DOCSLIB.ORG

The Secret River

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Secret River Schools Program Learning Resources: The Secret River Capabilities: Literacy, Numeracy, Critical & Creative Thinking, Personal & Social Capability, Ethical Understanding, Intercultural Understanding Cross Curriculum priorities: Aboriginal and Torres Strait Islander histories and culture, Asia and Australia’s Engagement with Asia, Sustainability 1 Contents ........................................................................................................................................ 2 The Secret River at Adelaide Festival ........................................................................... 3 About Neil Armfield ...................................................................................................... 5 Show notes and learning resources ................................................................................ 6 From the Playwright .................................................................................................. 6 Synopsis ..................................................................................................................... 9 Characters ................................................................................................................ 10 Themes and ideas ..................................................................................................... 13 Literary/Theatrical Devices ..................................................................................... 13 Activities .................................................................................................................. 14 Discussion Questions ............................................................................................... 14 Skeletons are Out – an article from The Age by Jane Sullivan ................................... 15 Essay Questions ........................................................................................................... 22 Essay Writing Tips ....................................................................................................... 22 Review Writing Tips .................................................................................................... 26 Use some new words ................................................................................................... 28 2 The Secret River at Adelaide Festival Adelaide Festival in association with State Theatre Company South Australia presents Sydney Theatre Company’s The Secret River After sell-out seasons around Australia and unanimous critical acclaim, The Secret River, Neil Armfield’s landmark theatrical Sydney Theatre Company production, will make its Adelaide debut at the 2017 Adelaide Festival in an epic new open-air performance staged in the Anstey Hill Quarry, presented in association with State Theatre Company of South Australia. Based on the international best-selling book by Kate Grenville and adapted for the stage by award-winning Adelaide based playwright Andrew Bovell, The Secret River marks Armfield’s and Rachel Healy’s first year as Artistic Directors of the Festival. With all-new staging set in the breathtaking natural surrounds of the Anstey Hill Quarry in Tea Tree Gully, this monumental show under the stars will be the first time a major theatrical production has been performed in the quarry since the legendary Mahabharata at the 1988 Adelaide Festival. Originally produced by Sydney Theatre Company, The Secret River was a sold out smash hit when it premiered in 2013, earning a rare full house standing ovation on its opening night, followed by seasons at the 2013 Perth Festival and the Canberra Centenary celebrations. It has since won six Helpmann Awards including Best Direction for Armfield, Best New Australian Work and Best Play, and most recently earned rave reviews in encore seasons in Sydney, Brisbane and Melbourne. It makes its Adelaide premiere as a key work of Armfield and Healy’s first Adelaide Festival, and is set to be one of the major highlights of the 2017 program. Armfield says The Secret River is one of Australia’s most significant stories. "The Secret River addresses the contradiction at the heart of our society. It acknowledges truths that have been hidden for generations but have created the country that we live in today. Wherever we have performed this play, there has been a palpable sense in the audience that ‘at last this story is being told’.” Based on Grenville’s Man Booker Prize and Miles Franklin nominated novel of the same name, The Secret River tells the story of two families divided by culture and land. William Thornhill arrives in New South Wales a convict from the slums of London. This new land seems to offer him something of which he hadn’t dared dream: a place to call his own. On the banks of the Hawkesbury River, he plants a crop and lays claim to the soil in which it grows. But the Hawkesbury is already home to a family from the Dharug people; a family whose existence depends on that land. As Thornhill’s attachment to the land deepens, he makes a terrible decision. 