Editors' Note
Dear Members,
We hope you all had a restful winter break after a productive second term.
In this edition, we are very excited to include a number of member IN THIS ISSUE resource contributions as well as a wonderful report on the 72nd The Patron's Pen Barbara Sisley Awards honouring both AMEB and Trinity College of with Bruce Dawe AO London's top students. We encourage you to read the Guest of Honour Address by Matthew Backer that was enjoyed by all at the Awards. President's Report We would also like to direct members' attention to two upcoming 72ND BARBARA SISLEY events from ASCA and a special event honouring the art of AWARDS storytelling - more details on page 24-25 and page 28.
Report Thank you to Lisa McKibben, Kathie Hendon and Stephen Robinson Guest of Honour's Speech for their wonderful contributions. More coming in our next edition! Programme Wishing you all a wonderful Term Three.
ASCA IN ACTION Sunday 29 July, 2018 Talisa Pariss-Proby Katrina Roberts
LITERARY LANDMARKS Mount Mandarana 2018 Recommended Fees
Lesson charges are reviewed periodically by the CSPT Inc. Management Committee. SPECIAL PRESENTATION The latest review was undertaken in June 2018. Storytelling Afternoon
It should be noted that individual teachers must set their own fees and the information SDANSW Seminar Report below is provided as a guide only. It is not intended as a scale of fees nor a minimum or maximum charge for lessons. Individual circumstances must be taken into consideration.
REMEDIATION: Vocal Fry The Management Committee offers the following information having taken legal advice.
Member Monologue The Association believes that (based upon comparable criteria and subject to individual experience, expertise and the costs of running a practice/office) reasonable lesson fees would be approximately: RESOURCE The 'Good Tickle Brain' QUALIFIED TEACHERS: Website $70.00 per hour for an individual lesson and $90.00 per hour for a group lesson. STUDENT TEACHERS WITH PROFESSIONAL SUPERVISION: 2018 EISTEDDFODAU $50.00 per hour for an individual lesson and $60.00 per hour for a group lesson. 2018 EXAMINING BODIES EISTEDDFOD ADJUDICATOR’S FEES: Removable Resource $210.00 for a three-hour session. 2 2018 Management Committee and Appointments For general enquiries, please email [email protected]
PATRON Dr Bruce Dawe AO Immediate Past Annette Stoddart President 0412 731 152 President David Cockburn annette.m.stoddart 07 3890 8308 @gmail.com [email protected] Membership Rowena Luck-Geary Vice Presidents June Finney Officer (as above) 07 3397 1794 [email protected] Publications and Katrina Roberts Website Officer (as above) Helen Steele 0423 775 673 Referrals Officer Sarah Mitchell [email protected] (as above)
Secretary Margaret Gallagher Archivist David Cockburn (Correspondence) 0404 019 212 (as above) [email protected] Quarterly Voice Talisa Pariss-Proby Secretary Maria Chamberlain Editors 0410 844 999 (Minutes) 07 3841 1675 [email protected] mandachamberlain @ozemail.com.au Katrina Roberts (as above) Treasurer Rowena Luck-Geary 07 3390 2332 Catering Officer Kathy Wilson [email protected] (as above)
General Sarah Mitchell Committee 0418 759 274 Members [email protected] HONORARY LIFE MEMBERS Katrina Roberts The year in which Honorary Life 0434 631 685 [email protected] Membership of the CSPT Inc. was conferrred is indicated here. Kathy Wilson 07 3282 6672 Fay Muir (1998) [email protected] Beverley Langford (1998) Megan Shapcott June Finney (2004) 0414 724 301 Dr Jillian Clare (2006) [email protected] Beres Turner OAM (2006) Patsy McCarthy (2007) Pam Greatorix 07 3871 0488 Rowena Luck-Geary (2015) [email protected] Stephen Robinson (2016)
3 In Saying What You Don't Want to Hear
"In Saying What You Don't Want to Hear" is Dr Bruce Dawe's contribution for the second edition of 'The Quarterly Voice' in 2018.
for Liz
I won’t say how wonderful you are since you don’t want to hear it, nor how beautiful you look when I know how you wear it --that garment of love and unending care that I can sense every day whether here or some ‘where’.
Now, for you, even sleep can never be enough when the waves you are on are increasingly rough, though the wave of your hand in farewell speaks for me of the commitment that matches the depth of the sea.
The Patron's Pen The Patron's 4 Dear Members, President’s Report
I trust that Semester One has reached a happy conclusion for you and your students. I hope that you’ve survived without too many bouts of the cold or catching a bad dose of the dreaded flu. It’s now time for you to have a very well-deserved break! So, please sit back, rest and enjoy.
On Saturday evening June 9th, the 72nd Barbara Sisley Awards were held in The Premiers’ Hall at Parliament House. Our Guest of Honour and Guest Speaker was actor Matthew Backer (a former Brisbane lad now based in Sydney). I was Matthew’s classroom Drama teacher (he graduated from Iona College in 2002) and I was delighted that he was able to accept the invitation to attend. He was an outstanding student. In preparing my introduction for Matthew, I delved into the College’s archives…. I had very fond memories of him but wondered if time had sweetened them a little too much? I discovered that my comment for him as a Year 8 Speech and Drama student was: “He is an excellent student and a very willing worker. His performance work shows promise. Well done.” Promise indeed! And by Year 12 Drama, my comment was: “An excellent student, who consistently forms complex dramatic action, presents with sensitivity and control, and responds with insight and fluency.” In his professional-life, his ‘report cards’ have echoed my comments; reviews by theatre critics have included statements like- “Backer shines in the play’s most demanding role” (Sydney Morning Herald), “a hugely intelligent actor” (Limelight), “Backer is one of our most compelling actors” (Time Out). I am very proud of his achievements. It seems that “excellent” was an apt descriptor! His Barbara Sisley speech was well-prepared and he has kindly allowed us to include a copy of the speech in this edition.
Overall, it was a good evening of fine entertainment that was thoroughly enjoyed by everyone who was fortunate enough to be able to attend. Special congratulations to our members whose students presented at the Awards. I would also like to especially acknowledge and thank the co-ordinators Helen Steele and June Finney. They did a wonderful job! In particular, I especially thank Helen for the mammoth task she undertook in contacting all of the awardees’ teachers and organising the event’s mountain of correspondence and paperwork, and the timetables and the like to ensure that the evening ran smoothly. It is certainly a very time consuming task that requires attention to detail, time and patience. Likewise, thanks to June for carefully selecting the awardees’ books to ensure their appropriateness and to Katrina Roberts for assisting in creating mail merges et cetera in order to help streamline the processes. Finally, thank-you to my fellow Committee Members for their contribution to the effective running of the evening. Since 2010 (64th Barbara Sisley Awards), The Premiers’ Hall at Parliament House has been ‘our home’ for the Awards and we hope this arrangement will continue in coming years. It is certainly a prestigious venue that reflects the importance of the event and the fact that our awardees come from all around our state. The programme for this year’s Barbara Sisley Awards appears in this edition of your QV.
Apart from Sisley herself, these annual Awards commemorate and celebrate the contributions made by so many remarkable members of our society who gave so generously of their time and talents - Sister Mary Leonard, Gilbert Auriol Luck, Maggie Lovejoy, Blanche Lather, Maibry Wragge, Daphne Roemermann. These names must continue to be remembered and celebrated. 5 5 Congratulations to AMEB on their centenary! To mark this milestone, the AMEB engaged renowned musicologist, Dr Rita Crews OAM, to write a history of the organisation: A Centenary Celebration. The Australian Music Examination Board 1918 to 2018. The AMEB describes the publication as “a comprehensive and fascinating look at our journey from the point of federation in 1918 up to today. Featuring the personalities, syllabuses, certificates and education directions from the last 100 years plus lots of images and pictures discovered in the archives, this book is for all music education fans in Australia. The book’s foreword is written by Senator the Hon. Mitch Fifield, Minister for the Arts.” The book is available for purchase through the AMEB website (Price: $79.95). While the book may not contain any cliffhangers to propel the reader’s feverish excitement onto the next page, it nevertheless provides an accurate and valuable record of the organisation’s history and is handsomely presented.
It charts the numerous advancements that have occurred in the AMEB’s history which also chart and reflect societal changes. In particular, you may find the following extracts rather interesting… The year – 1937, the debate – women examiners…. “Although the works of women composers had been recognised and included on the syllabus and the majority of teachers were women, a proposal to appoint women as examiners had been rejected outright for several years. The question arising was one of who had the better judgment, man or woman. However, the Board conducted a survey of teachers and schools throughout the country with a total number of 2,974 letters being sent out. Of the 661 replies, 303 favoured the employment of women examiners, 58 of those nominating examining the lower grades only. In the event, it took another nine years for women to be permanently appointed to the various examining panels.” Then in 1943… “Due to war conditions, it was decided that individual states could employ women Examiners for both Music and Art of Speech if necessary. However, this was to be seen as an emergency measure with the proviso that their names were not to be placed on the panel of examiners. This was the first step in breaking down the policy that women examiners would not be as capable or competent as men or be able to give as sound judgement.” By 1946….. “After some ten years of deliberation and hesitation, the decision was finally taken to appoint women examiners and the first ten were appointed, to examine in piano, violin and art of speech. Twenty years later however, only thirty women had been appointed as examiners.” How far we have travelled! Thank-you to all of the stoic women who have created generations of teachers and performers.
