Drama NSW Student Resource Booklet 1

podcast
In 2020 Drama NSW launched its Podcast on Spotify, touching

on topics presented in the Drama classroom and/or experts
shedding light on various approaches to teaching Drama.
Here are just a few to get you going, join us on Spotify for the
rest! Click on the links below or search for Drama NSW.
BLACK COMEDY - STUDIES IN DRAMA & THEATRE
THE HSC DRAMA WRITTEN EXAM
SIGNIFICANT PLAYS OF THE 20TH CENTURY -

STUDIES IN DRAMA & THEATRE
VERBATIM THEATRE - STUDIES IN DRAMA AND

THEATRE
THE VOICE OF WOMEN IN THEATRE -

STUDIES IN DRAMA AND THEATRE
APPROACHES TO ACTING - STUDIES IN DRAMA

& THEATRE
JAPANESE THEATRE - STUDIES IN DRAMA & THEATRE
MULTIDISCIPLINE THEATRE - STUDIES IN DRAMA &

THEATRE
Approaching Ian Wilding’s
October and Martin
McDonagh’s Inishmore
Misty Sutton-Pryce
In the Drama NSW conference workshop on “Approaching Ian Wilding’s October
and Martin McDonagh’s Inishmore” we explored three scenes from Inishmore and
two scenes from October. The two scenes explored from October were scene 3
and scene 5 and the Inishmore scenes chosen were scenes 2, 8 and 9.
the characters. To add some ‘stage business’ we used

In Scene 3 of October Tim and Angela, husband and doughnuts, which are mentioned in the text, as Dez is
wife, have employed a Private Detective, Dick, to eating a doughnut at the start of the scene. The eating
assist them in dealing with a confronting experience of the doughnut aided in the creation of Dez’s relaxed
of having an intruder in their home. Despite his demeanour and assisted in emphasizing the contrast
occupation and the purpose of his visit, Dick acts between the characters. It is through these techniques
in an unprofessional way, and instead of providing of contrast, over-reaction and the stage action with
comfort, he makes overt and perverse sexual the prop of the doughnut that humour was created
moves on Angela. His dialogue is confronting in its for the audience.
inappropriateness and incongruity and this is what
In scene 2 of The Lieutenant of Inishmore Padraic
makes the audience laugh. “Cup size on the bra?”
is torturing James for ‘pushing drugs’ on ‘wee kids’.
In the workshop, groups of three had to prepare
According to the text, James is suspended from the
this scene trying to highlight this inappropriateness
ceiling and he has already had a toenail pulled off.
through stage action and delivery of the dialogue.
Suspending someone from the ceiling is a challenge
Using props as a tool in teaching HSC texts for the for any director, but even more particularly in a
written examination is helpful. It gives the students school classroom context, with duty of care concerns.
something tangible to talk about and refer to in their What we did was to provide a fake body, in the form
essays. It also helps bring the texts to life on stage, of a headless dummy, which we suspended from a
as well as, creating engagement from the moment costume rack. We then placed the human actor’s head
the students see the props entering the teaching and underneath so it gave the impression that the head
learning space. It inspires excitement, enthusiasm, belonged to the body. The players then rehearsed the
anticipation and a sense of ‘fun’! scene. In the presentation, it was clear that not only
In scene 5 of October, Dez, the intruder, and Tim did the fake dummy make the scene more practicable
encounter each other at the airport, which is Tim’s and do-able for HSC students, but it also created a
place of work. This scene is funny for the audience hilarious visual image with a human head talking
because of the contrast between the characters and upside down seemingly attached to a fake body. This
Tim’s over-reaction. Tim gets increasingly irate and contributed to the black comedy in the scene.
angry through the scene and Dez is completely calm Halfway through scene 8, the 3 INLA members:
and unperturbed. Tim’s language gets more and Christie, Joey and Brendan, enter blindly, as they
more extreme and he uses confronting profanities have had their eyes blown out by Mairead and her
and threats – “Security will seriously finger-fuck you. airgun. Dramatic irony is created in this scene as
When they get here”, culminating in the famous – Padraic and Mairead enter, unbeknownst to the INLA
“You foul fucking pernicious stinking flagrant fucking members. The two ‘love birds’ proceed to shoot each
rat cunt”. These outbursts are incongruous as Dez one of them, until Christie says: “Fellas? Why’ve you
agrees to leave Angela alone and he does not pose any stopped shooting, fellas?” This creates humour as the
threat whatsoever. In the workshop the players had audience know why the others have stopped shooting
to highlight this over-reaction and contrast between – because they have been shot in the head – but
© JEDA – Volume 20 No 1 2014 37

Approaching Ian Wilding’s October and
Martin McDonagh’s Inishmore
At the start of scene 9, Davey and Donny are hacking

up the bodies of Brendan and Joey, whilst having
a casual ‘chit-chat’. This is true black comedy as the
visual image is highly disturbing for the audience,
and yet, the characters’ casual detached conversation
creates comedy for the audience. In the workshop,
the players were able to use props of severed arms
to help them create the visual image of ‘chopping up‘
bodies. The participants used actors and attached the
fake arms so that the ‘hacking’ looked ‘real’ and thus
more shocking for the audience.
October and The Lieutenant of Inishmore are both
texts which deal with Terrorism. October explores
what it is like in a post-9/11 world – in the October
after September 11. It deals with issues of fear and
security and over-reaction. Inishmore is more
specific in terms of context as it is about the conflict
in Northern Ireland – namely The Irish troubles -
involving the IRA and the INLA. It highlights the
extreme and mindless violence of the time. Using
props in the teaching of these texts is an effective tool.
It is also important to scaffold the performances of
the scenes in class by siting specific techniques that
the students should focus on. This will mean that
they will more readily be able to write successful
State Drama Conference workshop – Approaching Ian paragraphs on their practical experiences in class and
Wilding’s October and Martin McDonagh’s Inishmore discuss relevant techniques in their essays.
Christie does not, as he is blinded. In between these

extreme and macabre murders, Padraic and Mairead,
who are newly in love, have romantic interludes of
kissing and holding hands. This contrast between the
romantic actions of the characters and their acts of
violence and the blood and guts surrounding them
creates humour for the audience. In the acting of
this scene the players created this dramatic irony
and incongruity through their stage actions. They
were provided with three machine guns, an air
rifle and two handguns to aid in the creation of the
confrontingly violent scene, as well as the dramatic
irony and incongruity, which produces the laugher in
the audience. State Drama Conference workshop – Approaching Ian
Wilding’s October and Martin McDonagh’s Inishmore
38 © Drama NSW – Journal of Education in the Dramatic Arts

RESOURCE SNAPSHOT
Writing Evocatively – Returning

to Grammar
DAVID QUAGLIA
David is a second year English and Drama teacher at Dulwich High School
of Visual Arts and Design in Sydney’s Inner West. As an early career teacher,
David feels very grateful to have been exposed to such wonderful Professional
Learning offered by the Drama teaching community.
At the beginning of teaching the Year 12 course, I remember asking my bright-

eyed group “who can tell me what an adverb is?” I was met with a sea of
blank faces and raised eyebrows. After an uncomfortable silence, one of my
strongest Year 12 students hesitantly raised her hand and said something that was in the ballpark
of being correct, but I think she was mainly trying to do me a favour by breaking the silence.
It’s imperative to know the foundations of grammar to become an expert essay writer.
I’ve certainly been guilty of the opinion that when it comes to writing evocations, some students
are simply better than others and the ability to write evocatively is a hidden talent that can’t be
taught or trained. I think this is a belief we must abandon. The solution is returning to grammar.
I’ve been fortunate to go through some extensive professional learning with the English faculty,
who’ve been exploring how to use grammar not as a series of rules, but as a tool to improve the
complexity of student writing. In Drama, we’ve used this to experiment with having students
identify the parts of speech in their writing of in-class workshops. And how we can explicitly use
the parts-of-speech to strengthen student writing.
“staring at our classmate playing Ahmed from under the glow of a street light”
becomes
“thoroughly surveying our classmate playing Ahmed from under the pallid glow of a street light”
But how do we get our students there? There’s three key parts-of-speech that we have students
look to strengthen. Their use of verbs, adverbs and adjectives. The following tool and accompanying
activities help students to identify the parts of speech in their writing of experiential evidence and
how they can use the parts of speech to strengthen their writing. It’s important to note that this
approach is focussed on strengthening how vividly students can write their evidence to create an
image of the action on stage, it’s not a tool for strengthening their analysis.
© DRAMA NSW E-MAGAZINE – TERM 4, 2020 PAGE 20

RESOURCE SNAPSHOT: Writing Evocatively - Returning to Grammar
The Task
1. Begin with an in-class workshop and have students write their evocative description of the
moment.
2. Then, students head to https://parts-of-speech.info/ They should copy and paste their
description of the workshop into the text box and press
3. They’ll be given an annotated version of their experiential evidence – seen below.
Verbs
The first activity targets the students’ use of verbs.
1. Students begin by identifying their use of verbs which aren’t explicit or clearly evocative.
2. The teacher should explain that these are verbs which could be interpreted in many ways,
such as “stand”, “walks”, “asks” etc.
3. Using the table below, students build word banks of synonyms and like words. It’s important
students realise that these don’t have to be word for word synonyms, they can be like words
or phrases.
4. The teacher should begin by modelling. Tables can also be co-constructed as a class.

5. Once the table has been filled, students identify the strongest verbs from the synonyms and
like words column and edit and refine their work by replacing the verbs.
Verb Synonyms and like words

stand Loiter, linger
staring Glaring, leering, fixated, surveying
asks Demands, beckons, urges
walks retreats, withdraws
move Creeps, edges, inches
holds Commands, wields
Adverbs
This activity is about identifying verbs that could be strengthened by being partnered with an
adverb.
1. Students add verbs to the left-hand column, and use the right column to build a word bank of
adverbs which could help to paint a more vivid picture of what is occurring on stage.
2. Again, begin by modelling the first word for the students and then you may choose to
co-construct others.
It’s important to note that we’re interested in verbs that describe the stage action. This is where
we need to make clear that we cannot act on the temptation to use adverbs to evaluate the quality
of the playwright, play or our classmates’ performance. We’re not interested in hearing that our
classmate ‘brilliantly’ or ‘atrociously’ played Ahmed.
Verb Evocative adverbs

loiter suspiciously, ominously, threateningly
surveying thoroughly, critically, rigorously
demands powerfully, assertively, decisively, aggressively
edge tentatively, warily, cautiously

Adjectives
The final activity targets students' use of nouns and adjectives.
1. Students identify their use of nouns in their writing and look for opportunities to use adjectives
to strengthen how well these nouns paint a picture of the stage.
2. Students identify evocative adjectives in the right-hand column which help to create more
evocative noun groups.
Immediately you can see that this student has opportunities to add more nouns to strengthen their
description of the stage. Let’s see how the ones they have used can be strengthened by adding
adverbs.
Noun / Noun Group Evocative adjectives

construction fence neglected, deteriorating, dilapidated
glow flickering, dim, pallid
Hopefully you and your students will find this tool useful!
On the following page is a copy of the table if you’d like to run this activity with your students:

Verb Synonyms and like words
e.g. ‘walks’ strides, saunters, glides, edges, sneaks
Verb Evocative adverbs
eg. ‘walks’ cautiously, warily, carelessly, purposefully
Noun / Noun Group Evocative adjectives
e.g. glow dim, flickering, pallid, warm, sterile

TOOLKIT
The Year the World Stopped:

Lessons Learnt in Lockdown
about the Language of Drama
CHRIS RUTHERFORD
Chris Rutherford has taught Drama for 12 years and currently teaches at
the Brigidine College, St lves. He has delivered presentations on behalf
of Drama NSW to colleagues and students, with a particular focus on
writing about Drama. Over the past decade Chris also performed in an
educational production of Brecht's Mother Courage, directed a cabaret
show for the Sydney Fringe Festival and shares his passion for other art
forms by writing for a pop music publication.
I had grand plans for 2020, at least in a symbolic way. It was to be a

line in the sand that I could traverse, an ushering in not only of a new decade but of a new era
of discovering what I wanted both personally and professionally. The world as I knew it had very
pointedly shed its skin at the end of 2019 and I was quietly optimistic about what was to come.
But somewhere around March, the world seemed to stop. For us as educators, this seemed
especially alarming as the clear distinction between our personal world and our professional world
shifted. Suddenly, we were teaching remotely and many of us did so from our own homes; whilst
‘locked down’ we sent out emails or postal packages of content and tasks for students, taught
lessons using digital platforms and webcams, created Google classrooms, and desperately tried to
capture some of the ineffable magic of face-to-face learning in a very different context.
A turning point for me was when a colleague and I conducted a Year 9 improvisation
assessment over the video conferencing software Zoom. When we let go of our initial panic and
doom-mongering, we embraced the uncertainty of this alien assessment environment and saw
what was unfolding on the screen in front of us. We watched as the students demonstrated their
resilience, their commitment (some still followed our on-campus assessment guidelines and
wore their ‘Drama blacks’ for the task) and moreover their creativity. Students passed prop items
to one another across the Brady Bunch-esque lineup of screens. They used the space of their
living rooms to experiment with perspective, moving closer and further away from the camera
to manipulate an actor/audience relationship. When one of their peers’ microphones cut out,
one group shifted their performance style to mime and all took on exaggerated physicality to
communicate their story.

TOOLKIT: The Year the World Stopped
In short, they created theatre.
So in this strange time that has been defined by a sort of collective loss, I have used the opportunity
to reframe 2020 and look not for what has been taken away but what has been gifted to us.
In recent years, I have become more involved in the written component of our subject. It is worth
remembering that the essay is the grassroots part of our HSC examination, something that every
student across the state completes (even with a common question) regardless of their choice of
Individual Performance or the nature of the work they have created for Group Performance. This
year being able to write about theatre will be even more important to our Year 12’s, but what
opportunities in a post-COVID learning context arise for all our Drama students?
Here is an outline of some of the activities that I have found useful:
• One of the types of evidence that students can draw on when writing about theatre are imagined
staging. When conducting a moved reading of a play remotely with Year 11, we took on the mantle
of directors. Students were allocated scenes and had to come back to the group to discuss how
they would stage certain moments. They needed to explain this as if they were in a rehearsal
room telling their actors how to navigate the space, what kind of gestures or actions they would
perform, what qualities in their vocal and physical characterisation to draw on, and what impact
this might have on the audience’s understanding of the scene, character or the ideas in the play.
I asked the students to revisit the text of that scene as a starting point and to work with any
props, set pieces or environments described in the play rather than adding their own, as this
encouraged them to focus in on the actors themselves.
• I made use of the wealth of streamed performances from companies like National Theatre Live,
Shakespeare’s Globe, ATYP On Demand, Belvoir’s archival footage access and others to allow
students to still ‘see’ theatre. If they could no longer go to the theatre, then I was going to enjoy
that there was a way to bring theatre to them. An activity I did was to put students in ‘teams’
and direct them to a particular moment in a streamed production that I had identified as one
rich with a variety of theatrical techniques. Each group had a unique clip and then had to work
collaboratively to transcribe what they saw on a piece of paper, choosing their words carefully to
convey the essence of that moment on stage. They focused initially on production elements such
as set, costume, lighting and sound, but then turned their attention to proxemics, movement,
facial expressions, indicators of performance style, images and the litany of other choices that
create dramatic meaning. These then had to be read aloud to the class who shut their eyes and
listened to the words in isolation, before then watching that clip together. Each group could
listen to the discussion from the class then go back to what they had written and rework it.
• I changed the language of the classroom to move away from ‘essays’ and ‘examinations’
and the most-dreaded ‘theory.’ With heightened sensitivity around learning in a disrupted,
anxiety-laden year for our students, I wanted to model how controlling the lens through which
you look at something can change what you experience. We used the metaphor of words as
paintbrushes and decided that writing about Drama was ‘painting’ this moment for someone

TOOLKIT: The Year the World Stopped
through words. I stopped talking about practical examples and evidence and began referring
to these as ‘theatrical experiences’ so that they saw their writing as kinetic, not something that
complemented their practical activities but simply a different form of it.
I hope that my students will no longer look at 2020 as the year the world stopped (for where is the
theatrical experience in that?) Instead, 2020 will be the year the world shuddered unexpectedly to
a halt and folded in on itself, cocooned in isolation from everything else. But this moment was not
the end; almost imperceptibly at first, the world began to move, unfurling parts of itself in different
directions, and the mood in the room changed from one of shock and horror to one of awe.
Bathed in a warm, golden light, the world tentatively took to its feet once more and walked with
determination towards its audience – not broken, but somehow transformed. And us, transformed
along with it.

