www.dramansw.org.au Creative Learning The Sydney Opera House offers a year-round program of experiences for students and teachers.

With live performances, free live- streamed digital programs and teacher professional learning, there’s an experience for every classroom in 2017.

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Sydney Opera House sydneyoperahouse.com/CreativeLearning Principal Partner 02 9250 7770 ABOUT THE CONFERENCE

The 2017 State Conference theme 4Cing the Future frames an important question: ‘How do we foresee the future of Drama education engaging with the 4C’s (Communication, Collaboration, Critical Thinking and Creativity)’. This conference will investigate how, through innovative teaching practice, we as Drama educators can lead the way forward and awaken the essential skills of the 21st century learner. This two-day conference is a terrific opportunity for educators across all sectors of the Drama community to collaborate with each other and share innovative teaching and learning practices. The program is a rich and diverse one, featuring many exciting national and international practitioners. Accordingly, we welcome keynote presentations from John PRESIDENT’S Nicholas Saunders (President of Drama Australia) and Robyn Ewing (The University of Sydney), Kip Williams (Artistic Director, Sydney Theatre MESSAGE Company), and Tamara Smith (Newington College). Conference highlights also include special presentations from Miranda On behalf of Drama New South Jefferson, and Jamie Gerlach, as they dissect the 4C’s with a pedagogical Wales, I warmly invite you to attend framework. Costa Loucopoulos and Danielle Cavangah will also provide us our 2017 State Conference, 4Cing with an update from ACARA of where The Arts is positioned in the national the Future. We are excited to explore curriculum and the implications for teachers and schools. the question: How does the Drama community respond to the 4Cs of Furthermore, there is much opportunity to connect with other drama communication, collaboration, critical teachers and practitioners at our social offerings: thinking and creativity? How might we FRIDAY 5TH MAY use these to best inform our praxis? 5:00pm – late: MEET AND GREET We, as Drama educators, can lead the way forward and awaken the SATURDAY 6th MAY essential skills of the 21st century learner. So let’s now come together 4:15pm – late: FAREWELL DRINKS to imagine how, through innovative We would like to acknowledge and thank the entire Drama NSW Committee, teaching practice, we may facilitate and Sub-Committee (Natasha Beaumont, Nadia Emery, Julian Kennard, this progression. Ebony Keys, Tahnae Luke, Ellen Osbourne, Anna-lea Russo, John Nicholas I warmly invite you and your Saunders, Victoria Stephenson, and Kelly Young), as well as, Julian colleagues to attend this special Kennard, for their professionalism, guidance and support in ensuring that event. I look forward to seeing you at this conference is of the highest calibre. The King’s School in May 2017! Drama NSW also thank Dr Donna Jackson for generously contributing KELLY YOUNG her provocative and compelling book on her Verbatim Theatre research President project, ‘Art and Social Change Dust: A Case Study’, which is a terrific Drama New South Wales resource for all drama teachers across NSW and is sponsored by the Australia Council For The Arts. With the current educational landscape, it is important for us as drama educators to reflect on our teaching practices, and implement strategies that cater for 21st Century learners. By dissecting and shining a spotlight on the 4C’s, we will become further grounded in our own pedagogical practice. We welcome each and every delegate to the 2017 Drama State Conference!

TAMARA SWEETMAN BRENDAN LAURENCE Vice President: Professional Learning Conference Co-Convener Conference Co-Convener

DRAMA NSW STATE CONFERENCE 2017 PAGE 3 FRIDAY 5 May 2017 – CONFERENCE DAY 1 REGISTRATION 8:30 – 9:15am SESSION 1 SESSION WELCOME 9:15 – Kelly Young (President, Drama NSW) 10:30am Dr Timothy Hawkes (Principal, The King’s School) KEYNOTES

4Cing the future of education in Australia and the imperative of an arts-led curriculum by Robyn Ewing (Professor of Teacher Education and the Arts, Sydney School of Education and Social Work, University of Sydney) and John Nicholas Saunders (Education Manager, Sydney Theatre Company) Discovering the poetic gesture in space by Kip Williams (Artistic Director, Sydney Theatre Company) Program @ a glance MORNING TEA 10:30 – 11:00am SESSION 2 SESSION KEYNOTE MASTERCLASS 11:00 – 12:30am “It’s the pedagogy, stupid” by Miranda Jefferson (Catholic Education Office Parramatta Diocese, 4C Transformative Learning) and Jamie Gerlach (James Ruse Agricultural High School) KEYNOTE 4Cing the future of drama – the 3D Curriculum. Unpacking the Australian Curriculum: The Arts and its 21st century demands. How drama content, Cross Curriculum Priorities and General Capabilities inform the praxis of teachers nationally. by Costa Loucopoulos (Curriculum Specialist, The Arts) and Danielle Cavanagh (Curriculum Specialist, General Capabilities). Costa and Danielle are in the Curriculum Team of the Australian Curriculum, Assessment and Reporting Authority (ACARA) LUNCH 12:30 – 1:15pm SESSION 3 SESSION 1:15 – 3A 3B 3C 3D 3E 2:45pm It’s all about Stage 5 How to get a truthful Multi-discipline theatre – A dramatic pause: Devising with the body Jane Simmons performance from your Théâtre de Complicité Silence and mindfulness in the Danielle McKinnon (Student Drama Officer, students Lisa Montgomery 21st century drama classroom (Swoop Physical Theatre) The Arts Unit) Chantel Munro (Roseville College) Amy Gill (The Cranbrook School) Penny Chilton (Mercy Catholic College) (Ravenswood School for Girls)

Suitability: Stage 4 and 5 Suitability: Stage 6 (HSC) Suitability: Stage 6 (HSC) Suitability: Stage 4, 5 and 6 (HSC) Suitability: Stage 1 to Stage 4 AFTERNOON TEA 2:45 – 3:15pm SESSION 4 SESSION 3:15 – 4A 4B 4C 4D 4E 4:45pm ‘Theatre beyond sight’: Ensemble stage presence: Walking into the future Wakakirri – production, Drama and literacy in the Using the techniques of Audio The X factor of group backwards research, plan and development primary years – school drama Description to creatively performance Christine Hatton Warren Flanagan Robyn Ewing (University of Sydney) enhance your drama Nicole Ellis-Windsor (University of Newcastle) (Northmead Creative and John Nicholas Saunders (Sydney teaching (and your student’s (Santa Sabina College) Performing Arts High School) Theatre Company) experimental drama writing) This workshop also runs in Jo George (Knox Grammar School) Session 7 on Day 2. Suitability: Stage 5 and 6 (HSC) Suitability: Stage 6 (HSC) Suitability: Stage 5 and 6 (HSC) Suitability: Stage 4 and 5 Suitability: Stage 1 to Stage 4 CANAPÉS AND DRINKS AT THE KING’S SCHOOL 5:00pm – late SPECIAL WORKSHOP RUNING ACROSS BOTH CONFERENCE DAYS: Using ‘Rolling Role’ in Your Classroom – presented by Gerard Boland

PAGE 4 SATURDAY 6 May 2017 – CONFERENCE DAY 2 REGISTRATION 9:00 – 9:30am SESSION 5 SESSION KEYNOTE 9:30 – 10:15am A Boy Named Michael by Tamara Smith (Head of Drama, Newington College) DRAMA NSW AWARDS

