Editor's Note

Editor’s Note

Dear Members,

We hope you have all had a productive and creative Term Two.

The Association has had an eventful Term and in this Edition, share all of the news, moments and times together from our first Plays in Focus event, the Annual Barbara Sisley Awards and the lead-up to our 80th Celebration. We have further events coming up and hope to share these with you.

The Patron’s Pen As always, your Editors would love to receive any resources, ar- ticles or theatre reviews you would like to share with the CSPT President’s Report community - send them through to [email protected]. We look forward to hearing from you. 73rd Barbara Sisley Awards Wishing you all a restful holiday break and a great Term Three Guest Speaker Address ahead!

2019 Program

Plays in Focus

An Alexander Exploration

Turn Back The Time 2019 Recommended Fees Celebration Review Lesson charges are reviewed periodically by the CSPT Inc. Management Com- mittee. The latest review was undertaken in June 2018. Podcast Picks It should be noted that individual teachers should set their own fees and the information below is provided as a guide only. It is not intended as a scale of fees Masterclass nor a minimum nor maximum charge for lessons. Individual circumstances must be taken into consideration. A Blast from the Past The Management Committee offers the following information having taken legal advice. The Association believes that (based upon comparable criteria and sub- 2019 Eisteddfods & ject to individual experience, expertise and the costs of running a practice/office) Examining Bodies reasonable lesson fees would be approximately:

QUALIFIED TEACHERS: REMOVEABLE $70.00 per hour for an individual lesson and $90.00 per hour for a group lesson. STUDENT TEACHERS WITH PROFESSIONAL SUPERVISION: RESOURCE $50.00 per hour for an individual lesson and $60.00 per hour for a group lesson. EISTEDDFOD ADJUDICATORS FEES: $210.00 for a three-hour session.

For general enquiries, please email [email protected]

PATRON Dr Bruce Dawe AO Immediate Past Annette Stoddart President 0412 731 152 annette.m.stoddart @gmail.com

President David Cockburn Membership Rowena Luck-Geary 07 3890 8308 Officer (as above) [email protected] Vice Presidents June Finney Publications and Katrina Roberts 07 3397 1794 Website Officer (as above) [email protected] Helen Steele Referrals Officer Rowena Luck-Geary 0423 775 673 (as above) [email protected]

Secretary Margaret Gallagher Archivist David Cockburn (Correspondence) 0404 019 212 (as above) [email protected] Secretary Maria Chamberlain Quarterly Voice Talisa Pariss-Proby (Minutes) 07 3841 1675 Editors 0410 844 999 mandachamberlain [email protected] @ozemail.com.au Treasurer Rowena Luck-Geary Katrina Roberts 07 3390 2332 (as above) [email protected] General Maria Elisseos Catering Officer Kathy Wilson Committee 0419663650 (as above) Members [email protected] Pam Greatorix 07 3871 0488

[email protected] The year in which Honorary Life Membership Katrina Roberts of the CSPT Inc. was conferred is indicated here. 0434 631 685 [email protected] Fay Muir (1998) Beverley Langford (1998) Megan Shapcott June Finney (2004) 0414 724 301 Dr Jillian Clare (2006) [email protected] Beres Turner OAM (2006) Kathy Wilson Patsy McCarthy (2007) 07 3282 6672 Rowena Luck-Geary (2015) [email protected] Stephen Robinson (2016)

CSPT Inc. Patron, Dr Bruce Dawe, is unwell at the moment and the Association wishes him a speedy recovery. We look forward to sharing future contributions with you, as we celebrate ten years of ’The Patron’s Pen’. In this Edition, we flashback to Dr Bruce Dawe’s second contribution to the QV in Edition 2, 2009.

If You’ve Ever Met A Metaphor

If you’ve ever met a metaphor Blitzkrieg is one such metaphor, (Outside of an exam), And Schwerpunkt is its mate, You’ll know you’re feeling better for Tache d’huile in the Indo-China War The fact, just as I am. Helped seal the French troops’ fate…

A feline little creature Never sneer (should you be tempted) That can curl up in a ball, As a metaphor slinks past, Its most amazing feature’s that Even thespians aren’t exempted —It can be suddenly ten-feet tall! And that sneer could be your last!

It can purr around your ankle, Treat them kindly, as you would Pose questions with its tail, A husband, cat, or wife, But catching it can rankle; And they will prove a lasting good It will very frequently fail And be your friend for life...

To come in at your calling, Especially late at night When, powers of invention failing, You’re not feeling very bright…

Yet, metaphors can be golden And enrich your mind for days —Every language is beholden To their many subtle ways,

To our finest thoughts they minister And much of grief can tell; They can also be quite sinister As history shows full well:

Dear Members,

I hope this edition of your Quarterly Voice finds you well. After the hurly-burly of the end of Semester One exams and reporting, and the general business of daily life, I hope you enjoyed a very well-deserved break (I certainly did just that).

