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Contents President’s Message ........................................................................................................................... 2

Welcome to Conference ..................................................................................................................... 3

Friday Keynote: I ❤ Art! ...................................................................................................................... 4

Saturday Keynote: Imagine the dramatic (r)evolution ...................................................................... 5

Conference At a Glance ...................................................................................................................... 8

A1 Laughter is the most Marvellous Medicine ................................................................................. 10

B1 Revolutionising Stage 4/5 Written Work .................................................................................... 11

C1 Augusto Boal: Theatre of the Oppressed ................................................................................... 12

D1 Live Streaming Theatre: Authentic experiences and meaningful collaborations in the digital space 13

E1 Viewpoints and Devising Work .................................................................................................. 14

A2 A Dramatic Approach to Primary Mathematics: A Revolutionary Idea? ....................................... 15

B2 Vocalise your Creative Revolution ............................................................................................. 16

C2 HSC Critical Analysis: Strategies for Success ............................................................................... 17

D2 Stages 5 & 6: The Experiments that Worked (multi-disciplinary theatre and other approaches) .. 18

E2 Creativity in Devising – Using Physical Stimuli to Create Theatre ................................................ 19

A3 Exploring the possibilities of a drama-led curriculum through the rolling role system of teaching .... 20

B3 Working “The Triangle” – Helping Students Coordinate the interplay of masks, gags and

scenario in Commedia .............................................................................................................. 21

C3 The A, B, C of HSC Costume Design – mentoring and marking your students development ........ 22

D3 The Theatrical Functions of Light ............................................................................................... 23

E3.1 Women in Theatre .................................................................................................................... 24

E3.2 The Drama Revolution: 3 Research Based Approaches ............................................................... 25

A4 Drama, Visible Thinking and Concept Programming in the Primary English Classroom .............. 28

B4 An Approach to Teaching Directing ............................................................................................ 29

C4 Putting practice to paper: How to approach the Written Examination ......................................... 30

D4 Technology in Drama: To Yield or Block ...................................................................................... 31

E4 Dynamics: The Physics Behind Drama ........................................................................................ 32

A5 Dealing with dragons: a dramatic imaginary ............................................................................... 33

B5 Teaching Playwriting: Creativity in Practice ................................................................................ 34

C5 Strategies to Approach the Elements of Production in the Classroom .......................................... 35

D5 Creating Story for the Screen ..................................................................................................... 36

E5 A new handbook for the Creative Revolution .............................................................................. 37

A6 Using Drama Pedagogy to Enhance Literacy Learning ............................................................... 38

B6 Taking the Improvised Imaginative Leap .................................................................................... 39

C6 Approaches to Acting: Jacques Lecoq ........................................................................................ 40

D6 Tree of Life: Teenage refugees tell their stories on stage ............................................................. 41

E6 Constructing a Monologue: Developing a Character’s Journey and Refining Intentions .............. 42

Drama NSW Conference Team & Committee .................................................................................... 43

Imagine the Creative Revolution – DRAMA NSW STATE CONFERENCE 2018 1

President’s MessageOn behalf of Drama New South Wales, I warmly invite you to attend our 2018 State Conference, Imagine

the Creative Revolution. As Drama educators, we are at the forefront of the creative revolution. We know

that an Arts based education is the best way to equip our students with the collaborative, creative and

critical thinking skills to engage with the world that they are about enter. So, what could a truly Arts

led education look like? How do we contribute to building the momentum for revolution in the wider

educational community?

Our 2018 State Conference attempts to engage with these questions. We will explore cross-curricula

methods, foundational skills and new approaches to devising and using technology to invigorate our

practice. And, of course, we will also continue the wonderful workshops you expect from Drama NSW!

I look forward to seeing you at Pymble Ladies' College in May 2018 for a truly revolutionary experience!

Kelly Young

President

Drama New South Wales

2 Imagine the Creative Revolution – DRAMA NSW STATE CONFERENCE 2018

Welcome to Conference Drama teaching is at the heart of the creative change that is needed to prepare students for the shifting

landscape of an increasingly global world. More than ever, students need to be equipped with the skills to

create, improvise, reinvent, work in teams and critically engage with the world around them. It is in this

context, that the focus for the Drama NSW State Conference 2018 was envisaged. Imagine a curriculum that

leads educational change across a range of subjects and stages. Imagine a curriculum that allows students

the freedom to play, explore, create and devise their own work, as well as achieving mandated outcomes.

