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CANBERRA THEATRE CENTRE Part of the Cultural Facilities Corporation, which is an agency of the ACT Government. PO Box 226, Civic Square, Canberra ACT 2608 Phone 02 6275 2777 Fax 02 6230 1098 admin@canberratheatrecentre.com.au canberratheatrecentre.com.au Director Bruce Carmichael Programming Manager Gill Hugonnet Education Officers Tori Cordova & Tony Martin education@canberratheatrecentre.com.au
CANBERRA TICKETING Phone 02 6275 2777 Fax 02 6230 1098 canberraticketing@act.gov.au
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CULTURAL FACILITIES CORPORATION BOARD CHAIR Mr John Hindmarsh AM CHIEF EXECUTIVE OFFICER Ms Harriet Elvin
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CHIEF FINANCE OFFICER Mr Ian Tidy BOARD MEMBERS Ms Louise Douglas, Ms Harriet Elvin (CEO), Ms Robyn Hendry, Mr Eugene Kalenjuk, Ms Virginia Haussegger AM
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ARTS MINISTER’S MESSAGE Experiencing the arts is essential for all children and young people. The arts must be part of their learning. The arts link their real world with imaginative worlds. Exploring the arts offers a wide range of impressions and sensations, which can help them understand how they fit into our community. As Minister for Small Business and the Arts, it is important to me that we also cultivate in our children an appreciation of the performing arts and all they have to offer. Canberra Theatre Centre’s Education Program provides exciting opportunities to explore creativity and imagination across the curriculum for all students from early learning to year 12. In 2015, Canberra Theatre Centre welcomed over 230 schools with more than 9000 students from the ACT and surrounding region. 2016 will see a wide range of productions from Australia and beyond that provide many exciting learning opportunities for students and teachers alike to engage with the arts. This season reflects the diversity of the Australian Curriculum and the growing need to support cross-curricula learning. The arts are now a basic entitlement for all students.
MORE THAN
9000
STUDENTS ENJOYED THE THEATRE IN 2015
This year, Canberra Theatre Centre is bringing six different productions for primary school students. Adding to this theatre experience are the partnerships that allow programs such as library readings, workshops and incursions that link with each show. For secondary and college students, there are ten productions and a range of engaging opportunities such as Q&A sessions with artists, workshops, together with resource kits for teacher to extend learning in the classroom. Each year, students in year 11 and 12 have the opportunity to receive specialised training by the Centre’s experienced staff as part of their Vocational Education and Training (VET) program. This involves working with Lighting Designers, Sound Engineers, Mechanists and Technical Staff on professional shows, learning what it takes to get a show up and running from behind the scenes. In 2014 and 2015, six students completed the Certificate III in Live Theatre Production and Services with the help of the Centre.
The Work Experience Program continues to evolve in 2016. In 2015, 17 students were selected from years 10-12 to complete a week of work experience at Canberra Theatre Centre. They worked on some of the largest productions seen onstage during the year, learning how a major commercial theatre operates its backstage, box office, marketing and front of house. In June, Canberra Theatre Centre is producing Acting Up! , a showcase of short plays by secondary students. The works are written and acted by students. The Canberra Theatre Centre’s Education Team are leaders in arts education in the ACT and the region offering a range of high quality opportunities to learn. I am proud of the work they are doing to enhance the love of theatre for students and teachers. I encourage you to consider the opportunities in this brochure and engage with the Centre to provide students with enriching, empowering and exciting experiences that will assist them to learn and grow as creative and vibrant individuals. Dr Chris Bourke, MLA Minister for Small Business and the Arts
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A NOTE FROM THE EDUCATION TEAM
WELCOME
TO OUR STIRRING SECONDARY SCHOOL PROGRAM FOR 2016!
Each year we look forward to the launch of our education season. Nothing is more exciting in Theatre than raising the grand drape and drawing back the curtains to reveal a new show. And this year is no exception! We offer a wonderful variety of productions full of opportunities to stimulate and enhance your student’s learning experiences and provide a forum for valuable discussion long after the curtain falls. Delivering a literary classic with a contemporary twist, shake + stir’s Wuthering Heights invites students to explore the themes and issues presented in the original text; a perfect introduction to Gothic Theatre. Belvoir’s award winning The Glass Menagerie graces our stage, honouring the original directions and notes as a legendary playwright intended. English and Drama students immerse yourselves in this melodramatic masterpiece and revel in the art and the technique.
New Australian works provide a plethora of opportunities to investigate intriguing themes, events and mindsets. Sugarland by Australian Theatre for Young People gives you the chance to experience the stories of youth growing up in today’s remote outback Australia. Themes of culture, diversity, sustainability and teenage social issues are brought to the forefront with this unique set of voices. State Theatre Company of Australia and Frantic Assembly’s Things I Know to be True will challenge your students through Bovell’s thought provoking script with something for the movement actor as they watch Frantic Assembly’s remarkable collaboration at work. The tumultuous heart of Australia is revisited in Merrigong Theatre Company’s Letters to Lindy and Geelong Performing Arts Centre & Red Stitch Actors Theatre’s Extinction, which asks us to understand how each person’s foot print affects the world as we know it and to commit to personal goals of sustainability … while we still can! Drama, Dance and Music once again combine beautifully in Sydney Dance Company’s CounterMove and local talent is showcased through the joy of Canberra’s own Quantum Leap Youth Dance Ensemble and local choreographer James Bachelor’s FACES. Bell Shakespeare once again returns with their unique offerings. This time, with the beautiful and intimate Romeo and Juliet and gripping and passionate Othello. It is interesting how the Shakespeare themes are still so alive and relevant in our modern society and particularly with youth! For those of you who are studying ‘Theatre for Young People’ don’t forget to check out our vibrant Primary Education Program available online. Click here. We understand how important it is to connect these performance experiences with your unit programming which is why we have selected the variety of productions that support ‘Essential Learning Achievements’ and ‘Content Descriptions’ across both the Australian and Every Chance to Learn Curriculums. You will find a glossary of the links following the show pages. Take a moment to check out our ‘From the Education Officer’ comment on each show page, where we highlight and suggest learning opportunities and teaching moments for each production, to assist in your planning. Don’t forget to contact us at any time if you have questions or are looking for a specific way to link your program to the curriculum, we just may be able to help! SEE YOU IN THE FOYER! Tori Cordova & Tony Martin Canberra Theatre Centre Education Officers
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SEXY AND SUMPTUOUS… Photography by Dylan Evans
XS Entertainment
SHAKE & STIR THEATRE CO AND QUEENSLAND PERFORMING ARTS CENTRE
Wuthering Heights
BY EMILY BRONTË CREATED & ADAPTED BY SHAKE & STIR THEATRE CO
Emily Brontë’s gothic masterpiece, Wuthering Heights, is boldly adapted in this clever and appealing production that drags you into its dark world and doesn’t let you go until the final word is spoken.
LOVE IS A DIRTY WORD When Heathcliff, a mysterious boy is rescued from the street and brought to Wuthering Heights, he develops a passionate bond with Cathy Earnshaw and a repulsive distrust of her brother Hindley. As time passes, Heathcliff and Cathy’s relationship deepens to the point
ake&s sshhake&s ttirir theatreco theatreco 4
of dangerous obsession, until one day, Cathy marries another man. Overcome with jealousy, Heathcliff flees the Heights only to return, years later, ready to exact revenge on those he believed ruined his one chance at happiness. Featuring breathtaking design and a stellar cast, shake & stir invites you to drop by the Heights and settle in for this classic story, retold.
