Bell Shakespeare 2008 Learning Report

E R A E P S E K A H S 8 BELL 0 0 2 , N O I T A C U ED Prepared

by Linda

, Head Lorenza

ber 2008

, Decem

of Education

‘I always get excited when my teachers pass out notes for one of your productions.’

Student, Nowra High School, NSW

S T N E T N CO 2

INTRODUCTION

3 4 5 6 7 8

THEATRE PRODUCTIONS As You Like It Hamlet Just Macbeth!

Venus & Adonis Anatomy Titus Fall of Rome: A Shakespeare Commentary

9 10 11 12

REGIONAL TOURING EDUCATION INITIATIVES Regional Access Student Workshops Regional Performance Scholarship Theatre Forums – Meet Bell Shakespeare – Research

13 14 19 22 23 25 26

29 30 31 32 33

Shakespeare In Schools Actors At Work Actors At Work Special Projects Actors At Work Statistics Actors At Work Feedback Student Workshops on Shakespeare Texts Student Workshops – Regional and Remote

34 35 36

Education Reference Network Resources Inspiration from the Students

38

Statistical Summary

39 40 41

ABOUT BELL SHAKESPEARE Touring Australia Artistic Leadership

42 43

Corporate Partners Community and Government Partners

PROFESSIONAL DEVELOPMENT Teacher Workshops Regional Teacher Scholarship (RTS) Teacher Forums Special Projects

1

N O I T C U INTROD In 2008 Bell Shakespeare Education reached 92,244 students and teachers across Australia. Performances and interactive programmes continue to inspire students. Professional Development programmes have been developed specifically for teachers. New programmes for working with regional and remote schools and community groups have been established.

As part of the Company’s determination to make programmes accessible to all Australians, in 2008 programmes returned to remote locations including Tennant Creek, Groote Eylandt, Menindee and Beswick, and were extended to Alice Springs, Nhulunbhuy, Thursday Island and St Marys. People in these communities were delighted to be visited by Bell Shakespeare where too frequently these small populations are deprived of live theatre experiences due to the prohibitive costs of travelling across the vast geography of Australia.

In theatres across Australia Bell Shakespeare presented As You Like It and Hamlet, with the Bell Shakespeare and Queensland Theatre Company co-production of Heiner Müller’s Anatomy Titus Fall Of Rome: A Shakespeare Commentary concluding the year. A third Actors At Work in-schools education team was instigated, based out of Adelaide and Perth. The three Actors At Work teams gave a total of more than 550 performances. Through the continued innovative use of transport and technology, Bell Shakespeare Education took diverse programmes to students who too frequently miss out on live interactive opportunities.

5,126 users accessed the online resources including podcasts and the Bell Shakespeare Discussion Board in 2008. This represents a steady increase in student and teacher interaction with Bell Shakespeare and each other since the introduction of these online resources in 2006.

2,820 students explored Shakespeare’s plays through the practical Student Workshops programme. 486 teachers participated in Teacher Professional Development programmes across the country. The Regional Access Student Workshops, which toured ahead of As You Like It, reached 1,989 students.

Special Projects reached 3,449 students.

The Regional Performance Scholarship, work-experienceoriented programmes and special competitions were again popular across the country and Bell Shakespeare continued its commitment to students by creating access to Actors At Work and theatre performances for students in socio-demographically disadvantaged schools. This commitment was highlighted by the Hearts In A Row* initiative.

*Separate report available upon request

2

S N O I T C U D O R P E R THEAT

33

IT E K I L U AS YO

IA SMITH ITH SASK W L L E B HN ED BY JO E DIRECT R A E P S E M SHAK

BY WILLIA ‘The performance last night of As You Like It at Warrnambool Entertainment Centre was greatly appreciated by the students and staff from our school who attended. The energy, vitality, skills from all players were inspirational. Kids and staff (as well as other audience members) were buzzing!! A great show, well done!’

John Finnigan, Head of Drama, Brauer College, VIC

Dad’s made the big ‘treechange’ and the kids aren’t altogether happy to let him do it on his own. So Rosalind packs her bags and together with friends Celia and Orlando heads for the forest of Arden to find her father.

Free from the to-and-fro of life at court, no one is safe, however, from the ups and downs of matters of the heart.

Incognito, Rosalind, in the company of jesters and lovers, goes undercover to right wrongs and, in the process, develops a surprising insight into the nature of love.

Joyfully melding Shakespeare’s favourite devices of comedy and romance – song, scintillating language and intricate plot – As You Like It is one of Shakespeare’s most loved comedies.

John Bell directed this unexpected and fresh new production that delivered a lesson of romance and delightful simplicity.

As You Like It schools matinee performances were as follows: Venue

Performances

Sydney Opera House, Playhouse

6, 13, 20, 27 February

Canberra Theatre Centre, The Playhouse

1 May

Students 1,538

618

Regional schools matinees: Albury NSW Bathurst NSW Bunbury WA Frankston VIC Gosford NSW Hobart TAS Lismore NSW Mildura VIC Nunawading VIC

30 May 23 May 13 May 14 Mar 1 Jul 4 Apr 13 Jun 11 Mar 18 Apr

344 201 444 217 374 134 540 178 63 2,495

TOTAL

14

4,651

NB These figures do not include student attendance at evening public performances.

As You Like It toured to the following 33 locations: New South Wales – Bathurst, Griffith, Albury, Orange, Wagga Wagga, Lismore, Newcastle, Gosford, Penrith Victoria – Shepparton, Bendigo, Mildura, Frankston, Warrnambool, Ballarat, Dandenong, Warragul, Sale, Ringwood, Geelong, Moonee Ponds, Nunawading Tasmania – Launceston, Hobart Western Australia – Kalgoorlie, Perth, Bunbury, Geraldton, Karratha 44

Queensland – Caloundra, Cairns, Townsville, Rockhampton

COWELL RENDAN B H IT W TS RION POT ED BY MA T C E IR D SPEARE M SHAKE

BY WILLIA ‘Everything about it from the pre-production talk to the minimalistic yet claustrophobic set grabbed me. It held my attention and blew my mind. I haven’t really had the chance to study the play yet but after seeing Brendan Cowell as young Prince Hamlet, I went straight home and borrowed the book from my school library. Brendan was more than wonderful as Hamlet. Not only did he carefully measure out his emotional journey from grieving, restless son to a focused, determined man hell-bent on avenging his father’s murder, but he did so in a way that I completely forgot he was an actor.’

Heather, Student, Nowra High School, NSW

HAMLET

‘I’m a student of Newington College and our school viewed Hamlet on Thursday 12th June for our study of Hamlet for our HSC, and I have to say it was brilliant. The whole play was magnificent. The design of the stage was unbelievable and the, I can’t even describe, the actors. I only can say that they deserve an Academy Award and an Oscar, their performance was so invigorating and so mind blowing.’

Boz, Student, Newington College, NSW

How do we carry on when the foundations of life as we think we know them have been ripped away by loss and lies? Do we succumb to oblivion, rage against the cataclysm or find equilibrium?

Devastated by the loss of his father, Hamlet’s sense of himself, family and his place in the world is destroyed when his mother takes up with his uncle, who is shown to be his father’s murderer. As the Prince of Denmark’s sense of reality is shaken, his dealings with those who love him, including his mother, his friend Horatio and the vulnerable Ophelia, suffer the consequences.

At once sad and beautiful, energetic and intimate, director Marion Potts brought her brilliantly simple and honest style to Hamlet, focusing on his humanity, relationships and notions of family.

One of Australia’s most exciting young actors, Brendan Cowell, played Hamlet, adapting his sharp mind, big heart and smouldering intensity to what Harold Bloom described as ‘simply the most intelligent role ever written for the Western stage’.

Hamlet schools matinee performances were as follows: Students

Venue

Performances

Sydney Opera House, Playhouse

12, 18, 25 June, 2 July

2,172

the Arts Centre, Playhouse – Melbourne

22, 29 July

1,055

TOTAL

6

3,227

5

!

H T E B C JUST MA

ARRISON WAYNE H Y B D E T S DIREC GRIFFITH

BY ANDY

‘Andy Griffiths knows the sort of gross-out stuff that will appeal to children. So who better to reinterpret one of Shakespeare’s great gross-out dramas, Macbeth?’

Sunday Telegraph, 21 October 2008 ‘I can tell you the kids nearly wet their pants! Priceless! …a great way to introduce kids to Shakespeare.’

Kate Story, Teacher, Pascoe Vale Primary School, VIC ‘Just wanted to say how much our family enjoyed Just Macbeth! last week. It was absolutely brilliant. I took our 3 children aged 7, 11 & 13 and they were all engrossed for the whole performance.

Fantastic. Hilarious. More please. Great venue & affordable ticket prices – all big ticks.’

Annie Meadows, Parent, Boort, VIC ‘What a hoot! The kids loved it as did every audience member around us. It transcended all ages and cultural backgrounds.

Terrific. Obviously served a great purpose. Congratulations.’

Peter Eyres, Teacher, The McDonald College, NSW ‘Loved Just Macbeth! Took my 12 year old son, a major Andy Griffiths fan, to see it last weekend in Melbourne. What a riot!

Big congrats to the cast and creatives. Great to see Shakespeare for kids.’