Imagine a curriculum that embraces emerging technologies and embeds them in their practice. Imagine

a curriculum that encourages students to stop, reflect and critique the ever-changing world around them.

Revolutions start with an idea and have a ripple effect. We hope that this conference will equip you with the

passion, skills and resources to start a creative revolution in your own classroom and workplace.

The aim of this conference is to investigate how, through innovative teaching practice; we can engage our

students creatively through cross-curricula methods, foundational skills, new approaches to devising, and

using technology. We have tried to make sure that whilst challenging ourselves to embrace new approaches

and technologies, we are also equipping delegates with the resources they need to engage with the current

curriculum, hence there is a clear focus on each stage, embedding the foundational skills required for creative

practice in Primary and the middle-years, as well as creatively engaging with the Higher School Certificate

Examinations.

We are very excited to have some leading practitioners as keynotes including; Eamon Flack (Artistic Director,

Belvoir) and academic keynotes from Dr Mary Mooney (Associate Professor, University of Western Sydney),

John Nicholas Saunders (Education Manager, Sydney Theatre Company) and Dr Madonna Stinson (Senior

Lecturer, School of Education and Professional Studies, Griffith University).

We would like to acknowledge and thank the entire Drama NSW Committee, and Conference Team

(Emma Hughes, Ebony Keys, Tahnae Luke, Anna-lea Russo, Victoria Stephenson, and Kelly Young) for their

efforts and dedication in making the conference a success. To Mrs Vicki Waters and Pymble Ladies' College

we offer our thanks for your generosity in hosting this event. A special thank you to John Nicholas Saunders

(President, Drama Australia) for his support throughout the process, as well as to Jessica Chilton (Drama

NSW Administrator), who has shown the utmost professionalism and commitment, and is very much

valued. Finally, huge thanks must go to our wonderful presenters, who have volunteered to contribute

their expertise and knowledge, without you this conference would be but an idea.

Welcome to 2018 Drama NSW State Conference!

Tamara Sweetman

Vice President

Professional Learning

Conference Co-Convenor

Lisa Mumford

Conference Co-Convenor


I ❤ Art!Eamon Flack : Artistic Director, Belvoir

The world is too serious, too frightened, too confusing. How do we remember how to live? What does

real, live joy look like? How does theatre keep us sane? How important is it to make space for people to

be odd, peculiar, original? What really is creativity? Artistic Director of Belvoir Eamon Flack reflects on

how he went from a nasty Rugby school in Brisbane to Australia’s most free-spirited theatre company

(answer: great teachers).

Eamon Flack is Belvoir’s Artistic Director. He was born in Singapore and grew up in Singapore, Darwin, Brisbane and

Cootamundra. He trained as an actor at WAAPA from 2001 to 2003 and has since worked as a director, actor, writer and

dramaturg, from Milikapiti on the Tiwi Islands to Geraldton and Melbourne. For Belvoir, Eamon has directed Ghosts, The

Rover, Ivanov, Angels in America Parts One and Two, The Glass Menagerie, Babyteeth, As You Like It, Twelfth Night or What You

Will, The Blind Giant is Dancing, The Great Fire, Once in Royal David’s City and The End. He co-adapted Ruby Langford Ginibi’s

memoir Don’t Take Your Love to Town with Leah Purcell, and co-devised Beautiful One Day with artists from ILBIJERRI, version

1.0 and Palm Island. His dramaturgy credits for Belvoir include Neighbourhood Watch, The Wild Duck, Brothers Wreck and

The Book of Everything. His adaptations include Chekhov’s Ivanov, Gorky’s Summerfolk and Sophocles’ Antigone. Ivanov won

four Sydney Theatre Awards in 2015 including Best Mainstage Production and Best Direction. Eamon’s productions of The

Glass Menagerie and Angels in America both won Best Play at the Helpmann Awards.