MORNING TEA 10:15 – 10:45am Program @ a glance SESSION 6 SESSION 10:45am – 6A 6B 6C 6D 6E 12:15pm Multi-discipline theatre – From page to stage and back Viewpoints: physical training Commedia is actors at play Making school productions Robert Lepage again; unravelling the mystery for young actors Tony Kishawi easier Matthew Clausen and Gillian of the HSC written paper Shane Anthony and Tina Mitchell (Commedia Unmasked) Laura Cooney Cooper (Loreto Kirribilli) Therese Bean (Rosebank College) (Sydney Physical Actor Training) (Stage Show, No Drama) Suitability: Stage 6 (HSC) Suitability: Stage 6 (HSC) Suitability: Stage 6 (HSC) Suitability: Stage 4 and 5 Suitability: Stage 1 to Stage 5 LUNCH 12:15 – 1:00pm SESSION 7 SESSION 1:00 – 7A 7B 7C 7D 7E 2:30pm Treehouse Theatre Ensemble stage presence: Character development Improvisation and sidecoaching Fabulize and storify presentation: Stories through The X factor of group through movement: Lyn Pierse Saskia Ilott the eyes of refugee children performance Humanising observations (Improcorp Australia) (Monkey Baa Theatre Company) Catherine Maguire-Donvito Nicole Ellis-Windsor Chris Montgomery (Treehouse Theatre and Evans (Santa Sabina College) (Model Farms High School) High School) Ruth Hartcher-O’Brien (Treehouse Theatre and Miller High School) Suitability: Stage 4, 5 and 6 (HSC) Suitability: Stage 6 (HSC) Suitability: Stage 4, 5 and 6 (HSC) Suitability: Stage 4 and 5 Suitability: Stage 1 to Stage 4 AFTERNOON TEA 2:30 – 2:45pm SESSION 8 SESSION 2:45 – 8A 8B 8C 8D 8E 4:15pm “It is more than just a red Gender issues in the drama Subtext, complexity and DramaWise reimagined: Drama Fun, physical, future learning frock!”– How set and costume classroom dimension: Deconstruction education for the 21st century Kurt Duval design tools encourage a Paula Orbea of the rubric for HSC IP Professor John O’Toole (Green Man Productions) deeper analysis of HSC IP (Georges River Grammar) monologues (Griffith University) performance texts. Nadia Emery Imogen Ross (Northmead Creative and (The Production Meeting) Performing Arts High School) Suitability: Stage 6 (HSC) Suitability: Stage 6 (HSC) Suitability: Stage 6 (HSC) Suitability: Stage 3, 4 and 5 Suitability: Stage 1 to Stage 4 CANAPÉS AND DRINKS AT THE KING’S SCHOOL, FAREWELL DRINKS 4:15pm – late

SPECIAL WORKSHOP RUNING ACROSS BOTH CONFERENCE DAYS: Using ‘Rolling Role’ in Your Classroom – presented by Gerard Boland

PAGE 5 FRIDAY 5 MAY 2017 – CONFERENCE DAY 1 KEYNOTES: SESSION 1 4Cing the future of education in Australia and the imperative of an arts-led curriculum Presented by Robyn Ewing AM and John Nicholas Saunders The place of The Arts and Drama in schools and more ROBYN EWING AM (B.Ed Hons, PhD) is a former primary teacher broadly in the community is almost continuously under and currently Professor of Teacher Education and the Arts, Sydney School of Education and Social Work, University of Sydney. She threat. While Australian and international research lectures in Curriculum, English, Literacy and Drama across preservice continues to demonstrate the critical role of the Arts for and postgraduate teacher education programs. She is passionate our humanity and very being as well as their potential about the role that the Arts can play in transforming learning and role in transforming learning and improving students’ has a commitment to creative teaching and learning at all levels of education. In the areas of English, literacy and the arts, Robyn’s engagement, empathy and learning outcomes, The Arts research and writing has particularly focused on the use of educational continue to fight for their rightful place in the lives and or process drama with literature to develop students’ imaginations and education of all young Australians. Today we see a push critical literacies. She has worked in partnership with Sydney Theatre for STEM (Science, Technology, Engineering and Math) Company on the School Drama program since 2009. Her writing and research has also explored arts informed research methodologies, subjects rather than a more inclusive and innovative STEAM mentoring and the experiences of early career teachers, curriculum (A is for Arts) movement, we see a federal government’s storylines and inquiry and case based learning. She has worked innovation agenda that doesn’t mention The Arts once; we as an academic mentor with teachers at a range of Sydney primary see cuts to the Australia Council for the Arts and criticism and secondary schools with the major focus on transforming the curriculum using the Arts as critical, quality pedagogy. Robyn is an of Australian teachers due to an emphasis on Australia’s Honorary Associate at STC, a Council Member of the Australian Film, ranking in international benchmarks such as PISA. Why? Television and Radio School (AFTRS), a Board member of WestWords and an honorary scholar at Barking Gecko Theatre. Around the turn of the new millennia, a movement started focusing on ‘21st century skills’. An American organisation, JOHN NICHOLAS SAUNDERS is a former secondary school teacher and the current Education Manager at Sydney Theatre Company. He the National Education Association (NEA) developed a list holds a Bachelor of Creative Industries (Drama), Bachelor of Education of 18 different skills now consolidated to ‘the 4 C’s’: critical (Secondary), Masters of Research and is currently studying for a PhD. thinking, communication, collaboration and creativity, or the John’s classroom work together with his research has focused on 4 C’s. These 4 skills are embedded in quality arts processes Drama as pedagogy and its benefits for student literacy, engagement, motivation and empathy. John has extensive experience in Arts and experiences and especially in Drama. Education and has held positions as a senior curriculum writer, head Our keynote will explore these issues and examine how we of department; Board member of Playlab Press, Associate Academic at Australian Catholic University, President of Drama NSW and Drama can better advocate for Drama using the 4C’s framework in QLD, and guest lecturer at the University of Sydney. He currently an Arts-led curriculum. holds positions as: President, Drama Australia; Chair, Australian Major Performing Arts Group (AMPAG) Education Network; and Drama representative, National Advocates for Arts Education. In 2014 he was awarded the Council for the Humanities, Arts and Social Science (CHASS) prize for future leader in the field and in 2016 he published ‘The School Drama Book: Drama, Literature & Literacy In The Creative Classroom’ with is colleague, Professor Robyn Ewing. Discovering the poetic gesture in space Presented by Kip Williams If we are to articulate what makes theatre distinct from other KIP WILLIAMS is Artistic Director of Sydney Theatre Company. He narrative art forms, it is that the theatre expresses itself has directed Midsummer Night’s Dream by William Shakespeare, All My Sons by Arthur Miller, The Golden Age by Louis Nowra, Love and through and in space. Unlike cinema – whose expression is Information by Caryl Churchill (nomination for Helpmann Award for made manifest by the two dimensional image on a screen – Best Direction of a Play), Suddenly Last Summer by Tennessee Williams and literature – whose expression is made manifest in (winner of the Helpmann Award for Best Direction of a Play), Children the imagination – theatre takes place in a spatial realm. It of the Sun by Maxim Gorky, Macbeth and Romeo and Juliet by William Shakespeare and Under Milk Wood by Dylan Thomas. He was Associate incorporates actors, text, lights, music, scenery and more to Director on Cyrano de Bergerac with Andrew Upton, and Tour Director create a three dimensional imaginary world that is inhabited on The Secret River with Neil Armfield. Kip is currently in rehearsals for spatially by both performer and audience member. The Chimerica by Lucy Kirkwood (opening 4th March 2017) For Sydney language of theatre is space. Chamber Opera, Kip has directed Index of Metals, The Lighthouse and the double bill Ich Habe Genug and Nunc Dimittis. For Melbourne So how does a young theatre maker learn to embrace the Theatre Company he has directed Miss Julie. For Malthouse Helium and defining feature of this art form? US-A-UM he directed an all-female production of Lord of the Flies, for Tamarama Rock Surfers he directed Fallout, and for the Sydney Writers’ Kip Williams (Artistic Director of Sydney Theatre Company) Festival he directed 1001 Nights. For the 18th Biennale of Sydney, he directed Through the Gates (also for Sydney Chamber Opera). For draws on his own experiences in working in professional Princeton Theatre, New Jersey, he directed Fifth of July, for National theatre to unpack how to crack the language of theatre. Theatre, Melbourne, he directed One For the Road, and for NIDA he directed productions of Cloud 9, Lord of the Flies and Samuel Beckett’s Not I. Kip directed the short films B, Bee & Mee and Walk, as well as music videos for Guineafowl, including ‘Little Fingers’ and ‘Botanist’, which was listed in ABC’s RAGE 50 list of the top music videos for 2009. Kip Williams completed a Master of Dramatic Art in Directing at NIDA, and a Bachelor of Arts (Media & Communication), University of Sydney.

