Education & Youth 2015
Helpful Information
Hi, You are doing a great job. I suspect you don't hear this as often as you should. There are many reasons to celebrate the work you are doing with young people throughout Queensland and it's good to take the time to celebrate your achievements in the field of Drama and Theatre. You are doing a fabulous job at taking students to the theatre and bringing artists to your schools. I hear from companies across the state of the growth of student engagement and the increased sophistication of those students. Their skills and critical thinking are growing exponentially with their attendance and engagement (you're doing that). At QTC we have seen a 30% growth in numbers of students engaging in all our activities from attending shows, the very successful Scene Project which saw over 450 young people performing in the Bille Brown Studio, the expansion of our Youth Ensemble and the various Artist-in-residence programs we have on offer (you're doing that too). In 2015, we will see The Scene Project continue, we are touring the nation with Kelly, Boston Marriage, Black Diggers and Head Full of Love and offering a record number of shows. Check out the diversity of offerings QTC has - from collaborations with Dead Puppet Society and Grin & Tonic through to the amazing new work by Matt Ryan called Brisbane - all about Brisbane during WWII; the Samuel Beckett absurdist classic Happy Days featuring the talents of Carol Burns and the new offering of the Actors Studio - a cast of ten actors working with minimal set and costume to deliver an interpretation of Chekhov's The Seagull. There is so much to check out. Rummage through these pages and start working out what you want to see. The tireless Heidi Irvine can help you navigate the plethora of themes and styles, venues and programs. Thank you for a wonderfully successful 2014. Looking forward to welcoming you back to the theatre in 2015. Love Wesley.
Performances and Suitability
Education Blog
Whilst age suitability recommendations are carefully considered, each class group is different. Recommendations are based on the script and discussions with the creative team.
Check out the new Queensland Theatre Company website for a dedicated Education Blog, full of resources and useful information about productions and projects.
Ticket Prices From $24.50 per student
Teacher Previews Teachers can attend the first Preview performance of any production for free. (Limited tickets are available and are available only for the first Preview in the season, unless otherwise notified).
Program and Education Resources Teachers booking school groups will receive a free program, Education Resources and access to video and online resources to support your attendance at QTC productions. Resources are also available online at www.queenslandtheatre.com.au
How to Book For all School Group bookings call QPAC Groups on 07 3840 7127 (a $12 group booking fee applies).
Theatre Access Schools with distance or socio-economic access issues can apply to QTC for assistance in funding transport to venues to see QTC productions. Limited funds apply.
For further advice or information on any of these points, please contact Heidi Irvine, Producer, Education and Youth Programs, on 07 3010 7623 or hirvine@queenslandtheatre.com.au to discuss your visit.
Play Briefings Play Briefings for mainstage productions are an opportunity for teachers to meet the cast and creative artists and ask questions about the productions. Play Briefings are marked in the performance calendar at the end of this brochure.
Wesley Enoch Artistic Director
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Season 2015 Play
Venue
Dates
Weeks/Term
Suitability
Curriculum Links
Drama Syllabus Links
Boston Marriage
Playhouse, QPAC
24 January – 15 February
Weeks 1, 2 and 3 Term 1
Years 10 – 12 Adult concepts (sexuality and relationships)
Drama
Category 1: Realism
The 7 Stages of Grieving
Bille Brown Studio, QTC
17 March – 28 March
Weeks 8 and 9 Term 1
Years 9 – 12 Adult concepts (death, grief, race and discrimination)
Drama, History, SOSE
Category 2: Contemporary ATSI Theatre Forms, One Person Show
Brisbane
Playhouse, QPAC
11 April – 3 May
Weeks 1, 2 and 3 Term 2
Years 9 – 12 Adult concepts (Sexual relationships)
Drama, History, SOSE, English
Category 1: Realism
* Very low level coarse language, sexual references.
Argus
Bille Brown Studio, QTC
5 May – Sunday 17 May
Weeks 4 and 5 Term 2
Years 1 – 12 (Note this is a Primary work as well, and we welcome Primary bookings for Argus.)
Drama, Visual Art
Category 2: Object Theatre, Postmodern Theatre, Theatre for Young People and Children’s Theatre
Oedipus Doesn’t Live Here Anymore
Bille Brown Studio, QTC
23 May – 13 June
Weeks 7, 8 and 9 Term 2
11 – 12 Adult concepts (incest, infanticide, sexual relationships, death)
Drama, History, English
Category 1: Greek Theatre (Modernised retelling of myth) Category 2: Postmodern Theatre
* Frequent, high level coarse language, sexual references and sexual language.
Country Song
Cremorne Theatre, QPAC
4 July – 8 August
Weeks 1, 2, 3 and 4 Term 3
10 – 12 Adult concepts (race and discrimination)
Drama, Music, History
Category 2: Documentary Drama, Contemporary ATSI Theatre Forms
Home
Studio 2, QTC
14– 25 July
Weeks 1 and 2 Term 3
10 – 12 Adult concepts (life decisions and personal struggle)
Drama
Category 2: Postmodern Theatre, One Person Show
Happy Days
Bille Brown Studio, QTC
18 July – 15 August
Weeks 1, 2 3, 4, and 5 Term 3
10 – 12 Adult concepts (loneliness, isolation and death)
Drama, English
Category 1: Absurdism
Grounded
Studio 2, QTC
29 July – 15 August
Weeks 3, 4 and 5 Term 3
11 – 12 Adult concepts (sex and sexual relationships)
Drama
Category 2: Documentary Drama, One Person Show
10 – 12 Adult concepts (relationships, fidelity, death and suicide)
Drama, English
Category 1: Realism (Modernised retelling of classic/heritage text)
* Frequent, high level coarse language, sexual references and sexual language.