THE PLAYHOUSE
9–11 MARCH
ADAPTOR AND DIRECTOR Nick Skubij COSTUME DESIGNER Leigh Buchanan SET DESIGNER Josh McIntosh LIGHTING DESIGNER Jason Glenwright SOUND DESIGNER Guy Webster PROJECTION DESIGNERS optikal bloc WITH Nelle Lee Ross Balbuziente
DATES & TIMES
11am, Wednesday 9 March & Friday 11 March
AVAILABILITY
Term 1
SUITABILITY
Years 9 – 12
RUNNING TIME
140 minutes including interval + Post show Q&A
WARNINGS
Bright lights, loud noises, infrequent coarse language and simulated violence
PRICES
$20 per ticket (1 teacher free per 15 students)
FROM THE EDUCATION OFFICER If you have not heard about shake & stir before, this is the perfect opportunity to immerse yourself in their innovative approach to bringing classics to the contemporary stage. Whether you are a Drama or English teacher this production of Wuthering Heights provides many exciting learning opportunities. Have your students review the core literary themes in both the book and stage setting and decide if they are enhanced through visual actions and actor delivery; or does the imagination of a reader have the same impact. Is there a subtlety in the spoken word? Are the secondary plots emphasized as in the book? Is the audience asked to make leaps of event/story continuity when time is of the essence! Are characters multidimensional or are they influenced by the character of the actor? Are you studying Australian Gothic Theatre? Haven’t read the book? Explore the creative decisions of the designers, the projections, the set, the lighting and sound, the costumes! Does the stage show use WATCH the Fourth Wall? How? What theatrical techniques have been used to enhance this faithful adaptation of VIDEO a Brontë Classic! Themes include Love vs. Passion, Birth vs. Death, Injustice vs. Prejudice. What modern stories in book or theatre have similar themes?
AUSTRALIAN CURRICULUM English
YEAR 9
YEAR 10
Language Literature
ACELA1564 ACELT1771
Literacy
ACELT1640 ACELY1749
SENIOR SECONDARY Language
ACEEN008, ACEEN024, ACEEN027, ACEEN038, ACEEN043, ACEEN058, ACEEN079
Literature
ACELR004, ACELR006, ACELR020, ACELR038, ACELR056, ACELR059 YEARS 9 & 10
The Arts
Drama
ACADRR053
ACT EVERY CHANCE TO LEARN
EARLY ADOLESCENCE
LATER ADOLESCENCE
ELA
1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 11.EA.3, 11.EA.5, 25.EA.1
1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 25.LA.1
ACT BSSS
UNIT
Performing Arts – Drama
Design for the Stage Sound & Light Design Ensemble Production The Director Taking it to the Stage
English – Literature & English – Integrating Australian Curriculum
WORKSHOPS Gothic Theatre Workshop Available! Click to express your interest today!
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JAMES BATCHELOR IS RAPIDLY CARVING OUT A NAME FOR HIMSELF AS ONE OF AUSTRALIA’S MOST INTERESTING YOUNG DANCE PRACTITIONERS. Bill Stephens, City News
Faces
CANBERRA THEATRE CENTRE PRESENTS THE COURTYARD STUDIO OR YOUR SCHOOL
CHOREOGRAPHED BY JAMES BATCHELOR & COLLABORATORS
AWARD WINNING AND CRITICALLY ACCLAIMED CHOREOGRAPHER FROM CANBERRA James Batchelor, returns with an original and thoughtful contemporary dance performance, FACES. This brand new piece of work is an interpretation of the images from the First World War. Between March 1916 and November 1918 more than 295,000 Australians served in the Australian Imperial Force (AIF) in France and Belgium, which was known as the Western Front. Of these, some 132,000 became casualties and 46,000 lost their lives.
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In FACES, documents from the Western Front including photographs, maps and letters are brought into a physical yet translucent world of overlapping images. Moving fluidly across a glistening surface, the performance continuously folds and manipulates body and object. Time is expanded and warped in this unpredictable space, as anonymous bodies and faces appear in and out of focus. We are reminded of the uncertainty of war and its immortal traces as we are left to contemplate a distant yet ever present memory and its place in the modern world.
6-8 APRIL
CREATOR & PERFORMER James Batchelor ORIGINAL SOUND DESIGN Morgan Hickinbotham
DATES & TIMES
11am & 1pm, Wednesday 6 April, 11am, Thursday 7 April & Friday 8 April
AVAILABILITY
Term 1
SUITABILITY
Years 9 – 12
RUNNING TIME
50 minutes, no interval + Preshow intro & Post show Q&A
PRICES
$15.50 per ticket (1 teacher free per 15 students)
FROM THE EDUCATION OFFICER James Batchelor returns to Canberra, to give his home audiences a chance to see his inspiring work first hand. The uniqueness and flexibility of this show means that we can bring it to your school. The themes explored in this production bring to light events sometimes forgotten in our history as they are not as widely talked about. Discuss the Western Front with your students, when was it? What did it mean to Australia? Have them imagine themselves as one of the characters represented. Discuss how these themes were interpreted through dance. How does contemporary dance create a platform for this story to be told? Dance and movement students, create your own interpretation of an image or letter used in the production. What techniques did they use and why? Reflect on these choices and compare to the class and to the Faces production. How do they differ? How do they become a personal story? English students may be inspired to use this technique as a creative response to a text they are studying.
AUSTRALIAN CURRICULUM
YEARS 9 & 10
The Arts
Dance
ACADAR026
Drama
ACADRR053
Music
ACAMUR104
History
World War I (1914-1918)
Humanities & Social Sciences
Senior Secondary – Modern History
ACT EVERY CHANCE TO LEARN
EARLY ADOLESCENCE
LATER ADOLESCENCE
ELA
1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 23, 25.EA.1
1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 23, 25.LA.1
ACT BSSS
UNIT
Performing Arts – Dance
Contemporary Dance Dance in our Time
Performing Arts – Drama
Design for the Stage Sound & Light Design Ensemble Production The Director Taking it to the Stage
Performing Arts – Music
Ensembles
Modern History integrating Australian Curriculum
EXPRESS YOUR INTEREST Click to email us if you are interested in hosting this performance at your school?
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7
Photo: Tracey Schramm
...A BEAUTIFULLY-CALIBRATED PLAY, PITCHED PERFECTLY TO THE ADOLESCENT EAR AND WITH A COMPASSION FOR ITS CHARACTERS THAT TRANSCENDS THE ALLIANCE OF SIMILAR AGES Aussie Theatre, Sydney
Sugarland
CANBERRA THEATRE CENTRE PRESENTS
BY AUSTRALIAN THEATRE FOR YOUNG PEOPLE (ATYP)TOURED BY PERFORMING LINES
SUGARLAND PROVIDES A GLIMPSE INTO A TEENAGE AUSTRALIA THAT FEELS LIKE A FOREIGN COUNTRY. THIS EXCEPTIONAL NEW PLAY WILL MAKE YOU LAUGH, CRY AND STAY WITH YOU LONG AFTER YOU LEAVE THE THEATRE. Nina is 16 years old, good at school, has a job at the cinema and one of the best singing voices around. But none of that is important. She needs a place to live. Living with her Aunty in an overcrowded house, things aren’t going well, and it’s getting complicated.
