Words like ‘action’, ‘fade’, and ‘sound fx’ aren’t one’s you would usually associate with teaching and learning. But, last Monday, I and a group of colleagues converged on a recording studio in Milton Keynes to record a dramatised version of the lives of three Open University students. To be called This Student Life, this fictional rendition of the challenges facing distance learning students is part of a wider project of student engagement which I am currently leading.
I have written previously about why this type of drama is an appropriate form of teaching, and will not rehearse the same arguments here. Suffice to say that a drama allows for the exploration of issues in an entirely controlled environment, involving students in an element of role play, as they are asked to empathise with characters whose lives should resonate with their own.
There are a number of reasons why a drama might offer a good learning tool. First, it is a relatively safe place to explore issues which are, by their nature, sensitive. This Student Life will tackle dyslexia, plagiarism, student debt as well as all the usual student worries about assignments, marks, attending tutorials, self-esteem etc. Of course, we could have talked to individual students about these issues, but this relies on individuals being prepared to expose themselves. Despite what our media obsessed culture may lead us to believe most people do not want to have their lives laid bare before an audience.
Second, the drama allows us to explore these issues in a single representative student or, in this case, small group of students. Whilst we all know students who seem to be incredibly unlucky, few real people have the incidence in their lives which listeners demand. That is why they are called dramas.
This latter point, however, does raise an issue which was never far from my mind as I developed the script. Whilst the script has to resonate with real students, it also has to be dramatic enough that people will want to continue listening. This creates a tension between the made up World of the drama and the real lives we are trying to portray. A drama is not an ethnographic representation of the lives of real individuals, and I freely admit to using dramatic licence in one or two places.
Like many writers I live every day with the vague nightmare that at some point, someone more knowledgable than myself is going to sit up and pen a massive screed indicating exactly where my work is shallow and fraudulent and rooted in lame half-assed assumptions.
This quote is from David Simon, the award winning writer of The Wire.
I am heavily invested in This Student Life as writer, director and a supporting actor. As a writer using fiction to explore real issues I can see a connection with David Simon. Admittedly, the connection may not be obvious to everybody. There are not many drug dealers, corrupt cops, journalists, pimps or prostitutes to be found in This Student Life. On the other hand, The Wire does not have much to say about dyslexia, assignment anxiety, or plagiarism!
Artistic considerations are not the only ones as the story develops. It is no use writing a story about three teenagers if the actors who are to play the roles are obviously in their fifties. But, this brings me full circle to the issue outlined by David Simon, how accurate should my portrayal be? Let’s face it if I were to make a TV drama about Oxford University and all the actors were clearly 50+, it would lack credibility.
The average age of an OU student is 31, and whilst the OU points out that 25% of its new undergraduates are under 25, this means that three-quarters are over 25. Given this context, it is not entirely unrealistic to have 3 students aged 32, 40 and 54. Though, I rather suspect that the OU would prefer to have a less representative sample.
In a single evening and a whole day we recorded all 24 episodes with each episode lasting 6-7 minutes. We had little time for multi-takes,or for the actors to inhabit their characters. Within those 6-7 minutes each of the main characters has a developing storyline. In technical parlance this is known as a multi point of view. Writing a 7 minute episode in which the three main strands are around 2 minutes each may sound easy, but it is, at one and the same time, nowhere near long enough and far too much time!
For all sorts of reasons we had to avoid long Shakespearian monologues, especially given that the actors will only see the full script a couple of days before recording and there was no money in the budget for rehearsal time. It is also important to be realistic about how much emotion we can convey. A couple of the actors, including myself, have received no training in how to act. Believe me it is much harder than it looks!
This week we go into what the professionals call post-production. That is where we make the words which we have recorded as spoken by actors come to life, by a process of editing. Bad takes will be abandoned, lines that did not work will be expunged, context will be added by the inclusion of sound effects. The magic will be done and from this the final product, as good as we can make it, will emerge. It is both an exciting and terrifying process. At the end what we will have is a way of engaging our students in a dialogue around the issues raised in this piece of drama. Real issues, but wrapped in a veneer of fiction.