Important date claimers for Term 3! Please mark your diaries and come along to our special afternoon with ASCA on Sunday 29th July (free admission) and our Children’s Story Book Presentation on Sunday 12th August ($15 ticket – please visit the CSPT Inc. Website to book). Both events are being held at Iona College (85 North Rd, Lindum 4178). Much thought and reflection, and many hours of plain hard work always goes into creating a presentation or performance and I thank the teachers and their students for preparing these events for the benefit of our Association’s members. The afternoons will be very valuable professional development opportunities. ASCA’s presentation will feature three complete programmes with the trademark ASCA focus on effective communication clearly highlighted in each. If you have never seen an ASCA exam before, please mark this afternoon in your calendar. They are very interesting exams. If you are unfamiliar with them, it is certainly worth your investment in time to gain an understanding of their nature and dynamics. It could be the ideal type of examination for one or indeed many of your students. This is the first of three more planned annual professional development opportunities of a similar nature where a different President’s Report President’s examining body will be invited to promote their communication syllabus. 6 The Children’s Story Book presentation promises to be most entertaining and enchanting, as well as great opportunity for teachers and their students to see how various texts have been interpreted and staged in a wide variety of styles by others. It promises to be a most enjoyable afternoon and is suitable for students of all ages.
I hope that you find something helpful in your Winter Edition of theQV. On behalf of you, its readers, I wish to once again congratulate our QV’s co-editors, Talisa Pariss-Proby and Katrina Roberts. So how can you make the QV even more relevant and valuable? Simple! Make a contribution. As a professional body, we have such an immense wealth of knowledge and experience. Let us be generous and share.
Finally, your Committee always warmly welcomes your ideas. If you ever have any concerns or great concepts, then please let us know. Remember, we are here to serve!
Kind regards,
David Cockburn Honorary President - CSPT Inc. SAVE THE DATE ASCA in Action Communication Options for Teachers (see page 24)
Sunday 29 July, 2-4pm
Father Daly Art Precinct, Iona College, 85 North Rd, Lindum
CSPT Inc. Special Presentation Storytelling Afternoon (see page 28)
Sunday 12 August, from 3pm
Iona Performing Arts Centre Iona College, 85 North Rd, Lindum 7 72nd BarbaraBarbara Sisley is a name familiar to Sisley Awards many in the fields of Speech, Drama and Performance. Born in England, Barbara Sisley came to Australia as a child, and went on to become not only a teacher of Speech and Drama, but a leading light in Brisbane’s theatre world. Her legacy is vast and, as such, the CSPT Inc. hosts annually the Barbara Sisley Awards to recognise excellence in these fields, specifically to acknowledge those students who have attained the highest results in AMEB and Trinity College London examinations in the preceding year. The 72nd annual Barbara Sisley Awards were held on Saturday, June 9th 2018, in the Parliamentary Annexe, Parliament House, Brisbane, where the outstanding achievements of 46 students were acknowledged and celebrated.
The evening began with a welcoming address from CSPT Inc. President David Cockburn, and was followed by the presentation of certificates and book awards, and a variety of performances from the evening’s recipients. An audience of 170 proud family, friends, teachers and invited guests were Barbara Sisley Award recipients with guest of honour, Matthew Backer, entertained by younger students with on the steps of the Parliamentary Annexe, Parliament House, Brisbane. performances such as Robin Klein’s Great Expectations, Roald Dahl’s much- loved Matilda, and The Swaggie, by Judy Scheuber. Older students gave us presentations that included Juliet, from Shakespeare’s Romeo and Juliet; Annelle, from Steel Magnolias; Carol, from David Mamet’s Oleanna, and a timely and humorous story aptly named "The Politically Correct Three Little Pigs."
Supper was held under the lights of the beautiful Annexe Courtyard. Prior to this, guest speaker, Queensland- born journalist and actor Matthew Backer, delivered an engaging, humoros and motivating address. Matthew has performed with such companies as Queensland Theatre, Sydney Theatre Company and Bell Shakespeare, and has received many accolades for his outstanding body of work. It was a pleasure to have Matthew join us for the evening.
I would like to thank the students, their parents, families and teachers for their participation in, and contribution to, the Awards. As one parent remarked afterwards, “What a wonderful group of talented performers, and what a wonderful evening! My daughter has come away greatly inspired!”
I would also like to acknowledge and sincerely thank the CSPT Inc. Committee Members for the generous support, effort and hard work that went into what was an enjoyable, entertaining and successful evening.
Helen Steele BSA Coordinator 2018 (CSPT Inc. Hon. Vice-President) 8 72nd Barbara Address Sisley from the Guest of AwardsHonour, Matthew Backer 72nd Annual Barbara Sisley Awards Evening, Saturday 9 June, 2018
"Good evening Honorary President, Life Members, teachers, family, friends and, of course, the 72nd Annual Barbara Sisley Awards recipients. Thank you for your warm welcome and congratulations to tonight’s awardees.
When Honorary President David Cockburn (or as I feel much more comfortable addressing my high-school drama teacher, Mr Cockburn) called to ask if I would be tonight’s Guest Speaker, I was right in the middle of doing what most professional actors are doing: watching NETFLIX on their couch. I’d like to say I was in the middle of rehearsing Hamlet or was on-set just about to film a scene in a big-budget movie, but the life of a professional actor, in Australia at least, is not as glamorous or as busy. We mostly really do act for the love of it.
Whilst I wasn’t lucky enough to sit AMEB and Trinity College Speech and Drama exams like tonight’s recipients, like them, I was a keen Speech and Drama student when I was at high school - a keen Speech and Drama student in an all-boys Catholic high-school in Brisbane in the late 90s/early noughties.
Safe to say, being such a drama lover in such a school in such a time wasn’t really the coolest thing to be. Instead of being cheered on and revered by the school in Rugby matches or swim meets, I was being heckled for playing Oliver in the high school musical. Instead of spending my lunches playing handball with a competitiveness and ferocity like one was competing in The Hunger Games, I was most likely in my school’s small drama hall, positioned on the very outskirts of the school grounds, practising my detailed characterisation of ‘old man’ or in one memorable unit, Lady Macbeth.
But I didn’t care that much. For me, Speech and Drama was not only an escape from the daily trials and tribulations of high-school life, but it was where I learned the most not only about myself but also about the world I was about to enter upon graduating.
After all, it was Shakespeare who so perfectly put it that, ‘All the world’s a stage, and all the men and women merely players.’
And this world, I believe, needs the fruits from those who study Speech and Drama more than ever as it’s a worryingly divided world. It’s not lost on me that I’m delivering these words within Parliamentary walls, where, quite often, spin is spun, wool is pulled over our eyes and where our ‘leaders’ sometimes push us to adopt an ‘Us Versus Them’ mentality about other social groups.
Throughout history, we have seen the dangers this type of group thinking can cause. It causes us to act irrationally and uncooperatively, because we’re more concerned about conforming with our group instead of thinking intelligently for ourselves, or recognising other people’s interests, values and worth outside of our own social circle.
I saw this day in, day out in high school and I see it out here in the ‘real’ world. BUT, because I am now an actor, I see it all through a different lens.
Acting is one of the very few professions that asks, nay demands you to put yourself in someone else’s shoes… metaphorically and literally… and 'hopefully' they’re comfortable shoes if you have to walk around a stage in them for eight shows a week for months on end.
Continued over page... 9 Address from the Guest of Honour, Matthew Backer 72nd Annual Barbara Sisley Awards Evening, Saturday 9 June, 2018
(Continued)
This ability to stop and think as another human being is a gift.
This type of thinking is second nature to me now. When I graduated from high school, I lacked the confidence to walk down the road of becoming a professional actor. So, I took up another profession to do with story-telling, Journalism. The same rule applied here: put yourself in their shoes and tell their story. After studying and working as a journalist, I finally auditioned for the National Institute of Dramatic Art, got in and moved to Sydney.
I remember excitedly, and of course dramatically, telling my mother via a phone call at the end of my first week: "Mum, I have finally found my people!"
I spent three wondrous years at NIDA furthering my understanding of drama: its position in the world and in our combined histories, its ever-constant and ever-changing societal relevance, its ability to transport and transform, its power.
Upon graduating NIDA, I have been incredibly thankful to have made a living predominantly from performing, playing Frankie Valli in Jersey Boys, performing in a number of plays with the likes of Sydney Theatre Company, Bell Shakespeare and Queensland Theatre, writing and producing my own work and, more recently, performing with well-known television actors I’m sure everyone in this room has admired at some point: Big Ted, Little Ted, Jemima, Humpty. Yeah, you know the show.
So, to stand here tonight and speak to the next generation of Speech and Drama enthusiasts means a great deal to me, because Speech and Drama still means a great deal to me as it is what I’ve chosen to spend my life pursuing. I’m thrilled all of you are being acknowledged tonight for your hard work, intelligence, talent, tenacity and curiosity about your world and the stories it contains. And whether you too continue a career in Speech or Drama or venture into other just as important and interesting professions, the same rule applies to work and to life in general: put yourself in their shoes.
