Quarterly Voice

The Quarterly Voice

PUBLISHED BY THE COMMUNICATION, SPEECH AND PERFORMANCE TEACHERS INC WWW.SDTAQ.ORG.NET Winter/Spring issue 2015

In this issue: 2015 Conference Collage Barbara Sisley Program Life membership La Boite Birthday Greetings Eisteddfod history Poet’s piece Adapting a monologue

HELLO FROM THE EDITOR In this issue We have a new name: Communication, Speech and Performance Teachers Inc, and shortly a new website The Patron’s Pen 4 as well. Visit and see! President’s Report 5 Recently I attended a reading of Judith Wright’s work at Brigidine College, and I was inspired by the way her La Boite Birthday 6 work was brought to life with freshness and sensitivity. Well done, New Life Member 7 Stephen Robinson and students! Conference Collage 8 We also have a special award, a conference collage, a personal history of eisteddfod experiences, a poem, a birthday, as well as the Barbara Sisley Program 10 program of the Barbara Sisley Awards night, a memorable evening Play Review 22 with enjoyable performances. Eisteddfodau 23 As for our new name: just for fun, acronyms anyone? CoSPeT??? I can see overtones of spring freshness; it’s perhaps a useful Seven Stages of life 25 association... anything else? Monologues 26

Cheers, Poet’s Piece 28 Sabina Head

CSPT CONFERENCE 2016 FEBRUARY 20—21 Foci include:  Guest Speaker, Emeritus Professor, Roland Sussex - Australian English: what is it and where is it going?  Sessions on phonetics, speech negligence and warm-up techniques.  An exploration of the Australian College of Music, Speech and Drama Syllabus

Registration information will be posted to members in December and will also be available on the CSPT Inc. website.

FEE INFORMATION The CSPT Inc. Management Committee revised the recommended teaching fees for 2015. They remain the same for 2016.

N.B. Individual teachers are entitled to set their own fees as personal circumstances must be a consideration. This information (below) is NOT intended as a fee scale nor a minimum/maximum lesson charge. It is a GUIDE ONLY. NB: All fees (below) are shown exclusive of GST - if applicable. The CSPT Inc. Management Committee offers the following information as ADVICE ONLY. The Association believes that (in view of other comparable teaching rates and subject to individual experience, expertise and the costs of running a practice/office) reasonable lesson fees would be: QUALIFIED TEACHERS: $65.00 per hour (for an individual lesson) and $80.00 per hour (for a group lesson). STUDENT TEACHERS with professional supervision: $45.00 per hour (individual lesson); $50.00 per hour (group lesson). EISTEDDFOD ADJUDICATOR’S FEES: A minimum of $210.00 per three-hour session or part thereof

La Triviata— DO YOU KNOW BLINKY BILL ? 1. Blinky Bill has been a favourite for many years. Who wrote it and when was it first published? 2. How many well-known Aussie actors feature in the animated movie recently released? Who are they? 3. When did the books go out of print? 4. Who created the first animated film of Blinky Bill? Why was he recently in the news? 5. What award did the film maker receive, and what for? 6. What are Blinky Bill’s plans for 2016? Answers on page 31

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2015 Management Committee and Appointments

PATRON Dr BRUCE DAWE AO

President Ms Annette Stoddart 11 Cedar Street, Wynnum 0412 annette.m.stoddart Q 4178 731152 @gmail.com

Vice Presidents Mrs June Finney 28 Roseglen Street, Greenslopes 3397 1794 [email protected] Q 4120

Mr David Cockburn 23 Portwine Street, Murrarie 3890 8308 [email protected]

Q 4172

Secretary Mrs Margaret 30/164 Wellington Street, Ormiston 0404 [email protected] (Correspondence) Gallagher Q 4160 019 212

Ms Maria Secretary (Minutes) 43 Pindari Street, Rochedale South, 3841 1675 mandachamberlain Chamberlain Q 4123 @ozemail.com.au

Treasurer Mrs Rowena Luck- 408 Boston Road, Belmont 3390 2332 [email protected] Geary Q 4153

Management Miss Nadia 122 Harold Street, Holland Park 0401 nadia@ Committee Haralampou Q 4121 038336 nadiaharalampou.com

Ms Antonia Metcher 21 Thomas Street, Camp Hill 3398 1612 [email protected] (Breen) Q4152

45 Saint Andrews Crescent, 0410 Ms Talisa Pariss [email protected] Carindale Q 4152 844999

Ms Katrina Roberts 28A Youngs Road, Hemmant 0434 Katrina.roberts@

Q 4174 631685 ahs.qld.edu.au

Mrs Kathy Wilson 38 Andrew Street, Bundamba 3282 6672 [email protected]

Q 4304

Immediate Past Mrs Pam Greatorix 37 Kellett Street, Auchenflower 3871 0488 [email protected] President Q 4066

