Korea • New Zealand • Taiwan • UK • USA
Australia • Belgium • Cambodia • Indonesia
18–27 February
2016
EDUCATION KIT
brisbanepowerhouse.org
TEACHING NOTES
WTF16 — Teaching Notes — Page 02
TEACHING NOTES
심청 <SHIMCHONG>: DAUGHTER OVERBOARD! Motherboard Productions (Australia/Korea), written by Jeremy Neideck and Kathleen McLeod after Oh Tae Suk, directed by Jeremy Neideck
SUITABILITY Senior and Middle School COST $25(schools, 1 teacher ticket free per 10 tickets booked) + transaction fee ($3 single ticket/$6 multiple tickets) DATE Thu 18–Tue 23 February TIME Thu, Fri, Sun, Tue 7.30pm, Sat 2.30pm + 7.30pm, Mon 10am + 8.30pm DURATION 100 mins VENUE Visy Theatre
“...bold, adventurous, inspirational performance-making.” REALTIME ARTS ON 지하 UNDERGROUND
SYLABUS LINKS Cross-cultural collaboration Multilingual storytelling Traditional Korean performance Ritual Classical and contemporary puppetry Physical theatre Visual theatre Contemporary pop music Ensemble work and group singing Performance space and location 4th wall – audience interaction and participation Props and costume
MAIN THEMES Cross-cultural collaboration; Comparison between traditional and contemporary Korean lifestyle and mythology; A parable about survival, sacrifice, equality, tolerance and opportunity; Adaptation and reinvention of a classic Korean story – an educational retelling of the traditional tale; Collaboration of interdisciplinary performance forms; Current Australian social conditions and government policies regarding asylum seekers
OVERVIEW One of only five works of pansori (traditional Korean opera) that have survived both the Japanese occupation and the Korean War, Shim-chong-ga tells the story of a young woman who sacrifices herself to the Dragon King, the ruler of the undersea realm, in order to restore her father’s sight. In 1994, visionary Korean director Oh Tae Suk adapted this well-loved story for his famed theatre ensemble, Mokwha. The work spoke out against a corrupt political system, the wilfully blind and complicit media, and a flourishing maritime trade in women forced into the sex industry. In 심청 <Shimchong>: Daughter Overboard! Jeremy Neideck and Kathleen McLeod have wrenched Oh Tae Suk’s text into the 21st Century, dragging with it pansori, poetry, and political satire. What if Shimchong were reborn in Australia, a young woman with a burning desire to see revolution?
심청 <Shimchong>: Daughter Overboard! offers Australian audiences the chance to look at themselves through foreign eyes, and Korean audiences the opportunity to see how far Shimchong may have drifted had she jumped into the Indian Ocean instead of the Indang Sea. In this dark, political, and often hilarious retelling, you’re invited to drink and sing along as contemporary pop music, pansori, and physical theatre combine in an event that is as uniquely Australian as it is Korean.
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TEACHING NOTES: 심청 <SHIMCHONG>: DAUGHTER OVERBOARD!
SUBJECT AND SYLLABUS LINKS Middle School and Senior Drama: Cross-cultural collaboration Multilingual storytelling Traditional Korean performance Ritual Physical theatre Visual theatre Contemporary pop music Ensemble work and group singing Performance space and location Fourth wall—audience interaction and participation Props and costume
ASSESSMENT SUGGESTIONS FORMING: •Choose a popular myth/legend/traditional tale that is widely recognised in contemporary society and identify its intended meaning and purpose. Create a contemporary or modern interpretation of the narrative by transporting it to current times. Adapt the setting, story sequence and main characters to a contemporary context, while maintaining the purpose or moral of the original tale. Devise and write the script for a contemporary audience using a narrator or retell the story purely through action and dialogue. PRESENTING: •Form small groups and choose one of the student devised scripts developed in the above Forming task that reveals contemporary interpretations of popular myths/legends/traditional tales. Using the chosen text, devise and rehearse a performance of the script ensuring that the dramatic meaning intended by the playwright can be clearly recognised. •Form small groups and select a popular myth/legend/traditional tale specific to a culture of your choice (for example: Asian, Indigenous, etc.). Using the text of this narrative as the main stimulus, devise and perform a Physical Theatre piece that employs both the physical and verbal text to communicate your dramatic meaning. Your Physical Theatre performance will be informed by the dramatic perspectives of the contemporary Physical Theatre style, using the elements of drama (which may include mood, symbol, contrast and movement). You will be assessed on your level of acting skill; both physically and vocally, and the ability to work as an ensemble. Music and sound need to be incorporated into the piece, with a clear link to the chosen narrative text throughout. RESPONDING: •Write an essay that analyses and evaluates the educational value of 심청 <Shimchong>: Daughter Overboard!. Through combining traditional and contemporary modes of performance, the production invites the audience in to play before launching into an educational, if not frantically compressed retelling of the traditional tale. In your response, consider what lesson(s) co-writers Jeremy Neideck and Kathleen McLeod hoped audiences would gain after watching and engaging with the performance. “심청 <Shimchong>: Daughter Overboard! is an affirmation of the power of cultural collaborations. Motherboard aims to be a part of a rich artistic dialogue between artists, audiences and the industry. Through the sharing of ideas, cultures, languages and artists practices, Motherboard is dedicated to international cultural exchange as a way to learn more about the world and ourselves.” – Motherboard Productions 2015 http://www.motherboardproductions.com.au/about •Critically view Motherboard Production’s 심청 <Shimchong>: Daughter Overboard! and evaluate how it encourages a greater understanding of different cultures. In your analysis, reference the above statement with regards to the benefits of maintaining strong relationships with communities and artists of different cultures (such as those between Australia and Korea). Comment on the cross-cultural and collaborative nature of 심청 <Shimchong>: Daughter Overboard! as it brings together the unique and diverse art practices of both the Australian and Korean artists.
