Drama Ed Weekly Newsletter

Back to school!! I was expecting a bit of a shock to the system upon returning to school on Thursday, surprisingly, I was actually very relaxed. I think for the first time since I began teaching I did not consider school for the entire 4 weeks of my vacation. This is some sort of record and perhaps indicates that I am mellowing. We had the obligatory sessions on new policies and priorities for the coming year. I'm also part-time at school this year so I was able to leave for other commitments during the first day back.... and come Monday I don't need to be at school until 1.30 pm since I have only one class that day!! Oh, the joy of missing all the room allocations, time-table distribution and other assorted mayhem is wonderful. Do I sound like I'm gloating??? ;-)

I do have a stack of photocopying to complete so I have all the required course outlines and syllabus materials to give to my class.

We had a couple of interesting topics pop up during the week. The photographs of the collapsed lighting truss provided a useful reminder that we in schools need to foster some measure of expertise when it comes to technical theatre. Before teaching, as some of you may be aware, I worked in theatre production for many years, and have had first hand experience of sets, stages, rostra, and seating arrangements either collapsing, falling over, breaking or catching fire... its spine-chilling when it occurs and demands informed action to ensure everyone's safety. The upshot is that is gives wonderful material for great stories.

Shane was asking about Japanese and Restoration fans and between us we found the following sites:

These two books could not be called cheap - but they are remarkable. There is a special deal if you buy the pair!

Theater Technology
by George C. Izenour, Geroge C. Izenour

In this classic reference work on theatre structure and engineering, one of the world`s most eminent technical designers presents ideas and inspiration for all aspects of theatre construction and operation. George C. Izenour`s incomparable book ties detailed information on architecture, lighting, acoustical structures, electro-mechanical-hydraulic systems, and stage controls to the rich history of technological development in American and European theatres.

This text is a comprehensive reference to all aspects of theatre planning and construction and a history of theatre design from ancient times to the present. Drawing on examples from Greek and Roman models to Renaissance and baroque theatres to contemporary buildings around the world, it discusses such requirements as structural systems, seating, acoustics and visual volume in detail, considering the optimum conditions for both musical and dramatic performance. This edition includes, as an appendix, a new set of drawings, in addition to the original 900 illustrations.

This widely acclaimed book, a comprehensive reference to all aspects of theatre planning and construction and an authoritative history of theater design from ancient times to the present, is essential for anyone with an interest in theatre. George C. Izenour, acknowledged worldwide for his superb technical expertise, adds an appendix with new drawings to this edition of his classic guide.

The need for people to get together and enjoy live entertainment exists in every culture. No city, town or college is complete without its places of assembly. The form that these buildings takes varies enormously, but they all have certain principles in common, whatever their scale and regardless of whether they are new buildings or conversions or refurbishment of old premises.

Drawing on a wealth of expertise, this illustrated book, produced in conjunction with the Association of British Theatre Technicians, examines in detail each function and requirement of a theatre building and gives technical guidance on achieving the best results.

History of Theatre
by Neil Grant (Author)

This is currently my favourite theatre history book.

It is comprehensive but not overwhelming. It is not as dense and scholarly as Oscar Brockett's enormous and respected tome of the same name. What is does offer though is a brief, concise and accurate overview of each of the topics and is accompanied by some of the best theatre photographs I've encountered in a long time. And the price is hard to beat compared to other options. I'm actually organising to buy several copies of this one for the school library - it really is a great book for theatre lovers and especially suitable and approachable for students.

All the world's a stage--and this all-encompassing history of theatre presents stages throughout the world, placed in their historical and geographical contexts. The key dramatists and their works, major actors, and critical writers take their bows, backed up by memorable quotations and more than 150 illustrations. Go back to the Ancient World, to dance drama, comic and tragic Greek theatre, and Roman entertainments. The wide range of Oriental styles covered include those from India, Southeast Asia, China, and Japan, as well as puppet theatre. Imagine what it would have been like to see plays during the age of Shakespeare, by Molière and the Comédie Française, in the heyday of Italian opera, or by Brecht's company in Germany. Ballet, pantomime, circus, provincial theatre-nothing is forgotten!

This book is really useful if you are considering building, renovating or adapting a performance space at school.

Comments From the Author, March 28, 1998
As the year 2000 approaches, burgeoning forms of simulated entertainments -- via film, tape, laser disk and emanations of virtual reality from cyberspace -- are threatening the very survival of live performance. Without face-to-face interaction, performers and audiences alike are being deprived of the vitality that only on-the-spot involvement in a creative process can provide. Facilities which are capable of skilfully supporting such interaction are especially prized both by the performers, whose rehearsed offerings can be enhanced by the physical presence and reactions of a lively and supportive audience, and by the audiences themselves, whose reception of an event can be made manifest directly through laughter, tears, stunned silence or thunderous applause as the occasion might warrant. I have written ACCOMMODATING THE LIVELY ARTS to articulate the principles that should inform the planning or rehabilitation of any performance facility regardless of size, shape or specific cultural context. Through a review of significant past achievements, the book sets out to explore ways of clarifying present-day needs and establishing the potential for generating forms for any contemplated solution in the design of structures for the performing arts. As I indicate in the Foreword, ACCOMMODATING THE LIVELY ARTS is intended for anyone who has ever experienced and derived pleasure from attending or participating in live performance. More specifically, it is meant for those who might be involved in the planning or renovation of performance facilities -- arts advocates, real estate developers, theatre professionals (producers, directors, performers, technicians) as well as architects and city planners. It is also intended for the guidance of non-professionals who might one day find themselves serving on committees charged with the responsibility of deciding on the location, financing and shape such facilities may take.