Volume 16, Issue 1 5
HSC Drama - The Written Paper
Lisa Jinga
This paper is based on the workshop given by Lisa And Theatre are used below to highlight the
Jinga at the 2009, Drama NSW, State Conference. difference between an English essay and a good
Some of the texts and topics alluded to are not Drama essay.
current for 2010. Nevertheless the advice regarding
the writing of essays for the examination describes Australian Drama and Theatre Essays
best practice for students. Students may, indeed, should write in the First
Person using ‘I’ where possible, for example:
For the course prescriptions for 2010 to 2012
teachers of HSC Drama should note the changes
to the set texts for the topics for Australian Australian drama and theatre explores many
Drama and Theatre and Studies in Drama and personal issues and I feel the most important
Theatre. is a sense of belonging. I came to this
opinion when I performed as Olive in The
In Australian Drama, the texts for study in Topic 1: Summer of the Seventeenth Doll.
Dramatic Traditions in Australia remain the same
except that Norm and Ahmed, (in Plays of the 60’s
Volume 2, Currency Press, Sydney), by Alex Buzo Classroom workshop experiences should be used to
replaces The Summer of the Seventeenth Doll. In
clarify ideas and concepts for example:
Topic 2 Contemporary Australian Theatre Practice,
the texts remain the same except that Stolen,
(Currency Press, Sydney), by Jane Harrison, In a class workshop I worked with a partner
replaces The Seven Stages of Grieving. on a scene from The Removalists. We were
In Studies in Drama and Theatre there is one asked to omit the swear words from the
changed text for the topic Irish Drama: The Mai by scene and I came to realize just how import
Marina Carr replaces O’Casey’s The Plough and the
these words were in creating a feeling of
Stars. The topics of American Theatre and
Seventeenth Century Theatre have been replaced violence in the play. We replayed the scene
with Verbatim Theatre and Black Comedy. using the distinctively Australian idiom –
Teachers should also consult the Course ‘Bugger off, Ross’ which gave the scene a
Prescriptions document on the NSW Board of sense of verbal violence which eventually
Studies’ website for the texts set for these new escalated to the overt physical violence
topics and for any changes to the Group enacted later in the play.
Performance topics and to plays set for the
Individual Projects.
There should be a real sense of the texts as
blueprints for performance rather than as
The HSC Drama examination requires you to write literary texts for example:
on two topics Australian Drama and Theatre and
Studies in Drama and Theatre; one essay for each
topic. The rubrics for both topics explicitly call for The script of Still Angela seemed flat when I
students to learn ‘theoretically and experientially’. So read it. However, when my group work-
in order to achieve success, the most important thing shopped the train scene from the play in an
to do is unpack what the question is asking and then
answer the question drawing on your knowledge and assessment task, I sensed the collaboration
experiences. needed by our ensemble to find the
empathy and energy needed by the three
Experience from the marking of the HSC indicates actors who play Angela. I understood that a
that many students ignore the question or seem to woman has many characteristics which all
write prepared answers. The drama essay expected, came alive when we performed. “Different
is very different to the traditional English literature emotions are apparent at different ages”
essay in a number of ways, and this guide aims to
was one comment my audience reported.
show you how to write in the drama style preferred.
Examples from all eight plays from Australian Drama
DRAMA NSW
JEDA
Students should frequently refer to the audience’s Or

experience as, without audience, no drama or theatre
exits. The audience experience may be in a traditional I experimented with the Amplifier
theatre setting or it may be as the audience for a class scenes in The Chapel Perilous and
workshop. saw the unique way that this
technique conveyed the issue of
women’s liberation to the audience,
‘blasting’ the information at them and
amplifying its meaning. I appreciated
that a new dramatic tradition was
forged when Dorothy Hewitt
combined a variety of dramatic forms
in her ground breaking play.
As traditional audience:
When our class watched a performance of

Ruby Moon at the Sydney Theatre Company, I
realized how flexible an actor performing
contemporary Australian theatre must be, as
transformational acting required the two actors
to change completely from one character to
another such as from Ray to the eccentric, Quotes from the play, as evidence for the points
Sonny Jim. Being so close to the action on students make, are essential to show their
stage made me feel for the characters’ knowledge of the text and topic for example:
predicaments, not just observe their story.
A key concern in No Sugar is the patronizing
As an audience member of a class workshop: attitude shown by Whites towards
Aborigines in the play’s dialogue, for
When I watched my classmates perform the Ute example:
scene in A Beautiful Life, I understood Sergeant: Well they’ll have to work if you
playwright Michael Futcher’s words, “the actors want luxury items like soap.
rhythmically clapping in counter point to Amir’s
narration, whilst packed impossibly into a coffin Milly: Look, last week my Joe cut a
sized metal cage”. My classmates were hundred posts for old Skinny
confined in a small box and had to act physically Martin and you know what he
to convey their emotions rather than relying on got? A pair of second-hand
their dialogue alone. boots…
Here, the disparaging remarks are delivered
through cutting dialogue, which I
Students should show a working knowledge of the experienced in a workshop. The choice of
dramatic forms, performance styles, techniques and the word ‘luxury’ is important and it can be
conventions in practice not just in theory, for example: said in a number of ways. I chose a
sarcastic way, which highlights the
When I enacted ‘Murri gets a Dress’ from Seven Sergeant’s sarcastic tone.
Stages of Grieving, the laughter from the
audience made me see how significant the
Studies in Drama and Theatre
performance style of standup comedy is in
conveying a powerful message about the In Studies in Drama and Theatre, students must
disempowerment of our indigenous people. The also refer to classroom activities throughout their
audience sometimes laughed unexpectedly at essays to answer the question drawing on personal
my physical actions for example:” ...…” experience.
Volume 16, Issue 1 7
Failure to do so will mean they will not access the top Drama style:
range of the marking criteria. They must demonstrate In a class workshop, we enacted the scene
that they understand that drama and theatre involves a where Blanche places the lampshade over
live performance where a relationship is built between the naked light bulb. I played Blanche and
the actor and the audience. as I put the shade on I felt vulnerable and
realized that the shade was a metaphor for
my attempts to hide from the reality of my
The importance of the rubrics
changing world and create an illusion I could
It is especially important to read the rubric for the topic live with.
carefully and to be familiar with its terms and concepts.
For example, in topics such as Site Specific, Street
and Event Theatre it is essential that they discuss their
own experiences, which should be substantial, as it is
a major requirement of the topic. Seeing a busker
perform is not enough!!! They must be involved in the
process and performance of their own piece of site-
specific theatre.
Seeing a busker
perform is not
enough!!!
Augusto Boal presenting his workshop on the
Theatre of the Oppressed. Riverside Church, May
Approaches to Acting.
Rather than saying for example :
Literature style:
Dramatic versus Literary
Boal invented the ‘Theatre of the
Here are some examples of a literary style approach to
Oppressed’. He developed many games
the question which students should avoid, followed by
and exercises for the actor to develop
a theatrical approach dealing with the same
flexibility and spontaneity for theatre styles
information, which should be adopted. Notice how
such as Invisible or Forum Theatre.
much more detailed the theatrical approach is.
A student should say:

American Drama. Drama style:
Rather than saying for example : One of Boal’s key philosophies is ‘theatre is
Literature style: a weapon’. In getting ready for an exercise
of Theatre of the Oppressed, we played the
The lampshade Blanche places over the light game Carnival in Rio. As I played the game
bulb in A Streetcar Named Desire is a I realized that the flexibility and spontaneity I
metaphor for illusion and reality in the play. developed would be invaluable for the
Invisible Theatre exercise we planned to
perform on litter and graffiti in our
playground.
DRAMA NSW
JEDA
Brecht Tragedy
Rather than saying for example : Rather than saying for example :
Literature style: Literature style:
Brecht used many techniques in his plays Fate and suffering are important in
to alienate the audience such as gestus, Oedipus Rex and masks were used in
the v-effect, signs and banners, Ancient Greek tragedy to increase the
historification, song and minimal sets to acoustics of the actors’ voices and
stop audiences feeling for the characters because the actors doubled up on
and make them think instead. roles.
A A student should say:

A
Drama style:
A
In Oedipus Rex tension rises throughout the
play as Oedipus’ suffering becomes more
pronounced and he seems to loose control
of his own fate. We work-shopped the play
and noticed that the masks worn by the
actors obscured emotion on the actors’
faces. Rather than abandon the masks, we
had the actor playing Oedipus change mask
as the tension grew. His first mask had a
small black splotch and each successive
mask had a bigger mark, like a spreading
cancer so that the masks attained a different
value in our contemporary performance. So
we decided to try masks on the character of
Roy in our workshop of Angels in America.

Drama style:
In Caucasian Chalk Circle alienation was
a technique I experimented with to make
my class audience think. I drew a circle of
chalk on the floor so a tug-of-war could be
mimed when we argued over the
ownership of the child, Michael. However,
as the actor playing Grusha I felt
competitive and did not want to let go of
Michael (metaphorically) at first; after all,
I’m not a mother. I had to fight these
instincts, as this is not what the character
feels. I found the script moving!
Moreover, my classmates felt empathy for From all the examples above, you can see that
me when I relinquished the child. detailed analysis and answering the question using
Obviously, alienation is far more complex personal experiences will demonstrate your
than it seems and there are times when knowledge and how you can apply it to the specific
Brecht does want us to feel! questions asked in the examination.
TOOLKIT
Verbatim Theatre –
Truth vs Theatricality
CARLA MOORE
Carla is a director, playwright and teacher, having worked extensively in the

field of drama and theatre in high schools and universities. She is President
of Theatre on Chester. She has an MA in Applied Theatre and is a NIDA
graduate playwright.
When teaching Verbatim Theatre, I begin with the premise that verbatim
theatre with its documentary techniques and dealings with specific
community context maybe forsaking theatricality for authenticity. This
lack of theatricality may be dis-engaging Australian audiences from a
theatre that tells stories with theatrical forms and styles. Students need
to understand the difference between a text like “Embers” with its pure storytelling format and
a highly massaged Verbatim text like “Parramatta Girls” with its dramatic dialogue and scenes.
But “Embers” can be theatrically and artistically appealing if creative and imaginative production
elements are applied. This exercise allows students to play with a serious Verbatim text to entertain
as well as inform, and then make discoveries where the authenticity is lost.
From the rigid non-theatrical practice that adheres closely to the ‘voice print’ of the original source
to the highly theatrical; from the completely authentic to the ‘massaged’ material, verbatim
remains a theatrical style that has given a voice back to the community. But audiences need to
continue to be intrigued by the material and therefore in response, verbatim theatre has evolved.
As playwright Alana Valentine says:
“In the early days of verbatim theatre, plays, performances and dance works could be made
out of simple collations of such found material. But I would assert that this is not enough any
more. Audiences have become inured and used to this style, and further innovation is required to
continue to captivate them.” [Valentine: 2009]
Verbatim seems to be evolving towards a new theatricality, putting the playwright back into the
foreground and ironically it is authenticity that is forfeited in order to engage audiences. Directors
too are instrumental in changing the rigidness of verbatim theatre.

TOOLKIT : Verbatim Theatre – Truth vs Theatricality
We need to consider:
a) Pure Verbatim vs massaged Verbatim – how much truth and authenticity is lost?
b) How much truth is lost when Verbatim is theatricalised?
c) Does Verbatim only resonate with the community for which it is written?
d) To what extent has Verbatim theatre's disposition towards realism and authenticity sacrificed
Australian audiences' engagement with drama in the twenty-first century?
Verbatim Introductory Exercise

1. Give context and emphasise this is a verbatim conversation.
2. Read in pairs.
3. Discuss – implications. [Schettino was later found guilty of manslaughter in connection

with the disaster and sentenced to sixteen years in prison.]
4. Instruct students to revisit the exercise, but now theatricalise it by:

• Adding as much humour as possible.
• Adding outrageous Italian accents.
• Referencing Commedia characters.
• Adding props, set.
5. Discuss –
• How much authenticity is lost?
• When it becomes a black comedy, does the conversation still have the same impact
i.e. the words are the only truth left)
• Theatricality vs truth. Audience appeal.

Italian Shipping Disaster

On 13 January 2012, the Italian cruise ship Costa Concordia ran aground and overturned after
striking an underwater rock off Isola del Giglio, Tuscany, resulting in 32 deaths. The captain,
Francesco Schettino, left the ship prematurely whilst about 300 passengers were left on board.
Verbatim conversation between the Italian Coast Guard and

Captain Schettino
Coast guard: Hello.
Captain: Good evening, chief.
Coast guard: Listen, this is De Falco from Livorno. Am I speaking with the captain?
Captain: Good evening, Chief De Falco.
Coast guard: Tell me your name, please.
Captain: I am Captain Schettino, chief.
Coast guard: Schettino?
Captain: Yes.
Coast guard: Listen, Schettino. There are people trapped on board. Now, you go with
your lifeboat. Under the bow of the ship, on the right side, there is a ladder.
You climb on that ladder and go on board the ship. Go on board the ship
and get back to me and tell me how many people are there. Is that clear?
I am recording this conversation, Captain Schettino. (Captain tries to speak)
Coast guard: Speak up! Captain, put your hand over the microphone and speak in a
louder voice!
Captain: At this moment the ship is listing.
Coast guard: There are people who are coming down the ladder on the bow. Go back in
the opposite direction, get back on the ship, and tell me how many people
there are and what they have on board. Tell me if there are children, women
and what type of help they need. And you tell me the number of each of
these categories. Is that clear?
Listen Schettino, perhaps you have saved yourself from the sea but I will
make you look very bad. I will make you pay for this. Dammit, go back on
board! (Noise can be heard in the background.)
Captain: Please ...

Coast guard: There is no 'please' about it. Get back on board. Assure me you are going
back on board!
Captain: I'm in a lifeboat, I am under here. I am not going anywhere. I am here.
Coast guard: What are you doing, captain?
Captain: I am here to coordinate the rescue...
Coast guard: (interrupting) What are you coordinating there! Get on board! Coordinate
the rescue from on board! Are you refusing?
Captain: No, I am not refusing.
Coast guard: Are you refusing to go aboard, captain? Tell me the reason why you are not
going back on board.
Captain: (inaudible) ... there is a … another lifeboat ...
Coast guard: (interrupting, yelling) You get back on board! That is an order! There is nothing
else for you to consider. You have sounded the "Abandon Ship". Now I am
giving the orders. Get back on board. Is that clear? Don't you hear me?
Captain: I am going aboard.
Coast guard: Go! Call me immediately when you are on board. My rescue people are in
front of the bow.
Captain: Where is your rescue craft?
Coast guard: My rescue craft is at the bow. Go! There are already bodies, Schettino. Go!
Captain: How many bodies are there?
Coast guard: I don't know! ... Christ, you should be the one telling me that!
Captain: Do you realise that it is dark and we can't see anything?
Coast guard: So, what do you want to do, to go home, Schettino?! It's dark and you want
to go home? Go to the bow of the ship where the ladder is and tell me what
needs to be done, how many people there are, and what they need! Now!
Captain: My second in command is here with me.
Coast guard: Then both of you go! Both of you! What is the name of your second in
command?
Captain: His name is Dmitri. (static)
Coast guard: What is the rest of his name? (static) You and your second in command get
on board now! Is that clear?

Captain: Look, chief, I want to go aboard but the other lifeboat here has stopped and
is drifting. I have called ...
Coast guard: (interrupting) You have been telling me this for an hour! Now, go aboard!
Get on board, and tell me immediately how many people there are!
Captain: OK, chief.
Coast guard: Go! Immediately!
Students will hopefully discover that when theatricality is imposed on the verbatim plays studied
in class, it does not necessarily take away from authenticity. When the actions of the play are
theatricalised by a director however, as shown in the above exercise, it will take away from the
representation of the truth.

TOOLKIT
Verbatim Theatre
DANIEL KAVANAGH
Daniel is a Drama educator and practitioner with over 25 years experience

in the Performing Arts. He is an accomplished Director, Playwright and
Composer and Performer. He has specialised in working with young people in
the performing arts and has been the Artistic Director of several key Youth Arts
organisations in NSW throughout his career, the most notable being Founding
member and Artistic Director of Tantrum Youth Arts. He is an experienced
HSC marker and is currently the Head Teacher of Drama at Newtown High
School of the Performing Arts where he continues to create and nurture links
between the worlds of Drama Education and the Performing Arts industry.
The Verbatim Theatre topic is a very popular option among students studying the HSC. The main
appeal is that it gives students the opportunity to engage in creating an original piece of theatre –
a great practice run for you to test out Group dynamics and process leading up to the Group
Performance. However, the rubric can be difficult to decipher for students who are struggling with
the concepts dealt with in this topic.
At its essence, the rubric deals with the tension that exists between maintaining Authenticity while
giving Dramatic Shape to the collected Direct Testimony that results in an Engaging Performance
that utilizes some sense of Theatricality. Easy, right?
Unpacking the rubric can be a challenge, particularly with students who are visual learners so I
often engage students in the act of visualising a See-Saw with Authenticity and Direct Testimony
on one side of the scale, balanced with Audience Engagement and Theatricality on the other
side. Whole slabs of unedited, unfiltered testimony is not engaging, but then a focus that results in
just theatricality without a sense of that Authentic voice is not Verbatim theatre either.
The Pivot point being the Tension between the two sides and finding the right balance between
them. Whichever plays you choose to use in this unit will fall somewhere along this balance bar.
Community Involvement underpins the whole process of creating work so it is the anchor, and the
sense of where Authority is given is decided by each of the theatre makers as they give Dramatic
Shape to the work. The question then for the students is where on this visual representation does
Truth lie?
Even if students can only recall some of the Key Terms from the rubric, this visual metaphor is a tool
that I come back to again and again for them to visualise in the exam when unpacking the essay
question.

TOOLKIT: Verbatim Theatre
So what experiential workshops can I do in class to help

my students understand these complex concepts?
What follows are a few “Go To” activities that I always cover with students to help them understand
some of the Key factors that influence the creation and the Form of Verbatim Theatre. Although
I have taught Verbatim theatre for many years, I have based a lot of my teaching on the book
VERBATIM: Staging Memory and Community edited by Paul Brown. This book is available here
through Currency Press and is an invaluable resource for teachers of this unit.
Authenticity and Dramatic Shape

Authenticity is something that many students struggle with understanding. Surely unedited direct
testimony is more authentic than something that has been shaped for an audience? This activity
is designed to get students to think about the filter of “Dramatic Shape” and how editing and
shaping raw dialogue can still create a sense of Authenticity in the performance even though the
exact original testimony may be edited, changed or recontextualised.
ACTIVITY
Students form a circle and think of a personal anecdote to share with the class. The
anecdote can be of a dramatic event (quite often these make the most interesting material)
but always be careful with students' emotional recall when dealing with personal stories.
Do not encourage a therapy session.