Publications Officer Ms Katrina Roberts (as above) Referrals Officer Ms Annette Stoddart (as above) Mrs Maree Clancy Say it Now, The Christie Centre, 0419 [email protected] Archivist 320 Adelaide St Brisbane 319677

Q 4000

The Quarterly Ms Sabina Head 183 Glenholm Street, Mitchelton 0404 sabina.head Voice Editor Q 4053 874 940 @uqconnect.edu.au

The Quarterly Voice Mrs Jan Mackay 3/69 Swinburne St, Lutwyche 0412 [email protected] Co-Ordinator Q 4030 382733

Catering Officers Mrs Kathy Wilson (as above)

Honorary Life Members (The year in which Honorary Life Membership of the SDTAQ was conferred is indicated)

Miss Marcia McCallum (1970) Miss Fay Muir (1998) Miss Beverley Langford (1998)

Mrs June Finney (2004) Dr Jillian Clare (2006) Miss Beres Turner OAM (2006)

Mrs Patsy McCarthy (2007) Mrs Rowena Luck-Geary (2015)

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The Patron’s Pen with Bruce Dawe

“From the Parapets” is Dr Dawe’s contribution for this Winter edition of your QV.

From the Parapets

Each of us, over time, becomes acquainted with the universal war in which we fight, by future, past, or present onslaughts haunted (sometimes particular enemies compete….).

Battlefields for many are carefully hidden; wounds of all kinds affect our very being; both old and young may often find a sudden land-mine at their feet has just been sprung.

From conception we’re conscripted soldiers, wearing uniforms in life’s lottery, soon or late; there is no neutral zone to which those fearing the lot of common soldiers may retreat.

Trench-bound, we are constantly reminded of the stretcher-bearers who, in many ways often under fire, bring in the wounded -a sight to gladden even shell-shocked eyes.

The crosses in war cemeteries still remind us of all who shouldered arms for good or ill -may we, whatever darknesses surround us, choose earthworks which may prove defensible,

And, from our parapets, perceive the danger which no-man’s-land presents too all who live, and honour those whose ever-present hunger, like that of stretch-bearers, is to save.

Bruce Dawe

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President’s Report

Dear Members,

Please find this edition of the Quarterly Voice, now published under the new name of our Association: Communication, Speech and Performance Teachers Inc. As you will notice on the cover we have a new logo! This is just the façade of what’s been going on ‘behind the scenes’ of our Association this year. We have engaged a website designer and are excited about how the new website is coming together and the services this will provide for members. Some of the website’s features include:

 A new Members’ Area containing a ‘chat forum’  Teaching resources for members  An online annual membership renewal option  An online Teacher Directory for those members wishing to be referred for teaching and adjudication.

Of course the Teacher Directory will be of great use to the general public looking for teachers to suits students’ learning needs. We will let you know as soon as the site is up and running. Additionally the process for membership renewal will have some changes in 2016. The membership renewal form will be modified, and along with existing payment options, an EFT option will be made available. There will be more about this in due course.

The Constitutional changes proposed in the last Quarterly Voice were ratified at the General Meeting on 17th June 2015 with minor amendments. I would like to thank member, Daphne Danen and Committee members for their attendance. Thank you also to the many members who sent in their apologies. The revised Constitution has now been lodged with the Queensland Government Office of Fair Trading. If you require a copy of the new Constitution of the CSPT Inc. you can obtain one from the Publications Officer, Ms Katrina Roberts. Additionally the Constitution will be available in the Members’ Area of the new website in due course.

On Saturday evening, 23rd May 2015, the 69th Annual Barbara Sisley Awards ceremony was held at Parliament House, Brisbane. The Guest of Honour and Guest Speaker this year was National Manager for Trinity College of London, Barry Walmsley. We thank Barry for his time and generous words of encouragement and congratulations to the recipients. I would also like to thank the Committee of the CSPT Inc. for their collective input on the night. I would particularly like to thank the two coordinators of the event, Talisa Pariss and June Finney for their extensive planning, organization and attention to detail. Their efforts ensured a smooth, professional and enjoyable evening for all who attended.

Additionally, at the Barbara Sisley Awards this year, it was my great pleasure to award life membership of the CSPT Inc. to an individual who has demonstrated outstanding service to the Association over many years - Rowena Luck-Geary. Rowena has been a member of the Association for over 25 years and during that time has served in many voluntary capacities including as Catering Officer, Treasurer and Vice-President. Her professionalism, integrity, executive ability and generosity of time and spirit are just some of the admirable and valued personal qualities she has offered so selflessly to the advance- ment of our Association. Rowena is a most deserving Life Member and on behalf of the CSPT Inc. I congratulate her on this award. An article about Rowena Luck-Geary and her award is written by David Cockburn and is contained within this edition.

Annette Stoddart Hon. President, CSPT Inc.

The Quarterly Voice 5 The CSPT Inc. congratulates La Boite Theatre Company on its 90th Birthday in 2015.