If more of us adopted this mantra in our lives, I do believe the world would be a better, kinder, fairer place. And that’s just one of the powers and promises of Speech and Drama.
So, congratulations to all of tonight’s recipients. The seeds that have been sown in you throughout your Speech and Drama studies will be extremely beneficial to you in many walks of life. Be sure to thank your parents and family and friends who supported you through these exams. They are your number one fans. Thanks should also go to your Speech and Drama teachers for enriching your lives with the gifts that Speech and Drama will continue to give you.
Finally, thanks must also go to the Communication, Speech and Performance Teachers Inc. for not only giving me the honour of addressing you all tonight, but for having maintained the Barbara Sisley Awards for so long.
Thank you for annually acknowledging so many Speech and Drama devotees over the decades and awarding them for having the interest, empathy and heart to walk in another’s shoes.
May the walk be ever in your favour." 10
72nd
BARBARA SISLEY
AWARDS
Guest of Honour
MATTHEW BACKER
Premiers’ Hall, Parliamentary Annexe,
Parliament House, Brisbane
7:00pm Saturday 9th June 2018
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PRESIDENT’S MESSAGE
On behalf of the Communication, Speech and Performance Teachers Inc., I welcome you to the 72nd Annual Barbara Sisley Awards. Each year, the Awards acknowledge and celebrate the achievements of those students who top the state of Queensland in Australian Music Examinations Board Drama and Performance examinations, and Trinity College London, Speech and Drama examinations, in the previous year. We also acknowledge at these awards, the recipients of the Daphne Roemermann and Maibry Wragge Memorial Awards. We congratulate this year’s recipients on their outstanding achievements and acknowledge the significant support of their teachers and families.
The CSPT Inc. first established the Barbara Sisley Awards in 1947 to honour the outstanding contribution of Miss Barbara Sisley to our Association and to the Arts in Queensland over many years. Barbara Sisley was a creative and dynamic actor, director, producer and teacher of Speech and Drama; a co-founder of the Brisbane Repertory Theatre (now known as La Boite Theatre Company - the oldest theatre company in Queensland); and in 1939, a founding member of the Communication, Speech and Performance Teachers Inc. (then known as the Art of Speech Association). Today, the overarching objective of the Association still remains; to encourage excellence in the teaching and learning of Communication, Speech and Performance. Barbara Sisley had an enormous influence on the development of theatre, actor training and the Speech and Drama teaching profession in Queensland. We remember her contribution to the Arts in Queensland with gratitude and respect.
I would like to welcome our guest of honour this evening, Matthew Backer. Finishing high school in 2002, Matthew completed a Bachelor of Journalism (University of Qld) in 2005, and later a Bachelor of Dramatic Art (Acting) at NIDA (National Institute of Dramatic Art) in 2010. Matthew has appeared in critically acclaimed productions with Sydney Theatre Company, Belvoir St Theatre, Bell Shakespeare, Griffin Theatre Company and Queensland Theatre. Just like tonight’s awardees, Matthew has received accolades for his outstanding body of work including BroadwayWorld Award - Best Actor in a Play for Sydney Theatre Company’s A Midsummer Night’s Dream (2016), Matilda Award – Best Actor in a Play for Queensland Theatre’s Switzerland (2016) and Sydney Theatre Award for Best Male Actor in a Supporting Role in a Musical for Haye’s Theatre Co.’s Only Heaven Knows. Currently, you can see Matthew as a presenter on the ABC’s Play School and he will be starring in the Queensland Theatre Company’s production of David Williamson’s latest play Nearer the Gods which will re-open the renovated Bille Brown Theatre in October. It is a pleasure to have Matthew as our guest of honour.
I would also like to welcome special guests, Life Members of the CSPT Inc., June Finney and Rowena Luck-Geary, and Queensland Manager of the Australian Music Examinations Board, Kiley Tierney, National Manager of Trinity College London, Barry Walmsley, and Brisbane Representative of Trinity College London, Kevin Gallagher. Apologies are extended from our Patron, Dr Bruce Dawe and his wife Liz Dawe, and National Manager of AMEB, Mike Tyler, as well as from CSPT Inc. Life Members, Jillian Clare, Bev Langford, Patsy McCarthy, Fay Muir and Stephen Robinson, and Past-Presidents, Beverley Wood and Vicki Fuller.
On behalf of the CSPT Inc., I sincerely thank the Australian Music Examinations Board and Trinity College London for their consistent support of our organisation. I would also like to thank members of the CSPT Inc. Management Committee for their dedication and diligence in preparing for this evening. Particular thanks must go to Helen Steele and June Finney who have co-ordinated tonight’s award celebration, and to Katrina Roberts for kindly assisting the co-ordinators.
On behalf of the Communication, Speech and Performance Teachers Inc., I wish all students, teachers and families success in their endeavours in 2018 and thank you all for joining us this evening to honour these outstanding Award recipients.
David Cockburn Honorary President, CSPT Inc.
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The CSPT Inc. acknowledges and appreciates the assistance of the officers of the Australian Music Examinations Board and Trinity College London in the organisation of the 2018 Barbara Sisley Awards.
Please note that the results and names of award recipients and their teachers are provided to the CSPT Inc. by the Queensland Office of the AMEB and the Australian National Office of Trinity College London. Any errors, inaccuracies or omissions in the information provided to the CSPT Inc. concerning the results and names of award recipients and their teachers is solely the responsibility of the Queensland Office of the AMEB and the Australian National Office of Trinity College London to address. It is not the responsibility of the CSPT Inc. to address or correct any errors, inaccuracies or omissions, or to change or update information as published in this program as provided to us by the offices of the Queensland Office of the AMEB and the Australian National Office of Trinity College London.
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A HISTORY of the BARBARA SISLEY AWARDS The first Barbara Sisley Awards - in the form of scholarships to students gaining the highest marks in AMEB Seventh Grade and Grade Eight Trinity College London - were presented by The Art of Speech Association in 1947 at a students' recital. This annual event later became “The Barbara Sisley Recital”, with book awards being presented to the student gaining the highest mark in each grade for Australian Music Examinations Board and Trinity College London Speech & Drama examinations for the preceding year. In 2018, the Barbara Sisley Awards celebrate the achievements of students who top the state of Queensland for Australian Music Examinations Board (Drama and Performance) and Trinity College London (Speech and Drama) in grade, certificate and diploma levels from the previous year. Additionally, at the Awards Ceremony, the CSPT Inc. acknowledges the recipients of the annual Daphne Roemermann and Maibry Wragge Memorial Awards.
A PROFILE OF BARBARA SISLEY Born in England in 1878, Barbara Sisley came to Australia with her family at the age of eleven. She studied elocution under the tutelage of her father, Thomas Sisley, a civil service clerk who had qualified as a speech teacher in England. After attending Melbourne’s Manuel College she became an actress and played in various theatres in Melbourne and elsewhere. In 1916, she was touring in Brisbane and decided to make Brisbane her home.
She became a Speech and Drama teacher at St Margaret's Anglican Girls’ School in Clayfield, at Somerville House, South Brisbane and for the Brisbane Young Women’s Christian Association (YWCA). She also established the Speech Training and Dramatic Art private studio in the city. Barbara Sisley was an instigator of the Brisbane Shakespeare Society in 1920. In 1923, she took sabbatical to return to England to study with Elsie Fogarty at the Central School of Speech and Drama. She arranged for Miss Nell Douglas Graham to conduct the studio in her absence and, on her return to Brisbane, Barbara Sisley introduced new teaching methods (both technical and literary) which gave a strong impetus to her studio.
In 1925, she and Professor J.J. Stable formed the Brisbane Repertory Theatre Society (today known as La Boite Theatre Company, the oldest theatre company in Queensland and second oldest in Australia). Her main roles for ‘Repertory’ were as Senior Producer, Director, Actor and General Committee member. Within a decade, Brisbane was also proud to have Twelfth Night Theatre and Brisbane Amateur Theatre (later to become the Brisbane Arts Theatre). The founders of the latter were Jean Trundle and her husband, Vic Hardgraves. Both Rhoda Felgate (founder of Twelfth Night Theatre) and Jean Trundle were from the studio of Barbara Sisley.
Barbara Sisley's love of theatre, and of other arts, developed for her a wide circle of acquaintances in arts organisations and she became a well-known figure in society - tall, elegantly dressed, with a resonant voice and a ‘positive’ personality. As an actor, she is remembered as Queen Elizabeth in Clemence Dane’s "Will Shakespeare" and for the leading role of the Duchess of Marlborough in "Viceroy Sarah", both these plays being produced by Rhoda Felgate. Sisley’s studio and theatre productions developed many of Brisbane’s first actors and an outstanding group of Speech and Drama teachers including Clare Clarke, Rhoda Felgate, Hilda Hastie, Daphne Roemermann and Jean Trundle. The Barbara Sisley Awards were first established in 1947 in recognition of the outstanding contribution Barbara Sisley made to teaching and the Arts in Queensland.
