CONFERENCE PROGRAM VERSION 2 FEBRUARY 2020
CONFERENCE VENUE PARTNERS
www.dramaqueensland.org.au/pd/conference/ PRESIDENTS’ & CONVENORS’ MESSAGES
On behalf of the members associations of Drama ABOUT THE CONFERENCE Australia and the Drama Australia Board, I would like Each year Drama Australia presents a National Conference for Drama Educators to take this opportunity to invite you all to our National in partnership with a State Association. In 2020, Drama Australia and Drama Conference, 2020VISION, hosted and organised Queensland will present 2020VISION in Brisbane. The last National Conference by Drama Queensland. This will be an exceptional hosted by Drama Queensland was in 2012 at the Brisbane TAFE Queensland, professional learning experience for educators, Southbank. practitioners and researchers from Early Childhood, Primary, Secondary, Tertiary and community contexts. ABOUT THE HOST ORGANISATIONS Some of the best teachers and researchers across Australia and around the world will be sharing their Drama Australia is the peak national body that represents and advocates on expertise through a range of workshops, masterclasses, papers and panels. behalf of all state and territory Drama education associations in Australia. At 2020VISION will we be enriched by emerging practice, evidence in new Drama Australia represents Drama teachers, academics, applied theatre workers research, discuss policy and enrich our professional practice. I look forward to and theatre in education practitioners at national arts and curriculum forums and seeing you all in Brisbane for 2020VISION. in national and international peak associations such as: John Nicholas Saunders • NAAE [National Advocates of Arts Education] President, Drama Australia • IDEA [International Drama/Theatre and Education Association] As John has said above, you are invited to 2020VISION, the Drama Australia National Conference, hosted by • CHASS [Council for Humanities, Arts & Social Science] our Drama Queensland Committee. With around 300 Drama Queensland – Queensland Association for Drama in Education Inc is delegates at our usual state conferences, we know a non-profit professional association supporting Drama educators in the K-12 that 2020 is going to be big and busy. Our vision for and Tertiary sectors. We represent the voice of Queensland Drama teachers, the conference has been focussed on welcoming responding to their needs and concerns. Drama Queensland – Queensland all members of our community and creating new Association for Drama in Education Inc also collaborates with the Arts industry partnerships to ensure that we are broadening our through projects involving companies, artists and arts venues. options and therefore creating experiences for our students. As teachers of kids we have the absolute Drama Queensland aims to: privilege of shaping lives. Something that should never be underestimated. • to promote the recognition of Drama in education as an important, valuable I am honoured to represent our members and advocate for Arts education, and valued part of education (Primary, Secondary and Tertiary); particularly as we continue to encounter hurdles. Come and join the conversation, share your vision, reflect on your practice and enjoy what I believe to be the best • to encourage the study and development of Drama in education as a teaching professional community! method and as an art form; Dana Holden • to assist teachers, students and others with interests in Drama and education. President & Conference Co-Convenor, Drama Queensland
PAG E 2 ABOUT 2020 VISION WHY SHOULD YOU ATTEND? As we head towards 2020, the question must be asked – what is our vision as 2020VISION is your opportunity to join the conversation, re-energise Drama educators? Who or what will be the drivers of change? It is important that your practice and plan for the future. The start of a new decade is a great there is clarity within our shared vision and that we continue to advocate for both opportunity to be reflective but also to look ahead. The workshops, research our subject and ourselves. It is necessary to look back retrospectively and use the presentations and keynotes for this national conference brings together the wisdom and insight of the Drama ‘greats’ who have gone before us to position best Drama educators across Australia, as well as some incredible international the arts well into the future. Our focus must be on providing critical and creative voices. You are sure to leave this conference with new ideas, new friends and new opportunities for our students and to encourage both passion and rigour within approaches to Arts education. our subject. Creating this vision ensures that we continue to provoke, innovate The passion, skill and generosity of our community continues to inspire me every and lead educational reform. year. Following a conference I always feel refreshed and motivated to push new What is your 2020VISION? boundaries and undertake challenging but always rewarding projects, and I know you will feel the same. Focus areas for 2020VISION include: For more information and to view a full conference programme please visit our • Early Childhood and Primary website www.dramaqueensland.org.au • Junior and Senior Secondary We look forward to seeing you in April to shape our 2020 Vision! • Curriculum Emma Funnell • Research – Creativity and Innovation in Drama Vice-President + Conference Co-Convenor Drama Queensland • Leadership and Teacher Longevity
WHO SHOULD ATTEND?
• Primary Teachers (Drama Specialists, Cross-Arts and Generalist Teachers) • Secondary Drama Teachers (Middle and Senior Years) • Pre-service Teachers and University Students • Heads of Departments, Heads of Curriculum and Curriculum Co-ordinators (Drama, the Arts, Creative Industries)
• Junior and Senior Secondary Coordinators • Teacher Librarians • Academics and Lecturers
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 3 DAY ONE - THURSDAY 16 APRIL - CONFERENCE LAUNCH 1:00pm REGISTRATION + TRADE DISPLAYS/NETWORKING Session 1 2:00pm TRADITIONAL WELCOME 3:00pm KEYNOTE PRESENTATION – Kristin Alford, Futurist & Director of MOD, University of South Australia 5:00pm OPENING NIGHT DRINKS/CANAPES 6:30pm PERFORMANCE – Shock Therapy Productions presents ‘VIRAL’ DAY TWO - FRIDAY 17 APRIL 9:00am REGISTRATION + TRADE DISPLAYS/NETWORKING Session 2 10:00am STATE OF THE NATION + QUEENSLAND ADVOCATES FOR ARTS EDUCATION 10:30am KEYNOTE PRESENTATIONS – Todd MacDonald, Artistic Director, La Boite Theatre | Justin Giblett, Executive School Director, Kutta Mulla Gorinna SAS 11:30pm LUNCH STREAM 1 STREAM 2 STREAM 3 STREAM 4 STREAM 5 STREAM 6 STREAM 7 STREAM 8 STREAM 9 STREAM 10 Primary Junior Senior Paper / Research Indigenous/ Workshop Industry Sessions Workshop Masterclass Pecha Kucha/Round Other Table/Panel Talks Session 3 12:30pm 3.01 3.02 3.03 3.04 3.05 3.06 3.07 3.08 3.09 3.10 Recreating the The Sanctuary Project: Physical Theatre: The Temperature is Drama, First Nations Writing a Class Play The Creative Lab QCAA Workshop Stand Up for Regional Vision Fairytale Heathcote’s Rolling Practical Approaches Rising: Drama for Education and Artistry Paul Gardiner Kate Sherman Literature! Sam Neill Elizabeth Chamberlain & Role for Creative to Storytelling Building Agency Susan Davis John O’Toole & Julie Dunn Belinda Eracleaus Curriculum Futures Jamie Hibbert in Acting on the Christine Hatton, Isabel Environment Mistry, & Georgia Wohlfiel Meg Upton & Jo Raphael Session 4 1:30pm 4.01 4.02 4.03 4.04 4.05 Devising 4.06 4.07 4.08 4.10 Leading a Whole More than a Warm Up: Keep Calm and Love Drama Advocacy: Performance with Drama-Rich Pedagogy Drama for Wellbeing Insight to Write Right Round Table / School Production Embodied Learning Data A Torch to Light the First Nations Content and Becoming Deeply Rowan Bate Kirsten Burgess Pecha Kucha Hayley Grindley for 21st Century Skills Hannah Brown Narrowing Curriculum and Producing Literate Development Path Contemporary Robyn Ewing Linda Lorenza Tricia Clark-Fookes & Indigenous Theatre in Linda Statham School Settings Andrew Byrne & Rachel Forgasz 2:30pm AFTERNOON TEA Session 5 3:30pm 5.01 5.02 5.03 5.04 5.05 A Curriculum 5.06 5.07 5.08 5.09 5.10 The Well VISION with Values: Brecht: But It’s Easy! Drama Teacher of Place Through Who Killed Romeo Playlab’s Vision Rebel Theatre Acting for Resilience: Panel – Juliet Cottrell 21st Century Matthew Caffoe Education at a Script-Writing and Juliet? Creating to Stream New (Site‑Specific, Using Drama and Re-igniting the Performing Arts Crossroads Andrejs Kulnieks a Web Series … as Australian Works Immersive & Intimate) Theatre to Build Passion – Project Robin Pascoe an alternative to the Ian Lawson & Nicole Reilly Resilience in Envisioning Your Charlene McMenamin A Vision of Creative School Musical Alexander Bayliss Adolescents Creative Pathway Education in Debb Wall & Mark Deere Cindy Sykes & Hosted by Australasia Mini-Change-Makers Bruce Burton Marie Ferguson Anne Harris & Kath Quigley with Dr Christine Kelly McConville Gray, Naomi Russell, Stagecraft Leadership John Nicholas Saunders Immersing Our Kids in Training and Josephine Wise the Non-traditional Daniel Gosling Katy Walsh 4:45pm SESSION 6 President’s Award and other special events 7:00pm NETWORKING & SOCIAL EVENT – 2020 VISION Dinner CONTINUES ON NEXT PAGE ... (CONTINUED FROM PREVIOUS PAGE) DAY THREE - SATURDAY 18 APRIL 9:00am REGISTRATION + TRADE DISPLAYS/NETWORKING Session 7 10:00am KEYNOTE PRESENTATIONS – Sandra Gattenhof, Director of Research Training, QUT John Nicholas Saunders, President Drama Australia + Director of Education & Community Partnerships, Sydney Theatre Company 11:30pm LUNCH STREAM 1 STREAM 2 STREAM 3 STREAM 4 STREAM 5 STREAM 6 STREAM 7 STREAM 8 STREAM 9 STREAM 10 Primary Jnr Snr Paper / Research Indigenous/ Workshop Industry Sessions Workshop Masterclass Pecha Kucha/Round Other Table/Panel Talks Session 8 12:30pm 8.01 8.02 8.03 8.04 8.05 8.06 8.07 8.08 8.09 8.10 Developing Multiple Applied Theatre Impulse and In Conversation: Country Insight Everything Old is The Devising Process How To Sneakily Teach Transforming Round Table / Literacies Catriona Gillespie & Movement Training Retiring legends of Valerie Harrold & New Again – Adapting Through Innovation Commedia dell’Arte Shakespeare by shake Pecha Kucha Ginnie Thorner Anna Telford Jeremey Neideck Drama Education in Kelly Roe-Hunter the Classics via the and Youth Leadership Year Round Without & stir theatre co Australia Post-Modern Natalie Rose Getting Caught Nelle Lee John Nicholas Saunders Lucas Stibbard Tony Kishawi & Clint Bolster Session 9 1:30pm 9.01 9.02 9.03 9.04 9.05 9.06 9.07 9.08 9.10 The Flight of Icarus: Extended Play Drama v In Conversation: Envisioning A Vision for Women to Creating Visionaries Cultural Awareness Round Table / a Process Drama for Tavia Seymour The Heterosexual Meet and Greet Our Ethnographic be Heard Travis Dowling, Workshop Pecha Kucha Inclusive Classrooms Matrix Living Archives Performance: Sonia Byrnes Queensland Theatre Bridget Garay Victoria Campbell & Bradley Chapman John O’Toole Reflections, Zoe Hogan Imaginings and Critique Prue Wales, Jane Bird, Kate Donelan & Christine Sinclair 2:30pm AFTERNOON TEA Session 10 3:30pm 10.01 10.02 10.03 10.04 10.05 10.06 10.07 10.08 10.09 10.10 Be a Playwright! Engaging Young De-Mystifying Looking at Language Being the Adult You Eureka! Strike it Educator PD: Sharing Your Own The Art of Clowning Panel – Jodie Eva Cook People with Auditions with 2020 Vision Needed as a Kid: Why Rich with Off Road – Contemporary Artistic Vision – Clint Bolster TRANSFORMers: Contemporary Andrea Moor Madonna Stinson the AITSL Standards Nuggets of Learning Adaptations You in the Classroom – More than Meets Performance Making Are Not the Best Fit for About and Through Saffron Benner A Masterclass the Eye Practice-as-Research, Alison Easton & Drama Teachers Drama Daniel Gough & (Myths Made Here) Participant- Sharon Hogan Christina Gray Howard Cassidy & Emma Churchland Hosted by Annette Box Coercion and the Tim Mullooly Autoethnographical Whole School Arts Lure Carolyn Stuart Professor John Freeman Rethinking Drama Curriculum Sylvia Morris 4:45pm SESSION 11 – KEYNOTE PANEL PRESENTATION – Sharon Hogan, HOD – James Nash State High School and Alison Easton, St Patrick’s College Gympie 6:00pm CLOSING DRINKS
CONFERENCE DRAMA AUSTRALIA NATIONAL CONFERENCEPARTNERS: 2020 PAG E 5 SESSION ABSTRACTS
PAG E 6 SESSION 3 Friday 17 April, 12:30pm
3.01 PRIMARY
Recreating the Fairytale Presented by Elizabeth Chamberlain & Belinda Eracleaus
This practical workshop is for Primary generalist teachers interested in ways Elizabeth Chamberlain and Belinda Eracleaus are to create a space for theatrical Drama in their school through the formation generalist, Primary teachers at Nambour Christian College of a school Drama group. The creation of Jack Spriggins and the Mysterious with a passion for integrating the Arts with other subject areas as well as directing performances in Drama and Dance. Beans script, practice sessions and performance will be shared. The presenters Over the last 7 years they have directed and written Theatre will model how to start with a familiar traditional fairy-tale and then involve productions for a school Drama group called ‘Inside Out delegates in an exploration of the elements of setting, mood, characterisation, Theatre Company’ for students in Years 3-6. The productions narrative, and team work through improvisational acting as the story is told. focus on a retelling of familiar, traditional tales such as The The group will collectively create a new twist to the story to make it their own. Nutcracker and Jack and the Beanstalk with a slight twist Delegates will leave with an idea of how to start their own Drama group and and are written with student involvement in weaving the story. Elizabeth Chamberlain is also the school Primary the steps to work through leading to production. The aim of the workshop is to Arts Coordinator and has a research interest in supporting equip Primary generalist teachers with professional learning in practical skills generalist Primary teachers’ in on‑going professional learning and strategies to engage Primary students in Drama productions where they in effective arts practice and how to integrate the Arts with help create and own the story. other subjects as a co-equal. Belinda Eracleaus directs a Primary school dance group that compete in the local eisteddfods and choreographs whole year level, thematic dance performances for school events.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 7 SESSION 3 Friday 17 April, 12:30pm