Dr Deirdre Marshall, Teacher, Sale College, VIC WITCHES, DAGGERS, BED WETTING AND WIZZ FIZZ! Just Macbeth! by Andy Griffiths and directed by Wayne Harrison is a really silly version of Shakespeare’s great big gory tragedy starring Andy, Lisa, Danny and (yuck!) Jen from the Just Tricking!, Just Stupid! and Just Shocking! books. And when we say really silly, we mean really, really silly as it is performed by six funny but tragic actors and a garden gnome and features a severed head that talks Shakespearean. And when we say really, really silly, we mean really, really, really silly as there are witches and Wizz Fizz and ghosts and girl germs and weird Elizabethan things like soliloquies and sharp swords and other things beginning with S. Acclaimed children’s writer Andy Griffiths is one of Australia’s funniest, most successful and versatile writers. He is the author of 15 books ranging from nonsense verse, short stories and novels to creative writing textbooks, as well as a parents’ guide to creating a healthier lifestyle for children. His books include The Day My Bum Went Psycho as well as the extremely popular Just! series of short stories, which has sold over two million copies worldwide.

Suitable for ages 7 – 77.

Just Macbeth! schools matinee performances were as follows: Students

Venue

Performances

Seymour Theatre Centre, Everest Theatre

16, 17, 21, 22, 23, 24 October

3,012

TOTAL

6

3,012

The Melbourne season at the Arts Centre ran from 19 September to 5 October during the school holidays with a total audience of 8,548.

6

NIS O D A & VENUS

through

ye Mind’s E

developed N POTTS -production

BY MARIO D co E T C E IR SPEARE D althouse Melbourne M SHAKE M IA L IL and W Y B hakespeare A Bell S ‘ a stunning theatrical adaptation... a profound enactment of the anguish and ecstasy of love...’

Alison Croggon, The Australian, 24 April 2008

‘...a lovely entertainment and an imaginative piece of music theatre.’

Michael Magnusson, The CUB Malthouse, VIC

Shakespeare’s Venus & Adonis is a subversive re-working of Ovid’s original love story. Unlike its model, it celebrates the most human aspects of seduction; it is vulgar, funny, sexy and whole-hearted. Venus is trying to seduce Adonis. Her attempts are fervent. They’re exhaustive. But Adonis isn’t remotely interested in her advances – he just wants to go hunting with his mates. The more she tries, the more she’s rejected. The goddess of love is brought down to earth with the crashing thud of human failure.

In a 21st century context, the poem allows us to explore the contemporary notions of the ‘goddess of love’ and the art of seduction. We talk of screen goddesses, sex-goddesses, we consciously project different stereotypes and employ different strategies to seduce. How have we complemented, or overpowered or rejected language as a persuasive tool?

The rich baroque world of Shakespeare’s love poetry is contrasted in this piece with the harsh light and sharp corners of contemporary sexuality.

The production was nominated for inclusion on the VCE Theatre Studies production list, but was not included for 2008.

Venus & Adonis was presented in Sydney in February 2009 with connections to the HSC Extension English, Drama and Music curriculum.

The total audience for the 2008 premiere season of Venus & Adonis was 2,488.

7

E: M O R F O LL A F S Y U R T I A T T Y N E M ANATO SPEARE COMM A SHAKE A co-production

By Heiner

with Queensland

Directed Müller

Company Theatre

John Gow With

By Michael

Bell

‘Gory Box – It’s bloody and brutal but this tale of murderous revenge poses other challenges. This brilliant co-production

by Bell Shakespeare and the Queensland Theatre Company is guaranteed to polarise audiences. Titus Andronicus is the most gruesome and bloodthirsty of Shakespeare’s plays (if it was written

by Shakespeare) and Mueller’s commentary throws the brutality in our faces, making us question war, justice and ourselves.’

Katherine Lyall-Watson, Brisbane News, 17 September 2008

A tale of grim, grinding brutality with revenge at its dark heart, Shakespeare’s Titus Andronicus is a visceral masterpiece challenging ideas of morality and justice. Heiner Müller’s 20thcentury reworking combines the contentious poet’s work with the genius playwright’s.

In this groundbreaking collaboration between two of Australia’s major theatre companies, Queensland Theatre Company Artistic Director and playwright Michael Gow directed Müller’s work with Bell Shakespeare’s Artistic Director John Bell in the title role.

Set in Rome in the aftermath of war between the Romans and the Goths, Titus Andronicus, an honourable war general, returns home only to find himself caught in a sordid web of unrest and upheaval, on both political and personal fronts.

As Titus moves from triumph to tragedy through the shattering consequences of revenge, the message of the futility of war is resounding.

Anatomy Titus Fall Of Rome: A Shakespeare Commentary schools matinee performances were as follows: Venue

Performances

Students

Canberra Theatre Centre, The Playhouse

16 October

167

Sydney Opera House, Playhouse

29 October

69

TOTAL

2

Seasons were also presented at QPAC in Brisbane and The CUB Malthouse in Melbourne with students attending general public evening performances.

88

236

G N I R U O T L A S N E O I V I G T A I RE T NI I N O I T A EDUC

9

S S E C C A L REGIONAT WORKSHOPS STUDEN

‘This was a very positive and engaging workshop exploring the richness and meaning of Shakespeare’s text in context.’

D Westbrook, Senior Drama Teacher, Heights College, QLD ‘The students thoroughly enjoyed their experience. Thank you so much for making it available to us! Workshop Leader was fantastic – fun and enthusiastic.’

Helen Tremain, Teacher, Yeoval Central School, NSW

In 2008 Bell Shakespeare presented free Regional Access Student Workshops at the local schools or venues in the towns to which As You Like It toured. A total of 67 Regional Access Student Workshops reached 1,989 students across Australia.

The 2008 Bell Shakespeare arts educators who conducted the Regional Access Student Workshops were Kerreen Ely-Harper, Belinda Hoare, Julia Davis, James Evans, Paul Reichstein and Matt Edgerton.

Bell Shakespeare’s Regional Access Student Workshop programme is unique. Four to six weeks prior to seeing As You Like It, students participated in the As You Like It Workshop, in which they experienced some of the activities used by the cast in preparing for this production. When seeing the play in performance, students recognised these techniques and activities being used by the professional actors on stage. Regional students enjoy this interactive experience which enhances their involvement with, and understanding of, Shakespeare’s plays.

Teachers recognise that this invaluable resource gives students a new confidence in being a theatre audience and in their exploration of Shakespeare’s works in the classroom.

Regional students, teachers and their communities recognise the benefits of the workshop programme. In addition to aiding students in their English and Drama studies, the programme gives them a taste of diverse and differing influences, cultures and opinions, vital to the development of the minds and personalities of young people.

In addition to creating a vibrant learning opportunity for students, the Regional Access Student Workshop programme assists the development of communicative relationships between regional theatres and school and community groups.

‘Excellent workshop! A great way to show students that Shakespeare is in fact interesting.’

G Griffin, Teacher, Chancellor State College, QLD

10

State

Workshops

Students

NSW NT SA QLD TAS VIC WA

19 0 0 7 8 20 13

541 0 0 245 291 523 389

TOTAL

67

1,989

IP H S R A L O CH S E C N A M R O F R E P L A N O I G E R N LL HOUR N RY OF NE O M UNDATIO E F M IN ONIAL O L O C Y B ED SUPPORT

‘It really builds your confidence when someone really likes your performance. I have always wanted to be an actor. I can’t really see myself doing anything else. I would love to be able to go to Sydney, it is a place you can really make a name for yourself.’

Ryan Mitchell, Karratha, WA, 2008 Recipient ‘Knowing this is a national competition is really exciting and I’m just thrilled to get it.’

Laura Hartnell, Trafalgar, VIC, 2008 Recipient ‘One of the most important things for someone who aspires to be an actor is to see it in practice. It will provide me with a window to the future.’

William Haines, Canberra, ACT, 2008 Recipient

2008 was the eighth successful year of the increasingly popular Bell Shakespeare Regional Performance Scholarship. Between March and November 133 students participated in auditions with a professional Bell Shakespeare arts educator. These auditions occurred at the end of the day of each Regional Access Student Workshop. Up to eight workshop students from each community were selected to audition, having won heats that schools had held in preparation for the final selection, creating the opportunity for many students to be involved in performing Shakespeare. Due to increasing awareness of this unique programme, auditions were held for the first time in a few regional areas not reached by As You Like It and auditions were also held at some regional youth theatre companies.

Auditions took the form of a 15-minute individual workshop, giving each student the opportunity to perform their audition monologue up to three times with their incorporation of the direction suggested by the arts educator conducting the audition. Suggestions were made which were appropriate to each candidate’s own individual strengths and weaknesses.

Consequently, each student gained a greater sense of accomplishment through the deeper exploration of character and plot achieved in the audition session. Regardless of their skill levels, every auditioning student found the audition allowed them to be guided towards their own discoveries about the character and his/her motivations.

Every audition was evidence of the individual student’s own drive and determination. Being selected to audition is the first acknowledgement of this effort and, of course, winning the coveted place in the Regional Performance Scholarship is the ultimate acknowledgement for these talented youngsters.

Arts educators who auditioned the students in 2008 were Kerreen Ely-Harper, Belinda Hoare, Julia Davis, Paul Reichstein, Matt Edgerton and Sarah Woods.

The young people were selected by their own schools to audition for Bell Shakespeare throughout Australia. 15 students were short-listed for the Scholarship. The 2008 winners were Laura Hartnell from Trafalgar VIC, Ryan Mitchell from Karratha WA and William Haines from Canberra ACT. They will travel to Sydney for one week of intensive workshops, master-classes and time in rehearsal with the cast of Pericles as they prepare for the 2009 season.