CONTENT COVERED •Become more familiar with the philosophy and work of Motherboard Productions—conduct individual research using online resources •Analyse and explore the central themes featured
within 심청 <Shimchong>: Daughter Overboard!— identify specific examples from the performance of
where these themes became evident
SUGGESTED ACTIVITIES AND SKILL FOCUS •Discussion questions: o What is a myth? Legend? Traditional tale? o What kind of story do you think a myth/legend/traditional tale is? o What myths/legends/traditional tales do you know? o How do you tell the difference between a myth and legend and traditional tale? o Does the country you live in have special myths/legends/traditional tales of its own? o Do you know of any myths/legends/traditional tales from other countries or cultures?
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TEACHING NOTES: 심청 <SHIMCHONG>: DAUGHTER OVERBOARD!
•Analysis of live theatre in terms of style •Explore a variety of acting techniques relating to the styles/conventions of ritual, physical theatre, visual
•Stories and tales are often best spoken aloud. Read a short myth/legend/traditional tale several times until the main parts are remembered. Share the narrative with a small group, using voice and vocal techniques to make the story as dramatic as possible.
theatre, ensemble work and multilingual storytelling •Research ‘pansori’ (traditional Korean opera)—
•Study the culture (or religion) behind a favourite or popular myth/legend/traditional tale.
specifically the five works that have survived both the Japanese occupation and the Korean War •Write extended analytical essays based on live theatre •Acknowledge and value the importance of drama as aesthetic learning •Explore character and analyse the manipulation of elements of drama (tension, focus, mood, language, symbol, time, place, relationships) •Manipulate the elements of drama to communicate the students’ interpretation of the dramatic meaning
•Read myths/legends/traditional tales that have originated all over the world. Select one specific text and research information about the country or region from which it originated, making particular note of the cultural practices and traditions of the country. Questions to research and discuss: o Is there a theme to the myths/legends/traditional tales from this country? If so, what are they? o Why did this country or region create this myth/legend/traditional tale? o Is there a religious influence to the myths/legends/traditional tales of this country or culture? o Are there more myths from this region? Find them and summarise them. o How could this myth/legend/traditional tale be made relevant to contemporary audiences? o How could this myth/legend/traditional tale be reinvented or adapted into a narrative set in the 21st Century?
of text •Use a variety of written, oral and visual sources for research, or as stimulus for, the development of visual and physical performance •Identify the purpose and context of the performance and link that to the style
PRE-SHOW ACTIVITIES •심청 <Shimchong>: Daughter Overboard! is a
spectacular cross-cultural collaboration between
a team of diverse artists from Australia and Korea. Discuss the benefits of bringing together the art practices of both the Australian and Korean artists. •Research examples of Korean parables and myths. Consider the content of these stories and discuss their relevance to contemporary Korean and Australian audiences. •Become familiar with current Australian government policies regarding asylum seekers and civil liberties. Read and view current media coverage addressing these issues.
•Choose and introduce a number of myths/legends/traditional tales. Engage in discussions to help develop an understanding of the meaning of the stories, story sequence, settings, and main characters. Once familiar with the content and meaning of the narrative, write a contemporary or modern interpretation of the text. •심청 <Shimchong>: Daughter Overboard! offers Australian audiences the chance to look at themselves through foreign eyes. In small groups, choose one person to be the narrator of a nature/ wildlife style documentary (eg. David Attenborough) while the other students become the wax exhibit for a museum exhibition titled, Humans: Weird and Wonderful. To create the wax exhibit, the students are to form a frozen image that shows humans engaging in various daily routines and rituals (eg. brushing teeth, using a mobile phone, exercising, etc.). The narrator will then improvise a scene where they explain to their audience the unusual behaviours and practices of the ‘human species’. The purpose of this activity is to view man with fresh eyes and recognise how behaviours and actions may be interpreted by others.
POST SHOW DISCUSSION Discussion Questions: •What themes were explored throughout 심청 <Shimchong>: Daughter Overboard!? •What performance techniques and conventions were used in the production? Evaluate their effectiveness in communicating the narrative. •Symbolism is used extensively throughout the performance. What are some specific examples of this symbolism as it appears in the show? What is the intended meaning behind the symbols being used? Were the symbols easily recognisable? Did the symbols effectively contribute to the dramatic meaning of the performance? •Was there a clear connection between the original pansori (traditional Korean opera) story of Shim-chong-ga and Neideck and McLeod’s contemporary interpretation 심청 <Shimchong>: Daughter Overboard!? •심청 <Shimchong>: Daughter Overboard! was a cross-cultural collaboration between Australian and Korean artists. What might have been some of the challenges faced when devising the work? What benefits come from engaging in such a collaboration? •To what contemporary issue(s) currently being addressed in modern society could the themes and lessons of the Shim-chong-ga story be applied?