THE COURTYARD STUDIO
FRIDAY 6 MAY
Erica is 16 and the new girl in town. Her Dad’s in the RAAF and the family’s just moved to Katherine. She’s lived all over Australia and every time makes somewhere home, she moves again. She’s so used to being an outsider, she’s stopped trying to fit in. The only thing they have in common is the music they listen to. Sometimes that’s enough.
WRITERS Rachael Coopes with Wayne Blair DIRECTORS Fraser Corfield SET DESIGN Jacob Nash COSTUME DESIGN Ruby Langton-Batty LIGHTING DESIGN Juz McGuire SOUND DESIGN Guy Webster
Sugarland is toured by Performing Lines for Blak Lines, and was commissioned and developed by Australian Theatre for Young People (ATYP). The original production was co-directed by Fraser Corfield and David Page. Sugarland is supported by the NSW Government through Arts NSW, and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
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DATES & TIMES
10am, Friday 6 May
AVAILABILITY
Term 2
SUITABILITY
Years 9 – 12
RUNNING TIME
80 minutes, no interval + Post show Q&A
WARNINGS
Coarse language, drug use, simulated self-harm
PRICES
$15.50 per ticket (1 teacher free per 15 students)
FROM THE EDUCATION OFFICER This new Australian work by ATYP is written for your students. It challenges the expectations of what ‘Youth Theatre’ is and invites the audience into a world rarely experienced by the majority of Australians. Are you studying Australian and Indigenous Theatre? These strong teenage voices make us think and talk about youth social issues, and provides an important and valuable classroom discussion opportunity. Have your students think about these characters, do they relate? Have they seen characters like them before? How do they differ from the usual characters in stories they have read? This show provides links to a very diverse range of subjects and forms the basis of an excellent catalyst to develop discussion and debate about youth and cultural norms, differences WATCH and influences. An opportune time to think about culture, what it means to be me and to belong to a VIDEO place. Is it different for each person? Do they think that these issues are universal or more prevalent in remote communities? Why?
AUSTRALIAN CURRICULUM
YEAR 9
YEAR 10
English
Language
ACELA1551
ACELA1564
Literature
ACELT1633
ACELT1640
Literacy
ACELY1739
ACELY1749
SENIOR SECONDARY Language
ACEEN024, ACEEN027, ACEEN038, ACEEN063
Literature
ACELR004, ACELR006, ACELR037, ACELR038, ACELR040, ACELR059
Cross Curriculum Priority – Aboriginal and Torres Strait Islander Histories and Cultures YEARS 9 & 10 The Arts
Drama
ACADRR053
ACT EVERY CHANCE TO LEARN
EARLY ADOLESCENCE
LATER ADOLESCENCE
ELA
1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 11.EA.5, 21.EA.1, 21.EA.2, 21.EA.5, 21.EA.8, 25.EA.1
1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 21.LA.2, 21.LA.5, 21.LA.6, 25.LA.1
ACT BSSS
UNIT
Performing Arts – Drama
Australian Theatre Design for the Stage Devised Theatre Ensemble Production The Director
English – Literature English – integrating Australian Curriculum
WORKSHOPS Are available with the Cast Click to express your interest today!
DOWNLOAD THE BOOKING FORM
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PROFOUNDLY MOVING… BEAUTIFULLY DONE… BREATHTAKING
Photo: Brett Boardman
The Australian
The Glass Menagerie
BELVOIR
BY TENNESSEE WILLIAMS
Tennessee Williams was one of the greatest American playwrights of the 20th century. The Glass Menagerie is his most loved play. Put in the hands of Belvoir Artistic Director Eamon Flack, this production delivers on every account – winning Best Play and Best Actress at the 2015 Helpmann Awards. A beautiful, slightly haunting play, The Glass Menagerie follows a family as it falls apartalong with the dreams that had given them some fragmented substance. Amanda Wingfield is a single mother played by the great Pamela Rabe. Her son Tom, (Luke Mullins) is an aspiring poet who works in a warehouse, her daughter Laura is studying to become a secretary. They live in a small
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THE PLAYHOUSE
FRIDAY 6 MAY
apartment pent up with fantasies and urges, rage and wounded tenderness. It is not a magnificent existence, but each has one true idea for a better life. Enter the Gentleman Caller …
THREE FAMILY MEMBERS EACH WITH ONE TRUE IDEA FOR A BETTER LIFE. The work is touching, depicting how change affects the individual (as well as the group), even as it rips them asunder.
DIRECTOR Eamon Flack STARRING Harry Greenwood, Luke Mullins Pamela Rabe, Rose Riley SET DESIGNER Michael Hankin COSTUME DESIGNER Mel Page LIGHTING DESIGNER Damien Cooper COMPOSER & SOUND DESIGNER Stefan Gregory VIDEO DESIGN CONSULTANT Sean Bacon ASSISTANT DIRECTOR Jada Alberts DIALECT COACH Paige Walker-Carlton
DATES & TIMES
11am, Friday 6 May
AVAILABILITY
Term 2
SUITABILITY
Years 9 – 12
RUNNING TIME
150 minutes including interval + Post show Q&A
PRICES
$25 per ticket (1 teacher free per 15 students)
FROM THE EDUCATION OFFICER If you are looking for an opportunity to see this 20th Century theatre classic as it’s author truly intended then bring your students to this production. Eamon Flack and his team have honoured Tennessee Williams’ most personalised drama through gorgeous period costumes, a naturalistic and evocative set as well as American accents. He follows William’s stage directions exactly, including the inter-title screens that are in the original text. Whether your students are studying the text, the author or simply wish to see a very entertaining quality play by a classic playwright this production provides many moments to enhance their learning. How does the introduction of media support the story? Many directors ignore these stage directions, why do you think they do? What would you do? How would your experience of the production differ without this element? Or, look at the theme of WATCH “Fitting in”, what does it mean? How is it relevant to you? As with Tennessee Williams in his own life and VIDEO his heightened melodramatic self in Menagerie, how did conforming to this expectation affect his life?
AUSTRALIAN CURRICULUM English
YEAR 9
Language Literature
YEAR 10 ACELA1564
ACELT1771
Literacy
ACELT1640 ACELY1749
Senior Secondary – English & English - Literature YEARS 9 & 10 The Arts
Drama
ACADRR053
ACT EVERY CHANCE TO LEARN
EARLY ADOLESCENCE
LATER ADOLESCENCE
ELA
1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 11.EA.3, 11.EA.5, 25.EA.1
1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 25.LA.1
ACT BSSS
UNIT
Performing Arts – Drama
Design for the Stage Sound & Light Design Ensemble Production The Director Taking it to the Stage
English – Literature English – integrating Australian Curriculum
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DOWNLOAD THE RISK ASSESSMENT FORM
11
WITTY, EFFERVESCENT AND PLAYFUL
Photo by Irenaeus Herok. Dancer Bernhard Knauer
The Australian (Cacti)
CounterMove SYDNEY DANCE COMPANY
Sydney Dance Company’s CounterMove explores luminescence and life, humour and darkness in a double bill that celebrates the exhilaration and physicality of some of Australia’s finest dancers. From Swede Alexander Ekman – one of the world’s most exciting choreographers – comes a hilarious, affectionate tribute that parodies modern art: Cacti. Ekman’s witty and energetic piece, employing the full company and a string quartet, will take you in with a knowing wink, then surprise with its bracing physicality.