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R T W RDS Sister Mary eonar Memorial ar Trinity olle e on on nitial an M B reliminary Barbara Sisley ar recipients ilbert uriol uc Memorial ar outstan in M B Barbara Sisley ar recipient rom re ional ueenslan Ma ie ove oy Memorial ar ssociate Diploma, Trinity olle e on on Teachin Barbara Sisley ar recipient Blanche ather Memorial ar ssociate o Drama an er ormance, ustralia M B Barbara Sisley ar recipient n eavour ar s Trinity olle e on on, ra e an M B erti icate o Drama an er ormance, ustralia D Maibry Wra e Memorial ar most outstan in can i ate in the hi hest level in ommunication S ills syllabus, Trinity olle e on on, in the prece in year Daphne Roemermann Memorial ar most outstan in can i ate in the hi hest level o oice an ommunication syllabus, M B, in the prece in year
R o S ST R M R RD Sister Mary eonar as a e icate an carin teacher ho ha a very positive impact on all those ho ne her or ere her stu ents She tau ht not only Speech Drama but also music or orty t o years at St natius School, Too on Brisbane ll stu ents rom ear T o to ear Seven ha a Speech lesson each ee an many o these she prepare or both T an M B e aminations The uality o her teachin is recor e in the results o the Barbara Sisley ar s over many years, as her stu ents o ten “toppe the state” She pursue e cellence in the speech o her stu ents an as also concerne that they be courteous, sensitive an assertive communicators The S T nc is prou to honour her memory ith a perpetual a ar or T nitial an M B reliminary aminations as she ensure that her stu ents al ays commence their “learning about speech” ith appropriate e amination oals
R o M Ma ie ove oy as a member o the S T nc or nearly t enty years an contribute ith enthusiastic an e icate sel lessness as its resi ent, itor o The Quarterly Voice an as a member o the Mana ement ommittee er o n teachin spanne a perio o more than thirty years an , over that time, she encoura e , enthuse an evelope s ills in her stu ents, al ays strivin to achieve e cellence Ma ie tau ht stu ents rom primary to a ult level Many o her stu ents “topped” ueenslan in both M B an T e aminations an ere ac no le e in the Barbara Sisley ar s ter a lon battle ith illness, Ma ie passe a ay in The S T nc is prou to honour her memory ith a perpetual a ar or ssociate Trinity olle e on on Teachin as she commence the teachin an per ormin careers o many ho no contribute in the iel o Speech Drama
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o lanche ather as a e er o the nc or o er thirt ears and ser ed on the anage ent o ittee ro n lanche as elected to the position o resident and re ained so or three ears he as appointed to the a iners anel or the in and ser ed thereon or nine ears er earlier career as in radio he oined as a record li rarian ser ed later as a sic irector and inall or ed as rogra e irector he retired ro radio station in a ter thirt ears ith that organisation pon retire ent lanche ret rned to teaching peech ra a and as acti e ith el th ight heatre oth as an actress and director he also or ed at the or t o ears as oice coach to radio and tele ision presenters n she as entered into the adio all o a e the eensland i e l “in recognition o o tstanding contri tion to the radio ind str o Queensland”. n lanche recei ed a o on ealth ard or enior stralians or her or in the co nit nota l the arana ra a esti al and peech ra a in eensland lanche passed a a in he nc is pro d to hono r her e or ith a perpet al a ard or ssociate iplo ates o the stralian sic a inations oard as she o ered g idance and s pport or oth st dents and pro essionals associated ith the er or ing rts
o he nc is inde ted to il ert riol c or her acti e and tireless or or the ssociation o er an decades il ert riol c no n as ‘ riol’ as orn in arcaldine eensland he st died in o ns ille e ent all eco ing a er s ccess l teacher ro the late s riol de eloped a strong a iliation ith the ssociation ta ing on ario s ol ntar roles incl ding ecretar e erral icer and lications icer s e erral icer riol as the irst port o call or an parents st dents and eistedd od con enors ali e searching or appropriate teachers o peech and ra a thro gho t eensland riol as reno ned or her pro essionalis ar th and help lness in se eral a s she as the ace and oice o the ssociation or an ears s lications icer riol ens red the ti el prod ction o reso rce aterials and the Association’s o rnal he Quarterly Voice t the age o riol c co pleted her ssociate iplo a peech and ra a eaching or hich she as a ar ara isle recipient n she as gi en i e e ership o the ssociation or her o tstanding ser ice o er a long period o ti e he nc is pro d to hono r her e or ith a perpet al a ard or the ar ara isle reli inar e a recipient s ro regional eensland
n as stralia prepared to cele rate the icentenar o aptain a es oo s e ploration o the east coast ssociation e er iss arcia c all had a rilliant inspiration that the as it as na ed then peech Teachers’ ssociation sho ld ar the occasion presenting a progra e o erse that as ritten o er the pre io s t o h ndred ears co ittee as or ed poe s and sic ere chosen and en es the entenar all ris ane chool and ton all t argaret s chool l ion eights ere oo ed or the th and th ne respecti el
he progra e dra n p as to e spo en a gro p o teachers st dents and actors gro p o ol singers led ohn ani old o ld contri te ost signi icantl arcia c all had an idea that a n er o poets sho ld e in ited to select and spea so e o their o n erse hese ere ohn light al allis ohn ani old a id o otha odne all and ho as hapcott ecil adgra t enior ect rer in nglish at the ni ersit o eensland prepared a script narration hich a es tephens o ld deli er s ell the ni ersit assisted ith preparation o slides to acco pan the erse spea ing 20
The ro ra e o ened ith an introduction hoda el ate then ollo ed a sal o o un ire a ter hich a selection ro enneth lessor s oe “ i e isions o a tain oo ” launched the ro ra e. t also concluded ith those a ous ords ro the sa e oe
o oo ade choice so oo sailed esta out o en rite oe s in Australia.”
The hole enture as an outstandin success oth artisticall and inanciall . The und ro ided the asis ro hich the ndea our A ards ha e since een ade. As ell it is orth notin that ollo in re resentations ro the ational i rar in an erra and the ohn le i rar in ris ane the ro ra e as rinted in a ost attracti e or at ut not one as ade a aila le or sale.
The T nc. ac no led es the contri ution o all concerned ost es eciall arcia c allu those ho re ared and resented the ro ra e and articularl the oets ho ha e i en us such a rich herita e. The ndea our A ards are resented to ar ara isle A ard reci ients or Trinit olle e ondon rade and A erti icate o ra a and er or ance e a inations.
A A a hne oe er ann as a teacher o eech and ra a or ort ears until and an a iner or the Australian usic a inations oard ro or thirt one ears. he as ast resident o the o unication eech and er or ance Teachers nc. and a e er o the ederal eech and ra a Authorit . ro she as er anent eech and ra a e resentati e on the A Queensland o ittee. he held a osition on the oard o the Queensland Arts ouncil. a hne oe er ann as also a director and actor or The ris ane e ertor Theatre and ris ane Arts Theatre. Additionall she as a oundation e er o T el th i ht Theatre here she acted or se eral ears. n a hne oe er ann as a arded an A or ser ice to education articularl in the ield o eech and ra a. A A ai r ra e as one o the oundin e ers o the o unication eech and er or ance Teachers nc. in then no n as the Art o eech Association . he had a eech and ra a teachin ractice in s ich and tau ht at s ich Girls’ ra ar chool later esta lishin a studio in in ouse in ris ane. ai r ra e a e constant su ort to the Association as resident ecretar and ouncil e er and re ained on the o ittee or o er t ent one ears. he as a arded the irst onorar i e e ershi o the Association or her enthusias and untirin or .
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'The Power of Vulnerability' available at www.TED.com/talks 23 in Action (Communication Options for Teachers)
Date: Sunday 29th July, 2018
Venue: Father Daly Art Precinct, Iona College, 85 North Rd, Lindum
Time: 2-4pm
FREE ADMISSION 24 Join us for an entertaining afternoon showcasing what ASCA has to offer for both teachers and students.
While social media as we now know it provides exciting opportunities and convenient communication, its use can also lead to the erosion of basic communication skills. As a result now, more than ever, it is essential that teachers in our profession encourage the development and competent use of oral communication.
The ASCA Syllabus has been specifically designed with this goal in mind. Each exam builds on the one before it to ensure that the student is encouraged to expand their abilities in this important area.
From an early age the performer is taught how to handle questions and difficult audience members, and how to get their message across. As you can imagine, the presence of an audience from the earliest grade is essential in this process. The audience helps the student learn what works and what doesn’t, from their own experience and what happens to other performers.
When asked to showcase the benefits of the Syllabus for the Association we chose three exams: Junior Grade 4 (the final exam in the Junior List), Senior Grade 1 (the first of the Senior List) and the Certificate of Communication (which is for senior school students and business clients).
Junior Grade 4 invites the student to give their speech as an ‘expert’ and, if they feel able to, answer questions as that same expert. For example if they talk about Egyptian mummification, they then answer questions as a Professor of Egyptology. This means it becomes essential for students to research as much information as they can to deal with all audience questions. As their research skills develop and their knowledge and confidence grows, you can see the change in body language and voice, and their style becomes more assertive. Learning how to deal with a difficult audience member, especially an adult, builds the confidence of the young student. The exam also includes performance of memorised prose or drama and the reading of a poem from an anthology they have chosen themselves.