Each student takes time to tell their anecdote around the circle. Try and encourage as little
preparation time as possible as spontaneity is key with this exercise. Let the class listen to
all the stories in turn.
Once complete, ask the class
• What they notice about the stories?
• Is there anything that links them? Is there a similar structure emerging?
• What about the style of storytelling – which ones were the most engaging?
• What is it about these “performances” that makes them authentic?
Then reconfigure the room, create a clear performance space and audience. One by
one, each student now is asked to get up and “Perform” their story again. Give them
only a minute or so to think about their story. Once all students have completed their
“performance”, get the class to reflect on the differences.
• What do they notice are the main points of difference between the two versions?
• Were these more self aware and edited “performances” more engaging? Why?
• Does this make them less authentic than the raw unshaped versions?
Ask students if they have a relative or friend that has a story about some event that they
have heard told a number of times. It will usually be a “Dad story” and often the family has
heard it so many times they often chip in with details when he mixes them up and gets
them wrong. Even though this story has been heard multiple times, it is still his experience
and totally authentic because it happened to him. He is the custodian of the “truth”, even
if he has started to exaggerate some of the details over time for comic effects.
The final step should always be to get students to reflect and write down their thoughts.
Get the students to complete a critical reflective piece of writing that recounts the task
and then analyses the purpose of this activity, Evaluating what they learned from it.
Direct Testimony and Ethics

Getting students to interview people will be the basis of any practical work you create in the
classroom and so they should always consider the notions of ownership when it comes to using
someone else's words. Alana Valentine speaks of notions of “custodianship” when she shapes
testimony from people she collaborates with and students should understand the ethics around
this practice.

ACTIVITY
As a class, compose a release statement that each interviewer can read out at the start
of each of their interviews. This will take the form of several questions that the students
can ask their interviewee at the time of interview that takes the place of a pre written
release statement, and it’s good to get the students to read it out for their own benefit
and understanding of the responsibility they have.
Some questions could be but are not limited to:
• Do you agree to be interviewed about — (whatever event) — as part of my work for a

school assessment?
• Do you understand that this interview will be transcribed to form the basis of a piece of
Drama?
• Do you agree to be named in our script or would you prefer to remain anonymous?
• Are you happy for us to use this recording for educational purposes only knowing that
we will not share it with any third parties outside our Drama class?
Although you can give a similar release form to students, having the class discussion and
getting them to collaborate on the process of making this list of questions is a crucial step
in getting them to think about the importance of treating the words of their interviewees
with respect and dignity.
AUTHORITY and TRUTH

People's own words hold Authority. The notion of Authority within Verbatim theatre is complex
and theatre makers often position their audiences to be sympathetic to one point of view while
resisting another. Unpacking this for students and explaining it in a clear way can be difficult.
ACTIVITY
Try and find some current News stories, preferably recorded but in a pinch a print article
can also do. The aim is to have some raw material to create from where there are a few
good quotes from someone involved. Political news stories can be great, or even a
dramatic event where there have been eyewitnesses interviewed. As long as the class can
see the whole story and transcribe the “quotes” they want to use. If you have already been
collecting testimony for the students' work, you can even use sections of that.
In small groups (3 or 4), get students to create a short 2 minute performance that is based
on the news story. They must use the same quotes in their piece and not change them.

The groups decide on how credible they believe the testimony to be. (For reference: A clear
example of how audience are positioned in how they receive testimony is in the Laramie Project
Moment: The Word, where all the religious figures in the town are lined up across the stage)
They do need to make a choice in how they approach the material though. They can
present the quotes from the eye witness or public figure as fact and give that character the
Authority they would expect, or they can think a little deeper on the story and construct
a performance that criticises the account of the event and undermines the eyewitness or
“character” but still using the quotes they collected. Make sure you have some of both to
compare.
Groups perform and reflect on the Authority of the testimony used. The same words have
given way to two very different audience reactions but they still have used the quotes as
they were collected. Use the following questions to lead group discussion:
• How can theatre makers start to manipulate an audience by shifting the authority of
testimony from different figures in their piece?
• What responsibility do theatre makers have not to misrepresent the people they have
gathered testimony from?
• What ideas does this open up?
• Can you think of any times in the plays we are studying where a figure may be positioned
in this way to have less Authority?
Students should then engage in written critical reflection to process their own thoughts
and analyse what they have learned from this classroom activity.

Creative Connections towards the Voices of Women in Theatre
Creative Connections towards the

Voices of Women in Theatre
SONIA BYRNES
Last year at the 2018 Drama NSW Conference I spoke about the work we needed to do
as teachers in promoting the voices of women in theatre. I looked at how few female
practitioners and playwrights we taught and the need for an expansion of the stories we
teach through theatre. I wrote that talk and corresponding JEDA article knowing that 2019
was the first opportunity for Drama educators from across NSW to teach this new topic area.
Our new prescriptions list for Drama includes a new topic under Studies in Drama and Theatre –
Topic 3: The Voice of Women in Theatre. It is a topic designed to give students a strong understanding
of why female playwrights are integral to the theatre world and how their plays speak of many
experiences unique to women.
Below I have detailed some of my work in breaking down the rubric, teaching this unit and an extensive
resource list. This was originally presented as a workshop for the 2019 Drama NSW Conference and
there were more practical examples of workshops completed by those who attended. I have not
included all the workshop activities here but the resources and writing included should give a solid
framework for developing workshops in your own classroom.
Breaking down the Rubric

This topic explores, theoretically and experientially, plays written by women or as a particular
collaboration with women, which give expression to a female vision of human experience.
Students compare two female playwrights from different contexts and consider the ways women
create, develop and assert their voice in a distinctive theatrical expression. In particular, the roles,
characters, issues and situations depicted, the maintaining or breaking of stereotypes and socio/
cultural judgments made about women are considered. Students engage with the plays’ dramatic
forms and techniques, performance styles and conventions to explore how varied issues affecting
women’s equality, status and identities are voiced. 1
Breaking down the rubric it indicates that the following need to be explored:
• Female vision of human experience
• Two playwrights from DIFFERENT CONTEXTS
• Consideration of:
–– The ways women create, develop and assert their voice
1 https://educationstandards.nsw.edu.au/wps/wcm/connect/a74b9113-cfa0-4ca3-9c6c-b2d5f6d45c3e/drama-st6-course-
prescriptions-2019-21.pdf?MOD=AJPERES&CVID=
© JEDA – VOLUME 25 NO 1 2019 PAGE 9

–– How it is a distinctive, creative expression

–– Roles and Characters
–– Issues and Situations
–– Maintaining or breaking stereotypes and socio/cultural judgements made about women
• Issues
–– women’s equality
–– Status
–– Identities
• How are they voiced?
• In this look at:

–– Structure as new
–– Dramatic forms and techniques
–– Performance Styles
–– Conventions
Therefore, it is important to consider:
1. Why women’s voices? (Context of women in theatre and brief history, dismantling the white,
male cannon, telling stories of women, difference in approach and style)
2. What are these stories and who are these women?
3. Abandonment of traditional masculine forms and styles OR reinvention and recreation of them
to serve the stories of women. (forms and styles and distinctive, creative expression)
4. Creating, developing and asserting your female voice (conventions/production elements and
techniques)
5. Identity and other issues related (distinctive creative expression)
6. Status and Equality and other issues related (distinctive creative expression)
7. Socio/cultural judgements and stereotypes and other issues related (distinctive creative
expression)
Usually when I am teaching a unit of work I try to teach both plays together. I find this helps
students engage with the topic as a whole rather than the individual plays which can sometimes
result in forgetting the overarching topic. For this reason I try to create what I refer to as ‘Critical
Statements’ that shape the workshops we do and hopefully allow for me to ensure the rubric is fully
covered. Below are some of the critical statements that I use to allow for workshops under these.

CRITICAL STATEMENTS
• Understanding the context of women’s stories in theatre is needed in order to see why a female
vision of the human experience is essential.
• The lived experience of different women contributes to a unique and varied representation of
this world.
• Dramatic structure and style is subverted and manipulated in order to serve the stories of
women.
• Production elements and theatrical techniques are drawn on by female playwrights in order to
create a unique and assertive voice in theatre.
• Women’s identities are explored through a variety of issues and elements in order to express a
distinct voice within theatre.
• The exploration of status and identity is crucial in voicing the stories of women and their
experiences of the world.
• Stereotypes are used and subverted by female playwrights in order to assert a particular
dramatic intention.
Context is everything
It is important when teaching this unit of work that your classes are given context around these
plays and more broadly as to why we might study the work of women separately to that of men.
I think there are some important points to regard when looking at the rubric and the context
though. These are:
• The unit is called the voice of women in theatre. However, it is incorrect for us to assume that
there is one single voice that is THE voice of women. The plays included in this unit are varied
and represent many types of feminism throughout many time periods. Therefore, there are
many VOICES of women in theatre.
• Whatever your views or understanding of feminism I think it is important to understand the

basics of feminism, the different waves and the different types so that when you are teaching
the texts you are placing them in the correct context not just socially and culturally but also in
relation to the big movements around women. For example, it is near impossible to teach Top
Girls without an understanding of second wave feminism, materialist feminism and bourgeois
feminism. ( I will provide some resources and hints for this)
• History of women in theatre. There has to be a basic understanding of where these plays fall in
the history of women in theatre. For some of these plays they were ground breaking in being
the first of their kind so we need to explicitly place students in the context to allow them to
understand the weight of what they study.

• Intersectionality is important to understand and be aware of. Those who wrote the unit of work
have obviously given a list that is intersectional and representative of varied women’s voices. It
is good for students and yourself to understand the importance of the intersectional aspect of
the unit and emphasise and utilise it where possible. For example it would be good to pick plays
that aren’t both second wave feminist writing from a white female perspective.
One of the best resources I have found for giving yourself a really good understanding of the place
of these plays and basic feminist theories is Feminism and Theatre by Sue-Ellen Case2
Below are some resources that are good to consider for use in regards to the context of the
playwrights themselves. Please make sure when you use or reference these resources you make
mention of the people or organisations who created them.
Context for Aphra Behn

• Chapter 2 ‘Women Pioneers’ from Feminism and Theatre by Sue-Ellen Case3 gives some crucial
context on Behn and the place she holds in women’s theatre history. It also frames her in the
social context of the time.
• The Belvoir learning resources PDF for their 2016 production of ‘The Rover’ has excellent
material for studying the play and a decent amount on Behn herself. https://belvoir.com.au/
wp-content/uploads/2016/10/The-Rover-Learning-Resources.pdf
• https://belvoir.com.au/news/who-was-aphra-behn/ (Who was Aphra Behn article by Belvoir)
• Cambridge Companions to Literature: The Cambridge Companion to Aphra Behn4
• Markley, Robert. “Aphra Behn’s ‘The City Heiress’: Feminism and the Dynamics of Popular
Success on the Late Seventeenth-Century Stage.” Comparative Drama, vol. 41, no. 2, 2007, pp.
141–166. JSTOR, www.jstor.org/stable/23238685.
• Pearson, Jacqueline. “Gender and Narrative in the Fiction of Aphra Behn.” The Review of English
Studies, vol. 42, no. 165, 1991, pp. 40–56. JSTOR, www.jstor.org/stable/516920.
• BBC Summary of Aphra Behn https://www.youtube.com/watch?v=cnVkzdCOu7Q
Context for Caryl Churchill

• The Cambridge Companion to Modern British Women Playwrights5 has excellent context on
female playwrights in Britain. In particular there are whole sections on Churchill and where she
is placed in the context of this history.
2 Feminism and Theatre by Sue-Ellen Case, Palgrave Macmillan, 2008

4 Cambridge Companions to Literature: The Cambridge Companion to Aphra Behn, Edited by Derek Hughes, Edited
by Janet Todd, Cambridge University Press, 2011
5 The Cambridge Companion to Modern British Women Playwrights, Cambridge Companions to Literature Series, (Ed) Elaine Aston
and Janelle Reinelt, Cambridge University Press, 2000 ISBN 1139825720

• Fourth Wave Feminism can learn a thing or two from the 1980s play Top Girls by Rhiannon Lucy
Coslett, The Guardian, Australian Edition, 29 April 20196
• Cameron, Rebecca. “From Great Women to Top Girls: Pageants of Sisterhood in British
Feminist Theater.” Comparative Drama, vol. 43, no. 2, 2009, pp. 143–166. JSTOR,
www.jstor.org/stable/23038083.
• Kurdi, Mária. “The Dramatic Achievement of Caryl Churchill and Its Potential Influence.”
Hungarian Journal of English and American Studies (HJEAS), vol. 19, no. 2, 2013, pp. 375–376.
JSTOR, www.jstor.org/stable/44789684.
• AMMEN, SHARON. “Feminist Vision and Audience Response: Tracing the Absent Utopia
in Caryl Churchill’s Top Girls.” Utopian Studies, vol. 7, no. 1, 1996, pp. 86–102. JSTOR,
www.jstor.org/stable/20719476.
Context for Donna Abela

There is not a great deal written about Donna Abela as a playwright and her work in the contemporary
theatre scene. This may be because she is the most contemporary of the women on this list but it
is worth noting to students that while ‘Jump For Jordan’ received reviews, some articles and some
references in academic writing there has been far less than any of the other plays and playwrights.
• Donna Abela’s own contribution to her blog 7-On Playwrights has a good summary of her work
and place in Australian female playwrights and their work. 7
• KEEP GOING SISTER I WILL TRANSLATE FOR YOU Reflections on the 11th Women Playwrights
International Conference in Santiago, Chile. By Donna Abela 8
Context for Leah Purcell

• Queensland’s Untold Stories series. Leach Purcell Episode 2013. This one on Leah Purcell gives
context to her experiences as an indigenous female playwright 9
• The SBS Series HerSTory – Indigenous Women in Film, TV and Theatre gives context to Indigenous
women writing theatre 10
• The Blog 365 Plays has an entry on Leah Purcell and her reactions to the original drafts of Box
the Pony 11
• All the Deadly Vibe articles on Leah Purcell give context to her writing as a woman in Australia 12
6 https://www.theguardian.com/commentisfree/2019/apr/29/fourth-wave-feminism-play-top-girls-feminism?CMP=Share_
iOSApp_Other
7 http://sevenon.blogspot.com/2014/08/donna-abela.html
8 https://australianplays.org/sop_donna
9 https://www.youtube.com/watch?v=q_BMR3ssfeY
10 https://www.youtube.com/watch?v=45bROUbuBAI
11 https://365plays.wordpress.com/2011/09/23/166-box-the-pony/
12 https://www.deadlyvibe.com.au/2007/11/leah-purcell/

• Leah Purcell on Messing with an Aussie classic at Belvoir by Dee Jefferson, Time Out, Sydney,
September 21, 2016 13
• A Brief History of Indigenous Contemporary Australian Theatre, by Maryrose Casey and Cathy
Craigie, Blak Stage, an Australian Plays.org showcase, 2011 14
Context for Joanna Murray Smith

• SMH Article Who’s afraid of Joanna Murray-Smith? Is Joanna Murray-Smith our next truly great
Australian playwright or is she the great pretender? By John Bailey, June 19, 2011 15
It is interesting to note that this article looks at the criticisms of Murray-Smith’s work and that
almost all of the critiques come from men. This could shape an interesting discussion around her
work in Australia, how it is received and who she is writing for.
• Keynote address for The National Play Festival, Adelaide Festival, 2015 by Joanna Murray-Smith 16
This keynote in 2015 is personal and relevant and there is a podcast as well.
• Her place museum entry on Joanna Murray Smith 17
• Scenes from a Survivor, The Age, August 16, 2008 18
• Big Thinker: Germaine Greer, The Ethics Centre, August 2018 (best summary of what she believes
and who she is)19
• Difficult woman Elaine Showalter on the difficulty in getting to grips with Germaine Greer, The
Time Literary Supplement, January 2, 2019 20
Below are some resources to use in regards to the waves of feminism in Western Culture. They are
by no means exhaustive.
• Women and After, Timeline of Women’s Liberation Movement, The British Library 21
• The bite sized guide to Feminism clips (First, Second and Third Wave) which were made for the
2018 All About Women Conference at the Sydney Opera House are excellent. They can be found
on YouTube. 22
13 https://www.timeout.com/sydney/blog/leah-purcell-on-messing-with-an-aussie-classic-at-belvoir-092116
14 https://australianplays.org/assets/files/resource/doc/2012/06/BlakStage_Essay_ABriefHistory_DUPL_1.pdf
15 https://www.smh.com.au/entertainment/theatre/whos-afraid-of-joanna-murraysmith-20110618-1g952.html
16 http://www.pwa.org.au/joanna-murray-smiths-keynote-address-npf15/
17 https://herplacemuseum.com/encounters/joannamurraysmith/
18 https://www.theage.com.au/entertainment/art-and-design/scenes-from-a-survivor-20080816-ge7b7k.html
19 https://ethics.org.au/big-thinker-germaine-greer/
20 https://www.the-tls.co.uk/articles/public/difficult-woman-germaine-greer/
21 https://www.bl.uk/sisterhood/timeline#
22 https://www.youtube.com/watch?v=lW1sfaWcwdM&t=1s, https://www.youtube.com/watch?v=5R1vSZqjO3I,
https://www.youtube.com/watch?v=gRTaoIytvAg