11

S M U R O F THEATRE

Meet Bell Shakespeare Meet Bell Shakespeare is a free in-theatre forum for patrons which is held during the first week of the season and runs for approximately one hour. This unique introduction to the production is open to the general public, and teachers and students are encouraged to attend the forum to meet the director and members of the creative team and cast. Those who attend gain inside knowledge of the directorial concept and designer’s vision, as well as a gauge for appropriate areas of further student study, before seeing the performance.

Meet Bell Shakespeare dates were as follows: Attendance

Production

Forum

Venue

As You Like It

12 Feb

Sydney Opera House, Playhouse

204

Hamlet

17 Jun

Sydney Opera House, Drama Theatre

163

Anatomy Titus Fall Of Rome

28 Oct

Sydney Opera House, Playhouse

144

Hamlet

23 Jul

the Arts Centre, Playhouse – Melbourne

141

Anatomy Titus Fall Of Rome

2 Dec

The CUB Malthouse, Merlyn Theatre – Melbourne

120

As You Like It

29 Apr

Canberra Theatre Centre, The Playhouse

204

Anatomy Titus Fall Of Rome

14 Oct

Anatomy Titus Fall Of Rome

25 Aug

TOTAL

8

137

QTC Play Briefing, Bille Brown Studio – Brisbane

180

1,293

LOOKING TO THE AUDIENCE OF THE FUTURE TheatreSpace – Accessing the Cultural Conversation

12 12

TheatreSpace is a four year, $3.3 million dollar research project investigating young people (aged 14 to 24) as audiences in NSW, QLD and VIC. The research comprises two parts: case study research and longitudinal analysis. Bell Shakespeare is one of the arts organisation partners providing two productions (spaced one year apart) for study, each of which forms a case study in the research. The research team will be using a variety of data collection methods to gain information about the young people who attend these productions. Participants will include any 14 to 24 year old who attends the production on the night under study.

In 2008 the Bell Shakespeare Case Study was undertaken at an evening performance of Anatomy Titus Fall Of Rome: A Shakespeare Commentary at Sydney Opera House.

LS O O H C S N I E R A E P SHAKES

13

RK O W T A ACTORS ‘I really enjoyed your performance. Have you ever got germs from each other, because it looks really disgusting when you kiss and if your job is kissing everyone then you must have lots of germs. It would be heaps good if you really come back because we will all appreciate it if you do because I really enjoyed your last show here in this isolated town.’

Student, Menindee Central School, NSW ‘My students LOVED the performance – they brought Macbeth to life! They loved the way it was constantly related to our modern life – politicians, modern war, footy – plus the humour and noise! Fantastic! Thank you!’

Elisa Resce, Teacher, Booleroo Centre District School, SA ‘The students were talking about it all day!!’

Claire Murray, Head of Humanities, Marist College, QLD ‘Darwin is a cultural desert when it comes to Shakespeare so thank you for making the effort.’

Louise Stokes-Chapman, Head of Performing Arts, Kormilda College, NT

Actors At Work expanded to three teams of four actors in 2008, increased from two teams in previous years. The programme has been running since the Company’s inception in 1990, and since 2002 two teams of actors have been employed to take these specialised theatre programmes into schools. With the support of DEEWR and the SA Government in 2008, a third team was established to focus on SA, WA and the NT. The members of the 2008 professional acting company are pictured in alphabetical order on the opposite page.

14 14

RK O W T A ACTORS NSW

VIC

SA/WA

Beth Aubrey

Stuart Bowden

Andrea Demetriades

Clare Blumer

Benedict Hardie

Louisa Mignone

Garth Holcombe

Eryn Jean Norvill

Tim Solly

Ray Sullivan

Emily Tomlins

Renato Fabretti

15

RK O W T A ACTORS

The Actors At Work programme toured to every state and territory with the twelve actors delighting secondary school students nationwide with excerpts from Romeo And Juliet, A Midsummer Night’s Dream, Macbeth, Julius Caesar and Othello. Bell Shakespeare is committed to creating access to live theatre for Australian students regardless of the demands of traversing the country’s diverse geography. With three Actors At Work teams on the road in the school year, students in places as isolated as Menindee, Groote Eylandt and Whyalla experienced live performance of Shakespeare in 2008.

Three teams of four actors toured the Actors At Work programme from March to September, reaching a total school audience of 71,213 students.

The three teams each underwent an intensive rehearsal period.

John Sheedy was engaged to direct the Sydney-based NSW team and the new SA/WA team based out of Adelaide and Perth. Naomi Edwards was engaged to direct the Melbournebased VIC team. All 2008 shows were scripted by Ned Manning, a playwright and high school teacher.

For students, Actors At Work is frequently their first experience of Shakespeare and often their first live theatre experience. The youthful energy of the actors and the style of the content in the Actors At Work programme gives students the confidence to engage with Shakespeare. Teachers continue to find Actors At Work an effective method by which to initiate their students’ exploration of Shakespeare. The Actors At Work scripts are carefully crafted in order to present Shakespeare’s characters in a real and relevant light for students. Students appreciate the validation of their own experiences as they discover the characters in the world of a Shakespeare play. They realise that Shakespeare wrote plays brimming with characters whose experience of love, hate, joy, excitement and sorrow reflects the emotions felt by the students themselves. They understand Macbeth’s excitement at the witches’ prophecy, laugh with Puck as he turns Nick Bottom into an Ass and relish the vibrancy of young love in Romeo And Juliet.

Students in 2008 expressed their responses to the Actors At Work programme through post-performance Question and Answer sessions and in online discussion forums on the Student Discussion Board, giving them direct contact with the Company, and reinforcing the invaluable nature of this unique Shakespeare programme. Actors At Work continues to be the inspiration for their interest in live theatre as young adults.

16 16

RK O W T A ACTORS

GENERAL SHAKESPEARE PROGRAMME LOVE’S MAGIC Scenes from Romeo And Juliet and A Midsummer Night’s Dream ‘Think but this, and all is mended’ A Midsummer Night’s Dream 5:1 The course of love is never smooth! Spells and potions, Cupid’s wayward arrows, interfering parents and bad timing all conspire to make matters difficult! Love’s Magic uses scenes from Romeo And Juliet and A Midsummer Night’s Dream to explore the soaring heights and plummeting depths that love can take us to.

Love’s Magic is an intelligent and entertaining introductory experience of Shakespeare in performance. In 2008, students were thrilled by the wonderful twists and turns in this onehour performance which journeyed through a world of comic possibilities, plot complications and theatrical surprises.

This is an important programme for those students approaching Shakespeare for the first time, or studying Romeo And Juliet or A Midsummer Night’s Dream.

Suitable for Years 7 – 10 MACBETH INTENSIVE ‘Let not light see my black and deep desires’ Macbeth 1:4 This popular Actors At Work programme presents some of Macbeth’s most dramatic and exhilarating scenes and brings to life the language, imagery and theatricality of Shakespeare’s masterpiece.

Students in 2008 witnessed the actor’s process, mining the text for clues about character and character relationships. They experienced differences in interpretation and saw a wealth of thematic complexities revealed: the moral dilemma; the corrupting influence of power and ambition; the agenda of war and destruction; and the nature of trust and betrayal.

Suitable for Years 9 – 11

17

RK O W T A ACTORS

SENIOR SECONDARY PROGRAMME THE CONSPIRATORS Scenes from Othello and Julius Caesar ‘I rather tell thee what is to be feared Than what I fear’ Julius Caesar 1:2 Who is on whose side? And who is manipulating whom?

Conspiracy has existed for as long as humans have walked the face of the earth. In these two plays we see just how greed and hate can drive men to destroy those around them.

In 2008, students were enthralled by The Conspirators as an exploration of the dilemmas of leadership, lust for power, loyalty and hate in a compilation of scenes from Othello and Julius Caesar. Iago and Mark Antony are expert workplace bullies. They spread rumours, manipulate colleagues and misrepresent their bosses. Their actions highlight the craft of the conspirators and the devastating effects on those who are misled by them. Students discovered the clues in Shakespeare’s text that help them interpret characters’ intentions and relationships: how a carefully placed handkerchief or letter can change the course of a life and a society.

This programme helps students to consider the dangers of being manipulated by a ringleader and the resulting pack mentality that arises in our schools and communities today. Bullying is a universal concern. There are workplace bullies, political bullies and playground bullies. Students discover how the language drives the action within the conspirators’ schemes and creates the confusion that leads to distrust, confusion and ultimately death in these classic tragedies.

This one-hour Actors At Work programme, designed for upper secondary students, is a powerful teaching tool in conveying the concepts of characterisation, interpretation and the actor’s process.

Suitable for Years 10 – 12

Each performance is one hour long and concludes with a post-show discussion.

18 18

TS C E J O R P L A I C E P S RK O W T A ACTORS INTERACTIVE DISTANCE LEARNING (IDL) PROJECT ‘I am your biggest fan ever!’

Student, Katherine High School, NT ‘Yesterday’s performance was a great success. We had 80 students watching and lots of our staff either logged on from their work desk or watched in person. The actors were terrific, please pass on our appreciation to them.’

Assistant Principal, Northern Territory Open Education Centre

Bell Shakespeare’s mission to enable all students to access Australia’s national Shakespeare company through Actors At Work performances has been further realised through the fourth year of the Interactive Distance Learning Project.