3 The production stars Nathaniel Dean (Candy, Somersault, TV’s Anzac Girls, Puberty Blues, Underbelly) as William Thornhill, and Ningali Lawford-Wolf (Last Cab to Darwin, Rabbit Proof Fence) as Dhirrumbin, as well as stage and screen legend Bruce Spence (The Cars that Ate Paris, Mad Max II, Finding Nemo, Star Wars) as Loveday. State Theatre Company South Australia Executive Director Rob Brookman was the Associate Director and Administrator of the Adelaide Festival when the Mahabharata was staged at Anstey Hill Quarry in 1988, and will once again be part of presenting a landmark theatre event for Adelaide. Mr Brookman said: “The presentation of Peter Brook’s two seasons in 1980 and 1988 in an abandoned quarry at Anstey Hill were two of the greatest theatre experiences ever seen in Adelaide. The combination of great theatre, a natural environment, the spectacular space and brilliant acoustic created by a monumental rock wall and warm summer nights was magical. It is an exceptional production that risks comparison with these experiences but The Secret River is one such exception.” Adelaide Festival Co-Artistic Director Rachel Healy said, “It’s thrilling to recall Peter Brook’s iconic Mahabharata staged in the quarry adjacent to Anstey Hill, but the opportunity to present a singular Australian story of first contact between black and white in the cradle of this awe-inspiring landscape promises an experience like no other. It is a privilege to stage this unforgettable production on Kaurna land, and to bring theatre of such power and rich theatrical imagination to Adelaide audiences.” State Theatre Company South Australia Artistic Director Geordie Brookman said: “It’s taken us three years to get this incredible production to Adelaide and we are thrilled to do so in such a unique setting. I’m delighted to bring a production of Neil’s to the Company and to continue our important relationship with one of our great dramatists, Andrew Bovell.” The 2017 Adelaide Festival season of The Secret River promises to be one of the theatre events of the decade. Tickets are on sale now. Sydney Theatre Company’s THE SECRET RIVER by Kate Grenville An adaptation for the stage by Andrew Bovell Director Neil Armfield Artistic Associate Stephen Page Set Designer Stephen Curtis Costume Designer Tess Schofield Lighting Designer Mark Howett Composer Iain Grandage Sound Designer Steve Francis Cast includes Georgia Adamson, Joshua Brennan, Shaka Cook, Nathaniel Dean, Frances Djulibing, Jennifer Hagan, Ningali Lawford-Wolf, Bruce Spence and Matthew Sunderland 4 Previews: Tue 28 Feb – Wed 1 Mar, 7.30pm Thur 2 Mar–Sun 5 Mar, 7.30pm Tue 7 Mar–Sun 12 Mar, 7.30pm Tue 14 Mar–Sun 19 Mar, 7.30pm The Quarry, Anstey Hill Recreation Park, Perseverance Road, Tea Tree Gully Duration: 2hrs 50min, including interval Tickets: $40 - $99, on sale Friday 23 September 2016 via BASS 131 246 or adelaidefestival.com.au “. “The best live theatre you may see this year... Unmissable,” ★★★★★ – Herald Sun “Andrew Bovell’s adaptation is set to become one of the great Australian plays: not another night at the theatre, but something like a civic ritual that enacts the true history of where this society comes from,” – The Sydney Morning Herald “This great tragedy is told with such heartbreaking eloquence and humanity that there is no doubt it will become a classic of the Australian theatre,” – The Australian About Neil Armfield Neil Armfield AO is an Australian director of theatre, film and opera. He was Artistic Director of Belvoir Street Theatre in Sydney from 1994 to 2010, and was awarded an Officer of the Order of Australia in 2007 for service to the arts, nationally and internationally. Armfield has directed for all of Australia’s state theatre companies, Opera Australia, The Welsh National Opera, The Bregenz Festival in Austria, Zurich Opera, Canadian Opera, Houston Grand Opera, English National Opera, The Lyric Opera in Chicago and the Royal Opera House, London. He has toured the world with his operatic adaptation of Tim Winton’s Cloudstreet; dazzled Broadway with Exit The King starring Geoffrey Rush and Susan Sarandon; and is currently directing Opera Australia’s production of Wagner’s Ring Cycle. Recipient of two Doctorates of Letters (University of Sydney and UNSW) Armfield has also received many awards including the Sidney Myer Performing Arts Award for Outstanding Achievement in the Performing Arts; the Sydney Theatre Critics’ Circle Award for Significant Contribution to Theatre; Best Production at Dublin
Load more

Recommended publications
  • Book Club Sets
    Book Club Sets Alexander, Todd Thirty thousand bottles of wine and a pig called Helga Australian Non-Fiction Sharply observed, funny and poignant, a tree-change story with a twist. Once I was the poster boy for corporate success, but now I’m crashing through the bush in a storm in search of a missing pig. How the hell did we end up here? Todd and Jeff have had enough of the city. Sick of the daily grind and workaday corporate shenanigans, they throw caution to the wind and buy 100 acres in the renowned Hunter Valley wine region, intent on living a golden bucolic life and building a fabulous B&B, where they can offer the joys of country life to heart-weary souls. Todd will cook, Jeff will renovate. They have a vineyard, they can make wine. They have space, they can grow their own food. They have everything they need to make their dreams come true. How hard can it be? (288 pages) Alexandra, Belinda The Invitation Australian Fiction - Historical Sometimes the ties that bind are the most dangerous of all. Paris, 1899. Emma Lacasse has been estranged from her older sister for nearly twenty years, since Caroline married a wealthy American and left France. So when Emma receives a request from Caroline to meet her, she is intrigued. Caroline invites Emma to visit her in New York, on one condition: Emma must tutor her shy, young niece, Isadora, and help her prepare for her society debut. Caroline lives a life of unimaginable excess and opulence as one of New York's Gilded Age millionaires and Emma is soon immersed in a world of luxury beyond her wildest dreams - a far cry from her bohemian lifestyle as a harpist and writer with her lover, Claude, in Montmartre.