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TEACHING NOTES
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TEACHING NOTES
BigMoutH/SmallWaR SKaGeN/Richard Jordan Productions Co-produced by De Tijd & STUK, directed and performed by Valentijn Dhaenens (Belgium)
SUITABILITY Senior and Middle School COST $25(schools,1 teacher ticket free per 10 tickets booked) + transaction fee ($3 single ticket/$6 multiple tickets) BigMoutH DATE Thu 25 + Sat 27 February TIME 7.30pm DURATION 80 mins VENUE Visy Theatre
SYLABUS LINKS Verbatim Theatre – incredibly powerful and moving performance of real world texts One person show Multimedia Visual Theatre Physical Theatre
MAIN THEMES Democracy; Freedom; Honour; Glory; Fear; Empathy; Consequences of war; Powerful voices; Voices of authority; Politicians and leaders; Conflict and its aftermath; War testimonies; Broken bodies and tortured minds
SmallWaR DATE Fri 26 + Sat 27 February TIME Fri 7.30pm, Sat 2.30pm DURATION 70 mins VENUE Visy Theatre
“…brace yourself for an unnerving, technically risky and thought provoking show… I would hate to have missed it.” êêêêê THE TIMES on BigMoutH
“Dhaenens’s writing is stark and poetic—a sensitive, thoughtful and often beautiful response to the continuing suffering caused by war.” êêêêê THE TELEGRAPH on SmallWaR
OVERVIEW These two companion pieces journey through history as BigMoutH capture the moments that spurred the masses to war and SmallWaR tells the stories of the individuals affected. BigMoutH He who picks his words well can turn the weakest argument into the strongest. BigMoutH pays tribute to 2,500 years of oration, ingeniously weaving together fragments of seminal speeches from the Grand Inquisitor to Socrates, and Mohammed Ali through to Osama Bin Laden. This powerful recital shows that the tricks of rhetoric have hardly changed. With five microphones on a bare set, the voice and indefatigable energy of writer and performer, Valentijn Dhaenens, traverses sermons, declarations of war, farewells, final arguments, victory speeches and eulogies from across time. BigMoutH offers a platform to leaders through history and from across the world, people who invariably spurred masses on to war. SmallWaR “You’re so numb that you go into battle quite serenely, without tears and without fear, yet we know full well that we are en route to sheer hell.” In 1914 the First World War gave birth to all modern wars. It was the first time that killing had been industrialised. Modern warfare took shape and has barely changed since. Whilst the noble, heroic, exalted side of war gets ample coverage, SmallWaR investigates the reverse side of the medal, the clash between underlings and the massive structures crushing them. SmallWaR brings together fragments from past wars throughout history reflecting on universal man and his innate warring side. Using ingenious video projection the show explores the effect of stirring words by commanders to their subordinates, and the tragic fate of those who fell victim acting upon those words.
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TEACHING NOTES: BIGMOUTH/SMALLWAR
SUBJECT AND SYLLABUS LINKS Middle School and Senior Drama: Verbatim theatre (incredibly powerful and moving performance of real world texts) One person show Multimedia Character development (distinguished particularly through varying vocal delivery and mannerisms) Conventions: intertextuality, fragmentation, direct address, multimedia, multiple roles and non-linear narrative Visual Theatre Physical Theatre Fourth wall—acknowledgement and engagement with audience Performance space and location Voice as an instrument Props, costume and set design
ASSESSMENT SUGGESTIONS FORMING: •In groups, you are to devise an original piece of Verbatim Theatre. Choose an issue or theme that you consider to be significant and create a performance that reflects your understanding of the selected material. The devised performance must adhere to the key features and employ the conventions of the dramatic style. •You are to devise a piece of Verbatim Theatre based on a current issue of significance and present your ideas as an oral presentation. Your presentation will provide an outline of your intent as a director, include a justification of your creative choices and reveal a brief summary of the content of the show. The piece needs to demonstrate: o Your understanding of the style and dramatic conventions of Verbatim Theatre o Clear intention and purpose Following the delivery of this presentation, you will present a selected scene from your devised piece that demonstrates the intentions and focus of the performance. You will not be marked on a polished performance, but rather on the aspects of the Forming criteria. You will be required to hand in written documentation on the day of your assessment, which will include a copy of your presentation, a completed script for your entire Verbatim Theatre piece, a statement of intent and justification, and any other digital components used. “You’re so numb that you go into battle quite serenely, without tears and without fear, yet we know full well that we are en route to sheer hell. In full uniform, however, your heart does not beat the way it wants. You’re not yourself, you are barely a human being, at most a well-oiled automaton that performs without really thinking. My God, I do wish we could be human beings again!” – Kresten Andresen, 23 year old Dane. Private in the German Army. OR “After this war, there will be many other wars, and in the intervals there will be peace. So it will alternate for many generations. By examining the things cast up in the backwash, we can gauge the progress of humanity. When clean little lives, when clean little souls boil up in the backwash, they will consolidate, after the final war, into a peace that shall endure. But not till then.” – Ellen Newbold La Motte, American. Nurse in a French field hospital, 1915 •Use one of the above quotes from SmallWaR as stimulus to create and develop this character based on information revealed in the performance. In role as this character, devise and present a monologue that explores how they have been affected by war (either directly or indirectly). Your monologue should reveal additional information about their background, behaviour and motivation with particular regards to their personal situation given the context of the original play. PRESENTING: •You are to present a short solo Verbatim performance using an extract from the student devised scripts developed for the Forming task assessment. Select an excerpt of one script and prepare a polished performance that demonstrates your knowledge and understanding of the text (interpreting themes, ideas and issues) and contemporary performance practices, particularly those associated with Verbatim Theatre. You will be assessed on your performance skills such as acting, voice, movement and performance technologies. As part of the performance you must embrace the Verbatim style of performance employing the elements of drama (including roles/relationships, language, symbol, mood, movement, space etc) to present an appropriate role as established in the chosen script (creating/devising, empathising and gesturing). •Select one of the Verbatim Theatre play texts explored throughout the unit. Choose a series of scenes to perform that encapsulate the key themes of the work and reveal the major tensions in the play and its stories. Your performance needs to manipulate the elements of drama and the dramatic conventions inherent within the style of Verbatim Theatre (gesturing and interpreting the meaning of words or symbols).