3.02 JUNIOR Christine Hatton is a Senior Lecturer in Drama and Creative Arts Education at the School of Education, University of Newcastle. She is a Life Member Drama NSW and a passionate advocate for Drama learning and curriculum. Her The Sanctuary Project: research explores playbuilding pedagogies, applied Drama, Heathcote’s Rolling Role System for Ethnodrama, and Drama learning and teaching. Recent projects have focused on contemporary Theatre for young Creative Curriculum Futures audiences, the applications of Heathcote’s rolling role system of teaching in schools, and the impacts of artists in schools. Presented by Christine Hatton, Isabella Mistry & Isabella Mistry is an experienced performing arts teacher. Georgia Wohlfiel She is a Theatre Nepean graduate (BA-Theatre Performance) and completed a BA in Teaching at UWS. She is interested in This workshop considers the possibilities of a Drama-led approach to connections across curriculum and co-curriculum using the curriculum. Using a recent NSW school study as the focus, The Sanctuary Arts as drivers for rich learning. Isabella’s Masters in Applied Project, the workshop will explore how contemporary schools might repurpose Theatre Studies research at UNE focussed on developing Dorothy Heathcote’s transdisciplinary system of teaching Drama, called K-12 teaching frameworks to authentically link mandatory curriculum to outcomes of all areas of the Performing ‘rolling role’ to engage students in deep learning experiences. It blends Arts. At St Columba’s, Isabella is leading the design and process drama, puppetry, technology and sustainability education to enable implementation of a Primary Performing Arts Hour with K-12 learners to deeply consider notions of place, stewardship and agency in light Performing Arts and Primary teachers. of difficult futures (political, environmental, social). This workshop will allow Georgia Wohlfielis a graduate of the Bachelor of participants to experience some of Heathcote’s ‘rolling role’ system in a Drama Communications/Theatre Media program at Charles exploring the interconnected challenges facing both humans and the unique Sturt University, Bathurst. She is a performer, director and migratory shorebirds that call Australia home for part of each year. The Drama professional puppeteer and puppet maker, specialising in experiences will consider the challenges of wetland rehabilitation, human giant puppets and community arts praxis. Recent performance responsibility and habitat protection for one migratory shorebird, the bar tailed credits include The Red Tree (Sydney Opera House/Arts Centre Melbourne), various productions with Curious Legends godwit, and consider what ‘sanctuary’ means for both birds and humans. (Newcastle), and the immersive theatre performance Midnight Visit (Sydney). She has engaged in puppetry training intensives with Spare Parts Puppet Theatre (Perth), Erth Visual & Physical Theatre Inc (Sydney) and has completed an industry internship at Terrapin Puppet Theatre (Hobart). DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 8 SESSION 3 Friday 17 April, 12:30pm
3.03 SENIOR
Physical Theatre: Practical Approaches to Storytelling Presented by Jamie Hibbert
This practical workshop will explore how a use of the 20th Century greats, Jamie Hibbert is the Senior Drama teacher at Pulteney such as Stanislavski, Laban, and Brecht, can be creatively fused with exciting Grammar in Adelaide, where her passion for building a thriving contemporary physical practitioners like Bogart, and Frantic Assembly. Set to Performing Arts culture extended into the creation of her Theatre company, Little Red Productions, staging 11 public a soundtrack of Sia, Muse, Lizzo and Whitney Houston, attendees will explore shows with Old Scholars. She also works for the Board of South fresh approaches to characterisation, using physical theatre to innovate Australian Education, developing curriculum and supporting performance work. This workshop will fuel delegates with a hands-on toolkit teachers in its delivery. Jamie is the former Vice President of educative and creative skills to immediately engage their own students of Drama South Australia, and is the creator of two popular in their classrooms, allowing them to develop ensembles of intelligent and SA education social media groups with a collective 11,000 autonomous Theatre‑makers. Be prepared to sway, stomp, roll, jump, dance, members. yell, kick – we’re going to have fun and get active whilst we examine how to create powerful, movement‑based performance. Attendees should wear comfortable, unrestrictive clothing that allows for free movement.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 9 SESSION 3 Friday 17 April, 12:30pm
3.04 PAPER/RESEARCH
The Temperature is Rising: Drama for Building Agency in Acting on the Environment Presented by Jo Raphael & Meg Upton
This workshop considers Drama as a means for young people to work Jo Raphael is Senior Lecturer in Drama education at collaboratively and creatively together to build critical consciousness and Deakin University. She has wide experience in applied Drama awareness about the environment, to imagine other possible futures and and Theatre, and in particular Drama for learning across the curriculum, especially in the areas of science and sustainability take action. Drama can be a way for young people to ‘rehearse’ important and advanced language learning. Jo also artistic director of an debates, and to facilitate ‘speaking up’. In this practical workshop participants inclusive community-based Theatre company. She has won are introduced to Drama activities that can be used to catalyse middle years multiple awards for her teaching and has been awarded for students’ own exploration of such issues. The workshop offers variations of her extensive contributions to her professional community, ‘mantle of the expert’, providing opportunities for students to develop insights including more than 10 years on the Drama Australia in order to understand the complexity of the problem, which is key to solving Board. Her research and publications span the areas of Arts curriculum and pedagogy, applied Theatre, teacher education it. Meg and Jo, were involved in the preparation of Drama Australia’s Acting and inclusive education. Green Guidelines, launched at the Drama Australia Conference in Brisbane in 2011. This workshop refocuses our attention on the Acting Green Guidelines Meg Upton (B.Ed, M.Ed. PhD) lectures in Drama Education, Pedagogy and Curriculum at Deakin University. as they approach a time of renewal in 2021. Meg’s research interests/practice focus on; social/artistic impact of youth arts, curriculum/pedagogy, Theatre analysis and, arts and critical feeling. An education consultant in Theatre industry for 20 years, she has written over 100 education resources and essay, working with numerous arts organisations to create experiential and participatory workshops in Drama for young people. Meg has been a member of the Drama Australia Board, is the co‑writer of Acting Green: Guidelines for sustainable drama practice and drama teaching and is currently on the Committee of Management of Drama Victoria. DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 1 0 SESSION 3 Friday 17 April, 12:30pm
3.05 INDIGENOUS/OTHER
Drama, First Nations Education and Artistry Presented by Susan Davis & Andrew Byrne
As Drama/Theatre educators, we are keen and compelled to explore First Susan Davis is Deputy Dean Research for Education Nations content in our classroom and in performance. Following the 2018 and the Arts at CQUniversity. Her career spans extensive Drama Australia National Conference the need for Drama specific guidelines experience as a Secondary Drama Teacher, Performing Head of Department, Senior Policy Officer a lecturer in Primary and and advice was affirmed by teachers seeking assistance to work in respectful Early Childhood teacher education programs, and researcher. ways. Drama Australia has therefore established a working party to review She is currently Director of Publications for Drama Australia. and update our Aboriginal and Torres Strait Islander Guidelines (first edition Andrew Byrne is a proud descendant of Convicts and published originally in 1995 and 2nd edition in 2007). In this panel some of the a Gunaikurnai man, born in East Gippsland, Gurnaikurnai working party members and others will reflect upon different curriculum and country. After teaching at Braybrook College from 2013, in frameworks, as well as examples of different approaches, texts and projects 2020 Andrew began working at Prahran High School as the from across our states and territories. Head of Performing Arts. He has been a proud member of the Drama Victoria Committee since 2015, and in 2019,was elected to the Board of Drama Australia as Director of Projects and Guidelines.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 1 1 SESSION 3 Friday 17 April, 12:30pm
3.06 WORKSHOP
Writing a Class Play Presented by Paul Gardiner
Ever wanted to tackle playwriting with your Drama class and wondered how it Dr Paul Gardiner lectures and researches in creative arts would work? This masterclass will give teachers the skills and understanding education, creativity, school leadership and pedagogy at the to program a playwriting unit that can culminate in a class play. It will provide University of Wollongong. Paul has been the HSC Drama Chief Examiner and is an experienced Secondary Drama teacher. theoretical and practical ideas to increase students’ ability to find their voice, His PhD research focussed on playwriting pedagogy and explore their ideas in dramatic form and develop key playwriting skills. Based he continues to deliver professional learning workshops for on the findings of recent research in playwriting pedagogy and creativity, this teachers and creative writing workshops with students. His masterclass will introduce participants to a new approach to teaching students book Teaching playwriting: creativity in practice was published how to write for the Theatre. It will explore the many access points for young by Methuen Drama UK in 2019. people on their journey of writing a play, providing strategies to scaffold and support the students in their creative work in a ‘real classroom’ context. The session will focus particularly on the place of collaboration and idea sharing, utilising a workshop approach to creativity that ensures students are engaged and learning in every lesson.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 1 2 SESSION 3 Friday 17 April, 12:30pm
3.07 INDUSTRY SESSIONS
The Creative Lab Presented by Kate Sherman
This masterclass is for Secondary teachers and focuses on embodiment in Kate Sherman is an educator, a movement researcher the creative devising process. This workshop content is informed by NIDA’s and a performance maker. She is the Program Manager of Conservatoire practice based training model. Participants will explore some of Schools at NIDA and teaches performance making for NIDA actors. Kate has been a teaching artist with NIDA since 2005 the techniques students experience in NIDA movement training and through and has taught for many other organisations including Belvoir the use of images, frameworks and improvised scores, investigate physical and St Theatre, Legs on the Wall and the VCA. Kate Graduated visual performance as a foundational layer for creating original work. Knowing with a Bachelor of Fine Arts Acting (NIDA) in 2005 and has how valuable creativity is in our society today and how important devising skills a Graduate Certificate in Arts and Community Engagement such as collaboration, problem solving and critical thinking are, we will ask the from The VCA (Victorian College of the Arts). She is an award question: How do we offer embodied creative methodologies to young artists winning performance maker with her most recent work Animal winning multiple Green Room Awards in 2017. that could assist them in a broader context beyond the Drama classroom and into their future endeavours?
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 1 3 SESSION 3 Friday 17 April, 12:30pm
3.08 WORKSHOP
QCAA Workshop Presented by QCAA
The QCAA will be running a session that provides teachers with the most The Queensland Curriculum and Assessment Authority up to date information about the new senior syllabus with subject-specific (QCAA) is a statutory body of the Queensland Government information for teachers relating to Drama. The session will address frequently and plays a critical role in the design and delivery of education in Queensland. The QCAA provides a range of educational asked questions and ensure that all teachers are prepared for the first cohort of services to Queensland schools and the community and students to graduate with an ATAR result. develops and revises syllabuses and guidelines for the Kindergarten Year to Year 12. They also provide resources and services to help teachers develop curriculum, teaching and learning programs.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 14 SESSIONS 3-4 Friday 17 April, 12:30pm
3.09/4.09 MASTERCLASS
Stand Up for Literature! Presented by John O’Toole & Julie Dunn
This workshop will demonstrate dramatic methods of teaching literature – John O’Toole has taught Drama to all ages, on all Drama, verse and prose – actively and performatively. The workshops will continents. Lead writer for Arts and Drama in the Australian illustrate ideas, approaches and techniques from the Presenter’s forthcoming Curriculum, he has written many standard research and school text-books. A founder-member of Drama Queensland, Drama book: Stand Up for Literature: Dramatic Approaches in the Secondary English Australia and IDEA, he received the Order of Australia for Classroom. (Currency Press) and illustrate how we: Drama in 2014. • Introduce complex classical texts to help students to engage actively, Julie Dunn is Professor of Drama Education at Griffith enthusiastically and deeply with complex and unfamiliar contexts and University, whose research explores the nexus between play, language such as Shakespeare, playfulness and Drama, with more than 50 books, chapters and journal articles. John and Julie’s co-authored Pretending to • Dramatically frame contemporary plays, novels and verse for students to Learn: Teaching Drama in the Primary and Middle Years is a explore text, reflect on themes, styles and genres, and create their own multiple award winner and standard Drama textbook. performances, monologues and writing.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 1 5 SESSION 3 Friday 17 April, 12:30pm
3.10 PECHA KUCHA/ROUND TABLES/PANEL TALKS
Regional Vision Presented by Sam Neill
Regional Vision is a networking presentation aimed at bringing regional/remote Sam Neill is a highly experienced Drama educator who Drama teachers/delegates together to share their experiences of teaching in is currently Head of the Arts at Mirani State High School these areas. Join Sam Neill, Drama Queensland’s Regional Rep, as he presents a in Central Queensland. Sam currently serves as Drama Queensland’s Regional Representative. regional vision of Drama education and highlights all aspects of this experience, with the help of other teachers and their stories. This presentation will also allow participants the opportunity to gain insights/advice into gaining quality professional development and industry connections for their students and regions as well as networking and sharing with other teachers. This session is for teachers searching for ways to bring a light to the difficult and isolating task of teaching in regional/remote areas and establishing a supportive network within each other.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 1 6 SESSION 4 Friday 17 April, 1:30pm
4.01 PRIMARY
Leading a Whole School Production Presented by Hayley Grindley
This workshop is designed for Primary educators to learn, get tips and share Hayley Grindley is currently the Performing Arts teacher ideas on how to produce a whole school production for a Primary setting. at Antonio Park Primary School, Mitcham, Victoria. She led the The session will provide participants with information on how to organise a staff, students, parent and wider community to create a yearly whole school production that involves over 500 students. production, from starting with a theme, all the way through to showtime and how to lead your community of students, staff and parents through this process. Participants will be provided with ‘take home’ information and they will have the opportunity to question questions and share knowledge with other Primary educators with the purpose of improving/further developing skills to produce a successful whole school production. By the end of the session, all participants will learn how to create a finale dance performance!