    [Show full text]
  • Australian Women's Book Review
    Australian Women's Book Review Volume 19.1 (2007) ”May Day in Istanbul with Amazonâ” - Eileen Haley Editor: Carole Ferrier Associate Editor: Maryanne Dever Editorial Advisory Board: Brigid Rooney, Margaret Henderson, Barbara Brook, Nicole Moore, Bronwen Levy, Susan Carson, Shirley Tucker ISSN : 1033 9434 1 Contents 4. Mapping By Jena Woodhouse 6. Digging Deep Kathleen Mary Fallon Paydirt . Crawley: UWA Press, 2007. Reviewed by Alison Bartlett 10. Translating Lives Mary Besemeres and Anna Wierzbicka (Eds). Translating Lives: Living with Two Languages and Cultures. Brisbane: University of Queensland Press, 2007. Reviewed by Kate Stevens 13. Modes of Connection Gail Jones. Sorry . Vintage, 2007. Reviewed by Angela Meyer 16. Hybrid Histories Peta Stephenson, The Outsiders Within: Telling Australia's Indigenous–Asian Story . Sydney : University of New South Wales Press, 2007; Sally Bin Demin, Once in Broome . Broome: Magabala Books, 2007. Reviewed by Fiona McKean 19. Journey Through Murky Water Kate Grenville, Searching for the Secret River . Melbourne: Text Publishing, 2006. Reviewed by Shannon Breen 21. Lifting History's Veil Kim Wilkins. Rosa and the Veil of Gold . HarperCollins, 2005 Reviewed by Elise Croft 23. Sequined Hearts and Ostrich Feathers: Tales from Tightropes of Life Stephanie Green, Too Much, Too Soon . Pandanus Books: Canberra, 2006. Catherine Rey, The Spruiker's Tale. First published under the title, Ce que racontait Jones. Paris, 2003. Giramondo Publishing Company: University of Western Sydney, 2005. Reviewed by Misbah Khokhar 26. There's No Business Like Dough Business Roberta Perkins and Frances Lovejoy. Call Girls: Private Sex Workers in Australia . University of Western Australia Press, 2007. Reviewed by Fiona Bucknall 29.
    [Show full text]
  • A Study Guide by Marguerite O'hara
    © ATOM 2015 A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-586-5 http://www.theeducationshop.com.au 1 2 3 4 5 6 7 8 CLICK ON THE ABOVE BUTTONS TO JUMP TO THE DIFFERENT SECTIONS IN THE PDF William Thornhill is driven by an oppressed, impoverished past and a desperate need to provide a safe home for his beloved family in a strange, foreboding land. The Secret River is an epic tragedy in which a good man is compelled by desperation, fear, ambition and love for his family to par- ticipate in a crime against humanity. It allows an audience, two hundred years later, to have a personal insight into the troubled heart of this nation’s foundation story. There are two eighty minute episodes that tell the story of one of the ultimately tragic wars between colonists and the country’s original inhabitants. The ongoing effects result- ing from these early conflicts over land still resonate today, more than 200 years on from this story. Who owns the land and who has the right to use it, develop it and protect it? A brief preview of the series can be viewed at: http://abc. net.au/tv/programs/secret-river/ Advice to teachers Both the novel and this miniseries contain some quite graphic scenes of violence, including a depiction of a flog- ging and scenes of the violence inflicted on people during the conflict between the settlers and the Aboriginals. Teachers are advised to preview the material (particularly Episode 2) before showing it to middle school students, even though it might seem to fit well into middle school Australian History.