Women of Colour and Indigenous Women in the waves

It is important to note for our students that these waves often forget women of colour or Indigenous
women (although the Bite Sized Guides do a good job of acknowledging this and making mention
of what was going on for them) I would be ensuring that no matter the plays you are studying in the
unit of work that you make mention of this and explore the quotes below in regards to feminism
and theatre. It is particularly important to explore this when studying ‘Box the Pony’ but outside of
the curriculum I think it is important to spend some time on exploring this with all students.
A good quote to consider for women of colour generally is:
“…Women of colour have identified their position as a discrete issue within feminism, challenging the
presumed homogeneity of voice and vision within the movement. The term ‘women of colour’ entered
common parlance in the last years of the 1970s, signifying both a weakness and a strength within the
feminist movement. The weakness resides in the predominately white composition of the movement
and the relative insensitivity to issues of ethnic oppression that this entails. The strength resides in the
creation of a coalition of all women of colour, who may previously have worked only in their respective
ethnic communities.”
– Sue-Ellen Case ‘ Feminism and Theatre’ (Chapter 6, Women of Colour and Theatre) 23
Indigenous Women
Celeste Liddle’s article ‘Intersectionality and Indigenous Feminism: An Aboriginal Woman’s
Perspective’ from 2014 is a great insight into how the supposed fourth wave about intersectionality
is viewed and seen by her.
“My responses to issues of gender are very much informed by my experience of race, and vice versa.
My experience of structural forms of oppression was heightened due to these intersecting forms of
oppression, and are particularly acute due to being of a working class background. Therefore, when it
comes to Aboriginal feminism, I very much see our questions and tactics occupying the more “radical”
end of the feminist spectrum. By radical, I am referring to streams such as socialist/Marxist feminism,
anarcha-feminism and radical feminism. I feel personally that the issue of race keeps me focussed
on community rather than individual advancement, and therefore my feminism reflects this.”
– Celeste Liddle 24
“Australian feminists are champions of gender equality, as evidenced by movements such as

Destroy the Joint and Collective Shout. But when it comes to racial equality, I am finding more
and more that feminism here is seriously lacking. With the notable exception of Destroy the Joint
briefly coming out to bat for a disproportionate amount of Aboriginal women being gaoled
for redacting statements in domestic violence cases, all is quiet on the western feminist front.”
– Kelly Briggs 25

24 Intersectionality and Indigenous Feminism: An Aboriginal Woman’s Perspective by Celeste Liddle, The Postcolonialist, June 25,
2014
25 Australian Feminists need to talk about race by Kelly Briggs, The Guardian, Australian Edition, 11 October 2013

The Feminist Branches

Another important area to teach when considering the context of these plays are the branches of
feminism. In this day and age many people consider feminism to simply be the one movement and
don’t know the history of the many branches that make up feminism. If you are and your students
are unaware of these then there crucial commentary on different feminisms in the plays will be
missed. Below is some basic information on these branches to give you a launch point for your own
reading or the ability to create handouts for your students.
BOURGEOIS FEMINISM
“Bourgeois women from the early nineteenth century do not have the abolition of the class system
in mind; on the contrary, they support it. Moreover, bourgeois feminism affirms capitalism and one›s
own class position, and disregards the rights of working-class women.” 26
(It is important to note that this quote comes from a Materialist Feminist website and article so
there is some degree of bias in this commentary on Bourgeois Feminism)
“Bourgeois Feminism is a label applied to a range of feminist writers who do not clearly fall into either
the socialist or radical feminist camps. Basically, bourgeois feminists want equality for women within
the existing social system.” 27
“As a woman I completely reject Hillary’s brand of bourgeois feminism, because it leaves out millions
of immigrant women, poor women, and the women under her bombs all around the world.”
– Abby Martin, The Empire Files 28
It is important to reinforce that Bourgeois feminism is all about women succeeding and achieving
equality within the current systems without a change to political, social and economic structures.
I find students see this branch of feminism negatively when in reality the most common form of
feminism they have encountered and is promoted within pop culture is bourgeois feminism.
MATERIALIST FEMINISM (AKA SOCIALIST OR MARXIST FEMINISM)

“Derived from Marxism, materialist feminism posits that class determines the situation of all
people within capitalism. The dynamics of class consciousness are central in the formation of all
economic, social and cultural institutions. Class biases determine the attitudes of individuals in
the spheres of labour, interpersonal relationships and the production of cultural artefacts. This
assumption implies that works of art reflect the class of the artist and that bonds between people
are usually the bonds of a shared class. Class is a hierarchical structure in which the owners
of the means of production garner their privileges through the oppression of the workers. The
definitive role that class plays in social organisation means that there are crucial differences
between upper-middle-class women and working-class women – not only are all women not
26 Luxemburg’s Critique of Bourgeois Feminism and Early Social Reproduction Theory, 25th February 2018, Historical Materialism,
http://www.historicalmaterialism.org/blog/luxemburgs-critique-bourgeois-feminism-and-early-social-reproduction-
theory
27 Harvey, L., 2012-19, Social Research Glossary, Quality Research International http://qualityresearchinternational.com/
socialresearch/
28 Abby Martin, April 17, 2016 http://www.youtube.com/watch?feature=player_detailpage&v=PV_PLCC6jeI#t=1597

sister, but women in the privileged class actually oppress women in the working class.”
– Sue-Ellen Case ‘Feminism and Theatre’ (Chapter 5 Materialist Feminism and Theatre) 29
In regards to Marlene in Top Girls Sue-Ellen case also says:

“…This characterises Marlene’s upward mobility as a colonisation of her own sister for her class
achievement, she is using her sister as a kind of surplus labour that increases her own opportunities
for profit. The economic situation has created two choices for women: the relative economic poverty
of child-rearing, or the emotional alienation of success within the structures of capitalism.” 30
“My position is that the contemporary western system of gender operates as a class. By that,
I mean that the social positions of man and woman are class positions that represent one’s
relationship to a specific division of labor. Man and woman are both expressions of a contradiction
within class society; this means that women’s liberation has to be achieved through the
dialectical resolution of this contradiction. Such a resolution can only be achieved by organizing
women as a class for the revolutionary overthrow of the material base that produces the class
contradiction of gender. Practically, this means the destruction of the nuclear family model,
the abolition of the gendered division of domestic labor, and continued ideological critique
and struggle against the gendered ideologies which these social conditions produce.”
– Alison Escalante 31
Another interesting article on Materialist feminism for teachers to read and maybe simplify for
students comes from Stevi Jackson who works at the Centre for Women’s studies at the University
of York. 32
RADICAL FEMINISM
“Radical Feminist theory analyses the structures of power which oppress the female sex. Its central
tenet is that women as a biological class are globally oppressed by men as a biological class. We
believe that male power is constructed and maintained through institutional and cultural practices
that aim to bolster male superiority through the reinforcement of female inferiority. One such
manifestation of the patriarchy is gender, which we believe to be a socially constructed hierarchy
which functions to repress female autonomy and has no basis in biology. Radical Feminists also
critique all religions and their institutions, and other practices that promote violence against women
such as prostitution, pornography and FGM. The subjugation of women is a social process that has
no basis in biology or any other pretext, and thus can and should be challenged and dismantled.”
– Radfem Collective Website 33

30 Ibid
31 On Women as a Class: Materialist Feminism and Mass Struggle – the relationship between gender and capital is complex, but
a materialist approach to both requires us to recognize the centrality of proletarian revolution for the liberation of women. By
Alison Escalante, Medium, Women, Nov 22, 2018 https://medium.com/@alysonescalante/on-women-as-a-class-materialist-
feminism-and-mass-struggle-42a228bde888
32 Why a Materialist Feminism is (Still) possible –and necessary, Stevi Jackson Centre for Women’s Studies, University
of York, Heslington, York, YO10 5DD, UKWomen’s Studies International Forum, Vol. 24, No. 3/4, pp. 283–293, 2001
https://www.feministes-radicales.org/wp-content/uploads/2012/03/Stevi-Jackson-Why-a-Materialist-Feminism-is-still-
possible-Copie.pdf
33 http://www.radfemcollective.org/what-is-radical-feminism/

Radical feminism is a perspective within feminism that calls for a radical reordering of society in
which male supremacy is eliminated in all social and economic contexts. Radical feminists view
society as fundamentally a patriarchy in which men dominate and oppress women. Radical
feminists seek to abolish the patriarchy in order to “liberate everyone from an unjust society
by challenging existing social norms and institutions.” This includes opposing the sexual
objectification of women, raising public awareness about such issues as rape and violence against
women, and challenging the concept of gender roles. Shulamith Firestone wrote in The Dialectic
of Sex: The Case for Feminist Revolution (1970): “[T]he end goal of feminist revolution must be,
unlike that of the first feminist movement, not just the elimination of male privilege but of the sex
distinction itself: genital differences between human beings would no longer matter culturally.” 34
INTERSECTIONAL FEMINISM
The international women’s development agency describes the history of intersectionality here:
“The word itself was first used by scholar and civil rights advocate Kimberlé Crenshaw in 1989. While
still a student studying to be a lawyer, she saw that gender and race were looked at as completely
separate issues. To Crenshaw, studying them in isolation to each other made no sense. She saw
that women of colour, for example, are doubly discriminated against, particularly in law. The 1976
case of Degraffenreid vs General Motors is used by Kimberlé Crenshaw to this day to illustrate
intersectionality. Five African American women sues car manufacturer General Motors for racial and
gender discrimination. But the courts found that women in general weren’t discriminated against
when it came to jobs as secretaries, and the fact that GM employed African American factory workers
disproved racial discrimination. It ignored the fact the sheer majority of secretaries were white women,
and factory workers were all men. So the women lost.” 35
“Put simply, intersectionality shows how a feminism that focuses on women – without also addressing
the fact that women come from different classes, and are marked by differences in ethnicity, sexuality,
ability and more – favours the needs of those who are white, middle-class, heterosexual and able
bodied.” – Carolyn D ’Cruz 36
Lesson Idea on Feminist Branches

When it comes to a lesson on this I would split the class into four groups (or eight groups depending
on the size of the class) and give each group a different fact sheet about one of the branches of
feminism. I would ask them to read the sheet, work out what it was saying and then create what
I call their ‘Feminist Gang’. They need to walk the cat walk and end in a tableau as a group with
stances that show their ‘vibe’. Then the group needs to make four statements about what their
gang stands for. (E.g. the Bourgeois Feminists might individually walk on the cat walk, end with
them standing together but separated depending on their status in society and make statements
such as “You’ve gotta work hard like a man to get up to where the men are”)
34 https://en.wikipedia.org/wiki/Radical_feminism
35 https://iwda.org.au/what-does-intersectional-feminism-actually-mean/
36 https://theconversation.com/explainer-what-does-intersectionality-mean-104937

Structuring lessons and workshops

Below is an example of one of the critical statements I use and what I would do in a lesson on Jump
for Jordan that would be then followed by a lesson on Top Girls.
Critical Question/Statement: Dramatic structure and style is subverted and manipulated in order to
serve the stories of women.
• Jump for Jordan. Get into groups and workshop Scenes 1-5. Discuss the difficulties of staging
this. How would you describe the style? What structure does it take? Look at the attached hand
out and discuss as a class. Why might Abela structure it like this?
Examples for other plays:
• As the teacher choose a section of ‘The Rover’ that doesn’t fit the exact stylistic conventions of
Restoration Comedy and explore the same question.
• The teacher selects sections from ‘Top Girls’ that explore the surrealist aspects of style, the
Brechtian Epic aspects and the realist aspects. In small groups workshop each scene. As a class
return and watch. Discuss why Churchill has so many different styles apparent in the one play.
How does this serve the stories of women?
• In groups of three workshop pg. 1 and 2 of ‘Highway of Lost Hearts’. Read through it and then
have one member serve as the directors. The director’s should play with how to stage these two
pages. In particular what styles emerge? Watch some of the scenes. As a class discuss why the
play is a one woman show and what structure it holds. What styles emerge? Why has Mary Anne
Butler made the choice to structure it this way? How does it serve the voice of Mot?
• In groups of three workshop Scene 1 of ‘Box the Pony’. Read through it and then have one
member serve as the actor and the other two as the directors. The director’s should play with
how to stage these two pages. In particular what styles emerge? Watch some of the scenes.
As a class discuss why the play is a one woman show and what structure it holds. What styles
emerge? Why have Leah Purcell and Scott Rankin made the choice to structure it this way? How
does it serve the voice of Leah Purcell?
• Choose a section of ‘The Female of the Species’ that plays with that tension between satire
and farce and get groups to workshop it after discussing or exploring these styles as a class.
What does Murray Smith do with this style that subverts or manipulates the structure or style
and why?
This is the hand out I refer to with Jump for Jordan.

Jump for Jordan – Form and Style

“Jump for Jordan’s form was originally conceived of as a disturbed archaeological dig
site; it would be constructed from strata of occupation (chronological events) which had
collapsed in on each other. To make sense of the play, Sophia, and the audience, would have
to participate in a type of dig, re-sequencing fragments and understanding them in context;
to write such a play, I would have to explore the porous or transmissible borders between
scenes, between temporal and spatial spheres, and work with the connectivity, frisson or
clash created at their juncture.” – Donna Abela 37
The Archaeological conceit

Most plays are structured around a known form or style in the theatre world. However,
these forms and styles are more often than not developed by male practitioners and
don’t always work for the female playwrights who want to write stories that access
various voices, times, places and ideas. Jump for Jordan doesn’t clearly fit into one
particular form or style. Instead it is spoken and written about as being structured like
an archaeological dig. An odd but interesting structure for a play. This is why we see the
play develop cinematic style jumps in scenes; much like our own memories. We see the
many layers of experience start to emerge and from that we can create a whole picture.
Therefore this play is structured around an archaeological conceit that the audience
accepts and follows.
Surrealist dream states and temporalities

One style that Abela does tap into is the dream state which can be referred to as surrealist
at times. This is weaved in with other temporalities or states of time that are more realist.
However much the realist moments hold truth they don’t remain in that style long enough
for us to consider a realist style part of the overall description of style for this play.
37 Abela, Donna T., Dialogic interplay: A strategy for representing difference and Cultural Diversity on stage, and Jump
for Jordan: a play, Doctor of Creative Arts thesis, School of the Arts, English and Media, University of Wollongong,
2016. http://ro.uow.edu.au/theses/4801

The creation of new styles and forms

We like to categorise plays into neat styles and forms but one consistent trend that
emerges when looking at the work of women in theatre is that their stories often require
the creation of new styles and forms. In dismantling and challenging the forms of male
practitioners and playwrights they are forging their own styles and creating a distinctive
theatrical expression of their own. It is important that when we write about the voice
of women in theatre we recognise this and understand the dismantled nature of our
traditional ways of creating theatre.
Assessment
Finally, I wanted to leave you with some ideas surrounding formative and summative
assessment in this area. Some of these have been tested and others have not but it is a
list of things that might work to help students begin to summarise their understanding of
this topic.
• Compare the pair sheet where the comparison table is filled in for each section of the
rubric. Remember to get them to include experiential examples.
• Create a closed improvisation where there is a Q&A based around the rubric. One
person is to be Churchill, another Abela, another Marlene, another Sophia and then
the audience with questions. The teacher is the equivalent of Tony Jones. One lesson to
prepare and one to perform. Film it and then watch later pointing out which sections
amplified certain ideas or not.
• Draw a giant Venn diagram on the classroom floor. Break the class into two groups.
One is Top girls the other is Jump for Jordan. Allocate each student an issue, character,
style etc. for each one. When the teacher yells out a section of the rubric they are to go
to either the Top Girls or Jump for Jordan circle or the cross over between the two and
explain why they are there. If they are in the crossover explain why you think it’s the
same for both plays.
• Get the class to create a performance essay comparing the two around a certain area
of the rubric and discuss.
• Complete a formal essay on The Voice of Women in Theatre, mark and give written
feedback. Remember to get them to include experiential examples.
• Create a debate and get each team to represent one of the plays.