CONFERENCE DAY 1Friday 11 May 2018

Keynote


Imagine the dramatic (r)evolutionPart 1: A good revolution always involves a lot of drama

John Nicholas Saunders : Education Manager, Sydney Theatre Company

We’ve entered the next revolution. It’s a revolution of Artificial Intelligence (AI), Robotics, Automation

and Machine Learning (ML). We’ve entered this revolution with the false idea that Science, Technology,

Engineering and Maths (STEM) learning will ‘future proof’ young people and adequately prepare them for

a word that we are struggling to imagine.

In this keynote, John will draw on the work and research of Dr Jim Chalmers (Federal Shadow Minister for

Finance) & Mr Mike Quigley (Former Head of NBN), Dr Toby Walsh (Professor of Artificial Intelligence at

UNSW), and Dr Carl Frey & Dr Michael Osbourne (Oxford University) and share some ideas about what the

future of education and employment might be like in the AI, Robotics, Automation and ML age and what

role could and should Drama Education play in preparing young people for life and work in this new age.

John Nicholas Saunders B.CI, B.Ed, M.Ed (Research) is a former secondary school teacher and the current Education

Manager at Sydney Theatre Company. John has extensive experience in Arts Education and has held positions as a senior

curriculum writer with the Queensland Studies Authority, Head of Department: The Arts at Southern Cross Catholic College;

Board member of Playlab Press, Associate Academic at Australian Catholic University, President of Drama NSW and Drama

QLD, Education Consultant to the Brisbane Festival and guest lecturer at the University of Sydney.

He currently holds positions as: President of Drama Australia; Chair of Australian Major Performing Arts Group (AMPAG)

Education Network; Drama representative to the National Advocates for Arts Education and Drama Mentor to ACARA.

In 2016 he co-authored The School Drama Book: Drama, Literature & Literacy In The Creative Classroom with his colleague,

Professor Robyn Ewing. John is an Honorary Associate at the University of Sydney where he is also completing his PhD

exploring the impact of drama-based pedagogy on English and literacy learning.

CONFERENCE DAY 2Saturday 12 May 2018

Keynote



Keynote

Imagine the dramatic (r)evolutionPart 2: Drama (r)evolving through pedagogical encounters

Dr Mary Mooney : Associate Professor, University of Western Sydney

Mary will explore what it looks and feels like to create drama in the evolving smart, rich and liquid

landscape with a focus on the art and flow of becoming actively connected with our world with reference

to Bronfenbrenner, Czikszentmihalyi and Harris.

In this exploration of pedagogical encounters within a transformative and transdisciplinary drama

curriculum, the focus will be on ethical, artistic and imaginative interactions that evoke active participation

in drama and the world.

Dr Mary Mooney is an Associate Professor and Deputy Dean at Western Sydney University. Mary researches and teaches

in the field of drama/arts education and teacher effectiveness with a keen interest in theoretical framings of the cultural

practices of young people.

Mary has been Vice President of NADIE; for Drama Australia – Research Director and Conference co-Director; Vice-President

of NSW EDA; Drama representative of the K-6 Creative Arts Syllabus Committee and Deputy Chair and Chair of the Drama

Syllabus Committee (NSW Board of Studies); inaugural senior marker for HSC Drama; and a recipient of the Drama Australia

President’s Award.



Keynote

Imagine the dramatic (r)evolutionPart 3: (R)evolving in the imaginative ecology of the drama

classroom

Dr Madonna Stinson : Senior Lecturer, School of Education and Professional Studies, Griffith University

Madonna’s presentation is inspired by both Maxine Greene (“I am what I am not yet”) and Paolo Freire

(Pedagogy of Hope). She will draw on current research with teaching-artists and students, at a Brisbane

government secondary school, to consider drama as a means of promoting agency, reflexion, and renewal.

Learners participating in this particular project have suggested that participation in the arts-partnership

contributes to the growth of “generative self-respect” (Carey, 2005) and enables them to imagine

alternative possibilities for their futures. Madonna will consider dramatic processes and experiences that

contribute to the imaginative ecology of the drama classroom.