In Senior Grade 1 the student is encouraged to run the question time after the speech. This is an option offered to those students who feel able to move beyond the simple question/answer role. They must listen to answers and frame their questions to draw more information from the audience. Initially they may want to prepare a few questions to encourage the audience to participate - the audience may be as nervous as the student. At the end of the discussion the student must summarise the content and give us the overall ideas which have emerged. This is a skill which requires active listening to show an understanding of the ideas people wish to express. With students who have just started with the Syllabus they can just do a simple question time and move on in the next exam to running this section. In more senior grades, like Senior Grade 3 this Section requires encouraging a robust discussion with the audience. Most succeed admirably. This grade also requires a memorised monologue or lyrical poem, reading aloud from a prepared book and a memorised announcement.
The Certificate of Communication requires the student to be competent in all areas of oral communication. Speeches, discussions, current affairs, impromptu discussions and speaking, a memorised piece of literature, questions on the theory of public speaking and meetings and finally an improvised toast, introduction of a speaker or special occasion speech. This exam is a delight to teach and watch and after this, there should be no surprises ahead for the performer in relation to oral presentation skills.
The Certificate of Communication also prepares clients for the Diploma of Communication which has a Theory component and is very useful for business clients and those students continuing on to a business career.
These skills we teach our students are necessary today at school and in the workplace, and the ASCA Syllabus provides the building blocks to acquire these skills for both teacher and student. 25 Literary Landmarks
Mount Mandarana,by Stephen Robinson Mackay
Stephen is a Life Member and Past President of the CSPT Inc. and a former Editor of ‘The Quarterly Voice’.
Say ‘literary landmark’ and I immediately think of Owen Sheers’ excellent 2009 BBC television series ‘A Poet’s Guide to Britain’ (available BBC DVD, 2010). In Episode 1, standing on (London’s) Westminster Bridge, he recounts how the Wordsworths – William & Dorothy – travelled across that famous bridge early morning late July 1802. Sheers goes on to detail how that moment inspired one of Wordsworth’s great sonnets, ‘Composed Upon Westminster Bridge, September 3, 1802’. Then, I think of Sheers standing in Dove Cottage in the Lake District talking with (then) Poet-In- Residence at Grasmere, Adam O’Riordan about the Wordsworth household and remember listening to O’Riordan’s own beautiful sonnet, ‘Home: A Double Wash Stand’.
But more ‘locally’ – and I mean that word in the sense of my own heritage and personal history – there are no Westminster Bridges or Dove Cottages. No, a landmark in ‘my bones’ is Mount Mandarana, more commonly called ‘The Leap’. Here, according to legend and lore, an indigenous woman jumped to her death in 1867 rather than be captured in a ‘dispersal’ by troopers. Many times, as a child, my family would drive past the mountain (on Sunday car trips to Seaforth or holiday excursions to Townsville or Cairns). We’d share the story of that woman’s death – made all the more poignant as (allegedly) she carried a baby with her. The child survived (supposedly), fostered to adulthood by a local farmer and his wife.
And, once more, I can ‘enjoy’ the influence of that ‘place’ on literature with the re-release (April 2018) of Thea Astley’s 1974 novel ‘A Kindness Cup’ (republished by Text Publishing/Text Classics, Melbourne, 2018, $12.95, 184pp). I can recall first reading the book in the mid-1980s and ‘teaching’ the novel as a senior English text at my (then) school, Our Lady of Mercy College, Mackay. Nearly thirty years later, in another school in another city, I taught another novel about indigenous-white invader interaction, Kate Grenville’s ‘The Secret River’ (2005, also published by Text and made into an excellent ABC TV series). It is no coincidence that Grenville provides an Introduction to the reissued novel – an essay, ‘Saying the Unsayable’.
Mount Mandarana or ‘The Leap’ looms over the events in ‘A Kindness Cup’ proving to be not only the ‘scene of the crime’ – a police pursuit that led to one woman’s death jump – but also an ominous backdrop for events that unfold two decades later as part of a ‘Back to The Taws’ reunion. Study of the text, or a more recreational approach to the novel, allows readers to enter into the world of black-white relations in the 1860s and 1880s. It is a time of cultural intersection best chronicled in this state by Raymond Evans, Kay Saunders & Kathryn Cronin in their tertiary text, ‘Exclusion, Exploitation and Extermination: Race Relations in Colonial Queensland’ (ANZ Book Company, Sydney, 1975). I had the good fortune to study under both Evans and Saunders at the University of Queensland from 1976- 1978 and owe both historians my appreciation for ‘opening my eyes’ to the fractured racial history of our state and nation. [Evans penned two excellent articles for Queensland Heritage in 1971, recording the history of ‘Queensland’s First Aboriginal Reserve’ at Mackay. Both articles are available on the web, easily found with a Google search!]
Out-of-print until recently, re/release of ‘A Kindness Cup’ offers the possibility of the text being read by a new generation as part of Semester 2 units in Senior English. Perhaps some schools will see the possibilities of a comparative study with Grenville’s ‘The Secret River’? (Or, another text that interrogates colonial ‘settlers’ and their interaction with first peoples!) There’s the possibility of re-examining Astley’s verse! I didn’t know that it ‘existed’ until last year when Thea Astley's ‘Selected Poems’ was issued by University of Queensland Press (St Lucia Qld, 2017, $24.95, 167pp). Perhaps some enterprising teacher/s would like to look at Astley’s work in a study of Queensland writers at work? However, one cautionary note: check your facts! In Karen Lamb’s well regarded biography, ‘Thea Astley: Inventing Her Own Weather’ (UQP, St Lucia Qld, 2015, $34.95, 360pp) the claim is made that ‘A Kindness Cup’ was inspired by an ‘old true story from the area’ (p.226). The ‘area’ that Lamb nominates is Kuranda, much nearer to Cairns than to Mackay. A faux pas! Astley owned a holiday beach cottage at Ball Bay, a short drive from ‘The Leap’. That’s a ‘fact’ documented in an Astley letter printed in the best study of her novel, ‘The Legend of the Leap’ by Nicola Jane Tareha (James Cook University of North Queensland, Foundation for Australian Literary Studies, 1986, 78pp). ‘Take the leap’ into Astley’s novel and decide if she was ‘ahead of her time’, as Grenville asserts! 26 Mount Mandarana
Can you add to our literary map of Queensland? Email The Editors at [email protected] with your contribution. 27 SPECIAL PRESENTATION
The CSPT Inc. is staging an exciting performance to celebrate the beauty and importance of children’s story and picture books.
Featuring the works of authors and illustrators who have either won or been nominated for the annual Children’s Book Council of Australia annual awards and including books by Bob Graham, Ruth Park, Colin Thompson, Amy Lissant, Pamela Allen, Margaret Wild, Noela Young, Norman Jorgenen and Mem Fox, among many other acclaimed Australian children’s authors and illustrators.
The Association invites teachers and their students and families to book tickets to attend this very special event.
PERFORMANCE DATE: SUNDAY 12th AUGUST AT 3PM Approximate Running Time- 90 Minutes Venue: Iona Performing Arts Centre - 85 North Rd, Lindum 4178 Ample parking onsite and the Lindum Train Station is a short walk away
ALL TICKETS: $15 – BOOKINGS ON THE CSPT INC. WEBSITE (available from Friday 20th July)
28 Stephen Robinson Stephen is a Past President of the CSPT Inc. (SDTAQ Inc.) and a former Editor of ‘The Quarterly Voice’.