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 1 7 SESSION 4 Friday 17 April, 1:30pm
4.02 JUNIOR
More than a Warm Up: Embodied Learning for 21st Century Skills Development Presented by Linda Lorenza
Starting a Drama class with a warm-up activity is a great way to energise and Dr Linda Lorenza completed a degree in Linguistics focus students, but have you considered how many other layers of learning you working in speech recognition research before studying are tapping into? Twenty-first century skills and learning is abuzz right now. The Opera at the Sydney Conservatorium and later with the Juilliard School. She taught Drama and Music in schools before Australian Curriculum has general capabilities embedded across all learning joining Bell Shakespeare in 2005 as Head of Education. Linda areas in the curriculum. Once known as the ‘hidden curriculum’ (Eisner & expanded the company’s educational and outreach programs Vallance, 1974) these capabilities are now highly-sought-after twenty-first and initiated the Regional Teacher Mentorship in 2007. From century skills and we teach them well in Drama. The physical learning within 2010 to 2015 as Senior Project Officer for the Arts at ACARA Arts pedagogies stimulate individual thought processes assisting students’ Linda facilitated the development of the first Australian Arts cognition and higher‑order thinking, not to mention developing students’ curriculum. From 2015 to 2019 as a Director with the Sydney Symphony Orchestra, Linda oversaw the emerging artists self-confidence through collaborative knowledge production. This practical program, produced concerts for schools, families and regional workshop presents warm-up and focus activities in connection to the general communities. Linda completed her PhD in Arts education and capabilities learning continua in the Australian Curriculum. Discover how curriculum policy at the University of Sydney and in 2019 Linda warm‑up activities can enhance your students’ thinking, self-confidence, joined Central Queensland University as a lecturer in Theatre. imagination and problem‑solving.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 1 8 SESSION 4 Friday 17 April, 1:30pm
4.03 SENIOR
Keep Calm and Love Data Presented by Hannah Brown
Data and Drama. Two words that until recently, many Drama teachers would Hannah Brown is currently the Head of Drama and cringe and stamp their feet about. But as the Australian Drama curriculums on the board of governors at Sacred Heart High School in (and indeed the world) moves more towards a data driven society through Hammersmith, London. Prior to this, she was Acting Head of Drama at Kincoppal Rose Bay, Sydney and Stuartholme external practical and written assessment, data does not need to be a dirty in Brisbane. She was also the Education Officer at Sydney word. This workshop will focus on how teachers can track student data and use Theatre Company from 2014-2016. Hannah also works as a data, feedback and intervention techniques to focus not only on student results freelance Theatre Education consultant, having most recently and attainment, but on individual learning and progress. The workshop will also worked on The Wider Earth for Dead Puppet Society at the look at tried and tested techniques for helping students in written examination Natural History Museum in London. Hannah’s experience of papers and externally assessed performances. Participants will leave with a external written and practical assessment in both NSW and the UK has led her to have a specific interest in using student data range of resources and pedagogical practices to take into their own schools and to increase student progress and attainment. Over the past classrooms. four years in the UK, Hannah has risen the Sacred Heart Drama department to have the best results in the school, well above the national average.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 1 9 SESSION 4 Friday 17 April, 1:30pm
4.04 PAPER/RESEARCH
Drama Advocacy: A Torch to Light the Narrowing Curriculum Path Presented by Tricia Clarke-Fookes & Linda Statham
How do we advocate for Drama in an over-crowded curriculum? In a narrowing Tricia Clark-Fookes is a lecturer in Arts curriculum at and over-crowded educational landscape we need advocacy tools that Queensland University of Technology. She has a particular appeal to administrators, parents and students. This workshop offers teachers interest in Drama education and has worked as a Secondary teacher, head of department, curriculum writer and teaching strategies and arguments to assist in advocating for the value and benefits of artist for over 22 years. Tricia is a passionate advocate for Drama in schools. Drama education, drawing on her experiences across education sectors and work in industry.
Linda Statham is the Director of the Arts at Mt St Michael’s College, Ashgrove. Linda has been teaching Drama in Queensland for 35 years and brings an experienced voice to Drama advocacy. She recently completed her Master of Education in Leadership and Management.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 20 SESSION 4 Friday 17 April, 1:30pm
4.05 INDIGENOUS/OTHER
Devising Performance with First Nations Content and Producing Contemporary Indigenous Theatre in School Settings: Advice for Teachers Presented by Andrew Byrne
In 2020 it is becoming more relevant to consider Aboriginal and Torres Strait Andrew Byrne is the Drama Faculty & Production Islander perspectives in the classroom - this is a particular challenge for the Coordinator at Braybrook College. Andrew has been on the Drama/Theatre teacher. Devising Performance with First Nations Content in Committee of Management of Drama Victoria for five years in multiple roles including currently being the conference School Settings and producing Contemporary Indigenous Theatre is the result co‑convener. He has also worked for the VCAA in multiple of five years of hard work and collaboration between Ilbijerri Theatre Company, roles. He is currently undertaking a Masters of Education practicing First Nations performing artists, Drama Victoria, Monash University (Research) with the Melbourne Graduate School of and practicing Drama teachers. It has been trialled during the 2019 Drama Education (MGSE) with a focus on how students and teachers Victoria Theatre Festival, and has been explored in the classroom with teachers can meaningfully produce Contemporary Indigenous Theatre and students. This session will provide a practical, hands-on introduction to how in the VCE Theatre Studies Classroom. it can be used in schools.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 21 SESSION 4 Friday 17 April, 1:30pm
4.06 WORKSHOP
Drama-Rich Pedagogy and Becoming Deeply Literate Presented by Robyn Ewing AM
This paper synthesises ongoing research and current examplars that specifically Robyn Ewing AM is Professor Emerita, Sydney School of focus on the potential that Drama-rich pedagogies can and should play in Education and Social Work, University of Sydney. Passionate becoming critically literate in the 21st century. It explores how Drama-rich about the role that the Arts can play in transforming learning, Robyn has a commitment to innovative teaching and learning pedagogy with quality children’s literature has the potential to nurture learners at all levels of education. She particularly enjoys working with through artistic processes to develop essential dispositions for 21st century educators interested in reforming their curriculum practices living including curiosity, critical thinking, creativity, collaboration, connection, and has worked in partnership with Sydney Theatre Company compassion and courage – imperatives for making meaning in today’s world. on the School Drama professional learning program. She is an Honorary Associate, Sydney Theatre Company, a board member of WestWords, Visiting Scholar at Barking Gecko and a past President of both the Australian Literacy Educators’ Association and the Primary English Teachers Association Australia.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 22 SESSION 4 Friday 17 April, 1:30pm
4.07 INDUSTRY SESSIONS
Drama for Wellbeing Presented by Rowan Bate
Drama has the power to connect people, to unearth confidence that’s lain Rowan Bate is a Theatre practitioner and Education hidden, and to be a lifeline out of dark places. Studies have shown that Coordinator at Australian Theatre for Young People (ATYP) participation in Drama improves young peoples’ wellbeing and has a positive where he dreams up programs that connect schools with Theatre in interesting ways. Before this he was Theatre impact on anxiety levels, resilience and connectedness. With creative arts Programs Coordinator at The Joan in Penrith, Western programs under pressure in schools around the country, to ensure the vitality Sydney, where he oversaw schools and youth engagement of Drama in 2020 and beyond educators must harness Drama’s ability to create activities. A graduate of Theatre Nepean and the Australian happier, better connected and more engaged students. In this highly interactive Film, Television and Radio School, Rowan brings his expertise workshop you will learn practical ways Drama can be used to promote improved in Theatre-making and passion for storytelling into everything student wellbeing and set students up to grow into more resilient and confident he does. His work with young people focuses on empowering them to be creative in everything they do so that the world we adults. Drawing on celebrated research commissioned by ATYP, teachers of all all share becomes ever more funny, curious and surprising. stages and levels of experience will find these skills relevant to their practice.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 23 SESSION 4 Friday 17 April, 1:30pm
4.08 WORKSHOP
Insight to Write Right Presented by Kirsten Burgess
Can writing an effective Drama essay be made as simple as learning a Kirsten Burgess is an experienced Drama educator, mathematical equation? This presentation will showcase formulaic structures teaching in both rural and metropolitan state Secondary for effective writing strategies that have been developed and proven schools for the past two decades. She has presented her practice at state, national and international conferences. successful with both junior and senior Drama students for writing under As an instructional leader of both pedagogy and literacy, exam conditions. Increasingly, lesson time for elective subjects in the Arts has Kirsten has developed and shared innovative strategies using been blindsided in order to accommodate the needs of core subjects. I have explicit instruction to demystify and debunk the barriers developed a toolkit of writing resources that succinctly demystify the writing students face when writing under exam conditions. She is a process for students to enable them to effectively write Drama essays for both passionate advocate for the Arts, ensuring that every student seen and unseen stimulus. Participants from this presentation will access the achieves success. resources in a hands-on approach and take away explicit instruction strategies that will give vision to their students, so that they never walk blindly into a written Drama examination ever again.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 24 SESSION 4 Friday 17 April, 1:30pm
4.10 PECHA KUCHA/ROUND TABLES
Our Industry Partners will host a series of Pecha Kucha/Round Table discussions relating to innovations and developments in their areas of expertise. A detailed program will be released shortly but the session will include a series of 20-30 minute presentations which will include provocations and discussions, product launches and demonstrations, networking opportunities, and giveaways.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 25 SESSION 5 Friday 17 April, 3:30pm
5.01 PRIMARY
The Well Presented by Juliet Cottrell
The Well is an environmental Process Drama for Primary educators with a Juliet Cottrell (Masters in Drama Education and Applied focus on opportunities for cross-arts experiences and literacy, particularly Theatre (Hons). B.Ed; Dip.T) is an experienced classroom writing. It caters to both beginner and experienced Primary Drama educators teacher, taught for ten years at Pullenvale Environmental Education Centre, has produced and performed in a number years 5-8 and will provide a structure and full lesson plan for implementation in of Theatre-in-education projects and facilitated teacher your classroom tomorrow. professional development on integrating Drama in the Theme: If the life-force of our community was threatened, what would classroom. Juliet was the junior and middle school Drama teacher at Villanova College in Brisbane for a number of happen? How can two cultures/communities work together to save it? years. She has also been engaged at both Griffith University and QUT, where she taught pre-service Primary and Early Childhood teachers. Returning to New Zealand in 2008, she moved to Hawkes Bay, where she started her business The Drama Workshop – after school Drama classes for children and teens as well as providing professional development for teachers in Drama in Education.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 26 SESSION 5 Friday 17 April, 3:30pm
5.02 JUNIOR
VISION with Values: 21st Century Performing Arts Project Presented by Charlene McMenamin
Education beyond 2020 must equip students to approach diverse classroom Across 19 years teaching in Queensland and overseas, and life situations confidently and effectively. The Lourdes Hill College Charlene McMenamin has appreciated the powerful Creative Spectacular, in its ninth year in 2020, is a flagship program for possibilities of Drama education to facilitate student thinking, innovation, passion, and engagement with the world. She engaging students with the general capabilities, self-knowledge, teamwork has developed a focus on special projects using the Arts as a and leadership skills. The students are the architects, and use performing arts way in to holistic and connected learning. In her current role, to respond to real-life issues of significance. This provides a unique forum for Charlene is thrilled to provide students with authentic and young people to voice their ideas about the world and put their values into meaningful opportunities to practise the general capabilities, action. Students manage all aspects of development and rehearsal, providing collaboration and leadership. This rewarding work connects authentic experiences of collaboration, commitment and problem-solving. young people with themselves, their community, and their values. Charlene enjoys local and community Arts, especially This presentation will showcase the innovative structure of the Creative training and performing as an amateur aerialist with Circa. Spectacular, its development and success. I will invite participants to consider how project-based learning in performing arts can reinvent the 20th century concept of the teacher-led annual school musical, and can provide a real foundation for all students to be innovators who can have a positive impact on their world in the 21st century.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 27 SESSION 5 Friday 17 April, 3:30pm
5.03 SENIOR
Brecht: But It’s Easy! Presented by Matthew Caffoe, Mashed Theatre Inc.