Dr Madonna Stinson is Senior Lecturer in the School of Education and Professional Studies for the Arts, Education and Law

Academic Group, Griffith University. Her research and teaching concentrates on creative approaches to curriculum and

pedagogies, especially drama, oracy, and language learning. She is particularly interested in methodologies and processes

that allow researchers to consider how we know and understand what is happening in the spaces between teaching and

learning. Madonna’s work considers innovations and connections within drama teaching and learning, creative pedagogies

and curriculums, with opportunities for student agency and improving learning across the lifespan. Madonna has worked

as a primary and early years teacher, a secondary Head of Performing Arts, a curriculum writer, an artistic director,

an actor and playwright before becoming an academic. Most recently Madonna worked as a Chief Investigator on Age

Appropriate Pedagogies for the Department of Education and Training, Queensland (2015-2016), and is currently working

on a 3-year teaching-artist project in a Brisbane secondary school with a high proportion of students from asylum-seeking

backgrounds. Madonna is a life member of Drama Queensland.


8:00 – 9:00am REGISTRATION

9:00 – 10:15am CONFERENCE WELCOME Kelly Young, President of Drama NSW Vicki Waters, Principal of Pymble Ladies’ College Tamara Sweetman, Vice-President Professional Learning of Drama NSW and Co-Convener of Drama NSW State Conference and Lisa Mumford, Co-Convener of Drama NSW State Conference

KEYNOTE – I ❤ Art! Eamon Flack, Artistic Director, Belvoir

THE MARTIN LYSICRATES PRIZE Patricia Azarias, Co-Founder, The Lysicrates Foundation

10:15 – 10:45am MORNING TEA

CREATIVITY ACROSS THE CURRICULUM

CREATIVE FOUNDATIONS

CREATIVITY UNDER PRESSURE

CREATIVITY AND TECHNOLOGY

CREATIVE APPROACHES TO DEVISINGK-6 Primary Stages 4-5 Drama Stage 6 Drama

10:45am – 12:15pm

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A1 Laughter is the Most Marvellous Medicine Naomi Russell shake & stir theatre company

B1 Revolutionising Stage 4/5 Written Work Tahnae Luke Newtown High School of the Performing Arts

C1 Augusto Boal: Theatre of the Oppressed Paul Eastway Shore School

D1 Live Streaming Theatre: Authentic experiences and meaningful collaborations in the digital space Rowan Bate Australian Theatre for Young People (ATYP)

E1 Viewpoints and Devising Work

Shane Anthony and Tina Mitchell Chopt Logic Productions, Physical Actor Training

(Masterclass/ Practical Workshop)(Practical Workshop) (Practical Workshop) (Practical Workshop) (Presentation)

12:15 – 1:15pm LUNCH

1:15 – 2:45pm

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2

A2 A Dramatic Approach to Primary Mathematics: A Revolutionary Idea?Wendy Buswell Australian Catholic University

B2

Vocalise your Creative Revolution Linda Nicholls-Gidley Voice, dialect and accent coach, Voco Vox

C2

HSC Critical Analysis: Strategies for Success Pia Midgley Barker College

D2

Stages 5 & 6: The Experiments that Worked (multi-disciplinary theatre and other approaches)

Amy Murphy and Sean Travers, James Ruse Agricultural HS

Jamie Gerlach The University of Sydney

E2

Creativity in Devising – Using Physical Stimuli to Create TheatreRyan Desaulnier St Andrew’s Cathedral School

(Practical Workshop) (Practical Workshop) (Masterclass) (Masterclass) (Practical Workshop)

2:45 – 3:05pm AFTERNOON TEA

3:05 – 4:35pm

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A3

Exploring the possibilities of a drama-led curriculum through the rolling role system of teachingDr Christine Hatton University of Newcastle

Dr Mary Mooney University of Western Sydney

Jenny Nicholls Macquarie University

B3

Working “The Triangle” – Helping Students Coordinate the interplay of masks, gags and scenario in Commedia Paul Dwyer The University of Sydney

C3

The A, B, C of HSC Costume Design – mentoring and marking your students developmentGabrielle Keats Mount St Benedict College