    [Show full text]
  • The Secret River.Pdf
    Andrew Bovell has written extensively for theatre, film, radio and television. His stage plays include Holy Day, winner of the Victorian and Queensland Premier’s Literary Awards and AWGIE for Best Play 2002; Who’s Afraid of the Working Class? (with Patricia Cornelius, Melissa Reeves, Christos Tsiolkas and Irine Vela), winner of the Queensland Premier’s Literary Award, Jill Blewitt Award and AWGIE for Best Play 1999; and Speaking in Tongues, winner of the AWGIE for Best Play 1997. Speaking in Tongues has been produced widely throughout Australia, Europe and America. Earlier plays include The Ballad of Lois Ryan, After Dinner, Ship of Fools, Shades of Blue, Distant Lights from Dark Places, Like Whiskey on the Breath of a Drunk You Love and Scenes from a Separation (with Hannie Rayson). Screenplays include Blessed (with Cornelius, Reeves and Tsiolkas; winner of Best Screenplay at the San Sebastian Film Festival), Edge of Darkness, The Book of Revelation, Head On, The Fisherman’s Wake, Strictly Ballroom (with Baz Lurhmann and Craig Pearce) and the multi-award winning Lantana. He recently completed the screen adaptation of John Le Carre’s novel A Most Wanted Man due for release in 2014. When the Rain Stops Falling, commissioned by Brink Productions, premiered at the 2008 Adelaide Festival of the Arts before touring to Sydney, Melbourne, Brisbane, Canberra and Alice Springs. A new production opened at Perth’s Black Swan Theatre in October 2011. The play has won Victorian and Queensland Premier’s Literary Awards for Best Play, Adelaide Critics Circle Individual Award, AWGIE for Best Stage Play 2009, Best New Australian Work at the Sydney Theatre Awards and the Victorian Green Room Award for Best New Play.
    [Show full text]
  • Molly Haydock
    Molly Haydock Theresa Holtby Doctor of Philosophy 2018 Western Sydney University Acknowledgements Many thanks to my family and friends for their support and encouragement throughout this undertaking. I also wish to thank my supervisors, Anna Gibbs, Sara Knox and Carol Liston, for their direction and expertise. And to my husband, Derek Holtby, for gallons of tea, years of longsuffering, and generous help with all things technical, thank you. ii Statement of Authenticity The work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. iii Table of Contents Abbreviations.......................................................................................................................................v Molly Haydock......................................................................................................................................1 Writing Molly...................................................................................................................................128 Preface..............................................................................................................................................129 1Introduction....................................................................................................................................130 Molly who?..................................................................................................................................132
    [Show full text]
  • The Travelling Table
    The Travelling Table A tale of ‘Prince Charlie’s table’ and its life with the MacDonald, Campbell, Innes and Boswell families in Scotland, Australia and England, 1746-2016 Carolyn Williams Published by Carolyn Williams Woodford, NSW 2778, Australia Email: [email protected] First published 2016, Second Edition 2017 Copyright © Carolyn Williams. All rights reserved. People Prince Charles Edward Stuart or ‘Bonnie Prince Charlie’ (1720-1788) Allan MacDonald (c1720-1792) and Flora MacDonald (1722-1790) John Campbell (1770-1827), Annabella Campbell (1774-1826) and family George Innes (1802-1839) and Lorn Innes (née Campbell) (1804-1877) Patrick Boswell (1815-1892) and Annabella Boswell (née Innes) (1826-1914) The Boswell sisters: Jane (1860-1939), Georgina (1862-1951), Margaret (1865-1962) Places Scotland Australia Kingsburgh House, Isle of Skye (c1746-1816) Lochend, Appin, Argyllshire (1816-1821) Hobart and Restdown, Tasmania (1821-1822) Windsor and Old Government House, New South Wales (1822-1823) Bungarribee, Prospect/Blacktown, New South Wales (1823-1828) Capertee Valley and Glen Alice, New South Wales (1828-1841) Parramatta, New South Wales (1841-1843) Port Macquarie and Lake Innes House, New South Wales (1843-1862) Newcastle, New South Wales (1862-1865) Garrallan, Cumnock, Ayrshire (1865-1920) Sandgate House I and II, Ayr (sometime after 1914 to ???) Auchinleck House, Auchinleck/Ochiltree, Ayrshire Cover photo: Antiques Roadshow Series 36 Episode 14 (2014), Exeter Cathedral 1. Image courtesy of John Moore Contents Introduction .……………………………………………………………………………….. 1 At Kingsburgh ……………………………………………………………………………… 4 Appin …………………………………………………………………………………………… 8 Emigration …………………………………………………………………………………… 9 The first long journey …………………………………………………………………… 10 A drawing room drama on the high seas ……………………………………… 16 Hobart Town ……………………………………………………………………………….. 19 A sojourn at Windsor …………………………………………………………………… 26 At Bungarribee …………………………………………………………………………….