Ever try to teach Epic Theatre to students and see their blank faces as you Matthew Caffoe is the Artistic Director & Founder describe “verfrumdungseffekt” to them and think to yourself, “I should’ve of Mashed Theatre Inc and has been working as an actor called in sick”? Heck, have you ever tried directing in the style of Epic Theatre and practitioner in Theatre in Education for 8 years. As a professional actor, Matthew has worked in Australia (Harvest and realised that it doesn’t work? When we talk about Epic Theatre, even Rain TC, Shake & Stir, QPAC) and Germany (Berliner variations of it in the broader ‘Theatre of Social Comment’, it’s often met with a Ensemble, Rotstrasse5 Theater) in the Theatre Industry, and “huh?” Mashed Theatre Inc will take you through a masterclass both practical has worked in voice-over (DisneyKids, LiquidAnimations) for and theoretical that will get you feeling pumped about that Theatre of Social 5 years. As a writer Matthew has written 6 shows, performed Comment Unit. We’ll explore acting techniques, variations on the style, how to nationally with Mashed Theatre Inc, and has written and write and think in the Political, and present to you general Theatre hacks that developed a number of video essays and sketches for Mashed Theatre’s youtube channel. will be useful in the classroom, theatre, and in the streets (but, probably not the last one). All the while debunking common misconceptions about Epic Theatre and our dishevelled playwright, Brecht. Wear comfortable clothing for physical activity and bring a phone or tablet.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 2 8 SESSION 5 Friday 17 April, 3:30pm
5.04 PAPER/RESEARCH
Drama Teacher Education at a Crossroads Presented by Robin Pascoe
What’s happening with Drama Teacher Education in Australia in 2020? Robin Pascoe is formerly a Senior Lecturer of Arts and Drama Education at Murdoch University. He is also President There is rapid and concerning change in Drama Teacher Education. For of IDEA 2013-2020. He has extensive experience as a Drama example, 2019 was the last time that Drama Secondary was offered at Murdoch teacher educator, Arts curriculum writer and keynote and University. Within the Master of Teaching Primary at that University, the Arts workshop presenter at conferences. are included as part of a first year unit on Integrated Curriculum (Health and Physical Education HPE, Humanities and Social Sciences HASS and the Arts). What has happened since in 2012 Richard Sallis and I wrote Perspectives on drama teacher education in Australia. The focus of this workshop is to: 1. Survey the current state of play for Drama Teacher Education across the Drama Australia Community – participants to give their perspective. 2. Look beyond traditional university-based models of Drama Teacher Education; for example, exploring models from Turkey, Singapore and China that provide alternative approaches. 3. Co-design next generation Drama Teacher Education models that are responsive to changing circumstances and which explore the use of digital communities of practice.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 29 SESSION 5 Friday 17 April, 3:30pm
5.05 INDIGENOUS/OTHER
A Curriculum of Place Through Script-Writing Presented by Andrejs Kulnieks
In this paper presentation I will explore how script-writing can be used to Andrejs Kulnieks is researching the intersection of help learners develop their relationships with the places that they live. This dramatic arts in literacy education with the Curriculum work is informed by Indigenous Elders and ecologically-minded theorists and Studies Department at the University of Saskatchewan College of Education. He has taught undergraduate and thinkers. The aim is to consider how Drama can help teachers and educators graduate courses at Nipissing, Brock, and York University. uncover how Eco-justice education can be used to help us think about His research interests include curriculum theory, dramatic our relationship with the Earth and to reconsider how a deep analysis of & language arts, literacies, Indigenous knowledge, and language can be an integral aspect of Drama education. I consider how Drama eco‑justice environmental education. Current courses Education, Storytelling and Poetic Inquiry can help us move toward Truth and include: Methods of Teaching Dramatic Arts and Literacies Reconciliation which includes reconciliation with the Earth. I will be looking at Across the Curriculum. Some of his research has been published in Alternative: An International Journal of the work of Bill Pinar, Chet Bowers, and Rebecca Martusewicz to uncover how Indigenous Peoples & the Canadian Journal of Environmental Drama Education can lead towards a deep analysis of language through an Studies. His coedited book is titled Contemporary Studies in eco-hermeneutic methodology. This presentation is designed for educators Environmental and Indigenous Pedagogies. who wish to consider how scriptwriting can generate interest about the places that learners live. The hope is that delegates will leave the session with some useful approaches of how to help learners develop a deeper sense of how root metaphors shape thinking.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 3 0 SESSION 5 Friday 17 April, 3:30pm
5.05 INDIGENOUS/OTHER
A Vision of Creative Education in Australasia Presented by Anne Harris & Kelly McConville
This Verbatim Theatre performance presents an exploration of creative Anne Harris (PhD) is a Vice Chancellor’s Principal education in Australasia. Drawing on interview transcripts from various sites Research Fellow at RMIT University, an Australian Research in Australia and Asia, the performance intends to creatively evoke, invoke and Council Future Fellow, an Honorary Research Fellow at Nottingham University (UK), and the director of Creative provoke reflections on what creative education is – and could be – in Australia Agency, a transdisciplinary research lab at RMIT University. and our region. In doing so it invites the audience to critically consider ways in Harris researches gender, creativity, and performance which we might innovate and lead creative educational reform in ways that take ethnography, is a native New Yorker and has worked into account our relationship with our geographical neighbours. professionally as a playwright, dramaturg, teaching artist and journalist in the USA and Australia. Harris has author/ co-authored 63 articles, 28 book chapters and 12 books, and co-edited 3 books, has co-edited 6 journal special issues, in addition to public productions of plays, films and spoken word performances. Harris is the series creator and editor of Creativity, Education and the Arts (Palgrave Macmillan).
Kelly McConville (M.Ed) is an educator and PhD candidate at The Melbourne Graduate School of Education (MGSE) at the University of Melbourne, and an Associate Researcher at RMIT, informed by her background in Theatre and Drama Education. Her research interests include how performance can be used to interrogate and communicate aspects of cultural and professional identity.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 31 SESSION 5 Friday 17 April, 3:30pm
5.05 INDIGENOUS/OTHER
Immersing our kids in the non-traditional Presented by Katy Walsh
At the centre of this paper will be the question: ‘How can the Drama curriculum Katy Walsh currently teaches High School Drama in re-invigorate its practice to take our students into, and beyond, the 2020 vision regional New South Wales. Her background training and of contemporary performance?’ This paper will draw on my current research experience as an actor coupled with her 20 years Drama teaching experience is now being utilised to embark on Post and experimentation around devised, ensemble, immersive and non-traditional Graduate research through the University of Newcastle. Her contemporary Theatre practice. I will introduce some of the key writers in this research involves an investigation into the commonalities sphere and investigate the theatrical experiences that have led them to their and differences between non-traditional forms of Theatre conceptions of theatrical practice and then reflect on how this might contribute in the creative industry and in the school curriculum. She is to the conversation about how we might reinvigorate Secondary school Drama. currently exploring immersive Theatre practice in both these spheres.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 3 2 SESSION 5 Friday 17 April, 3:30pm
5.06 WORKSHOP
Who Killed Romeo and Juliet? Creating a Web Series … as an alternative to the School Musical Presented by Debb Wall & Mark Deere
Created by Capalaba State College in association with production company Debb Wall is a Life Member of Drama Queensland, an Deere Me, Who Killed Romeo & Juliet? Is a five part web series (combined experienced teacher of Secondary Drama and the Head of running time of 70 minutes). Its creation provided students and staff with Department: Arts & Languages at Capalaba State College, in the Redlands, South-East of Brisbane. valuable opportunities to develop and use skills in acting-for-camera, pre‑production (auditioning for film, cast and crew table reads, on-location Mark Deere has 10 years of film industry experience rehearsals and blocking), production (acting for camera) and post-production and is a co-creative of production company Deere Me with Candice Deere. Mark teaches Film, Media, IT & Drama (ADR – automated dialogue replacement). Education resources will be subjects at CSC. At the 2019 ATOM QLD Conference, developed to support learning across subject areas. It is recommended Mark was awarded the third annual Helen Yeates Award that participants preview episode extracts. The workshop will explore the for Excellence in Media Education for his work on the Web creative and critical opportunities provided for students, teacher-artists and Series. collaborating artists. See: www.youtube.com/channel/UCLfIQ04nkA3SqAYZc7-S-ig
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 33 SESSION 5 Friday 17 April, 3:30pm
5.07 INDUSTRY SESSIONS
An Introduction to Playlab’s Vision to Stream New Australian Works Presented by Ian Lawson and Alexander Bayliss
This lecture-style presentation is for Nationwide Drama and English Educators Ian Lawson is a multi award-winning Queensland-based interested in accessing curriculum-relevant digital content for teaching in Director and Dramaturg. He is the Artistic Director/CEO of Secondary and Tertiary classrooms. The presentation will discuss the much- Playlab, where he recently directed the critically acclaimed Blue Bones, The Dead Devils of Cockle Creek and Magpie. needed digital distribution platform for full-length recordings of original Ian was the Associate Director at La Boite (2002–2008), Australian-made plays together with support materials and ready-made Year where he directed numerous productions including My Love 7 to 12 lesson content. The aim of the presentation is to inform educators of an Had a Black Speed Stripe, Urban Dingoes, Crèche & Burn, upcoming subscription-based digital distribution platform managed by Playlab. Last Drinks, The Narcissist and The Danger Age. Ian has also The presentation will include a visual demonstration of the recording of the worked for many other organisations including: Brisbane new Australian work, Magpie by Elise Greig to show the participants what to Festival, Queensland Music Festival, PWA, UQ, Griffith University, Zen Zen Zo and Screen Queensland. expect in terms of quality and access from the digitisation process. Since this distribution platform does not currently exist in Australia, participants will be Alexander Bayliss is a playwright from Brisbane. In made aware of this new, local initiative to change the approach in accessing 2019 his play Squad Goals was produced by Share House Theatre Company. Currently Alexander is writing the book copyrighted Australian content of reliable quality for educational purposes. and co‑writing lyrics for the musical On the Docks, which had a work-in-progress showing as part of the Griffith University Conservatorium of Music’s 2015 concert series. His play Formaldehyde (formally titled: Jack) was long-listed for the 2017/2018 Queensland Premier’s Drama Award, and was developed as part of Playlab’s Lab Rats program in 2014, and Queensland Theatre’s Playwrights Program in 2017. Alexander is currently Artistic Coordinator at Playlab.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 3 4 SESSION 5 Friday 17 April, 3:30pm
5.07 INDUSTRY SESSIONS
Mini-Change-Makers Presented by Kath Quigley
It’s no surprise that young people today are feeling more and more concerned Katherine Quigley is the Chief Executive Officer about the world we live in, and the future they will inherit but one Queensland and Artistic Director of Backbone Youth Arts, the Chair Arts organisation is championing youth to use their creativity to generate of Vulcana Women’s Circus and an active member of the Queensland Chamber of Arts and Culture and the national change. Backbone Youth Arts – Australia’s only metropolitan multi-arts youth arts steering committee. Katherine specialises in organisation working with young people - created Mini Change Makers: week- producing collaborative, experimental multi-arts and long lab designed to introduce young people aged 10-17 with the tools they cultural experiences. Her career spans 15 years as a producer need to create change for the world of tomorrow. Using Arts-based practices of multi-arts festivals, events, exhibitions, Theatre and like workshopping, role play and storytelling, Backbone’s Mini Changemakers Circus working for: Maerz Muzik Berlin, Queensland Music connects young people with guest speakers and workshop leaders who will Festival, Queensland Performing Arts Centre, State Library of Queensland, Artworkers Alliance, The Danger Ensemble, guide them in raising awareness about a charity or organisation that matters to Company 2, Flipside Circus, Youth Arts Queensland, them. Straight Out of Brisbane (SOOB), Contact Inc, Black Drum Productions, Vibewire Hub, Backbone’s 2high Festival, Lucks, Lightbox Studio and Artslink. She has produced works for Queensland Theatre Company, Brisbane Festival, La Boite Theatre, Brisbane Powerhouse, Adelaide Fringe, Melbourne Fringe, Metro Arts, Theater Basel and Hebbel Theatre (Berlin) and has worked with numerous international artists.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 3 5 SESSION 5 Friday 17 April, 3:30pm
5.07 INDUSTRY SESSIONS
Stagecraft Leadership Training Presented by Daniel Gosling
The Easy Stagecraft workshop is a small tasting platter to the wider Easy With a 20 year career as a production manager and Stagecraft seminar series where teachers, area learning leaders and students touring technician, Daniel Gosling has honed in his alike are provided a highly hands on, engaging and fun practical way to discover Stagecraft Mastery training to deliver teachers an insight like no other with all things stagecraft and production the ways Stagecraft, when done properly, can be a highly integral and important management related. aspect to production. The teachers segments are aimed at junior or senior teachers who want to learn from no knowledge, brush up on old knowledge or find new ways of developing engagement and interaction in the classroom and on stage, understand the process or schedules and putting on a production week, budgeting, technical talk and what it all means from a hands on, technical level. Students are given hands on in classroom workshops in areas of lighting, stage direction, stage etiquette and other fully customisable learning areas to line in with curriculum areas and learning topics. This workshop is a tasting plate of all of these so you can see what Easy Stagecraft is all about!