D3

The Theatrical Functions of Light Graham Henstock Head of Technical Theatre and Stage Management, National Institute of Dramatic Art (NIDA)

E3.1 Women in Theatre Sonia Byrnes Meriden School (Paper Presentation)

ORE3.2

The Drama Revolution: 3 Research Based Approaches(Practical Workshop) (Practical Workshop) (Masterclass) (Masterclass)

(Paper Presentations)

4:35 – 5:30pm CANAPES AND DRINKS

CREATIVE CURRENT PRACTICE IN EDUCATION

• Gift giving in the Drama classroom: can process drama exist authentically within a school structure Joanna Winchester, Australian Catholic University

• Creating Cultural Change Through Community PracticeGenevieve Duncan, University of Southern Queensland

• Conservatoire-based pedagogies for the performing arts: A NIDA Case StudyDr Melissa Laird, National Institute of Dramatic Art (NIDA)

E3.2


AT A GLANCE

8:00 – 9:00am REGISTRATION

9:00 – 10:00am KEYNOTE – Imagine the Dramatic (r)evolutionJohn Nicholas Saunders, Education Manager, Sydney Theatre CompanyDr Mary Mooney, Associate Professor, University of Western SydneyDr Madonna Stinson, Senior Lecturer, School of Education and Professional Studies, Griffith University

DRAMA NSW AWARDS

10:00 – 10:30am MORNING TEA

CREATIVITY ACROSS THE CURRICULUM

CREATIVE FOUNDATIONS

CREATIVITY UNDER PRESSURE


CREATIVE APPROACHES TO DEVISINGK-6 Primary Stages 4-5 Drama Stage 6 Drama

10:30am – 12:00pm

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A4 Drama, Visible Thinking and Concept Programming in the Primary English ClassroomSue McIntosh Asquith Public School

B4 An Approach to Teaching Directing Mathew Clausen and Gill Cooper Loreto Kirribili

C4 Putting practice to paper: How to approach the Written Examination Samantha Bauer Emanuel School and Christopher Rutherford Brigidine College

D4 Technology in Drama: To Yield or Block Amy Gill The Lakes College – Youth Off The Streets

E4 Dynamics: The Physics Behind Drama Ryan Whitworth Catching Dreams Theatre Company

(Practical Workshop) (Masterclass) (Masterclass) (Masterclass) (Practical Workshop)

12:00 – 1:00pm LUNCH

1:00 – 2:30pm

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A5 Dealing with dragons: a dramatic imaginaryDr Madonna Stinson Griffith University

B5

Teaching Playwriting: Creativity in PracticePaul Gardiner The University of Sydney

C5

Strategies to Approach the Elements of Production in the Classroom Christopher Montgomery Reddam House

D5

Creating Story for the Screen

Mathew Clausen Loreto Kirribili

E5

A new handbook for the Creative RevolutionLesley Christen and Michael Gallaway

(Practical Workshop) (Masterclass) (Practical Workshop) (Masterclass) (Masterclass)

2:30 – 2:50pm AFTERNOON TEA

2:50 – 4:20pm

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A6

Using Drama Pedagogy to Enhance Literacy Learning John Nicholas Saunders Sydney Theatre Company

B6

Taking the Improvised Imaginative Leap Lyn Pierse Improcorp Australia

C6

Approaches to Acting: Jacques Lecoq Erica Roberts Canterbury Girls High School

D6

Tree of Life: Teenage refugees tell their stories on stageSamantha McGowan Treehouse Theatre

E6

Constructing a Monologue: Developing a Character’s Journey and Refining IntentionsJane Simmons The Arts Unit

(Practical Workshop)(Masterclass/ Practical Workshop) (Practical Workshop)

(Performance/ Presentation) (Masterclass)

4:20 – 5:45pm CANAPES AND DRINKS


AT A GLANCE




Session 1

CREATIVITY ACROSS THE CURRICULUM: K-6 Primary

A1 Laughter is the most Marvellous MedicineNaomi Russell : shake and stir theatre company

Using highly practical activities from Roald Dahl’s George’s Marvellous Medicine, you’ll explore

just how fun Children’s Theatre can be for anyone ages 6 – 106. Leave with a suite of ideas for

your own classroom, adaptable for primary right through to high school. Using script excerpts

from shake & stir’s stage adaptation of Roald Dahl’s wacky tale, the workshop incorporates key

conventions including: imagination, story-telling, narration, creativity, voice & movement and

laughter in a full 90 mins of doing what we drama teachers do best – embracing the silly. So

come and join the shake & stir team for a full dose of creativity, story-telling & marvellous fun!