Rather than Sydney, TAMWORTH in northern regional New South Wales played host to the Annual Seminar of the Speech and Drama Association of New South Wales (Saturday 9 June to Monday 11 June). Under the ‘eye’ of a new logo and beautiful ‘pull-up banner’, teachers and members of community theatre groups attended a range of workshops and lectures and ‘clocked up’ over ten hours of professional development. It was great meeting up with old friends like Management Committee members Noel Cislowski and Vicki Clancy as well as members of the NSW Association who have been regular visitors to our Queensland Conferences … Nora Corrigan (formerly Brisbane, now living in Moree), Bryanne Jardine (Murwillumbah), Pamela Cassidy (now Tamworth, formerly the Gold Coast), and Sydneysiders Sandra Carter, Therese Bennetts, Lynette Hawkey and Sophia Fallon. Led by the Association’s indomitable and irrepressible President Rob (Robyn) Christmas, the long weekend provided a feast of ideas and complementary social experiences including a Saturday night bonfire and barbeque, Sunday evening dinner and bush dance, and Monday’s barbeque brunch in Tamworth’s Bicentennial Park. Sessions provided to attendees from Saturday afternoon to Monday morning – with some mighty fine country cooking to sustain attendees at morning and afternoon teas! – were as follows … • Saturday 9th June – ‘Adjudicators as Superheroes’ with Stephen Robinson (Brisbane) • Saturday 9th June – ‘Regional & Community Theatre’ with Peter Ross (Manager Entertainment Venues) • Sunday 10th June – ‘Touchstones: Sourcing Our Resources’ with Vicki Clancy & Sophia Fallon (Sydney) • Sunday 10th June – ‘Adventures in Biography: Writing the Lives of Australian Actors’ with Professor Anne Pender, Head of Theatre Studies at University of New England (Armidale) • Sunday 10th June – ‘Oral Magic – Spoken Poetry’ with novelist, picture booker and poet Sophie Masson • Sunday 10th June – ‘Workshopping Shakespeare’ with Dr Julie Shearer, formerly Bell Shakespeare Company and now Lecturer in Theatre Studies at UNE (Armidale) • Sunday 10th June – ‘Studying Theatre in Regional Australia’ with Professor Pender & Dr Shearer • Monday 11th June – ‘61 Resources in (Just) 60 Minutes!’ with Stephen Robinson (Brisbane) A few highlights (and it ‘goes without saying’ that I prepared too much material for both of my sessions … some things never change) … Learning about the fantastic vision for the Tamworth region as Peter Ross outlined future cultural infrastructure for the city and its catchment in the near future (truly it’s a ‘place to be’ and should be able to ‘plug into’ the ‘cultural tourism’ boom) … Being reminded in Vicki & Sophia’s session of the value of sharing ideas and resources whether they be print materials or in digital/electronic forms (the ‘tyranny of distance’ may still exist but the internet has reduced the gap significantly) … Listening to Anne Pender’s fascinating accounts of researching and penning biographies of Barry Humphries, John Clarke and Denise Scott (and reflecting on the rich ‘cultural capital’ that Australian comedians represent in illuminating our national identity) … Hearing articulate, nuanced Sophie Masson talk about the importance of poetry in children’s lives and being exposed to her ideas about writing, publishing and collaboration especially in regard to the new children’s verse publication ‘A Boat of Stars : New Poems to Inspire and Enchant’, Editors: Margaret Connolly & Natalie Jane Prior (Harper Collins/ABC Books, 2018, RRP $29.99; JUST BUY IT!) … Being reminded of the richness of the Bard’s language and Shakespeare’s enduring ability to inspire, challenge, affront – and move us to laughter and to tears! So, here’s my ‘challenge’ to CSPT Inc. members … Join me on the Queen’s Birthday Weekend (9-10 June 2019) in Sydney (TBC) to ‘rendezvous’ with our NSW colleagues! Had we been in Sydney this year we could have supplemented our Conference attendance with a theatre show (or two) on Saturday … STC’s Nakkiah Lui’s ‘Blackie Blackie Brown’ or George Bernard Shaw’s ‘St Joan’ (with Sarah Snook in the title role, rave reviews) or musicals like Sondheim’s ‘Assassins’ (Opera House Drama Theatre; do see it!!!), ‘Gypsy’ (Hayes Theatre), ‘The Book of Mormon’ (Sydney’s Lyric Theatre; QPAC in 2019) or ‘Priscilla: Queen of the Desert’ (Sydney’s Capitol Theatre; QPAC September-October 2018). Or attended VIVID or the Sydney Film Festival. And much of it would be tax deductible. Consider it ... along with making the promise to attend our own Conference in February (TBC). Tamworth 2018 was a wonderful SDANSW event! Thanks to all! 29
Katrina Roberts
A commonplace and ‘trendy’ vocal habit affecting many young people is the habitual, unintentional use of ‘vocal fry’ (also known as pulse register, laryngealisation, creak, croak or glottal fry). The following is a remedial programme designed and tested on a young female speech and drama student.
IDENTIFICATION OF VOICE AND SPEECH HABITS
Catherine is a 17 year old school student who recently started speech and drama lessons. Catherine speaks with habitual vocal fry and has trouble projecting her voice. Additionally, tension in the neck and shoulders, clarity of tone and resonance is a factor resulting in her voice sounding small, tight and quiet as well as ‘rough’ due to vocal fry (which is a prominent feature of her speaking voice).
Vocal fry affects Catherine’s voice when phonating single sounds as well as in connected speech. It is not only a feature at the end of words/phrases, but throughout all aspects of her speech.
Diagnostic tests and experience working with Catherine indicate that she has poor vocal awareness and a lack of understanding regarding how the body and breath affect her voice. To compensate for inadequate volume in her everyday speaking voice, Catherine has consequently learned to rely on twang to compensate for a lack of balanced resonance.
When speaking and at rest, Catherine collapses her solar plexus and brings her shoulders forward which causes constriction across her chest and ribs. This affects her ability to breathe reflexively and to practice intercostal diaphragmatic breathing – when preparing to speak, she uses clavicular breath. Overall, Catherine has a number of obstacles to overcome in terms of postural habits, muscular release and engagement with the breathing apparatus.
RATIONALE AND DEVELOPMENTAL APPROACH
Considering the above, the approach to working towards eliminating unnecessary vocal fry from
Catherine’s speaking voice is centred around developing her self-awareness of the vocal apparatus and improving her breath support, control and flexibility. It is believed that addressing these two areas of concern will be significant in assisting Catherine to develop a well-supported voice with full tone, adequate projection and balanced resonance therefore providing her with the ability to use her voice to its full potential. 30 While vocal fry can be caused by a number of things, it has been identified that Catherine’s vocal fry is primarily a result of a lack of breath support and tension. Catherine’s mean pitch is lower than is suitable for her voice, which is similarly a factor though in consideration of the time stipulated to provide Catherine with some improvement, there is less focus placed on developing balanced resonance though further work on this is the logical ne t step. ncreased breath support and control as well as the development of a functional posture and muscular release are a crucial starting point and skills which can be ade uately introduced and e perimented with in four sessions.
C
he focus for this session was on beginning to teach Catherine about the way in which breath and posture affect the voice, and to start using floor work as a way of allowing Catherine to connect with her refle ive breath and find relief from tension negative postural habits in a semi supine position.
hrough the strategies applied, the student was made aware of what each of the strategies intended to do and how they may impact the voice. Catherine was encouraged to ask uestions and provide feedback throughout the session about what she didn’t understand, what was new interesting different and whether or not she felt she was responding to the strategy.
ela ation, elease and efle ive reath (25 minutes followed by a 5 minute debrief)
o release any unnecessary holds or tension throughout the entire body to therefore begin engaging with refle ive breath, Catherine worked through a rela ation process starting with active movement and finishing with still rela ation.
irstly, Catherine worked through a series of yoga poses – yoga was an activity that Catherine was familiar with so this was an accessible and practical way to begin actively releasing muscular tension.
ach pose was held for at least seconds.
• asy pose – sitting with legs crossed, place the focus entirely on the act of breathing,
imagining each breath dropping into your lower abdomen as if it were a pool and the breath
is a drop of water disturbing the pool’s still surface.
• ove into cobra pose then transition smoothly into cat pose.
• ove into downward dog then transition smoothly into upward facing dog pose. 31 • ove into sphin pose. bserve the breath in this position.
Catherine was then asked to lie in semi supine with her eyes closed. small book was placed under the back of Catherine’s head as it was determined that the support was needed to prevent unnecessary stretching and tension of the neck.
• Ask ‘how am I feeling’ – check in with your body starting from your toes and finishing at your
head. Place your mind’s eye in each part of your body as instructed and guided by the
teacher and ask it to release. dentify any areas of tightness tension and actively release the
muscles which are contracting. magining the tension floating away as large bubbles may
assist.
• nce all parts of the body have been released, rest in this state of release and bring your
attention now to your breath – it may be faster now after the effort of the yoga poses. Work
hard not to suddenly take control – ust become an outside observer, imagining that each
inhalation is the body breathing in total rela ation and each e halation is the body releasing
tension.
• ently and without bringing back any tension, place one hand near your belly button and
the back of the other hand gently resting against the outer ribs. nhaling through your nose,
taking care not to ‘overbreathe’ or force the breath, observe what you can feel the ribs
e pand and swing outwards and the diaphragm descends causing the abdomen to rise
slightly. llow the breath to leave you and observe the opposite happening.
• Wait for the breath to flow in instinctively – again attempting to remain an observer and not
to take control, avoid inhaling until the body asks for more breath. epeat this for
minutes to allow ample time for observation and e perience. Check in with yourself regularly
to see if any tension has returned – if so, ask it to release itself.
• nsuring the aw muscles are released, allow the mouth to drop open like a fish but not to
be held open using muscular effort . Continue breathing and e perience a soft,
underarticulated ‘f’ sound. Repeat this for 3 minutes.
or homework, Catherine was asked to continue floor work where possible at home, with a focus on allowing breath to be refilled refle ively when the body asks for it and being a conscious observer without actively changing the breathing pattern.
32 I
After identifying that Catherine had appropriately begun to grasp the concept of refle ive breath, strategies were provided to e ercise her breath support and control. orking again on the floor and using the ‘f’ sound explored in the last session, Catherine started with the ‘f’ exhalation activity e plored at the end of the last session then moved into some interval work.
– ‘F’ exhalation minutes
• ying on the floor in semi supine, engage with your breath and observe it as you did in the
last session, simultaneously checking in with yourself to identify and release any tension.
Repeat for minutes.