DRAMA NSW STATE CONFERENCE 2017 PAGE 6 FRIDAY 5 MAY 2017 – CONFERENCE DAY 1 KEYNOTE MASTERCLASS & KEYNOTE: SESSION 2 KEYNOTE MASTERCLASS – “It’s the pedagogy, stupid” Presented by Dr Miranda Jefferson and Jamie Gerlach This workshop explores the fundamentals of drama DR MIRANDA JEFFERSON is co-founder and innovative practice education as an exemplar pedagogy across the curriculum. leader of 4C Transformative Learning and has been involved in leading innovation in schools for over 20 years. She leads programs, initiatives It will examine the core components of effective pedagogy and research in curriculum reform, educational change and school (the 4Cs) and explore how these might be developed into transformation in several schools. Miranda has taught curriculum a comprehensive learning plan for primary and secondary learning and teacher professional practice in the Education Faculty schools. This active workshop will provoke drama teachers at the University of Sydney and been on the Arts Curriculum advisory board for ACARA. Miranda is a Teaching Educator with the Catholic to consider how their teaching practices can inspire and Education Office Parramatta Diocese. extend what is possible at a school level. JAMIE GERLACH splits his time between teaching Drama and new subject, Multi-Disciplinary Communication at James Ruse Agricultural High School, whilst working within the Catholic Education Office’s Captivate team, exploring challenging pedagogies with primary teachers. He came to teaching the long way after working in the creative arts industries in film, performance and visual arts. From these experiences he has developed a belief in the power of playful experimentation, critical reflection and the importance of process and creative collaboration, which drives his teaching and learning philosophy. Jamie also serves on the Australian Teachers of Media (ATOM).

4Cing the future of drama – the 3D Curriculum Unpacking the Australian Curriculum: The Arts and its 21st century demands. How drama content, Cross Curriculum Priorities and General Capabilities inform the praxis of teachers nationally. Presented by Costa Loucopoulos and Danielle Cavanagh

For over two decades Australia has been moving towards COSTA LOUCOPOULOS is the Curriculum Specialist, The Arts in a national approach to schooling, including a national the Curriculum Team of the Australian Curriculum, Assessment and Reporting Authority (ACARA). He has been a drama teacher in NSW curriculum. After all this time, and through collaborative for over twenty five years, including lecturing and co-ordinating pre efforts led by the Australian Curriculum, Assessment and service teacher courses for the Universities of NSW, Sydney and Reporting Authority (ACARA) and involving all Australian Western Sydney. His work at ACARA for the last two years has been states and territories, the first truly Australian Curriculum to support the implementation of the Arts Curriculum and the delivery of the Work Samples Project for Dance, Drama, Media Arts, Music and is now available for use in Australian schools. It is a ‘three Visual Arts to assist teachers to standardise their marking. dimensional’ curriculum that includes the Cross Curriculum Priorities and the General Capabilities along with learning DANIELLE CAVANAGH is the Curriculum Specialist General Capabilities. Danielle has taught at all levels of primary school in the Northern area content. This is an opportunity to get to know it well Territory and throughout her career has held a variety of roles including and ask the questions about the everything that you need Curriculum Leader, Upper Primary Coordinator and Deputy Principal. to know. She worked as an Education Officer for the Catholic Education Office NT supporting primary schools in remote, rural and urban locations with the implementation of the Australian Curriculum.

DRAMA NSW STATE CONFERENCE 2017 PAGE 7 SATURDAY 6 MAY 2017 – CONFERENCE DAY 2 KEYNOTE: SESSION 5 A Boy Named Michael Presented by Tamara Smith

Every day in our Drama classrooms we encounter students and their ideas. Through working with Lachlan, the voices who see the world in exciting ways; teenagers who have of the young men involved (an organic mixture of Drama thoughtful, insightful and fervent opinions on things that students and those new to Drama) were heard, recognised matter to them and the world around them. So just imagine and valued. The process of collaborating and creating the what happens when you get a group of honest, passionate final piece was just as important as the final product and in young men in a room with one of Australia’s most notable this keynote, Tamara will unpack the process of working with playwrights and a blank slate to create a brand-new play that her students and one of Australia’s most notable playwrights puts their voices centre stage. In 2014, Newington College to create the new play, Michael Swordfish. began a collaboration with Lachlan Philpott, commissioning him to be involved in a series of workshops and ultimately TAMARA SMITH is the Head of Drama at Newington College where she enjoys working with students at both the primary and secondary to write a play to open the College’s new Drama facility. campuses. She has a BA from Macquarie University, a Masters of When the project was in its infancy, there was a lot of Teaching from WSU and is currently completing a Masters of Applied negative talk in the media about young men and the public Theatre Studies through UNE. She is passionate about developing discourse around adolescent males was, and unfortunately empathy and creativity in young men and empowering her students through involvement in classroom Drama and also through a variety still is, largely pessimistic. With over 50 students, Lachlan of rich co-curricular programs including productions, ensembles, and Head of Drama, Tamara Smith, embarked on a series overseas tours and special projects. She has been both a committee of workshops, loosely titled “The Masculinity Project”, in member and Drama convener for the AIS, is an experienced HSC an effort to unearth characters, situations and issues that marker and feels privileged to be a member of such a wonderful, vibrant community of Drama teachers. Tamara coordinated the were important to the boys and that would represent their development of and directed the premiere of Michael Swordfish by voices on stage. During the workshops, it became clear that Lachlan Philpott in 2016. the young men involved were eager to buck and challenge the stereotypes associated with being a man. They were articulate and willing in their discussions about their worlds

SPECIAL WORKSHOP SMALL GROUP / INDIVIDUAL / PLANNING CONSULTATION (This special workshop will run across both conference days) Using ‘Rolling Role’ in Your Classroom Presented by Gerard Boland This consultation offers the opportunity for individuals or small groups to meet to discuss – and plan – how one might utilise ‘Rolling Role’ over a period of weeks – either within one’s own classroom or in collaboration with colleagues. Please come ready to discuss the topic/focus of your teaching objectives and the proposed learning outcomes. With the agreement of the person(s) who have signed-up for a planning consultation, observers are also very welcome to listen to our discussions about how ‘Rolling Role’ works as well as audit specific planning discussions about how ‘Rolling Role’ might be utilised for different curriculum topics. ‘Rolling Role’ is a highly dynamic version of ‘Mantle of the Expert’ drama pioneered by Dorothy Heathcote. The key concept that ‘rolling role’ drama activates is that work accomplished by one class can be ‘rolled’ into other classes as secondary role content. That content is then available to be examined and further developed by students who are differently framed as experts of one sort or another. Strategies for applying multiple forms and styles of framing and reframing diverse role conventions will be explored in dialogue together. Suitable for individuals and/or mixed groups of primary and secondary participants.

GERARD BOLAND, PhD (Newcastle, Australia) is Senior Lecturer in Theatre/Media in the School of Communication & Creative Industries, Charles Sturt University – Bathurst see: https://www.facebook.com/TheatreMedia-School-of-Communication-CSU-72015808428. Jerry has worked as an educator, performer, and director in a variety of Australian and overseas contexts, including primary, secondary, and tertiary settings, conferences and festival events. He studied physical comedy with Carlo Mazzone-Clementi at the Dell’Arte International School of Physical Theatre in Blue Lake, California (1980–1982), wood sculpting, leather mask fabrication and commedia dell’arte performance with Antonio Fava in Reggio-Emilia, Italy (2012), and drama in education with Dorothy Heathcote at the University of Newcastle-Upon-Tyne (1982–1983).

DRAMA NSW STATE CONFERENCE 2017 PAGE 8 FRIDAY 5 MAY 2017 – CONFERENCE DAY 1 SESSION 3 It’s all about Stage 5 3A Presented by Jane Simmons Suitability: Stage 4 and 5 This workshop will explore practically and theoretically how JANE SIMMONS is an experienced teacher, director, marker, theatre to scaffold Stage 5 programs, log books, analysis, skills reviewer as well as administrator of Drama Peeps. Jane was previously the Head of Drama at St Andrew’s Cathedral School and is currently and assessments to prepare students for Stage 6. In order the Drama Performance Officer at the NSW Department of Education’s to build for their future we need to get back to the core ‘The Arts Unit’. In that role she produces OnStage, State Drama Festival, business of how to teach Stage 5 creatively and effectively. State Drama Camp, the NSW Public Schools Ensemble program and teacher professional development courses in both primary and secondary education.