Finally
In 2018 when I spoke at conference I was pressing upon educators to consider why
women’s voices were integral in theatre and education. I outlined how we have failed to
consider women’s voices in the past and ways to improve upon this in the future. This topic
area is one of the most concrete things we can do to start educating our students on the
many and varied voices coming from women. After all, the Drama classroom is the space
to start expanding upon the experiences they encounter and the voices students learn to
value in the world. I encourage anyone considering this unit to give it a go. I assure you it
will give you many valuable discussions and workshops that stay with students beyond
the classroom.
Sonia Byrnes is a passionate educator who has worked as the Head of Drama at Meriden Girls School
for close to a decade. She has specialised in teaching about women in theatre and looking for ways
to further opportunities for girls education in Drama. Sonia has presented professional learning for
teachers in scriptwriting, devising, feminist theatre and women in theatre. She is an experienced
HSC marker and has marked across all areas of the HSC course. She also works with various women
in the industry developing and mentoring actors, writers and theatre makers.
TRANSITION TO HIGH SCHOOL WORKSHOP

FOR YEAR 6 STUDENTS
DESIGNED FOR STUDENTS ABOUT TO EMBARK ON THE NEXT

EXCITING CHAPTER OF MOVING ON TO HIGH SCHOOL!
Using team building exercises, drama games and role-play,
Monkey Baa has developed an engaging workshop program specifically
to support students in building resilience, preparing them for greater
independence and being able to cope with change.
This practical 90 minute workshop gives up to 30 participants practical and easy
strategies for dealing with new environments, new people and new beginnings
whilst giving them space to voice both their excitement and their fears.
FOR COST & OTHER INFO EMAIL education@monkeybaa.com.au
ARA DARLING QUARTER THEATRE For more information about our

Terrace 3, 1-25 Harbour St, Sydney 2019 EDUCATION SEASON visit
© JEDA – VOLUME 25 NO 1 2019(opposite Darling Qtr Playground) monkeybaa.com.au | 8624
PAGE 9340
22
Tearing the Mask
An Exploration of Japanese Performance
NIDA 10 –15 February 2014
Margaret Rowe
(The author wishes to thank Jeff Janisheski for and we performed at La Mama Theatre in New York
generously sharing the text of his introduction to the City. Those months of training were like an initiation
‘Tearing the Mask’ symposium held on Saturday, into another world: a world of surreal imagery,
15 February 2014 at NIDA. His enthusiasm is intense focus and stillness, a world of slower time (a
contagious.) kind of deep, ecological time), and a world of ghosts.
The “choreography” consisted of stream-of-conscious,
‘Tearing the Mask’ was a week-long exploration
surreal imagery:
of traditional and contemporary Japanese
performance curated by Jeff Janisheski, NIDA’s A twig in your forehead snaps
Head of Acting. Two years in the making, Jeff Branches grow on your back
hoped that the films, workshops, lectures, panel A bird flies through your skull….
discussions and performances offered would “foster
a deeper appreciation of the profound influence that At NIDA, even in my acting classes, I will
Japanese performance and aesthetics have had on occasionally weave in the lessons from my teachers:
contemporary theatre makers, both in Australia and Waguri, Richard Emmert, Ohno and others – to
across the world”. NIDA will host further Japanese have the students practice these key aspects that can
theatre workshops during 2014 including a focus on transfer to any play or role: rigor, contained energy,
contemporary Japanese scriptwriting. having a dynamic rhythm, poetic imagery that can
fuel your performance, etc.
Two Japanese masters, Richard Emmert and Yukio
Waguri, were invited to Australia to work with Today will be an immersion into these two forms, so:
students and demonstrate their performance skills what is Noh? what is Butoh? On the surface, Noh and
in Noh and Butoh respectively. The week concluded Butoh are wildly divergent forms:
with a discussion between four contemporary Noh is the traditional 600-650 years old form; Butoh
practitioners with backgrounds in Japanese is the 55 years old contemporary form.
performance – Lynne Bradley (Zen Zen Zo Physical Noh began as a court dance for aristocrats; Butoh
Theatre), Tess de Quincey (De Quincey Co.), Cheryl was a punk-like rebellion among avant-garde artists.
Hazlewood (Butoh and Beyond project) and Yumi
Umiumare, the only Japanese Butoh dancer living in Noh is complex but revered for its subtlety and
Australia whose recent work DasSHOKUSHAKE! austerity – and an audience might appreciate subtle
won a Melbourne Green Room Award for details such as the walking of the actor; in fact Noh
Innovation in 2013. is sometimes called “the art of walking.” Butoh can
range from the Zen-like minimalism to a chaotic,
‘Tearing the Mask’ was a fascinating and enriching spectacular maximalism; and it can be defined as the
experience for me personally and the purpose of dance of darkness (or dark dance).
this article is to share some of the ideas explored at
NIDA in a way which may be useful in our classroom Noh is highly stylized and codified. Butoh however
teaching. has no set rules: it can be meditative or anarchic,
spare or spectacular, tightly choreographed or
There are common threads running through all completely improvised.
Japanese performance traditions. In the following
extract Jeff Janisheski eloquently teases-out Why bring these together? What are the threads/
similarities and differences between Noh and Butoh: connections?
This week has been a culmination of a journey that Despite seeming esoteric, and not in the mainstream,
began for me 25 years ago: in 1989, I trained with both have been hugely influential: Butoh is now an
Yukio Waguri and his dance partner Natsu Nakajima international movement with choreographers and

Tearing the Mask
companies from Russia, to the US to Australia. Noh • Poetry: Both of these are highly literate forms
influenced the writing of Yeats and the directing of – with condensed poetry for both. I talk about
artists such as Peter Brook, Robert Wilson; Robert a Noh play like a diamond – with beautiful,
Wilson (works tour to Australia often – e.g. his minimalist poetry; Butoh has Butoh-fu – a
Einstein on the Beach in Melbourne): said, “I hate surreal, stream of consciousness poetry that is
naturalism. I think to be natural on stage is to lie. That the choreography for the work. Roland Barthes
is why I like formalism. In theatre I am much more has a book about Japan titled Empire of Signs –
related to the eastern tradition than to the western and both forms are in their ways empires of signs
one. To Noh or Kabuki or Bunraku more than – of literate, poetic signs.
Tennessee Williams or whatever we have done in the • Ma/emptiness: “Ma” is a Japanese concept of
last two or three hundred years in western theatre.” “negative space” – but “negative” is not really the
right word. It’s more about “pregnant or potential
What are the common aesthetics/principles?
space.” It’s about a space or pause or interval or
• Philosophy/existential issues: Both of these gap (e.g. as is found in an ink-brush painting or
forms are psychological forms that deal with a Zen-rock garden) that allows the imagination
the deep, existential issues of life. One of the of the viewer to fill something in and complete
Butoh documentaries said, “You can’t casually do it. It’s an appreciation for emptiness or interval
Butoh” – it’s a life commitment. – that both Noh and Butoh share with their
• Death/ghosts: Noh plays often have ghosts sparseness and minimalism. Butoh performers
and demons – and spirits from the dead haunt often don’t dance with each other – but they
the stage. Butoh often embodies these spirits. dance the space between each other. As my
Someone asked my teacher Kazuo Ohno, “How teacher Anne Bogart said, “The lines of the actors
do you dance?” He said “It’s easy; I’m surrounded on stage should never go slack.”
by hundreds of dead people.” So he took • Suri-ashi: Both forms share a similar sense
inspiration and power from that energy/spirit. of time and rhythm: the slow-time and slow
• hadows: Although Japan is a highly “suri-ashi” (sliding feet) of Noh and Butoh. Both
technological, bright, electronic world, it is also Noh and Butoh are arts of walking – or of doing
a world that has a long tradition of appreciating very simple, reducible, essential tasks. Many
darkness and shadows: earthen quality, a darker, artists – from butoh artists to Western artists
more subdued quality. On a literal level (from the – have looked to this technique to revitalize a
domestic architecture) to a more aesthetic one performers’ physical training. Tadashi Suzuki
(looking at the ink-brush paintings, the festivals, – who borrowed elements of Noh to create his
and the art). Read Junichiro Tanizaki’s In Praise Suzuki method (which Lynne Bradley will speak
of Shadows: he talks about the “darkness” the about later today), said “One reason modern
“shadows” of traditional Japanese architecture, theatre is so tedious to watch, is because it has
lacquer ware, and the Noh stage - no feet.”
• Koans: And because these are existential forms, • Kamae – the basic standing position of Noh
the rational mind sometimes can’t grasp them. from which everything else follows – it is about
Zen Buddhism uses koans – to help shake contained energy – a position of relaxed strength
the meditating student out of linear, rational and tension – giving the performer a sense of
thinking. The most famous koan is “What is expectancy – Butoh has that similar sense of
the sound of one hand clapping?” Butoh is like contained energy – one Butoh choreographer
another Zen koan – “What is your original face?” from Thursday night’s film, said inside us is a
That could be the challenge of butoh – and many sleeping tiger.
Butoh teachers use seemingly illogical, poetic, • Jo-Ha-kyu: Jo-ha-Kyu is the lifeblood of Noh; it is
non-linear ways of teaching. And in Noh, the its rhythm – it literally means beginning/middle/
main writer/creator of Noh – Zeami – used end or slow/fast/faster but as Richard Emmert
metaphors to describe Noh training: he likened says, it’s really about “expansion and contraction”
Noh training to a flower.
© JEDA – Volume 20 No 1 2014 9

Tearing the Mask
of a gesture, of a play, and of how things are Noh Drama

spoken and sung. Butoh has a similar sense of
time – and of contained energy. Richard Emmert is Professor of Asian performing
arts at Musashino University , Tokyo. He has led a
• Masks: Obviously, Noh involves masks – and number of Noh performance projects around the
the mask (although a carved object) can portray world, is founder and Artistic Director of Theatre
a myriad amount of emotions. The butoh mask Nohgaku and leads a training program called the
is a living mask. Roland Barthes, in his brilliant Noh Training Project in the US, UK and Japan. These
essay Empire of Signs, says that in Noh/Kabuki/ 3 week courses train westerners in the ways of Noh
Bunraku “The face is only: the thing to write” – and produce new plays in English with no connection
that is, it is so blank that it is open to our own
to a Japanese context.
projections of meanings. The performer in Noh
and Butoh must retain emotion – and pull back. Richard demonstrated some of the basic elements of
As the creator of Noh, Zeami said, “When you Noh:
feel ten in your heart, express seven.” • Minimal stylistic movement. Noh can be
• Kata: Kata - which means stamp or pattern or understood as a masked dance but performers
mould – are the stylistic movement patterns dance to an energy or an intensity not just a
that form the gestural vocabulary. Both Butoh rhythm.
and Noh use a kind of Kata: Noh is comprised • Performance consideration of intensity without
of Kata; Butoh has Butoh-Fu – which Waguri tension in movement and voice
trained the students in this week. The question • Use of chorus to describe to the audience what
for both forms is how to have freedom within the actor is seeing or feeling at a given moment
limitations, how to have the form (the kata) and in the action
be free. • Posture –actor assumes a focused centre,
So, all that being said, why the title, “Tearing the emphasis on the core, lower back pushed
Mask?” forward. Posture also helps show off costume
The quote is from the Japanese avant-garde artist • Voice – a unique sound between song and voice.
from the 1960s, who talked about artists’ need to A melodic chant.
“tear the mask” of polite society, of encroaching • Different styles of voice used to serve different
Western culture, of anger/pain about the war styles of Noh plays i.e a soft melodic style vs a
and the bombing of Hiroshima/Nagasaki. Butoh strong dynamic style. Some plays are poetic e.g.
is clearly a kind of “tearing the mask” through young women pieces and some more dynamic
its violence, its focus on the grotesque, it’s “anti- e.g. male roles
technique” technique, etc. In a more subtle way, • Masks associated with ‘darkness’ and the
Richard Emmert is also tearing the mask: new existential concerns of darkness within ourselves.
Noh plays in English – which he’ll talk about today • Masks – worn at an angle to the face using a
with one of his collaborators, Allan Marret (Prof. pad at the forehead. This creates shadows and
Emeritus from Sydney University). Both forms for contrasts of light which in turn give expression
me also tear off another mask: they reveal deeper to the mask when moving onstage
layers to ourselves, perhaps our soles, deeper, subtler
• Male characters living in the present time of the
aspects of humanity; they reveal layers of poetry and
play don’t wear masks. Ghosts, , women and old
imagery; and they strip away so many conventions
men wear masks
of theatre: to reduce the art to the bare essentials:
walking, moving, minimal props/set, the actor, the • The ‘direct mask’ concept – the face is a direct
words , some music. If theatre is the viewing place – mask
the theatron – they tear off all our masks and allow • Music – 4 instruments. 3 drums and 1 flute used
us to see ourselves. throughout a play
• The flute has an extra tube inserted inside which

Tearing the Mask
makes it differ from the classical Chinese flute. Butoh runs counter to the traditional Japanese
The pitch is upset and its sound quality becomes custom of honouring the past. It rejects the socially
other- worldly. held notion that the best things, the best ideas and
• The drums are hit only 25% of the time. Voice the best art lie somewhere in the past. A common
calls by the drummers take 75% of their Japanese term is ‘to improve’ which means to
performance time. Patterns of rhythms are draw on the past, to look to the past first for
learnt for the small hourglass drum, large instruction. Hijikatu rejected the past and insisted
hourglass drum and the barrel drum which is on starting anew. Butoh was new. It celebrates that a
played with two sticks performance cannot be re-created. It is gone when it
• Noh actors are the most employed actors in is finished. There is no set form and a performance
Japan. 15% of professional Noh performers are may be choreographed or completely improvised
women and they can play male roles. drawing only on the circumstances and impulses of
the moment.
• The Ma – the timing, /the spaces between/
changes from actor to actor , person to person. Butoh is seen as another counterpoint to the classical
This is the improvisational aspect of Noh. No body and celebrates ‘the grotesque body’. Like
two performances can ever be the same. surrealism it is anti-rational and like Noh explores
Recommended reading: Zeami’s treatises our inner darkness. Hijikatu said “The relics of our
society litter Butoh stages. All that our society has
Noh is a tradition AND an improvisation. Many discarded is celebrated in Butoh” It can serve Jung’s
people see the Noh tradition as rigid and complex injunction to ‘bring up your shadow and look at it
with its years of training and intensity putting it and devour it!’ Alluding to the NIDA title it can tear
beyond the reach of students. Yet there are ways of the mask.
playing with the concepts, the movements, the stories
and the music which bring Noh to contemporary Speaking to us through an interpreter Yukio shared
audiences. Noh plays are now being written and his experiences and thoughts:
performed in English around the world (even in In developing new works Butoh privileges the
Tokyo). Because Noh isn’t a beat oriented art form evocative power of words and language. It is poetic.
it can be danced to different music. For example, A way of working is to describe or write the words
Richard Emmert has recently worked with Korean for the world you want to create and then physically
traditional musicians together with dancers from Bali live the world the words suggest. Once in that space
and southern India. Contemporary rock/pop music experience being a performer seen from an outside
is fun to explore and the whole design aspect of Noh context. Yukio later re-visited this idea of a journey
lends itself to exciting classroom work. My junior for both performer and audience in moving from
class developed short ‘young women’ pieces where a point of ‘I know that’ to ‘I feel that’ to something
the actor wasn’t moved to contemplation by looking beyond both. Performance has many layers from
at Mt Fuji but by looking at the ugly Clocktower expressing the world you want to create, inhabiting
fountain at Westfields and clothes shops with sale that world and in performance going beyond it.
signs! This reflexiveness is another link with Noh. Yukio
Butoh believes that Noh and Butoh performers make the
same discoveries – rhythm, slowness, groundedness
Yukio Waguri is the Artistic Director of the of the body and the living mask (the direct mask of
Kohzensha Butoh Company and was the main the actor). Butoh involves having an intellectual body
male dancer in Tatsumi Hijikatu’s Asbestos-kan not just a mind. Richard Emmert makes the same
from1972 to 1980. Hijikatu was Butoh’s founder point about Noh saying “…when the form is in your
and his methods are interpreted in Waguri ‘s own body the form disappears”. A tension is at the heart
choreography and teaching around the world. (Show of Japanese performance work where a focus is on a
Koyo University Archive youtube clips of this early performer finding their own freedom within a form.
work to students). The ma. The tiger within.
© JEDA – Volume 20 No 1 2014 11

Tearing the Mask
Panel Discussion – From Butoh she learned “to trust the stillness. Wait
for a physical impulse to arrive” and to “work from
Contemporary Practitioners the inside and be a vessel for performance”.
The following cutting edge Australian performers Training exercise from Butoh: Moving meditations.
discussed their own Japanese performance “..it takes you to a centred place, the ego disappears
training and practice and the legacy that it has and the body becomes a vessel”.
had in their work.
Tess de Quincey – De Quincey Co
Lynne Bradley – Zen Zen Zo Originally trained in graphics and sculpture in
Lynne travelled to Japan in the late 80’s and trained Copenhagen, Tess moved into dance-theatre in
in Noh. She then discovered Butoh before returning Denmark where she became aware of Grotowski.
to Australia in the mid 90’s where she trained in She was fascinated by Balinese mask dances and on
Suzuki method. She combined Noh into this work. seeing Noh Theatre for the first time knew she had
On returning to Japan she embraced Bogart’s to go to Japan. She did and was invited out to the
Viewpoints. Body Weather Farm where she stayed for 6 years
From Noh she discovered “the exquisite beauty of working with Min Tanaka.
ma. The simultaneous use of Time and Space”. She From Body Weather she learnt the concept of ‘being
also read Zeami who said that an actor’s job is to feel danced by’: “We are danced by history, time and
10/10 and express 7/10 keeping something secret so space”. She learnt “that the body is part of a larger
that an audience is drawn into the performance. environment. The skin is another border”.
Her gifts from Butoh are “ understanding that your Tess also studied Butoh during her time in Japan
body is being moved by the spaces around you. You between 1985 and 1991 and worked with Hjikata
have pregnant universes under your arms, between and also Jazuo Ohno for two years. On returning
your legs, moving you” And “our play territory to Australia she produced works in the outback
is the subconscious. The world of dreams. The including sound-dance installations at Lake Mungo
unspeakable world of the artist” and continues to create many site-specific, inter-
From Suzuki she learnt about presence on stage. cultural and durational works where “form and
“Gravitas. The heaviness- spiritually and physically- a sensitivity is constantly being discussed”.
great performance has!”. Her gift from Japan is to be present, “to negotiate the
Training exercise from Japan: Preparing the space. moment”.
Understanding the importance of context in which Training exercise from Noh: Opening and closing
to train, create and rehearse. Create a context in the hand. A slow movement exercise. Move at 1mm
which to deeply concentrate. A sacred place. Leave per second. Then take it into a walk. Move at 1mm
everyday possessions at the door. Entering is a per second.
choice. “Come burningly into the present”. “At that speed the whole world changes”.
Cheryl Hazelwood – from ballet to The concepts of being present, finding the spaces,
Butoh stillness and the transformation of the actor’s body,
Cheryl works with actors as well as dancers taking the space and the audience were common threads in
her training into theatres. Cheryl trained with the discussion.
Lindsay Kemp in Germany and discovered Butoh in Both NIDA’s year- long commitment to ‘Tearing
Berlin. She believes that Butoh “creates a universal the Mask’ and the new HSC Drama topic Japanese
language and achieves a depth of body-mind Traditional and Contemporary Theatre strongly
connection that is powerful”. recognise the influence that Japanese performance
has on contemporary Australian theatre practice.