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 3 6 SESSION 5 Friday 17 April, 3:30pm
5.08 WORKSHOP
Rebel Theatre (Site-Specific, Immersive & Intimate) Presented by Nicole Reilly
This practical masterclass, aimed at both junior and senior (General and Nicole Reilly is incoming Artistic Director of Zen Zen Zo Applied) Drama teachers, explores the innovative world of Contemporary Physical Theatre for 2020. An established creative producer, Performance through Site-specific, Intimate and Immersive Theatre styles. Nicole graduated from the innovative practice-based Performing Arts Master’s Program at USC. Since 2012 she Zen Zen Zo introduced these styles to QLD over 20 years ago, and continues has produced over 30 works, mostly in regional Queensland. to lead by example, creating performances that rebel against traditional Since moving to Brisbane to do the Master’s degree, she Theatre. This masterclass will include demonstrations by Zen Zen Zo, and show produced Dan Evan’s Everthing We Remembered, Let’s how Contemporary Performance underpins all styles and forms, challenging Agree to Forget as well as produced and toured 6 shows participants to stage work anywhere but their school auditorium or hall! Wear for Mashed Theatre around Queensland in 2017-2018. comfortable clothing for movement and bring a water bottle. In 2019 Nicole joined the team at Zen Zen Zo as their new Executive Producer, producing their sold-out and highly acclaimed season of The Tempest, as well as developing an original, The Unspeakable Dreams Of Salvador Dali, and several schools‑touring productions for the company. Nicole is particularly passionate about (and adept at) engaging young people in cultural experiences, and looks forward to generating new audiences for Zen Zen Zo locally, nationally and internationally.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 37 SESSION 5 Friday 17 April, 3:30pm
5.09 MASTERCLASS
Acting for Resilience: Using Drama Cindy Sykes Master of Applied Theatre Studies - University of New and Theatre to Build Resilience in England, Bachelor in Education (Drama and English) - Griffith University. Cindy is the Head of Drama at Northpine Christian Adolescents College, who single-handedly set up the Drama department Presented by Cindy Sykes & Bruce Burton in 2013. Throughout her time at the school, she has directed six Theatre productions, including Voices in the Crowd, a devised Verbatim production she developed as part of her This practical workshop is the story of a shared journey of discovery that began Master of Applied Theatre Studies degree. Her dissertation as a research project on Drama and Resilience and revealed the power to effect explored how a combination of Process Drama, Enhanced change of major Drama and Theatre forms that are central to Drama curriculum Forum Theatre and Verbatim Theatre performance can be throughout Australia. In the process there emerged an effective program for utilised to assist adolescents in becoming more resilient. enhancing resilience in young people and for developing fundamental Drama Cindy is an advocate for Theatre that makes a difference – expertise. Cindy and Bruce will be delivering a research presentation tied in Theatre that gives voice to the voiceless and incites change. with practical workshop activities, which the delegates will participate in. In Professor Emeritus Bruce Burton the presentation, we will share our research findings: Process Drama allowed Dip Education, Bachelor of Arts, Master of Arts, Doctor students to learn about and understand resilience through Drama; Enhanced of Philosophy, Chair in Applied Theatre. Bruce Burton is a leading educator in the fields of Drama Education and Forum Theatre allowed them to become experts on resilience by teaching Applied Theatre. He taught in schools in Australia, the UK others about it, thereby also stimulating resilience in themselves; and finally, and the USA and at 6 Australian Universities, and was the Verbatim Theatre provided students with real stories of resilience where the Headmaster of one of England’s leading Theatre Schools. He nature of Theatre allowed them to identify with resilient role-models and is the author of ten books in the fields of Drama Education express resilience on stage. The workshop activities will be derived from Process and Applied Theatre, including Living Drama 5th Edition. He was a Chief Investigator on six Australian Research Linkage Drama, Forum Theatre and Verbatim Theatre, involving games, group devising, Grants in Drama and Applied Theatre, including major sharing, and discussions. Both beginning and experienced teachers of junior international projects investigating conflict management and senior Secondary will find value in this workshop. and bullying in schools.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 3 8 SESSION 5 Friday 17 April, 3:30pm
5.10 PANELS
Re-igniting the Passion – Envisioning Your Creative Pathway Marie Ferguson with John Nicholas Saunders, Josephine Wise, Naomi Russell currently teaches Drama Christina Gray, Rachael Jacobs & Naomi Russell and English at Brisbane Grammar School, and Coordinates the Specialist Teaching Area: Drama A 2017 report from The Foundation of Young Marie Ferguson recently completed at UQ. Prior to this, Naomi was the Education Australians suggested that an average Australian her Masters in Education (Specialising in the Manager at shake & stir theatre co for six years; Arts), at the Australian Catholic University. and this year has maintained this relationship will have 17 different jobs and five different careers in With 13 years teaching experience in the through consultancy work for the company. their lifetime. So what are some career possibilities areas of Dance, Drama and English, Marie John Nicholas Saunders is the Director has a passion for the Arts and has been in the for Drama educators? How do you take steps to of Education & Community Partnerships at Catholic sector for the majority of her career. Sydney Theatre Company. He has extensive move in a different direction in your teaching career? Encouraging others to consider more creative experience in Arts Education and has worked as Are you interested in Middle or Senior Leadership practises and pedagogies in their teaching and a teacher and Head of Department in schools. learning is a goal she continually strives towards. roles, taking up further study, or considering working John is currently President of Drama Australia Marie also attained the position of Business and Chair of the National Advocates for Arts outside the classroom altogether? Making those next Administration Manager for Drama Australia for Education. moves and considering a vision and pathway for your 3 years, building on a variety of different skills, future can be daunting. Finding those opportunities communicating and liaising with Board, State Josephine Wise (GAICD, MEd. Grad. Dip. to network, seek advice and talk to others in such and Territory members. Marie currently works Ed., BA) is Director of Education Services at at Our Lady’s College as the Curriculum Leader Independent Schools Queensland, supporting fields, can be that light bulb moment that you need Arts and Culture. 220 schools across QLD. She worked at AITSL as the national manager of professional learning to inspire you to take that leap of faith. Firstly, a panel Dr Christina Gray is the Coordinator of and at ACARA during the shaping phase of the will discuss their career pathways that have moved Dance and Drama Education (Secondary) Australian Curriculum: The Arts. Josephine is with the School of Education at Edith Cowan in and out of teaching Drama. The second part of the a current Board Member of the Queensland University. Christina’s research interests include: College of Teachers (QCT) and is the Deputy workshop will allow delegates to reflect on where pre‑service education, Arts in Secondary Board Chair of The Queensland Institute of they are in their own career journeys and where they schools, teacher career trajectories, Drama Educational Leadership (QELI). might like to go next. pedagogy and narrative methodologies. She is the Director of Finance for Drama Australia.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 3 9 SESSION 8 Saturday 18 April, 12:30pm
8.01 PRIMARY
Developing Multiple Literacies Presented by Ginnie Thorner
This is a practical workshop exploring what it means to be human around Ginnie Thorner has loved working in Drama education anger and apologies. Literacy in the modern world means that sometimes we for 29 years. She is a specialist Drama teacher in Christchurch need to refocus students on the human connection that is made in non-digital working with students aged 5-18 years and also works with teacher trainees. Most of her work is focused on Drama for communication. The multiple literacies that can be explored through this work inquiry - usually in science, humanities and hope. She has a so that students can explore the deeper meanings of the ‘why’ and what we real passion for student voice and student devised work, and do when we are stuck with emotions that don’t easily disappear. This is part helps students use Theatre to express their thinking around of building a resilisence literacy and developing strategies to deal with tricky issues that they experience in their world. situations. Coming from work directly from the classroom, the work shared is real and can be applied in many contexts whether in Upper Primary or Junior High school.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 4 0 SESSION 8 Saturday 18 April, 12:30pm
8.02 JUNIOR
Applied Theatre Presented by Catriona Gillespie & Anna Telford
This workshop provides teachers with informative and practical participation to Catriona Gillespie is originally from the UK. She studied give teachers the opportunity to delve into an Applied Theatre Unit. It is aimed Theatre Brunel University, majoring in Applied Theatre. She at all teachers, but in particular beginning teachers as we offer a complete moved to Australia and completed her teaching degree at QUT. She is currently working at Ayr State High as the Drama package so that they can take it with them as a resource to use at their new teacher. She has previously taught Drama at Pimpama State school. We have aimed the unit for year 9/10s of both genders. The participants Secondary College and has worked on musicals, Applied will listen to how the unit can be run and a practical demonstration to see how Theatre projects, the scene project and also performed in a it is done in the classroom. We will provide a full unit of work with lessons and number of shows herself. ideas for differentiation as well as assessment. Participants will need to wear Anna Telford is a specialist Drama teacher who has practical gear and bring with them an open mind. They will be able to use the worked at regional schools in Mount Isa and the Burdekin unit of work in their own classrooms and have a unit of work ready to go. for 15 years. Some of Anna’s successes include; working with Mount Isa Theatrical Society as director and facilitator of the junior Harlequins programme, champion for Metro Arts’ New ERA project, working with students to prepare for Eisteddfod, school musicals, The Scene Project and Townsville’s Festival of One-Act Plays. Anna won the Drama Queensland Drama Teacher of Excellence Award in 2019.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 4 1 SESSION 8 Saturday 18 April, 12:30pm
8.03 SENIOR
Impulse and Movement Training Presented by Jeremy Neideck
Movement and responsivity are keys acting skills. This practical workshop Jeremy Neideck is a performance maker who has will engage participants in a workshop seeking to demonstrate and develop worked between Australia and Korea for over a decade, these key skills. The focus of this training is the integration of the body, mind, investigating the interweaving of cultures in performance, and the modelling of new and inclusive social realities. His and on developing the flexibility of the imagination while balancing the three practice centres on bilingual musical, physical, and dance fundamental relationships of ‘I-You-We’. Participants will be led through a Theatre. Jeremy holds a PhD from Queensland University of series of physical training exercises from traditions as diverse as Suzuki’s Actor Technology, where he currently teaches across the disciplines Training Method and Decroux’s Corporeal Mime, somatic systems such as of Drama, Music, and Dance. Jeremy also coordinates the bodymAPPing, and improvisation systems such as the Viewpoints, and Impulse first year of QUT’s Acting program where he is the head of Training. the movement department. Jeremy regularly consults on the architecture and facilitation of collaborative projects and programs of institutional and community transformation.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 4 2 SESSION 8 Saturday 18 April, 12:30pm
8.04 PAPER/RESEARCH John Nicholas Saunders is the Director of Education & Community Partnerships at Sydney Theatre Company. John has extensive experience in Arts Education and has been a teacher and Head of Department in schools. John is currently: President, Drama In Conversation: Retiring legends of Australia; Chair, Australian Major Performing Arts Group (AMPAG) Education Network; Chair Elect, Advocates for Arts Education and Drama Education in Australia Drama Advisor to ACARA. John is an Honorary Associate at the University of Sydney where he is also completing his PhD exploring the Presented by John Nicholas Saunders with Robin Pascoe, impact of Drama-based pedagogy on English and literacy learning. Mary Mooney & Christine Sinclair Mary Mooney is an Adjunct Professor at Western Sydney Join Drama Australia’s President, John Nicholas Saunders in University having fulfilled the role of Deputy Dean of the School of Education as well as Drama educator and researcher for many years. conversation with retiring legends of Drama Education in Australia. Mary is a recipient of the Drama Australia President’s Excellence In 2019/2020 several great leaders in our community will retire from Award for Drama in Education (2015). Drama Australia Board their posts, Robin Pascoe (WA), Mary Mooney (NSW) and Christine positions include Vice President (2019-2020), Director of Research Sinclair (VIC). This panel honours these retiring leaders and invites them and Strategic Partnerships (2018–2020), Director of Research to reflect on their careers and how they’ve been instrumental in the (2008‑2010), Conference Co-Director (2006) and Vice-President Planning (1988-1990). Through many educational leadership roles development of Drama Education in Australia. Mary has contributed extensively to Drama and teacher education.
Robin Pascoe is formerly the Senior Lecture Arts and Drama Education at Murdoch University. He is also President of IDEA 2013‑2020. He has extensive experience as a Drama educator, Arts curriculum writer and keynote and workshop presenter at conferences.