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TEACHING NOTES: BIGMOUTH/SMALLWAR
RESPONDING: •Using the quote below as stimulus, consider the reasons why Verbatim Theatre is a socially important form of theatre. With the distinguishing feature being its promise of accuracy and truthfulness and its demanding code of ethics for dramatists, evaluate whether Verbatim Theatre provides a platform for diverse, authentic voices, unheard in popular media. Within your essay you may choose to address issues like community participation, the audience feeling closer to and more emotionally affected by the truth, giving voice to the marginalised, keeping a historical record, etc. “Done right, Verbatim Theatre can involve us all on an immediate, human level, in stories that are happening all around us, in reality, every day; stories we might think are not our responsibility but which in fact affect all of us. Verbatim Theatre can show us—as long as it refrains from telling us— that this is true, and in so doing can help raise all kinds of questions that we desperately need to be asking as a society.” – Blank, J and Jensen, E (2010) Verbatim Theatre: the people’s voice?. The Guardian. http://www.theguardian.com/stage/theatreblog/2010/jul/15/verbatim-theatre-aftermath) •Analyse BigMoutH/SmallWaR’s use of the dramatic languages, particularly the conventions of Verbatim Theatre, to evaluate the production’s effectiveness in communicating dramatic meaning. •Analyse and evaluate Valentijn Dhaenens’ performances in BigMoutH/SmallWaR focusing on dramatic meaning and how the production served as a vehicle for sharing stories and, through capturing ‘reality’, offering a source of truth. •Write an analytical essay that evaluates the success of Valentijn Dhaenens’ text(s) with regards to its effectiveness as a one person show. Consider if this artistic decision reinforces, refocuses or weakens the dramatic meaning of the text. Evaluate whether the performance style of a one person show enables the dramatic arc or progression of the text narrative to be fully recognised and appreciated by the audience. •Read another Verbatim Theatre play such as Aftershocks (2001), Minefields and Miniskirts (2004), Parramatta Girls (2007), Run Rabbit Run (2007) or The Laramie Project (2001) HBO Films. Write an essay comparing BigMoutH/SmallWaR with one of these other selections.
CONTENT COVERED •Analysis of live theatre in terms of style •Become more familiar with the philosophy and work of writer, director and performer Valentijn Dhaenens—conduct individual research using online resources •Analyse and explore the central themes featured within BigMoutH/SmallWaR—identify specific examples from the performance of where these themes were most evident •Write extended analytical essays based on live theatre •Acknowledge and value the importance of drama as aesthetic learning •Explore character and analyse the manipulation of elements of drama (tension, focus, mood, language, symbol, time, place, relationships) •Explore a variety of acting techniques relating to the styles/conventions of intertextuality, fragmentation, direct address, multimedia, multiple roles and non-linear narrative
SUGGESTED ACTIVITIES AND SKILL FOCUS •Explore the concept of storytelling through the sharing of personal experiences—when retelling the story of another, focus on attempting to capture the truth or essence of the original storyteller by personalising the experience. Discuss the following: o What are the implications in telling someone else’s story when they are a different gender, race or ethnicity from you, the performer? o What is your responsibility when telling someone else’s story? •Introductory reading and discussions about the style of Verbatim Theatre focusing particularly on its key features and stylistic conventions. Address the topics below: o Purpose or intention of Verbatim Theatre piece o Approach to dialogue and action o Approach to dramatic structure o Notion of the subject and personal testimony o Relationship with audience •View the multimedia clip by The National Theatre titled, An Introduction to Verbatim Theatre (https://www.youtube.com/watch?v=ui3k1wT2yeM)—this resource provides a succinct theoretical overview of the performance style.
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TEACHING NOTES: BIGMOUTH/SMALLWAR
•Manipulate the elements of drama to communicate the students’ interpretation of the dramatic meaning of text •Identify the purpose and context of the performance and link that to the style
•In groups of four or five, practically explore the Verbatim style using current news articles on the same topic but from different newspapers. Select articles with quotes from a variety of people in the story. Using the guidelines provided (see below), each group will recreate the newspaper article in the style of Verbatim Theatre.
Newspaper Article Dramatisation: Verbatim Theatre Instructions •Use only the words in the article and remove one or two paragraphs. Change the order of the article •Include an opening and closing tableau •Mime all activities and props •Include choral speaking (at least 20 seconds) •Include unison group movement (at least 20 seconds)
•Revise the synopsis and context of each show. Identify the following: o Key features/concerns of each play o Dramatic form and style o Techniques and conventions used o Modes of engaging the audience o Representation of particular ideas and images •BigMoutH—map the dramatic structure of the work by creating a timeline. The timeline should reveal when the significant speeches included in the show occurred throughout history. Consider why has the work been structured in this way? What is the impact on the audience? •SmallWaR—using the narrative and dialogue of the show as stimulus, create and develop a character who has been effected by war (either directly or indirectly). This character may be based on information revealed in the performance. Participate in a ‘hotseating’ activity to further develop the character’s background, behaviour and motivation. •Consider the artistic decisions made when developing these productions. Evaluate the effectiveness of the following techniques: o Using only one actor o Distinguishing characters primarily through voice and some physical elements o Representing place and time through minimal/symbolic set design, basic costume and props, acting style, etc. o Use of multimedia to support/compliment the live action •View and analyse additional examples of Verbatim Theatre productions: o Aftershocks (2001) o Minefields and Miniskirts (2004) o Parramatta Girls (2007) o Run Rabbit Run (2007) o The Laramie Project (2001) HBO Films •Conduct a debate that makes comment on the dramatic style of Verbatim Theatre. DEBATE 1: Verbatim Theatre is objective and presents a balanced point of view DEBATE 2: Verbatim Theatre is more powerful than traditional drama Support the argument by using knowledge of the narrative and contexts of the plays, as well as citing quotes from BigMoutH/SmallWaR, and any other Verbatim Theatre plays studied. •From stimulus materials, such as interview transcripts and recorded interviews, work to manipulate elements of drama, specifically language, relationship, situation, mood and character.