Since the introduction of IDL in 2004, the two-way satellite has been used each year to deliver real-time streaming video and two-way live interaction between the Actors At Work inschool performance team in the studio and students in remote locations.

The IDL broadcast has enabled students in regional and isolated parts of NSW and the NT to study Shakespeare with the assistance of live performance through the Bell Shakespeare Actors At Work in-schools programme. Through live performance of Shakespeare, teachers can lead their students into the language of Shakespeare and the theatrical world of his plays.

Small rural and remote communities and isolated homesteads throughout the NT and the Dubbo, Clarence, and Murray-Darling areas of NSW receive Actors At Work through the shared broadband IDL communications infrastructure established by this project. This infrastructure is able to deliver education services to School of the Air, Distance Education students and students in isolated indigenous communities and on remote homesteads.

Bell Shakespeare’s Actors At Work team travelled to the Darwin studio and presented the fourth annual live theatre experience.

Nearly 20 NT remote schools and communities across the IDL network logged in for the performance including: Ramingining Community Education Centre Jilkminggan Yulara School Timber Creek Nhulunbuy Yirrkala Homelands School Alice Springs School of the Air NT Open Education Centre remote students Batchelor Area School Numbulwar Community Education Centre Ngunmarriyanga Bulman Katherine School of the Air Bell Shakespeare’s in-schools education programme, Actors At Work, continues to be recognised as a unique live performance experience in Distance Education, realised through such technological innovations.

19

TS C E J O R P L A I C E P S RK O W T A ACTORS FAR WEST NEW SOUTH WALES TOUR

‘The kids absolutely loved the humour of the performance, they reacted to even the smallest sniff of a laugh.’

David Fellows, Teacher, Menindee Central School ‘The performances have left our students more willing to perform themselves. They form personal relationships with the actors and talk about them forever after.’

Principal, Menindee Central School ‘Students appreciated the visual – Shakespeare is meant to be seen acted out, a concept that can limit us in a normal classroom situation. The appreciation of Shakespeare went up a notch or two given better understanding of the acted play.’

Teacher, Pera Bore Christian School, Bourke ‘The actors presented very clearly and did a major work to get our very difficult students involved and engaged. Well done!’

Barbara Tapscott, Teacher, Wilcannia Community College High School

In 2008, for the fifth consecutive year, Bell Shakespeare chartered a small plane to take Actors At Work to the far west of NSW. The locations in the tour were Menindee, Broken Hill, Wilcannia, Bourke and Walgett. The 10 performances reached 530 students from 7 schools. Bell Shakespeare provided the Actors At Work performances to the schools free of charge with a request for assistance with ground support.

Teachers and students – some familiar with the programme through the tour in previous years, some new to the concept – welcomed the fifth year of the tour. The Bell Shakespeare actors found this a truly unique experience, realising the immeasurable value of the programme in which they played such an integral part.

‘I think the Actors at Work Shakespeare experience is an invaluable resource to regional communities. For many of these communities they provide the only theatre experience of the year.’

Teacher, Menindee Central School ‘Seeing young funky adults acting allows our students to see that there is no shame in performing. The workshops also allow them to respond individually to Shakespeare.’

Teacher, Menindee Central School ‘Thanks for coming out to such an isolated town like Menindee.

I am twelve years old and I loved your performance and little workshop. (It got us out of work so thank you) they were both great. I really hope you can come back one day because that was awesome. My favourite part was when Clare and Beth had a little fight that was funny. Anyway, I’d better let you get started on all the other letters, so cya! From Leonie.’

Student, Menindee Central School

20 20

S T C E J O R LP A I C E P S RK O W T A ACTORS

NT TOUR TO KATHERINE, BESWICK AND ALICE SPRINGS Following the successful workshops tour to Katherine and Beswick in the Northern Territory in 2007, in 2008 Bell Shakespeare Education was able to take an extended education residency to Katherine, Beswick and Alice Springs. The Actors At Work and Resident Artist in Education, Matt Edgerton, travelled to the schools in the three regions. Practical workshops introduced the students to Shakespeare’s characters and the plots in the stories they were about to see in performance.

When the Actors At Work took to the stage there were little squeaks of recognition, such as ‘I was Tybalt!’ and ‘There’s Friar Lawrence!’.

The open spaces of Katherine, Beswick and Alice Springs are as far from the streets of Melbourne and Sydney as can be imagined, and not only in geographic terms. The beauty of the bush is complemented by the vigour and passion of the teachers and their charges. Our overwhelming impression of those extraordinary few days was of the teachers begging us to return, and if possible next time to stay for longer.

ACTORS AT WORK ACCESSIBILITY PROGRAMME FOR DISADVANTAGED SCHOOLS In 2008 a total of 65 subsidised, discounted or free-ofcharge Actors At Work performances were made available to some schools disadvantaged by small numbers of students, geographical isolation, and low socio-economic demographic, as part of Bell Shakespeare’s goal to continue to make live performance of Shakespeare available to all students in Australia.

Opportunities for these students are made possible through the generous and ongoing support of sponsors, philanthropic trusts and foundations, and individual donors.

Bell Shakespeare Education values the support of all the organisations that supported the Actors At Work programme in 2008 including Optus (Principal Education + Youth Sponsor), AUSTAR (Regional Education Sponsor), BHP Billiton (Actors At Work), JP Morgan (NSW Education Sponsor), Arts Victoria, Macquarie Group Foundation (Actors At Work), Scully Fund, Kingston Sedgefield (Australia) Charitable Trust, Collier Charitable Fund, Percy Baxter Charitable Trust, Goldman Sachs JBWere Foundation and the Vincent Fairfax Family Foundation. Their support enables this popular programme to continue and expand, and these valued contributors assist us in maintaining affordable ticket prices.

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CS I T S I T A T S K R O W T A S R O T C A

Total Number of Schools Total Number of Touring Weeks

351 52

Total Audience

71,213

Total Number of Independent Schools Total Number of Catholic Schools Total Number of Government Schools

92 86 173

Audience geographical breakdown was as follows: State Schools M = Metropolitan R = Regional 8

2,054

NSW M NSW R

83 47

21,609 8,920

NT

10

2,256

QLD M QLD R

20 14

3,140 2,449

SA M SA R

23 14

4,648 2,009

TAS M TAS R

10 4

1,407 1,837

VIC M VIC R

42 31

7,310 5,537

WA M WA R

28 17

5,360 2,677

M SCHOOLS R SCHOOLS TOTAL

214 137 351

45,528 25,685 71,213

TOTAL PERFORMANCES

558

ACT

22

Students

K C A B D E FE K R O W AT S R O T C A

‘It was good because they broke down meanings and thoroughly explained things.’

‘I liked how they showed different interpretations like when Lady Macbeth is trying to convince Macbeth to kill Duncan.’

‘Everything was really well explained. I liked how they explained it all.’

‘I liked how they performed a scene then stopped and explained it in a context we understood.’

‘Their relaxed attitude towards the audience made it all the more entertaining and easier to understand.’

‘They showed well how scenes can be portrayed/interpreted differently... plus, Ray was a BABE.’ ‘Excellent!’

‘Gave us insight into the thoughts of the characters from Macbeth.’

‘Explained the motives and genres of the play well.’

‘Actors were enthusiastic.’

‘Actors understood Shakespeare’s language really well.’

‘Ray was an incredibly appealing actor. It was quite effective in portraying Macbeth.’

‘Very enjoyable.’

‘It was wonderful.’

‘I thoroughly enjoyed it and it exceeded expectations exceptionally!’

‘It was very educational and humorous.’

‘A unique and educational angle on the work of a fine poet. It was epic.’

‘I found it very intense and intricate examination of a fine piece of English literature.’

‘Shakespeare would be thoroughly pleased... unfortunately he cannot be contacted at the moment to express his beliefs about the production.’

‘They were really good actors and Beth was able to cry on the spot. They explained the whole concept of Macbeth and why he acted the way he did.’

‘I really liked the way the actors were focused and grabbed our attention. They were really loud and interesting. The way they made it interesting using hardly any props.’

‘Good actors. It wasn’t just lecturing. They kept it interesting the whole way through.’

‘Easy to understand/loud.’

‘I liked it when they tried to impersonate the war with the boxes shifting, like machine guns, etc.’

Students from Bishop Druitt College, Coffs Harbour, NSW

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K C A B D E FE K R O W AT S R O T C A

‘Students and teachers have all commented positively. The boys enjoyed the performances and have developed their understanding of both the text and Shakespeare in general.’

Teacher, Ignatius Park College, QLD ‘You held Year 9 on a cold afternoon immediately after lunch – now that’s engagement.’

Head of English, Mount View High School, NSW ‘English teachers can only do so much to bring Shakespeare to life, this is what Bell does so wonderfully.’

Teacher, Xavier College, Wagga Wagga, NSW ‘This was the best Actors at Work I’ve seen. Accessible, logical and suitable for the audience.’

Teacher, Loxton High School, SA ‘Was fantastic. Seeing as our Year 10 drama students had just completed their own version of Macbeth, it worked brilliantly to allow kids to see and understand different interpretations.’

Teacher, Red Cliffs Secondary College, VIC ‘All students enjoyed the experience and many were inspired by the actors. A wonderful teaching resource.’

Teacher, St Josephs College, Mildura, VIC ‘Truly magnificent! The girls loved it – excitedly talking about the highs and lows in Shakespeare’s tragedies at lunch!’