The Seagull
Bille Brown Studio, QTC
29 August – 26 September
Weeks 7, 8, 9 and 10 Term 3
Category 2: Postmodern Theatre
The Odd Couple
Playhouse, QPAC
17 October – 8 November
Weeks 3, 4 and 5 Term 4
10 – 12 Adult concepts (relationships and fidelity)
Drama
Category 1: Realism
Ladies in Black
Playhouse, QPAC
14 November – 6 Decemberr
Weeks 7, 8 and 9 Term 4
10 – 12 Adult concepts (relationships and life decisions)
Drama, Music
Category 1: Realism, Music Theatre
5
Our History
So, what should you see? Hello lovely teachers! Welcome to Season 2015. So, what should you see? With so much on offer, it might be hard to decide where to start! We’ve divided the season up into some handy categories and made sure we’ve let you in on all the connections and links for syllabus and curriculum. There’s also a handy little resource at the end of each category, to get you inspired and thinking about how you can use the shows in your classroom. This booklet is designed to be a companion guide for the Season Brochure, so for more detailed information on each show, head to the brochure or the website for more information. As always, I am available anytime for a chat about suitability, curriculum links or teaching ideas. Send me an email on hirvine@queenslandtheatre.com.au or call on 07 3010 7623. So, get stuck in and spark your ideas for 2015!
BY MATTHEW RYAN
Best, Heidi. Page
Section
Production
Our History 7
Brisbane
8
Ladies in Black
9
Teaching Ideas Our Stories
10
The 7 Stages of Grieving
11
Home
12
Teaching Ideas Our Future
13
Argus
14
Oedipus Doesn’t Live Here Anymore
15
Teaching Ideas Our World
18
Boston Marriage
17
Happy Days
18
The Seagull
19
The Odd Couple
20
Teaching Ideas Our People
21
Country Song
22
Grounded
23
Teaching Ideas
Queensland Theatre Company presents
Brisbane
by Matthew Ryan
World Premiere 11 April - 3 May Playhouse, QPAC Brisbane, 1942: a big country town jumping at shadows, never knowing if that buzz in the air is a cicada or a squadron of merciless Japanese Zeroes. World War II took the city’s innocence, and that of 14-year-old Danny Fisher. Exploring: Brisbane is a new work which explores the deep history of Brisbane as a city during World War Two. A coming of age story as much as lesson through history, Brisbane is a text where students can explore the rich past of Brisbane’s lifestyle and people, and the impact of war on families and people. Developing: The central character of Danny wants nothing more than to be a hero like his brother. This journey is faced with challenges, from schoolyard bullies to understanding girls, to the bigger questions of family responsibility, the impact of loss and war and the world as we know it today. Responding: From a historical perspective, the play is a highly accurate recount of Brisbane at this time of change and flux, during and after the war. Students can respond to the historical content and how the writer interweaves that into a fictional context. Students could also explore the narrative structure of the work and it’s use of Realism and Magical Realism. Years 9 – 12 Adult concepts (Sexual relationships) Very low level coarse language, sexual references.
7
Our History
Our History
usiasts ] St John enth e breath “[Madeleine work in the sam mention her …” Muriel Spark as Chekhov, Herald ning Mor ey The Sydn
#qtcinblack
Book by Carolyn Burns Music and lyrics by Tim Finn Adapted from the book THE WOMEN IN BLACK by Madeleine St John
DISCUSSION: Brisbane
Queensland Theatre Company in association with Queensland Performing Arts Centre presents
Ladies in Black
by Carolyn Burns Music and lyrics by Tim Finn
OUR HISTORY: Teaching Ideas
What do we actually know about the history of Brisbane? Have students research some of the following places and their significance in Brisbane’s history:
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C E L E B R AT I N G
Adapted from the book THE WOMEN IN BLACK by Madeleine St John
• Cloudland • Boundary Street • Queen Street Mall
World Premiere
• Story Bridge
14 November – 6 December Playhouse, QPAC
Have students share what they discovered about each of these places and what the significance was for the community at these times. Matthew Ryan’s Brisbane is an immaculately researched and detailed exploration of the cultural currents happening in Brisbane during World War II. Have students discuss what the issues were in Australia during the time of the war. How did the war impact day to day life?
Originally workshopped in Queensland with the support of QPAC
Step through the doors of F.G. Goode’s department store and into a marvellous musical whirl of glitz and glamour with Ladies in Black. Adapted from Madeleine St John’s novel, The Women in Black, QTC’s return to musical theatre tells the story of school leaver Lisa who joins the sales staff in Sydney’s most prestigious department store for one summer of innocence that changes her life. Exploring: Set in Sydney in the 1950’s, the ladies dressed in black are the lifeblood of ‘Goodes’, the department store de jour. Each of the characters in this ‘comedy of manners’ style play are on the precipice of change in Australia in the 50’s – facing independence, working for a living and what it means to be a woman. Developing: The storyline is interwoven with musical moments, and the play follows the ‘Music Theatre’ structure of using the songs to communicate or highlight a moment in the play. Responding: Between the music and the dialogue, the mood brings back the feel of those times, the ideas and attitudes, in full effect. Students can respond to the structure of the play and the use of mood and music to convey meaning and a sens of place. Years 10 – 12 Adult concepts (relationships and life decisions)
ACTIVITY: REENACTING THE PAST Have students break into groups and choose an important moment in their own history. It could be personal or something bigger, something pertaining to the world as we know it. Using the strategy of ‘Flashbacks and Flashforwards’ have students work in groups to create the ‘missing scenes’ which could be a key to the moments history, beginning or resolution.
Definition ‘Flashbacks and Flashforwards’: Have students work in groups to improvise scenes which take place seconds, minutes, days or years before or after a dramatic moment in their chosen history. This enables the exploration of characters' backgrounds, motivations and the consequences of their actions. Adding Flashbacks or Flash Forwards creates a context – it shows what led up to a particular moment, how it might be resolved or how it may lead onto additional challenges. The technique helps to flesh out a dramatic moment or create the beginnings of a story.
9
Our Stories
bY wesley enoch and deborah mailmaN
Our Stories
THE 7 stages of grieving
HOME
Queensland Theatre Company presents a Grin & Tonic Theatre Troupe production
The 7 Stages of Grieving
by Wesley Enoch and Deborah Mailman
17 – 28 March Bille Brown Studio, The GreenHouse Wesley Enoch and Deborah Mailman’s The 7 Stages of Grieving is a wise, powerful play about the grief of Aboriginal people and the hope of reconciliation. In this one-everywoman show, Chenoa Deemal (Mother Courage and Her Children) spins tear-streaked tales of tragedy, hand-in-hand with jubilant celebrations of simple survival. Exploring: A much loved text for Drama teachers, this play is just as relevant and connected today, as it was when it was published 20 years ago. The collection of stories exploring grief and loss, not only give an insight into Indigenous perspectives but into the human condition.