Christine Sinclair is former head of drama education at the University of Melbourne. Through her career she has lectured in teacher education, acting and directing, drama and arts education and is also a practising community artist. Her research draws extensively on arts-based and performative research methodologies. Christine is co-editor and contributing author to Education in the Arts (OUP), a reference text used extensively in teacher education in Australia and is co-author (with Anne Harris) of Critical Plays (Sense), which examines DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 embodied and arts-based practices in research. PAG E 43 SESSION 8 Saturday 18 April, 12:30pm
8.05 INDIGENOUS/OTHER
Country Insight Presented by Valerie Harrold & Kelly Roe-Hunter
‘Country Insight’’ is a hands on workshop leading delegates through Valerie Harrold has been involved with Drama in a variety of activities purposefully utilising Aboriginal and Torres Strait education for over forty years. She is passionate about Islander methodologies, demonstrating that through the use of Drama as a developing children’s abilities to unlock their imagination, strengthen their confidence and tell their stories. Valerie is pedagogy, we can enable children to gain a deeper understanding of First an active member of Drama SA executive committee and Nations everyday practices and broaden their cultural understandings. Kelly is currently the DALO (Drama Australia Liaison Officer) for brings delightful Tiwi, Iwadja Kaytetye traditional ideas that she and Valerie Drama SA. Valerie is also on the Drama Australia working incorporate into a Process Drama session that can be adapted as a one-off party reviewing the ATSI guidelines for Drama/Theatre lesson, or a series of lessons for Early Childhood to Primary students. Important education. Valerie was an active member of the Burnborrendi ATSI perspectives such as connection to Country, practices and ceremony are Community group at Christies Beach in South Australia, developing the first ATSI Community partnership agreement explored, with plenty of opportunity for discussion and questions to assist the between the school and First Nations family and community learning process. The aim of the workshop is to provide educators with practical members. lesson ideas they can easily incorporate into their own classroom practice, Kelly Roe-Hunter is a Tiwi, Iwadja Kaytetye from the embedding ATSI perspectives by using Drama as the pedagogy. Northern Territory. She was born in Darwin but has grown up in the Southern area of Adelaide. She has worked in the area of Aboriginal Education for years, within the Beach Road Partnership, over two sites. She is very passionate about supporting Aboriginal students on their educational journey, and also assisting non-Aboriginal educators to include Aboriginal perspectives in a meaningful way into their daily curriculum.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 4 4 SESSION 8 Saturday 18 April, 12:30pm
8.06 WORKSHOP
Everything Old is New Again – Adapting the Classics via the Post‑Modern Presented by Lucas Stibbard
Presented by Lucas Stibbard (boy girl wall, R&J, The Tragedy of King Richard Lucas Stibbard makes theatre and performance. With III) workshop will deconstruct and reconstruct Classical Texts for a 21st century The Escapists he co-wrote, co-directed, produced and audience. Utilising case studies and practical exercises, Lucas will unpack how performed in the critically acclaimed, multi-award winning boy girl wall (Helpmann Award nomination - best actor), the conventions of Contemporary Performance can be applied to Classical Elephant Gun (World Theatre Festivals 2011/12), Attack of texts in the Senior Drama classroom. The workshop will explore fragmentation, the Attacking Attackers! and Packed. Lucas has worked hybridity and openness of form, intertextuality, appropriation, site-specific and nationally and internationally – with Punchdrunk (The Lost mediatised performance and its application to modern treatment of classical Lending Library), Bell Shakespeare (Richard III), La Boite texts. (Straight White Men, The Danger Age, Zig Zag Street), Queensland Theatre (Nearer The Gods, Constellations, The Seagull, Macbeth, Hamlet, Fractions, Grimm Tales, Eating Ice Cream With Your Eyes Closed, Richard II), STCSA (Hamlet), MTC (North by Northwest) and Windmill Theatre (Grug).
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 45 SESSION 8 Saturday 18 April, 12:30pm
8.07 INDUSTRY SESSIONS
The Devising Process Through Innovation and Youth Leadership Presented by Natalie Rose
This interactive masterclass is for high school Drama teachers who are looking Natalie Rose is Creative Director at Shopfront Arts for practical devising activities you can take back to your classroom. Facilitated Co-op, is one third of the performance collective post, and by professional theatre-maker Natalie Rose, you will learn provocations and has been involved in Australia’s Contemporary Arts scene for the past 19 years. Her work has been seen nationally and exercises to create a collaborative Theatre environment to allow your students internationally at Sydney Festival, Belvoir, Sydney Theatre ideas to flourish. You will learn how to evaluate ideas, overcome obstacles and Company, Malthouse Theatre, Cambridge Junction (UK) develop a structure for their work. and Sydney Opera House, to name a few. Nat has facilitated workshops for the past 19 years for young and emerging artists with and without disability. In 2019, Natalie will begin development on her new work commissioned by Campbelltown Arts Centre.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 4 6 SESSION 8 Saturday 18 April, 12:30pm
8.08 WORKSHOP
How To Sneakily Teach Commedia dell’Arte Year Round Without Getting Caught Presented by Tony Kishawi & Clint Bolster
Teaching Commedia allows students to discover their strengths within an Tony Kishawi is a graduate of the VCA in 1980, and has ensemble. Commedia is the ‘Actors’ Theatre’. Students take to a particular studied with Philip Gaulier (UK), Antonio Fava (Italy), Eves stock character, High status, Low status, the clowning antics of the masked Marks and Clare Hagen (Amsterdam). Tony has created a number of successful workshop and classroom teaching characters and some take to the simplicity of the maskless characters. methodologies which bring out the best in those participating. Once an actor discovers their sense of humour through mask work, they His experience and knowledge in the field of Commedia learn ‘comic timing’ through the necessity of playing up to an audience. dell‘arte has been shared Drama Queensland, Drama New Performing, Commedia del’Arte is not just experiencing a theatrical genre, it South Wales and is the creator of the Commedia International is an awakening, an actor training tool. In this practical workshop, Tony will be Festival 2011 at Queensland University of Technology. assisted by Clint Bolster and will work through the hands-on ‘actor training’ Clint Bolster is a Character Actor, Theatrical Clown, booklet. Which covers Theatre Games, movement palette exercises, High Commedia Dell’Arte & Mask Theatre Specialist, Stilt status, Low-status games, the clowning antics of ensemble work, non-verbal Performer & Trainer and Teaching Artist from Brisbane, and warm-up techniques from Commedia that you can add to your weekly Australia. With over 16 years’ committed to developing new works and training extensively, Clint regularly performs in Drama classes all year round. Australia and internationally. He has recently accepted into the Cirque du Soleil team of Clowns for future productions. Clint is also Artistic Director of Homunculus Theatre Company (In Schools Programs), Manoeuvre Roving Stilt Performers (Roving Stilt Acts) and The Mask Family (Highly Visual and Interactive Roving Mask Theatre Acts). Clint is a proud Queensland Board Member and Mentor for The Media, Entertainment and Arts Alliance, and Board Member for Indel-Ability Arts.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 47 SESSIONS 8-9 Saturday 18 April, 12:30pm
8.09/9.09 MASTERCLASS
Transforming Shakespeare by shake & stir theatre co Presented by Nelle Lee & the shake & stir team
Work with the shake & stir team and arm yourself to better unpack, approach, Nelle Lee For shake & stir: Fantastic Mr Fox, A Christmas analyse and present Shakespeare, reinvigorated, to a modern audience. Carol, George’s Marvellous Medicine (2016, 2018 national Transforming Shakespeare will enable you to approach Unit 4 with increased tour), Roald Dahl’s Revolting Rhymes & Dirty Beasts (2014, 2015 and 2019 national tours), Wuthering Heights (2014, confidence. Facilitated by one of shake & stir’s Artistic Directors, using a 2016 national tour), Animal Farm (2011, 2013 national tour), kick‑ass (relax – Shakespeare probably invented that word) plan created by Dracula (2015, 2017 national tour), 1984 (2012, 2014 national the company’s Education Consultant Naomi Russell, this Masterclass will show tour), Tequila Mockingbird (2013, 2016 QLD tour), Statespeare your students how even something as ‘old’ and ‘boring’ as Shakespeare can be (2009, 2011 national tour), Out Damn Snot (shake & stir/ pummeled, twisted and turned on its head to form an exciting, new piece of La Boite). Other Theatre: The Crucible, Maxine Mellor’s performance. Even if you couldn’t care less about Unit 4 (yet), don’t despair - Mystery Project, Property of the Clan (Queensland Theatre). Complete Works of William Shakespeare by Chicks (Brisbane this workshop will arm you with various activities, tricks and general resources Festival) and Alice (Harvest Rain Theatre Company). Film & perfect to implement when serving The Bard to your students, regardless of Television: The Inbetweeners 2, Sea Patrol seasons 2 & 3, their age. Mortified and the feature filmJUCY . As Adaptor/Writer: A Christmas Carol, George’s Marvellous Medicine, Dracula, Tequila Mockingbird, 1984, Out Damn Snot, Statespeare. Positions: Nelle is a Co‑Artistic Director of shake & stir and has written and performed in productions that have toured across the country (2006 - present). Training: Bachelor Theatre Arts (Acting) from the University of Southern Queensland.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 48 SESSION 8 Saturday 18 April, 12:30pm
8.10 PECHA KUCHA/ROUND TABLES
Our Industry Partners will host a series of Pecha Kucha/Round Table discussions relating to innovations and developments in their areas of expertise. A detailed program will be released shortly but the session will include a series of 20-30 minute presentations which will include provocations and discussions, product launches and demonstrations, networking opportunities, and giveaways.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 49 SESSION 9 Saturday 18 April, 1:30pm
9.01 PRIMARY
The Flight of Icarus: a Process Drama for Inclusive Classrooms Presented by Victoria Campbell & Zoe Hogan
This practical workshop will explore the role of the teacher as ‘mythic’ facilitator. Victoria Campbell has been a Drama educator, storyteller Drawing on a shared understanding of the Process Drama strategies used in and performer for more than 20 years. She is a Lecturer in Sydney Theatre Company’s Connected: Adult Language Learning through Drama and Creative Arts education at The University of Sydney. Her interest in narrative performance and storytelling Drama program, participants will be guided through a series of Drama‑based led to sustained research in this area resulting in the learning experiences using the ancient Greek myth of Icarus as a stimulus. completion of a MEd (2008) and PhD (2013) at The University One of the key elements of working in this way is the priority given to student of Sydney. She is also a teaching artist for the Sydney Theatre agency, specifically when working in culturally and linguistically diverse learning Company’s School Drama and Connected: Adult Language contexts. Using an episodic pretext model (Saunders, 2015) participants Learning Through Drama programs. will have the opportunity to engage in a series of dynamic and imaginative Zoe Hogan is Education and Community Programs processes that assist in developing a deep understanding of character, Manager at Sydney Theatre Company. As a Teaching Artist, relationship, context and events. Importantly this collaborative practice she facilitates Drama and literacy programs with refugees, reshapes the pretext of an ancient myth into a new post-text bearing the migrants and asylum seekers. Zoe holds a MA in Theatre and Global Development from University of Leeds, where she signatures of all involved. Participants will come away with a Process Drama received the Charles Barber Prize. She is the recipient of The that can be readily adapted across multiple stages, from upper Primary to Lloyd Martin Travelling Scholarship for Emerging Arts Leaders Secondary. from Sydney Opera House.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 5 0 SESSION 9 Saturday 18 April, 1:30pm
9.02 JUNIOR
Extended Play Presented by Tavia Seymour
Extended Improvisation is my Secondary students’ favourite unit. The workshop Tavia Seymour is Coordinator of the Arts at Grace will provide experience and explanation for teachers who want to embrace Lutheran College Caboolture Campus, with over twenty years the foundational skills of Process Drama but also unleash the future creators experience creating, teaching and performing Drama. She has a particular passion for scriptwriting and story. of arc‑ing story structure on our stages, pages, games and screens. There is an art to learning how to do this and our subject does it best, because only our students can get inside the action and shape narrative and character in an extended way, experimenting with and experiencing the immediate effects of their choices. As this generation thrives on co-creation and imaginative world building, this is also an ideal unit for students to road-test the elements and use analysis in a totally hands on way.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 5 1 SESSION 9 Saturday 18 April, 1:30pm
9.03 SENIOR
Drama v The Heterosexual Matrix Presented by Bradley Chapman
Queer voices are inextricably linked to theatre and performance. In a world Bradley Chapman is a national expert on gender, in which such voices are dangerously overpowered by the Heterosexual masculinity and sexuality in education. He holds a Master of Matrix, to exclude such voices in Drama education is to do a disservice to the Education (Leadership), with Theatre and boys’ education the focus of his work. His research examines the development LGBTQ+ perspectives that have driven the history of our subject. However, of boys and the impact that cultural and social constructs of the teaching of queer texts and subject matter can raise its own issues: How do masculinity have on male adolescence, and the impact of we teach Queer Theatre in a meaningful and respectful way? What content Theatre and the Arts in the lives of young men. As a highly is appropriate for the classroom? How can we teach students to engage with regarded teacher and theatre-maker, Bradley has presented this content safely? Why is it essential to explore queer perspectives in this his work across the country for organisations such as Drama subject in particular? Do queer texts link to state and national curriculums? How Victoria, Drama Queensland, and, most recently the 2019 National Boys’ Education Conference at The King’s School in might the teaching and learning of Queer Theatre impact upon our LGBTQ+ Sydney. students? And, perhaps most importantly, how can the teaching and learning of Queer Theatre contribute to positive social change outside of the classroom? This interactive lecture will examine these concerns in depth as we explore the duty that we have, as Drama educators, to challenge social Heteronormativity.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 5 2 SESSION 9 Saturday 18 April, 1:30pm
9.04 PAPER/RESEARCH
In Conversation: Meet and Greet Our Living Archives Presented by John Nicholas Saunders & John O’Toole
Join founding member of Drama Australia and Drama Queensland John John O’Toole is a life member of Drama Queensland O’Toole in conversation with some of Queensland’s legends and life members, and National Drama UK, also a co-Founder of IDEA (the not just to recall old times, but bringing in the audience to explore pertinent International Drama/Theatre and Education Association), and a well-known Jack-of-all-trades in Drama education and questions that tap into their experience and wisdom – e.g. about how and why applied Theatre, who has written some books and syllabuses, drama developed in this way in Australia, about the role and changing nature and done a lot of teaching over half a century. of schools, syllabuses and teaching, and the ongoing issues, problems and gaps too.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 53 SESSION 9 Saturday 18 April, 1:30pm
INDIGENOUS/OTHER Associate Professor Kate Donelan is the Honorary Principal 9.05 Fellow in Arts Education at the Melbourne Graduate School of Education, The University of Melbourne. As an ethnographic researcher she has written extensively about the pro-social impact of Drama on young people at risk and the development Envisioning Ethnographic Performance: of intercultural understanding in Australian schools.