This year, La Boite Theatre Company celebrates 90 successful years of theatre in Queensland, earning it the title of the longest continuously running theatre in Australia.

Many members of the Communication, Speech and Performance Teachers Inc. have been involved in La Boite’s evolution. In fact, one of the founding council members of the CSPT Inc. also founded La Boite Theatre Company, originally known as the Brisbane Repertory Theatre Society. This of course, was the dynamic, creative and enormously talented theatrical visionary, Barbara Sisley.

I had the pleasure of attending one of La Boite’s birthday events in May with VIP and Life Member, Bev Langford. The event was not only to celebrate La Boite’s 90th Anniversary but to launch the theatre company’s new interactive website. Over the course of the evening Bev Langford reminisced with fellow thespians and recounted many anecdotes of her times on the La Boite stage. She was involved in many productions, including The Sea (1970), Summer of the Seventeenth Doll (1980), But I’m Still Here (1986), On the Verge (1991), The Shoe-horn Sonata (1997),Golden Girls (1989) and Bag O’ Marbles (2000).

Bev Langford was warmly acknowledged by many of Brisbane’s literati and theatre-ati throughout the night. This was a testament to her involvement in La Boite over the years and to the esteem in which she is still held as an actor within the theatre community in Brisbane. You may have already recognized Bev Langford on the cover of La Boite’s Season 2015 Program. And if you’ve had a chance to see the interactive website, you may have also recognized her image in some of the photos of hundreds of La Boite’s productions over the years.

The interactive website called ‘90years.laboite.com.au’ was officially launched by current Artistic Director of La Boite Theatre Company, Mr Todd MacDonald. Mr MacDonald explained that the digital archive project has been led by historian, academic and writer, Christine Coman. Coman’s research has been extensive from sources including interviews, programs, newspaper articles and reviews. Coman acknowledged that Bev Langford’s collection of La Boite Theatre memorabilia provided many pieces in the theatre company’s historical collage. She added that the archive is so dynamic that it gives the general public scope to upload comments, and other La Boite memorabilia that they may have collected over the years. No doubt the resource will continue to grow over time.

The website is engaging, enlightening and fun to use. Full programs, reviews and photos are all available. One of the site’s main foci is to discuss the many influences on the theatre’s rich evolution. One page is devoted to the life and influence of Barbara Sisley. Another page discusses the move from the Hale Street venue in 2004 to the new purpose-built 400-seat in-the-round theatre in Kelvin Grove. It is no doubt that for many years, La Boite Theatre Company has led the way in developing and presenting new Australian work. And there is no doubt of the important threads woven in La Boite’s history by members of our Association, such as the enormously talented, generous and dynamic Bev Langford.

Congratulations La Boite, on your outstanding contribution to the cultural life of Queensland.

You can visit the new interactive archive at www.90years.laboite.com.au.

Annette Stoddart

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Life Membership awarded to Rowena Luck-Geary

Douglas Adams wrote that “to give real service you must add something which cannot be bought or measured with money, and that is sincerity and integrity”. Accordingly, from time to time, our association acknowledges a member’s outstanding service to the association, a service which “cannot be bought or measured with money”, with the awarding of honorary life membership.

When one looks at the list of our life members, both past and present, it is clearly evident that they share one common characteristic – generosity. They are all generous members who have tirelessly served the interests of the association with unwavering sincerity and integrity.

Therefore, it is wonderful that we have recently added another deserving name to this list of life members who have enthusiastically answered the call to serve, and who through their hard work, leadership and dedication have collectively advanced the objectives of our association.

At the 2015 Barbara Sisley Awards held on Saturday 23rd of May, CSPT Inc. President, Annette Stoddart, awarded Rowena Luck-Geary honorary life membership of our association. This announce- ment was welcomed with spontaneous applause and delight. In a few short but clearly heartfelt words, a very surprised Rowena humbly accepted this acknowledgement of her many years of dedicated work. She was presented with a small gift and a letter confirming her life membership by Annette.

The CSPT Inc.’s constitution states that “any person may be appointed to Honorary Life Membership by reason of that person’s service to the Association”. Rowena is certainly a member who has actively served. As an association, we rely upon the kindness, toil and good will of our members to act as volunteers in order to smoothly run the association. Rowena has proven herself to be a most energetic, involved and devoted member.

Rowena joined the association in her teenage years and commenced work on the committee in 1992. Since then she has served at various times and for differing lengths of time, in the roles of a committee member, vice-president, treasurer and catering officer. Rowena is a ‘can-do’ character! She has a very practical, earthy and realistic approach which ensures that any task which needs to be successfully done is completed expediently and professionally, and always with attention to detail and suitable care. Her wonderful sense of wit and the warmth of her personality have been greatly appreciated by her fellow members.

