In around 1167, fishermen netted a ‘Wild Man’ off the Suffolk Coast. He was taken to Bartholomew de Glanville (governor of Orford Castle), locked up for months and tortured. When taken to the church, he didn't recognise the sign of the cross. Three nets were strung across the harbour, and he swam around to entertain the townsfolk. He swam under the nets, escaped, but swam back into captivity. Next time he was taken to swim, he went beneath the nets again and escaped. Carvings of the Wild Man are in many Suffolk churches.
Resources
- The legend:
https://www.dramaandtheatre.co.uk/media/a4vjocwf/the-wild-man-of-orford-sections.docx
- Fishing net (optional)
By the end of this lesson, pupils will have…
- Interactively and collaboratively engaged, with legendary characters, settings and plot.
- Explored and communicated the legend, using words, images and movement.
- Devised and performed scenes.
Warm-up game
The walls are port, starboard, bow or stern. The students walk around, until you shout a direction, such as ‘Port’. They then move fast to the ‘port’ wall. The last arrivals each time, can be required to sit out.
Warm-up activity (mime)
You're captain. They're crew. They walk around, until you shout an order, for instance, ‘Scrub the decks’, ‘Climb the rigging’, ‘Salute the captain’, ‘Hoist the sails’, ‘Cast the nets’ and ‘Haul in the nets’. They follow your instruction until you call ‘Walk on’, and give another order.
Sensory sentence stems
They close their eyes and imagine they are standing on a fishing boat, as you read section one of the legend. They are then invited to speak in sentences, all starting with, ‘I can see’ and then adding description. This can be done in any random order, but nobody can speak twice in a row. You can then move on to other senses, such as ‘I can hear’ and ‘I can smell’.
Teacher as Storyteller
Read section two of the legend aloud.
Mime/Freeze-frame
The class forms a standing circle, with you curled up in the centre, as the Wild Man. When you reveal your face, they freeze.
Thought tracking
Ask them to voice the fishermen's thoughts, as they stare at the Wild Man.
Conscience Alley
The fishermen stand in two lines, facing each other. You (as the captain) walk between the lines. One line tries to persuade you to set the Wild Man free. The other will persuade you to take him ashore, saying things like, ‘Throw him overboard because …’ or ‘Take him ashore because …’. Then read sections four and five.
Corridor of Voices
Two lines are townsfolk, with you (as the Wild Man) walking between the lines. A couple of fishermen can walk with you. Walk between the lines twice. First time, everyone speaks freely. Second time, they may only speak when you are nearest to them.
Rumours/Freeze frame
They move around, gossiping about what they've just seen. Freeze the scene.
Eavesdropping
You walk around the frozen scene. When you pass close to anyone, they can carry on speaking but must freeze again as you move away.
Collective role/Passing thoughts
The class forms a standing circle, as you read section seven of the legend. Place yourself in the centre as the Wild Man – or use a net to represent him. Anyone may cross the circle as Bartholomew and say something to (or about) the Wild Man, as they pass by him.
Small group play-making
Read sections eight and nine of the legend, and form groups of four in the classroom. Ask students to devise a short scene for performance, depicting a significant moment during his imprisonment. These might be a meal time, a scene at church, the torture or the arrival of a visitor, for example.
Performance carousel
The scenes are performed in turn, chronologically and seamlessly.
Tableau/Improvisation
Read section 10 of the legend. Position yourself as the Wild Man, just before he is pushed over the wall. Students in turn enter and position themselves in the still tableau. The scene will come alive when you mime the fall.
Teacher as active storyteller
Read section 11 while miming as the Wild Man. The class are frozen eyewitnesses.
Improvisation/Movement/Freezeframe
As you read sections 12 and 13, the eyewitnesses all respond silently and in slow motion to whatever is happening, then ‘freeze’.
Image theatre/Movement
Read section 14. In groups of four, the students devise two contrasting dream images for performance and practise transitioning between both images twice.
Performance carousel
The groups perform in turn seamlessly.
Improvisation
Read section 15. As townsfolk, the students arrive at the harbour, chatting while they wait.
Teacher as storyteller
They close their eyes to visualise his escape, as you read section 16.
Voice collage
With everyone's eyes closed, you can invite eyewitness thoughts. The thoughts should reach a climax, become fewer and quieter, ending with silence.
Improvisation
Years later, an elderly eyewitness tells their curious grandchild all about the Wild Man. This is done in pairs.