Thank-you to everyone who has participated in our Association’s recent events. It’s always wonderful to catch-up with each other and to share stories and ideas and simply enjoy each other’s charming company.

On Sunday 24th March (9.30am-3pm) at the AMEB Studios, we held the second in our four-year cycle of information sessions with the various examining bodies to promote and explore their communication syllabi. Last year, ASCA featured aspects of their Communication Syllabus. This year, AMEB highlighted the nature of their Voice & Communication Syllabus. Thank-you to all of the teachers and students involved, especially CSPT Inc. Life Member and AMEB Examiner, June Finney.

On Sunday 28th April (3-5pm) at the AMEB Studios, the first in our three “Plays in Focus” sessions for this year was held. A small group of members attended to read and discuss Emilia by British playwright Morgan Lloyd Malcolm. It was a most enjoyable and enlightening afternoon. Unfortunately, our second “Plays in Focus” (scheduled for Sunday 28th July at the home of Immediate Past-President, Annette Stoddart) was cancelled due to low registrations. This was most regrettable as the chosen play Viral is so relevant to the issues facing today’s youth. Therefore, I will provide a little information about the play written by Sam Foster and Hayden Jones from the Gold Coast based company Shock Therapy Productions. Viral effectively explores the impact of social media and technology on the ways we record, disseminate and deal with issues like abuse, racism, violence and similar social problems. I am very familiar with Shock Therapy’s productions. Their work is ideal for adolescents; especially boys. This Theatre for Young People play features multiple role-playing, physical theatre and engages students in thoughtful and challenging discussion, without being condescending or tending to preach. On their website, Shock Therapy Productions states that their aim is “to tell stories that are meaningful, thought provoking, dynamic and entertaining, celebrating both the confronting and cathartic nature of performance”. Since their inception in 2015, they have won the following Matilda Awards - 2017 Best Independent Production for The Forwards, 2016 Best Independent Production for Viral and 2015 Best Independent Production for The Pillowman. For more information about Shock Therapy and access to their teacher resources and a variety of other resources, please visit their website [http://www.shocktherapyproductions.com.au/]. Thank- you to our “Plays in Focus” sub-committee, Helen Steele, Annette Stoddart and Kathy Wilson, for organising and co-ordinating this professional development opportunity. Details about the Term 4 “Plays in Focus” appears in this edition. Please come along!

On Saturday evening June 8th, the 73rd Barbara Sisley Awards were held in The Premier’s Hall at Queensland Parliament House. Our special Guest of Honour and Guest Speaker was our CSPT Inc. Life Member, Past President (2005-2007) and ACM President, Stephen Robinson. His Barbara Sisley speech was well-researched and highlighted interesting aspects of Barbara Sisley’s life on the stage. Stephen has kindly allowed us to include a copy of the speech in this Edition. Overall, it was a most enjoyable evening of excellent entertainment. 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 stellar job! In particular, I especially thank Helen for the many hours she devoted to the event’s organisation, to ensure that the evening would run smoothly; it all takes time and on behalf of the Association, I extend our thanks to Helen for her good

work. Likewise, thanks to June for carefully selecting the awardees’ books and to Katrina Roberts for her assistance with printing and the like. Finally, thank-you to my fellow Committee Members for their contribution to the effective running ofthe evening. Since 2010 (64th Barbara Sisley Awards), The Premier’s Hall at Parliament House has been ‘our home’ for the Awards and we hope this arrangement will continue in the coming years. It is certainly a prestigious venue that rightfully reflects the significance 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. Please take the time to read back through the short biographies of our stoic members who have awards named in their honour; wonderful women like Sister Mary Leonard, Gilbert Auriol Luck, Maggie Lovejoy, Blanche Lather, Maibry Wragge and Daphne Roemermann. As an Association, we really do have a great deal to be immensely proud of – these women either forged the foundations of Brisbane’s theatre scene and teaching landscape, and/or served our organisation with dedication and passion.

Our Association’s 80th celebration“ Turn Back the Time to 1939” was held on Friday 20th June at my home (originally it was planned to be held at the Coorparoo School of Arts and Memorial Hall but the bookings were very disappointing and the hall would have been too large and thus unwelcoming). The celebration marked the inaugural public meeting of our Association which occurred on 28th June, 1939. A short report appears in this edition. In particular, many thanks to the Committee Members for their preparations, and especially to Adrienne Costello and Stephen Robinson for performing and to CSPT Inc. Life Member and Past President (1994-1995) Dr Jillian Clare for making a beautiful toast.