At committee meetings, she offers her opinion without fear or favour, as she altruistically desires what is ultimately best for the association’s membership. She provides insight and her knowledge of the day- to-day workings and history of the association guarantees consistency and maintenance of the standards of the association.

Furthermore, Rowena is an accomplished teacher, adjudicator and AMEB examiner, and whenever called upon she has always happily shared her talents and knowledge with our membership by presenting at annual seminars. Overall, she is a valued member of our association.

Leo Tolstoy wrote that “joy can only be real if people look upon their life as a service and have a defi- nite object in their life outside themselves and their personal happiness”. As an association we have truly benefitted from Rowena’s willingness to serve.

The Quarterly Voice 7 CONFERENCE COLLAGE 2015

Megan Shapcott

Sandra Carter

Sue Rider

Jeff Janisheski (centre)

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‘The Seagull’ Theatre Review

Ever since we went to see a QUT production of The Cherry Orchard two years ago, my senior students and I have been impatient to see another play by Anton Chekhov. There is something about Chekhov’s brand of black comedy and the constant stream of action from multiple actors that appeals to the modern theatregoer. Perhaps there are just more of us these days with a short attention span and a preference for ‘multitasking’ in our theatre viewing habits. Either way, I was happy to see my students more excited about seeing their second Chekhov play than about seeing the latest teenage dystopian future movie sequel.

So when QTC announced that they were producing The Seagull as part of their 2015 season, we couldn’t wait to see what they’d do with it. An added bonus was that it was both adapted and directed by Daniel Evans who had just staged his Queensland Premier’s Drama Award-winning play, Oedipus Doesn’t Live Here Anymore. Oedipus blew me away with its energy, cracking pace and unbelievably clever script. I didn’t know how Daniel Evans could top that – but with a bigger cast and a contemporary Australian setting, he gave us a version of The Seagull that Chekhov himself would have loved.

Having taken my students to a quite a number of plays over the last few years, it was great to see them get excited about watching their favourite actors perform. Our version of ‘Spotto’ included Emily Burton from Oedipus and A Midsummer Night’s Dream, Helen Cassidy from Boston Marriage, Amy Ingram from Out Damn Snot, Brian Lucas from De Profundis, Christen O’Leary from Medea and A Midsummer Night’s Dream, Hugh Parker from A Doll’s House, Julius Caesar and 1984 and Lucas Stibbard from Macbeth. My students even recognised Jason Klarwein as the actor whose (fake) blood we all got splattered with when we sat in the ‘splash-zone’ at the Playhouse during a QTC performance of Macbeth last year. (Lesson learned: don’t wear white to the theatre when Macduff goes for the jugular.)

The Seagull played at QTC’s Bille Brown Theatre with Konstantin’s makeshift tiered stage as the dominant set piece. Brechtian elements were used, such as the actors being in view much of the time when off-stage and Stage Manager, Dan Sinclair, dabbling in the role of Yakov the workman. The role of Shamreyev the bailiff was the only major character to be axed in this version. Sorin was presented as a little crazier and sicker, and Nina perhaps a little more damaged, but the overall essence of Chekhov’s dysfunctional tragi-comedy was spot-on.

My high school students had decided that any modern Aussie version of The Seagull would have to cast the permanently-depressed Masha as an angst-ridden teenage Goth. QTC’s Masha, although not the Goth girl we’d envisioned, had an unforgiving bitterness to her that was mesmerising.

Chekhov’s characters can often be hard to sympathise with as they make one bad decision after another, but we really felt for Brian Lucas’s Sorin. His weakening grasp on reality endeared him to the audience, especially when he started having two-way conversations with Anton, the taxidermy seagull. Sorin’s physical and mental deterioration in Act 4 was wrenching to witness and was a jolting reminder of the play’s bleak present-day setting.

Evans took full advantage of the ‘play within a play’ genre with plenty of merciless references to wannabe actors and mediocre playwrights who do nothing but adapt others’ work. This self-ridicule and allusion to the entertainment industry in modern Australia elevated the comedy to a whip-smart level. Surprisingly, for a play that went for nearly three hours, we all agreed that we never wanted it to end.

At the very end, after we heard the final ‘bang’ and held our collective breath for those few awkward seconds, one of my students turned to me and announced, “And THAT is why I love Chekhov!”

Lisa McKibben

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EISTEDDFODAU

Anne Hellen recalls the Brisbane Eisteddfod since she became a member.