Queensland Theatre Company presents a Force of Circumstance production
Home
by Margi Brown Ash
14 – 25 July Studio 2, The GreenHouse Part performance, part installation and part conversation, in Home spectators become cocreators as they share their stories of where they came from. Brisbane theatremaker Margi Brown Ash weaves backwards and forwards through time, criss-crosses the globe, and spins her own personal tales in this moving and uplifting story of belonging and not belonging. Exploring: The storytelling journey of Home sees the audience travel between different moments in time and life. The story focuses on the importance of location and family, strongly focused on the aspects of mood and place.
Developing: The work is highly charged with emotion, but finds moments of humour and light. Students will see text and stories, interwoven with moments of visual theatre and poetry. The challenge of the ‘Everywoman’ is evident in the text, as we follow her journey through the play.
Developing: The form of the work relies heavily on emotion and sentiment, which allows the audience to form meaning and understanding. Students will be able to encounter a series of stories which allow them to place themselves in the ‘shoes’ of others.
Responding: Students can respond to the form and style of a One-Person show. The storytelling techniques employed in the play are diverse and rich. Students will be able to deconstruct the issues within the text and reflect on the relevance of these issues today for Indigenous Australians.
Responding: Students can respond to the form of a One-Person Show and the skills of the actor required to deliver a solo performance. Students can explore the methods of storytelling employed within the play, and look at the performative elements required to make a story engaging for an audience.
Years 9 – 12 Adult concepts (death, grief, race and discrimination)
Years 10 – 12 Adult concepts (life decisions and personal struggle)
11
Our Stories
Our Future
OUR STORIES: Teaching Ideas ACTIVITY: OUR STORIES Sometimes the stories that are our own are the most engaging. Here are some different activities which get students to work together to tell their own stories in engaging and interesting ways.
TYPEWRITER: Have students work in groups and get them to share a story of something that happened to them. You can give them a frame such as “the first day of school’, ‘most embarrassing moment’, etc. Ask student to choose their favourite. One of the players is the Narrator. They have a (mimed) typewriter and start the scene by reading aloud as they type. As soon as the Narrator has given a few elements, the players take over and start playing the scene. At any point, the Narrator can take over again, perhaps switch to another location, introduce new character or provide flashbacks.
WORD AT A TIME STORY: In a circle, the story is started, with each person in turn adding one word. It usually starts with 'Once - upon - a - time'. The idea is to keep the thoughts free flowing, so that students don't try to guess what is coming or force the story in a particular direction. It is not always easy to maintain a logical flow for the story, although it is always amusing. If the group is too large, break into smaller groups.
SOUNDSCAPES: Ask students to work in small groups of 4 - 6. The groups are asked to come up with a selection of random sounds - with each member making one vocalised sound. Next, the group decides on a sequence in which these sounds are made and practices it. Each group performs its sound sequence in turn to the whole class. Now the groups are asked to make up a story in which these sounds occur - in the sequence already decided upon. The story can be narrated or acted.
Queensland Theatre Company presents a Dead Puppet Society production
Argus 5 – 17 May Bille Brown Studio, The GreenHouse Step into this whimsical wonderland where table tops grow grass and water bottles become the depths of the ocean. Making use of nothing but household objects and the performers’ hands, Argus transcends from the simple to the sublime exploring the fragile attempts of this little creature to find a home in a world where he just doesn’t fit in. Working on principles of found objects and transformation, this quietly touching piece highlights the beauty of an impossible life; one that is full of playfulness, joy and laughter. Exploring: ‘Dead Puppet Society’ are recognised as innovators in performance which incorporates puppetry into narrative. Argus is perfect for students studying Theatre for Young People, Puppetry and/or contemporary performance styles. Developing: Argus’ charm lies in the simplicity of the story. The collaboration of the performers’ hands and found objects as the puppet and the surrounding environment asks and challenges students to use their imagination to build the world around them. Responding: Students can respond to the work from a number of perspectives. They could explore the piece from the perspective of a creator – looking at the work as piece of Theatre for Young People, or from an audience member – looking at the simplicity of narrative and storytelling using the most basic of elements. Argus is one of our Primary works for 2015 and we encourage our Primary teachers and their classes along to see this innovative work. Years 1 – 12 (Note this is a Primary work as well, and we welcome Primary bookings for Argus.)
13
Our Future
Our Future
]
s Oedipu’t live doesn nymore here a
[
s iel Evan By Dan
OUR FUTURE: Teaching Ideas Queensland Theatre Company and Queensland Government presents
Oedipus Doesn’t Live Here Anymore By Daniel Evans After The Theban Plays by Sophocles
DISCUSSION: What is Contemporary Theatre? Using the following terms, how do we define Contemporary Theatre? A great article to read about this is Sandra Gattenhof’s Traces: Viewing and Responding to Contemporary Performance. The following terms are used from this article.
World Premiere
FRAGMENTATION:
23 May – 13 June Bille Brown Studio, The GreenHouse
Creating new versions of old work. Reimagining texts in new ways to create new meanings for audiences. Looking at the work Oedipus Doesn’t Live Here Anymore by Daniel Evans, the writer has chosen to take the myth of Oedipus and place in suburban Brisbane.
What if Oedipus lived next door? What if the street knew what he’d done with his mum because of the word daubed on his garage door? Queensland Premier’s Drama Award winner Daniel Evans brings the drama and horror of Sophocles’ Theban plays to the sleepy cul-de-sacs of modern Australian disturbia. Exploring: A re-contextualised and contemporary take on the myth of Oedipus, this intensely dark tale follows the story of Oedipus and his family, set in modern Brisbane. Oedipus represents two enduring themes of Greek myth and drama: the flawed nature of humanity and an individual's role in the course of destiny in a harsh climate. Developing: Traditional Greek theatre is heralded by its use of chorus and the flawed nature of its characters, and is evident in this text, as well. Each of the characters encountered in the play has an overriding flaw or struggle, which is presented using heavily dramatic dialogue, with a dark comic streak. Responding: The reworking of the myth into a modern tale allows students to explore how the writer has chosen thematic and narrative moments, to weave into a new play. The setting of the play in a very modern world is what champions the work and its connection to a youth audience. Years 11 – 12 Adult concepts (incest, infanticide, sexual relationships, death) frequent, high level coarse language, sexual references and sexual language.