Currently, Jillian is industriously working on writing the history of our Association over the past thirty years. In 1989, Miss Therese D’Arcy and Mrs Daphne Roemermann co-wrote The Turning Years. This chronicled our Association’s first 50 years of service to the Arts and education in Queensland. In the booklet’s Foreword, Mr Kevin Siddell OAM, Patron (1980-2004) wrote: “The Turning Years, edited by Therese D’Arcy and Daphne Roemermann, gives us all a rare collective opportunity to have spread before us, in a most palatable form, a record of the initial 50 year span for our Association. 50 years is long enough to provide a perspective. At the same time it is not too remote for research to become tedious, or for any statements about historical developments to lose flavour or relevance. The writers have done a magnificent job in maintaining throughout the work a style which, while providing factual information, has an immediate appeal and charm. They have capitalized on the fact that the 50-year period makes the account “seasonable”, and, therefore, deserves wide acceptance. In addition, they have been able to sustain interest of the reader in their documenting the progress of half a century’s activity in an Association which, in 1989, enthusiastically keeps well in mind the ideals the founders envisaged.” The Committee felt that it was timely to write another history ofthe Association and that a record of the past thirty years would ensure that this work would also have “an immediate appeal”. If you have any information (stories, interesting little facts, materials, photographs and the like) that you feel would assist Jillian in writing the Association’s history for 1990-2019, please contact me. On behalf of the Association’s Membership, I wish Jillian all the very best as she undertakes this major project.

Planning is currently underway to present all of Shakespeare’s 154 sonnets at next year’s conference. Our Association has engaged the services of Jennifer Flowers to work with us; Jennifer will conduct three group workshops and will then move onto individual or small group rehearsals prior to the conference. All members and their students are invited to participate. The workshops and rehearsals will happen weekly commencing in late January and run through February leading into the 2020

Conference. This will be a wonderful opportunity to work with one of our country’s leading artists. The Association will cover the costs of the workshops and rehearsals. More information will be available shortly. Please plan to participate!

I hope that you find something helpful in your Winter Edition of the QV and enjoy reading it. As always, many thanks to our QV’s co-editors, Talisa Pariss-Proby and Katrina Roberts. Unfortunately, as Members we do tend to be a little ‘reluctant’ to make contributions. However, as a professional body, we have such an incredible depth and breadth of knowledge and experience that we could, and should share. Please consider making a contribution – thanking-you in advance.

Finally, your Committee always warmly welcomes your input. Our next Management Committee meeting will be held on Monday 26th August. If you have any concerns or ideas that you would like to have tabled, then please let me or any member of your Management Committee know so that they can be included in the agenda (for the next meeting by Monday 19th August). Likewise, at any time throughout the year, your feedback is greatly appreciated.

Best wishes to you and your students for Semester 2 (it’ll be the Christmas vacation before we know it).

Kind regards, David Cockburn Honorary President—CSPT Inc.

If you’ve changed your address recently, please advise the Membership Officer and Secretary so we can ensure you’re receiving any posted correspondence.

This is required even if your address has been updated via the online Teacher Directory.

If you’re listed on the Teacher Directory, please ensure you log in regularly to check that the information displayed on your public referral profile is accurate. Contact us if you encounter

any technical issues when using the CSPT Inc. website.

The 2019 Barbara Sisley award recipients with Guest Speaker, Stephen Robinson.

“Barbara Sisley was redoubtable: a woman of vision, a woman of energy, a woman of substance. May she continue to inspire us, teachers and students!”

Barbara Sisley is a name familiar to 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 73rd annual Barbara Sisley Awards were held on Saturday, June 8th, 2019, in the Parliamentary Annexe, Parliament House, Brisbane, where the outstanding achievements of 31 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 recipients. An audience of 160 proud family, friends, teachers and invited guests were entertained by younger students with performances such as Kate O’Neil’s A Fairy’s Day, Anna Waters-Massey’s Teachers, and The One Hundred Dresses, by Eleanor Estes. Older students gave us presentations that included Sophocles’ Antigone; We Were Liars, by E. Lockhart; an insightful speech entitled The Fear Machine, and a very amusing piece from Frank McCourt’s Angela’s Ashes.

Prior to interval, our Guest of Honour and Guest speaker, CSPT Inc Life Member and ACM President, Stephen Robinson, spoke about Sisley’s legacy and the importance of the Awards. Supper then followed under the lights of the beautiful Annexe Courtyard.

I would like to thank the students, their parents, families and teachers for their participation in, and contribution to, the Awards, and 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 2019 (CSPT Inc Hon. Vice-President)

Thank-you David [Cockburn] for those very generous words of introduction. And, my appreciation to the Management Committee for the invitation to be Guest-of-Honour and for organizing this evening. (I’ve just noticed the wall clock‘s ten minutes fast; that won’t be an incentive to exceed my allotted time!)

Tonight is about the awardees – and those who’ve supported them. To you and to your families and teachers, ‘well done’. None of us does it alone; so, tonight’s a wonderful occasion to recognize the ‘team’ that’s brought you here. You’re right to feel nervous as this is a significant occasion. When your age, I always liked to perform before interval because then you can have your biscuit at supper and not worry about any effect on your voice.