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CANBERRA THEATRE
FRIDAY 20 MAY
Time Out Sydney lauded Cacti for its ‘infectious playful energy and absolutely incisive wit’. Crikey.com called it ‘blindingly brilliant’ and the Daily Telegraph noted the audience’s laughter was ‘impossible to suppress’.
SUBVERSIVE, ENTERTAINING AND BRILLIANTLY CONCEIVED Rafael Bonachela’s world premiere, Lux Tenebris, provides the perfect contrast: it is a deeply emotional exploration of light, darkness and beauty emerging from a dusky sonic landscape by composer and long-term Sarah Blasko collaborator Nick Wales.
CHOREOGRAPHERS Rafael Bonachela Alexander Ekman LIGHTING AND STAGE DESIGNERS Benjamin Cisterne Alexander Ekman Thomas Visser ORIGINAL MUSIC BY Nick Wales
DATES & TIMES
11.30am, Friday 20 May
AVAILABILITY
Term 2
SUITABILITY
Years 7 – 12
RUNNING TIME
120 minutes including interval, Pre-show introduction and Post-show Q&A
PRICES
$25 per ticket (1 teacher free per 15 students)
FROM THE EDUCATION OFFICER A double bill full of contrasts. The title CounterMove, by its definition, means “a move or an action made in opposition of another.” Compare the two pieces, analyse the elements, how did a live string quartet onstage differ to a recorded soundtrack? Humour, light, darkness, feelings, atmospheres, space and time are all explored. What responses did you have to the pieces? What inspires you when you are creating a performance piece? What techniques could you use in your own creation? Dance, music and drama WATCH VIDEO students, there is something here for everyone.
AUSTRALIAN CURRICULUM
YEARS 7 & 9
YEARS 9 & 10
The Arts
Dance
ACEEN008
ACADAR026
Drama
ACADRR045
ACADRR053
Music
ACAMUR097
ACAMUR104
ACT EVERY CHANCE TO LEARN
EARLY ADOLESCENCE
LATER ADOLESCENCE
ELA
1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 25.EA.1
1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 25.LA.1
ACT BSSS
UNIT
Performing Arts – Dance
Contemporary Dance Dance in our Time
Performing Arts – Drama
Design for the Stage Sound & Light Design Ensemble Production The Director Taking it to the Stage
Performing Arts – Music
WORKSHOPS Are available with Sydney Dance Company. Click to express your interest today!
Ensembles
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13
BOVELL’S HYPNOTIC, POETIC USE OF LANGUAGE …(IS) PIERCINGLY BEAUTIFUL
Photo: Kris Washusen
Arts Hub
STATE THEATRE COMPANY OF SOUTH AUSTRALIA AND FRANTIC ASSEMBLY (UK)
Things I Know To Be True
BY ANDREW BOVELL
BRILLIANT THEATRE PARTICULAR TO OUR TIME AND PLACE The Price family appears to be living the Australian dream – a loving household, a quarter acre block where time is measured by the seasonal changes in working class patriarch Bob’s beloved roses. The four kids have grown up and spread their wings, with only the youngest, Rosie, still at home. As the seasons turn, their story becomes darker and more difficult. But with complexity comes richness, resolution and meaning. Epic in scope while deeply human in focus, Things I Know To Be True tugs at your heart while asking big questions about what keeps us going.
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A newly commissioned play from one of our greatest contemporary playwrights, Andrew Bovell, (The Secret River, When the Rain Stops Falling and Lantana) is cause enough for celebration – but add to that an international collaboration with the extraordinary Frantic Assembly, (The Curious Incident of the Dog in the Nighttime) a brilliant cast including stage icon Paul Blackwell, the outstanding Nathan O’Keefe (Betrayal, The Importance of Being Earnest) and introducing rising star Tilda Cobham-Hervey, and you have the ingredients of something special.
THE PLAYHOUSE
THURSDAY 9 JUNE
DIRECTORS Geordie Brookman & Scott Graham SET AND LIGHTING DESIGNER Geoff Cobham COSTUME DESIGNER Ailsa Paterson WITH Paul Blackwell Tilda Cobham-Hervey Eugenia Fragos Nathan O’Keefe Tim Walter
DATES & TIMES
11am, Thursday 9 June
AVAILABILITY
Term 2
SUITABILITY
Years 9 – 12
RUNNING TIME
TBC + Post show Q&A
PRICES
$25 per ticket (1 teacher free per 15 students)
FROM THE EDUCATION OFFICER Whether you’re bringing your students along to get a taste of this latest work by Andrew Bovell or you’re studying movement theatre, this is a perfect opportunity to introduce both topics. Study Bovell’s script and ask a question, what keeps us going? Themes of family, life, time, season and change are all addressed. Frantic Assembly’s collaboration adds another whole level to the drama; discuss the techniques used by the movement artists and how the cast were able to deliver the directions successfully. Watch the video of a Master Class run by Frantic Assembly. What do you feel the important attributes of a movement artist are? Do you think these attributes, which create trust, made the cast work more as one being? Did they have fluidity in their movement and blocking due to this trust?
WATCH VIDEO
WATCH VIDEO
WATCH VIDEO
AUSTRALIAN CURRICULUM
YEAR 9
YEAR 10
English
Literature
ACELT1634
ACELT1640
Literacy
ACELY1745
ACELY1749
SENIOR SECONDARY Language
ACEEN024, ACEEN027, ACEEN038, ACEEN063
Literature
ACELR004, ACELR006, ACELR037, ACELR038, ACELR059 YEARS 9 & 10
The Arts
Drama
ACADRR053
ACT EVERY CHANCE TO LEARN
EARLY ADOLESCENCE
LATER ADOLESCENCE
ELA
1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 11.EA.5, 13.EA.3, 25.EA.1
1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 25.LA.1
ACT BSSS
UNIT
Performing Arts – Drama
Design for the Stage Devised Theatre Ensemble Production The Director Taking it to the Stage Voice and Movement
English – Literature English – integrating Australian Curriculum
DOWNLOAD THE BOOKING FORM
DOWNLOAD THE RISK ASSESSMENT FORM
15
RAYSON HAS A WELL-DESERVED REPUTATION FOR WRITING CHALLENGING, COMPELLING AND INSIGHTFUL DRAMA Limelight
GEELONG PERFORMING ARTS CENTRE & RED STITCH ACTORS THEATRE
Extinction BY HANNIE RAYSON
The tiger quoll once ruled Victoria’s dense Otway forest but is now almost extinct. A wild, rainy night, a twist of fate and an injured tiger quoll bring together a passionate environmentalist and an unlikely Good Samaritan. Both are hell-bent on saving the species, but intentions are murky. What will be compromised in the quest to save the quoll? Nothing is black and white in this intriguing story about love, sex, money and power played out under the shadow of global warming.
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THE PLAYHOUSE
THURSDAY 21 JULY
WHAT’S WORTH SAVING? HOW DO YOU CHOOSE? Extinction is a timely and intelligent new Australian play by Helpmann award winning playwright and screenwriter Hannie Rayson (Hotel Sorrento, Life After George), directed by acclaimed film director and producer Nadia Tass (Malcolm, Matching Jack). It delves deep into the heart of our own morals, choices and tightly-held convictions. Extinction wraps an important conservation message around a unique and personal human story. What would you choose?