APPROPRIATION: The way that the writer has adapted the myth in this play shows a real relevance and connection to its intended audience. The young characters face their own internal struggles of failure and acceptance, and the audience is brought into their world where connection and isolation is a daily struggle.
INCLUSION OF VISUAL OR NON-TEXT BASED ELEMENTS: The use of the chorus in the work is not only an element driven from the plays roots in Greek Theatre, it is also a key element to the efficacy of the storytelling. The company of actors support each other in multiple roles and create visually strong images of the place, time and characterisations of the people in the story.
ACTIVITY: RETELL AND PLAY Have students work in small groups to do a contemporary retelling of a popular Fairy Tale. Using the elements above, have students play and re-imagine the text for a new audience. For example, how might Jack and Jill be a modern tale about feminism? Or Goldilocks and The Three Bears share a message about sustainability? 15
Our World
Our World
met By David Ma
Happy Days BY SAMUEL BECKETT
Queensland Theatre Company presents
Boston Marriage by David Mamet
24 January – 15 February Playhouse, QPAC In repressed Victorian society, a “Boston marriage” meant two women living together in scandalous sin. Fringe-dwellers Anna and Claire reach a crisis: each has taken a lover, but a connection between their two paramours is set to put their Boston marriage on the rocks in this quickfire comedy by the wickedly witty David Mamet. Exploring: ‘Boston Marriage’ is term coined for the relationship between two women, which could be both physical and emotional. Mamet’s play, written at the turn of the century, is typical of his acerbic writing dialogue, marked by a cynical, street-smart edge, precisely crafted for effect. Developing: Using Victorian-era style text, this play sits within the form of Realism and allows students to gain a true understanding of the challenges within the plot, as the style highlights the characters and the drama that unfolds before them. Responding: Students can respond to the structure of the text, particularly due to Mamet’s strong structural features of plot and dialogue. The themes of love and relationships are strong throughout the play and students could explore the tension of conflict and resolution, evident in Anna and Claire’s relationship. Note that Boston Marriage will tour regional Queensland following the Brisbane season. Go to queenslandtheatre.com.au to see the list of venues and dates. Years 10 – 12 Adult concepts (sexuality and relationships)
Queensland Theatre Company presents
Happy Days
by Samuel Beckett
18 July – 15 August Bille Brown Studio, The GreenHouse
Winnie is buried to her waist in a desolate place, kindling hope out of a hundred little rituals as her slow sink into oblivion continues. Is this brave woman the eternal optimist – or just deep in denial? Samuel Beckett’s surreal masterpiece is a haunting and humourous hymn to the indomitability of the spirit. Exploring: Samuel Beckett’s Happy Days is Absurdism personified. Winnie’s struggle to break free from her physical and emotional self is represented by her entrapment in a pile of rubble, onstage. Winnie, as the central figure, explores the need for companionship and the ultimate reliance on her partner, Willie. Developing: The cyclical style of the play and the ultimately stagnant nature of Absurdism is a strong performative element of the text and the play uses the absurdity of text and language to share and derive meaning for the main character of Winnie. Responding: Students can explore the traditions and style of Absurdism in this play. The themes of death, loneliness and isolation are strongly explored in this (almost) monologue. Students can look at the use of ritual and symbols, within the set and design of this piece. Years 10 – 12 Adult concepts (loneliness, isolation and death)
17
Our World
By Anton Chekhov
Queensland Theatre Company presents
The Seagull
by Anton Chekhov
Adapted by Todd MacDonald and Daniel Evans
29 August – 26 September Bille Brown Studio, The GreenHouse Gather artists in a room and sparks are going to fly. That’s why Anton Chekhov’s The Seagull and Queensland Theatre Company’s Actors Studio are perfect partners. Exploring: The Seagull by Chekhov is considered the seminal play of the Russian playwright as it strongly explores the use of subtext and was considered a total contrast to the melodramas being performed during the 19th Century. Developing: The diverse characters of the play and the machinations of their decisions both on and offstage, is what drives the play forward. The style of this particular performance will be a modernisation and ‘workshopped’ concept, using the characters and themes from the text and reworking for a contemporary audience. Responding: Students will be able to respond to a “heritage” text done in a contemporary style – the themes and issues of The Seagull will remain inherent in the play. The performance style will be stripped back from costume and technical elements, which allow students to explore and analyse the actor’s craft. Years 10 – 12 Adult concepts (relationships, fidelity, death and suicide)
Our World
the SEAGULL
Neil Simon’s the Odd
Couple
Queensland Theatre Company presents
Neil Simon’s The Odd Couple 17 October - 8 November Playhouse, QPAC Suddenly single after his wife throws him out on the street, despairing journalist Felix reluctantly accepts the hospitality of his buddy Oscar, a sportswriter and Grade A slob. Exploring: A classic play, which has seen many machinations of its famous characters since the play's debut in 1965. The Odd Couple is classic realism, seeing the two juxtaposed characters of Oscar and Felix battle their way through their differences with humour and sarcasm. Developing: The “traditional” plot line of the play allows students the opportunity to look at a classically told story. The nature of the arc allows for the development of the two main characters. The complexity within the ‘comedy of errors’ between Oscar and Felix allows for students to explore comic timing. Responding: Students can respond to the structure and comedy within the text. They will be able to analyse acting techniques for an ensemble cast, particularly focusing on the relationship between the two main characters, and their almost ‘clown-like’ relationship of ‘major’ and ‘minor’. Years 10 – 12 Adult concepts (relationships and fidelity)
19
Our World
ACTIVITY: THE WORLD WE LIVE IN Sometimes, for many students, it is hard to picture and imagine the world beyond their own backyard. Have students choose a country which they know little about. Have them research 3 facts about this place. It could be about rituals, stories or events. Share with the group – encourage the students to think deeper and outside the square.