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TEACHING NOTES: BIGMOUTH/SMALLWAR
•Consider the art and means of persuasion. Focus particularly on the ‘tactics’ (methods) commonly used to achieve a desired objective or goal—identify some specific examples (eg. beg, order, reason, demand, tempt, etc.) •Watch/read a selection of famous speeches—make note of the persuasive techniques used throughout the dialogue. Consider, what makes the speech successful? Why does it appeal to the audience?
PRE-SHOW ACTIVITIES •Engage in a simple brainstorm that encourages students to think about the logistics, practicality and impact of creating a one person show. Identify the challenges and opportunities faced when devising a performance piece with only one actor. •Introduce the plays BigMoutH and SmallWaR; read the synopsis information provided and explain the context of each show. •Search online for production reviews written in response to previous performances of both shows. Use these evaluations to develop a basic understanding of the narrative and intention of the works as well as some knowledge of the development process undertaken by the creative team involved. Share and discuss findings as a class.
POST SHOW ACTIVITIES Discussion Questions: •How can we share and re-tell our stories in a way that feels safe and respected? •Whose stories in our society get told? Whose stories do not get told? •How can theatre tell other people’s stories without exploiting or appropriating them? •What does the word Verbatim mean as applied to theatre? What is Verbatim Theatre? •What are the basic principles that define the genre? Why is it important and compelling? •Why might this be a compelling style of theatre for an artist and audience? •What can you gain as a theatre artist by observing interactions in the ‘real world’? •What are the challenges of creating Verbatim Theatre? What tools are available to the artist to create Verbatim Theatre? •What ethical considerations must be demonstrated when creating Verbatim Theatre? •What happens to the ‘truth’ when it is shaped, revised and interpreted through an actor? •What can we learn about ourselves and society through telling and listening to personal stories? •How can we use Verbatim Theatre to educate and eventually change social views and practices? •Discuss the following quote—an extended written response to the quote may also be an option: “One of the main differences between ‘created’ and ‘verbatim’ plays lies in the expectations of the audience. The audience for the verbatim play will expect the play to be political; they will be willing to accept an unconventional format; they will probably expect the material to be contentious and to challenge their opinions. At least they will expect to be surprised by some of the revelations on offer… Above all, the audience for a verbatim play will enter the theatre with the understanding that they are not going to be lied to. They may be unsettled by the unusual way the play is constructed, but they will be compensated for the lack of convention by the assumption that what they are looking at and listening to is revelatory and truthful.” – Robin Soans in Hammond, W. & Steward, D. (eds) (2008) Verbatim: Contemporary Documentary Theatre. London, Oberon Books, p19.) •Although Verbatim Theatre always aims for ‘word for word’ authenticity, it is often edited or mediated to enhance or create new meaning. Brainstorm a list of ways that a Verbatim Theatre script might be edited. •After viewing both BigMoutH and SmallWaR, what summation could you make regarding what these plays suggest about the effects of war? Influence of authority? Power of the speech (or spoken word)? How was this captured in the narrative and action of the performances? •What do the plays reveal about the social and cultural context at the time? Research the various time periods covered in the plays to identify the context from which the dialogue was originally spoken.
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TEACHING NOTES
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TEACHING NOTES
MANA WAHINE Okareka Dance Company (New Zealand), written, directed and choreographed by Taiaroa Royal, Taane Mete and Malia Johnston, music composed by Victoria Kelly
SUITABILITY Senior and Middle School COST $25(schools,1 teacher ticket free per 10 tickets booked) + transaction fee ($3 single ticket/$6 multiple tickets) DATE Fri 26 + Sat 27 February TIME Fri 7pm, Sat 2pm + 7pm DURATION 70 mins VENUE Powerhouse Theatre Q&A A free Q&A session will follow Friday’s performance
“Five extreme dancers, three choreographers at the top of their game… one of the best contemporary dance performances we have seen in years.” NZ HERALD
“Never had I seen an audience so transfixed, so attentive, so
DANCE SYLABUS LINKS Indigenous culture Contemporary Dance World Dance Storytelling Dance fusions
MAIN THEMES Women; Cultural heritage; Creation stories; Contemporary dance; Maori culture; Storytelling; Mythology; Spirituality; Indigenous dance
OVERVIEW Mana Wahine is a culture infused dance work, which is inspired by the legacy of courageous Māori women and exploring their strength, spirit and primal beauty. The pivotal influence in Mana Wahine is the true story of Te Aokapurangi, a young maiden from Rotorua, New Zealand, who was captured in battle and many years later, she returned and saved her people from slaughter. Collaboratively, dancers have interpreted stories of courageous Māori women through a culmination of physical dexterity, control, balance, strength and grace. Their own intimate stories regarding women they descend from and have sculpted them as Mana Wahine are embedded in the work. Storyteller and researcher Tā has brought a vast knowledge and lifetime of Māori cultural performing artistry to this piece. Throughout the performance is evidence of her expertise and special knowledge, and quintessence as a Spiritual Warrior. The piece commences with Waerea; an incantation to clear physical, mental, emotional and spiritual obstruction allowing the dancers freedom and space to dance. Tā concludes the piece with a ‘pātere’ (chant), which gives the genealogy of women. This begins with the creation of life, from the Ranginui Sky Father and Papatuānuku Earth Mother. Included are the origins of prestige, status, power, vital essence and the sacredness of women. Mana Wahine honours and acknowledges the Goddess and Deity of the spirits and souls of humankind. Everlasting peace, eternal life and enlightenment remain with her.