THEATRES from ASIA –
Japanese Kabuki, Noh and
Bunraku: Performance
YEAR 9 – Stages 4/5 Unit of work by Christine Carr
Unit Description: presentation. Workshops will explore storytelling,

character, dramatic structure, and the elements of;
This dramatic context involves drawing on the
Hope, Despair and Death that are at the heart of
conventions of traditional and contemporary Asian
Japanese theatre. Students will investigate the story
theatrical forms to create an original piece of drama
and the expedition of the British explorers Burke and
in a particular performance style. Such dramatic
Wills. They will identify the role of the Aboriginal
forms may include: Japanese Kabuki, Noh or
people in the story and learn about the unnecessary
Bunraku.
and tragic end. Drawing on the conventions of
Research into theatres from Asia and practitioners traditional and contemporary Asian theatre forms
who use their conventions such as Suzuki may be the students will create an original piece of drama in
advantageous. a particular performance style.
This unit of work is designed to help cover the A resource booklet for this unit of work can
outcomes for the essential content in the compulsory be accessed through http://tinyurl.com/
context of the dramatic form of playbuilding. chriskabuki2014
The workshops and activities are designed to cover Syllabus Outcomes:
lessons over a ten– twelve week period (2x80 minute Making: 5.1.1, 5.1.3 and 5.1.4
lessons per week). In this unit of work students will
Performing: 5.2.1, 5.2.2 and 5.2.3
explore a variety of Japanese performance forms,
styles and convention as the basis for a cross-cultural Appreciating: 5.3.1, 5.3.2 and 5.3.3
Related Outcomes and Content
MAKING
Outcomes: 5.1.1 A student manipulates the elements of drama to create belief, clarity and tension in
character, role, situation and action.
Students learn to: Students learn about:
Recognise, create and develop elements of drama to The identification and development of the elements of
produce dramatic action and meaning drama which together create dramatic meaning and
audience engagement
Develop a range of created and imagined situations Using the elements of drama to enhance a range of
which explore the familiar and unfamiliar created and imagined situations
Develop fundamental vocal and physicalisation The processes of development and sustaining role/
techniques appropriate to conveying role/character character through voice, stance, gesture and status
PERFORMING
Outcome: 5.2.1 A student applies acting and performance techniques expressively and collaboratively to
communicate dramatic meaning
Students learn to: Student learn about:
Use vocal skills to communicate dramatic meaning The importance of breath, voice and expression in
performance
© JEDA – Volume 20 No 1 2014 13

Japanese Kabuki, Noh and Bunraku: Performance
Use movement skills to enhance performance Realistic and abstract movements in performance
Use body language and physicalisation to help and Aspects of body language and physicalisation such as
audience read performance posture, gesture and facial expression
Move through and act with confidence in a Performing with confidence in a variety of spaces and
designated performance space developing trust and collaboration with others
Develop timing in performance The contribution of timing to the creation of impact
and dramatic tension in dramatic works
Use techniques to create character/role Different techniques to approach the creation
of characteristic/role e.g. observation, animal
characteristics, physicality and status
Create and maintain clarity of focus in dramatic Maintaining clarity of focus as action advances-using
action props, gesture, eye contact, language and voice
Create a basic actor/audience relationship in a variety The function of the actor/audience relationship
of performance situations
Outcome 5.2.3 A student employs a variety of dramatic forms, performance styles, dramatic techniques,
theatrical conventions and technologies to create dramatic meaning
Students learn to Students learn about
Actively demonstrates skills, knowledge and A variety of dramatic contexts and their conventions
understanding of chosen dramatic forms or
performance styles
Use improvisation skills, where appropriate, to The different conventions and techniques of forms
explore dramatic contexts and styles that create particular dramatic meaning
Select and explore performance styles in their own Devising and performing work in a particular
right performance style
APPRECIATING
Outcomes: 5.3.1 A student responds to, reflects on and evaluates elements of drama, dramatic forms,
performance styles, dramatic techniques and theatrical conventions
Students learn to: Students learn about:
Recognise and discuss elements of drama in a variety The identification and importance of the elements
of drama activities for dramatic meaning of drama that together create dramatic meaning and
audience engagement
Describe the conventions, techniques and The roles of the performer and audience and ways to
technologies used in different performances read and respond to performance
Respond appropriately to their work and the Recording their ideas in a drama workbook or in
dramatic work of others other forms such as oral/aural, visual representation,
discursive, written or word processed forms
Describe and respond to the conventions, dramatic The role of the performer and audience, and ways to
techniques and technologies used in different read and reflect on performance
performances

TEACHING AND LEARNING STRATEGIES (Focus) RESOURCES

Have the various booklets, books,
Session 1 masks, illustrations, visual images
The Journey of Japanese Theatre, fabric and any
In these first sessions there is a lot of information that needs to be instruments or costumes/colourful
addressed, but not dwelt on because the students learn through the scarves (can be used symbolically
process of exploration and experience as the unit develops. or can be wrapped around the
waist in the style of the obi)
Engage them in the first lesson by listing the various aspects of the
experiential journey that culminates in a performance where they will
use Traditional Japanese Theatre styles and conventions.
• The story of Burke and Wills
• The styles of Japanese Theatre
• Noh
• Kabuki
• Bunraku
• Storytelling
• Legend
• Heroes
• Putting the two together to create?
• Group work
• SYMBOLS Imawaka character Noh mask, 1700s.
Source: Wikimedia Commons
(10minutes)
Begin the practical part of the lesson with a warm up that gives them
energy but keeps them focused.
Emotions – 1 to 10
• Students find a spot in the room (arms out turn – not touching
anyone)
• You choose emotion
• Students demonstrate in silence that emotion on a scale of 1–10
• Encourage physicality, facial expression, body language and gesture
• Then let them add sound (they have to let of steam)
A traditional Kabuki performer.

© JEDA – Volume 20 No 1 2014 15

Circle of numbers
• Large circle
• All imagine they have a giant pencil connected to their body just
above the naval (visualise Mr. Squiggle) CD player
• Beginning at number one they have to draw their number one in
front of them.
• It is a giant number one
• Use the whole body to lift the pencil as high as they can to begin
drawing
• They then draw the line by taking the pencil to the floor
• Stand back up to begin – number two
• Then – number three etc.
This can get noisy if the class is large.
If so alternate silence on the odd number.
Demand ‘not even the sound of a breath’
Whist the exercises are fun they allow the students to reflect on which
dramatic elements they are using throughout.
This is important especially if you emphasise ‘symbol’ where used.
It also encourages the focus and discipline needed when performing
in the Japanese acting style.
Session 2 Traditional Noh costume.

The Workshop
Workshop SYMBOLS:
Students develop a short piece of drama to demonstrate use of
symbol in a non – naturalistic performance.
Dramawise by Haseman &
• Move around the space, using a drumbeat or handicap to give
O”Toole – Chapter 9: Symbols,
regular, ‘ritual’ rhythm to your movement and changing the speed
Activity 5 – Provide this as a
and type of movement to suit the sound.
handout to students
• Working as a whole class (alternatively divide into small groups),
make a modern ritual which uses sound, movement and frozen OR
images / tableau. Your ritual could be a serious one, such as Making Drama by Bruce Burton
reaching adulthood, or a humorous one - for example, getting Second edition – Chapter 5 – 5.4
your first iPad/iPhone.
• Experiment
• Create a tableau or three freezes to create your image/story
• Explore how the use of fabric and musical instruments impacts
on other elements of drama, including mood, tension, use of
space etc.

• Ask students:
What is stylised performance?’
What is symbol?’
• Teachers guide students as they develop and refine a piece of
non-naturalistic theatre (ensure students are allocated a set time
to rehearse their work and perform for their fellow classmates).
• Students discuss their performances from the perspective of both Optional:
actor and audience member, exploring how effectively their use • CD player
of ritual conveyed their intended meaning. • Props
• It is recommended students are given a short homework task • Music
to reflect on their experiences and conclusions drawn from the
discussions had in class.
• Final in class rehearsal

• Ensure each group performs
Good practice is to let one group do the setting up and any

music, lighting cues to allow those performing to concentrate on
the performance.
Evaluation Questions
• Teacher talk “Elements of Drama” – reflect on the Term 1 Written Task “Elements of Drama”
workshops of manipulating dramatic elements to make meaning
for the audience. Rubric of good, adequate and
• How have the elements of drama been used in the performance? limited responses
• Using the given proforma respond and write about the Hand in to teacher for comments
performance.
• Each group perform – the others do the written task –
responding to performance
• What do I see?
• What do I hear?
• What do I feel
Students will now have some/an understanding of symbol and

how it can be used in performance. Fan for Noh play.
© JEDA – Volume 20 No 1 2014 17

Session 3
Japanese Theatre Traditions
a. Teacher led introduction to Japanese theatre traditions Asian Music (Japanese/Chinese)
b. What do students know about Japan? – provided plus own musical
instruments (percussion)
c. Who has visited the country?
Fans / language of the fan
d. Show pictures of authentic staging from a fold out children’s Books – “Kabuki” (any illustrated
picture book. book of Japanese theatre –
e. Have Japanese masks for student to handle - Noh, and Kabuki children’s books are suitable.)
masks if available. Children’s book to show staging and
f. Watch a DVD of culture of Japan and examples of the three mask – make-up
styles Try to obtain an authentic Japanese
g. Divide students into groups to collaborate and answer Noh Mask for demonstration
questions in their logbook. (It is possible to cut around a
white neutral plastic mask to give
an impression of a Japanese Noh
mask.)
Logbook documentation
Video/CD of Japanese Theatre and
Culture.
(Search YouTube for video of ‘The
Tradition of Performing Arts in
Japan’)
Session 4
The Story of Burke and Wills:
The Myths and Misconceptions
This initial introduction to Japanese Theatre is to use an exercise that
allows the students to experience the difficulty of manipulating body/
physicality to create the stance and movement of the Kabuki and Noh
acting style. A simple activity that demands attention and focus while
acknowledging the discipline required to be an actor in Traditional
Japanese Theatre.
Warm up:
1. Form a circle and shake left hand, right hand, left foot, and right Musical instruments – percussion
foot to the count of 16-16-16-16 then 8-8-8-8 then 4-4-4-4 then (Borrow from music department)
2-2-2-2. Shake each vigorously and speed up as you progress. As
you shake count out loud each set of numbers e.g. 1-16x4, 1-8x4,
1-4x4 and 1-2x4
This exercise will warm the body and lungs to allow for focus and
control which is needed in the following activity. ( Any suitable warm
up exercise will suffice.)

Movement – Noh:
2. Form a circle and teacher demonstrates the stance of a Noh actor.
3. Keeping back straight and feet together, knees bent and hands in a
prayer position, take the pose of someone sitting without the chair.
4. Everyone does this.
5. Teacher them demonstrates the movement of the feet. Same
stance as above, and both feet flat to the floor.
6. One foot moves very slowly sliding up the side of the other foot as
the ball and toes of the foot being moved slightly lifts of the floor.
When toes of foot standing still reaches the other foots instep then
moving foot stays still and the other foot repeats the action.
7. This process is so slow that every muscle being used is stretched
and strained.
8. It takes minutes to reach the middle of the circle therefore let
every second student do and others watch then swap over.
Movement – Kabuki
1. Form circle and teacher demonstrates the stance of a Kabuki actor Traditional Noh mask.
2. As above but this time use the leg movements of a Kabuki actor –
vigorous and karate like.
3. Keeping back straight lift the right knee up and leg towards your
body- kick foot outwards and straight then bend knee and bang
down onto the floor.
Balance is kept by pulling both arms towards chest, as you lift your
knee up and keeping elbows near body and bringing arms down to
waist height and holding them firm as your foot touches the floor.
Try to keep back straight. (Watch the video and get an idea of how to
demonstrate the movement for students)
4. There is always one or more in the group who you l would least
expect to ‘get the movements down. Always positive when they are
allowed to demonstrate to the class.
Students enjoy this and it is fun, let them discuss at length their
experience immediately.
Discuss the skills needed especially after your little demonstration.
However the need for discipline is essential to ensure the exercise is
successful. Kabuki musician playing shamisen.
The amount of respect, discipline, focus, commitment, skill and Source: Wikimedia Commons
sacrifice demonstrated by a Japanese theatre actor is extraordinary.
© JEDA – Volume 20 No 1 2014 19

Session 5
‘Noh for Now’ Handout – copies of “Noh for
Now”
Theatre Tradition
Handout of Assessment Task
• History
• Staging Logbook documentation
• Chorus
• Music
• Story
• Journey
• Myth/Legend
• Ask what students remember from the film?
• Recognition of the symbolic nature of performance?
Session 6
Storytelling:
Introduce the task and briefly how we will explore the various
activities. Hand out the booklet ‘Noh for Now’ and the story
of ‘Burke and Wills’.
• The story of Burke and Wills
• Read through as a class (circle)
National Noh Theatre, Yokohama.
• Style and conventions of Japanese Noh Theatre Source: Wikimedia Commons
• Read through booklet as a class (circle)
• Story
• Legend
• Heroes
• Discussion
• Putting the two together to create?
• Brainstorm ideas
Group Work – Select groups

Students like to work with friends and this usually works well.
Groups of six.
Combination of boys and girls usually delivers the best performances.
Groups assist each other during rehearsals.

Session 6
Students will develop a performance that draws upon the Group Performance assessment
previous sessions. It most beneficial to allow the students task. Create a performance using
to present their work to a class from another faculty. E.g. Japanese theatre techniques;
International Studies; Languages; Music or History elements of the ‘hope’, ‘despair’ and
‘death’ aspects of the Burke and
Guide students through the initial planning and brainstorming of Wills story
ideas whilst assisting them to forming a structure for their piece. Ongoing process monitoring
Consider when making: understanding through discussion/
logbook documentation
• The story of Burke & Wills
• History – Queen Victoria’s reign
• Story
• Legends
• Heroes
• Noh – telling stories from the past
• Strong symbolic expression Hope, Despair, Death
• Look again at the map of where they traveled
• Chronology of Robert O’Hara Burke (read again)
• Create tableaus of the prolific moments of The Expedition
• Discuss ways of presenting some of ideas that came up above
• Possible moments that can be theatrical (scenes)
Burke and Wills on the Way to Mount
• Possible character combinations (plot ideas) Hopeless. Watercolour by George Lambert
1907. Source: Wikimedia Commons
• Elements from the myths and misconceptions that evoke
the tragedy of the trip
• Irony of the role of the indigenous Aboriginal people
• Don’t forget the role of the animals, especially the camels
Camel Corp at Magdhaba by HS Power 1916. Source: Wikimedia Commons
© JEDA – Volume 20 No 1 2014 21

Rehearsals Organise for the students to

Session 1 perform for a Year 9 class from
another faculty as suggested
• Identify the tension and climatic moments (use frozen images to
earlier.
establish ideas)
• Consider how the tension can be sustained and heightened Ensure you allow enough time
to seat the student audience
• Use movement in a stylised manner to help create the tension and make sure you have a
• Experiment with ways of using the space running order for the groups
• Consider audience performing.
• Opening scene completed Use the system of stage
management that you
Session 2 introduced in the first
• Use of language from the script to enhance theatricality (chorus/ performance exercise. One
chant/narrator). group acts as stagehands for
• Experiment with use of space and props – boxes, screens, fabric another group.
material, and fans. At the end of the
• Experiment with ways of heightening suspense and tension/ performances, time permitting,
irony/humour. allow for questions.
• Scenes 2 and 3 completed
• Identify where music can be effective
Session 3
• Use improvisation to develop the characters, situations, symbolic
reference and story.
• Final scenes completed
• All sound, lighting, props completed
Rehearsals
Session 1
Preliminary showing to the class.
Continue to work and refine the movement, tension, and transitions.
Students continue to spend time recording, recounting and reflecting
in their logbooks as they develop their ideas into performance.
Session 2
Continued rehearsals using music/costume/props
Session 3
Full dress rehearsals run through with props, costume and musical
instruments.
Peer evaluation

NSW State Drama Conference 2014 – JApanese Traditional and Comntemporary Theatre
I was delighted to facilitate a workshop at the ‘New embrace and introduce this new direction of theatre
Directions’ Drama NSW Conference earlier this year. practice into their classrooms.
It reminded me of all the workshops I have attended The above unit is one that I have used with success
over the years that have informed, educated and for many years. It can be manipulated to include
inspired me to be a better Drama teacher. other aspects of Japanese Theatre such as the role of
To those who participated in the workshop I the audience, the role of the mask, actor preparation,
say ‘thank you’, for being so enthusiastic about and staging. Japanese Theatre is fascinating and
the introduction of the new topic of ‘Japanese intriguing. Students and teachers learn about the
Traditional and Contemporary Theatre’, which is Japanese culture through the exploration of its
on the 2015 – 2017 HSC Course Prescription list. It history, traditions through its captivating theatre
is wonderful to see how many teachers are willing to styles and conventions.
© JEDA – Volume 20 No 1 2014 23