• With your mouth agape again like a ‘dead fish’ (no muscular effort involved in holding the
mouth open , find gentle contact between the upper front teeth and the lower lip. reathe
through a soft and underarticulated ‘f’ sound. Repeat this for 3 minutes.
• ow, start giving yourself interval goals for each e halation. tarting with seconds, work
to e hale steadily and without unnecessary effort at the top of the breath and finish the
e halation on the second mark. If you have more breath left after the seconds, or not
enough breath, continue working towards the interval goal until you have reached it with
control – do not move on until this is achieved. hen move up to seconds, then –
adding seconds each attempt. Repeat for 3 minutes.
• Add in a touch of sound – now allow the vocal folds to come together and vibrate as you
vocalise the ‘f’ sound so it begins to sound like a ‘v’. Keep it to yourself – do not work to
make the sound loud or ‘heard’. Just experience the vibration of the sound as it moves onto
your lips without making judgements about the sound or attempting to ‘correct’ it in any
way. ocalise until the end of each breath. Repeat for minutes.
– traw Phonation minutes
Catherine was then given a straw to work through some emi ccluded ocal ract e ercises.
• sing the straw, repeat the interval process starting from seconds. Repeat for 3 minutes.
• In the same way as the ‘f’ sound was produced, exhale through the straw without phonation.
Repeat for minutes.
33 • ow add voice to the breath, producing sound with the tongue relaxed and the lips wrapped
gently around the straw to maintain a seal. Repeat for 3 minutes.
• ow moving to a standing position, repeat the above noticing the change between lying
down and standing and how it affects the body and breathing muscles.
3 – ‘F ’ exhalation standing ( minutes
Catherine then worked through the first activity but in a standing position to experience the change between floor work and standing. he last step was then altered so that Catherine was asked to articulate a variety of voiceless sounds followed by their voiced counterparts
- f to v
- s to
- ʃ to ʒ
Catherine’s homework was to use the straw lying down, sitting and standing with a focus on ensuring she maintains appropriate posture and muscular release while moving from a voiceless exhalation through the straw to a voiced one while working in intervals from seconds upwards.
I 3
– ‘F/S/SHH’ exhalation standing (10 minutes)
Catherine’s progress and homework was discussed and the third activity from the previous session repeated. his time, Catherine was asked to experiment moving through her range and vocalising on different pitches.
– ouch of ound ( minutes
Catherine then worked through Kristin Linklater’s ‘touch of sound’ progression.
• ying in semi supine, reconnect with your breath with your mouth in a ‘dead fish’ position
and observing the breath moving in and out.
• Identify and release any unnecessary tension through the ‘checking in’ process.
• Return to the image introduced earlier of inhalations dropping into a clear pool held deep
inside your abdomen.
34 • llow yourself to release a gentle sigh of relief, taking care again not to udge yourself on
the sound that’s produced or to alter/affect the sound in any way, and notice it’s a ‘huh’
sound. epeat for minutes.
• Now allow a double ‘huh’ to come forth – allowing the breath to replace instinctively again,
release a ‘huh huh’ and experience the relief of the release. Repeat for 2 minutes.
• epeat the above steps in a standing position for minutes.
– ocalisation into connected speech using intervals ( minutes)
Catherine was asked to produce a pure vocal fry sound, like a gurgle at the back of the throat. sing increasing intervals again, Catherine worked through the following
• roduce pure vocal fry for 10 seconds, controlling the breath so that the interval is reached
comfortably and without the use of excess breath
• Produce a sustained ‘huh’ for 10 seconds
• n the same sustained breath for 10 seconds, produce pure vocal fry for seconds, then
move to a sustained ‘huh’ for 5 seconds
• n the same sustained breath for 10 seconds, produce pure vocal fry for 2 seconds, ‘huh’
for 3, fry for 2 and ‘huh for 3.
he intervals were moved through in a similar fashion for a total of minutes.
– oiceless to oiced Speech in Intervals ( minutes)
• sing a gentle whisper, Catherine was asked to count to while working to control the
breath and intake only enough breath as is appropriate for the task.
• fter allowing the breath to replenish instinctively, Catherine was asked to count to with
voice focussing on allowing the breath to sustain the voice right until the end of ‘five’.
• If successful, the interval was increased by seconds.
Catherine’s homework was to work on moving between vocal fry and a supported voice on the same breath as in the third activity, and to return to vocalising and breathing through the straw should she find difficulty in maintaining breath support.
35 CR C N P N N N R
n working with Catherine to eliminate unnecessary vocal fry from her speaking voice, the implementation of the strategies was mostly successful. Catherine found particular success using the straw phonation strategy as it allowed her to experience the vocal folds oscillating steadily and being positioned appropriately due to the negative pressure in the vocal tract when the folds closed, encouraging them to come together cleanly and evenly. Predictably she found initial difficulty in sustaining breath support and control with the straw removed and further work with
Catherine is re uired to strengthen the breathing muscles so that she is able to find support in all positions and circumstances.
For Catherine specifically, the imagery of strategies inspired by or taken from Kristin Linklater’s work was not as successful as predicted. n discussion with Catherine about this observation, it was noted that Catherine believes she struggles to engage her imagination and respond to imagery and consider herself more of a ‘facts and figures’ learner. Catherine found much more success with anatomical and literal descriptions as opposed to imagery, so this is a consideration for her moving forward.
nother observation worthy of further exploration is that Catherine struggled with the transition from voiceless to voiced sounds. here she found success and confidence in vocalising ‘f’ sounds and sustaining breath control through intervals, she found herself suddenly unable to support her voice and sustain the breath once asked to vocalise though the circumstances otherwise remained the same. his is worthy of further exploration as there are a number of reasons this may be a ‘block’ for her, and it is theorised that there is a psychological factor. Coming into the experience with a heightened awareness of the ‘problems’ with her voice and a degree of shyness in allowing it to be exposed (such as in Linklater’s touch of sound activity), it is likely that while the elements of success were in place, her own self consciousness took her focus away from maintaining release and relaxation as well as engagement of the breathing muscles. his was further evidenced by observation, as it was observed that when lying in semi supine and moving from breathing ‘f’ to vocalising ‘v’, tension returned to the clavicle and solar plexus and breathing ceased to be reflexive.
aking Catherine self aware of this habit or ‘block’ for her had success, however, and Catherine was able to produce sustained vocalisation without vocal fry after further encouragement and coaching. he noted anecdotally that she felt she did a better ob of the activities by herself at home 36 with nobody listening which gives further weight to the theory that her own self consciousness and psychological relationship with her voice was impacting the work.
verall, the strategies applied appear to have the expected degree of success after three sessions.
With the primary goal being to develop Catherine’s self awareness and provide her with strategies to strengthen her breath support and control, this seemed to be met as Catherine was able to apply the concepts of release and relaxation as well as engagement and control of her breathing apparatus ‘on cue’ or when reminded to. Further, ongoing work will be required to make this habitual. Similarly, vocal fry was still evident in Catherine’s speaking voice after the sessions which was expected after only sessions, however when given the appropriate cues and reminders,
Catherine was able to support her voice fully after appropriate preparation and set up and for short, achievable phrases (such as counting to ).
t is noted that addressing something like vocal fry is not something that can be done overnight. s a vocal feature that is both popular, prevalent and habitual, there is much work to be done in all aspects of voice work before success can be found. owever, the strategies above have and will continue to contribute to Catherine’s understanding of how a ‘fry free’ vocal quality can be achieved through breath control and physical release. t is hoped that through continued practice in her own time, Catherine can find ongoing success.
Would you like to see more remedial strategies and programmes in the QV?
Could you share your own knowledge in an article?
Let the Editors know at [email protected]
37 Member Monologue That Chef Thing Show Devised by Kathie Hendon & Charles Maxwell (2 mins max)
(Presenter comes in humming, then looks up)
What’s that, Jason? Start again, the camera wasn’t rolling? Right. No worries.
(Begins back again with hummin, and again stops abruptly to look up) Cut?! You’ve just… you didn’t have the lead plugged in? Sure – back to the beginning.
(Begins humming and this time reaches the table) Well good morning to all you fans of 'The Chef Thing Show'. And today I have a real treat in store – Vegan Chicken Curry Platter. This exceptional dish covers you for that embarrassing moment where you’re not sure if your guest is vegan or meat lover.
Cut? What’s the problem now, Jason? Get your act together! Geez… I wish Frank was here and not on holidays at Hamilton Island.
The lens is dirty? Well, clean it, man!
What? Right from the start again?
(Goes back to begin, comes in humming) Good morning dear fans of your favourite The Chef Thing Show. Today we are cooking up a storm – “Vegan Chicken Curry Plateau” - yes for vegans and carnivores. And first we chop up the onions… Cut!
Bob, where’re the onions? (Bob brings them on) Ta, good man.
OK, Jason, let’s go! Chop, chop, chop and in they go.
Time now for the chicken. And we do fresh on 'The Chef Thing Show', so it’s out into the garden. Cut!
Right, Jason, now it’s a follow shot as I go out and then we’ll cut back to the kitchen – got that, mate? Right!
(Beckons camera to follow him) And I know just the chook to fit the pot. (Goes behind screen, or turns back to audience. Hidden, the actor makes sounds of shrieking “Buck-book!”)