How to get a truthful performance from your students 3B Presented by Chantel Munro Suitability: Stage 6 (HSC) Have you ever wondered how to get a truthful performance CHANTEL MUNRO from your students? Whether it be in-class tasks, or directing In an attempt to escape the self-absorbed world of acting, Chantel has been lucky enough to teach Drama and English at both the Scots the school production, many teachers find it hard to know College and The Cranbrook School for the past 12 years. Her training if they’re getting it right when looking at the techniques of and many years of performances in a variety of acting styles including Stanislavski, Sanford Meisner, Stella Adler or David Mamet. Physical Theatre, Butoh and Method Acting have given her useful Through this highly practical workshop, teachers put platforms through which she can engage her student’s passion for Drama. She enjoys watching students “living truthfully under given themselves in the student’s shoes, experiencing a series of imaginary circumstances” as was the motto throughout her two years’ exercises and side-coaching which will give them the critical study in the Meisner Technique at The Neighborhood Playhouse in thinking skills to allow students to use these techniques New York City. Chantel has acted and directed for various theatre effectively. They try the basic “repetition” exercise, look at companies in the USA, Australia and France. script break downs and unpack just what intentions are and how they can be used most dynamically. They also explore the power of impediments and secrets to produce more nuanced performance. The skills in this workshop suit senior students, however, they could be adapted for the 7-9s as well.

Multi-discipline theatre – Théâtre de Complicité 3C Presented by Lisa Montgomery and Penny Chilton Suitability: Stage 6 (HSC) This is a practical workshop aimed at providing teachers with LISA MONTGOMERY has been following the work of Simon McBurney experiential strategies to support students’ development and Complicité for over twenty years as a part of her undergraduate studies in theatre. This has influenced her own theatre practice of creative and innovative devising techniques. Most culminating in the co-creation of a student-devised work in the style of particularly related to topic 7 Multi-Discipline theatre for the Complicité. Most recently she has collaboratively written and taught the HSC course, with our focus on Simone McBurney and Theatre unit of work for the New South Wales Higher School Certificate (HSC) de Complicite. We will draw on recent experiences creating, topic, Multi-Discipline Theatre. Lisa has presented previously at Drama NSW Conference and Game Changer, the National Drama Conference. programing and delivering units on multidisciplinary theatre, Collaboratively working with students to develop theatre in this style working through practical workshops and application in has been the focus of her recent work as a Director and Educator. the classroom context. Participants need to be prepared PENNY CHILTON first encountered the work of Complicité asan to engage in a range of movement exercises in this highly audience member, and that experience has been impacting her theatre practical workshop, and so should wear comfortable practice as teacher, director and performer, with a particular focus on clothing. acting and singing. Working as a teacher and director in both Australia and the Solomon Islands has allowed her to explore this further, particularly in the development of a performance influenced by the style of Complicité with young people from the Solomon Islands for the 2012 Festival of Pacific Arts. Most recently she has collaboratively written and taught the unit of work for the New South Wales Higher School Certificate (HSC) topic, Multi-Discipline Theatre.

DRAMA NSW STATE CONFERENCE 2017 PAGE 9 FRIDAY 5 MAY 2017 – CONFERENCE DAY 1

SESSION 3 (continued) A dramatic pause: Silence and mindfulness in the 21st century drama classroom 3D Presented by Amy Gill Suitability: Stage 4, 5 and 6 (HSC) The introduction of silence and mindfulness within the AMY GILL has been teaching Drama for 17 years and currently works classroom are profoundly transformative and troublesome at Mercy Catholic College, Chatswood. She has completed her studies at the University of Newcastle achieving a Bachelor of Arts / Bachelor in the current climate. Research indicates that ‘noise, speed of Teaching (Honours), a Masters in Special Education specialising and unceasing interaction’ within modern culture has in behaviour and is currently studying a Masters in Theology. She is resulted in a loss of silence. This masterclass will equip you also a qualified VET Entertainment teacher. Amy is the founder of with a range of strategies to nurture silence and mindfulness The Joy‑Fueled Teacher where she aims to share the joy and passion she has for teaching with others. in your Drama classroom. Taking a ‘dramatic pause’, ‘going solo’ or using protocols provide students with opportunities to refresh their creative energies or engage in deep thinking. Through these strategies students may also demonstrate increased connectedness, joy, calm, wholeness, sense of self, wonder, defined purpose, confidence, creativity and attention. This masterclass will benefit both beginning and experienced secondary Drama teachers. A mix of practical activities, research and student demonstrations will show that ‘slow, meditative thinking’ compliments ‘fast, linear thinking’ and cultivates wisdom, for it is in these moments of silence that students are truly transformed.

Devising with the body 3E Presented by Danielle (Missy) McKinnon Suitability: Stage 1 to Stage 4 A practical workshop providing safe, accessible ways to DANIELLE (MISSY) MCKINNON is a physical theatre practitioner with help students create with the body. Hands on experience over 15 years’ experience in circus based performance and devising. Drawing on the work of multiple practitioners in various disciplines, in approaches to physical characterisation, devising and Danielle combines her experience as a drama teacher and circus collaborative creation, including the fifth C, Circus!! Physical instructor to help students create unique and visually exciting physical Theatre is rapidly gaining appreciation as an inclusive and performances. Danielle runs Swoop Physical Theatre – find out more highly attractive mode of training, creation and performance. here: www.swoop.net.au Participants should wear comfortable clothing to move in and bring water. Suitable for all teachers but particularly useful for upper secondary.

SESSION 4 ‘Theatre beyond sight’: Using the techniques of Audio Description to creatively 4A enhance your drama teaching (and your student’s experimental drama writing) Presented by Jo George Suitability: Stage 5 and 6 (HSC) Vision Australia runs Tactile Tours and an Audio Description JO GEORGE is currently teaching at Knox Grammar School and has service for its Blind and Vision Impaired clients to make ‘the 18 years of experience as an Assistant Head of Creative Arts, Head of Department, Drama teacher and Senior HSC marker. For the mise-en-scène’ accessible for productions at the Sydney past six years she has also worked as an Audio Describer for Vision Opera House, Belvoir, Sydney Theatre Company and other Australia, helping to make theatre accessible for the Blind and Vision professional theatre companies around Australia. In this Impaired, preparing pre-show notes, leading tactile tours and live collaborative and creative workshop you will be ‘guided’ by describing for Belvoir, the Sydney Theatre Company, Opera Australia, the Ensemble, the Sydney Festival and the Sydney Opera House and an Audio Describer/Drama Teacher about how to teach your others. A recipient of the NGS Super ‘Dedicated to the Dedicated’ students in Stages 5 and 6 to vividly and succinctly write Teacher’s Scholarship, later in 2017 Jo will study Audio Description about props, costumes, scenery and their own experiential internationally in London (with Accessibility residencies at The Globe classroom learning using some of these easy to implement and The National Theatre) and in New York and Washington (at various theatres, galleries and museums including the John F. Kennedy practical and theory techniques. A hardcopy takeaway Center). Jo is a board member of Drama NSW and is on the teaching resource pack, including exemplar HSC paragraphs and advisory panels for the Riverside Theatres and the Sydney Theatre essays, will be provided. (Please note: participants will be Company. She is currently working with the City of Sydney to have blindfolded at times for some workshop activities). their ‘Cultural Walks’, Audio Described, currently drafting descriptions of significant buildings, fountains, sculptures and artworks. She is a passionate believer that theatre (and culture) is for everyone.

DRAMA NSW STATE CONFERENCE 2017 PAGE 10 FRIDAY 5 MAY 2017 – CONFERENCE DAY 1

SESSION 4 (continued) Ensemble stage presence: The X factor of group performance 4B Presented by Nicole Ellis-Windsor Suitability: Stage 6 (HSC This practical workshop will focus on the collaborative This workshop also runs in Session 7 on Day 2. playbuilding of the HSC Group Performance and strategies that promote ensemble stage presence as an X Factor in NICOLE ELLIS-WINDSOR has worked in education for over 25 years, recently completing a MA in Applied Theatre Studies from UNE. Her achieving performance excellence. The essential qualities of thesis research focused on developing ensemble stage presence in ensemble performance and stage presence are critical to the adolescent actors. She is also a NIDA Graduate in Directing, has a Grad Group Performance but can be difficult to develop or teach. Dip in Arts Management and holds a Bachelor of Education in Visual Participants will be equipped with exercises that will inform their Arts. Nicole is currently the Head of Drama and Visual Arts at Santa Sabina College. Nicole aims to inspire a passion for and excellence in, teaching practice that can be directly applied in the classroom. the creative and performing arts by working in a positive education Exercises in shared training, collaborative practice, developing framework where limitations are shifted and strengths are developed self-concept and stage presence techniques were developed through theory and practice to cultivate the individual’s potential. from the practice-led research based predominately on the theories of such practitioners as Stanislavski, Chekhov, Ellis and Harper, Goodall and Mitchell. It was a significant study on how to develop the young actors’ perspectives and paradigms of acting. Explore a theoretical and practical approach to develop GP Ensemble Stage Presence and help your students have the ‘X Factor’ when performing live.