Teacher, Mount Carmel College, TAS ‘Our kids haven’t been exposed to Shakespeare at all, but your performance was so expressive they grasped everything that went on – even the primary kids!’

Teacher, Victorian College of Koori Education P-12, VIC

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S P O H S K R O W S T N E STUD KESPEARE TEXT ON SHA

‘A very pleasing introduction to the play which reinforced the play script/acting/audience triangle and really involved all students.’

Teacher, Nowra High School, NSW ‘The girls really enjoyed it and I feel that it was a really valuable way of understanding interpretation in relation to Macbeth.’

Teacher, Ascham School, NSW ‘Well hell – not having read The Tempest, I came away from the 3 hour workshop feeling intimate with the piece!!! James Evans was impressive in his preparations, attentive to members needs and inspiring. Having attended many workshops its always surprising and elevating to learn something new – his telling of The Tempest via the physicality of scenes was valuable for me, so thanks for that. Exploring the alternate emotions of characters was also an intriguing strategy. It was all good and better!!!

Thanks for the opportunity!!!’

Participant, Regional Institute of Performing Arts, Cairns, QLD

Practical interaction with the text is the key for students as they explore Shakespeare texts. Bell Shakespeare Student Workshops are devised in consultation with the class teacher to ensure that the material covered is of the greatest use and stimulus to the students. Student Workshops provide teachers with an alternative to the performance experience and are particularly popular with older and smaller groups of students.

Interactive activities enhance students’ learning and are chosen specifically to help students gain a greater understanding of Shakespeare’s language and the variety of styles in which his works can be performed. Examining the script from a dramatic perspective enables the students to visualise the work as theatre and to explore Shakespeare’s language, themes, characters and relationships with confidence. Through this interactive experimental experience, students recognise and appreciate Shakespeare as performance and as a viable reflection of human experience, frequently similar to their own.

Bell Shakespeare Student Workshops were conducted in various schools across Australia in 2008. The Bell Shakespeare arts educator liaised directly with the class teacher prior to each workshop gaining an understanding of the particular students’ needs. The resulting workshop focused on these needs and resulted in numerous benefits to students.

‘The students loved and learned, thank you.

Can’t wait until next time!’

Teacher, VIC ‘My favourite part was acting out the extract, and also the witch chant.’

Student, VIC

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PS O H S K R WO T N E D U ST

STUDENT WORKSHOPS – REGIONAL AND REMOTE In 2008 Bell Shakespeare worked with schools in the Orange region of NSW to present workshops on Shakespeare texts being studied by HSC students. Students from different schools, but studying the same play, were brought together for the special workshops. Plays included The Tempest, Antony And Cleopatra, Hamlet and King Lear.

‘[The workshop] opened up the text into its real context and made Shakespearean language more real, alive. Let the ideas of text as a performance sink in. Loved it, really confronting and scary for students but hugely empowering at the same time.

Now they actually believe that they get it.’

Teacher, Belmont High School, NSW 2008 Student Workshops: Workshops

Students

NSW M NSW R NT SA VIC M VIC R ACT QLD TAS WA

25 26 7 0 16 3 4 1 0 6

700 845 220 0 578 85 120 30 0 242

TOTAL

88

2,820

State

M = Metropolitan R = Regional

A MIDSUMMER NIGHT’S DREAM WORKSHOPS These special workshops were devised around Shakespeare’s A Midsummer Night’s Dream and influenced by Gregory Rogers’ children’s book Midsummer Knight – a retelling of Shakespeare’s play without any printed words, using colourful, whimsical forest-animal illustrations. The workshops were led by different pairs of Bell Shakespeare arts educators – for the most part, one indigenous and one non-indigenous. These skilled and experienced teaching artists led groups of mainly primary students through a series of exercises based around Shakespeare’s magical comedy over a sixty-minute period. The sessions included introductory games to break the ice, mime, storytelling and brief extracts of text to explore the whole story, together with time for reflection on the students’ personal responses to the story of the play as discovered in the workshop activities.

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PS O H S K R O W T N E D STU

2008 Special Projects Student Workshops – A Midsummer Night’s Dream: Workshops

Students

NSW R NT SA R VIC R QLD TAS WA R

7 0 6 6 0 0 7

260 0 200 240 0 0 240

TOTAL

26

940

State The workshops were conceived and developed by Matt Edgerton, Bell Shakespeare’s Resident Artist in Education, and were presented by arts educators Julia Davis, Fred Copperwaite, Huw McKinnon, Paul Reichstein and Sarah Woods. As Bell Shakespeare develops more work along the lines of Just Macbeth! – material which aims to introduce students to Shakespeare’s plays early in life – these new workshops will reinforce the same concepts. By giving children early exposure to Shakespeare in the form of a positive experience, they are less likely to be frightened of Shakespeare when they explore the plays in secondary school.

Bell Shakespeare Education’s imaginative approach was especially important in the sorts of situations the workshops were devised to handle, such as encouraging children in groups where literacy levels vary widely, or where English is not a first language, or where students of all ages attend the same session.

‘I thought how you kept all the students engaged was wonderful.

They didn’t get bored as they all had a role.’

Teacher, Kempsey South Public School, NSW ‘They went crazy – loved it. It was quite amazing that they were all engaged so well considering their age range (Year K to 6).

Teacher, Bellimbopinni Public School, NSW ‘I just wanted to thank you again for sending your wonderful actor educators to us. It was a great day and I nearly did a little jig when I realized that I had seen Paul (Reichstein) in the wonderful production of Hamlet.’

Julie Riley, Teacher, St Augustine’s, Kyabram, VIC ‘I liked the warm up games. I didn’t think I would like it because drama is not my thing, but it would be fun to do again.’

Student, St Augustine’s, Kyabram, VIC ‘They were awesome! I can’t believe I was a fairy and enjoyed it!’

Student, St Augustine’s, Kyabram, VIC ‘I didn’t think I would like it, but it was fun practising Shakespeare phrases like Maggot Pie and Foot Licker. I hope they come back.’

Student, St Augustine’s, Kyabram, VIC ‘Outside the square! Creative thinking! Increased confidence and teamwork. Great! Well done! Ten out of ten.’

Teacher, Roebuck Primary School, Broome, WA

R = Regional REMOTE RESIDENCIES ‘Remote indigenous communities are some of the most poorly served communities for education. Part of the issue for these communities is the “fly in, fly out” nature of the services.

Bell Shakespeare has the chance to create a deep engagement with these communities and creating the potential for change through an extended placement with students in remote communities. My view is that a residency of at least 2 weeks could extend some of the excellent work Bell already does into something more substantial.’

Dr Michael Anderson, Senior lecturer in drama, teaching and learning, Faculty of Education and Social Work, University of Sydney, NSW

In 2008, for the first time, Bell Shakespeare Education took pairs of arts educators to remote schools for one- and two-week-long residency programmes. The locations and programmes were as follows: Tennant Creek, NT The Dream: Wirnkarra: to see or dream eternal things or to see with eternal vision An adaptation of William Shakespeare’s A Midsummer Night’s Dream as retold by Year 11 & 12 ESL students.

Arts educators: Belinda Hoare, Matt Edgerton Nhulunbuy, NT An across-schools programme to explore Shakespeare’s work with an after-school Drama programme, weekend teacher and adult training workshops and final community performance.

Arts educators: Julia Davis, Fred Copperwaite Thursday Island, QLD An exploration of Romeo And Juliet at Tagai State College.

Arts educators: Paul Reichstein, Sarah Woods Yorketown, SA A re-telling of William Shakespeare’s A Midsummer Night’s Dream in the style of The Footy Show.

Arts educators: Julia Davis, Huw McKinnon St Marys, TAS An introduction to Shakespeare across schools in the community.

Arts educators: Kerreen Ely-Harper, Brendon McDonnall 27

OPS H S K R O W T N E D U ST

The activities undertaken led students into the world of Shakespeare’s plays and gave them the opportunity to explore drama, performance and storytelling in a unique, practical and entertaining programme. Plays and activities were carefully devised to suit each location with Bell Shakespeare arts educators and teachers on location liaising by conference call prior to the residency in order to establish a mutual understanding of reasonable aims and aspirations for the residency.

‘This experience has been INVALUABLE for our students and has meant that they have been able to access Shakespeare in a way that is catered to their learning needs. As ESL (English Second Language) learners, Torres Strait students require visual, kinaesthetic experiences. Our students have benefited greatly from this workshop experience!

The year 11 students involved with the workshops were able to apply their experiences directly to their assessment in English this Term. Both classroom teachers commented that student work reflected their enjoyment of and engagement with “Romeo and Juliet”. The year 10 students involved were able to gain an understanding of this play, giving them a distinct advantage for their studies next year. As a teacher involved in the workshops, I was able to witness the change in our students’ confidence, language development, and attitude towards Shakespeare text.

What an amazing difference this made for our students!

I would like to congratulate your company in the selection of Sarah and Paul as workshop leaders. They embraced the culture of Tagai Secondary Campus and empowered our students by developing their understandings of Shakespeare and his works.’

Jodie Tallon, Head of Department – English and Social Sciences, Tagai State College Thursday Island Secondary Campus, QLD ‘Bell Shakespeare Education provides exemplary educational experiences for young people. Not only do their activities enhance the social and psychological aspects of a student’s development but research shows that engagement in sophisticated drama work, such as Shakespeare, also aids literacy skill acquisition.’