DIRECTOR Nadia Tass SET DESIGNER Shaun Gurton CAST Brett Cousins Ngaire Dawn Fair
DATES & TIMES
11am, Thursday 21 July
AVAILABILITY
Term 3
SUITABILITY
Years 9 – 12
RUNNING TIME
140 minutes including interval and Post show Q&A
WARNINGS
Language & Sexual Themes
PRICES
$20 per ticket (1 teacher free per 15 students)
FROM THE EDUCATION OFFICER This story will get your students thinking about the way in which theatre can be used to not only tell a story but as a tool to address a community or political concern and view point with the purpose of ‘educating’ its audience. Create a discussion around what devices this production uses to get their view point across. Did the students feel that they were educated on the issue? Or, did they feel that their view point remained unchanged? Sustainability is a strong theme in this piece and requires thought and action. What does it mean to be sustainable? How, as global citizens do we work towards sustainability and a world for future generations? What impact can a single person have on a species? Discuss the controversial topics linked with the moral struggle of corruption WATCH as themes of emotion, ecology, environment and ego all come into play. This is about the individual and VIDEO the feeling of helplessness that we all feel with global challenges!
AUSTRALIAN CURRICULUM
YEAR 9
YEAR 10
English
Language
ACELA1551
ACELA1564
Literature
ACELT1634
ACELT1640
Literacy
ACELY1739
ACELY1749
SENIOR SECONDARY Language
ACEEN003, ACEEN008, ACEEN024, ACEEN027, ACEEN038, ACEEN043
Literature
ACELR004, ACELR006, ACELR020, ACELR038, ACELR059 YEARS 9 & 10
The Arts
Drama
ACADRR053
Cross Curriculum Priority – Sustainability
ACT EVERY CHANCE TO LEARN
EARLY ADOLESCENCE
LATER ADOLESCENCE
ELA
1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 20, 25.EA.1
1.LA.1, 1.LA.3, 1.LA.7, 7, 20, 8.LA.4,25. LA.1
ACT BSSS
UNIT
Performing Arts – Drama
Design for the Stage Sound & Light Design Ensemble Production The Director Taking it to the Stage Community Theatre Political Theatre
Geography
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17
MAKING A POSITIVE DIFFERENCE TO THE LIVES OF YOUNG PEOPLE WHETHER THEY CONTINUE TO DANCE, OR TAKE THEIR PASSION TO OTHER FIELDS.
Quantum Leap QL2 PRESENTS
QL2 Dance’s Quantum Leap is Canberra’s auditioned youth dance ensemble. Each year through the Quantum Leap program QL2 create productions that excite their audiences with thoughtful and challenging dance works: the hearts and minds of young people speaking through their bodies. Wonderful themes enhanced by youthful exuberence.
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They are dedicated to diverse, challenging and rigorous youth dance which develops the next generation of dance-makers and contributes to a dynamic, caring and diverse society. QL2 have presented performances in Canberra, Sydney, Adelaide, Jamaica, Thailand, and Taiwan; as well as Armidale, Bega, Narooma and Cowra.
THE PLAYHOUSE
28-29 JULY
DATES & TIMES
10am & 12pm, Thursday 28 July & Friday 29 July
AVAILABILITY
Term 3
SUITABILITY
Years 5 – 12
RUNNING TIME
TBC
PRICES
$15.50 per ticket (1 teacher free per 10 students)
FROM THE EDUCATION OFFICER Every year QL2 present a production that is beautiful, unique and inspiring. We love to marvel at the talent of our region being showcased professionally. Do you have a student involved? Come and support as a class while having the opportunity to engage your students in reflection over the creative choices of another fantastic production.
AUSTRALIAN CURRICULUM
YEARS 7 & 8
YEARS 9 & 10
The Arts
Dance
ACEEN008
ACADAR026
Drama
ACADRR045
ACADRR053
Music
ACAMUR097
ACAMUR104
ACT EVERY CHANCE TO LEARN
EARLY ADOLESCENCE
LATER ADOLESCENCE
ELA
1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 25.EA.1
1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 25.LA.1
ACT BSSS
UNIT
Performing Arts – Dance
Contemporary Dance Dance in our Time
Performing Arts – Drama
Design for the Stage Sound & Light Design Ensemble Production The Director Taking it to the Stage
Performing Arts – Music
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Ensembles
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19
Photo: AP via AAP
THERE ARE THREE THINGS THAT HAVE DIVIDED THIS NATION RIGHT DOWN THE CENTRE. CONSCRIPTION, WHITLAM AND LINDY CHAMBERLAIN.
MERRIGONG THEATRE COMPANY
Letters to Lindy
IN ASSOCIATION WITH CANBERRA THEATRE CENTRE
THE PLAYHOUSE
BY ALANA VALENTINE
Filled with humour and heartbreak, this stunning new work by award-winning playwright Alana Valentine explores the public’s relationship with one of 20th Century Australia’s most iconic figures.
A MOTHER’S LOSS. A NATION’S OBSESSION. The court case captivated a nation. A mother accused of murdering her child, her claim – that the baby was taken by a dingo – denied and discredited by zealous police and a flawed legal system. The media circus, the rumours, the nation’s prejudices laid bare. And in the eye of the storm – Lindy Chamberlain.
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THURSDAY 11 AUGUST
Over three decades, from baby Azaria’s death to the final coroner’s report, the public’s fascination with Lindy has seldom waned. The National Library in Canberra holds a collection of more than 20,000 letters to Lindy. From sympathy to abuse, from marriage proposals to death threats and photos of dogs’ birthday parties (yes, really!), the correspondence traverses the gamut of human response to Lindy’s story. Letters to Lindy draws on this extraordinary correspondence and interviews with Lindy herself, to create an enthralling, revealing, and long overdue dialogue between Lindy and the nation. It paints a singular portrait of the heartbreak, wisdom and resilience of a grieving mother.
DIRECTOR Darren Yap
DATES & TIMES
11am, Thursday 11 August
AVAILABILITY
Term 3
SUITABILITY
Years 9 – 12
RUNNING TIME
TBC + Post show Q&A
PRICES
$20 per ticket (1 teacher free per 15 students)
FROM THE EDUCATION OFFICER An event that divided a nation! An intriguing aspect in the material of our emotional and civic history as Australians. Bring your students along and experience firsthand the authenticity of this production. Whether they are studying Drama, English or even Civics and Citizenship, there is something here for all. Alana Valentine’s new work explores themes linked to the human psyche, sympathy, blame, remorse, loss, humour and heartbreak, policy and political constraint. Have your students think about an event that may have happened to them and then set up a mock trial; build parties who believe and do not believe the story; create a jury and a judge who has a constraint to rule black or white; feed in rumours. Once the ruling has occurred discuss how the students feel; reflect as a class and compare this experience to that of Lindy. Did your students have a prior assumption of Lindy’s WATCH story? Perhaps they would like to write their own Letter to Lindy. This is also a great opportunity to VIDEO discuss policy and rights as an Australian Citizen. This is an emotive Australia tragedy that is part of our culture and history.