    [Show full text]
  • Re-Imagining the Convicts
    Re-imagining the Convicts: History, Myth and Nation in Contemporary Australian Fictions of Early Convictism MARTIN JOHN STANIFORTH Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English July 2015 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2015 The University of Leeds and Martin John Staniforth The right of Martin John Staniforth to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. 1 ACKNOWLEDGEMENTS First and foremost my thanks go to my supervisor, Professor Stuart Murray, without whose encouragement, enthusiasm and challenge this thesis would be much the poorer. He provided me with valuable help and advice over the years when I was working on this subject and was generous with both his time and his knowledge. Second I am grateful to the University of Leeds for funding to support my attendance at conferences in Australia and New Zealand which enabled me both to present aspects of my work to a wider audience and to benefit from listening to, and discussing with, a range of scholars of Australian literature. Third I have benefitted from help from a number of libraries which have provided me with material. My thanks go to all the staff involved but particularly those at the Brotherton Library, University of Leeds, the British Library, and the State Library of New South Wales, Sydney.
    [Show full text]
  • A Study of the Significance of the Australian Historical Novel in the Period of the History Wars, 1988 — Present
    School of Media, Culture and Creative Arts A Study of the Significance of the Australian Historical Novel in the Period of the History Wars, 1988 — present Joanne Jones This thesis is presented for the Degree of Doctor of Philosophy of Curtin University February 2012 Declaration To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Signature: …………………………………………. Date: ………………………... I Abstract Australian historical novels and the History Wars (1998-2008) The period of recent Australian cultural history known as the History Wars was of unprecedented significance in reshaping the relationship between the nation and its colonial past. While much of this cultural “backtracking” (Collins and Davis) was due to the groundbreaking and politically efficacious work of revisionist historians, an assessment of the role played by historical fiction during this time of unsettling and “hidden” histories is due. This thesis takes the publically-waged debate over the suitability of novelists to render authoritative versions of significant events or periods as its starting point. From there, however, it delves deeper into the politics of form, analysing the connection between the realist modes of traditional, empiricist histories and the various explorations of the colonial past that have been figured through different historical novels. The forms of these novels range from classic realism to frontier Gothic, various Romanticisms, magical realism, and reflexive post-modernism. In particular, I investigate the relationship between politics and form in Rodney Hall’s Captivity Captive (1988), David Malouf’s Remembering Babylon (1993), Kim Scott’s Benang (1999), Richard Flanagan’s Gould’s Book of Fish (2003), and Kate Grenville’s The Secret River (2005) and The Lieutenant (2008).
    [Show full text]
  • Representations of the Domestic in Kate Grenville's the Secret River
    Depicting the Colonial Home: Representations of the Domestic in Kate Grenville’s The Secret River and Sarah Thornhill MARTIN STANIFORTH University of Leeds In Searching for the Secret River, Kate Grenville’s 2006 account of writing her novel The Secret River, she grounds her decision to write the book in two events. The first was her participation in the 2000 ‘Sorry Day’ Reconciliation Walk across Sydney Harbour Bridge, when an exchange of smiles with an Aboriginal woman led her to wonder about her ancestor’s settling on the land and ‘who might have been living on that land, and how he’d persuaded them to leave it’ (13). The second was an encounter that same year with Aboriginal writer Melissa Lucashenko, who challenged her repetition of the ‘family story: a formula, unquestionable’ (28) that her grandfather took up, rather than simply took, land on the Hawkesbury River. The resulting novel is clearly ‘positioned ... as an expression of progressive politics in relation to reconciliation and the history wars’ (Nolan and Clarke 11). As such it has been described both as ‘a reworking of the narrative of settlement with a contemporary sensibility’ (Kossew 9) and as ‘a most unpalatable and confronting depiction of whiteness as implicated in the massacre of Aboriginal people’ (Kelada 2). However, The Secret River has also been criticised, by the same writers among others, for reproducing what Marguerite Nolan and Robert Clarke, in a sympathetic reading, characterise as ‘a conservative white cultural politics that displaces contemporary settler
    [Show full text]
  • The Writing of the Secret River
    The Writing of The Secret River KATE GRENVILLE* I'm honoured to have been asked to present the Blaiklock Lecture for 2005. I'm also very pleased to have the opportunity to put on record my gratitude to the University, and to the School of English, Art History, Film and Media in particular. Their generosity in providing me with an office in which to write has been of enormous assistance to me in the writing of The Secret River-an act of support both to the practicalities of writing and the morale of the writer. Thank you. Some families have a silver milk-jug or an embroidered christening-robe that are handed down from generation to generation. Our family didn't have those, but it had a story about an ancestor, Solomon Wiseman of Wiseman's Ferry. As my mother told it, Wiseman had worked on the Thames in the early nineteenth century and in 1806 had been transported to Australia for an unknown offence. Once here he'd settled beside the Hawkesbury River and made good. He'd died a rich and respected man, being buried, so the story goes, in top hat and tails, a box of sovereigns at his feet. It was a common enough story of early Australia and had never been of great interest to me until I joined the hundreds of thousands of others walking across the Harbour Bridge in 2001 for 'Reconciliation'. Doing that walk, I realised that when Wiseman settled on the Hawkesbury, he must have had dealings with the Aboriginal people of that area-the Darug and the Darkinjung.