mesmerised, so moved all at the same time.” OVERVIEW
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TEACHING NOTES: MANA WAHINE
SUBJECT AND SYLLABUS LINKS Senior Dance—Contemporary: Dance Theatre Contemporary Dance Fusion (Indigenous fused with Contemporary Dance) Indigenous culture Storytelling
ASSESSMENT SUGGESTIONS CHOREOGRAPHY: •Choose a female or male that you admire as stimulus for developing a dance work that communicates their story. Make sure your piece is binary or ternary form to highlight the development of the qualities of this icon. •Develop a Dance Theatre piece that communicates and celebrates one female or male trait. (For example: pride, inner strength). Incorporating multimedia and vocals, your piece needs to encourage a greater understanding of the strength and traits of females or males for a contemporary Australian audience. PERFORMING: •Learn a teacher-devised routine, which celebrates positive traits as reflected in the school motto and daily values of the school. Use the ritual movements of daily school life as the foundation for the movement before abstraction and fusion with contemporary dance. RESPONDING: •Choose one (maximum two) section/s of the work and evaluate how well the piece communicated the concept of strong and powerful women and acknowledged the inspiration they gained from their heritage. Describe, analyse and evaluate your chosen section/s and support your statements with detailed examples from both movement and non-movement components.
CONTENT COVERED •Indigenous identity and connection to the land and ancestors •Dance Theatre •Indigenous spirituality •Contemporary technique
SUGGESTED ACTIVITIES AND SKILL FOCUS •Research Okareka Dance and other companies that fuse contemporary with indigenous dance such as Bangarra Dance Theatre. Excerpts from Okareka Dance’s current and past shows can be accessed via http://okareka.com and Bangarra Dance Theatre’s Ochres and Fish can be accessed via the ABC website and Scootle. Analyse and evaluate a section of their work to identify elements of indigenous culture and gender roles.
•Fusion of contemporary and indigenous dance •Influences that shape your identity
•Read about the outline of Mana Wahine on http://okareka.com and the dancer’s stories as a lead-in activity to identify your own influences. •‘Mana’ can be defined as authority, control influence or honour. This can be in the form of your: 1. Genealogy (descendants), family traits or skills 2. Reputation and recognition of your deeds and actions 3. Group traits or the community you belong to Discuss your Mana and identify the main influences in your life that have shaped you into the person you are today. Use these influences as stimulus to develop a sequence to celebrate your development of self. •Why is dance a suitable medium to communicate the theme of women to a contemporary audience? Explain your opinion. •Use powerful women as stimulus for movement; such as your sister, mother or friend or famous females such as Stephanie Gilmore, Oprah, Sam Stosur, Beyoncé, Stephanie Rice, Taylor Swift, Katy Perry, Michelle Obama, etc. List the traits of these icons and allocate a pair to communicate a given trait in 32 counts. Transition between each duo and use this performance as a celebration of women on International Women’s Day or Mother’s Day. •Write down a few sentences explaining how someone has had a significant influence on your life. Collect these responses and teach a sequence that builds in strength, force, levels, use of space and increased tempo. Discuss what is Dance Theatre and how the use of multimedia as well as vocals can be used to further enhance a performance. Explain projection, repetition and expression and provide an example from companies such as Sydney Dance Company or Australian Dance Theatre.
WTF16 — Teaching Notes — Page 14
TEACHING NOTES: MANA WAHINE
Hand back the student responses and ask them to use some of the important words in their responses to add vocals to their dance to further communicate the intent. Discuss whether props or symbolic costuming could enhance the piece and allow time for development. Watch some pieces and evaluate their success in communicating the intent. •Use excerpts from the film Pleasantville to explore gender roles that were prevalent in the 1950s in western culture. In small groups, present a television advertisement that communicates gender roles and expectations during this time. Repeat the task for today’s audience. Choose one perspective to further explore through movement and use one of the advertisements performed to develop a ritual sequence. Add contemporary techniques such as playing with weight, contact work and floor work to the ritual to further abstract the movement. Add basic vocals from the ads created to convert the movement into a Dance Theatre piece. Add choreographic devices such as repetition and canon to further clarify the intent. •Watch the Māori Haka, traditionally performed by males as a preparation for war. Describe and analyse the movement and non-movement components in communicating the Māori traits of a male. Compare this to the female Haka. What are the similarities and differences between the two excerpts and how does this reflect the roles and traits of each gender? •Watch and discuss dances performed by Māori men and women such as the Māori POI, which is the Māori word for “ball” on a cord (http://www.homeofpoi.com). This dance was originally used by the men for strength and coordination required during battle and by women for keeping their hands flexible for weaving. This dance is also used as a training aid for ancient weapons. Experiment with this purpose (function) for dance by developing a ritual movement that communicates a daily action as a female or male. Combine with another student of the same gender and teach each other your ritual sequences. Fuse this ritual sequence with contemporary dance to communicate these rituals to today’s audience. •Analyse Martha Graham’s Errand Into The Maze, which explores a female struggling to overcome her fear of the unknown. Identify movement elements that communicate her struggle and her ritual movements that show her trying to cope with the situation. Choose one section of the piece to evaluate the use of the ritual movements fused with contemporary dance in communicating the intent. •Explore Indigenous mythology using http://www.abc.net.au/dustechoes to access dreamtime stories, music, animations and indigenous resources. Discuss the importance of land and ancestors as guidance for the future.