Earlier tonight, I remarked to Mrs Luck-Geary, our Association Treasurer (and a Life Member), that the first time our paths crossed was at the 1986 Sisley Awards where we were recipients. I still have my book award … here it is – a copy of A.L. Rowse’s biography ‘Matthew Arnold: Poet & Prophet’ – together with the prize card. And I note that – today – the US edition can be purchased for $113.00; so, put your book award away not just as a memento of tonight but also as a ‘bookmark’ of your progress as a performer. Who knows … one day, you may join these august politicians (whose portraits adorn these walls). And we may find your award in a museum as a record of this achievement?

Tonight, in the Association’s eightieth year, is also an opportunity to acknowledge the woman after whom the event is named. Barbara Sisley, by all accounts was a remarkable woman. In fact, the move to institute these awards occurred within a month of her sudden death. But the Association could not offer any awards in 1946 because they needed to fund-raise in order to have the finance to offer scholarships in Miss Sisley’s name. So, the awards came into being seventy-two years ago in 1947.

But Miss Sisley was not always so highly regarded. In preparing for tonight, I found this rather unflattering assessment of her talents at age nineteen. It’s from page 3 of ‘The (Melbourne) Argus’ of Monday 18th October 1897: ‘Misses Barbara and Olive Sisley [her younger sister], two young ladies, appeared at the Bijou Theatre on Saturday evening in a number of dramatic scenes and sketches, evidently selected to illustrate their versatile histrionic ability. Their performances conveyed the impression that they have been accustomed to drawing rooms entertainments, in which they would no doubt appear with a good deal of success, but there is a wide gulf between the drawing room and the stage [in] so far as dramatic art is concerned, and the Misses Sisley displayed a good deal of courage in taking the Bijou Theatre on Caulfield Cup night, and entering into competition with professionals. As amateurs, they could be commended for possessing more than the average amount of domestic talent, but the same could not be said of them as professionals … The audience, though small, was most encouraging.’

Well, in the wake of this week’s State of Origin, if we were naming a Queensland team, Miss Sisley would be the first chosen. And, from what I’ve read, not only would she have been the team captain but its coach and sole selector. I can see her in ‘the halves’ with her great friend Miss Felgate, Miss D’Arcy on the wing, and Mrs Roemermann in the forward pack. These are a few of the amazing women who have given us eighty years of achievement and leadership in the arts. But Miss Sisley was there at the beginning and she’d been the impetus for the teaching of speech & drama for twenty-five years before our establishment in 1939. So, tonight is also a reminder of the debt we owe to her and to her vision for our profession.

If she were here, what advice might she give? Now, I’m not going to be original. I’m going to purloin some tips that I heard when I attended theatre in Boston six weeks ago. At the end of a play called ‘Indecent’, a wonderful play in English and Yiddish, Paula Vogel, the playwright – to the surprise and delight of the audience – appeared on stage to take part in a ‘Q & A’. The last question she was asked was ‘What advice do you have for aspiring artists?’ I believe Miss Sisley would approve Vogel’s tips: firstly, ‘Be generous’. No-one gets anywhere by themselves, so ‘pay-it-forward’. Secondly, ‘Be collaborative’ because making art is essentially a team game – a conversation between writers, actors, stage craft personnel and audiences. Thirdly, ‘Be humble’. Be mindful of your good fortune and recognize that there’s much to learn. And, lastly, ‘Don’t take yourself too seriously’. We can become too self-absorbed if it’s too much about ourselves.

I believe Miss Sisley would’ve agreed with Vogel’s gracious advice. Barbara Sisley was redoubtable: a woman of vision, a woman of energy, a woman of substance. May she continue to inspire us, teachers and students!

And with those words, I’ve said more than enough … save to quote ‘Kevin from Queensland’ who walked these parliamentary corridors when he worked for Premier Wayne Goss, a generation ago. As Mr Rudd would say, ‘Folks, let’s take a deep breath, have an Iced Vo Vo and a strong cup of tea!’ It’s time for supper! 10

Seven enthusiastic play-buffs attended the CSPT Inc.’s inaugural ‘Plays in Focus’ afternoon on 28th April, 2019. Participants enjoyed a sumptuous afternoon tea and stimulating conversation about Morgan Lloyd Malcolm’s play, Emilia. All participants walked away with prizes and food-for-thought about using the play as a teaching and performance resource. The CSPT Inc. thanks the AMEB for allowing the Association to host the event at its Ashgrove studios, Brisbane.

You are invited to attend the next‘ Plays in Focus’ afternoon. Date and time: Sunday 13th October, 3.00-5.30pm, 2019. Venue: To be confirmed.. Play in Focus: The Ferryman by Jez Butterworth. The synopsis reads:

County Armagh, Northern Ireland, 1981. The Carney farmhouse is a hive of activity with preparations for the annual harvest. A day of hard work on the land and a traditional night of feasting and celebrations lie ahead. But this year they will be interrupted by a visitor.