Charlatans and Chaos:
Complicité’s Capacity to Cultivate
Creative Connections
KATHRYN BREEN AND CJ GROOTENBOER
“Theatre makers have always been charlatans and thieves and liars and con men.”
Simon McBurney, New Statesman, March 2016
“Yes it was chaos, working through chaos, you never quite knew what you were going to do
each day, but you knew that you wanted to make something.”
Simon McBurney, Interview in BBC Radio
Simon McBurney's Complicité, a version of Multi-Discipline Theatre, celebrates the collective work
of individuals as they creatively connect to form pieces that are both spectacular and intricate
in their nature. It is highly collaborative and seeks to employ both old and new technologies,
making it an engaging theatrical form in an increasingly technological world. At the 2019 Drama
NSW Conference we explored how to approach the HSC set texts, navigate the philosophies and
processes of the company and guide students through the creation of their own Complicité piece.
Philosophies & Practices

“McBurney began by making theatre in the 1980s with the intention of making the kind of theatre that
he didn’t see around him; theatre that could engage an audience like the rock concerts of that time.
He wanted to create a theatre that combined a number of different disciplines where you were not
just an actor, a writer, an explorer, a maker of things; but where you felt free to do what you wanted.”
(Knapper, 2010, p.236)
A key to creating this type of theatre is to understand that Multi-Discipline Theatre does not
represent a fixed system of work and that each rehearsal process is unique. The company seeks
to deliberately challenge traditional representations of theatre. The name of the company
‘Complicité’ is, in itself, a philosophy. The name creates a partnership in an almost illegal action or
situation where something wicked might just happen (theatrically speaking).
Physical theatre and movement are key methods of expression. This philosophy draws from Jaques
Lecoq’s influences: Le Jeu, Disponsibilité and Complicité. These are the three states an actor works
through in a Lecoq performance.
The company structure is also a philosophy. While there are permanent members who have similar
ideas but are diverse in their strengths and skills, there is also a constant engagement with outside
experts and people from other disciplines. While working on A Disappearing Number the group
expanded to include musicians, technicians and mathematicians. It is this element that also helps

Charlatans and Chaos: Complicite’s Capacity to Cultivate Creative Connections
to keep their theatre fresh. In seeking to challenge the traditional representations of theatre,
they use technologies that can convey the narrative and imply certain dimensions that cannot
be achieved with traditional theatre devices alone. Additionally, the audience’s imagination is a
critical component of theatre. McBurney says:
‘A play is not theatre... what actors act on stage is not theatre. Theatre is created in the minds of the
audience. It’s an imaginative act. It is this act of collective imagination which is to critical to theatre...
it tells us something about the nature of what it means to be human. Part of our nature of what it
means to be human is to imagine together.’ Shetsova & Innes, 2009
As students explore Complicité they can experiment with using ‘old and new technologies’ based
on what you have available at your disposal – you do not need to have the latest whizz bang facilities
to do this. A simple old school overhead projector, such as the one used in A Disappearing Number,
will suffice. Students love to use this in creative ways, as well as engaging via the devices they may
own themselves (such as a phone/tablet). Use your own ideas to bring together a collection of light
sources, costume pieces, suitcases, chairs, images, whatever you can think of or get your hands
on. Remember, although the electronic sense of technologies should be a focus, ‘technologies’
could also encompass a wider range of staging items eg mirrors, screens.
Le Jeu – To Play
This is the principle element in Complicité and at the heart of much of its practices and processes
– the ability to simply play with people, concepts, items, elements and technologies. ‘Le Jeu’ is the
catalyst through which the play is formed.
Complicité begin every rehearsal process through play, games and improvisation. McBurney
believes that if an actor has forgotten to play like a child, they shouldn’t be an actor. He explains
that what is involved in playing is ‘living out imaginative acts constantly’. In rehearsals there is
an amusement of developing an action and finding out what occurs within and because of the
action. The notion of playing as opposed to ‘acting’ has always been incredibly important to Simon
McBurney (Knapper, 2010, p. 24).
Therefore all rehearsal processes involve play, games and improvisation as this stimulates curiosity
and opens up questions to help with the devising. Structure and imagination are therefore an
important ingredient to devising. As such, students studying Complicité experience a series
of games and improvisations used by its practitioners. A full list of workshop exercises used
by the group during the creation of the set play A Disappearing Number can be found online (‘A
Disappearing Number Resource Pack’). There is also a teacher’s resource pack which is essential
when teaching the course, called ‘Devising Notes for Teachers’ on their website.
Processes
Each show demands a specific process which is a response to the material that is being explored
and each process grows out of play and improvisation. The collision of individual personalities with
a chosen subject makes for the distinct atmosphere and energy of each show.

While the Complicité group doesn’t desire to be pinned down to a particularly rigid process, there
are some logical steps that can generally be followed by students seeking to explore this system
of creating theatre. These include identifying roles within a group, reading aloud, the creative
environment, choosing and exploring a subject, and gathering material.
Again, the Company have helpfully made available their ‘Rehearsal Notes’ booklet, a visual attempt
to represent what they experience during the creation process. This is the other set text for the HSC
topic and is a huge help to people who want to gain a sense of the atmosphere they work within
and the philosophies behind them. To really engage with the process, students can use this text as
a model for their own rehearsal notes booklet when they create their own piece.
A Disappearing Number & Students’ Original Piece

With touching emotion and unnerving disquietude, A Disappearing Number forces the spectator to
consider the facts of love, death and belonging, within the space of his or her own personal universe.
Nikita Lalwani, New Statesman, 2007
In creating his play A Disappearing Number McBurney said that the devising period was like
mathematical research. The actors were looking for the moment when the pieces came together;
they were like mathematicians being at the edge of what is knowable and were making the same
type of creative leaps of imagination as mathematicians were. The idea was to put sophisticated
maths concepts on stage for people who might never have experienced this before, so the play
needed to be a wonderful account of mathematical lives, real and imagined, creating mathematics.
At the heart of the play are two relationships; one set in the past, the mathematical collaboration
between G. H. Hardy and Srinivasa Ramanujan, and the other set in modern day, a love story
between a mathematician, Ruth, and her husband, Al Cooper. (Thomas, 2013).
Students should explore for themselves via workshops, key scenes from the play using the
Complicité practices, starting with the company’s own workshop booklet. We would normally
spend a few weeks on this, although some of those weeks may occur after the practical examinations
have happened. In this way, students are able to spend the time needed earlier in the year creating
their own piece of Complicité inspired theatre.
In order to fulfil the requirement of the rubric (and to really understand Complicité) students must
use the processes described for themselves in order to create an original piece of theatre. It is
most logical to conduct this in groups and to ensure the size of the task is not too burdensome
by suggesting their piece doesn’t run for too long. Considering the need for time to play and for
them to consider the many layered approach that the group takes in creating theatre, a shorter
piece that grapples with similar elements is a helpful move. This allows the students time to use the
process and present their own piece.
Complicité does not like to be quantified, pinned down or stuck as it would become its own
antithesis. By definition it rails against the establishment, always pushing desperately to discover
new ways for theatre to be expressed. In a world where so many things have been done to death,

where creativity and play are quashed (despite a raft of data telling us how essential they are)
it’s a refreshing change to introduce your students to Complicité before they finish their formal
schooling.
And when we hear our students say ‘But Miss, you mean we can play for our HSC?’ there’s something
that rises up within us and says ‘YES! YES YOU CAN!’
Visit complicite.org to gain further insight and download a number of teachers’ resources.
Teaching Scope and Sequence for Complicité –

Multidiscipline Theatre Unit.
Week # Teaching Scope Outcomes
1 • Introduction to Multidiscipline Theatre, Complicité and H3.2, 3.3

Simon McBurney
• Explore the Philosophy of Complicité and Simon McBurney,
especially in relation to set text ‘Complicité Rehearsal Notes’
• Introduce and explore idea of ‘Le Jeu’
2 • Process and practice/techniques of exploring the element of H1.2, 1.3, 1.4,

Space – real and imagined 1.6,2.1, 2.2
3 • Process and practice/techniques of exploring the elements of H1.2, 1.3, 1.4, 1.6,
Movement, Tension and Rhythm 2.1, 2.2, 3.2
4 • Process and practice/techniques of exploring Puppetry H1.2, 1.3, 1.4,

1.6,1.7, 2.1, 2.2,
3.2
5 • Introduce set text ‘A Disappearing Number’ (ADN) H1.2, 1.3, 1.4, 1.5,
1.6, 1.7, 2.1, 2.2,
• Explore ADN through the process and practice/techniques of 3.2
creating transitions
6 • Continue working on set text ‘A Disappearing Number’ (ADN) H1.2, 1.3, 1.4, 1.5,
through exploring the process and practice/techniques of 1.6, 1.7, 2.1, 2.2,
New and Old Technologies 3.2
7 • Begin work on Group Devised Piece using Complicité process H1.2, 1.3, 1.4, 1.5,
and practices/techniques 1.6, 1.7, 2.1, 2.2,
3.2, 3.3
8 • Work on Group Devised Piece using Complicité process and H1.2, 1.3, 1.4, 1.5,
practices/techniques 1.6, 1.7, 2.1, 2.2,
3.2, 3.3
9 • Final rehearsals on Group Devised Piece using Complicité H1.2, 1.3, 1.4, 1.5,
process and practices/techniques 1.6, 1.7, 2.1, 2.2,
3.2, 3.3
10 • Perform Group Devised Piece and written response H1.7, 2.1, 2.2, 3.2,
3.3

Sample Formal Task for Multi-Discipline Theatre: Complicité

Complicité Group Devised Performance & Rehearsal Notes
Booklet
Outcomes being assessed: H1.3, H1.4, H1.6, H1.7, H2.1, H3.2, H3.3
TASK DETAILS (Scenes will be performed during Drama class time on the due date)
PART 1: Using the Complicité Process to Create a Performance

You will be placed into groups of 4-5 to create a piece of Complicité theatre, approximately 5-6
minutes in length. Collaborate to create a highly visual piece of original multi-discipline theatre,
drawing on the processes and practices of Simon McBurney and Complicité. Use a piece of stimulus
from the Complicité Rehearsal Notes and the poem, amongst other props – use the stimuli as a way
to challenge dramatic narrative (consider the narrative moving in fragments or blocks that could
be interchanged, for example) and consider the meaning/message you are communicating.
Your piece might include:

1. Use of projection/image
2. Stylized/choreographed movement
3. Music/sound
4. Tight control of space
5. Use of new and old technologies
6. Transformation of performers, props and set
7. Choreographed transitions
8. Puppetry
PART 2: Complicité Rehearsal Notes Booklet

You will each need to submit a Rehearsal Notes Booklet, recording the process you go through (based
on McBurney’s process and rehearsal notes). Each student will need to present at least 5 A4 pages
of material, with one of the pages detailing their own individual one-page response to the question
‘How do the philosophies, processes and practices of the Complicité style challenge traditional
dramatic narratives?’.
When you are creating your piece, you must make sure you consider the following:
• Dramatic meaning, created by tension, pace and mood instigated by stimulus
• The use of appropriate technologies, both old and new, to enhance dramatic meaning.
• The dramatic structure/form of your narrative
• The use of the elements of drama
In order to undertake this task you will need to adopt McBurney’s process:
1. Roles Within the Group: note peoples’ expertise and initial stimulus ideas
2. The Creative Environment and Keeping Records: find a place for your group to create and a
space for you to note the process down (in written/drawing form). Play and create games with
the stimulus (both practical and written).
3. Reading Aloud as a Group: consider the poems you can choose between – key issues, meaning.
4. Choosing a Subject and Exploring it: consider all avenues and experiment practically. PLAY –
LE JEU!
5. Gathering and Consolidating: make decisions and begin to form your piece around your idea.
6. Presentation of your piece to the class, and your booklet.

Marking Guidelines – Year 12 Drama Complicité

Group Devised Performance & Rehearsal Notes Booklet
Marking Criteria: Mark
• Demonstrates a sophisticated use of the elements of drama to create a dramatic 13-15

narrative in a highly visual form that addresses cultural, personal and/or global issues
• Demonstrates sophisticated performance skills and physical expression in working as
part of an ensemble, evoking powerful audience response
• Demonstrates a sophisticated practical knowledge of the philosophies, processes
and practices of Complicité in performance
• Adopts and sustains appropriate roles and/or characters in performance
• Incorporates new and traditional theatre technologies in performance
• Maintains a comprehensive Rehearsal Notes Booklet
• Demonstrates an effective use of the elements of drama to create a dramatic narrative 10-12
in a visual form that addresses cultural, personal and/or global issues
• Demonstrates substantial performance skills and physical expression in working as
part of an ensemble, effectively engaging the audience
• Demonstrates a substantial practical knowledge of the philosophies, processes and
practices of Complicité in performance
• Adopts and mostly sustains appropriate roles and/or characters in performance
• Incorporates new and traditional theatre technologies in some ways in the
performance
• Maintains a thorough Rehearsal Notes Booklet
• Demonstrates an adequate use of the elements of drama to create a dramatic narrative 7-9
in a fairly visual form that may addresses a cultural, personal and/or global issue
• Demonstrates adequate performance skills and physical expression although may
show inconsistencies in interactions with other roles
• Demonstrates a knowledge of the philosophies, processes and/or practices of
Complicité in performance
• Adopts roles and/or characters in performance
• Includes new and/or traditional theatre technologies in performance
• Presents a Rehearsal Notes Booklet
• Demonstrates a minimal use of the elements of drama to create a dramatic narrative 4-6
• Demonstrates some performance skills and physical expression although
interactions with other roles limited
• May demonstrate some knowledge of some of the philosophies, processes and
practices of Complicité in performance
• Presents inconsistencies in sustaining roles and/or characters in performance
• May attempt to include new and/or traditional theatre technologies in performance
• Presents some material in a Rehearsal Notes Booklet
• Demonstrates limited use of the elements of drama 1-3

• Demonstrates minimal performance skills
• Little to no knowledge of Complicité in performance
• Roles and/or characters in performance may be unsustained
• Limited attempt to incorporate theatre technologies in performance
• Little or no material submitted in a Rehearsal Notes Booklet

Kathryn Breen is the Head of Drama at Shire Christian School, having introduced the subject in
2005. Since being inspired to teach Complicité as an HSC topic after a number of workshops in
2013-2014, she has also been experimenting with their visceral process in school productions. She
has experienced a number of Complicité performances since then, in addition to participating in a
teachers’ workshop with the company when they were on tour from the UK in 2018. Kathryn enjoys
exploring the way that theatre can shift and change, as well as the creative connections that happen
when people make theatre together.
Catherine 'CJ' Grootenboer fell into Drama teaching 20 years ago from a background of theatre
production and visual arts. After teaching in public, catholic and independent schools she has been
the Drama Coordinator at St Columba Anglican since 2011 and Coordinator of Performing Arts
since 2018. She taught and marked the HSC topic of Site-Specific Theatre for many years and, being
inspired by a number of workshops held by TTA and Drama NSW, CJ embraced MDT and the work
of Complicité. CJ is passionate about people using Drama pedagogy and skills to make creative
connections across disciplines and in all sectors of life.

