Learning about Social Issues through Scripts for Learners aged 11-16

Tried and tested projects for teachers

John Rainer, Kirsty Walters

• Publisher: Routledge
• Year: 2014
• ISBN:
  9781317687009
• Edition: 1
• Topic: Education
• Subtopic: Secondary Education

Learning about Social Issues through Scripts for Learners aged 11-16 offers secondary drama teachers a new and exciting approach to exploring social issues with their students. Focusing on the issues that matter to young people, it includes a wide range of classroom and performance materials carefully tailored for differing abilities and ages.

The book is based around four original play scripts exploring themes of antisocial behaviour, eating disorders, the effects of war on families and riots – that have been tried, tested and proven to motivate and engage young people. As well as building performance skills, each script is accompanied by detailed schemes of work to help students explore what the issues mean to them and develop their problem solving and thinking skills. The book also includes cross references to pedagogical techniques and approaches, assessment for learning and 'learning to learn'.

Written by an experienced author team, Learning about Social Issues through Scripts for Learners aged 11-16 provides a 'one-stop shop' for teachers to explore relevant and stimulating themes and topics that will engage students in lively debate, promote empathy and produce creative dramatic responses.

Unit 1
Anti-social behaviour

Introduction and context

This unit of work tackles the issue of ‘antisocial behaviour’, exploring the consequences of such behaviour, and providing learners with opportunities to reflect on their own values and experiences.

The sequences of workshops found in this unit are based around the play ASBO, which was originally written for an all-male cast of GCSE learners studying for their practical examination. The play and the units of work that accompany it were created as a method of encouraging the interest and participation of boys without excluding the girls in the class.

Antisocial Behaviour Orders (ASBOs) were first introduced in the UK in 1998 by the then Labour government of Tony Blair in an attempt to tackle antisocial behaviour by restricting the culprits – often by the use of electronic ‘tagging’ – from particular areas or behaviours, such as drinking alcohol or being out after dark.

A number of high-profile cases in the media at the time highlighted what was seen to be a growing problem – groups of ‘feral’ young people causing havoc and destruction within housing estates and town centres. For a while the newspapers were full of stories of ASBO kids, perhaps neglecting to point out that a large proportion of those receiving the orders were themselves afflicted with drug or alcohol problems, learning disabilities or mental health problems.

As a solution to the problem, however, ASBOs proved controversial; some regarded them as ineffective and expensive, whilst others saw them as a means of criminalising and demonising an already vulnerable and neglected section of society.

In 2010, ASBOs were abolished by the then Home Secretary Theresa May, to be replaced with the Criminal Behaviour Order (or CRIMBOs as they were soon named).

ASBO — The play

A note from the playwright

This play was originally written for a group of Year 11 (15–16-year- old) male General Certificate of Secondary Education (GCSE) learners as stimulus for their Unit 3 Edexcel GCSE Drama examination. All of the boys in this group were regarded as rather ‘challenging’ and were struggling with issues such as behaviour and low selfesteem. At the initial time of writing, the topic of ‘antisocial behaviour’ appealed to all learners but seemed to motivate the boys in particular; they achieved high-grade passes, and, more importantly, found the experience both enjoyable and hugely rewarding. The script has been repeatedly used in my own school – and others – as a method of raising the achievement of boys (without excluding the girls!), challenging the thoughts and views of its young people, and provides a platform for discussion and dramatic exploration. Despite the fact that the play contains five characters, it can easily be adapted to involve more characters – extra gang members, male or female – or other residents. Although some roles are smaller than others, I have always found that results achieved have been excellent and the impact on all performers involved in the piece has been profound. It is very much an ensemble piece and all characters are on stage throughout. Some scenes are particularly challenging, such as Scene 6, which demands a fast pace and high energy to encapsulate the atmosphere of chaos, intimidation and aggression.

As stated previously, at the time of writing this piece, ‘antisocial behaviour’ was extremely topical in the UK – as were ASBOs – seen by the government at the time to be a possible solution to youth crime and disorder. The play was an excellent vehicle for highlighting the causes and consequences of this type of behaviour and it went on to be presented to learners during school assemblies and in allocated Personal Social and Health Education (PSHE) time. It presents some great opportunities for cross-curricular collaborative projects. The set is minimal (although there are artistic opportunities for set design, graffiti art, etc.) and music is optional (although there is an opportunity for learners to incorporate their own choice of music to enhance the performance or to create their own ‘stomp’-style pieces, which could easily be integrated into the performance). From my experience at my own school, I have always found that the subject matter appeals to all learners across Key Stages 3 and 4 and is something which rears its head in the press time and time again. I believe that the play has the potential to be used for many years without losing its dramatic appeal and topicality. It can be re-invented and adapted over time.

KW

ASBO

Kirsty Walters

Cast

Mr Jones: A 62-year-old man living on the estate

Scar: Gang member (all are aged between 14 and 16 years and live on the estate)

Big Jay: Gang member

Gaz: Gang member

Little Gee: Gang member

Scene 1

Set made up of gutters, pipes, bins, litter, etc. We hear the sound of water dripping and occasional noises that you might hear at night time. This could be done as a soundscape using objects that you might find lying around in the street. The cast slowly appear like cats creeping out of alleyways.

Mr Jones: (offstage) From the gutters, the alleyways, the sewers, like rats, they appear, out for the night. Time to play. Time to take ownership. Time to mark their territory. On the streets, in the doorways, on street corners, filtering through the estates, they gather, they goad, they terrorise, they . . .

All: Smash!

Gang: Your town, our town,

Your street, our street,

Your life, our life,

Watch your back!

Your night, our night,

Your time, our time,

Your estate, our estate,

What you looking at?

All we wanna do is,

All we wanna do is,

All we wanna do is SMASH!

Your road, our road,

Your shop, our shop,

Your car, our car,

And so what?

You shout, we shout,

You stare, we stare,

You start, we start,

Watch your back!

All we wanna do is. . . (x3 repeated)

SMASH!

The sequence ends with the gang in a still image after having just thrown something through Mr Jones’ window. They freeze as we hear the sound of breaking glass then they fall about laughing .

Scar: 9 p.m., a Thursday night, we’re on the estate . . .

Gang: Bored!

They each step forward and introduce themselves as Scar, Big Jay, Little Gee and Gaz .

Scar: Old man Jones at his window again.

Mr Jones: (to audience) Not that old. Sixty-two actually, could give them a run for their money.

They all mimic Mr Jones as though peering through his window.

Big Jay: He’s doing that phone thing again, pretending to call the police . . . like we care anyway!

Gaz mimics a police officer.

Gaz: (as police officer) PC Riley, local community bobby.

Big Jay: Hello Dibble, long time, no see. Missed you like crazy.

Gaz: (as police officer) Name?

Big Jay: Tonight, Matthew, I’m going to be David Cameron.

Gaz: (as police officer) Right, you’re coming with me son.

Big Jay: Phone my mam, tell her where I am, tell her to hurry up and bring me a butty – the food’s crap at the station. About time you got that so...

Table of contents

• Cover
• Title
• Copyright
• Contents
• Introduction
• 1 Anti-social behaviour
• 2 Eating disorders
• 3 War
• 4 Riot