The Brisbane Eisteddfod to our knowledge has been active since 1897. At times, there was no Eisteddfod held during the war years. I became a Committee member about 25 years ago and am still a member of the Commit- tee. The work load of a Convenor is very great and in the past entries were hand written, posted to the Convenor, then receipts were sent to each entrant with an acknowledgement card. Money from entries had to be banked and there was the never ending number of query phone calls by entrants and teachers to be answered. Convenors had to contact friends of the Eisteddfod to give a trophy or money prizes. Halls had to be booked, pianos and Accompanists hired and trophies needed to be purchased. Equipment to run the event such as remark sheets, sound equipment, and the Numbers board were among various items to be collected. The organisers also provided all meals for the Adjudicator and Volunteers. Convenors were easier to find then, because as so many people do not have time to volunteer now. In the past three years we have the GENIE now known as STARDOM, in which entries are made and paid for on line. The entries are automatically put into sections but there is still work involved in the reconciliation by the Ad- ministration and Treasurer and the Convenors have to put the Programme together. Convenors still have the phone calls to answer Trophies, prizes to co-ordinate and some of the sections still provide meals as before.

In previous years we only employed local Adjudicators due to the costs involved, but in recent times we have Ad- judicators from Interstate for Dance Groups and Dance Solos, as most of our local teachers enter their troupes in the competition. As this section has a vast number of entries the cost of Interstate Adjudicators can be met. In years past most of the competition was held at State High Schools at a nominal hire price. Since the introduc- tion of Dance and Drama teachers in the schools we are unable to hire the Auditoriums in school time as they are required by the school. We now access other Halls at a much higher price and therefore have to raise the entry fees for competitors, and many sections run at a loss.

When I first became involved attendance was very strong in all the genres. Choral especially was held at City Hall and was our biggest money earner. State and Private schools participated and we had children’s and adult choirs. In recent times we have not been able to hold the Choral because of the low number of entries, due to the fact that the “Creative Generation” has been held; also Catholic Schools have their own Eisteddfod.

Dance Groups on the other hand have risen to great heights. We used to run for two days, on a weekend at Cav- endish Road High School. Then we moved to “The Coffee Club” at the RNA Showgrounds and ran over four days. It is now a seven day and night event at Saint Laurence’s College, run over two weekends. We employ two Adjudicators from interstate, one for Classical and one for Jazz, with the Juniors on the first weekend and the Seniors on the second. We also have a day for High Schools to compete which was an innovation of the Conven- or at the time. Dance Solos also have increased since the early days. There is a great number of entries and again we have an Interstate Adjudicator for this. This competition is held at Yeronga State High School in the September School holidays.

Instrumental used to be one section which was quite strong, and a Concert of Champions was held at the conclusion. It has now been split into three sections: Piano, Strings, and Woodwind and Brass. These sections are now held at The AMEB examination rooms in which the warm up rooms are used. There is no facility for Tuck shop there, so Convenors supply meals for the Adjudicator and volunteers. Entries have dropped in these sections in recent years. Continued on the next page

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Speech & Drama attendance in past years was very strong and ran for ten days with a Concert of Champions at the conclusion of the competition. The One Act Plays were well represented but these entries have diminished and we have not been able to sustain them. We used to hire an Adjudicator from Interstate but entries dropped. Entries have started to rise and this year they are very high. Vocal was strong in the early years and again entries dropped for a couple of years and now they are picking up again. They used to be held at Yeronga State School Auditorium and we have now moved to the Queensland Multicultural Centre at Kangaroo Point. This year the entries have tripled in number.

We have always had difficulty in obtaining volunteers to help on the doors, convene, scribe, announce and fill other positions needed to run a successful competition. We would also run raffles to help supplement our income. We still have problems finding volunteers as do all other organisations.

In recent years the Brisbane City Council has supported us with a yearly donation, which is used as stipulated by the Council. Convenors still contact individuals who support us, to donate for prizes and trophies as in the past.

For myself, the contribution I have given to the Brisbane Eisteddfod has been very rewarding. I competed in the Rockhampton Eisteddfod in Speech & Drama as a child until I was 19 years of age and I now am giving back to the movement; my support is being a volunteer.

It is great to be a member of a team. They have the same objective as I do: to provide a performance platform for young achievers.

Anne Hellen

EISTEDDFOD AWARDS

The following prizes have been advised by the respective Eisteddfod Convenors:

Ipswich - Most Promising performer 13 -20 years - Laura Fox - Teacher Olivia Hill

Beenleigh - Encouragement Award 12 years - Keeley Cogill - Teacher Heidi Schramm

Enoggera and District - Encouragement Award 12 years and Under - Grace Lashborook

Brisbane - Ramya Arunagiri - Teacher Shirley Murphy “Thanks goes to the COMMUNICATION, SPEECH AND PERFORMANCE TEACHERS INC. for their generous Eisteddfod Book Prizes. At the recent Gold Coast Eisteddfod, the adjudicator, Catherine MacLeish gave this award to Olivia Fuller, Year 2 at Hillcrest Christian Col- lege. To encourage excellence in the performance of Speech and Drama, Olivia was chosen for her outstanding speaking of Australian Verse (10 years and under). It was appreciated that she received a book of Classic Australian Poems and she was thrilled to receive this award.” Jan Boniwell

If you have further information on awards, it can be included in the next issue.