Walking into the future backwards 4C Presented by Dr Christine Hatton Suitability: Stage 5 and 6 (HSC) This is a performance of an ethnodramatic research study DR CHRISTINE HATTON is a lecturer in the School of Education at the focussing on the practice and artistry of expert HSC drama University of Newcastle, Australia, where she researches and teaches in the field of drama and creative arts education. Her research explores the teachers. It presents research and verbatim data per workings of gender and identity in the drama classroom, drama teacher formatively to examine the delicate work of experienced artistry and expertise, artists in residence programs and the uses of teachers as they lead senior students over the threshold digital technologies in drama. She is a chief investigator, with Mary of the HSC group performance. The play considers the Mooney, in the Fresh AiR Initiative Research Study (2014 – 2016) funded by Arts NSW, examining the impacts of sustained artists-in-schools aesthetic, relational and educational labour of drama residencies. With Sarah Lovesy, she published the book for teachers educators in challenging times. entitled – Young at Art: Classroom Playbuilding in Practice (2009).

Wakakirri – production, research, plan and development 4D Presented by Warren Flanagan Suitability: Stage 4 and 5 Wakakirri is the Ultimate Performing Arts endeavour WARREN FLANAGAN has been teaching English and Drama at for Primary and Secondary schools proven to develop Northmead Creative & Performing Arts High School for seven years. He has managed and coordinated extra-curricular events such as the Rock student’s creative thinking, school and self-pride, teamwork, Eisteddfod, Talent Storm and the Wakakirri and has achieved success self‑worth and life skills. Ultimately, the aim is to develop in all three events receiving awards for First Place, State Winner and students’ career aspirations via an appreciation of the National Story of The Year. Warren also established Northmead CAPAHS commitment needed to create a successful production. Drama Company in 2010 with only five members and in 2017 the Drama Company has expanded to forty-four members which also includes an This workshop ‘Research, Plan and Creative Development’ all-male ensemble consisting of twenty-two members. He has directed will exhibit the process of production planning, using school productions, showcases and enters his students in drama festivals such as Drama West, Arts Alive, Lights Up and State Drama. Wakakirri as a platform to showcase storytelling through With his experience in theatre design, Warren has been successful in Dance and Drama. Production planning incorporates the creating cost effective productions, working with a minimum budget and fundamentals of design, budget and creativity, finding recyclable products, teaching his students to be creative and innovative innovative ways to produce a cost effective production, with in performance and production. an aim in reducing our carbon footprint by using recyclable products, improving on and promoting sustainable practice.

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SESSION 4 (continued) Drama and literacy in the primary years – school drama 4E Presented by Robyn Ewing and John Nicholas Saunders Suitability: Stage 1 to Stage 4 This practical workshop will share the methodology of School critical literacies. She has worked in partnership with Sydney Theatre DramaTM program, developed by Sydney Theatre Company Company on the School Drama program since 2009. Her writing and research has also explored arts informed research methodologies, and The University of Sydney’s School of Education and mentoring and the experiences of early career teachers, curriculum Social Work. School Drama is a professional development storylines and inquiry and case based learning. She has worked program for primary school teachers, which demonstrates as an academic mentor with teachers at a range of Sydney primary the impact of using drama-based pedagogy combined with and secondary schools with the major focus on transforming the curriculum using the Arts as critical, quality pedagogy. Robyn is an quality children’s literature to teach a range of English and Honorary Associate at STC, a Council Member of the Australian Film, literacy skills including inferential comprehension, confidence Television and Radio School (AFTRS), a Board member of WestWords in oracy, descriptive language and narrative writing. Research and an honorary scholar at Barking Gecko Theatre. into the program has indicated increased student outcomes JOHN NICHOLAS SAUNDERS is a former secondary school teacher in both academic (English and literacy) and non-academic and the current Education Manager at Sydney Theatre Company. He (engagement, motivation, confidence and empathy) areas. holds a Bachelor of Creative Industries (Drama), Bachelor of Education Teachers will leave this fun workshop with a range of practical (Secondary), Masters of Research and is currently studying for a PhD. John’s classroom work together with his research has focused on process drama-based strategies to use when teaching Drama as pedagogy and its benefits for student literacy, engagement, literature in any primary classroom context. motivation and empathy. John has extensive experience in Arts Education and has held positions as a senior curriculum writer, head ROBYN EWING AM (B.Ed Hons, PhD) is a former primary teacher of department; Board member of Playlab Press, Associate Academic and currently Professor of Teacher Education and the Arts, Sydney at Australian Catholic University, President of Drama NSW and Drama School of Education and Social Work, University of Sydney. She QLD, and guest lecturer at the University of Sydney. He currently lectures in Curriculum, English, Literacy and Drama across pre-service holds positions as: President, Drama Australia; Chair, Australian Major and postgraduate teacher education programs. She is passionate Performing Arts Group (AMPAG) Education Network; and Drama about the role that the Arts can play in transforming learning and representative, National Advocates for Arts Education. In 2014 he has a commitment to creative teaching and learning at all levels was awarded the Council for the Humanities, Arts and Social Science of education. In the areas of English, literacy and the arts, Robyn’s (CHASS) prize for future leader in the field and in 2016 he published research and writing has particularly focused on the use of educational ‘The School Drama Book: Drama, Literature & Literacy In The Creative or process drama with literature to develop students’ imaginations and Classroom’ with is colleague, Professor Robyn Ewing.

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DRAMA NSW STATE CONFERENCE 2017 PAGE 12 SATURDAY 6 MAY 2017 – CONFERENCE DAY 2 SESSION 6 Multi-discipline theatre – Robert Lepage 6A Presented by Matthew Clausen and Gillian Cooper Suitability: Stage 6 (HSC) This workshop aims to introduce teachers to the processes MATHEW CLAUSEN has extensive experience teaching Drama to and philosophies of the work of Robert Lepage and his both primary and secondary students in both New South Wales and Victoria and is the Drama Coordinator at Loreto Kirribilli. He has been company Ex Machina. In the session, participants will apply Supervisor of Marking for Drama Projects and the Written Examination devising techniques, improvisations skills and technology and has lectured in Drama Curriculum at ACU. Mathew is the author of to develop short performance moments. the Drama text Centre Stage, now in its third edition, and has written educational materials for various performing arts organisations including the Sydney Opera House and Performing lines. GILLIAN COOPER is a dynamic teacher of Drama and English at Loreto Kirribilli. Prior to teaching, Gillian pursued a career as an actor completing an Advanced Diploma of Stage and Screen Performance at the Australian College of Theatre and Television in 2008. She appeared in some stage productions, none of which were particularly notable. Gillian has experience in pastoral and teaching roles in previous schools, and is in her fifth year of teaching.

From page to stage and back again; unravelling the mystery of the HSC written paper 6B Presented by Therese Bean Suitability: Stage 6 (HSC) Forty percent (40%) of the Drama HSC assessment is THERESE BEAN is celebrating her 21st this year … 21 years of a awarded to the written component… I don’t need to tell you commitment to Drama education in NSW. She has taught in the public system (5 years at Asquith Girls High School), private system that, but how do you guide your students to achieve the (6 years at The Hills Grammar School) and Catholic System (she is elusive 20/20? commencing her 9th year at Rosebank College) and took a brief 2 year break to work at Macquarie University and add a Bachelor Ever wondered … of Media in Visual Production to her BA (Hons) & her Grad Dip Ed How is a Drama essay different to an English essay? (UNE). In 2015 Therese graduated with her Masters of Educational Leadership (MQ) and reinvigorated her passion for supporting the To scaffold or not to scaffold? That is the question! learning of new teachers. She has worked as a Senior Marker with the Board of Studies for many years and enjoys mentoring teachers in Why aren’t my top students achieving top marks in the traversing the challenges of the HSC assessment process. Therese Drama essay? is also an actress, director, film maker and playwright who pursues her passions for the theatre in her personal life as much as in her How do I know if my own marking is correct? professional life. Most importantly, Therese remembers her first years of teaching like they were yesterday, the challenges of being a new How do I produce a task, create a rubric, or unpack one? teacher, the feelings of isolation and the enormous learning curve to master the necessary ingredients to help her students achieve their How do I devise a program to cover text, context, style, form, best outcomes. It is a journey that has been more like a roller coaster technique and all the elements of Drama AND fit it into the ride but, for that reason, she dreams of offering others a ticket to a ridiculously short time I have? smoother ride through building greater networks and offering career mentoring across our immensely intelligent and creative Drama family Do we need to read the whole play? by supporting the Drama NSW conference. How much context is too much? How do I provide effective experiential learning? What is a performance essay and will it really help? How do I get my students to engage in theory in the first place? How do I take the text from the page to the stage and back again? If any of these questions have plagued your mind or challenged you while trying to maximise your student’s achievements then this is the workshop for you! And YES this course will provide practical activities, programming tips, actual unpacking of essay questions and demonstrations of how to produce evocative and insightful theatrical prose. (Please bring your HSC texts & feel free to bring any sample student essays that you may like to seek independent advice on).