Reflections, Imaginings and Critique Jane Bird is a lecturer in Drama education in the Presented by Prue Wales, Jane Bird, Kate Donelan & Melbourne Graduate School of Education (MGSE) at The University of Melbourne. She specialises in the artistic, Christine Sinclair embodied and collaborative qualities of teaching and learning in and through Drama and Theatre. Jane researches a range Fifteen years ago, we sought to probe tensions, challenge assumptions and of applications for Drama pedagogy across disciplines and push boundaries in a bid to create a performance ethnography that we felt was contexts. She has developed multiple pieces of research‑based both ethnographically rigorous and performatively aesthetic. Our explorations Theatre and written about the construction processes and continued for more than eight years and the resulting play, Alice Hoy is Not aesthetic nature of performance ethnography. a Building, which focused on women educators’ experiences of working and Christine Sinclair is head of Drama education at the studying in a Tertiary institution, went through a number of iterations and University of Melbourne. She lectures in teacher education, performances between 2006-2014. In this performative presentation we Drama and Arts education and is also a practising community artist. Her research draws extensively on arts-based and embrace this conference’s theme and ‘look back retrospectively’ on what we performative research methodologies. Christine is co-editor and have learned from the Alice Hoy project and apply our collective ‘wisdom’ to contributing author to Education in the Arts (OUP), a reference critically envision future directions for performing research findings in, about text used extensively in teacher education in Australia and is and for education. We began our project in 2005 by asking, “How did you get co-author (with Anne Harris) of Critical Plays (Sense), which here?” Today, as we launch our monograph containing an annotated script examines embodied and arts-based practices in research. of Alice Hoy is Not a Building, we consider, how we have moved forward to Prue Wales is an educator, researcher and theatre-maker 2020, where should we go now and possible future directions for the field. We who has primarily worked in Tertiary institutions in Australia, discuss the current trends in, and possibilities for performance ethnography Singapore and Hong Kong over much of the past two decades. As a researcher and playwright, she has developed a series of in educational research. And, we envision the future for performance-based scripts for stage and screen investigating the foreign domestic research and identify what work we think needs to be done to move the field workers and their navigations of systems of power. Her forward. research generally focuses on issues of community, identity, subjectivity and education. She is currently based at the University of Melbourne.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 5 4 SESSION 9 Saturday 18 April, 1:30pm
9.06 WORKSHOP
A Vision for Women to be Heard Presented by Sonia Byrnes
Too often we base our teaching practice on the works of the canon which are Sonia Byrnes has been teaching in Secondary schools dominated by men. This results in a Theatre practice and education that values for 13 years and is an experienced educator and director. She the male perspectives, stories and methods more than that of the women is an advocate for the inclusion of more female playwrights, practitioners and roles to be taught in schools. Sonia has spent who have developed Theatre in the past and are doing so now. Now is the the past eight years as the Coordinator of Drama at Meriden time to start valuing a more diverse range of voices as we head into the future. (a girls school in Sydney’s Inner West) and has worked as a This workshop aims to take teachers through an array of resources, plays, NSW Educational Standards marker across performance, practitioners and activities to change that and help us promote and engage project and written. Sonia also works with various young with the work of women. The workshop will include an opening lecture style women in the industry developing and mentoring actors, presentation followed by some practical activities to do in the classroom and writers and theatre-makers. finally a think tank on the way in which we can advocate for voices of women in our schools and beyond.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 5 5 SESSION 9 Saturday 18 April, 1:30pm
9.07 INDUSTRY SESSIONS
Creating Visionaries Presented by Travis Dowling, Queensland Theatre
What is Queensland Theatre’s vision for making Theatre in the future? In Travis Dowling is a director and youth arts worker who has the workshop, participants will explore the vision and approach Queensland engaged with some of Australia’s leading theatre companies. Theatre has taken when directing mainstage shows. Using Antigone as an He is currently the Associate Director of Queensland Theatre and also works as one of the Education and Youth Program’s example, we will step teachers through the process of creating this show, how key teaching artists. Travis facilitates and directs Queensland the text was interpreted to shape dramatic action and create dramatic meaning Theatre’s Young Artists’ Ensembles and was the director of The and why it is important to keep telling these stories. The workshop will culminate Scene Project in 2017 and 2019. Previous positions include: with a broader discussion about what is next for Queensland Theatre, how Associate Director HotHouse Theatre Company and Associate we invest in the future to build new audiences and pathways and how we can Director Grin & Tonic Theatre Troupe. His recent mainstage continue creating Theatre experiences of the highest quality. work with Queensland Theatre includes: Macbeth (2014), assistant director to Michael Attenborough; Much Ado About Nothing (2016), assistant director to Jason Klarwein; Twelfth Night (2018) and Emerald City (2020), assistant director to Sam Strong. Travis made his Queensland Theatre mainstage directorial debut in 2019 with Antigone.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 5 6 SESSION 9 Saturday 18 April, 1:30pm
9.08 WORKSHOP
Cultural Awareness Workshop Presented by Bridget Garay
As part of Drama Queensland and Drama Australia’s committment to and A Torres Strait Islander woman from Mer (Murray Island) appreciation of Aboriginal and Torres Strait Islander history and culture, we are in the Eastern Torres Strait and Meriam language group, hosting a Cultural Awareness Workshop by Bridget Garay. Bridget Garay has trained and worked with Aboriginal & Torres Strait Islander communities around Australia to develop The workshop is designed to impart a deeper understanding, respect and financially viable opportunities and self empowerment appreciation of Aboriginal and Torres Strait Islander culture and peoples, and programs. Since starting her company Journey Forward, she help participants to better understand how to engage and collaborate with has established many private enterprise businesses in remote and urban communities, and continues to connect corporate culturally diverse peoples and cultural content effectively. Australia with the Indigenous people of this great land.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 57 SESSION 9 Saturday 18 April, 1:30pm
9.10 PECHA KUCHA/ROUND TABLES
Our Industry Partners will host a series of Pecha Kucha/Round Table discussions relating to innovations and developments in their areas of expertise. A detailed program will be released shortly but the session will include a series of 20-30 minute presentations which will include provocations and discussions, product launches and demonstrations, networking opportunities, and giveaways.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 5 8 SESSION 10 Saturday 18 April, 3:30pm
10.01 PRIMARY
Be a Playwright! Presented by Jodie Eva Cook
Discover your own inner playwright and help your students, find their own Jodie Eva Cook is a published playwright, professional unique voice and writing style. This practical workshop will help you with actor and educator. She has performed and taught in Europe, practical strategies to create work that is inspiring, unique and powerful. Australia and New Zealand with a focus on professional Children’s Educational Theatre. Her published play Speak The workshop will share practical examples from the published playwright’s Up was performed and toured extensively throughout professional experience and will be aimed at anyone interested in playwriting, Queensland and New Zealand. Jodie is currently working creating unique work and teaching students to find their own voice. Full of fun, on a joint venture with award-winning Australian children’s practical exercises and helpful strategies – everyone is invited!! author Chris Collin, creating an inspiring school production for elementary and high school students. She loves to help others See: https://australianplays.org/script/ASC-2092 express their unique individuality through Theatre and Drama.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 59 SESSION 10 Saturday 18 April, 3:30pm
10.02 JUNIOR
Engaging Young People with Contemporary Performance Making Presented by Alison Easton & Sharon Hogan
This presentation will explore the conventions of contemporary performance Alison Easton is a Drama teacher as St Patrick’s College and outline the play building process utilised in a recent artist in residency Gympie. She has taught in both the state and Catholic sectors, project. The session will make explicit links to performance making in the in both regional and rural settings. Alison has a passion for empowering teenagers through the arts, as well as working Senior QLD Drama curriculum and ACARA. Attendees will walk away with an with disadvantaged and at-risk youth. understanding of a range learning and teaching experiences to assist students to develop contemporary performance. The presentation will share video Dr Sharon Hogan is the Head of the Arts at James Nash State High School in Gympie. She has worked in teacher and other resources from a contemporary performance project conducted in education, project management and organisational leadership. Gympie. Sharon is passionate about supporting her colleagues in their professional teaching practice and providing young people with opportunities to have their voice heard.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 60 SESSION 10 Saturday 18 April, 3:30pm
10.03 SENIOR
De-Mystifying Auditions Presented by Andrea Moor
A highly sought career pathway for Drama students is admission to our top Andrea Moor is the coordinator for actor training at QUT acting schools. This workshop will provide teachers with valuable tips, skills and (Queensland University of Technology), a board member of advice to assist students in preparation for these auditions. Queensland Theatre and an active actor and director. Andrea’s acting credits in Theatre are extensive and include working with Sydney Theatre Company, Queensland Theatre, Griffin Theatre Company, Belvoir, NIDA company, The Ensemble, Marian St, Playbox, Melbourne Theatre Company and La Boite. Andrea holds a doctorate in Creative Industries (QUT), is a NIDA acting graduate and has studied at East 15 in London and with The Atlantic Theatre Co in New York. Andrea is a Churchill Fellow and HEA fellow.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 61 SESSION 10 Saturday 18 April, 3:30pm
10.04 PAPER/RESEARCH
Looking at Language with 2020 Vision Presented by Madonna Stinson
This paper summarises key points from the latest Drama Australia Monograph Madonna Stinson is a widely recognised and highly relating to the element of Drama: language. Drawing on recent significant respected Drama education leader with a national and national and international research, Madonna considers how we might define international program of research and scholarship. Her work focuses on innovative approaches to teaching and learning, language as an element of Drama in a 21st century context. The scope of this and emerges from years of experience as a Primary, Secondary, presentation will include research and theory relating to how learners develop and Tertiary educator. During her research career she has been understanding and skills in language, what this means for Drama educators, and awarded over $3.3M in funding, for individual and collaborative what the implications are for those of us who work with learners from diverse projects. Publications include 4 books, over 40 scholarly book linguistic backgrounds. chapters and refereed journal articles, and other significant professional publications in language learning, and creative approaches to research, curriculum and pedagogy. Madonna is a proud life member of Drama Queensland.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 62 SESSION 10 Saturday 18 April, 3:30pm
10.04 PAPER/RESEARCH
Practice-as-Research, Participant-Coercion and the Autoethnographical Lure Presented by John Freeman
Researchers in Drama often work on multiple projects simultaneously. We John Freeman is a Fellow of the Royal Society of Arts and are by definition highly social in our professional and outreach relationships. the Higher Education Academy. He has taught, examined, led Qualitative approaches such as action research and autoethnography come residencies and directed productions in a dozen countries, been published extensively in US, Australian and European together and are regularly employed in Drama workshop practices. In the journals, was the founding editor of Performance Practice and example this paper focuses on, participatory practice rubs up against the idea has written and edited seven books, including Approaches of research after the event; of research into action already taken. The aim to Actor Training (2019). Freeman’s areas of research of the paper is twofold. It describes a long-term relationship with a not-for- include immersive theatre, new writing, solo performance, profit organisation in the UK, focusing on a project that used Drama as a tool autoethnography, identity and memory. for building self-confidence and employability. At the same time, it reviews autoethnography as a participatory action research method, describing its distinctive features and questioning the relationship between empathy and exploitation, informed consent and participant-manipulation. This aspect is couched, in part at least, in terms of its own autoethnographical journey, one that interrogates the insider/outsider status of performance researchers whose work does not always sit comfortably within contexts of identity, identification and the increasing pressure to develop work that takes place behind closed doors into public-facing outputs.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 63 SESSION 10 Saturday 18 April, 3:30pm
10.05 INDIGENOUS/OTHER
Being the Adult You Needed as a Kid: Why the AITSL Standards Are Not the Best Fit for Drama Teachers Presented by Christina Gray
