MIMIKA THEATRE present LANDSCAPES TEACHERS NOTES for more information visit:- www.mimikatheatre.com
INTRODUCTION Preparatory work is not necessary in order to enjoy the LANDSCAPES experience. Some teachers prefer to use the performance as an imaginative theatrical event in its own right, others like it to be an integral part of work in the school. We leave it to the discretion of individual teachers how they approach preparing their children for the experience. There are two main uses for the notes here:- BEFORE THE VISIT It allows you to preview much of the content of the performance and extract information you feel your class or group would find useful before they experience LANDSCAPES. It can help you prepare practically by knowing what to expect and it also offers some insight into the nature of our theatre. AFTER THE VISIT The information can prove useful in aiding recall.
THE DOME This was created to provide an intimate space where we have full control over what the audience sees and hears. We can create a highly focused, detailed and powerful theatre within it. It is a very sensitive space and we ask that everyone who is coming into the tent is there at the beginning. No one should enter once the show has begun. Sometimes we are asked by staff how they should respond while they are in the Dome. We always point out that you know your children best, and their needs. Some teachers like to point things out as they are happening, others prefer not to intervene. We leave it entirely to up to you.
PRACTICAL DETAILS When a group or class arrives for the performance the children and staff assemble outside the dome where we introduce ourselves and the tent. The audience are lead into the tent individually or in pairs, and once inside they are told about the performance in more detail. Do let us know if you need to be seated near to any particular child, there will be several opportunities for you to influence where individual children are seated. We request that no photographs are taken during the performance as this can be distracting for both performers and the audience but we are happy for photographs to be taken during the post show session where we answer questions and explain how things work.
AFTER THE SHOW The performance lasts 40 minutes. Afterwards we ask the children what puppet animals they would like to see again or if they have any questions. The content, style and length of this presentation varies with the age of the group. For example, older children are often interested in the mechanics of the puppets and how they are made. This section is led by the audiences own interests and allows us to interact with the children on a less formal level and respond to their requests and enquiries. THE TALKING ISSUE Children become very involved in the LANDSCAPES performance and their responses to it vary greatly. We have performed to groups of children who have commented on what is going on throughout the show. We have performed to groups of children who have responded in awed silence. We can accommodate, and are happy to work with, either response. Again, you know your children, you can judge how appropriate their behaviour is so please feel free to control or influence it as you see fit.
THE EXPERIENCE LANDSCAPES uses unusual techniques including: an enclosed environment, an image based story line, a sophisticated stereo soundtrack and a variety of sensory events to involve and engage our audience, whatever their individual development level. LANDSCAPES is presented in a style which is both gentle and intense. Some puppets are operated in full view of the children and the styles of presentation move between the highly stylised to the naturalistic. LANDSCAPES explores, within a theatrical framework, the diversity and complexity of the natural world. The performance begins in the Desert and moves through to a Tropical Rain Forest, to beneath the Sea and finally Antarctica. Each area has its own style of presentation, its own mood and each has a simple narrative line. We do not attempt to dryly recreate these areas but rather explore their inherent and distinctive qualities through movement, sound and atmosphere.
THE DESERT The sun rises over the desert, an egg hatches and a bird of prey leaves its nest in search of food. All the Desert puppets are made of wood, suggesting dryness, and they are reminiscent of simple carved primitive sculptures. The sound-track is percussion based and fast moving. Creatures appear and disappear quickly, escaping the hot sun and any possible enemies. The action is centred around a bird of prey searching for food to feed its young. The atmosphere is tense and alert. Much of the action takes place on the bare set. There is humour as animals escape the clutches of the bird and there is tension as it finally achieves its goal. DESERT CREATURES Bird of prey & chick Desert mouse Meerkat Family Scorpion Lizard Snake
TROPICAL RAIN FOREST As the sky darkens over the desert rain begins to fall and the set is transformed into a half-lit forest scene. Water falls into a pool creating shimmering light effects in the canopy above the audience. There is a complete change of mood as movement is slow and animals are only half-glimpsed through the foliage. The puppets are much more naturalistic than those in the Desert. The soundtrack combines realistic forest sounds with music which emphasises the movements of the animals. The action is centred around a crocodile guarding her eggs. The rich abundance of life in the forest is seen as different creatures interested in the eggs appear. This simple story reaches a climax as an egg is lifted from the protection of the nest. FOREST CREATURES Butterfly Snake Tarantula Lizard Crocodile Toucan Scarlet Ibis Large Ape
BENEATH THE SEA As the egg falls into the pool there is a dramatic change as ultra-violet light floods the Dome changing the forest foliage into coral and an underwater garden. The sound-track combines recordings of whales and Dolphins with music inspired by the atonal sounds of the Far East. Emphasis is placed upon constant rhythmical movement, on the strange and often bizarre life forms beneath the Sea and on the very different movement qualities of these creatures. This part of the performance is an explosion of colour and movement, an underwater fire-work display. All the action takes place in front of the set directly before and above the audience. The puppets are both realistic and fantastical. SEA CREATURES Anemones Shoals of fish Jellyfish Sea Horses Small and large Eels Angel Fish Fantails
ANTARCTICA Movement is replaced by stillness and the sea sounds by a constant and distant wind. Snow falls and the set disappears behind billowing white material as large fans blow out on to the audience. A penguin sits on its egg and we return to the theme of nurturing. In this final part of the performance we aim to contrast the activity of the preceding areas with the relative stillness of animals conserving their energy. We also contrast the variety and diversity of life in the Forest and Sea with the sparse life of Antarctica. The narrative is a simple one: a penguin waits for its egg to hatch. The performance gently and quietly draws to a close as the penguin chick emerges and the sun sets. ANTARCTIC CREATURES Penguin Penguin Chick Seal