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SESSION 6 (continued) Viewpoints: physical training for young actors 6C Presented by Shane Anthony and Tina Mitchell Suitability: Stage 6 (HSC) Looking for a dynamic approach to acting that engages SHANE ANTHONY works as a director and actor trainer in Australia the entire body and not just your mind? The Viewpoints is a and overseas. Recent directing credits include The Whale for Redline Productions at The Old Fitz Theatre, Lighten Up for Griffin Theatre technique of improvisation that grew out of the post-modern Indie, Songs for the Fallen at the New York Musical Theatre Festival dance world. It was first articulated by choreographer Mary (Winner of Most Outstanding Show), Altar Boyz, Calendar Girls, Overlie, who broke down the two dominant issues performers Avenue Q for Fortune Theatre (New Zealand). In 2007 he travelled deal with – time and space – into six categories. Her approach, to New York to continue training with Anne Bogart and the Saratoga International Theatre Institute in Viewpoints and the Suzuki Method called the Six Viewpoints, has since been expanded and of Actor Training. He is a graduate of the Directing Program at the adapted for actors by director Anne Bogart and the SITI National Institute of Dramatic Art (NIDA, Sydney), Screenwriting for Company. Viewpoints is used to build a strong ensemble and Feature Film at the Australian Film, Television and Radio School and quickly create dynamic stage moments. During this practical has also completed a BA in Theatre Studies at Queensland University of Technology (QUT). workshop participants will be encouraged to investigate the elements of time and space to make bold and considered TINA MITCHELL is a New York based actor, director, teaching artist. theatrical choices. Participants will be led through key She holds a Masters of Arts Practice and has trained extensively with The SITI Company as well as with The Suzuki Company of Toga. Tina’s Viewpoints exercises to develop a strong understanding most recent performing credits include Sleep No More (Punchdrunk of their physical language in relationship to their fellow NYC), Mata Hari (2017 Prototype Festival), Lulu (principal understudy performers, the performance space and the audience. This for The Metropolitan Opera, NYC), Ann Hamilton – The Event of a introductory workshop will provide teachers with a solid Thread (SITI Company) and her production of Miss Julia has been performed in Festivals across Colombia, Italy and Spain. Tina was understanding of the Viewpoints as an actor training tool and Artistic Associate of SITI Company from 2011-2012 and teaches in will briefly outline how an awareness of the Viewpoints may Australia, the US and Colombia. assist group devising activities.

Commedia is actors at play 6D Presented by Tony Kishawi Suitability: Stage 4 and 5 Commedia dell’arte could be the conference theme! It Since graduating at the VCA in 1980, TONY KISHAWI has been is creative. Requires collaboration not only within the pursuing a love of performance theatre through Commedia dell ‘Arte incorporating extensive training in mime, clowning, movement ensemble but also with the audience. As there is no set and street theatre. Tony has worked in the theatre industry as an script with written dialogues critical thinking and skilled actor, director, creator, producer and successful Queensland Arts communication is a pre-requisite. I will be presenting a Council contributor. He has also taught at NIDA and undertaken many practical, hands-on workshop. Delegates can choose community based theatre projects and events. whether to participate in the workshop or remain in the One of Tony’s fondest memories from his earlier days of education, training and travel was when he studied at the International School audience as they will receive instruction as to how to garner of Comic Acting in Italy with Antonio Fava, one of the masters of the best out of drama students. The workshop is aimed at commedia. “It definitely felt like coming home to the source of all my those of any level of drama teaching and students of any experiments with mask work.” Tony says, noting Fava as being one age or gender. The aim of the workshop is to give drama of his role models. You can take advantage of the diversity of Tony’s experience when you work with Lightwire Theatrical Productions. teachers tangible exercises for students to enable the participants to experience Commedia at ‘play’. Delegates While Tony has an extensive performing career spanning 36 years he discovered a life time passion in developing other performers. wishing to attend should wear comfortable, black clothing Conducting workshops Tony has created a number of successful and bring a bottle of water. workshop and classroom plans which bring out the best in those participating. His experience and knowledge in the field of Commedia dell ‘Arte had Tony invited to lead a masterclass at the Queensland Drama Teachers Conference in 2009 – 2010 NSW Drama Conference 2016 Creator of the Commedia International Festival 2011 Queensland University of Technology. Has lectured at CQU, QUT, USC, Griffith Uni and UQ. Released in May 2010, Tony’s first book Teaching Commedia dell’Arte is a teaching manual that enables teachers to successfully convey the magic and history of Commedia dell ‘Arte in a method understood only by a performer. Commenting on how he feels about his role as teacher, leader and friend to so many students, Tony says ‘the most rewarding thing is that a number of the performers I worked with have had sustained careers in the industry… some of them are even teaching workshops and classes’. Tony’s company Commedia Unmasked offers you the opportunity to work one-on-one with Tony or one of his handpicked team. What a great opportunity for you to apply his knowledge and expertise to your next show, event, school year, or community festival. This opportunity is available to anyone who requires creative inspiration or practical advice.

DRAMA NSW STATE CONFERENCE 2017 PAGE 14 SATURDAY 6 MAY 2017 – CONFERENCE DAY 2

SESSION 6 (continued) Making school productions easier 6E Presented by Laura Cooney Suitability: Stage 1 to Stage 5 Teachers have a lot to do. On top of their regular classes, www.StageShowNoDrama.com is an online resource for many passionate drama teachers also have to present the teachers, designed to make school shows easier. annual school play or musical. School productions have such a huge benefit on students’ lives, so shouldn’t it be LAURA COONEY has had a career as a director, actor, dancer and producer. Recently she was Live Events Coordinator for The Wiggles, a little easier? This workshop will provide resources and so she knows how to get the show on the road! With a Bachelor of templates to help you effortlessly stage your show. Design Performing Arts and a diploma in Musical Theatre, Laura has worked a foolproof ‘prompt copy’. Get advice on the technical side internationally and toured her shows to almost every theatre in of theatre. Share your own ideas and years of experience Australia. and learn from other teachers.

SESSION 7 Treehouse Theatre presentation: Stories through the eyes of refugee children 7A Presented by Catherine Maguire-Donvito and Ruth Hartcher-O’Brien Suitability: Stage 4, 5 and 6 (HSC)

Treehouse Theatre was established in 2011. Every year, CATHERINE MAGUIRE-DONVITO and RUTH HARTCHER-O’BRIEN are Treehouse works with a new cast of high school aged old friends, having met in their work with young refugees, Catherine as a Psychologist and School Counsellor, and Ruth as a Drama teacher refugees, performing their own stories. Treehouse has and teacher of English as a Second Language. Both love theatre, and now performed the ‘Tree of Life’ and ‘Suitcase Stories’, believe in the power of stories to enliven and transform, and in the presenting true-life stories, to over 23,000 school students “tangled magics” (to quote Tim Winton) of live theatre to take us inside at professional theatres across Sydney, including Casula the experience of the story-teller. Powerhouse Arts Centre; the Concourse, Chatswood; The Ruth was using drama to teach English, getting the students to tell and perform their own stories. Several of these students performed at the Joan Sutherland Centre, Penrith and The Seymour Centre. State Drama Festival in 2006. However, Catherine recognised not just ‘Suitcase Stories’ and ‘Tree of Life’ performances regularly the magical effect on the audience, but also the therapeutic value for receive standing ovations. the young refugee performers, whom she was counselling for past trauma. Together they developed ‘Tree of Life’ and ‘Suitcase Stories’ Refugee students from Treehouse Theatre performed programs to meet the needs of students recovering from trauma their stories in the State Drama Festival of NSW in 2011. and also to promote understanding and acceptance, an essential Treehouse received a Humanitarian Award in 2012 for component of trauma recovery. Service to Education. In 2014, Treehouse was selected to perform at the Sydney Writers Festival. Ruth was awarded Liverpool Citizen of the Year in 2015 and in 2017, Catherine received a Parramatta City Council Arts and Culture Award. For more information about Treehouse Programs and 2017 performances please go to: treehousetheatre.org.au