Naomi Russell is the full time Education Manager at shake & stir theatre co. She is passionate about creating

engaging arts experiences for students of all ages. During her 6 years with the company, Naomi has been

responsible for managing shake & stir's thriving after-school drama programs, developing and facilitating

workshops, masterclasses, tutorials and teacher professional development sessions for delivery in schools,

creating extensive teacher resource kits for in-school and Mainstage productions and coordinating the annual

QLD Youth Shakespeare Festival. Naomi also sits on the Drama Australia board, and teaches Drama Education

at the University of Queensland. Prior to working with shake & stir, Naomi was a full-time English and Drama

teacher with experience teaching in both QLD and UK schools.P

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Session 1

CREATIVE FOUNDATIONS: Stages 4-5 Drama

B1 Revolutionising Stage 4/5 Written WorkTahnae Luke : Newtown High School of the Performing Arts

Transforming student writing from recount to deep and meaningful reflection is difficult, however

this workshop will provide clear and easy-to-use scaffolds/resources to make this happen. This

will be practically taught using an Elements of Drama program which will also provide you with

a series of activities to teach to those students new to Drama or as an introduction to units of

work. After participating in the exercise, you will be guided in how to increase sophistication

in student writing using a clear scaffold which will then be turned into an essay. This writing

technique has made a dramatic difference in student writing from Year 7 all the way through to

Year 12 and has increased student confidence in writing. At the conclusion of this workshop you

will leave with an array of activities, scaffolds for writing, exemplar responses, vocabulary lists

and an Elements of Drama program.

Tahnae Luke is a Drama teacher at Newtown High School of the Performing Arts, a member of the Drama

NSW committee and who also produces and directs shows each semester in the co-curricular program at

NHSPA. She has recently completed her Masters of Educational Studies majoring in Pedagogy, Leadership and

International Comparative Curriculum. This has led to her enrolment in the Masters of Philosophy with the

hope of transferring this into a PHD focused on Drama education. Prior to obtaining her role at NHSPA, Tahnae

worked at Murrumburrah High School in the Riverina where despite small numbers, Drama was offered 7

through to 12 in vertical classes. From focusing on differentiation to gifted and talented education Tahnae has

built upon her dramatic knowledge and has a passion in ensuring this understanding is continually evolving.

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Session 1

CREATIVITY UNDER PRESSURE: Stage 6 Drama

C1 Augusto Boal: Theatre of the OppressedPaul Eastway : Shore School

Augusto Boal’s Theatre of the Oppressed has been described as the next major development in

Western theatre after Brecht. In this practical workshop participants will explore two branches

of Boal’s Theatre: Image Theatre and Games and Exercises. As well as being largely experiential,

the workshop will investigate the philosophy behind Boal's work and the power of theatre in

making significant social change. Augusto Boal's work can be applied across a variety of Drama

topics in Stages 5 and 6 as well as providing teachers with an arsenal of warm-up activities and

playbuilding strategies.

Prior to starting a teaching career, Paul Eastway was a professional actor and director. After spending many

years as an Associate Artist with the Bell Shakespeare Company, he decided to pursue his passion for teaching.

Paul began his career at St Andrew's Cathedral School before moving to Shore School where he is currently

the Head of Creative Performance. In 2017 he was fortunate enough to see Augusto Boal's work in action by

working with Adrian Jackson at Cardboard Citizens UK.

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Session 1


D1 Live Streaming Theatre: Authentic experiences and meaningful collaborations in the digital spaceRowan Bate : Australian Theatre for Young People (ATYP)

Right now teachers and students around the world can access live-streamed theatre performances

without leaving their school. That’s great; we love that. But we also know there’s much more benefit

to be gotten from the process of making theatre than simply appreciating the end-product. Could

current technology be used to connect students with ALL stages of the creative process?