AUSTRALIAN CURRICULUM English
YEAR 9
Language
YEAR 10 ACELA1564
Literature
ACELT1633
ACELT1640
Literacy
ACELY1742
ACELY1749
SENIOR SECONDARY Language
ACEEN009, ACEEN024, ACEEN027, ACEEN038, ACEEN058, ACEEN076
Literature
ACELR004, ACELR006, ACELR020, ACELR038, ACELR059 YEARS 9 & 10
The Arts
Drama
ACADRR053
ACT EVERY CHANCE TO LEARN
EARLY ADOLESCENCE
LATER ADOLESCENCE
ELA
1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 11.EA.5, 13.EA.3, 25.EA.1
1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 25.LA.1
ACT BSSS
UNIT
Performing Arts – Drama
Design for the Stage Sound & Light Design The Director Taking it to the Stage Political Theatre Australian Theatre Devised Theatre
English – Literature English – integrating Australian Curriculum
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21
THE COURTYARD STUDIO
WEDNESDAY 16 MARCH
Presented by Melbourne International Comedy Festival and Canberra Theatre Centre in association with Canberra Comedy Festival
THE SEARCH IS ON FOR AUSTRALIA’S FUNNIEST TEENS!!! Past participants have gone on to be funny as a career – Josh Thomas, Tom Ballard, and YouTube sensation Neel Kolhatkar to name a few.
DATES & TIMES
2-4pm Workshop & 5pm Performance, Wednesday 16 March
AVAILABILITY
Term 1
SUITABILITY
Years 9 – 12
RUNNING TIME
Workshop – 120 minutes, Performance – 60 minutes
PRICE
Performance Ticket Price $10
REGISTER HERE
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The Class Clowns competition encourages teens with a talent for comedy, from Years 9-12 (ages 14-18) to unleash their comic voice either through stand up, sketch or musical comedy – any format goes as long as it is only 3-5 minutes long! State Final winners go through to the National Grand Final to perform at the Melbourne International Comedy Festival in April 2016 and be in the running to win a $2500 prize package..
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WATCH VIDEO
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A SHOWCASE OF STORIES
ACTING UP! 2016
THE COURTYARD STUDIO
2-11 JUNE
Acting Up! Provides a platform for students aged 18 or younger to present a 10 minute performance piece to a live audience. The piece must be a play which may include a dance or movement work or music composition. The catch? It must tell a clear story.
HEATS
7pm, Thursday 2 June – Monday 6 June
FINALS
7pm, Friday 10 June – Saturday 11 June
AVAILABILITY
Term 1
SUITABILITY
Years 9 – 12
RUNNING TIME
120 minutes
PRICES
Registration Fee $25, Heats Ticket Price $12, Finals Ticket Price $15
REGISTER HERE
ACTING UP! OPPORTUNITIES! Leading up to this festival workshops will be scheduled for both students and teachers that will focus on the tips and tricks to writing an evocative story, Directing and Stage Management.
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A ROSE BY ANY OTHER NAME WOULD SMELL AS SWEET
Photo: Pierre Toussaint
Act 2 Scene 2
Romeo And Juliet BELL SHAKESPEARE
BY WILLIAM SHAKESPEARE DIRECTED BY PETER EVANS
Violence rumbles through the streets, with two families at war. From such angry beginnings flame the fire of passion and forbidden love. From the first intimate blush to the tragic finale, Romeo And Juliet is a story for all ages. A tale of a chance meeting, love at first sight, the passion of youth, and old family feuds spilling blood.
THE SPARKLING AND FORBIDDEN LOVE AFFAIR THAT ENDS IN TRAGEDY In a city divided by anger and from rivalling families, Romeo and Juliet come together in a dangerous union of love.
Beautiful and intimate, Romeo And Juliet will be directed by Bell Shakespeare’s Artistic Director Peter Evans, who will breathe new life into one of the greatest love stories ever told. Visually stunning in its nod to the layers of storytelling and the history of the play, it will feature a talented cast, including Alex Williams (Underground:The Julian Assange Story, INXS: Never Tear Us Apart) as Romeo, and Kelly Paterniti (As You WATCH Like It) as Juliet. VIDEO
THE PLAYHOUSE
1-9 APRIL
DIRECTOR Peter Evans DESIGNER Anna Cordingley LIGHTING DESIGNER Benjamin Cisterne COMPOSER AND SOUND DESIGNER Kelly Ryall FIGHT & MOVEMENT DIRECTOR Nigel Poulton WITH Cramer Cain Justin Stewart Cotta Michelle Doake Michael Gupta Angie Milliken Kelly Paterniti Hazem Shammas Tom Stokes Damien Strouthos Jacob Warner Alex Williams RUNNING TIME 160 minutes including interval
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EMAIL US
BELL SHAKESPEARE – ARGUABLY THE COUNTRY’S BEST SHAKESPEAREAN THEATRE COMPANY
Photo: Pierre Toussaint
Herald Sun
Othello BELL SHAKESPEARE
THE PLAYHOUSE
BY WILLIAM SHAKESPEARE DIRECTED BY PETER EVANS
A violent exploration of the thin line that separates love and jealousy, Othello is a relentless journey of vicious passion.
O, BEWARE, MY LORD, OF JEALOUSY; IT IS THE GREEN-EY’D MONSTER ACT 3, SC 3
A warrior on the fields of war, but felled by the sharpness of whispered words, Othello is a man swept up in desire, quickly turned to murderous ambition when he is betrayed by his military brother-in-arms, the cynically destructive Iago.
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EMAIL US
14-22 OCTOBER
One of William Shakespeare’s most famous and passionate tragedies, Othello will be directed by Bell Shakespeare’s Artistic Director Peter Evans, in a gripping production that will touch audiences to their core, as envy is a weapon wielded with brazen savagery, and the complex contradictory nature of humanity is tested. Starring Ray Chong Nee as Othello (Bell Shakespeare’s The Dream) and Yalin Ozucelik as Iago (Bell Shakespeare’s Henry IV), in one of Shakespeare’s most captivating and devastating pairings, this astonishing epic tragedy will rage with jealousy on stage. WATCH VIDEO
DIRECTOR Peter Evans DESIGNER Michael Hankin LIGHTING DESIGNER Paul Jackson ASSISTANT DIRECTOR & FIGHT DIRECTOR Nigel Poulton WITH Joanna Downing Alice Keohavong Edmund Lembke-Hogan James Lugton Huw McKinnon Elizabeth Nabben Ray Chong Nee Yalin Ozucelik Michael Wahr RUNNING TIME 160 minutes including interval
EDUCATION MATINEE 11AM, WEDNESDAY 19 OCTOBER
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Work Experience Program
WEX A career in the performing arts! Are you interested? Work experience will help you understand how the performing arts industry operates and you will receive advice about pursuing a career in the industry. Canberra Theatre Centre offers senior school students that chance to spend a week in Canberra’s largest professional theatres, observing and participating in various areas of operation. The Canberra Theatre Centre is the major presenter for performing arts in the ACT. It comprises three theatre spaces, the Canberra Theatre, The Playhouse and The Courtyard Studio. Opportunities exist to work with ticketing and front of house staff, lighting technicians, audio technicians, mechanists and in the marketing department to name but a few.
