post-test on attitudes of the audience
dents from the School of Communication towards biotechnological issues addressed
Studies at Holland University started -after in the drama.
suggestions from EIBE -a project to pro-
duce a drama about biotechnology. They The whole project was supported by the
gave performances in an Amsterdam School of Communication Studies by 0.3
theatre and in the auditorium of the univer- FTE extra teacher time mainly for the
sity in April and May 2000. direction of the play. The Dutch Union of
Biotechnology subsidised the exploitation
The aim of the project was to make a and material costs and EIBE gave support
contribution to closing the communication for the evaluation.
gap between science and society. Non-
science communication students were asked The resources used in the preparative
to write a drama about biotechnology as research were EIBE units, articles in recent
they perceived it, in order to communicate newspapers, didactical studies on the per-
to the general public via this medium. ceptions of (biotechnological) genetics and
video registrations of documentary pro-
The students based their texts upon own grams on TV.
literature research. The final goal was to
perform the play as professionally as possi- The production of the texts resulted in
ble in an Amsterdam theatre. They worked fourteen cabaret scenes about philosophi-
on it over eight months, about one day per cal, societal and ethical issues in biotechnol-
week. ogy. and treated subjects like
xenotransplantation on movie stars, the
The students organised themselves in four evolution of life, advertising topics, the
business units, tutored by a lecturer of the genetic passport and cloning of humans.
School, according to the curriculum de- The cabaret was approximately one hour
mands in the second year of the School of long and the language was Dutch.
Communication Studies. One unit of three
students did the research, wrote the texts About two hundred non-science spectators
and did the performance under the direc- visited the cabaret titled ‘Gewoon doorgaan
tion of the drama teacher of the School. zo?’(Just going on like this?), most of them
during the two performances in the Polanen
Another unit (two students) did the organi- Theatre in Amsterdam. The reactions of
sation and obtained sponsor money. the public to the production were very
positive both on the content and the pro-
The third unit (two students) made a digital fessional performance.
video recording of the making of the
drama and of the final performance.

The fourth unit (two students) developed

and produced posters and flyers for adver-
tising and composed and produced the
.......

EIBE European Initiative for Biotechnology Education 2000 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA 15
 Evaluation good things.
Evaluation of the process of writing and Student More information means less fear.
performing the drama took place with the Student There is also a social context. We have
students, the director of the play, the tutor of talked about the ethical issues a lot but there
the students (FB) and an EIBE representative is no feedback of other people. That is the
(JL) who functioned as evaluator during the strange thing. And without feedback it is
session. The language during the evaluation was hard to create opinions.
English.
So who you expect to get ethical feedback
from?
The evaluation was tape-recorded. The partly
Student That’s the reason why it is so important, to
summarised transcript of this evaluation is
create a big discussion to get more feedback.
given below. Quotations of the evaluator are in
bold blue italic, other quotations in plain italic. You mean there is no discussion?
Summaries of quotations are in standard text. Student Not really, no.
Director You get some messages from the media but
nobody talks about it.
The aim of the writers was to make a creative
Tutor I interviewed a number of people in the
play to make biotechnology accessible to
audience before the cabaret and only one
people. The type of play was very open, up to
person could say something about
the writers. Was the main aim to help people
biotechnology. This is similar to the findings
to know more?
of a European report.
Student No, to make them think and want to find
out more. So that is what you mean by feedback? There
Director To find out what was their point of view. is no one you can discuss with?
Tutor To enhance critical thinking in the students Student Yes, it makes hard to create an opinion.
engaged in the project as well as in the
audience. So that makes it hard to find an opinion?
Student Yes and I wasn’t aware of that.
What was the nature of the background
knowledge at the start? But you were able to make the discussion in
Student No knowledge, not really. your own group? [Asked the tutor]
They did not know very much about the Student Well I tried but there are lot of different
subject and they had probably some subjects. Biotechnology is not a small thing.
prejudices at the start.
So were there subjects you left out?
Director I advertised for participants.
Student Yes, food.
Tutor I told them what it would be about and that
Director Food is nearly not mentioned. If we do it
was the basis of their initial interest.
again we should have to do more about food.
Have your views changed during the play? Student I was thinking about it when I was doing
Student We know more but I do not know if it the rap. I thought it had to be mentioned.
changed my view. Well we did include some, we planned to
have something about animals, plants and
What difference does knowing more make? humans but it is easier to make fun about
Student Well, there are more situations to think more extreme examples.
about, not just one or two things as at first. Director There is no drama in it.
Its all biotechnology, you can’t be for or
against it. So yes, people are interested in plants so
Christa [the director] is probably right, there
You can’t but why can’t you? won’t be much drama in it.
Director In the beginning I was against Student But people were already scared when we
biotechnology. When I realised the potential talked about something in the food but we
benefit in treating human illness then I eat the food and it becomes part of our body.
thought: I would want to be treated maybe. So we should be worried if it is the same as
Student In the beginning I was afraid of it. Now I putting the heart of a pig in your body.
know more and know some of the Director Well, you eat pigs, why shouldn’t you put a
possibilities are good so I concentrate on the heart of a pig in your body? And the food
.......