An Introduction to
Multi-Discipline Theatre
and Complicite
Karleen Arnold and Lisa Montgomery
It is always refreshing to have new topics added to the Drama syllabus and we are particularly
excited that Multi-Discipline Theatre is one of them. We have been following the work of
Simon McBurney and Complicite for many years and in 2012 we collaboratively devised a
Senior Production in the style of Complicite. We learnt valuable lessons which we discuss
later. For these reasons we intend to study this topic and specifically Complicite. ExMachina is
equally exciting. We hope this paper helps to demystify and motivate you to further delve into
the world of Multi-Discipline Theatre and consider how students may easily be engaged and
connect with the sensory feast that is Complicite.
A Disappearing Number
Why Complicite? Complicite has won over 50 major theatre awards
“Complicite is more than a theatre company: for its work including the Laurence Olivier Award
it is a state of mind.” for Best New Play, the Critics’ Circle Theatre Award
for Best New Play and the Evening Standard Theatre
Simon McBurney
Award for Best Play. In 2008 Simon McBurney was
When each collaborative adventure into the awarded the Berlin Academy of Arts Konrad Wolf
unknown starts off, anything is possible. The result Prize for Europe’s Outstanding Multi-Disciplinary
is an astonishingly broad and continually evolving Artists and in 2009 he was the first non-Japanese
spectrum of work. It is built on what Artistic Director director to be awarded the Yomiuri Theatre Award
Simon McBurney calls a series of extraordinary and Grand Prize for Best Director. In 2005 he was
intricate collisions: collisions between actors who use awarded an OBE for Services to Drama.
materials from their own lives; collisions with music
from anywhere in the world; collisions with writers Complicite is unique in that all of its productions
like John Berger, Eugene Ionesco or Bruno Schulz. are created and devised through long periods of
collaborative enquiry, bringing together diverse and
World renowned and internationally acclaimed multi-disciplinary artists and experts, sources and
Complicite whose name is derived from the ideas, works such as A Disappearing Number
French word for partnership is one of the most and Mnemonic exploded the possibilities of
innovative and influential theatre companies of physical storytelling. They emphasise that “there
our time. Founded in 1983 by Simon McBurney, is no Complicite method. What is essential is
Annabel Arden, and Marcello Magni, Complicite is collaboration”. This approach has been hugely
a constantly evolving ensemble of performers and influential.
collaborators, now led by Artistic Director Simon
McBurney. Their work is highly influenced by the lIt would be fair to say that Complicite has
work of Jacques Lecoq and mime artist Phillippe defined the contemporary understanding of
Gaulier. devised theatre.
© JEDA – Volume 20 No 1 2014 25

An Introduction to Multi-Discipline Theatre
and Complicite
• Complicite rehearsal notes is an excellent

resource but one copy would suffice as a
reference book for the class.
• A Disappearing Number is a fabulous play and
we believe it has been included so as to refine
the focus for the unit. Given that Complicite also
adapts pre-existing texts it becomes clearer that
the emphasis should be on the devising aspect
Mnemonic of Complicite’s work and their process. This is
further emphasised through the directive that
A visual introduction for you and your students must devise their own original piece of
students multi-discipline theatre.
http://www.youtube.com/watch?v=SnbPAGeA6Ec
http://www.youtube.com/watch?v=uba-qzbZsV8
The Rubric and how to break it down

for students to access Topic 7:
Multi-Discipline Theatre
Let’s look at who are they and what do they do?
• This topic explores theoretically and
experientially, the philosophies, processes and
practices of a practitioner of multi-discipline
theatre and how they challenge traditional
representation and dramatic narrative in a highly A Disappearing Number
visual form.
• The play affords us an opportunity to explore
Let’s Play! some of the ways in which acting, movement,
• Students study the uses of new and traditional film, music and sound, choreography and
theatre technologies in a creative process other resources are utilised to create engaging
focused on collaboration, imagination, theatre. For these reasons we would suggest
improvisation and physical expression. exploring key moments from A Disappearing
Students explore how multi-discipline theatre Number, and the process of its development
can address cultural, personal and global rather than directly studying the play. The play
issues using acting, movement, film, would also form a springboard or starting point
music and sound, choreography and other for exploring how multi-discipline theatre can
resources. (The second half of this paragraph address cultural, personal and global issues.
deals with the new and traditional and names • Who You Hear it From is a collection of essays
them) written by Simon McBurney. It reads more like
Let’s do! a stream of consciousness and would be difficult
for many students to access.
• Study should include the student’s exploration
of the process and performance of an original Workshop ideas:
piece of multi-discipline theatre, drawing on The most valuable resource can be accessed online
processes of the chosen practitioner. by following the link below. You are able to print the
PDF and use exercises as warmups during your unit
The Texts: of work (also great for HSC Group preparation too!).
Our advice is to not to request students purchase all This pack is wonderful and has all the activities you
the texts. need to develop the skills required for this topic.

and Complicite
Workshop activity, Keeping balloons in the air at the State Drama Conference 2014
The following activities below are ones we did in are often silent and involve simple interactions
our workshop, but there is much more detail in the with other characters. They provide a way of
devising pack. looking at the creation of physical text. Set up
a simple space with chairs and perhaps simple
http://www.complicite.org/pdfs/Teachers_Notes_
props and get a group of students to improvise
Devising_Pack.pdf
the situation. Ask the students watching these
• Keep balloons in air – All Complicite improvisations to discuss the different characters
workshops start with a game. Have four or more they have seen. How does the physicality of
balloons thrown in the air and the students a character inform an audience about their
have to keep them all off the ground. Students emotional state, occupation or status?
holding a balloon at the conclusion become
• After this, with the same character, split the class
group leaders for the next activity.
in half. One group performs, the other observes.
• Concentrating the Space – Begin this scene Students are to play here with character and
by giving your students themes which inhabit diagonal lines. They are to enter as the scene
very small spaces (real or imaginary); ‘stuck in demands it and order a coffee at a café. The
the lift’, ‘prisoners in a tiny cell’ or ‘there were image that is created is on the diagonal. It is
ten in the bed’ etc. Then ask the students to an excellent exercise for students to develop
create very short scenes which explore physical character and create interesting images on the
proximity and how people respond to being in stage. Have the students observing discuss what
limited spaces. (further exercises to develop this they saw and how the characters interacted with
in the Complicite booklet) one another.
• Creating Characters – Set up a simple • Culminating activity – The final activity of
situation which could be ‘waiting at the doctor’s the workshop was to create two scenes with a
surgery’ or ‘arriving at the cinema and finding moment of stillness, a projection, soundscape
a seat’. These are good situations because they and a stylised movement transition. This was
© JEDA – Volume 20 No 1 2014 27

and Complicite
based on the idea of connect/disconnect/

technology and its impact so we placed a range
of internet leads, headphones, keyboards and a
mouse around the room to be used. The ideas
and images created were very diverse and
powerful.
• Projection workshop – A Youtube video
of a projection workshop run by Complicite
and would be excellent in a double following
the previous workshop activities. http://www.
youtube.com/watch?v=Iw38uDDCX2c
Our experiences devising in the We mapped these stories collaboratively and named
style of Complicite each scene and transition, playing with the best
structure:
Contentium 2012 – Lessons Learnt Through
Doing…
In 2012 we devised our Senior Theatre Company
performance rather than performing a play as had
been our tradition. The production was created
in the style of Complicite with much emphasis on
the use of projection, multi-media and fast paced
transitions and stylised movement.
Our focus was the issue of contentment and posed
the question – can we ever be content when we are Final Thoughts:
always wanting more? Our performance weaved • Trust the process.
in and out of 5 stories. Each person was grappling
• You don’t need fancy equipment to create
with choices and seeking contentment. We followed
powerful images and explore this topic in a
the lives of Resistance worker Nancy and war
meaningful way. Students have the technology
photographer Charlotte in the 1940’s, Elizabeth and
already – ipads, ipods, phones, laptops. Data
James as they meet, fall in love and try to cope under
projectors are helpful.
the pressures of modern living. Grace was 19 and
coming to terms with the social expectations of a • Embrace the fact that sometimes these fail and
young woman in the 1920’s. Meanwhile, Kristy, an learn from that experience.
idealistic University student develops a friendship • Adaptors are available to enable you to project
with her somewhat jaded lecturer Geraldine as Jina directly from your ipad or phone. You can also
struggles with the challenges of life as a single mum. get an iPhone 4 to 5 adaptor from ebay for a
Students brought these characters to the process. couple of dollars.

and Complicite
Assessment Example
In this task you will be assessed on how well you:
1. utilise performance skills appropriate to the style or form
2. sustain and develop role/character
3. structure and create dramatic coherence within the framework of a Multi-discipline performance
4. understand the approach and stylistic choices of Complicite as demonstrated on stage and in the Logbook
TASK:
In your allocated group you will together devise an 8-12minute piece of theatre that demonstrates your
understanding of Complicite and the work of Simon McBurney. The topic is Connect/Disconnect and
a stimulus sheet is provided as a starting point for exploration and discussion. Your performance should
theatrically explore this topic using a multi-discipline approach.
Your piece might include:
1. Use of projection/image
2. Stylised movement
3. Music
4. Sound created by the ensemble
5. Tight control of space
At the completion of your performance each student INDIVIDUALLY will submit a logbook of your
reflections on the process of developing the piece. The logbook should focus particularly on what insights
were gained by dealing with the material in a practical, theatrical way and include a record of your
research and your contribution to the process at each rehearsal.
EACH ENTRY SHOULD BE DATED.

(Please Note: You will need to organise time together to work on this assessment task outside class time. This
will be a good ‘dress rehearsal’ of the process for developing your Group Devised Performance later in the
year.)
Marking Guidelines Attached
MARKING GUIDELINES
Assessment Criteria 1 – Performance (skills) Marks
• Demonstrates exemplary performance skills including outstanding control of voice, movement and
9 – 10
timing appropriate to the style or form.
• Demonstrates effective performance skills including substantial control of voice, movement and timing
7–8
appropriate to the style or form, although some skills may be more refined than others
• Demonstrates adequate performance skills including voice, movement and timing which may vary in their
5–6
level of delivery and control
• Demonstrates limited performance skills including voice, movement and timing which may be
3–4
inappropriate to the style or form
• Displays minimal performance skills with little understanding of style or form 1–2
© JEDA – Volume 20 No 1 2014 29

and Complicite
Assessment Criteria 2 – Performance (character/roles) Marks

• Demonstrates exemplary ability to realise and sustain subtly defined role(s) or character(s). Effectively
9 – 10
interacts with other role(s) or character(s) in the performance
• Demonstrates effective ability to realise and sustain role(s) or character(s). Some aspects of sustaining and
developing role(s) or character(s) may be more refined than others. Effectively interacts with other role(s) 7–8
or character(s) in the performance
• Demonstrates adequate ability to realise and sustain role(s) or character(s). Variations may occur in levels of
belief/conviction/energy, complexity/dimension and focus. There are often inconsistencies in interactions 5–6
with other role(s) or character(s) in the performance
• Demonstrates limited ability to realise and sustain role(s) or character(s). Limited interactions with other
3–4
role(s) or character(s) in the performance
• Displays little ability to realise role(s) or character(s). May play themselves. Minimal participation or
1–2
interaction with other role(s) or character(s) in the performance
Assessment Criteria 3 - Performance (piece and contribution) Marks

• Demonstrates outstanding manipulation of the elements of drama and theatrical conventions to explore
multi-discipline theatre
• Demonstrates exemplary ability to work at a sophisticated level as part of an ensemble to present an
9 – 10
exemplary group performance, which displays a very clear intention with flair and innovation. Evokes a
powerful audience response
• Demonstrates integrity and innovation with intelligent use of space in the context of the performance style/s
• Demonstrates highly developed ability to control the elements of drama and theatrical conventions to
explore multi discipline theatre
• Demonstrates accomplished ability to work as part of an ensemble to present an effective group
performance, which demonstrates a clear intention and effectively engages the audience in the context of 7–8
the performance space
• Presents a coherent, high-quality group performance with effective use of space in the context of the
performance style
• Demonstrates ability to work with the elements of drama and theatrical conventions, with some
inconsistencies in the level of control
• Demonstrates some ability to work as part of an ensemble to present a group performance, which
5–6
demonstrates some intention and reasonably engages the audience in the context of the performance space
• Presents a reasonably coherent but superficial group performance with some awareness of the use of space
in the context of the performance style
• Demonstrates frequent inconsistencies in control of the elements of drama and theatrical conventions
• Demonstrates an inconsistent ability to work as part of an ensemble, displays an unclear intention and a
limited ability to engage the audience in the context of the performance space
3–4
• Presents a performance with little coherence or may present a literal interpretation of the topic and texts
• Demonstrates predictable or simple use of space and a basic understanding of the stylistic demands of the
material
• Demonstrates minimal control of the elements of drama and theatrical conventions
• Demonstrates little evidence of working as part of an ensemble, may not display an intention and does not
engage the audience in the context of the performance space. 1–2
• Presents an incoherent performance which explores the space, stylistic demands of the material, topic and
texts in a very limited manner

and Complicite
Assessment Criteria 4 – Logbook (written) = 5% Marks

• Demonstrates a comprehensive understanding and appreciation of the development of a performance in
the style of Complicite 9 –10
• Is able to insightfully and analytically articulate choices and processes in their Logbook
• Demonstrates a substantial understanding and appreciation of the of the development of a performance in
the style of Complicite 7–8
• Is able to clearly articulate choices and processes in their Logbook
• Demonstrates some understanding and appreciation of the development of a performance in the style of
Complicite 5–6
• Is able to adequately document choices and processes in their Logbook
• Demonstrates a limited understanding of how to document the process of creating theatre
3–4
• Attempts a basic Logbook that records some choices and/or processes
• Demonstrates a superficial understanding of how to document the development of a performance
• Demonstrates little to no ability to use a Logbook or record process 0–2
• Minimal attempt or non-submission
October 2nd, 3rd and 4th 2014 – Elizabeth College, Hobart

Keynote – Associate Professor Peter O’Connor Evolution or Revolution?
Drama Tasmania are pleased to officially announce that we will be

hosting the Drama Australia National Conference in 2014! We are
very excited about the opportunities for you and your school during
this conference.
Go to: www.dramatas.com.au
© JEDA – Volume 20 No 1 2014 31

and Complicite
HSC DRAMA ASSESSMENT STIMULUS SHEET

TOPIC: CONNECT/DISCONNECT
Disconnect
People say my generation
Has replaced contact with computers.
But as I sit here,
With all of my friends on theirs,
Tap tap tap tap tap,
I wonder if they don’t all quietly wish
We were talking and hugging and
Looking at one another
Too.
With One Wheel Gone Wrong

By A.M. Homes
With one wheel gone wrong, she careens into the checkout line. A perfect shopper, she prides herself
on sailing the circulars, clipping coupons, buying in bulk. Her basket is overflowing with catnip and kitty
litter, Pull-Ups and pomegranates—plenty of all. She takes a magazine out of the rack; there’s a spot to
scratch, an offer she can’t resist—”Got an itch you can’t identify, don’t know what you want, let this be
your moment.” The background photo is of a beautiful house with everything just as you would want it
to be—untouched by reality. She scratches; her finger is quickly coated with gold powder and under that
is something a little sticky—tugging at her. It is as though she is being pulled into the magazine. A sudden
burst of light, an explosion of inspiration, a fleeting illumination, and she is inside the picture and it is
clear—this is her house, this is who she is, the life she is supposed to live.
It is incredible—she’s seeing not only the future but the pathway there—and it’s a new kind of floor
tile—you just put one foot in front of the other, don’t stop, and watch where you’re going. And then, as
though in a faraway dream, she hears the scanner beeping, she hears the checker say, “Are you taking that
magazine?” Drawing a deep breath, she pulls herself back into the checkout line. She takes every copy of
the magazine out of the rack. “I’ll take all you’ve got,” she says.
“Paper or plastic?”

Drama NSW Student Resource Booklet 1

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Drama NSW Student Resource Booklet 1

Uploaded by

Copyright:

Available Formats

podcast

In 2020 Drama NSW launched its Podcast on Spotify, touching

BLACK COMEDY - STUDIES IN DRAMA & THEATRE

THE HSC DRAMA WRITTEN EXAM

SIGNIFICANT PLAYS OF THE 20TH CENTURY -

VERBATIM THEATRE - STUDIES IN DRAMA AND

THE VOICE OF WOMEN IN THEATRE -

APPROACHES TO ACTING - STUDIES IN DRAMA

JAPANESE THEATRE - STUDIES IN DRAMA & THEATRE

MULTIDISCIPLINE THEATRE - STUDIES IN DRAMA &

the characters. To add some ‘stage business’ we used

© JEDA – Volume 20 No 1 2014 37

At the start of scene 9, Davey and Donny are hacking

Christie does not, as he is blinded. In between these

38 © Drama NSW – Journal of Education in the Dramatic Arts

Writing Evocatively – Returning

At the beginning of teaching the Year 12 course, I remember asking my bright-

© DRAMA NSW E-MAGAZINE – TERM 4, 2020 PAGE 20

3. They’ll be given an annotated version of their experiential evidence – seen below.

© DRAMA NSW E-MAGAZINE – TERM 4, 2020 PAGE 21

Verb Synonyms and like words

Verb Evocative adverbs

© DRAMA NSW E-MAGAZINE – TERM 4, 2020 PAGE 22

Noun / Noun Group Evocative adjectives

© DRAMA NSW E-MAGAZINE – TERM 4, 2020 PAGE 23

Verb Synonyms and like words

e.g. ‘walks’ strides, saunters, glides, edges, sneaks

Verb Evocative adverbs

eg. ‘walks’ cautiously, warily, carelessly, purposefully

Noun / Noun Group Evocative adjectives

e.g. glow dim, flickering, pallid, warm, sterile

© DRAMA NSW E-MAGAZINE – TERM 4, 2020 PAGE 24

The Year the World Stopped:

I had grand plans for 2020, at least in a symbolic way. It was to be a

© DRAMA NSW E-MAGAZINE – TERM 3, 2020 PAGE 5

In short, they created theatre.

Here is an outline of some of the activities that I have found useful:

© DRAMA NSW E-MAGAZINE – TERM 3, 2020 PAGE 6

© DRAMA NSW E-MAGAZINE – TERM 3, 2020 PAGE 7

HSC Drama - The Written Paper

Students should frequently refer to the audience’s Or

When our class watched a performance of

A student should say:

A A student should say:

A student should say:

Carla is a director, playwright and teacher, having worked extensively in the

© DRAMA NSW E-MAGAZINE – TERM 1, 2020 PAGE 5

b) How much truth is lost when Verbatim is theatricalised?

Verbatim Introductory Exercise

3. Discuss – implications. [Schettino was later found guilty of manslaughter in connection

4. Instruct students to revisit the exercise, but now theatricalise it by:

© DRAMA NSW E-MAGAZINE – TERM 1, 2020 PAGE 6

Italian Shipping Disaster

Verbatim conversation between the Italian Coast Guard and

Captain: Good evening, chief.

Captain: Good evening, Chief De Falco.

Coast guard: Tell me your name, please.

Captain: I am Captain Schettino, chief.

Coast guard: Schettino?

Captain: At this moment the ship is listing.

Captain: Please ...

© DRAMA NSW E-MAGAZINE – TERM 1, 2020 PAGE 7

Captain: I'm in a lifeboat, I am under here. I am not going anywhere. I am here.