Developed by Sonia Friedman Productions, Jez Butterworth's play The Ferryman premiered to huge acclaim at the Royal Court Theatre, London, in April 2017, before transferring to the West End and then Broadway. The production was directed by Sam Mendes. It went on to win the Evening Standard Theatre Award for Best Play, and the Critics' Circle, Olivier and WhatsOnStage Awards for Best New Play. It also won the 2019 Tony Award for Best Play.

The body of Seamus Carney, who disappeared on New Year's Day 1972, has been discovered in a peat bog; he had been shot in the head, apparently in retribution for his defection from the IRA. Seamus's widow, Caitlin, and their son, Oisin, live under the same roof as Seamus's brother, Quinn, a man who has had his own associations with the IRA, but who has long devoted himself to maintaining the family farm, as well as looking after his ailing wife and their six children. The family find their lives upended by the arrival of IRA power figure, Muldoon, out to prevent any further damage to the Republican cause resulting from the discovery of Seamus's body’. Come and enjoy a sumptuous afternoon tea, stimulating conversation and enjoyable play readings for all participants! All you need to do is: • Purchase and read the play. Booktopia currently has The Ferryman available for $16.95 on their website: • RSVP via email to [email protected] • Join the ‘Plays in Focus’ Group Chat on the CSPT Inc. Facebook page. • Come along to ‘Plays in Focus’ on 13 October 2019!

For further information about ‘Plays in Focus’ contact coordinators, Annette Stoddart, Helen Steele or Kathy Wilson ([email protected]; [email protected]; [email protected]).

Co-Editor Katrina Roberts recently participated in a free workshop hosted by Greg Holdaway, the Director of Sydney Alexander Technique and founder of the BodyMinded Training Program—a unique blend of the study of human movement integrated with the practical application of Alexander Technique principles. Katrina sat down with Greg to discuss the Technique and how it may be an area of interest for speech and performance teachers.

In a few words, what is ‘Alexander Technique’? GREG: Learning to consciously cooperate with your human design.

Tell us about Alexander and the principles of his technique.

GREG: Alexander was born in 1869 and was a professional reciter (back in the day when people performed Shakespeare in parlours and homes). It was ‘recitation’ as much as acting, so the use of the voice was a very big part of what he did. But he had professional problems with his voice: he kept losing it, and that was going to destroy his career. He really wanted to be an actor and medical help wasn’t working - if he rested his voice, it would get better, but if he recited and used his voice professionally, it would get worse. So he thought “it must be something I’m doing which is interfering with the free use of my voice.” And that’s how the F.M. Alexander, the founder process started as he tried to find out. of the Alexander Technique. The whole story is in a short book he wrote which is called The Use of the Self. To summarise, he spent a lot of time observing himself in the mirror, to try and figure out what he was doing when trying to use his voice which was causing the problem. He noticed straight away that he had a general tendency towards tension associated with the use of his voice, reflected in certain movements that were observable in the body. When he started to experiment with changing those things, he quickly discovered a primary focus of the movement of his head and spine, and that’s how he was able to begin the process of creating improvement - by changing the orientation or the movement of his head in relation to his spine. It was a long process, and it took him years to try and solve his problem because immediately, once you start to try and change something or figure out something that’s been a trained pattern (something you’ve done a lot of or that you’ve learned to do in a particular way), you quickly realise that even though you might know the right thing is to do, it’s not always easy to actually do it. That’s what Alexander came up against with himself. He figured out what he needed to do with his voice but he found it really difficult to put it into practice. However, he was very determined so he spent a lot of time figuring out a method that would enable him to bypass or to inhibit the old patterns that were getting in the way and causing the problem so that new coordination, new movement could emerge. In that process, he discovered that we’re beautifully made to move and that we’re all made to move in coordination - easily, well and powerfully -and that Greg working with a client using the ‘Alexander touch’. generally when things go wrong, it’s because the person

is trying too hard or has some strange idea about what they’re supposed to do which is actually interfering with the body’s mechanism, the way that things need to work. So a lot of the Alexander Technique is about ‘getting out of the way’, figuring out how to consciously cooperate with your own self so you’re not in the way of what would happen naturally and easily if you let it. That’s quite a surprise sometimes in people’s training because people are very used to learning how to do things and what to do whereas with this work, it’s learning to stay free, balanced and well-coordinated without interfering. The BodyMinded approach is a contemporary health technique, promoting well-being and great How can the Alexander Technique benefit speech students performance based on conscious cooperation with and performers? your human design. GREG: The potential benefits of doing the work are completely open-ended. There are incredible changes that occur at a physical, emotional, and psychological level for performers. Often, people naturally start the work because they’ve run into some kind of difficulty in using their instrument. But as the person progresses and moves past the problem, it’s not unusual that they’re then presented with this expanding idea of possibility in terms of performance and personal potential as a consequence of doing the work. That expansion comes because you’re entered into a world of self-discovery and self-knowledge. What we do is give a depth of sophistication, expansiveness and possibilities to the performer’s repertoire. Performing is a great joy but it’s also a great challenge. The work that we do in helping performers is not just about how they physically coordinate, but the way in which they respond to the audience and the joy they get from what they’re giving the audiences.