Amazon have a huge collection of videos with filmic versions of many great plays. Often these are very useful for identifying performance style as well as technical elements of design (period styles, etc)

elements	movement relationships time
conventions	create roles from given information meetings in role sequence dramatic action
forms and styles	extended roleplay storytelling written – role description
performance skills	concentration in presentation of role memorisation of lines movement – posture, gesture and body position to denote character voice – character and expression in voice, projection within the classroom, clear and audible
audience	informal and formal – younger class or year level
purpose	learning expression problem solving
pre-text	bullying issues – who, what, when, where and why does bullying occur coping strategies appropriate responses

Phase One - Investigating Students engage in a series of activities that explore the issue of Bullying. They engage in roleplays, discussions and other dramatic activities that raise their awareness of the scope of the problem. They also explore possible solutions in general terms.
Outcomes	Activities	Gathering Evidence
Drama Dance CAI 4 Dance STTP 3 Dance students might extend these sequences and choreograph to music a small dance depicting bullying Media CAI 5 Media STTP 3 Students in Media might create a video document of these scenes to create a showcase of “What bullying looks like” This may be extended to include other stages of the work to create an educational documentary about bullying.	Students: read a news article about bullying (perhaps the Cyberbullying article or the Bullycide excerpts) and discuss the issues that it raises discuss how bullying is manifest and why people bully students brainstorm different types of bullying in small groups or pairs, create tableaux of as many bullying situations as they can brainstorm groups present their tableaux to the rest of the class the class as audience try to interpret the tableaux then sequence their tableaux and introduce transitional movements that shift each frozen moment into the next – this can be done to music – eg, ominous movie themes begin a reflective journal where they may begin to record their ideas, thoughts and feelings about the drama (and the issues) as it develops. Students may include writing, images, pictures, music, poetry, song lyrics, etc discuss bullying they have witnessed or experienced, or participated in, sharing their responses, feelings, thoughts, coping strategies etc (Mind Matters opportunity)· consider other bullying material and using some of the excerpts provided create small group scenarios demonstrating bullying in action consider how people might cope in such situations (personally, socially, institutionally, legally, etc) (Forum Theatre variation) replay the scenes they created in the previous step and demonstrate how immediate solutions might be applied describe the ideal social community, i.e. one where bullying is not present. – this sequence my utilise Co-operative Learning strategies, such as Placemat, Think-Pair-Share, etc discuss why this ideal has not yet been realised Examine “Method of Shared Concern” as presented by teacher and roleplay some situations discuss the efficacy of the approach	Drama Assessment technique: · teacher observation · focussed analysis Do students: · contribute, listen and support in class discussion? · Support others both in and out of role? · Accept roles from given situations? · Signal stepping in and out of role? · Utilise effective and expressive vocal techniques – varying pitch, pace, pause, projection, inflection, accent, intonation, etc · Demonstrate a range of non-verbal expression – facial expressions, gestures, locomotive movements, kinesics, proxemics, etc
Focus Questions · What is a working definition of Bullying? · What are the reasons for Bullying? · What is the incidence of Bullying? · Who is bullied and who bullies? · Where does bullying occur? · How can we challenge bullying? · Personal responses to bullying. Teaching considerations · While bullying is a thematic element of this Drama exploration you must still deal with the content of Drama. You should seek to find ways to integrate Drama games, skills development and understanding of dramatic process, as well as reflecting on both the bullying topic and the student’s own development and participation within Drama. It is highly likely that increased discussion of bullying will result in an increased awareness and sensitivity to bullying behaviours, teachers should seek to model the strategies that they are teaching, especially the “Method of Shared Concern”. It is important that teachers are well versed in the process.
Phase Two - Devising Students receive the letter of help from Hope, our bullying victim. The letter prompts students to decide what social roles (occupations, etc) might be in a position to assist Hope. In roles they investigate, seek solutions and eventually present a performance.
	Students: are presented with a letter (see Appendix “Class Handouts”) from Hope. read and discuss the letter Decide what societal roles might be able to assist Hope (social workers, teachers, parents, psychologists, police, etc) are to decide on a role they will adopt to case study Hope will research the role and decide on what information, knowledge and skills they will need to develop in order to successfully fulfil this role. work in role to have discussions with Hope, those bullying her, etc Share the results of their investigations and begin to construct a full picture of the story of Hope. commence work on playbuilding a theatrical performance based on Hope’s story.	Drama Assessment technique: · teacher observation · focussed analysis Do students: contribute, listen and support in class discussion? Support others both in and out of role? Accept roles from given situations? Signal stepping in and out of role? Utilise effective and expressive vocal techniques – varying pitch, pace, pause, projection, inflection, accent, intonation, etc Demonstrate a range of non-verbal expression – facial expressions, gestures, locomotive movements, kinesics, proxemics, etc Teaching considerations Improvisation skills In role writing and discussion Playbuilding processes Design elements
Phase Three - Presenting Students construct and refine their playbuilt performance and develop it as a performance for a broader audience. This work may be presented as part of the Year 7 Orientation program, assembly program, etc
	Students: script their devised play, assign production and performance roles design and construct appropriate costumes and scenery, locate and manage properties, rehearse the performance, present the performance to a range of audiences reflect on the process and product of the efforts.	Drama Assessment technique: teacher observation focussed analysis Do students: adopt roles, apply characterisation techniques, follow directions, effectively use verbal and non-verbal elements in performance, contribute ideas to the production, accept shifting roles and responsibilities, *Journal* Do students: describe the processes elaborate ideas evaluate their own contributions and performance evaluate the work of others reflect on the effectiveness of the work, draw connections with other learning, identify the role of the arts in this process draw conclusions about the process Teaching considerations Performance Skills Production Audience Behaviour Reflection Evaluation