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CRITERIA Please note that there are limited weeks during which work experience can be offered owing to the nature of work in the theatre. In addition, we receive more applications for work experience than we are able to accept each year and so we suggest students apply early. To apply for a placement please complete a Work Experience Application Form and submit it, outlining the preferred time period, the type of work experience requested and the skills and experience which relate to the work experience being.
You need to fit the following criteria: •B e in Year 10 or above or a tertiary student (if work experience is a mandatory requirement to complete the relevant course) •D emonstrate an interest in the performing arts (students studying drama or with backstage experience will be given preference) •B e available to do work experience at an allocated time
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Vocational Education Training Program
VET The Canberra Theatre Centre accepts a select number of students enrolled in industry recognised Vocational Education and Training (VET) courses at a school or college. The current training towards a Certificate III in Live Production and Services is delivered both by the school and by the Canberra Theatre Centre staff.
The VET placements ensure that the students spend a specified period of time as voluntary workers placed on a variety of commercial shows. The students are trained and supervised by senior professional staff that have relevant skills in theatre practice and are qualified Workplace Assessors (Certificate IV in Training and Assessment).
Schools and Colleges wishing to work with the Canberra Theatre on the VET program will need to be approved to deliver the Certificate III and are invited to contact the Canberra Theatre Centre’s Education Team at education@ canberratheatrecentre.com.au Many of our successful VET graduates have become casual employees at the theatre. EMAIL YOUR APPLICATION
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Planning Your Excursion How early should I get there?
We recommend that you arrive at least half an hour before the advertised start time in order to locate your seats and make use of the venue’s facilities.
Where does the bus drop us/collect us? At the front of Civic Square, between the Legislative Assembly and the Canberra Museum and Gallery (CMAG). When can we park? If students coming to the theatre are arriving by private car, we suggest the car parks on either side of Canberra Theatre or The Playhouse. Please bring lots of change as parking is expensive and the parking inspectors are vigilant. Disabled parking is located at the rear of The Link foyer and in both car parks. Will we get individual tickets? No, the Front of House staff (ushers) will have a seating plan, and seat your school in accordance to this and direct you to the entrance door and your seats. What do we do with my coats and bags? A free cloaking service is provided to look after your items. Sometimes it is easier to leave things on the bus or at school. What if we’re late for the show? If you are able, please call Canberra Ticketing and the Education Officer as soon as you can. Where possible, CTC will endeavour to accommodate your group, and will admit them to the auditorium at a suitable break in the performance. Some productions do not allow entry once the performance starts. Seating groups larger than 20 people will not be possible once the performance has started. The best advice: Arrive early. What if an incident occurs on the day of the show, and we will not be attending? We appreciate that the unforeseen can sometimes occur. In the event of an incident, please contact Stephen Olah at Canberra Ticketing 02 6290 9307 and the Education Officer on 02 6243 5704. Where possible, we will try to accommodate the group at another performance. Unfortunately, ticket refunds are not possible. Event Insurance can also be purchased from Canberra Ticketing, which may cover you against vehicle breakdowns, sudden illness or accidents en route to the theatre. Please contact Canberra Ticketing for more information. Where can the students eat lunch or snack? Water in plastic containers is permitted in the auditorium. All other food and drink must remain in your bag. If there is room, packed lunches and snacks can be consumed in the foyer areas. Weather permitting, packed lunches can be consumed on the steps leading up to the theatre or in Civic Square.
Will there be… stage smoke/flashing lights/loud explosions/strong language? CTC makes every effort to communicate the presence of such experiences through its marketing campaigns, website information and at the time of booking at the Box Office. If you have any concerns, please always be sure to ask when booking your ticket. What about age appropriateness? CTC endeavours to ensure the correct year group suitability has been indicated on the marketing material. Where this does not appear, it is important to note that unlike movies, theatrical performances do not generally have imposed age limits for adult content. It is up to the teacher to make judgements about the age appropriateness of a show for their children. Usually a show’s advertisements or flyers will give an indication and more detail is usually provided on the website, again however if you have any particular concerns please ask at the time of booking. What if my students greatly disrupt the performance? We want to encourage their participation in and enjoyment of the experience, however, behaviour intended to disrupt the production will not be tolerated. This can include heckling the performers or laughing and calling out in inappropriate places. In extreme cases of disruption, the student will be asked to leave the auditorium (with a teacher/guardian) and will not be permitted to return for the remainder of the production. In this case, tickets will not be refunded. What if one of my students goes missing at the theatre? Our advice is to identify a meeting point when you arrive at the theatre, somewhere that the students can find easily and wait there should they be separated from their group. If you do find that a student is missing from your group, approach a Front of House staff member (or usher) and ask them to make an announcement via the Public Address system. It is the responsibility of the accompanying teacher or minder to ensure that the students remain with their group at all times. What if I or one of my students loses something at the theatre? Call the Front of House Manager on (02) 6243 5739. If they’re not in, please leave a detailed message with your name, contact details, description of the item lost, the show and session you were seeing and your seat number. They will investigate and get back to you. Is a Risk Assessment available from the theatre for our excursion? Yes, a risk management document will be mailed to all schools prior to the excursion. DOWNLOAD THE RISK ASSESSMENT FORM
USEFUL CONTACTS Education Officers Tori Cordova Tony Martin
Canberra Ticketing Manager
Canberra Ticketing Coordinator 28
Front of House Manager
02 6243 5704 02 6243 5700
education@canberratheatrecentre.com.au tony.martin@act.gov.au
Fran Tapia
02 6290 9377
fran.tapia@act.gov.au
Stephen Olah
02 6290 9307
stephen.olah@act.gov.au
Michael Ranieri
02 6243 5739
michael.ranieri@act.gov.au
AUSTRALIAN CURRICULUM
(view online) SUMMARY
English – Language
ACELA1564
Understand how language use can have inclusive and exclusive social effects, and can empower or disempower people
English – Literature
ACELT1771
Present an argument about a literary text based on initial impressions and subsequent analysis of the whole text
ACELT1640
Reflect on, extend, endorse or refute others’ interpretations of and responses to literature
ACELT1634
Reflect on, discuss and explore notions of literary value and how and why such notions vary according to context
ACELT1633
Interpret and compare how representations of people and culture in literary texts are drawn from different historical, social and cultural contexts
ACELY1745
Explore and explain the combinations of language and visual choices that authors make to present information, opinions and perspectives in different texts
ACELY1749
Analyse and evaluate how people, cultures, places, events, objects and concepts are represented in texts, including media texts, through language, structural and/or visual choices
ACELY1739
analysing and interpreting assumptions about groups that have shaped or influenced representations of people, places, events and things and identifying how listeners and readers are positioned by these representations
ACELY1742
Interpret, analyse and evaluate how different perspectives of issue, event, situation, individuals or groups are constructed to serve specific purposes in texts
ACADRR053
Analyse a range of drama from contemporary and past times to explore differing viewpoints and enrich their drama making, starting with drama from Australia and including drama of Aboriginal and Torres Strait Islander Peoples, and consider drama in international contexts
ACADRR045
Analyse how the elements of drama have been combined in devised and scripted drama to convey different forms, performance styles and dramatic meaning
ACADAR018
Analyse how choreographers use elements of dance and production elements to communicate intent
ACADAR026
Analyse a range of dance from contemporary and past times to explore differing viewpoints and enrich their dance making, starting with dance from Australia and including dance of Aboriginal and Torres Strait Islander Peoples, and consider dance in international contexts
ACAMUR097
Analyse composers’ use of the elements of music and stylistic features when listening to and interpreting music
ACAMUR104
Evaluate a range of music and compositions to inform and refine their own compositions and performances
English – Literacy
The Arts – Drama
The Arts – Dance
The Arts – Music
Senior Secondary English
(view online) ACEEN003
Investigate the relationships between language, context and meaning by: evaluating the choice of mode and medium in shaping the response of audiences, including digital texts
ACEEN008
“Analyse and evaluate how responses to texts, including students’ own responses, are influenced by: purpose, taking into account that a text’s purpose is often open to debate
ACEEN009
“Analyse and evaluate how responses to texts, including students’ own responses, are influenced by: personal, social and cultural context
ACEEN024
“Investigate the representation of ideas, attitudes and voices in texts including: analysing the ways language features, text structures and stylistic choices shape points of view and influence audiences
ACEEN027
analysing how attitude and mood are created, for example, through the use of humour in satire and parody.