PRE-SHOW ACTIVITIES •Based on the synopsis of the show, what would you expect from the performance? •Engage in a brainstorm that explores your knowledge and understanding of admirable traits of a female. •Discuss what and who influences you throughout your life. •Identify and discuss gender representation and social expectations for each gender in today’s society. As stimulus for this discussion, use excerpts from Body language and gender from a dancer’s perspective by Natalia Khlosa https://www.youtube.com/ watch?v=ZBg5QvcZQP8
POST SHOW DISCUSSION •Did you enjoy the performance? Why or why not? Was it different to what you expected? •How did the multimedia assist with highlighting the intent? Explain some of the projected images used in the piece. Why were certain images used and did this link to the intent? Justify your opinion. •Explain the set design and identify how it was used to communicate the intent. Provide examples to support your response. Would the intent of the piece have been as clear without the use of technology? •How did the music assist with the communication of the intent? Did the use of indigenous (Māori) language engage or alienate the audience? The soundtrack was primarily composed with female voices and nature sounds. Why do you think this choice was made and was it effective? •How did the partner/contact work reflect the intent? Can you provide specific examples from a section to highlight this? How did some of the recurring movement motifs, such as shaking, communicate gaining strength and the influence of the ancestors? Explain your response with specific examples from the piece. •Beige contemporary leotards were the base costumes of the dancers. How did this further enhance the intent and assist with the connection to spirituality and ancestry? How did this assist with the multimedia components of the piece? What other props were used in the piece and why? •Choose one section of the piece to explain the dance movement. How did this movement reflect indigenous style and female influences? Describe the movement in detail and interpret what the choreography was communicating. •Were ritual movements evident in the piece? Identify the ritual being explored and explain your interpretation of the section. Was the movement effective? Support statements with detailed examples. WTF16 — Teaching Notes — Page 15
TEACHING NOTES
WTF16 — Teaching Notes — Page 16
TEACHING NOTES
HUANG YI & KUKA See the line between humanity and robots blur as award-winning dancer, choreographer and inventor Huang Yi transfers his human qualities to his robot, KUKA.
SUITABILITY Senior and Middle School COST $25(schools, 1 teacher ticket free per 10 tickets booked) + transaction fee ($3 single ticket/$6 multiple tickets) DATE Thu 18–Sat 20 February TIME 7pm DURATION 60 mins Q&A Free Q&A sessions will follow Friday’s performance VENUE Powerhouse Theatre
“The dance elements combine with exquisite precision to produce an abstract painting in motion… a visual masterpiece.” ARTSHUM
“Utterly new and original.” BLOGCRITICS
DANCE SYLABUS LINKS Dance and technology Dance fusion Partner work Contemporary Dance
MAIN THEMES Dance and technology; Dynamic duos; Contact work; Fusion; Future; Humanity; Emotion; Connection
OVERVIEW As a child, Huang Yi longed for a robot companion. As an adult, he created a robot to dance with. Harmoniously weaving together the art of dance and the science of mechanical engineering Huang Yi & KUKA is a poetic work that flawlessly intertwines modern dance and visual arts with the realm of robotics. Taiwanese dancer, choreographer, inventor, and videographer Huang Yi’s pioneering work is steeped in his fascination with the partnership between humans and robots. He interweaves continuous movement with mechanical and multimedia elements to create a form of dance which corresponds with the flow of data, effectively making the performer a dancing instrument. Named by Dance Magazine as one of the “25 to Watch”, Huang Yi was immersed in the arts at a young age, spending much of his childhood in his parents’ studio watching them teach tango and learning to paint alongside his father. He is widely considered one of Asia’s most prolific choreographers. Huang Yi’s groundbreaking and award-winning work, Huang Yi & KUKA opened the 2013 Arts Electronica Festival (Austria), the internationally renowned unique platform for digital art and media culture. The show reveals humanity through a series of vignettes between live dancers and KUKA. “Dancing face to face with a robot is like looking at my own face in a mirror...I think I have found the key to spin human emotions into robots”. From a challenging childhood, Huang Yi learnt to detach all emotion - passion, anger, and sadness, to be that perfect child, and to be like a robot: obedient, friendly, outstanding, considerate, never rebellious. As a child, his favorite cartoon was Doraemon, a Japanese animation character and a cat robot who is always there to solve problems for his owner. His fascination for robots has been evident as a child. Is it because they represent a character that is loyal? Or is it because of their destiny of being selfless? Thankfully, his parents let him choose to be a professional on stage, which became the best outlet for his compressed emotion. Huang Yi and KUKA is an expression of loneliness, self-doubt, self-realisation, and self-comfort. Huang Yi wants to remind us that we are all just grown up kids, but still kids.
WTF16 — Teaching Notes — Page 17
TEACHING NOTES: HUANG YI & KUKA
SUBJECT AND SYLLABUS LINKS
ASSESSMENT SUGGESTIONS
Junior School and Senior Drama: Dance and technology Dance fusion Partner work Contemporary Dance
CHOREOGRAPHY: •Choose a person of influence in your life and communicate this in a Contemporary Dance work in binary form. Use contact (partner) work to show how this influence has impacted your life over a period of time reflecting the change (positive or negative) from one section to the next. PERFORMING: •Learn a teacher devised or adapted repertoire that communicates an emotion and integrate a prop into the movement to further the intent. For example: Juliet sending her Romeo a letter – Romeo and Juliet Step in Time – Mary Poppins Steam Heat – The Pajama Game •Learn a teacher devised or adapted repertoire that incorporates contact and/or partner work to communicate an intent. RESPONDING: •Choose one (maximum two) section/s of the work and evaluate how well the piece communicated the intent. Describe, analyse and evaluate your chosen section/s and support your statements with detailed examples from both movement and non-movement components. •Analyse an excerpt of a dance duo (such as Fred Astaire and Ginger Rodgers, Nicholas Brothers, a SYTYCD partnership etc.) and evaluate the success of the partnership in communicating the intent. Refer to movement and non-movement components to support your response.