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SEVEN STAGES (1) A series with poetic illustrations based on William Shakespeare’s Seven Ages of Man speech from As You Like It, Act 11, Scene V11 (1603) By Lyn Hurry

Shakespeare didn’t initiate the comparison of the world to a stage, but he is the one who has made it famous. In his own earlier work, The Merchant of Venice, Shakespeare also had Antonio comparing the world to a stage:

I hold the world but as the world, Gratiano; A stage where every man must play a part, And mine a sad one. (Act I, Scene I)

Shakespeare would have expected his audiences to recognize the division of human life into a series of ages, because it was fairly common in art and literature. Ancient writers such as Aristotle often used three or four stages of life. The concept of seven ages became popular for theological reasons, e.g. the seven deadly sins. King Henry V had a tapestry illustrating the seven ages of man. Shakespeare's concept might also have resulted from his study of Palingenius' book Zodiacus Vitae, a school text he would have studied at the Stratford Grammar School.

The well-known and frequently-quoted passage from As You Like It begins:

All the world's a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages. …

There follows the expansion of Shakespeare’s idea, as conveyed by the melancholy character, Jaques. It was not Shakespeare’s final speech as many believe, but something that has become absorbed into our psyche – well, most thespians at least. It’s certainly an accurate and succinct summation of life’s stages, disregarding the material fashions of that day.

Stage One: the first Age

… At first, the infant, Mewling and puking in the nurse's arms

Men and women are born helpless, knowing little. They must be carried, often protesting, onto life’s stage. Their utter dependence can be appreciated in Shakespeare’s choice of mewling and puking – the assonance adding another auditory layer. Sadly these wonderfully descriptive words no longer find a place in the Macquarie Dictionary. Somehow crying and vomiting don’t do the trick. I can’t think of better substitutes, can you? This phase lasts until the child is ready for the wider world at school. Therefore we assume that the infant phase encompasses about five years, when education and experience are attached to the home and family. It is also the stage of play, discovery and imagination.

Considering those parameters, I draw your attention to the comparative modern-day situation, and to poems that interpret and illuminate a young child’s world. Many poets, both serious and humorous, have contributed to the list. On the Australian scene, Les Murray wrote Infant Among Cattle, a poignant point of view of a small child in a milking shed.

Thomas Gunn wrote Baby Song, a first impression of the world from a newborn, nostalgic for the womb. Expressing equal nostalgia for the carefree days of early childhood is Thomas Hood’s I Remember, I Remember. Hood’s A Parental Ode gives the father’s opinion of a son of whom he has high hopes, but who in reality isn’t living up to the standards he has in mind. It’s an amusing piece, which ends – and we might all relate to this – I cannot write unless he’s sent above. Continued on next page

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Robert Louis Stevenson contributed My Shadow, a delightful piece from a small child’s point of view … and to me, reminiscent of Peter Pan. Stevenson also wrote Where Go the Boats, highlighting how a simple activity develops ideas and imagination in a young mind.

When we consider poems for the very young, Edward Lear cannot be ignored. Two very dear to me are The Quangle Wangle’s Hat, a chapeau which ultimately houses the nests of several animals; and of course the nonsensical but unforgettable The Owl and the Pussycat.

There are the cute animal verses of Ted Hughes, like Jellyfish and Crab. As an antithesis, read G. K. Chesterton’s The Donkey, in which the animal thinks back to its days as a foal, when he had a remarkable job to do. It’s difficult though to outshine A. A. Milne. Perhaps most closely mirroring Shakespeare’s Infant Age is The End, which finishes:

… But now I’m six, and clever as clever, So I think I’ll be six for ever and ever.

In the next article, I’ll investigate the Age of School. Meanwhile, may I urge you to read and recite any or all of the above poems. Remember that poetry is brought to life by hearing it; for the very young, that’s the only way they can appreciate it at all. Don’t be shy about reading poems aloud, and with as much expression as you can mus- ter. Even babes in arms will respond. (My granddaughter at nineteen months already had her favorites.)

Contrary to what Shakespeare writes, most infants, even newborns, do more than mewling and puking. Why don’t you do a bit of observation and expand ideas on baby activities? I’d be pleased to see any verses you can concoct.

Lyn Hurry 2013

ADAPTING A CONVERSATION FROM A PLAY, BOOK OR FILM INTO A MONOLOGUE by Daphne Grinberg

Ten-year-old boy student: 'Please, Mrs Grinberg, can you write me a characterisation from this one-frame car- toon?' (I did, and he won his section in the Eisteddfod).

Or 16-year-old teenager with a crush on Orlando Bloom: 'I want to play Eowyn from 'The Lord of the Rings', you can write that for me, can't you?' (I did, but Eowyn has so little to say in that book that I had to search out every word she spoke and darn it together like an old sock to make a useable script. My student didn't win her section in the Eisteddfod, but enjoyed swanning around in a long gown and hefting a sword, (real – my son makes them) .