Dr John Hughes, Associate Dean Development, Faculty of Education and Social Work, University of Sydney, NSW ‘The most visible end product – the community performance – saw the theatre packed to the rafters. It was brave, funny and compelling all at once.’

Wendy Troe, Teacher, Nhulunbuy High School, NT Workshops

Students

NSW R NT SA R VIC R QLD TAS WA R

0 62 13 0 32 26 0

0 929 260 0 800 520 0

TOTAL

133

2,509

State

R = Regional 28

T N E M P O L VE E D L A N IO S S E F O R P

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PS O H S K R WO R E H C A TE PROFESSIONAL DEVELOPMENT FOR TEACHERS Bell Shakespeare’s Professional Development Programme provides teaching professionals with fresh ideas and innovative methods for approaching Shakespeare in English and Drama classrooms.

Bell Shakespeare’s Workshops are facilitated by professional directors and actors keen to share their knowledge of and passion for Shakespeare with teachers. All have experience in teaching Shakespeare to young people in a variety of learning contexts, making these workshops relevant and enriching for teachers.

The Professional Development Workshop Programme is a practical activity-based programme. Bell Shakespeare arts educators introduce teachers to theatrical approaches to Shakespeare, developing teaching ideas and interactive methods for: – interpreting Shakespeare’s text; – inspiring students’ active responses to Shakespeare; – working with the metre; – discovering characters through the script; – approaching action from Shakespeare’s hidden stage directions; – developing scenes; and – presenting and considering Shakespeare as theatre.

Pre-show seminar: As You Like It For NSW English teachers approaching the 2009 HSC text list, this exploration of Bell Shakespeare’s new production covered: – the historical context and contemporary connections in the play; – characters and their relationships; – the power of the language; and – a discussion of John Bell’s interpretation.

This full-day workshop gave teachers and practitioners key activities for introducing the plays with progressive activities for leading students through the plot, language and dramatic techniques concealed in the text. Giving insight into approaches used by the acting company as they explore and interpret Shakespeare’s text, these practical devices can be applied across any of Shakespeare’s plays.

‘I loved how interactive the activities were and there are some great ideas here, will certainly be taking back to the classroom.’

Teacher, Warnambool, VIC In 2008, 301 teachers from 120 schools attended 23 Teacher Workshops.

These full-day Professional Development (PD) sessions engage participants in practical and effective ways of bringing Shakespeare’s work to life. English and Drama teachers enjoyed being the students as Bell Shakespeare’s skilled arts educators presented new ideas and techniques designed to help break down the barriers students often have when approaching the study of Shakespeare’s plays.

Responses from teachers were recorded after the Teacher Workshops: ‘Extraordinarily well delivered workshop with two fantastic presenters who knew their material and craft and delivered great ideas for use not only in Shakespeare and the specific plays, but in many classroom settings.’

John Batterham, Teacher, Lyneham High School, ACT ‘I have taught Shakespeare for 30 years, but there is still room to learn, because the texts have so much scope. The workshop would be valuable for either a beginning teacher or an old hand.’

Teacher, Melba Copland Secondary College, ACT

Teaching Hamlet Workshop This full-day exploration of Bell Shakespeare’s new production about the ultimate despondent youth, Hamlet, covered:

‘It was a worthwhile day of PD [Professional Development] for us – we’ll be taking a lot of strategies back to school with us.

This workshop effectively targeted English teachers – I will be able to use a lot of these ideas in the classroom.’

Teacher, St Marys College, WA

– the historical context and contemporary connections in the play; – characters and their relationships; – the power of the language; and – interpretations/readings of the play including a discussion of Marion Potts’ production of Hamlet.

‘I am from a very small Catholic boys school. We have very few students doing Literature and only one extension class in Year 10 doing Romeo And Juliet. Personally, the workshop was great for me. I’d like to be able to involve the boys in a similar experience.’

Teacher, Catholic Boys College, Fremantle, WA

Teaching Demise and Destruction with Macbeth and Romeo And Juliet A day-long journey through Shakespeare’s shortest and bloodiest tale, and the world’s best-known love story – both popular texts for Years 7 to 11. During this workshop teachers were introduced to: – easy practical ways into the plot; – approaches to Shakespeare’s language; and – reflections on productions including theatre and film.

30

State

Workshops

Teachers

NSW VIC QLD NT SA WA TAS ACT

10 4 1 2 2 1 2 1

123 52 8 21 37 28 17 15

TOTAL

23

301

) S T R ( P I SH R A L O H C S R E H C A E T L A N O I G RE ‘Your willingness to learn alongside us is such a positive aspect.

Your experience and genuine capacity to share it – is gold!’

Wendy Troe, Nhulunbuy High School, NT ‘Perfect – learnt lots – about myself as a teacher, about what other teachers are doing re: Shakespeare, and about Shakespeare. If the course finished today I would still be glad I came. I really got a lot out of the practical exercises in introducing scenes from R&J and Macbeth. Similarly to my students I seem to work best in hands-on tasks, so getting up and having a go was a perfect way to learn how to teach these things!’

Elisa Resce, Booleroo Centre District School, SA

This innovative Professional Development programme was piloted in 2007 and repeated in 2008. The programme is designed specifically for teachers working in regional and remote schools. Following the thorough three-phase review of applications, the 12 recipient teachers from across the country came together for an intensive four days of exploration and training in Shakespeare. Sessions included practical exploration of text, discussion forums, observing Hamlet in rehearsal and seeing the in-school education team Actors At Work performing in a school. Following the programme, the recipients submitted a Shakespeare Unit which they would be undertaking with their students.

‘Fantastic! I had the time of my life – I learned more in 4 days than I have in the last 10 years – I can honestly say that!’

Tina Slaby, Yorketown Area School, SA

The concerns and comments these teachers shared about their students and their communities highlighted the invaluable network this programme established for these remote teachers. Metropolitan Professional Development programmes infrequently meet the needs of remote teachers and their students.

The RTS 2008 presenters were: Bell Shakespeare arts educators – Matt Edgerton, Sarah Woods, James Evans, Belinda Hoare, Huw McKinnon Director – Marion Potts Guest Academic – Dr Michael Anderson, University of Sydney The RTS 2008 recipients were: NSW

Ms Carolyn McMurtrie, Cobar High School Ms Paulette Sansey, Dubbo School of Distance Education

NT

Ms Wendy Troe, Nhulunbuy High School

QLD

Ms Leisa Cranna, Moranbah State High School

SA

Mr Troy Clohessy, Caritas College, Port Augusta Ms Tina Slaby, Yorketown Area School Ms Elisa Resce, Booleroo Centre District School

TAS

Ms Rachel Oldham, Bothwell District High School Mr Roger Filz, Mountain Heights School

VIC

Ms Julie Riley, St Augustine’s College, Kyabram Ms Megan Lord, Birchip P-12 School

WA

Ms Coralyn McCracken, Newman Senior High School 31

S M U R O F TEACHER INTERPRETING SHAKESPEARE A Free Forum for Teachers

Location

In 2008, Interpreting Shakespeare was presented in every state and territory, giving teachers a wonderful opportunity to see new ideas and innovative ways to entertain, educate and inspire primary and secondary students when teaching Shakespeare.

This free Teacher Forum included guest speakers from key areas of state/territory education practice and policy, performance and workshop demonstrations, and insights into interpreting Shakespeare from Bell Shakespeare’s creative team.

2008 Teacher Forums Bunbury, WA Alice Springs, NT Cairns, QLD Launceston, TAS Warrnambool, VIC Whyalla, SA Wagga Wagga, NSW Canberra, ACT

‘Beautiful! Good fun, well presented – a very useful overview of what Shakespeare (and Bell Shakespeare) has to offer!’

Teacher, Whyalla, SA ‘Realistic, well-researched, intelligent. Presenters are very interested and helpful. Bell Shakespeare is very generous with text and support. Thank you.’

Teacher, Marist Regional College, Launceston, TAS ‘I was worried a Forum would result in 3 hours of being talked at.

It was excellent being able to actively engage in practical learning experiences.’

Teacher, Cairns, QLD ‘I feel more motivated to promote the notion of drama as a pedagogy to facilitate student learning.’

DET Representative, Wagga region, NSW ‘Thought it would be conventional sit-down forum – glad to be on my feet and having fun.’

Teacher, Trinity College, NSW ‘Wanted to learn some practical ideas and be taught.’

Teacher, Centralian Senior Secondary College, Alice Springs, NT ‘We had hosted a student workshop the previous week, but others [teachers] commented after the demonstration that they wished they had booked one!’

Teacher, Kings College, Warnambool, VIC ‘Excellent, these activities are just what I’m looking for!’

Teacher, Caritas College, Whyalla, SA ‘This helps students to become less self-conscious and this has the power to engage fully.’

Teacher, Edward John Eyre High School, Whyalla, SA

32

Schools

Teachers

Wagga Wagga, NSW Warrnambool, VIC Cairns, QLD Alice Springs, NT Whyalla, SA Bunbury, WA Launceston, TAS Canberra, ACT

10 10 8 4 9 8 13 10

18 29 16 14 21 10 25 22

TOTAL

72

155

S T C E J O PR L A I C E P S

YOUNG CARERS Special workshops were presented for Young Carers in 2008.

The two-hour workshop was a unique opportunity for these young people, who spend much of their time caring for an ill or disabled family member, to explore their own creativity.