Our People
OUR WORLD: Teaching Ideas
Country Song
BY REG CRIBB ORIGINAL CONCEPT BY MICHAEL TUAHINE
Find an iconic image from this place. Use an Image Theatre activity to create a physical moment.
Definition ‘Image Theatre’: In Image Theatre, still images are used to explore abstract concepts such as relationships and emotions, as well as realistic situations. This technique was developed by Augusto Boal and is described fully in his book ‘The Rainbow of Desire’. Participants rapidly sculpt their own or each other’s bodies to express attitudes and emotions. These images are then placed together and 'dynamised' or brought to life. The method is often used to explore internal or external oppression, unconscious thoughts and feelings.
Queensland Theatre Company and Queensland Performing Arts Centre present
Country Song
ACTIVITY: THE PIONEERS Thinking about the history of Drama and Theatre, take a moment to list some of the key figures. People like Stanislavski, Boal, Beckett and Brecht. Discuss with students why and how they were important and their influence on the dramatic landscape. Below are some activities related to some of these practitioners, and are great introductory moments to their work and influence. Boal, Forum Theatre: A play or scene, usually indicating some kind of oppression, is shown twice. During the replay, any member of the audience ('spect-actor') is allowed to shout 'Stop!' They then step forward and take the place of one of the oppressed characters, showing how they could change the situation to enable a different outcome. Several alternatives may be explored by different ‘spect-actors’. The other actors remain in character, improvising their responses. A facilitator (Joker) is necessary to enable communication between the players and the audience. The strategy breaks through the barrier between performers and audience, putting them on an equal footing. It enables participants to try out courses of action which could be applicable to their everyday lives. Originally the technique was developed by Boal as a political tool for change (part of the Theatre of the Oppressed), but has been widely adapted for use in educational contexts. Stanislavski, Sense Memory: The most fundamental principle of Stanislavski's teaching is that the actor must live the life of the character that they are portraying; they must learn to think like the character and behave as the character would. The actor can also use situations they were not directly involved with - it could be a something they saw, read about or heard about. Sense Memory is an offshoot of Emotional Memory. The actor recalls a memory, and tries to put all five senses to the memory. What did you see, hear, taste, touch and smell?
30
By Reg Cribb Original concept by Michael Tuahine
C E L E B R AT I N G
Queensland Theatre Company congratulates QPAC on its 30th Anniversary and is delighted to be co-presenting this production with them.
World Premiere 4 July – 8 August Cremorne Theatre, QPAC
As Sydney Opera House throws open its doors in 1973, Indigenous singing superstar Jimmy Little is backstage waiting to croon for the Queen – but the words won’t come. Country Song takes Jimmy on a beautiful, musical, witty and warming journey into his past to explore the roots of his music. Exploring: Jimmy Little was an Australian music icon, playing guitar from the age of 13. He was recognised as a musician and an actor and in his later life an advocate for literacy and numeracy for Indigenous students. Developing:‘Music Theatre’ is becoming a more prolific style in contemporary performance. Little’s music will accompany the rich stories of his life, allowing students to experience the style of the time and place themselves in a moment of history. Responding: Students can respond to the style and form of a Music Theatre, the use of music in performance or look at the context of Indigenous issues in the 1930’s and 1940’s in Australia. Years 10 – 12 Adult concepts (race and discrimination)
21
Our People
Our People
GROUNDED By George BRANT
OUR PEOPLE: Teaching Ideas DISCUSSION: ICONS
Who are the icons of our time and why? Have students break into groups and list as many people in their world who they believe are “icons”.
Definition ‘Icon’: a person or thing regarded as a representative symbol or as worthy of veneration.
Queensland Theatre Company presents
Grounded
Are all of the icons famous for good or are some infamous? Do the students all agree on each other list? Who are contentious?
ACTIVITY: REPRESENTATIONS
By George Brant
Choose a person from one of the lists and have students work in small groups to create a caricature of them. Groups could:
29 July – 15 August Studio 2, The GreenHouse
Create a physical moment which portrays the character. From here, you could try a hot seating activity…
She was the Air Force’s finest. Top Gun. But she fell in love, fell pregnant, and fell to earth with a bump. Now The Pilot flies remote-controlled death-dealing robots – and as the sands of America and Afghanistan blur, she realises it’s one thing to go off to war, but another to fight a war wirelessly Exploring: The juxtaposition of what we expect a fighter pilot to be, a wife and a mother, Grounded focuses on the challenges and assumptions of women, their role in war and society. Developing: A One Person Show, Grounded swings between a strong lyrical style text, to almost mundane and everyday language in a fell swoop. The style of the play allows students to explore the issues raised in the text and the depth of character that the unnamed pilot explores throughout the play. Responding: Students are able to respond to the form of a One Person Show, and explore the acting techniques implemented by a solo performer. Students can also explore the representations of women in war and the greater implications of war on our current society. Years 11 – 12Adult concepts (sex and sexual relationships) Frequent, high level coarse language, sexual references and sexual language.
Grounded is presented by special arrangement with Samuel French, Inc.
Definition ‘Hotseating’: A character is questioned by the group about his or her background, behaviour and motivation. The method may be used for developing a role in the drama lesson or rehearsals, or analysing a play post-performance. Even done without preparation, it is an excellent way of fleshing out a character. Characters may be hot-seated individually, in pairs or small groups. The technique is additionally useful for developing questioning skills with the rest of the group. Thinking further and deeper about the person the students have chosen, have students do a ‘role on the wall’ activity. This allows them to think beyond the surface about the person’s motivations or beliefs. This is a great activity for exploring characters both fictional and real.