(Returns with chook dangling from hand) Bit of fast feather plucking … a little chop chop and it’s set to go into the pot.
Cut?! What?! You didn’t push the button for the follow shot?!
(Heads towards Jason to strangle him) Buck-book-book!! 38 RESOURCE:RESOURCE: The The ‘GOOD ‘GOOD TICKLE TICKLE BRAIN’BRAIN’ WEBSITEWEBSITE
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Consider the possibilities that a comic strip like this can offer for use in the school classroom or with private studentsConsider preparingthe possibilities a Shakespeare that a comican stripprogramme. like this canYou of canfer forpurchase use in the co mpleteschool classroom versions ofor ‘Romeowith private and Juliet’students, ‘Macbeth’ preparing and a S‘Thehakespeare Completean Worksprogramme. of Shakespeare’ You can purchase in the stick complete-figure styleversions – a greatof ‘Romeo option and for relJuliet’uctant, ‘Macbeth’ readers forand whom ‘The Complete the graphic Works novel of has Shakespeare’ great appeal! in the(As stickwell,- figureGosling style markets – a great other option products for throughreluctant ‘The readers Shoppe for ’whom. See the the website. graphic Inovel ‘love’ has the great latest appeal! one, a flowchart(As well, Gosling poster. marketsHuge potential other products for fun! ) through ‘The Shoppe’. See the website. I ‘love’ the latest one, a flowchart poster. Huge potential for fun!) (For the purposes of EDUCATION & RESEARCH) TEST YOURSELF! Studying the stimulus above, can you … (1)(For Identify the purposes each original of EDUCATION (‘parent’ )& play RESEARCH). (2) Explain TES theT YOURSELF!se ‘modern Studyingtitles’ in termsthe stimulus of their above, links withcan you the original… (1) Identify texts. (3)each Define original the ( ‘generalparent’ )& play specific. (2) Explain settings the ofse these ‘modern scenes titles (time’ in &terms place; of scenetheir links placement with the in Shakespeare’soriginal texts. (3)text Define)? (4) theIdentify general each & ofspecific the characters settings of represented? these scenes (5)(time Describe & place; the scene relationships placement that in existShakespeare’s between these text)? characters (4) Identify? (6)each In ofeach the of characters these frames, represented? there is one (5) pivotal Describe character the relationships (a protagonist) that . Why/howexist between is he these or she characters that pivot?? (6) (7) In Analyse each of who these holds frames, ‘the therepower is’ oneat the pivotal moment character shown (a in protagonist) each scene.? (8)Why/how Explain is how he or & shewhy that ‘power pivot?’ will (7) shiftAnalyse in the who succeeding holds ‘the scenes?power’ at (9) the Identify/describe moment shown exactlyin each scwhatene ?is being(8) Explain shown how in the & whyframe ‘power, using’ willthe shiftrespective in the artefactsucceedings of ascenes? map of (9)Britain, Identify/describe a set of scales, exactly and two what pies. is (10)being Compare shown in these the frameplays:, inusing what the ways respective (how) are artefact they ssimilar of a map & different of Britain, AND a set explain of scales, the significanceand two pies. of those(10) Compare similarities these & differences. plays: in what [Note: ways I’ (how)ve attempted are they tosimilar use the & different ‘cognitive AND verbs’ explain that thewill significancebe the basis of of thethose renewed similarities Queensland & differences. curriculum [Note: that I’ve takes attempted effect toacross use theQueensland ‘cognitive for verbs’ Year that11 in will 2019.] be the basis of the renewed Queensland curriculum that takes effect across Queensland for Year 11 in 2019.] So, subscribe and patronize ‘Good Tickle Brain’. It’s as easy as ‘signing up’ at www.goodticklebrain.com! So, subscribe and patronize ‘Good Tickle Brain’. It’s as easy as ‘signing up’ at www.goodticklebrain.com! 39
The following is a list of Speech & Drama eisteddfodau which will be held in South-East Queensland in 2018. Convenor contact details are shown here for your convenience. If members know of others, please contact the QV Editors.
31st Quota International of REDLANDS EISTEDDFOD BEENLEIGH Eisteddfod 15-16, 18-20 October 14-19 August Entries close 7 September Entries close 18 May Duchesne Barry - 0407 034 978 Heather Christensen - 07 3804 0488 www.redlandseisteddfod.com.au [email protected] www.quotabeenleigh.org.au/ SILKSTONE Eisteddfod (IPSWICH) speechdrama/ 13 - 17 October Entries close 18 July BRISBANE Eisteddfod 30 July - 12 August Chris Lloyd Entries close 31 May 07 3281 5084/0412 810 115 speech.silkstoneeisteddfod Jem Hill @gleberd.com.au [email protected] www.gleberd.com.au/community/ www.brisbaneeisteddfod.org.au eisteddfod
ENOGGERA & DISTRICT SUNSHINE COAST Eisteddfod Junior Eisteddfod 4 August - 1 September 3 - 6 August Entries close 31 May Entries CLOSED
Laurel Muirhead – 07 3267 2075 Robyn Ernst [email protected] 07 5445 8768 www.emmanueluca.org.au/ministries/ www.scje.org.au enoggera-and-district-eisteddfod 73rd City of TOOWOOMBA GOLD COAST Eisteddfod Eisteddfod 3-14 September Part 1: 14-15 May (Groups) Entries close 4 May Entries CLOSED
Naomi Middlebrook Part 2: 5-10 August (Solos) [email protected] Entries close 21 May www.goldcoasteisteddfod.com.au Allana Noyes – 0468 644 687 toowoombaeisteddfod.speech 125th GYMPIE QUEENSLAND @gmail.com Eisteddfod www.toowoombaeisteddfod.org.au 27 July - 3 August Entries close 20 April WYNNUM-MANLY Eisteddfod 26 May - 2 June Don Thomas - 0412 432 120 Entries close 6 April [email protected] www.gympieeisteddfod.com.au Margaret Redfern – 07 3396 6960 [email protected] 72nd IPSWICH Junior Eisteddfod www.wynnummanly.com.au/index.php/ 8-12 May arts/wynnum-manly-eisteddfod Entries CLOSED
David Berlin and Kathy Wilson speecheisteddfodipswich @gmail.com 2018 EISTEDDFODS http://www.ipswichjunioreisteddfod. com/speech--drama 40 eXAMINING BODIES 41 0403 233 268
Mobile: 07 3857 5984 07 3634 0933 0408 345 376 PO Box 2230 PO Box 1254 9 Nathan Avenue The Administrator Mrs Helen Scruton Mrs Helen 30 Grantham Road Mr Kevin Gallagher Phone: Phone: Phone: TOOMBUL QLD 4012 ASHGROVE QLD 4060 [email protected] BATEHAVEN NSW 2536 BATEHAVEN Mrs Genevieve England www.ameb.qld.edu.au ASSOCIATION (ASCA) ASSOCIATION [email protected] [email protected] www.australiancollege.org www.trinitycollege.com.au Please direct any enquiries to: Please direct Please direct any enquiries to: any Please direct Please direct any enquiries to: any Please direct Please direct any enquiries to: any enquiries direct Please WELLINGTON POINT QLD 4160 TRINITY COLLEGE LONDON Toowoomba, Ipswich and Sunshine Coast Toowoomba, Email: 07 3488 2604 Email: Email: Drama and Speech Representative for Brisbane, Drama and Speech Representative www.australianspeechcommunication.com
AUSTRALIAN COLLEGE OF MUSIC (ACM) OF MUSIC COLLEGE AUSTRALIAN AUSTRALIAN SPEECH COMMUNICATION COMMUNICATION AUSTRALIAN SPEECH Phone:
AUSTRALIAN MUSIC EXAMINATIONS BOARD (AMEB) BOARD EXAMINATIONS MUSIC AUSTRALIAN Date Claimers
ASCA in Action
Communication Options for Teachers (see page 24)
Sunday 29 July, 2-4pm
Father Daly Art Precinct, Iona College, 85 North Rd, Lindum
CSPT Inc. Special Presentation
Storytelling Afternoon (see page 28)
Sunday 12 August, from 3pm
Iona Performing Arts Centre Iona College, 85 North Rd, Lindum 42 Copy Cat Rap by Lisa McKibben Hello. Hello. Who are you? I’m a Copy Cat. What does a Copy Cat do? That is easy. I copy you. If I jump, Then I jump, too. If I wave, That’s what I’ll do. If I laugh, I’ll go HA, HA, HA. If I sing, I’ll go LA, LA, LA. If I spin, I’ll go around. If I bend, I’ll touch the ground. If I cry, I’ll go BOO-HOO. If I move over here, I’ll follow you. If I march on the spot, I’ll step to the beat. If I shake my legs, I’ll shake my feet. Phew! It’s hard work being a Copy Cat. Let’s have a rest, before we fall down flat! 43 PAID POSTAGE AUSTRALIA 100022654 POST PRINT
THE QUARTERLY VOICE THE QUARTERLY to: If undeliverable, return CSPT Inc. c/o Katrina Roberts Road 28A Youngs HEMMANT QLD 4174 44