The two sessions gently introduced key elements of some of Shakespeare’s stories and the issues faced by his characters whilst giving the participants the chance to enjoy the fun of experimenting with language through Shakespearean insults and playing the part of someone else through character-based activities.

‘Young Carers, due to their caring role, often do not have the opportunity to spend time engaging with extra-curricular activities. The Bell Shakespeare workshops facilitated this experience for all our young carers who attended camp which in many cases was a unique opportunity. These sessions allow young carers to enhance not only their confidence, communication and spontaneity but also their creativity. The opportunity to explore different roles and experiences through the medium of drama allows them a break from their caring role and perhaps empowers them to see what is possible for them in life outside their caring role. Carers NSW would fully support Bell Shakespeare in continuing the joint work which we have undertaken and looks forward to inviting them back again to our Young Carer Camps again this year.’

Maura Magee, Young Carer Team Coordinator, Carers NSW CLEMENTE CATYLYST Following the participation of Mission Australia as a recipient group in Bell Shakespeare’s Hearts In A Row programme in 2006 and 2007, Bell Shakespeare Education has formed an alliance with the Australian Catholic University and Mission Australia through the Clemente Catalyst programme. This unique programme provides adults who have become socially, economically and domestically disadvantaged through various circumstances the opportunity to undertake a course of study at undergraduate level. Upon successfully completing two Catalyst courses students may then apply to be accepted into a programme of study at the Australian Catholic University to complete a full Bachelor degree.

In 2007, arts educator Sarah Woods presented a semester-long programme on Shakespeare which culminated in three key assessable tasks – two written and one performance-based.

In 2008, arts educator Christopher Tomkinson worked on the performance component, with Associate Professor Michael Griffith delivering the literature components of the course.

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K R O W T E EN C N E R E F E R N O I T A EDUC In 2008 Bell Shakespeare Education’s reference network continued to establish connections with key Education personnel in each state and territory. These groups provided helpful information and advice with regard to curriculum and calendar, and also assisted in the assessment of applications for the Regional Teacher Scholarship.

Education Reference Group (NSW) Dr Michael Anderson Faculty of Education, University of Sydney Matthew Brown Relieving Principal, Wagga Wagga High School Tony Britten English Coordinator, SCEGGS Darlinghurst Jane Caro Education Advocate, Copywriter Sue Gazis NSW Institute of Teachers Eva Gold Executive Officer, English Teachers’ Association NSW Bill Spence Manager, Schools, DET Centre For Learning Innovation Colleen Orr What Works Education Consultant, Improving outcomes for indigenous students

Education Reference Group (VIC) Rosalie Jones Manager, Secondary Services, Catholic Education Office, Victoria

Rts Application Reference Groups NSW Eva Gold Executive Officer, English Teachers’ Association NSW Michael Murray Manager English, Curriculum K-12 Directorate, Department of Education and Training Matthew Brown Relieving Principal, Wagga Wagga High School Don Carter Inspector English, NSW Office of the Board of Studies NT Steve Hawkins Project Manager, Senior Secondary Support (English, SOSE, ESL Studies) Teaching, Learning and Standards, DEET QLD Garry Collins President, English Teachers’ Association of Queensland SA Guy Bayly-Jones Policy and Programme Officer, English, Department of Education and Children’s Services TAS Mike Jenkins Curriculum Officer, Tasmanian Qualifications Authority VIC Catherine Beavis School of Education, Deakin University

Debbie de Lapps Executive Officer, Victorian Association for Teachers of English

Scott Bulfin Monash University

Professor John OToole Melbourne Graduate School of Education

Debbie De Lapps Executive Officer, Victorian Association for Teachers of English

Dr Kate Donelan Melbourne Graduate School of Education

WA

Assoc Prof Catherine Beavis Faculty of Education, Deakin University Nathan Armstrong Wesley College

34

Chris Kowald English Teachers Association WA

ES C R U O S RE

TEACHERS’ KITS Teachers’ Kits were provided online, containing easily accessible materials for teachers to use in lessons before and after their students’ Bell Shakespeare experience. The Teachers’ Kits provide a range of reading, writing, listening, speaking and performance-based activities across learning areas, designed to ensure that students gain as much as possible from their Bell Shakespeare experience.

BELL SHAKESPEARE EDUCATION ONLINE WEBSITE The Bell Shakespeare Education website sits alongside Bell Shakespeare’s main site. It contains detailed information on all programmes and activities run through the programme as well as online access to Teachers’ Kits, editorial and images from the year’s productions, as well as podcasts and the Student Discussion Board. The popularity and value of the website continues to grow as teachers become increasingly aware of the diverse array of material available to them and to their students.

The expanded Education website provides greater access to Bell Shakespeare’s online resources.

PODCASTS The 2008 podcasts enabled teachers and students to have an audiovisual connection with the Company’s productions.

Podcasts included recordings of discussions with actors and directors from 2008 productions. Bell Shakespeare podcasts provide a useful preparatory tool for teachers within the listening, viewing and responding components of their curriculum requirements.

DISCUSSION BOARD The 2008 Student & Teacher Discussion Board gave teachers and students across Australia a readily accessible forum in which to express their personal responses to the performances they had seen, to discuss Shakespeare, and to continue to communicate with the Actors At Work team after the performance in their school. At the close of the 2008 school year, more than 426 students and teachers had become registered users of the Discussion Board. Conversations evolved across the country with students sharing ideas on the Actors At Work performances they had seen in their schools.

MAKE A SCENE Bell Shakespeare and Optus presented the Make A Scene competition online for the second year. Additionally, in 2008, set lines were provided on which entrants could base their creative works. The 2008 Make A Scene virtual gallery contained more than 400 entries. The winning entries were: Overall Winner Mitchell Connolly Melbourne High School, VIC People’s Choice Vincent Ha Willeton Senior High School, WA Junior Encouragement Adriana Nari Hornsby Girls High School, NSW Senior Encouragement Sam Auty Shelford Girls Grammar, VIC

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TS N E D U T S E H T M O FR N O I T A R I INSP FROM THE DISCUSSION BOARD

‘Hey! you guys came to my school last wk (wildy) just like to say i thought you were great!

Most of the people thought it was awesome too!!

Thanks heaps for coming and showing us about shakespeare. I can look @ it in a totally different way.

Thanks heaps!’

Student, state unknown ‘To Tim, Andrea, Louisa and Renato: This is 10 Gold from Caritas College, Port Augusta.

You performed here yesterday and we wanted to say that you were incredible. We were all very inspired and impressed by all of you. Thank you so much for coming all the way out here to show us your talents. Cheers’ Students from 10G, SA ‘A few weeks ago the bell shakespeare company came to our school and performed loves magic in which we often dont get the chance to see performances like it..

I must say i was captivated the whole show and every moment was awesome to watch.. the acting was amazing and even with the small amount of props they still managed to well portray the scenes..

After the show, me and some friends stayed behind and were lucky enough to catch up with who i think was renato..

He gave us some advice and words that i know i will definately take in which i am grateful for. Thank you.’

Student, SA ‘Macbeth is a brilliant play, nothing tops King Lear, but Macbeth rokz Lady M is the defining force in the whole play, Macca would not could not have done anything without her pushing him along. I agree with ray that it would be interesting to see Macca played as a secretly evil caniving person who was pretending to be scared, it was definitely an easier way to view shakespeare than by reading it, digesting the language takes forever, but actually watching it be performed means that you can see the emotions as they happen, instead of trying to guess at what the characters are feeling with help from the footnotes. The performance at Bunbury Grammar rocked.’

Student, WA

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TS N E D U T S E H T M O R F N O I T A INSPIR

‘I think Macbeth genuinely wanted to back out. Act 1 scene 7 he speaks a soliloquy saying hed risk it if there were no consequences (...that this blow might be the be all and end all...). but the consequences are great – the murder would be avenged (...return to plague thinventor...), Duncan is a kinsman and Macbeth his subject, Duncan is his guest, Duncan is a good king (...that his virtues will plead like angels), he will be damned if he does (...against the deep damnation of his taking-off) and finally murder is pitiful and horrible.

I believe Macbeth is ready to call it quits – he wants to be king, and is ambitious enough to do it, but the reasons for not doing it are too great.’

Teacher, NSW ‘i think macbeth possibly still would have become king. it depends on the strength of the witches prophesy, he had become thane of cawdor without action thus ushering the question that if there had been no murder of duncan, would he still have become king? i also wonder can this question be answered by the fact that in the end it doesnt show banquos son become king, could this be because banquo didnt act on the witches statement? what was acctually on my mind is i forget which specific act and scene it is but when we are introduced to hecate and she gets angry at the three sisters for not having her join in at the coruption of macbeth. i have been told that this scene is quite usless but i find it hard to beleive that there is any shakespearian scenes that are useless and pointless. is anyone aware of any significance in this scene?’

Student, state unknown

NB Spelling and grammar appears as composed.

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Y R A M M U S L A C I T S I STAT

Education Activity Schools Matinee Performances Regional Schools Matinee Performances Meet Bell Shakespeare Actors At Work – student attendance Student Workshops Regional Access Student Workshops Student Workshops – Special Projects TOTAL STUDENTS* Teacher Workshops Regional Teacher Scholarship Free Teacher Forums TOTAL TEACHERS Bell Shakespeare Education website users Registered Student Discussion Board users TOTAL ONLINE USERS GRAND TOTAL*

Attendance 8,985 2,495 1,293 71,213 2,820 1,989 3,449 92,244 301 12 155 468 4,700 426 5,126 97,838

*These TOTAL figures do not include students who attended general public performances of As You Like It, Hamlet, Anatomy Titus Fall Of Rome, Just Macbeth! or Venus & Adonis across Australia.