CONTENT COVERED •Dance and technology •Dynamic duos •Contact work
SUGGESTED ACTIVITIES AND SKILL FOCUS •Research Huang Yi Studio and other companies that fuse dance and technology; for example: Australian Dance Theatre, Sydney Dance Company etc. View a section of their work to analyse and evaluate the success of integrating technology with dance to further the intent.
•Humanity •Emotion •Connection
•What makes a partnership work? Discuss this concept as a group. Watch examples of famous partnerships from a range of dance styles and contexts to devise a list of qualities needed in a strong partnership. For example: o Ginger Rogers and Fred Astaire o Margot Fonteyn and Rudolf Nureyev o Jean Butler and Michael Flatley o Rita Hayworth and Gene Kelly o Julie Andrews and Rex Harrison o Olivia Newton-John and John Travolta •Watch the trailer of the show and discuss your initial impression of the work. What would be some challenges and the advantages with working with a robot as a partner? •Experiment with movement to focus, build relationships and encourage teamwork. Allocate one leader who will initiate the movement and the group needs to follow (copy the movement). When the direction on the movement changes, the student at the front of the group in the new direction becomes the new leader (and so forth). •Explore contact work and trust exercises to develop an appreciation of the skills needed to work in a duo. Focus on using equal pressure and force to balance and stabilise movement and strengthen the partnership. For example:
WTF16 — Teaching Notes — Page 18
TEACHING NOTES: HUANG YI & KUKA
o Start facing your partner, arms width apart, parallel stance with knees unlocked, arms straight above head and palms facing your partner. Lean inwards to your partner keeping your back straight, torso tucked under, knees unlocked. Put your palms together with your partner and push against one another to stabilise the position. o Start facing your partner, arms width apart with parallel stance and knees unlocked. Hold both your partners’ wrists to secure a grip. Lean outwards and keep your back straight, neck in line and torso tucked under and in line with the spine. Each partner needs to lean back and trust his or her partner to secure the position. •Watch some examples of dance with props integrated into movement such as Fred Astaire’s Hat Rack Dance from Royal Wedding. Discuss how the hat rack is given ‘human’ (namely female) qualities in the piece and provide specific examples from the excerpt to support your response. •Learn a short contemporary sequence or revise a sequence from a previous task. Form pairs and decide who will be the puppet and the master. The puppet will perform the sequence while the master moves as if controlling the puppet with imaginary string. Experiment with ways to control the puppet using size (smaller and larger actions), dynamics, levels, hand gestures and distance. The puppet needs to respond to the master’s movements and adjust how they perform the sequence. Decide whether the puppet fights the control or is compliant the entire time and adjust the movement accordingly. Revise and perform for your peers to evaluate whether your intent is clear. •Outline major influences or experiences in your life and identify their impact. Discuss what traits or skills you have learnt/gained and how you might be different without these influences or experiences. •Watch Beyoncé Knowles’ Run the World Billboard Awards performance from 2011. Discuss the lyrics and the message of the song. How is this intent communicated through the movement components? How does the use of technology further enhance this intent? Provide specific examples from the performance to support your response. •Watch Ryan Woodward’s Thought of You video, which explores a relationship between a male and female using the medium of line drawings. Discuss the narrative and identify movement sequences that communicate the relationship explored in the piece. Evaluate how the use of technology assisted the communication of intent (narrative). •Learn a teacher-devised contemporary sequence that is at least 32 counts. Working in pairs, adapt the movement to: o find different ways to connect to one another at least three times in the sequence o integrate two moments of stillness o use all levels o incorporate some of the contact exercises as explored in classwork. PRE-SHOW ACTIVITIES •Based on the synopsis of the show, what would you expect from the show? •Engage in a brainstorm that explores your knowledge and understanding of what humanity is. •How can technology be integrated into a dance work? What examples have you seen? Discuss what you liked and did not like about integrating dance and technology.
POST SHOW ACTIVITIES •Did you enjoy the performance? Why or why not? Was it different to what you expected? •How did the multi-media assist with highlighting the intent? Explain specific examples from the piece to support your response. •Would this piece have been as powerful if it were two humans rather than a human and a robot? Would the intent of the piece been as clear? Support your response with specific examples from the performance. •How did the music assist with the communication of the intent? Why do you think this choice was made and was it effective? •How did the use of partner work reflect the intent? Did the use of a robot enhance the intent or not? Explain you response with specific examples from the dance work. •Choose one section of the piece to explain the dance movement. How did this movement reflect Huang Yi’s influences and the theme of humanity? Describe the movement in detail and interpret what the choreography was communicating.
WTF16 — Teaching Notes — Page 19
TEACHING NOTES
Brisbane Powerhouse 119 Lamington Street, New Farm QLD 4005 PO Box 364, New Farm QLD 4005 SCHOOL BOOKINGS Contact Box Office +61 7 3358 8600 or email education@brisbanepowerhouse.org brisbanepowerhouse.org Building Opening Hours Mon 9am–5pm, Tue–Sun 9am–9pm Brisbane Powerhouse is a not-for-profit organisation, owned and supported by Brisbane City Council. COVER PHOTO BY JACOB BLICKENSTAFF PIECE FOR HUANG YI & KUKA