Ensemble stage presence: The X factor of group performance 7B Presented by Nicole Ellis-Windsor Suitability: Stage 6 (HSC) This practical workshop will focus on the collaborative how to develop the young actors’ perspectives and paradigms playbuilding of the HSC Group Performance and strategies of acting. Explore a theoretical and practical approach to that promote ensemble stage presence as an X Factor in develop GP Ensemble Stage Presence and help your students achieving performance excellence. The essential qualities of have the ‘X Factor’ when performing live. ensemble performance and stage presence are critical to the Group Performance but can be difficult to develop or teach. NICOLE ELLIS-WINDSOR has worked in education for over 25 years, recently completing a MA in Applied Theatre Studies from UNE. Her Participants will be equipped with exercises that will inform their thesis research focused on developing ensemble stage presence in teaching practice that can be directly applied in the classroom. adolescent actors. She is also a NIDA Graduate in Directing, has a Grad Exercises in shared training, collaborative practice, developing Dip in Arts Management and holds a Bachelor of Education in Visual self-concept and stage presence techniques were developed Arts. Nicole is currently the Head of Drama and Visual Arts at Santa Sabina College. Nicole aims to inspire a passion for and excellence in, from the practice-led research based predominately on the the creative and performing arts by working in a positive education theories of such practitioners as Stanislavski, Chekhov, Ellis framework where limitations are shifted and strengths are developed and Harper, Goodall and Mitchell. It was a significant study on through theory and practice to cultivate the individual’s potential.

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SESSION 7 (continued) Character development through movement: Humanising observations 7C Presented by Chris Montgomery Suitability: Stage 4, 5 and 6 (HSC) Delve into an observation of the world around you as a means CHRIS MONTGOMERY obtained his degree in Education from of developing complexity and dimension in role. This practical the University of Western Sydney undertaking a Bachelor of Arts/ Bachelor of Teaching (2006). His extensive state wide teaching approach teaches participants how to humanise ‘everyday experience has allowed him opportunities to work expansively in youth objects’ and their natural environment creating diverse and theatre across schools in Western Sydney since 2004 successfully engaging characters. Some students struggle with ways inspiring students with a passion for Dramatic Arts. Chris has actively into character development, often burdened with so many attended Professional Development workshops, training with Zen Zen Zo (2015); Physical Actor Training with Tina Mitchell (2016) working questions: who, what, where, why, how. All valid and necessary; collaboratively with drama teachers and practitioners enriching his however, participants are taught to think critically about teaching pedagogy. Chris’ deep knowledge for how students learn their environment and communicate their understanding creatively has led to opportunities in tutoring at the NSW State Drama through the outside in focusing on rhythms of movement and Camp and the NSW State Drama Ensembles Program cultivating sophisticated theatrical performances challenging students and complimented by speech. This approach is an experiential audiences to share his appreciation of diverse and eclectic theatre- application into character development through observation, making techniques with a focus toward physical theatre and the body play and collaboration of shared experiences which enhances in developing role. our awareness of the body imbuing participants with alternate strategies into character development. Comfortable non‑constricting clothes are essential to ensure participants can move freely during practical exercises.

Improvisation and sidecoaching 7D Presented by Lyn Pierse Suitability: Stage 4 and 5 A challenging, thought-provoking, confidence boosting, LYN PIERSE – NIDA Grad, B.Ed. has taught a generation of actors, practical skills based active workshop of ‘Improvisation and improvisers, teachers, comics for 40 years; NIDA, ACA , AIM, HUB, ISA, UNE, Macquarie Uni, Sophia University Tokyo, ATYP, Drama Side Coaching’ relevant to teachers of all levels. NSW, Genesian Theatre. UNESCO Chair Romania. Corporates; KMPG, Using simple improvisation structures and games Deloitte, PWC, HSBC, CBA. we will target skills; offering, yielding, naming focus, Lyn pioneered Theatresports® Australia, New Zealand, Japan. Staged Impro and Charity extravaganzas; Cranston Cup, Celebrity, National, advancing, extending, emotional and status transitions, International Theatresports® , Much Ado About Impro at Sydney Opera characterisation, endowment, timing, spontaneity, lateral House, Enmore, Belvoir, NIDA Playhouse, QPAC, State Theatre. thinking and storytelling. Acting credits include; Three Sisters SFJ, The Importance of Being We will find the moments to refocus, support and encourage Earnest, The Pigeons Griffin, Roberto Zucco Old Fitz, The Women Of Lockerbie, Berkhoff’s Greek, Measure For Measure, Season At the scene while it is action. This empowering work gives life Sarsaparilla, Woyzek, original Summer Rain. to the students’ ideas and empowers the teacher to teach TV Film; Rake, How Not To Behave ABCTV, Going Home SBS, All Saints, while the scene is in progress. Learn what to ‘call’ and “when” Home and Away, 2016 Tropfest finalist The ATM, improvised feature to call it. Viola Spolin began this work over 70 years ago. It is Lovestuck, web series Skinford. as relevant today as it was then. Author of ‘Improvisation: the Guide’.

Fabulize and storify 7E Presented by Saskia Ilott Suitability: Stage 1 to Stage 4 A truly creative approach to telling stories in collaboration SASKIA ILOTT is Monkey Baa Theatre Company’s Education Manager. with young people. You will be up on your feet throughout Originally a performer, she gained a Bachelor of Dramatic Art (Acting) at NIDA. She moved into teaching, studying a Bachelor of Teaching this workshop, exploring the full potential of imaginative, (Secondary Drama and English), in 2009. Saskia has taught and tutored improvised story telling. Tailored for Early Childhood at a broad range of schools and tertiary institutions across NSW. Her through to Stage 3 teachers, you will leave this session role at Monkey Baa allows her to engage with young people aged amazed at your own creativity and imaginative prowess, with from a few months old through to young adulthood, as well as deliver extensive teacher professional learning programs. new techniques for inventing new stories for and with your students, as well as ways of adapting familiar tales. Monkey Baa is well known for creating rich and detailed theatre productions; this session shares with you exciting ways to apply the company’s skills to your own creative practice, to your lesson plans, to your literacy and English programs, and to the way you entertain young people!

DRAMA NSW STATE CONFERENCE 2017 PAGE 16 SATURDAY 6 MAY 2017 – CONFERENCE DAY 2 SESSION 8 “It is more than just a red frock!”– How set and costume design tools encourage a 8A deeper analysis of HSC IP performance texts. Presented by Imogen Ross Suitability: Stage 6 (HSC) Performance Design uses myriad creative communication IMOGEN ROSS is a professional performance designer with 25years tools; visual, emotional, spatial and practical, to create experience designing set and costumes over a diverse range of theatrical projects. She is a sought after collaborator, injecting both believable performance environments. The clarity of design a quirky sense of humour and strong dramaturgical metaphor into communication is critical. Well known texts can be reimagined her work. As The Production Meeting, Imogen tailors in-school badly if misunderstood or mis-placed. HOW do you begin theatre workshops for students and teachers approaching the IP. She to design something if you have never designed anything regularly delivers design workshops both at Belvoir St and NIDA, and has taught design at AIM, UND, ACPE, COFA & MQU as well as The Arts before? WHAT is the play about; physically, emotionally and Unit. Imogen co-wrote ‘Performance Design in Australia’ (Craftsman visually? SHOULD we avoid stereotypes and the expected House, 2001) with Kristen Anderson; exploring the work of over 90 response? This 90min hands-on Masterclass with Imogen theatre makers/designers across Australia. Ross will help new teachers of Yr11/12 get a handle on the subtleties of teaching design, giving a range of practical techniques with which to approach Set, LX and Costume IPs. Imogen has recently designed a new production of Stolen with Vicki van Hout for the NToP, as well as designing Animal Farm with Nadia Emery for TAU. She is known for her hands-on collaborative approach and attention to detail. Please bring blank paper and a pen/pencil to draw with.