This year I have best-friends Grade 7 girls who pleaded with me to write them a duologue from 'Frozen' – one is blonde and one red-haired, so it seemed a great idea, until I watched the film and found that there was really only one scene that could be used. I discussed with them what we would need to do with it, but before I could write it they had found the (very old) script for Kenneth Williams' 'The Bank Robber', and decided to do that instead. 'Frozen' will have to wait for another year.

Re-working book, film and play conversations into useable monologues for Eisteddfods or examinations ensures your students are bringing a new presentation to their audience, rather than the old favourites we see all the time. The process is fairly quick and easy when you are re-writing for younger students, but when it comes to Shake- speare or Pushkin, both of which I have a student performing this year, it becomes more difficult. How do you do it?

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26 The Quarterly Voice

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The actor must use their dialogue of course, but how does the audience then know what the other person in the conversation is saying? Something of the second person's dialogue must be in the script, and sometimes words need to be changed, though I try not to do this, especially with well-known speeches.

Let's take the speech from 'Much Ado About Nothing' between Beatrice and Benedick, immediately after Hero has been traduced by Claudio. Beatrice, while speaking her own lines, needs to reflect back to the imaginary Ben- edick something of what he is saying. The easiest way is to use a question: Benedick has said, 'I love nothing in the world so well as you', but we leave that speech out, and instead Beatrice, after her preceding line, says: 'You love nothing in the world so well as I?' We then 'hear' what Benedick has said to her.

This is perhaps the easiest thing to do, but it is tricky. You can't have too many 'question' lines in the speech, so you must use other ways of translating Benedick's words. A statement works well if Beatrice is angry; and using Benedick's exact speech but changing the gender of the speaker is also a good ploy. The monologue must flow, so be sure to speak it out loud when you are finished so that you can erase any awkward or clumsy words or phrases.

I give below the monologue I have written for this speech from 'Much Ado About Nothing'. You may be interested to compare it with the original scene from the play, and see if you find the end result acceptable. Like everything, if ten people translated this conversation into a monologue we would probably end up with ten different versions; but here is mine.

Beatrice: 'Much Ado About Nothing' by William Shakespeare

Have I wept all this while? Aye, Benedick, and I will weep a while longer. You have no reason not to desire it; I do it freely. Indeed you speak aright when you say you do believe my fair cousin is wrong'd. Ah, how much might the man deserve of me that would right her! There is a way to show such friendship, but no such friend. It is a man's office, but not yours.

You do love nothing in the world so well as I? That is strange indeed; it were as possible for me to say I loved nothing so well as you: but believe me not; I confess nothing, nor I deny nothing.

You swear by your sword that you do love me! Why, then, God forgive me! Of what offence? Why, you have stayed me in a happy hour. I was about to protest I loved you. But indeed, I love you with so much of my heart that none is left to protest.

Would that I should bid you do anything for me? Yea, here is something. Kill Claudio. Not for the wide world, you say. You kill me to deny it. Farewell! I am gone, though I am here; there is no love in you. Nay, I pray you, let me go! Friends? You dare easier be friends with me than fight with mine enemy

Is Claudio not approved in the height a villain that hath slandered, scorned, dishonoured my kinswoman? What! Bear her in hand until they come to take hands, and then with public accusation, uncovered slander, unmitigated rancour … O God, that I were a man! I would eat his heart in the market place!

Sweet Hero! She is wronged, she is slandered, she is undone. O that I were a man for his sake! Or that I had any friend would be a man for my sake! But manhood is melted into courtesies, valour into compliment, and men are only turned into tongue.

By your hand, you love me! Use it for my love some other way than swearing by it. Has Claudio wronged Hero? Yea, as sure as I have a thought or a soul.

You will do it? I'll go comfort my cousin. You must say she is dead; and so, farewell.

The Quarterly Voice 27 POET’S PIECE

MEMORIES OF KENILWORTH

Hills huddle crouching shoulder to shoulder, Fierce blue-green beauty piercing the façade Of the houses and lights, the city charade, Of this dim now.

Sweet earth-rain smell of paddocks fills The deep rich silence of the country night.

Parrots wheeling, squealing, Sun catching bright birds’ wings. All live things exult in being. In pure joy a magpie sings.

Drought….. The land aches. Parched, scorched, scoured, Hungry. Drought sucking the earth’s life sap. Roots claw and clutch dry soil. Even weeds wilt.

Old man tree – dying – With your vine-laden back hunched against the wind. Bony knuckled branches grasping dry air.

Rain….. Mist gropes around the house With damp, gloved fingers. Night comes and presses hard Against the walls that hold the light. Mist-thick and black it makes mirrors of windows And the outside is gone. Huddle around the friendly fire. The dark is cold and solid Tonight.

I gaze past the jostling buildings Of the city’s indifferent face To the silent hills of Kenilworth, Still watching.