Could it allow them to actually participate in the development of a play?

Could it enable real-time collaborations between schools and between students and artists?

[Hint: Yes, yes and yes].

Using ATYP’s established digital learning programs as a case-study, this interactive workshop

will explore how we use technology to topple barriers between theatre and the people who wish

they could see it. Together we will imagine a path through the undulating terrain that lies between

seeing theatre and teaching drama and wonder aloud: 'What’s next?'

Rowan Bate is a theatre practitioner and Education Coordinator at Australian Theatre for Young People

(ATYP) where he devises programs that connect schools with theatre in interesting ways. Before this he was

Theatre Programs Coordinator at The Joan in Sydney’s western suburbs, where he oversaw schools and youth

engagement activities. A graduate of Theatre Nepean and the Australian Film, Television and Radio School,

Rowan brings his expertise in theatre making and passion for storytelling into everything he does. His work

with young people focuses on empowering them to be creative in everything they do so that the world we

all share becomes ever more funny, curious and surprising. He holds no especially impressive accolades or

positions of great influence, makes a mean bolognese and will talk your ear off about art if you let him.

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Session 1

CREATIVE APPROACHES TO DEVISING

E1 Viewpoints and Devising WorkShane Anthony and Tina Mitchell : Chopt Logic Productions, Physical Actor Training

Exploring how to apply the vocabulary of the Viewpoints to the creation of devised work. Ideal

for teachers looking for a new approach to group performance building. Participants will be

introduced to the Viewpoints as an ensemble building and develop a practical language and

process for creating dynamic devised work. During this practical workshop participants will

focus on applying the Viewpoints vocabulary as staging tools to create devised work using task

based activities and innovative approaches to dramaturgy.

Shane Anthony works as a director and producer in Australia and overseas.Select recent directing credits

include The Curious Incident of the Dog in the Nighttime (Movement Direction) for The Court Theatre (New

Zealand), The Whale for Redline Productions at The Old Fitz Theatre (Nominated for eight Sydney Theatre Awards

in 2016), Lighten Up by Nicholas Brown and Sam McCool at Griffin Theatre, Songs for the Fallen at the New York

Musical Theatre Festival (Winner of Most Outstanding Show), Sydney Festival, Arts Centre Melbourne. In 2007

he travelled to New York to continue training with Anne Bogart and the Saratoga International Theatre Institute

in Viewpoints and the Suzuki Method of Actor Training and in 2012 he received a Mike Walsh Fellowship to

attend the New York Film Academy. He was a company member of Australian Physical Theatre Company Zen

Zen Zo from 1999 – 2008 training extensively in contemporary Asian performing arts. He is a graduate of the

Directing Program at the National Institute of Dramatic Art (NIDA, Sydney), Screenwriting for Feature Film at

the Australian Film, Television and Radio School and has also completed a BA in Theatre Studies at Queensland

University of Technology (QUT).

Tina Mitchell is a New York based theatre artist and works internationally as an actor, director and teaching

artist. She has trained with the SITI Company for over 10 years and was their Artistic Associate from 2011-2013.

Tina has performed with SITI and was Assistant Director to Anne Bogart on their production of Antigone.

She has also trained with the Suzuki Company of Toga and has taught at international institutions including

Atlantic Theater and NYU in New York, The Adelaide College of the Arts, Flinders University, and the University

Javeriana in Colombia among others. Tina has worked with many world renowned companies including; The

Metropolitan Opera, Punchdrunk in the Off-Broadway hit Sleep No More, SITI Company, La Fura dels Baus,

The English National Opera, Collegiate Chorale at Carnegie Hall and her own work has been produced in

major international arts festivals across Colombia, Italy the United States and Spain. For more information

visit www.tinacmitchell.com or www.miss-julia.org

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http://www.tinacmitchell.com/

http://www.miss-julia.org/


Session 2


A2 A Dramatic Approach to Primary Mathematics: A Revolutionary Idea?Wendy Buswell : Australian Catholic University

Proficiency in Mathematics is an essential life skill but sometimes finding ways to engage

students in the subject can be difficult. This practical workshop is for primary teachers who are

interested in broadening their approach to teaching mathematics. Participants will discover

ways of exploring a variety of mathematical concepts (such as spatial reasoning, patterns,

sequencing) through movement, storytelling and improvisation. Perhaps the workshop may

even revolutionise your teaching practice. Comfortable clothes and a pen and paper required.