ACEEN038
“Reflect on their own and others’ texts by: analysing the values and attitudes expressed in texts
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SUMMARY Senior Secondary English
English – Literature
(view online) ACEEN043
Compare texts from similar or different genres and contexts by: analysing and evaluating how similar themes, ideas or concepts are treated in different texts.
ACEEN058
Reflect on their own and others’ texts by: explaining how meaning changes when texts are transformed into a different genre or medium
ACEEN079
Reflect on their own and others’ texts by: discussing and evaluating different readings of texts.
ACEEN063
Evaluate different perspectives, attitudes and values represented in texts by: analysing content, purpose and choice of language
ACEEN076
Reflect on their own and others’ texts by: analysing and evaluating how different attitudes and perspectives underpin texts
ACELR004
Investigate and reflect on different ways of reading literary texts including: how responses of readers and viewers can range from empathetic to critical.
ACELR006
Analyse distinctive features in literary texts including: different points of view represented in texts, for example, those of characters, narrators and the implied author
ACELR020
Analyse and reflect on the relationships between authors, texts and contexts including: the relationship between conventions of genre, audience expectations, and interpretations of texts
ACELR037
Evaluate the ways in which literary texts represent culture and identity including: how readers are influenced to respond to their own and others’ cultural experiences.
ACELR038
Evaluate the ways in which literary texts represent culture and identity including: the power of language to represent ideas, events and people in particular ways
ACELR040
Evaluate the ways in which literary texts represent culture and identity including: the ways in which authors represent Australian culture, place and identity both to Australians and the wider world.
ACELR056
Evaluate the dynamic relationship between authors, texts, audiences and contexts including: how interpretations of texts vary over time
ACELR059
Evaluate and reflect on the ways in which literary texts can be interpreted including: how specific literary elements and forms shape meaning and influence responses, for example, mise-en-scène, enjambment, dramatic monologue and verse drama
BSSS
(view online) UNIT TITLE
Performing Arts – Drama
Design for the Stage Sound & Light Design Ensemble Production The Director Taking it to the Stage
English – Literature – integrating Australian Curriculum Modern History integrating Australian Curriculum
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EVERY CHANCE TO LEARN
(view online)
ESSENTIAL LEARNING ACHEIVEMENT SUMMARY Essential Content 1
4
1.EA.3
use logical, creative and lateral thinking to explore relevant knowledge indepth, distinguish central concepts from contributing ideas, stimulate imagination and generate and test creative ideas and solutions.
1.EA.6
recognise how feelings influence their thinking.
1.LA.1
select and apply various forms of thinking (e.g. logical, convergent, divergent, inductive, deductive, lateral, creative) to issues and problems in order to consider alternative perceptions and value positions, put forward a point of view or synthesise various points of view
1.LA.3
see how knowledge from one discipline can transfer to and transform knowledge in another
1.LA.7
reflect on and evaluate their own thinking and the thinking of others in relation to an issue or problem, and their own learning processes and achievements.
4.EA.4
investigate real-life situations that require integrity and/or regard for others
4.EA.11
identify the personal advantages of valuing diversity and engaging with other groups
7 8
11
13 20
Creates, presents and appreciates artistic works 8.EA.2
appropriate audience behaviours in a range of listening contexts
8.EA.5
listen and speak in discussions, conversations and oral resentations, including prepared and spontaneous discussions, meetings and debates
8.LA.4
listen and speak in discussions, conversations and oral presentations, including meetings, extended presentations, formal debates and group discussions
11.EA.3
how readers’ and viewers’ interpretations of texts are influenced by the knowledge and values of the groups to which they belong and by their own experiences
11.EA.5
how visual (e.g. Camera angles and shot types), nonverbal (e.g. gestures and facial expressions), spoken (e.g. voice qualities) and auditory techniques (e.g. Music and sound effects) can be used to add meaning, interest, immediacy and authority to texts
11.LA.3
how creators of texts select language and techniques to represent ideas, information and concepts in particular ways (e.g. choose words and symbols with particular connotations; use imagery to establish mood and enhance ideas and feelings; vary sentence beginnings to emphasise information; use passive voice to hide responsibility; and use hyperlinks, flashbacks and other time variants to influence meaning)
11.LA.5
how visual (e.g. Camera angles and shot types), non-verbal (e.g. Gestures and facial expressions), spoken (e.g. voice qualities) and auditory techniques (e.g. music and sound effects) are combined to position an audience
13.EA.3
ways to improve physical skill proficiency (e.g. technique, control, anticipation, timing) acts for an environmentally sustainable future
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ESSENTIAL LEARNING ACHEIVEMENT SUMMARY 21
25
32
21.EA.1
characteristics that make Australia unique (e.g. landforms, basins, climate, weather, resources, vegetation, flora and fauna, natural hazards, latitude and longitude)
21.EA.2
how the geography of Australia influences what people do to survive and prosper (e.g. Where people live, the location of natural resources and the development of industries and cities) Great Depression, sporting heroes, role of women, mateship, larrikinism, White Australia policy, migration and multiculturalism, 1967 referendum)”
21.EA.4
“past and contemporary people, movements, events and ideas, which shaped Australia as a nation with a sense of Australian identity (e.g. Federation, stories of the bush, ANZAC legend,
21.EA.5
the importance of ‘country’ to Australia’s Aboriginal and Torres Strait Islander peoples (e.g. different ways individuals are related to the land)
21.EA.8
current issues and challenges facing the local community and Australian society.
21.LA.2
how government policies have affected Indigenous peoples and their pursuit of citizenship rights
21.LA.4
the events, people and movements that shaped the development of Australia (e.g. colonisation and expansion, development of governments, participation in major wars) and the contexts in which events and actions occurred (e.g. social and economic context, motivationand beliefs of individuals)
21.LA.5
contemporary and future issues and challenges facing Australian society
21.LA.6
ways in which Australia is presented, nationally and internationally (e.g. Stereotypes of Australian people and places).
25.EA.1
the design process (e.g. understanding design criteria; researching, generating and testing ideas; selecting and using tools, materials and processes; producing and evaluating solutions)
25.LA.1
the design process (e.g.identifying needs and opportunities in establishing design criteria; planning and managing time, resources and risk; evaluating design ideas and procedures; appraising design solutions against criteria)
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16109 Giraffe and Some Cowboy
EDUCATION@ CANBERRA THEATRE CENTRE .COM.AU