    [Show full text]
  • 8. Australian Architecture 2
    U3A, 2019 Dr Sharon Mosler 8. AUSTRALIAN COLONIAL ARCHITECTURE, 1788-1901 • Early convict colony, slow expansion 1788-1820s: Hawkesbury ’96,VDL • whaling & sealing, local agriculture; rum currency; two social classes • Rum Rebellion, 1809; Governor Bligh deposed; Gov Macquarie 1810 • Brisbane: pastoralism (Squatters) from 1822; currency lads and lasses • Gold Rush era, 1851-60s; great changes: economic, social, political • ‘Unlock the Land’ – Selection Acts 1860s – rural towns • New Unionism from 1888; Great Strikes 1990-94 • Gold Rush 1888-1900s, Q – WA; Depression of 1890s • Most urbanised country in the world 1900 (rural towns of 500+) • James Freeland, Architecture in Australia: a History, 1968 • Philip Goad, 150 years of Australian architecture, recent Here is an example of indigenous shelter (humpy?) at the time in cooler parts of NSW which the First Fleet settlers might have seen: Not all nomadic. Aboriginal tribes settled along the Murray River in Victoria and in WA coastal areas created houses with stone foundations. Half the population died of smallpox, other diseases. Evidence of these and their agricultural practices has been found: Bruce Pascoe, Dark emu, Paul Irish, Hidden in plain view. Because this land was invaded by the British in 1788 and became the British colony of New South Wales, the main British architectural styles at that time were ‘transported’ to the colony. This was Georgian architecture. Colonial rule continued on this continent until Federation in 1901, and British neo- classical and Gothic styles continued
    [Show full text]
  • RESOURCE PACK ABOUT Co3
    RESOURCE PACK ABOUT Co3 Co3 Australia | Frank Enstein Education Resource 1 Table of Contents Frank Enstein 3 Synopsis 3 Frank Enstein Personnel 3 2017 Performance Details: 4 From Co3 Artistic Director, Raewyn Hill 5 Frank Enstein Choreographers 6 Grayson Millwood 6 Gavin Webber 6 Cast of Frank Enstein 6 About The Farm 7 About Co3 8 Frankenstein, a Gothic novel by Mary Shelley 9 Brief synopsis 9 Mary Shelley 9 Frank Enstein, a contemporary version by The Farm 10 Choreographer’s Note 10 Frank Enstein Themes 10 Pre-show Activities for Frank Enstein 11 Movement Activity for Frank Enstein 14 Extension activity for Frank Enstein 16 Gavin and Grayson; the creative team 17 Perspective from a performer in Frank Enstein 18 Personnel Profiles 20 Brianna Kell – Artist (The Farm) 20 Zachary Lopez – Artist (Co3) 20 Talitha Maslin – Artist (Co3) 20 Daniel Monks – Artist (The Farm) 21 Andrew Searle – Artist (Co3) 21 Co3 Australia Artistic Director: Raewyn Hill 22 Lighting Designer: Mark Howett 22 Set Designer: Vilma Mattila 23 Production Manager: Michael Maclean 23 Sound Design / Composition: James Brown 24 Co3 Australia | Frank Enstein Education Resource 2 ABOUT FRANK ENSTEIN Frank Enstein Frank Enstein, made by The Farm in collaboration with Co3 Australia; commissioned by Co3 Australia, The Farm, and Bleach* Festival. Synopsis Frank could be a genius. Just one more ‘i’ and he’d be an Einstein! Frank’s a lonely guy who wants to make his imaginary friends real. Harnessing electricity from a storm he animates his world with nothing but his imagination and a cardboard box. Battling a physical impairment, Frank creates monsters to fulfil his desire to be normal and to be accepted by others.
    [Show full text]