Find Me

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Her most successful play was Find Me (1977), [3] about mental illness, which is still used as a set text for drama qualifications in UK schools. [4] Others included Gymnasium (1972), Loved (1980), Best Friends (1984), Strike Up The Banns (1990), and Mirror Mirror (1992). [5] She also wrote dozens of BBC radio play adaptations, [6] including her 2001 version of Thomas Mann's The Magic Mountain; one of her last works, it starred Paul Scofield in one of his greatest radio roles. [1] Personal life [ edit ]

Questions may require students to answer from the perspective of an actor. Students should have explored the whole text practically during their study of ‘Find Me’. They need to understand how to perform the part of a range of characters of the text. All students need to have an understanding of how performance skills can be applied to their set text, and not just those who have completed the other components as a performer. In pairs label yourself A and B. A will play Edward, Verity’s father, and B is the Interviewer. The Interviewer asks Edward questions about his daughter Verity and the impact her condition has had on the rest of the family. Spotlight performances to the rest of the class. In small groups or as a whole class discuss why you think Verity was so upset by not being able to compete in the gala? Decide who you think was to blame for Verity’s breakdown following the swimming gala. In groups, get students to justify their choice using quotes from the text.Lccn 81104289 Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 1.0000 Ocr_module_version 0.0.15 Ocr_parameters -l eng Old_pallet IA-NS-0001112 Openlibrary_edition When Find Me was originally performed at the Orange Tree Theatre it had a cast of eight, five women and three men. All of the parts were shared among them. In the script, Wymark has given the characters numbers to indicate where changes of role take place. This multi role play means that to an extent characters are representational. Actors must be willing to take on more than one role and therefore have the opportunity to display their characterisation skills. A variation of body language, facial expression and vocal expression are essential to allow the audience to understand when changes of character take place. Find Me’ was written whilst she was working as a Gulbenkian Writer in Residence at Kingston Polytechnic in Surrey in 1977. It was then performed at both Kingston Polytechnic and later at the Edinburgh Fringe Festival in 1977. Access-restricted-item true Addeddate 2022-03-11 11:16:11 Boxid IA40389623 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier OCR 2016 Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered office 1 Hills Road, Cambridge CB1 2EU. Registered company number 3484466. OCR is an exempt charity.

In an interview with Contemporary Authors: "From the fifties until my husband died in 1970 I wrote plays because I wanted to; now I write them for a living. Although I have never written 'a commercial' play, I have to sell my work. Consequently I think my plays have become less obscure (and pretentious), and I find myself more drawn to comedy. The theatre is my first passion, but I love to write for radio and would like to write more for TV and would really like to write a film." Exploring the playIt is essential that students have a good understanding of the whole text, from the perspective of a performer, designer and director. Students need to practically explore the whole text and have a good understanding of how it can be performed. After reading the whole text you may decide to look at key scenes first. This can support students understanding of the key moments in the text and you can discuss how this affects events in the rest of the text. Some key scenes to start exploring Find Me include: All students need to have an understanding of how design skills can be applied to their set text, and not just those who have completed the other components as a designer. This includes lighting, sound, set (including props) and costume design. They should also have an understanding of how stage space can be used for a performance. Wymark was a member of the Royal Society for Literature and the Académie Française, an active member of the Theatre Writers' Union, and also served on the Arts Council drama panel for some years.

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Hot seat one student in role as Verity (or allocate a Verity and get the students into groups). Ask her a series of questions that enable her to explain her actions both during and in the aftermath of the swimming gala. Improvise a scene at a school coffee morning at Verity’s school. The parents at the meeting are discussing the events in the playground the day of the Wellington boot incident. During the exposition of the play Edward is asked questions by the Interviewer about his daughter Verity. He explains that the birth was a little premature and that her mother wasn’t allowed to have her for the first week. He goes on to explain that he found Verity to be a difficult child who was always a little distant. He describes times when she would wander off from home, flare up very suddenly and have tantrums. Verity’s mother and father decided that physical punishment was wrong for Verity as she was a very sensitive child. When she was diagnosed with a mild epileptic condition they hoped that the treatment would help to settle her down, but it didn’t. Verity was a solitary child who was always happier playing in her own private world. Preparation: As a class or in small groups read the scene that is set in the playground at Verity’s school.