16 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA EIBE European Initiative for Biotechnology Education 2000
 and meat is totally manipulated now So how did you decide what stayed in and what
anyway. For me it was an eye opener. I went out?
realise: you milk cows already and that is There was some disagreement here between the
manipulation. I hadn’t realised how much students and the director
we already manipulate our food. Director It was what would be right for the audience.
Before it was discussed what we should skip,
So you are right. It is really a big subject. So what we should change and what would give
how did you choose what you presented? Was it a better performance. I didn’t choose
just: oh this is a good idea or did you have a anything, I advised and you chose. You did
clear plan? it yourself.
Student Well at the end it came together but mostly
there was no plan. We just started to write, To go back to the organisers, you started not
we talked about ideas, then we had a knowing anything about biotechnology. Is
complete scene and then we put the whole that right?
thing together and we had a total view. Then Student Yes. In the beginning I wasn’t even
we had to make some changes. interested. I just wanted have a good and
nice play. When I saw what they wrote I
At that point you realised you had no thought: ah, that is interesting.
genetically modified food?
Student Yes ,I think so. And we did not think So was it that you did not know anything
about it. about biotechnology or was it you just weren’t
Student Well it wasn’t my approach to take food or interested?
anything . I just took what I thought to be Student Well, I hadn’t really thought about it.
funny, what affected me, what I had some
connection with. I can’t write out everything. In the last two or three years there has been
We used a documentary of Wim Kayzer as lots of information in the media about
a starting point. He talked about a lot of biotechnology, some of it quite unbelievable,
different things .Some of them seem to be but when I talk to young people they not really
quite racist or eugenic. But when I tried to know much about it.
find out more about that through searching Student Most things in the media are just the fun
with Altavista on internet I could not find things like orange tomatoes.
anything. Also it is strange: he raised a Student Most things you read are in the science piece
whole lot of things: he talked about maize of the paper and a lot of people do not read
and super maize and food supplements and that.
things but I was fixed on something else, I Student There is so much information about lots of
did not really think about it. If we are different subjects. It’s very hard to have a
thinking of food now think we could do view of it.
some funny jokes with it, For example Student The terms are very difficult. They scare
tomatoes written ALF on them. people, you think: forget it.

Those of you in the organisation, did the So it is a communication problem then?

performance change your views biotechnology? Student Yes.
Student Yes, in the beginning I had no clue about So now you know more would you be tempted
biotechnology, Now I know more about to read more or look at more programs?
something for example treatment of diseases. Student Yes
Now I am more positive. Student It is strange, now we know more, now we
So you are more positive even though some are thinking about it, there is a lot of
things they put into the drama were quite information you can find on the internet.
scary? But if you are not looking or you don’t
Student Yes, you think about it but diseases are very know about it, you don’t see it. You need a
specific to you. flyer or a brochure to tell you what’s it
The rest of the group agreed. about. I think we should have had
something like that with the play. Some
information people could take away and
dispatch at home.
.......

EIBE European Initiative for Biotechnology Education 2000 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA 17
 So where should the information be put if you You found out when you were on the net there
ought to see it? were lots of organisations giving information.
Students Posters, preferably with a joke; TV There is lot of information about but you are
programs. The information has to be not getting it.
accessible. Student The reasons for that were that people don’t
talk about it, they are not involved in it.
So what would make it more accessible? Anything is possible now but we have no
Student Well, at the moment there’s too many influence so we are scared and maybe that
difficult terms and it’s too boring when prevents people from talking about it
presented on TV. because theey can’t do anything about it.
Would scenes like yours from the play make it Student It’s not real for people.
more accessible and appealing, for example on TV? So, how do you know what’s real? Or what’s
Student Well it’s closer to normal people as possible?
discussions between professors. Especially it Student We were talking about cloning, you just
would be better for young people. It should take a head off and put it on another body
be given by young people. and I can’t understand that, I can’t … see
Student There is some good information on the net in it. It is like a fantasy to me.
NIABA (the Duth Biotechnological [She seemed to think it was real.]
Workers Society), their site for children is Students We don’t know how it works and that
funny, with games and all sorts of things. makes us scared. We don’t have enough
But you don’t see that anywhere else. We information. We do something with nature
need something like that in brochures. that is not natural and it is not always done
Student Journalists don’t know a lot about it. There for good purposes. Companies are concerned
lots on the internet but it is never in the about profit and they don’t worry about the
newspaper and when it is it’s just a little bit risks. That’s scaring. They kept something
and they never give an opinion. quiet for a long time. When we started to
Student The topics need to be related to you and look for information we noticed that a lot of
yourself and your own life. For example the things were happening for ten years or more.
simple man in the play. I don’t care about And we didn’t know about it! Then it was
manipulation of food. What can I do with important for companies to keep quiet, now
it? they want to tell us about it.
If you would do it again, is there anything
that you would do differently?
Student Well, I am very proud of what we got!
Student Well, I would like a complete story
Student The problem with that is you can only cover
a few subjects.
They all agreed they made it difficult for
themselves because they wanted to create a
coherence between the scenes.
Student It’s important it should be funny but it also
make people think: they laughed but when
they thought about it they were sad.
Which might become reality and which was
just used to make the point?
Student Well, insurance was real! Liposome-gnomes
were not.
Director They can bring small things into your body
like little cameras.
Student But things now were not imaginable a
hundred years ago so we needed to have
fantasy. We don’t know what is possible.
.......

18 UNIT 19: BIOTECHNOLOGY EDUCATION THROUGH DRAMA EIBE European Initiative for Biotechnology Education 2000