How can we integrate the teachings of the Alexander Technique into our studios and classrooms? GREG: A primary ingredient is working in cooperation with yourself or helping a student move in cooperation with themselves. This means that the student needs to be moveable in all of their physiology – joints, muscles etc. If there’s any part of them which is stiffening or restricting action in any part of the body, then it will reduce their vocal and performance potential and interfere with their capability. One can start with systematically awakening the moveability of all the different joints and moveable parts of the body – observing what’s moveable. Explore different parts of your body in movement: an arm can move this way or that way, your knee can do this, your ankle can do that, your spine goes this way or that way etc. Then you’re awakening the moveability in your students as the foundation upon which they can follow your instructions for what you want them to do with their voice or performance. Many associate ‘stillness’ with stiffening, which is again restrictive. One can explore moveability first, moving all parts of their body in a sort of ‘wiggle dance’, eventually making the movements smaller and smaller until they’re no longer visible to an observer – arriving at an ‘invisible dance’. When you have that idea in mind, that your body is still moving and that your joints are free, you retain the flexibility, moveability and freedom of yourself while standing still. It feels better, it looks better and your voice is more available and capable as a consequence of that freedom.

Want to learn more about the BodyMinded approach to the Alexander Technique and finding freedom of movement in performance? BodyMinded offer a 12-month professional development course ‘designed for busy people’. Head to www.alexandertechnique.com.au/bodyminded or email [email protected] to learn more.

“Turn Back the Time to 1939” A Report by Kathy Wilson

A wonderful evening was enjoyed by 16 guests on No Foe Shall Gather Our Harvest by Mary Gilmore Friday 28th June at our President’s home to celebrate our Association’s 80th. SONS of the mountains of Scotland,

Clansmen from Correi and Kyle, We began with champagne and finger delicacies with Bred of the moors of England, the fragrance of a heavenly-baked ham emanating Children of Erin's green isle, from the oven. The tables were set with welcoming We stand four-square to the tempest, candelabras glowing. Whatever the battering hail — No foe shall gather our harvest, Or sit on our stockyard rail.

Our women shall walk in honor, Our children shall know no chain, This land that is ours forever The invader shall strike at in vain. Anzac! ... Bapaume! ... and the Marne! ... Could ever the old blood fail? No foe shall gather our harvest, Or sit on our stockyard rail.

So hail-fellow-met we muster, And hail-fellow-met fall in, Wherever the guns may thunder, A great spread! Or the rocketing "air mail" spin! Born of the soil and the whirlwind,

Though death itself be the gale — After the first course, CSPT Inc. Life Member, Dr Jillian No foe shall gather our harvest, Clare proposed a lovely toast acknowledging the 80 Or sit on our stockyard rail. years of the Association’s longevity and its considerable achievements, and challenged all We are the sons of Australia, Members to keep actively involved. Of the men who fashioned the land,

We are the sons of the women We were then entertained by Adrienne Costello who Who walked with them, hand in hand; introduced and shared two poems “At A Jeweller’s And we swear by the dead who bore us, Window” by Marie E. J. Pitt, and “No Foe Shall Gather By the heroes who blazed the trail, Our Harvest” by Mary Gilmore, a rousing ballad about No foe shall gather our harvest, fighting for the Commonwealth, reflecting the Or sit on our stockyard rail. thoughts of 1930 Australians.

Adrienne framed their presentation and choice; for example - “At 75, Australian poet and writer Mary Gilmore, Dame of the British Empire, has written one of the finest Australian songs of the war. "I'm too old to do many of the things I would like to do to win the war," she said, "but I can still write. Here is a song for the men and women of Australia." The inspiring note in the song is so vividly Australian that The Women's

Weekly is proud to present it to readers.” Great food, glamorous company.

CSPT Inc Life Member Stephen Robinson then set We were then challenged with a quiz of eighty the scene of that first meeting in 1939 which questions around life and literature and an included a variety of musical recitals and some of amusing variety of other topics. (Oh dear... the the poetry was listened to via a HMV record highest score was 52! I think the champagne and player. He provided interesting background Friday night tiredness dulled our brains.) information and then presented John Drinkwater's Congratulations to Adrienne Costello who won poem “Nineteen Fifteen” (published in 1916). this ‘80th Celebration’ Quiz.

Nineteen-Fifteen by John Drinkwater

On a ploughland hill against the sky, Over the barley, over the rye, Time, which is now a black pine tree, Holds out his arms and mocks at me –

‘In the year of our Lord nineteen-fifteen the acres are ploughed and the acres are green, and the calves and the lambs and the foals are

born, Margaret Gallagher, Adrienne Costello and David but man the angel is all forlorn. Cockburn

‘The cropping cattle, the swallow’s wing, the wagon team and the pasture spring, The room was filled with members dressed to the move in their seasons and are most wise, nines! Best Dressed was awarded to Past- but man, whose image is in the skies, President Pam Greatorix dressed in a gorgeous black and silver gown with long black gloves and a ‘Who is master of all, whose hand achieves stunning white stole. Congratulations, Pam! the church and the barn and the homestead eaves Special mention also to Margaret Gallagher and – Adrienne Costello too who were most suitably how are the works of his wisdom seen attired. in the year of your Lord nineteen-fifteen.