Definition ‘Role on the Wall’: The outline of a body is drawn on a large sheet of paper, which is later stuck onto the wall. This can be done by carefully drawing around one of the participants. Words or phrases describing the character are then written directly onto the drawing or stuck on with post-its. This drama technique can be carried out as a group activity or by individuals writing about their own character. You can include known facts such as physical appearance, age, gender, location and occupation, as well as subjective ideas such as likes/dislikes, friends/enemies, attitudes, motivations, secrets and dreams. 23
The Scene Project
The Scene Project, 2014
The Scene Project is a participatory style project which involves schools in the creative process of performance, from rehearsal through to production. The Scene Project is about acknowledging students and teachers as artists and encouraging live performance in a professional space and manner. The Scene Project will involve students from Year 8 – 12, from Queensland metropolitan and greater metropolitan schools. Schools can register groups of students (no more than 30 per group) for the project.
‘The Landmine is Me’ by David Burton and Claire Christian.
The Scene Project will give you the opportunity to access to a newly commissioned script. Once you have received the script, your selected group will have a term to work on their scenes. It could be a unit of work, an extra-curricular Drama project or a chance to extend those students eager for a challenge. In Week 3, of Term 3, student groups will bring their work to the Bille Brown Studio at QTC. A set stage, a captive audience and 15 minutes to show what they’ve come up with? Go for it! After all the student performances are done and dusted, a cast of professional actors will take the stage and will culminate the day’s performances by presenting their own interpretation of the scenes and leading the groups in a forum, Q&A and discussion.
rent versions of got to see 5 diffe d “In one day we plore styles an ex d ul co s student cularly rti Pa one work. The h. uc m d reflect on so in a conventions an this was a once gional school, re a m fro g bein nity.” lifetime opportu
The Scene Project
The Scene Project
“My students ha d a wonderful time and really the whole expe enjoyed rience from be ginning to end. ”
So what’s your scene? Project Overview May 15, Term 2 – Registrations Close. May 30, Term 2 – Briefing Afternoon at QTC (Here you will receive the script, unit of work, resources and participate in a Professional Development session). Term 3 – Work on your scenes. During this time, you are entitled to a 2 hour, Artist in Residence workshop to assist you with your scene. You decide when best suits your process. Week 3, Term 4 (Date TBC) – Scenes presented at the Bille Brown Studio, QTC by students and professional actors. Cost: $880 (including GST) “I thought it was such an amazing da y. Really inspired me to thi nk about working in the creative industries and wa s really great seeing the other performances from schools.”
new to students with an “Great to offer something or competition.” ult’ ‘res a ut abo not outcome
“Fabulous opportunity for schools to connect with industry.”
“Being able to feel like a proper actres the warm up s, through exercise, the performing costumes, th to an audien e set and ce th at I didn’t kn able to watch ow. Being what studen ts could crea the professio te and what nal actors di d – and seeing that we were creatin g work toge ther.”
25
Artists in Residence
AIR is a flexible program, that has been designed for schools to access professional artists and workshops that are connected to the curriculum. The workshops will be planned specifically to suit your curriculum and students’ needs – whether it be one day or a longer period. Workshops are priced according to travel time and the artist contracted. See the price guide below for an estimate. Available to schools located up to 1 hour from Brisbane City
Available to schools located up to 2 hours from Brisbane City
Up to 2 hours
$330 - $495
$660 - $990
2 – 4 hours
$440 - $660
$660 - $990
Full Day
$660 - $990
$880 - $1,100
Full Week
$1,925 - $2,750
$2,200 - $3,025
Regional and Touring In the past three years, QTC’s Education Program has taken pirates, Dreamtime stories and exciting new Australian work to students in regional Queensland primary schools through touring productions of Treasure Island, Stradbroke Dreamtime and The Lost Property Rules. QTC is committed to reaching students in remote and regional areas who are at a distinct disadvantage when it comes to acc essing resources and performances. In 2014, we broadcast Black Diggers into nine regional centres across Queensland spanning from Cairns to Toowoomba.
Regional and Touring
Artists in Residence (AIR)
In 2015, Boston Marriage, Kelly and Head Full of Love will hit the road, giving our regional friends opportunities to see mainstage work in venues across Queensland. QTC will also continue to explore opportunities to bring arts experiences to regional Queensland, and are committed to enhancing the exciting work that is already happening in many of our regional schools. For up to date information on touring and venue information, visit www.queenslandtheatre.com.au
"In 2014 Queensla nd Theatr students e Compa from yea ny worke rs 8 to 11 over a 10 d with 55 on devise week pe of our d Shakesp riod. earean sc enes
Jason Kla rwien an d Thom La in their p rkin were rofession both am alism an work wit azing d knowle h young dge of ho d e veloping quality o w to artists pro utcomes with our ducing h perform igh students ance for in a culm our comm Strong e inating u n ngagem ent. Tota ity. High energy. l drama!" Mitch Ho lmes, Tea cher, Centena ry State High Sch ool.
27
Additional Youth Programs
A Place to Stage Your Next Event Did you know that our spaces are also available for hire? Play host to your own event to remember in our venues where some of the nation’s theatrical greats have shone across the stage. QTC offers a range of spaces for large or small events, workshops and corporate functions.
Event Space
Additional Youth Programs
Our premises are as exciting as they are versatile. Here you can comfortably host a private function, conference, launch or an AGM. From the landmark, intimate Bille Brown Studio to the contemporary GreenHouse there is a place for you here. The spaces include private meeting rooms, studios, bar and an outdoor garden space. Your event can be themed with a range of incredible theatre props and the QTC team can organise catering, music, artists or even throw a barbecue.
Queensland Theatre Company Youth Ensemble
For more information on venue hire visit our website or contact us on 07 3010 7674 or email dwallace@queenslandtheatre.com.au
After an incredibly successful three years, the Queensland Theatre Company Youth Ensemble program returns for 2015 and applications for auditions will be open in October 2014. Queensland Theatre Company will provide access for motivated, passionate and talented young performers to develop their skills as actors by working with theatre professionals throughout the year long Youth Ensemble program. Visit the website for more details on auditions (held in late November), scholarships and the program schedule.