The Australian Professional Standards (AITSL, 2011) for teachers attempts to Christina Gray is a former Secondary Drama, Dance regulate the profession and improve teacher quality. Yet the standardisation of and English teacher and now the Coordinator of Dance and teachers’ work has attracted criticism from researchers who assert that a ‘one Drama Education (Secondary) with the School of Education at ECU. Her research focus includes: Drama and Arts education size fits all’ model for judging teacher quality fails to recognise the affective, in Secondary schools; teaching, teacher education and the enactive and relational aspects of teaching. Our research into the experiences practicum; teacher beliefs; early career Arts teachers, and, of early-career Drama teachers reveals the positive influence these teachers portraiture and narrative methodologies. have on their students and in their schools. Of particular note, are the strong role models they have become through the development of authentic, professional relationships where students feel supported and empowered to explore their feelings, achieve academically and flourish as human beings. These relationships are co-constructed during extra-curricular activities, namely in production rehearsals, where together they work towards common goals. Our findings suggest a case can be made for re-evaluating the process of judging teachers against a standardised set of criteria that neglects to capture the nuances of Drama education and the passion, commitment and relationality of early-career Drama teachers.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 6 4 SESSION 10 Saturday 18 April, 3:30pm
10.05 INDIGENOUS/OTHER
Whole School Arts Presented by Carolyn Stuart
The Whole School Arts workshop will share with delegates the process of Carolyn Stuart is Drama coordinator at Goondiwindi embedding a cross-curricula whole school arts programme which provides State High School. She completed a BA at Otago University in students with learning experiences and performance opportunities to Dunedin, New Zealand and as an Experienced Senior Teacher has taught for 18 years in Australia and New Zealand. Her enhance their engagement with Drama and the arts and provide teachers, current project is Expressive Arts Week, an annual week of arts specifically Drama and arts teachers, with professional development to suit their learning experiences and professional tutors now in its 20th context and curriculum. Participants will leave with an understanding of the year. administration and execution of a whole-school arts event as well as contacts, digital files and tailored advice on how to make such an event work in their school’s context. A whole school arts programme can be tailored to the vision of individual schools so financial commitments are targeted to staff and student needs and directly affect student outcomes through its curriculum based nature. This workshop will show delegates how to create an Arts experience which suits their vision.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 6 5 SESSION 10 Saturday 18 April, 3:30pm
10.05 INDIGENOUS/OTHER
Rethinking Drama Curriculum Presented by Sylvia Morris
Scholars and media commentators agree that we live in a unique historical Sylvia Morris is a cosmopolitan Drama teacher with over moment marked by the inevitable reality of globalisation, i.e. political- 20 years teaching experience. She has taught in Africa, guest economic and cultural integration. Innovations in science, transportation lectures at the Illinois State University (USA) and presently teaches at a metropolitan Sydney school. She is currently and communication technologies have created an interconnected world in pursuing a PhD program at the University of Newcastle. Her which not only people, goods and services move across transnational borders, research interest is in educational leadership, curriculum but cultures also interconnect globally. Australia embraces this new order of development, social justice and equity in education. internationalisation, since it’s posited as the most ethnically diverse nation in the world. How might the Australian Drama educator promote this global ethos of multiculturalism and tolerance associated with globalisation? In my presentation, I’ll problematise the current high school Drama curriculum by showing how it promotes eurocentrism, and by extension, negates the values of a multicultural and multi-ethnic Australia. Drawing examples from the Australian Curriculum, NSW/Queensland Drama curriculum, and policy documents, I’ll show the ways in which these policies and pedagogical frameworks promote a Eurocentric view of other cultures and groups, and thus undermine efforts at cultural tolerance.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAGE 66 SESSION 10 Saturday 18 April, 3:30pm
10.06 WORKSHOP
Eureka! Strike it Rich with Off Road — Howard Cassidy is a founding member of Drama Queensland and Drama Australia. He was honoured with Nuggets of Learning About and Through Life Membership of Drama Queensland for “his outstanding contribution to Drama Education”. As head of Drama Drama Education at Central Queensland University and inspired by Presented by Howard Cassidy & Tim Mullooly his studies with Dorothy Heathcote, Howard developed Drama curriculum and Theatre courses firmly based on working in schools with kids. For many years, funded by The Priority With 90+ years of collective Drama practice, Howard and Tim still drive on Country Area Program, he created and toured participatory and Off Road. Their vision isn’t what it was, but in some ways it’s better. Their TIE programs to small and remote schools. After teaching retrospective wisdom and insight fits neatly in the glovebox and shines a trusty in Creative Industries and Early Childhood arts at QUT and old head light on how to teach about and through Drama. collaborating with Robert Kronk to create their play trilogy Snagged, Ithaca Road and Fly-In Fly‑Out, Howard now Their evolving practice is a hybrid of Drama and Theatre techniques configured continues to delight in bringing learning alive with Off Road to respond to contemporary educational requirements, including the issues of Drama Company. the crowded curriculum (i.e. curriculum relevance, assessability, program and Tim Mullooly is a professional Theatre and Arts worker time achievability, cost-effectiveness) – resulting in what inspired us all in the with forty years experience. Career highlights include: first place – engaging and joyful pedagogy. ensemble member of WEST Community Theatre in Melbourne; 15 years Artistic Director of Queensland’s Kite This interactive workshop will immerse participants in practical strategies for Theatre for Early Childhood; Churchill Fellowship; Australian engaging students in rich curriculum-based learning, using: narrative, character representative at the 2007 ASSITEJ International Directors’ and voice, form and style (including clowning, physical theatre, dramatic Seminar in Dusseldorf; AWGIE Award for co-creation of Kese role play, games, dance, text and improvisation). The pedagogical principles Solwata, a children’s show for the Torres Strait; 18 months season of The Story of Brisbane, Brisbane Powerhouse. Tim and learning outcomes underpinning Off Road’s programs will also be is currently a freelance arts worker and partner in Playabout revealed. Suitable for Primary and Junior Secondary. Come dressed for active Productions and Off Road Drama Company. He is also a participation. teaching artist at The Corner, State Library of Queensland.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 67 SESSION 10 Saturday 18 April, 3:30pm
10.07 INDUSTRY SESSIONS
Educator PD: Contemporary Adaptations Presented by Saffron Benner
This practical workshop is designed for Drama Educators teaching Saffron Benneris a dramaturg with over twenty years’ Contemporary Adaptation (such as Unit 4: Transform in Queensland Senior experience collaborating with writers and artists including Drama Syllabus). It will focus on using dramaturgical strategies to explore the Daniel Evans, Marcel Dorney, Maxine Mellor, Leah Shelton, Rebecca Meston, Stephen Carleton, David Burton, Claire conventions of form, style and structure, and how the elements of Drama are Christian, Finegan Krukemeyer, Mary Anne Butler, and used to create meaning. The workshop will utilise Medea by Kate Mulvany and Tom Holloway. Companies she has worked with include Anne-Louise Sarks as a reference point. Participants will receive a free Playlab Queensland Theatre, La Boite Theatre, Tasmanian Theatre publication of Medea by Kate Mulvany and Anne-Louise Sarks, which will be Company, Australian Theatre for Young People, The Good used in the workshop. The participants will need to bring some writing materials Room, Frankston Arts Centre, Playlab, Debase Theatre and for note taking. This will be a great way for educators to discover new ways to Backbone Youth Arts. She was the former Executive Director of Playlab (2008–2010) and the National Arts Education Editor help senior students engage with and understand this form. and feature writer for Lowdown Magazine (2008-2010).
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 6 8 SESSION 10 Saturday 18 April, 3:30pm
10.08 WORKSHOP
Sharing Your Own Artistic Vision – You in the Classroom – A Masterclass Presented by Daniel Gough & Emma Churchland
This masterclass is designed to ignite the teacher-artist within you, providing For the past five years,Daniel Gough has been working in context on the importance of teacher-artistry in senior assessment, as well as the Brisbane Theatre industry as a director, performer, writer forming processes through Junior Secondary to encourage playful risk taking. and producer. He has developed and presented work spanning across the city, country and internationally including Brisbane We believe in developing audiences for the future by providing a skill set to Powerhouse, Metro Arts, Anywhere Festival, Backbone discuss performance with an informed eye. As a focus we will look at how we Youth Arts, Brisbane Festival, Battersea Arts Center (London) ensure students are positioned to ask “why” whilst building a safe environment, and beyond. During his time as Artistic Director of The SUI and the value of accessing more independent art to develop a further critical Ensemble since 2014, Daniel has presented 5 original works eye. At the conclusion of the masterclass, we will provide take away practical (The Suicide Show, The Game Show, Awful/Big Adventure, Hot activities for students to uncover their best creative concepts, developing Cult, La Silhouette), all of which were recognised with critical acclaim for their daring and form-breaking content. stronger relationships between you and your students. Emma Churchland is a Brisbane-based dramaturg and Drama Teacher, who until recently was Head of Co- curricular Drama at Brisbane Girls Grammar School. Her teaching experience is broad, having taught and facilitated in schools across Australia, ranging from regional and remote communities to The King’s School in Sydney. Previous to this, Emma has presented work with Brisbane Festival, Anywhere Festival and Melbourne Fringe with her landmark work, Things I’d Say To You. In 2019, she worked with The SUI Ensemble on their work La Silhouette, developed at Metro Arts and presented at both Battersea Arts Center in London and Brisbane Powerhouse.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 69 SESSION 10 Saturday 18 April, 3:30pm
10.09 MASTERCLASS
The Art of Clowning Presented by Clint Bolster
Time to be physical, relate and discover in real-time and space - everyone Clint Bolster is a Character Actor, Theatrical Clown, has something to offer! Clowning conceals, gives permission to play, allows Commedia Dell’Arte & Mask Theatre Specialist, Stilt Performer expression, liberates and reveals; it teaches that nothing and none of us can & Trainer, and Teaching Artist from Brisbane, Australia. With over 16 years’ committed to developing new works and indeed be taken too seriously. Clowning is a unique and powerful engager training extensively, Clint regularly performs in Australia and that can inspire students who might otherwise hold back - ultimately instilling internationally. He was recently accepted into the Cirque a sense of joy, physical discipline and freedom of expression in the performer. du Soleil team of Clowns for future productions. Clint is also In an age where people are increasingly interacting and indeed living via Artistic Director of Homunculus Theatre Company (In Schools technology, it is the subject and practice of laughter that offers what otherwise Programs), Manoeuvre Roving Stilt Performers (Roving Stilt can so easily be lost from our lives. In this workshop, participants will discover Acts) and The Mask Family (Highly Visual and Interactive Roving Mask Theatre Acts). Clint is a proud Queensland Board their inner clown (everybody’s got one!), and have each other rolling on the Member and Mentor for The Media, Entertainment and Arts floor laughing, one minute, and ‘awwing’ in sympathy the next. This training Alliance, and Board Member for Indel-Ability Arts. is incredibly rewarding as it develops your authenticity, vulnerability and confidence in the classroom and nay – life!
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 70 SESSION 10 Saturday 18 April, 3:30pm
10.10 PANEL
Panel – TRANSFORMers: More than Meets the Eye (Myths Made Here) Hosted by Annette Box
MYTHS MADE HERE has rallied Queensland’s hottest TRANSFORMers to MYTHS MADE HERE is a party of five Queensland-based explore the process of re-imagining and remixing classic texts for contemporary collaborators whose collective experience spans from theatres audiences. Annette Box (Drama Educator and Producer, MYTHS MADE to festivals, film to education. Their debut workCinderella by Matthew Whittet played to sold-out audiences and critical HERE) facilitates a panel of diverse artists who are all firing up the literary acclaim in 2019. In April 2020 they return to QPAC with Kate canon and exploding with new work in 2020. Hear from Director/Playwright Mulvany and Anne-Louise Sarks’ highly celebrated version of Daniel Evans (Medea, MYTHS MADE HERE; Three Sisters, QUT), Playwright Euripides’ Medea. Katherine Lyall‑Watson (Phaedra, Queensland Theatre), Director Sanja Simic (St Joan of the Stockyards, La Boite) and Director/Playwright David Morton- Paine (Ishmael, Dead Puppet Society). From respectful adaptation to all-out annihilation: let’s talk transforming stories that speak to today.
DRAMA AUSTRALIA NATIONAL CONFERENCE 2020 PAG E 7 1 REGISTRATION REGISTRATION FEES
REGISTRATION TYPE EARLY FULL Registration for the Drama Australia National Conference – 2020VISION + DAYS BIRD RATE is available to all Drama Australia/State Association Members, Concessions Member – 3 Days $460 $580 (Students/Unemployed) and Non-Members. Member – 2 Days $400 $490 KEY DATES Member – 1 Day $260 $310 • Early Bird Registrations Open: Friday 6 December 2019 Concession – 3 Days $310 $385 • Early Bird Closes: Friday 28 February 2020 Concession – 2 Days $260 $305 • Registrations Close : Friday 3 April 2020 Concession – 1 Day $170 $205 • Conference: 16 – 18 April 2020 Non-Member – 3 Days $580 $725 Non-Member – 2 Days $515 $605 VENUE Non-Member – 1 Day $355 $420 The Roundhouse Theatre, La Boite Presenters $300 QUT Creative Industries, Kelvin Grove Campus 2020VISION Social Function $65 HOW DO I REGISTER? You can register ONLINE and pay by credit card. WHAT IS INCLUDED WITH MY You can register via MANUAL REGISTRATION form and pay by direct deposit. REGISTRATION FEE? Please email the Conference Manager for a form. Registration Fees includes: SOCIAL FUNCTIONS • Conference Program including keynotes, workshops, performances Additional information regarding social functions including 2020VISION Social and Networking Function (Thursday 30 January) and Theatre options will be • Conference satchel and materials released soon. • Trade Displays • Catering (Thursday – Saturday Morning Tea, ARE REGIONAL FUNDING GRANTS AVAILABLE? Lunch, and opening/closing drinks). Regional Funding grants are available to Drama Queensland members only. Please visit the Regional Grants page on our DQ website for application details. Members and Concession (student/ unemployed) rates are for all Drama Australia Members. DRAMA AUSTRALIA NATIONAL CONFERENCE 2020