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Y R E A R M A E M P U ESS L K A A C H I S T S L I L ET A B T T S U 8 0 O 0 B 2 A

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A I L A R T S AU G N I R U TO THURSDAY ISLAND DARWIN

NHULUNBUY GROOTE EYLANDT (GROOTE ISLAND)

KATHERINE WUGULLAR

CAIRNS BROOME

TOWNSVILLE

CLONCURRY MOUNT ISA

TENNANT CREEK

PORT HEDLAND

KARRATHA

CHARTERS TOWERS MACKAY

MOORANBAHH DYSART BLACKWATER

EMERALD

ROCKHAMPTON

ALICE SPRINGS

NEWMAN

CALOUNDRA BRISBANE GOLD COAST

GERALDTON

LISMORE CASINO GRAFTON ARMIDALE

ROXBY DOWNS

KALGOORLIE PERTH FREMANTLE

NARROGIN

BUNBURY BUSSELTON

ALBANY

TWEED HEADS BYRON BAY

COFFS HARBOUR WALGETT BOURKE KEMPSEY WILCANNIA DUBBO BROKEN HILL ORANGE WHYALLA BATHURST NEWCASTLE MENIDEE GOSFORD PARRAMATTA RENMARK PENRITH GRIFFITH MILDURA SYDNEY BOWRAL TANUNDA WOLLONGONG WAGGA WAGGA YORKETOWN CANBERRA SHOALHAVEN HORSHAM ADELAIDE SHEPPARTON ALBURY BENDIGO JINDABYNE WANGARATTA BEECHWORTH BALLARAT MT GAMBIER SALE WARRAGUL MELBOURNE FRANKSTON WARNAMBOOL NUNAWADING GEELONG MOONEE TIMBOON DANDENONG + RINGWOOD PONDS

PORT AUGUSTA

BURNIE LAUNCESTON HOBART

ACTIVITIES Productions Education Programmes Interactive Distance Learning Actors At Work broadcast areas

Australia’s National Touring company EACH YEAR: We reach a national audience of over 200,000 We travel more than 125,000km

– Founded on the ideal of uninhibited access to the great classics for as many Australians as possible, Bell Shakespeare presents a broad range of touring productions and education and community activities regardless of geographic location.

– As Australia’s national touring theatre company, Bell Shakespeare tours every state and territory with creativity and audacity. Each year the Company travels more than 125,000 km.

– Bell Shakespeare is devoted to specialisation, training, education and ongoing exploration, while aiming to reconcile great classic texts with contemporary Australian life.

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– Bell Shakespeare has strong corporate support along with committed private patrons, healthy audiences and loyal schools.

– In 2008, there were opportunities for more than 100 actors, directors, designers, artisans and technicians across all Bell Shakespeare activities. This is in addition to the hundreds of people who worked on Bell Shakespeare productions in theatres around the country.

– Bell Shakespeare reaches over 200,000 people annually with more than 700 performances in schools and theatres around Australia.

IP H S R E D A E L C I T S I T AR

JOHN BELL ARTISTIC DIRECTOR

MARION POTTS ASSOCIATE ARTISTIC DIRECTOR

John Bell is one of Australia’s most acclaimed theatre personalities.

In a career of acting and directing, John has been instrumental in shaping the Australian theatre industry as we know it. After graduating from Sydney University in 1962 John worked for the Old Tote Theatre Company, all of Australia’s state theatre companies and was an Associate Artist of the Royal Shakespeare Company in the United Kingdom. As co-founder of Sydney’s Nimrod Theatre Company, John presented many productions of landmark Australian plays including David Williamson’s Travelling North, The Club and The Removalists. He also initiated an Australian Shakespeare style with Nimrod productions such as Much Ado About Nothing and Macbeth. In 1990 John founded The Bell Shakespeare Company where his productions have included Hamlet, Romeo And Juliet, The Taming Of The Shrew, Richard 3, Pericles, Henry 4, Henry 5, Julius Caesar, Antony And Cleopatra, The Comedy Of Errors, Wars Of The Roses, Measure For Measure, Macbeth and As You Like It, as well as Goldoni’s The Servant Of Two Masters and Gogol’s The Government Inspector. His Shakespeare roles include Hamlet, Shylock, Henry V, Richard III, Macbeth, Malvolio, Berowne, Petruchio, Leontes, Coriolanus, Prospero, King Lear and Titus Andronicus.

He played the title role in two co-productions with Queensland Theatre Company: Richard 3 and Heiner Müller’s Anatomy Titus Fall Of Rome: A Shakespeare Commentary. John recently directed a production of Madama Butterfly for an Oz Opera national tour.

John Bell is an Officer of the Order of Australia and has the Order of the British Empire. He has an Honorary Doctorate of Letters from the Universities of Sydney, New South Wales and Newcastle.

In 1997 he was named by the National Trust of Australia as one of Australia’s Living National Treasures. In 2003 the Australia Business Arts Foundation awarded John the Dame Elisabeth Murdoch Cultural Leadership Award. His many awards as an actor and director include a Helpmann Award for Best Actor (Richard 3, 2002) and a Producers and Directors Guild Award for Lifetime Achievement.

Marion Potts is Bell Shakespeare’s Associate Director and Artistic Director of its development arm, Mind’s Eye. For Bell Shakespeare she has directed Hamlet, Othello and Venus & Adonis (a co-production with Malthouse Theatre) as well as the Actors At Work programme. Her other directing credits include Volpone, Don Juan, Life After George, Cyrano de Bergerac, The Crucible, Navigating, Del Del, Closer, The Herbal Bed, What is the Matter with Mary Jane?, Pygmalion, Where Are We Now?, The Café Latte Kid, The Blessing and Two Weeks with the Queen for Sydney Theatre Company; Equus, The Torrents, Gary’s House, A Number and The Goat or Who is Sylvia? for State Theatre Company of South Australia; Constance Drinkwater and the Final Days of Somerset for Queensland Theatre Company; The Popular Mechanicals 1 and 2 (Associate Director) and The Frogs (Assistant Director) for Company B; Big Hair in America and Wonderlands for HotHouse Theatre; Dreaming Transportation for Performing Lines; The Story of the Miracles at Cookie’s Table for HotHouse Theatre/Griffin Theatre Company; and Grace for Melbourne Theatre Company. Marion was Resident Director for Sydney Theatre Company from 19951999, and Artistic Director of Pulse (STC) from 1997-1999.

She curated the 2003 National Playwrights’ Conference, was a chairperson of World Interplay and a member of the Theatre Board of the Australia Council. She was also a founding member of HotHouse Theatre’s Artistic Directorate.

Marion was awarded the 2006 Helpmann Award for Best Direction of a Play for her production of The Goat or Who is Sylvia? for State Theatre Company of South Australia and Company B.

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S R E N T R A P E T A R O P COR

NATIONAL TOURING PARTNER

PRINCIPAL EDUCATION + YOUTH SPONSOR

NATIONAL MAINSTAGE PARTNER

LEADING SPONSORS

ACTORS AT WORK

NSW EDUCATION SPONSOR

OFFICIAL WELLBEING PARTNER

SUPPORTING COMMUNITIES THROUGH THE ARTS

SUPPORTING THE ARTS

MAJOR SPONSORS

WA TOUR PARTNER

MEDIA PARTNER HAMLET

SUPPORTING REGIONAL COMMUNITIES

SUPPORTING PARTNERS

SPECIAL EVENT SPONSOR

SPECIAL EVENT SPONSOR

LEGAL PARTNER COMPANY SPONSORS

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COMMUNITY PARTNER

ACCOMMODATION PARTNER MELBOURNE

D N A Y T I S N COMMUNMENT PARTNER GOVER COMMUNITY PARTNERS THE FOLLOWING FUNDS, TRUSTS AND FOUNDATIONS ARE SUPPORTING OUR NATIONAL EDUCATION INITIATIVES THE VINCENT FAIRFAX FAMILY FOUNDATION COLONIAL FOUNDATION JOHN T REID CHARITABLE TRUSTS THE NORMAN H JOHNS TRUST THE IAN POTTER FOUNDATION SCULLY FUND JAMES N KIRBY FOUNDATION COLLIER CHARITABLE FUND BESEN FAMILY FOUNDATION GOLDMAN SACHS JBWERE FOUNDATION

EDUCATION PARTNERS

GOVERNMENT PARTNERS

Bell Shakespeare is assisted by the NSW Government through Arts NSW.

Bell Shakespeare Education is supported by the Australian Government through the Department of Education, Employment and Workplace Relations under the Quality Outcomes Programme.

Bell Shakespeare is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Bell Shakespeare Education is assisted by the VIC Government through Arts Victoria.

The Australian Government is proud to be associated with Bell Shakespeare through the national performing arts touring programme, Playing Australia, which gives Australians across the country the opportunity to see some of our best performing arts.

Bell Shakespeare Education is assisted by the SA Government through Arts SA.

Bell Shakespeare Education is assisted by the NSW Government through the NSW Department of Education and Training.

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australia’s shakespeare resource sydney po box 10 millers point nsw 2000 melbourne po box 311 flinders lane vic 8009 t 1300 305 730 f 1300 552 271 education@bellshakespeare.com.au bellshakespeare.com.au/education 46