Theatre Residency Week Theatre Residency Week is a drama immersion camp held in the September school holidays of each year. Students in Years 9 – 12, embark on a week of intensive skills development workshops, view live performances, network with leading artists and work with over one hundred, like-minded young people. The residency has been running for over 40 years and has been attended by some of Australia’s theatre greats such as Geoffrey Rush, Deborah Mailman, and QTC’s Artistic Director Wesley Enoch. Scholarships are available and places are strictly limited. For more information visit www.queenslandtheatre.com.au
Young Playwrights' Award In 2015, Young Playwrights’ Award will focus on the engagement of high school students, and will be promoted through their drama teachers. Teachers will be offered professional development opportunities and curriculum units on playwriting, as a way of supporting teachers in teaching scriptwriting. Students will be asked to submit work that they have either written as a part of a unit at school or individually, with winners receiving access to a professional writing masterclass and a reading of their work. For more information visit www.queenslandtheatre.com.au
Youth Classes In 2015, Queensland Theatre Company will continue to offer a range of masterclasses for young people in acting, performance and playmaking. We will also continue to support young writers with our Young Writers Group. Dates will be released in early 2015. Keep checking www.queenslandtheatre.com.au for more details.
29
31
Season 2015
(STEP 3 CONTINUED) Mark your first preference date with a tick and your second preference with a “2”.
CHECKLIST FOR SCHOOL GROUPS
Preview
STEP 1: YOUR DETAILS Name of School/College:
Opening Night
Night with the Artists
Mon
Tue
Wed
Wed
Thu
Fri
Sat
Sat
Sun
6.30pm
6.30pm
1.00pm
7.30pm
7.30pm
7.30pm
2.00pm
7.30pm
3.00pm
BOSTON MARRIAGE - PLAYHOUSE, QPAC
Contact Name (1)
Double Bill
Audio Described
Play Briefing: 19 January Public Holiday: 26 January
No. of Additional Tickets 26 Jan
Phone:
27 Jan
28 Jan
29 Jan
30 Jan
31 Jan
3 Feb
4 Feb
4 Feb
5 Feb
6 Feb
7 Feb
31 Jan 7 Feb
8 Feb
10 Feb
11 Feb
11 Feb
12 Feb
13 Feb
14 Feb
14 Feb
15 Feb
Email: Sign me up to receive QTC ENews
Yes
No
Sign me up to receive production programs in advance via email
Yes
No
Play Briefing: 7 April Public Holiday: 25 April
BRISBANE - Playhouse, QPAC
No. of Additional Tickets 13 Apr
Contact Name (2)
14 Apr
15 Apr
16 Apr
17 Apr
21 Apr
22 Apr
22 Apr
23 Apr
24 Apr 11.00am 24 Apr 7.30pm
28 Apr
29 Apr
29 Apr
30 Apr
1 May
18 Apr
2 May
THE ODD COUPLE - Playhouse, QPAC
25 Apr
26 Apr
2 May
3 May
Play Briefing: 12 October
No. of Additional Tickets
Phone:
19 Oct
Email: Sign me up to receive QTC ENews
Yes
No
Sign me up to receive production programs in advance via email
Yes
No
Do any students or teachers have special access requirements that we should know about? Motorised Wheelchair
21 Oct
22 Oct
23 Oct
24 Oct
24 Oct
27 Oct
28 Oct
28 Oct
29 Oct 1.00pm
30 Oct
31 Oct
31 Oct
1 Nov
3 Nov
4 Nov
4 Nov
5 Nov
6 Nov
7 Nov
7 Nov
8 Nov
17 Nov
20 Nov
21 Nov
21 Nov
24 Nov
25 Nov
25 Nov
26 Nov 1.00pm
27 Nov
28 Nov
28 Nov
29 Nov
1 Dec
2 Dec
2 Dec
3 Dec
4 Dec
5 Dec
5 Dec
6 Dec
Play Briefing: 29 June
Mon
Tues
Wed
Wed
Thurs
Fri
Sat
Sat
Sun
6.30pm
6.30pm
1.00pm
7.30pm
7.30pm
7.30pm
2.00pm
7.30pm
3.00pm
6 Jul 13 Jul
STEP 3: CHOOSE YOUR THEATRE SERIES AND DATES (See Step 4 for series information) atinee M
19 Nov
No. of Additional Tickets
Weeknight
18 Nov
COUNTRY SONG - Cremorne, QPAC
Wheelchair Transfer
Other
Saturday Evening
Play Briefing: 9 November
No. of Additional Tickets
STEP 2: SEATING PREFERENCES
Manual Wheelchair
20 Oct
LADIES IN BLACK - Playhouse, QPAC 16 Nov
Opening Night
18 Apr
Preview
7 Jul
14 Jul 21 Jul 28 Jul
15 Jul 22 Jul 29 Jul
8 Jul 15 Jul 22 Jul
29 Jul
9 Jul 16 Jul 23 Jul
30 Jul
10 Jul 17 Jul 24 Jul 31 Jul
11 Jul 18 Jul 25 Jul 1 Aug
11 Jul 18 Jul 25 Jul 1 Aug
26 Jul 2 Aug
(STEP 3 CONTINUED)
(STEP 3 CONTINUED)
Mark your first preference date with a tick and your second preference with a “2”.