28 The Quarterly Voice

Eisteddfod Information

The following list represents Speech & Drama eisteddfodau in South-East Queensland to be held in 2016. If members know of others, please contact the QV Editor.

COMPETITION CONVENOR/S

29th Quota International of Larraine Pimm-Verrall (3804 0488) [email protected]

BEENLEIGH EISTEDDFOD www.quotabeenleigh.org.au

BRISBANE EISTEDDFOD Jem Hill [email protected] www.brisbaneeisteddfod.org.au

56th ENOGGERA & DISTRICT Jan Lightbody, (07 3351 1380) [email protected] EISTEDDFOD

Naomi Middlebrook (0408 981 393) [email protected] 34th GOLD COAST EISTEDDFOD www.goldcoasteisteddfod.com.au

70th IPSWICH JUNIOR Mrs Claire Barnett (07 3201 8570) [email protected]

EISTEDDFORD www.eisteddfodipswich.googlepages.com

Rosie Tucker/Claire Price/Kay Robinson Ph. Kay 07 55905723 83rd MURWILLUMBAH FESTIVAL M 0419 655900 OF PERFORMING ARTS www.murbahfestival.com.au

15th REDLANDS EISTEDDFOD Duchesne Barry (0407 034978) www.redlandseisteddfod.com.au

89th SILKSTONE EISTEDDFOD Chris Lloyd and Di Johnston [email protected]

47th SUNSHINE COAST Robyn Ernst (07 5445 8768) [email protected]

JUNIOR EISTEDDFOD www.scje.org.au

Allana Noyes (0468 644687) [email protected] 70th TOOWOOMBA EISTEDDFOD [email protected]

44th WYNNUM MANLY Margaret Redfern (3396 6960) www.wynnummanly.com.au

EISTEDDFOD [email protected]

The Quarterly Voice 29 2015 Examination Contacts

Australian College of Music CONTACT DETAILS The contact point is the Speech & Drama Co-ordinator, ROSLYN McIVOR (07) 4635 1188; [email protected] OR The Secretary, Australian College of Music, PAM SWEEDMAN 0408 345 376; [email protected]) Postal Address: P.O. Box 6471, FAIRFIELD GARDENS Qld 4103

Australian Speech Communication Association CONTACT DETAILS P.O. Box 4570 NORTH ROCKS NSW 2151 Phone: (02) 9871-1847 BRISBANE CONTACT for ASCA Genevieve England, P.O. Box 1254, TOOMBUL Qld 4012 Phone: (07) 3857 5984 email [email protected] Please note that all three syllabuses have now been recognised by the Queensland Studies Authority.

Australian Music Examinations Board CONTACT DETAILS Street Address: 9 Nathan Avenue, ASHGROVE Qld 4060 Postal Address: P.O. Box 21, ASHGROVE Qld 4060 Phone (07) 3514-4333 Fax (07) 3514 4300 Syllabus Enquiries: Pam Bryett (Administration Officer) on (07) 3514 4310 e-mail: [email protected] website: www.ameb.qld.edu.au

Trinity College London CONTACT DETAILS Mr Kevin Gallagher (Brisbane/Ipswich/Sunshine Coast/ Toowoomba Area Representative) PO Box 2230 Wellington Point Qld 4160 Phone (07) 34882604 Mobile: 0403 233 268 e-mail: [email protected]

Australian Guild of Music Education Inc The Australian Guild’s new Speech Syllabus package is effective 1 January 2014. Download the syllabi as PDF files from the Guild’s website using this link: * http://www.guildmusic.edu.au/Pages/AGMS%20Pages/AGMS-Sales.html For hard copies: Australian Guild of Music Education Inc 451 Glenferrie Road KOOYONG VIC 3144 AUSTRALIA Phone/fax: +613 9822-3111 Email: [email protected] Web: www.guildmusic.edu.au Contact: Jan Skinner, Speech Convenor Phone: 02 6021-4088 Email: [email protected]

30 The Quarterly Voice

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WRITE AN ARTICLE FOR THE QV! We welcome a broad range of original items on teaching techniques, language development, theatre, poetry, voice health and development and book reviews, along with news about our members and their students!

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La triviata answers

1. Blinky Bill was written and illustrated by Dorothy Wall and first published in 1933. 2. Toni Collette, Barry Humphries, Ryan Kwanten, Deborah Mailman, Barry Otto, Richard Roxburgh, and David Wenham . There may be others. 3. The books have never gone out of print. 4. Yoram Gross created the first animated film of Blinky Bill, and he died days after the movie was released. 5. Yoram Gross was awarded the Order of Australia in 1995 for his film making achievements and contribution to the Australian film industry. His films included Dot and the Kangaroo and The Woodlies (2012). 6. Channel 7 will be airing a Blinky Bill TV series in 2016.

Sources: The Guardian, Matthew Toomey

The Quarterly Voice 31

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