Rowena Luck-Geary and David Cockburn Pam Greatorix, Maria Elisseos and Maria Chamberlain

• Who wrote The Turning Years – A Chronology and a Celebration 1939-1989? ______• Who does not belong on this list and why? Dr L. D. Edwards, Rhoda Felgate, Sir Herbert Watkin, Kevin Siddell, Dr Richard Fotheringham, Dr Bruce Dawe. ______• What was the original name of the CSPT Inc.? ______• Which member founded the Brisbane Repertory Theatre (now known as La Boite)? ______• Which member (and her husband) founded the Brisbane Amateur Theatre (now known as the Brisbane Arts Theatre)? ______• Which member founded the Twelfth Night Theatre? ______• Which member was the Director of the Warana Drama Festival (1978-1988)? ______• What was the major event for our Association in 1970? ______• Who was the Editor of The Quarterly Voice from 2003-2007 and again in 2010? ______• The Barbara Sisley Awards turned how old this year? ______

Congratulations to Stephen Robinson who won this ‘Hard Quiz.’ (Answers in the next QV.) A magical evening was had by all and we departed with sincere thanks to our gracious hosts.

Jillian Clare and Rowena Luck-Geary Cathy Wilson, Stephen Robinson and Helen Dillon

Have you heard? Podcasts have really taken off in the past few years, and it’s easy to see why. There’s a podcast out there for everyone, and the best part is they’re completely free and readily available via iTunes, Spotify or wherever you prefer to access podcasts. Check out some of our recommendations which may ‘tickle the fancy’ of both teachers and students alike.

TED Talks Daily The Moth

Want TED Talks on the go? Hear thought-provoking ideas on Since its launch in 1997, The Moth has presented thousands every subject imaginable - from Artificial Intelligence to of true stories, told live and without notes, to standing-room- Zoology, and everything in between - given by the world's only crowds worldwide. Moth storytellers stand alone, under leading thinkers and doers. a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high- Myths and Legends wire act of shared experience which is both terrifying and Jason Weiser tells stories from myths, legends, and folklore exhilarating. Join in on the action via the podcast. that have shaped cultures throughout history. Some, like the Sound Advice stories of Aladdin, King Arthur, and Hercules are stories you think you know, but with surprising origins. Others are stories Voice over specialists Kate McClanaghan and Jeff Finney you might not have heard, but really should. All the stories discuss current trends and helpful techniques regarding the are sourced from world folklore, but retold for modern ears. voice over industry, and also host interesting interviews with guests. A great source of information and inspiration for Surprisingly Awesome those interested in learning the tricks of the V.O. trade. Taking on subjects that appear boring and explaining why Speech and Language Kids Podcast they’re actually awesome—yep, the premise is that simple. A great inspiration for students who may be stuck thinking of Carrie Clark, a speech-language pathologist from Columbia, creative speech topics. Missouri, offers resources, information, and activities for speech therapists and parents of children with speech and Longform language development and delays. While Carrie's materials A podcast made alongside Longform.org, which curates some will provide great information for speech therapists, they will of the best longform journalism internationally. This podcast also empower families to use fun and easy activities to features interviews with writers, journalists, filmmakers, and improve their child's speech and language skills at podcasters about how they do their work. home. Some great nuggets of wisdom are available here for teachers of students with speech difficulties.

Have you ever dreamed of working with the best of the best? Ever wondered how Neil Gaiman writes such thrilling prose, or how Helen Mirren captures character?

Masterclass brings one-on-one tuition into the 21st century, providing an online, self -paced series of classes. You can learn how to sing, how to write and even how to cook, all from the comfort of your own home.

How does it work?

Browse through the ample selection of masterclasses available and sign-up for a single class via the Masterclass website (approx. AUD$140 per class). Access video lessons, exclusive notes and resources as well as a downloadable workbook with lesson recaps which you can review anytime, anywhere.

Let’s take a look at Margaret Atwood’s creative writing masterclass: for $140, you can access 23 lessons to learn how the author of The Handmaid’s Tale crafts vivid prose and hooks readers with her timeless approach to storytelling. The lesson plan includes ‘Story and Plot’, ‘Point of View Case Studies’ and ‘Working with Time in Fiction’ just to name a few. With Helen Mirren, you’ll be able to access 28 video lessons where she’ll share her acting journey and cover topics such as‘ Research: Fictional Characters’ and ‘Case Study: Elizabeth I’.

Masterclass offers a unique masterclass experience particularly appealing for student actors and technologically-savvy learners, but has much to offer for teachers looking to extend their professional development in a portable, flexible and unique format. We’ve selected some Masterclass options which may be of interest to you.