Thanks to our Sponsors
Mark your first preference date with a tick and your second preference with a “2”. Play Briefing: 13 July Public Holiday: 12 August
HAPPY DAYS - Bille Brown Studio, The GreenHouse
No. of Additional Tickets Mon
Mon
Tues
Wed
Wed
Thurs
Fri
Sat
Sat
11.00am
6.30pm
6.30pm
1.00pm
7.30pm
7.30pm
7.30pm
2.00pm
7.30pm
20 Jul
21 Jul
22 Jul
23 Jul
24 Jul
25 Jul
25 Jul
27 Jul
28 Jul
29 Jul
29 Jul
30 Jul
31 Jul
1 Aug
1 Aug
3 Aug
4 Aug
5 Aug
5 Aug
6 Aug
7 Aug
8 Aug
8 Aug
11 Aug
12 Aug
12 Aug
13 Aug
14 Aug
15 Aug
15 Aug
THE SEAGULL - Bille Brown Studio, The GreenHouse
Play Briefing: 24 August
No. of Additional Tickets
Preview
Opening Night
Night with the Artists
Double Bill
Audio Described
HOME - Studio 2, The GreenHouse
No. of Additional Tickets
Tues
Tues
Wed
Wed
Thurs
Fri
Fri
Fri
Sat
Sat
Sat
1.00pm
7.00pm
1.00pm
7.00pm
11.00am
11.00am
6.00pm
7.00pm
1.30pm
2.00pm
6.00pm
15 Jul
15 Jul
16 Jul
17 Jul
22 Jul
22 Jul
23 Jul
24 Jul
14 Jul 21 Jul
GROUNDED - Studio 2, The GreenHouse
17 Jul 24 Jul
18 Jul
25 Jul
Mon
Tues
Wed
Wed
Thurs
Fri
Sat
Sat
Mon
Tues
Wed
Wed
Thurs
Fri
Sat
Sat
Sat
11.00am
6.30pm
6.30pm
1.00pm
7.30pm
7.30pm
7.30pm
2.00pm
7.30pm
6.30pm
6.00pm
11.00am
8.00pm
8.00pm
8.00pm
2.30pm
5.00pm
8.00pm
31 Aug
1 Sep
2 Sep
3 Sep
4 Sep
5 Sep
5 Sep
29 Jul
30 Jul
31 Jul
1 Aug
7 Sep
8 Sep
9 Sep
9 Sep
10 Sep
11 Sep
12 Sep
12 Sep
3 Aug
4 Aug
5 Aug
5 Aug
6 Aug
7 Aug
8 Aug
8 Aug
15 Sep
16 Sep
16 Sep
17 Sep
18 Sep
19 Sep
19 Sep
10 Aug
11 Aug
12 Aug
12 Aug
13 Aug
14 Aug
15 Aug
15 Aug
22 Sep
23 Sep
23 Sep
24 Sep
25 Sep
26 Sep
26 Sep
THE 7 STAGES OF GRIEVING - Bille Brown Studio, The GreenHouse
No. of Additional Tickets
Mon
Tues
Tues
Wed
Wed
Thur
Thur
Fri
Sat
Sat
11.00am
11.00am
6.30pm
11.00am
6.30pm
11.00am
7.30pm
7.30pm
2.00pm
7.30pm
17 Mar
18 Mar
23 Mar
24 Mar
19 Mar
24 Mar
25 Mar
20 Mar
26 Mar
26 Mar
21 Mar
27 Mar
21 Mar
No. of Additional Tickets
Tues
Tues
Wed
Wed
Thur
Thur
Fri
Fri
Sat
Sat
Sat
Sun
11.00am
6.30pm
11.00am
6.30pm
11.00am
7.30pm
11.00am
7.30pm
11.00am
2.00pm
5.00pm
2.00pm
7 May
8 May
5 May
5 May
6 May
6 May
12 May
13 May
13 May
15 May
14 May
OEDIPUS DOESN'T LIVE HERE ANYMORE - Bille Brown Studio, The GreenHouse
9 May
9 May
9 May
10 May
16 May
16 May
16 May
17 May
No. of Additional Tickets
Public Holiday: 8 June
Mon
Tues
Wed
Wed
Thurs
Thurs
Fri
Sat
Sat
6.30pm
6.30pm
1.00pm
7.30pm
1.00pm
7.30pm
7.30pm
2.00pm
7.30pm 23 May
25 May
26 May
27 May
28 May
Please note: Exchange and upgrade fees may apply if you need to subsequently change your bookings. Opening Night Package - includes access to Opening Night performances, post-show party package and includes a $250 tax-deductible donation. An additional $25 applies to 5 and 3 Play Package subscribers who choose Mother & Son.
STEP 4: ADD A DONATION
Season Sponsors
Season Supporters
Please accept my donation below. Donations over $2 are tax-deductible and matched dollar for dollar by the Queensland Government. Donations over $250 are acknowledged in our play programs, on honour boards and in the Annual Report. $1000
$500
$250
$100
$50
My choice $___________
28 Mar
ARGUS - Bille Brown Studio, The GreenHouse
12 May
Program Sponsors
1 Aug
14 Sep
ADD-ONS: BILLE BROWN STUDIO
Production Sponsors
No. of Additional Tickets
Mon
21 Sep
Presenting Sponsors
18 Jul
25 Jul
Public Holiday: 12 August
Government Partners
30 May
30 May
2 Jun
3 Jun
3 Jun
4 Jun
4 Jun
5 Jun
6 Jun
6 Jun
9 Jun
10 Jun
10 Jun
11 Jun
11 Jun
12 Jun
13 Jun
13 Jun
I/We would like to be acknowledged as:
Anonymous TOTAL $
Media Supporters
STEP 5: PRICING, PAYMENT AND OTHER IMPORTANT INFORMATION All Student tickets are from $24.50 each. QTC offers one free ticket per 10 students booked and paid. However, if a school group is bringing another group of more than 10 students, we will allow another complimentary ticket. If 9 or less, the additional teacher must pay the Seniors price for a ticket. Teachers must bring students in order to have access to Seniors ticket prices. All School Group Bookings can be made through QPAC Groups on 07 3840 7127 or groups@qpac.com.au. They are taking Expressions of Interest now for three date preferences and will confirm that booking with you in late January, 2015 with a mailed confirmation.
Brochure Design: Binge Advertising and Design
Photography: Aaron Tait, Dylan Evans (Argus), Rob Maccoll (Kelly, Head Full of Love), Stephen Henry (The Scene Project, Youth Ensemble), Heidi Irvine (Artists in Residence) and Ian Golding (GreenHouse image).
Bookings will be confirmed in order of receipt. Please provide a second and third option to avoid missing out on a performance. QPAC Groups will require full payment 30 days out from booking.
37
78 Montague Road, South Brisbane, QLD 4101 Tel: 07 3010 7600 Fax: 07 3010 7699 Ticketing: 1800 355 528 queenslandtheatre.com.au mail@queenslandtheatre.com.au Follow us on:
Queensland Theatre Company is a member of the Australian Major Performing Arts Group.
Š The State of Queensland (Queensland Theatre Company) 2014 Disclaimer: Every endeavour has been made to ensure that the contents of this brochure are correct at the time of printing. However, things can change. Queensland Theatre Company reserves the right to vary advertised programs and to add, withdraw or substitute artists as necessary.