Gender issues in the drama classroom 8B Presented by Paula Orbea Suitability: Stage 6 (HSC) This workshop aims to use Drama teaching pedagogy – PAULA ORBEA is an experienced Drama teacher of 20 years – 13 of through the four Cs: Critical Thinking, Communication, those as a teacher of the Preliminary and HSC courses. Paula is also an experienced marker of the HSC, having marked for the Written and Collaboration + Creativity – to navigate gender issues and the Itinerant components, last year being a Senior Marker for Itinerant. way forces, such as the media, use their power to represent Through her activism and heavy media exposure in her campaign people in ever more limiting ways, related to their sex. The against Wicked Campers, which started in 2014, Paula began workshop will look at juxtaposing today’s gender roles to presenting workshops on the issues of cultural and societal forces those from plays being studied by Yr 12, using snippets from that drive our perspectives of Gender and their roles. Paula brings this into the Drama classroom, though the study of texts, and to inspire the 1971, David Williamson play, The Removalists (HSC text in expression though group performances. NSW), which is rich with examples that mirror that paradigm. Teachers participating will have the opportunity to create a small piece, as the main practical component.

Subtext, complexity and dimension: Deconstruction of the rubric for HSC IP 8C monologues Presented by Nadia Emery Suitability: Stage 6 (HSC) Words, words, words … how do you get students to make NADIA EMERY has achieved significant success in her nearly 15 years scripts, dialogue and subsequently characters their own? of teaching. She has been a regular tutor/director for over 10 years at the Arts Unit NSW Public Schools State Drama Camp and State Ensemble The aim of this practical workshop is to look at the powerful Programs as well as the Creative Arts Mentor for both programs. In effects of teaching an actor to behave honestly, truthfully, 2016, she was appointed the Head of Creative and Performing Arts economically and comfortably in all dramatic settings. at Northmead Creative and Performing Arts High School as well as Characterisation is ultimately enriched by developing Director of the NSW State Drama Company. As a Senior Marker for the HSC Itinerant process, Nadia has an exemplary understanding of the experientially the knowledge and understanding of physical specific marking criteria metalanguage and the practical implications self-awareness through answering: How does the inner for achieving in the ‘A’ range for HSC IP Monologues. thought influence outer action? How do you find the real voice and can you hear it? What ‘is’ complexity, depth and dimension on the stage? How are subtext, belief and conviction realised?

DRAMA NSW STATE CONFERENCE 2017 PAGE 17 SATURDAY 6 MAY 2017 – CONFERENCE DAY 2

SESSION 8 (continued) DramaWise reimagined: Drama education for the 21st century 8D Presented by Professor John O’Toole Suitability: Stage 3, 4 and 5

John will introduce Brad Haseman’s and his new book JOHN O’TOOLE and Brad Haseman have been teaching, researching Dramawise Reimagined – learning to manage the elements and writing on drama and arts education for two lifetimes, mainly in Queensland but also on all other continents, to all age groups. Both of drama. Like its predecessor Dramawise (1987), this originally secondary teachers, they have been involved – often book specifically addresses ‘The Elements of Drama’, the together – in teacher training, curriculum development, innovative first component of essential knowledge for Drama in the pedagogy, assessment, practice-based research and writing books. Australian Curriculum: The Arts. Thirty years ago the authors One of those, Dramawise, has been influential in many state and National curricula, and its completely rewritten and reborn successor, first showed that all dramas are made up of thesame Dramawise Reimagined, is their latest joint project, to be published in elements and set them out in a clear pedagogic order where March 2017 by Currency Press. they could be explored and learned through dramatic action. The new book revisits and expands upon those elements, reframes them for twenty-first century education, and reimagines them for your students. This workshop details the Dramawise Re‑imagined model and then, by taking one element as an exemplar, shows how student learning has been enriched through drama games, improvisation, process drama and carefully selected play extracts. The workshop will conclude with a sequence of practical activities to show how this model can be applied to the more fluid poetics and forms of contemporary theatre and live art. The workshop is equally for experienced and beginning teachers.

Fun, physical, future learning 8E Presented by Kurt Duval Suitability: Stage 1 to Stage 4 This practical and experiential workshop will provide the KURT DUVAL graduated from Q.U.T. (B.A.Drama) in 1998, and is a creative tools and exercises that embrace Physical Theatre member of the elite Cirque Du Soleil performer bank. He trained at the School of Physical Theatre in London and has trained and performed techniques to be used across a range of subjects for primary with Zen Zen Zo Physical Theatre, Rock’N’Roll Circus, Circa, Trix Circus, schools and teachers of all levels. Simplified physical theatre Circus Oz and Legs on the wall. techniques from View Points and Lecoq will be combined Kurt has worked as a teaching artist for; QTC, the Australian Acting with improvisation techniques to explore the elements of Academy, Backbone Youth Arts, Qld Actors Playhouse, REM Theatre drama. The techniques further incorporate group synergy and Monkey Baa. and collaboration, imagery and critical thinking in a playful His Film and TV credits include: Scooby Doo, The Magician, The and creative environment. Dress comfortably and be ready Condemned, and Sea Petrol. Kurt’s stage Credits include: South Pacific for Opera Australia, Apparatus and Hand for QTC, The Little Dragon for to play and learn. REM Theatre and Macbeth with Zen Zen Zo and Grin and Tonic.

DRAMA NSW STATE CONFERENCE 2017 PAGE 18 REGISTRATION DETAILS

Membership Type One Day – Early Bird One Day Two Days – Early Bird Two Days Individual Member $299.00 $349.00 $399.00 $449.00 Concession* $199.00 $249.00 $299.00 $349.00 Non-Member $399.00 $449.00 $499.00 $549.00

* Concession price is available for part-time teachers, pre-service teachers/university students and retired/semi-retired teachers.

Not a member of Drama NSW? Why not consider joining! Check out all the benefits of an individual or institutional (school or organisation) membership at: www.dramansw.org.au/about-us/membership! Registration closes Friday 28 April 2017. Early Bird Registration closes Friday 17 March 2017. Register online at www.trybooking.com/251191

DRAMA NSW CONFERENCE TEAM 2017 FREQUENTLY ASKED QUESTIONS How do I register? Tamara Sweetman Conference Co-Convenor Brendan Laurence Conference Co-Convenor You can register online at – www.trybooking.com/251191 Natasha Beaumont, Nadia Emery, Julian Kennard, Ebony Keys, Tahnae Luke, Ellen Osborne, Anna-lea Russo, John Nicholas Saunders, What are the key dates? Victoria Stephenson, Kelly Young. Registration opens early February 2017 DRAMA NSW COMMITTEE 2016/2017 Registration closes Friday 28 April 2017 Early Bird Registration closes Kelly Young President Friday 17 March 2017 Victoria Stephenson Vice President Communications, What is included with my registration fee? Website Officer, Social Media Officer Emma Hughes Communications Portfolio Registration fees include: conference program including keynotes, panels and breakout Rachel Jacobs Communications Portfolio, Journal Editor sessions, conference satchel and materials, Jo Spinks Communications Portfolio access to trade displays, morning tea, lunch and Anna-lea Russo Communications Portfolio Twilight Drinks on Friday and Saturday. Ellen Osborne Vice President Admin and Membership Is Drama NSW registered for GST? Daniel Dunlop Admin and Membership Portfolio No, Drama NSW is not registered for GST in 2017. Bronwyn Mason Admin and Membership Portfolio Ebony Keys Admin and Membership Portfolio FOR MORE INFORMATION Natasha Beaumont Vice President Business and Finance, Visit www.dramansw.org.au or contact Trade Liaison Officer and Drama Australia Bernadette Motulalo, Drama NSW Administrator, Liaison Officer (DALO) Professional Teachers’ Council (PTC) NSW Christina Sceats Archive Officer (details below) – Tahnae Luke Trade Liaison Assistant MAIL: PO Box 699 Tamara Sweetman Vice President Professional Learning Lidcombe NSW 1825 Brendan Laurence Professional Learning Portfolio EMAIL: [email protected] Jo George Professional Learning Portfolio PHONE: 02 9716 0378 Nadia Emery Professional Learning Portfolio FAX: 02 9564 2342 Kurt Duval Co-Opted John Saunders Co-Opted ABN: 32 123 391 199 Julian Kennard Co-Opted Emily Kaufling Co-opted Lisa Mumford Co-Opted

www.dramansw.org.au [email protected] dramansw @dramansw @dramansw

Drama NSW respectfully acknowledges the Traditional Custodians of the country on which we work.

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