Learn more about Masterclass via the website: www.masterclass.com

In the 1995 Spring edition of the QV, Dawn Barrie wrote to the Editor, Barbara Shipstone with some sage advice.

Twenty-four years later, the Co-Editors look back fondly on her wisdom and appreciate its longevity. We hope you find it useful.

“Dear Barbara

I wonder if the following would be worth publishing in The Quarterly Voice. I think it summarises what I would like to see achieved in my Speech work—its good to have goals or ideals even if we don’t always achieve them.

Best wishes

Dawn Barrie”

The following is a list of Speech & Drama eisteddfodau which will be held in South-East Queensland in 2019. Convenor contact details are shown here for your convenience. If members know of others, please contact the QV Editors.

Quota BEENLEIGH City of Logan REDLANDS Eisteddfod Eisteddfod 14-19 October 13-17 August Entries close 13 September 2019 Entries close 18 May 2019 Duchesne Barry - 0407 034 978 Heather Christensen - 07 3804 0488 http:// [email protected] www.redlandseisteddfod.com.au/ www.quotabeenleigheisteddfod.org/ index.php/disciplines/speechdrama drama Silkstone Eisteddfod (IPSWICH) BRISBANE Eisteddfod Dates TBC 5-12 August Entries closing date TBC Entries close 30 June 2019 Convenor details TBC Jem Hill— https://gleberd.com.au/silkstone- [email protected] eisteddfod/ www.brisbaneeisteddfod.org.au SUNSHINE COAST Junior Eistedd- ENOGGERA & DISTRICT Eistedd- fod fod 2-4 August 4 August - 1 September Entries close 27 March 2019 Entries close 31 May 2019 Robyn Ernst—07 5445 8768 Laurel Muirhead – 0419 251 698 [email protected] [email protected] www.scje.org.au www.emmanueluca.org.au/ ministries/ enoggera-and-district-eisteddfod City of TOOWOOMBA Eisteddfod Part 1: 9-20 May (Groups) GOLD COAST Eisteddfod Entries CLOSED (4 March 2019) 2-12 September Part 2: 25 July—7 August (Solos) Entries close 10 May 2019 Entries close 3 June 2019 Naomi Middlebrook Allana Noyes – 0468 644 687 [email protected] [email protected] www.goldcoasteisteddfod.com.au www.toowoombaeisteddfod.org.au

125th GYMPIE Queensland Ei- WYNNUM-MANLY Eisteddfod steddfod 25 May - 1 June 27 July - 3 August Entries close 5 April 2019 Entries CLOSED Margaret Redfern – 07 3396 6960 Don Thomas - 0412 432 120 [email protected] [email protected] https://wmeisteddfod.com.au/news/ www.gympieeisteddfod.com.au drama-event/

IPSWICH Junior Eisteddfod 29 April—4 May Entries CLOSED (14 March 2019) David Berlin and Kathy Wilson speecheistedd- [email protected]

AUSTRALIAN COLLEGE OF MUSIC (ACM) www.australiancollege.org Please direct any enquiries to: Secretary Rebecca Hemelaar 30 Grantham Road BATEHAVEN NSW 2536 Phone: 0408 345 376 Email: [email protected]

AUSTRALIAN MUSIC EXAMINATIONS BOARD (AMEB) www.ameb.qld.edu.au Please direct any enquiries to: 9 Nathan Avenue ASHGROVE QLD 4060 Phone: 07 3634 0933 Email: [email protected]

AUSTRALIAN SPEECH COMMUNICATION ASSOCIATION (ASCA) www.australianspeechcommunication.com Please direct any enquiries to: Mrs Genevieve England PO Box 1254 TOOMBUL QLD 4012 Phone: 07 3857 5984

TRINITY COLLEGE LONDON www.trinitycollege.com.au Please direct any enquiries to: Mr Kevin Gallagher Drama and Speech Representative for Brisbane, Toowoomba, Ipswich and Sunshine Coast PO Box 2230 WELLINGTON POINT QLD 4160 Phone: 07 3488 2604 Mobile: 0403 233 268

1. Speak the first phrase on one breath. 2. Speak the first phrase and then the second phrase on one breath. 3. Add on a phrase each time, working towards saying the whole paragraph on one breath.

I am now working / on an important breathing exercise / for breath support and breath control / and my aim is to control my breathing / right to the end of this very, very long sentence / with ease and confidence / and then I’m going to count to five– 1, 2, 3, 4, 5 / and then I’m still going to have enough breath left at the end to breathe out like this (sigh)./

Notes:

Removeable Resource QV 2 2019

PAID

POSTAGE

AUSTRALIA

POST

100022654

THE QUARTERLY VOICE QUARTERLY THE c/o Katrina Roberts Katrina c/o If undeliverable, return to: return If undeliverable, Inc. CSPT Place Ashburton 7 QLD 4154 WAKERLEY