Wendy Buswell is an experienced drama teacher, director and researcher who currently works at the Australian

Catholic University as a sessional drama tutor and lecturer. She has worked in Australian and international

schools and recently was involved in facilitating drama workshops in regional NSW primary schools. Wendy

believes that drama pedagogy has wide ranging applications, as demonstrated by her recently completed

thesis which explored the potential for actor training to enhance team cohesion in rugby teams. Discovering

ways in which drama can be used in the teaching of mathematics is a new found passion.P

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Session 2


B2 Vocalise your Creative RevolutionLinda Nicholls-Gidley : Voice, dialect and accent coach, Voco Vox

Developing and empowering voices in our creative work is an ongoing challenge. Our individual

and collective vocal perspectives can add layers of meaning to a performance and create deeper

connections to our audience. This workshop will cover: vocal health; how to prepare your voice

for performance and develop core voice and speech skills, voicing the character; how to explore

the creation of character voices through simple effective exercises.

Linda Nicholls-Gidley is an voice, accents and dialect coach based in Sydney Australia. Her film and television

credits include Jungle, Mary – The Making of a Princess, Crouching Tiger Hidden Dragon 2, The Death of George

Montgomery, The Book Club part 1. Theatre credits include Dreamworks’ How to Train Your Dragon – Arena

Spectacular and the Australian National tours of The Bodyguard the Musical, We Will Rock You, Legends, The Rocky

Horror Show, Dirty Dancing, Annie the Musical and Opera Australia's The Merry Widow. She regularly coaches

accents and dialects in the Sydney independent theatre scene, including recent productions of Wasted, Birdland,

She Rode Horses Like the Stock Exchange, Kindertransport, The Village Bike, Neighbourhood Watch, Thai-riffic, The

Mysteries of Love and Sex, Journey’s End, The House of Ramon Iglesia, Deathtrap, Constellations, The God of Hell, Stop

Kiss, On the Shore of the Wide World, 4000 Miles, The Knowledge and, the multi-award winning, Punk Rock. She was

Associate Lecturer in Voice at NIDA, teaching across both the BFA and MFA programs for 7 years. She runs regular

classes at The Hub Studio and coaches actors right across the globe via Skype. Linda is also an actor and director.

Website: www.vocovox.com.au

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http://vocovox.com.au/


Session 2


C2 HSC Critical Analysis: Strategies for SuccessPia Midgley : Barker College

This masterclass aims to build on your understanding of the area of Critical Analysis for the HSC.

By the end of it you will have a clearer sense of the marking criteria and what the markers are

looking for in all three areas, as well as activities and ideas for your “teaching tool-box” to help

your students research, analyse, synthesise and ultimately create! It should be an enjoyable and

inspiring experience that builds your confidence in leading your students through an important

and exciting area of Drama for the HSC that has direct correlation to the written exam.

Pia Midgley is a New Zealand trained actor and teacher. She is the Head of Drama at Barker College where she

has been teaching for 9 years and has completed her Master of Arts in Drama and Theatre for Young People.

Pia has been a marker and pilot marker for NESA for both Performance and Projects and she enjoys making

the links between the two, dispelling any myths or fears people may have about how “hard” HSC Individual

Projects are.

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Session 2


D2 Stages 5 & 6: The Experiments that Worked (multi-disciplinary theatre and other approaches)Amy Murphy and Sean Travers : James Ruse Agricultural HS Jamie Gerlach : The University of Sydney

Our hypothesis is always to create meaningful, relevant and challenging learning experiences

that empower our students to question, innovate and feel deeply about the world. Our problem/s

are of course multi-layered, increasingly complex but mostly exciting to explore and unravel.

Hopefully, this Masterclass will arm you with a treasury of our experiments – pedagogical risks,

reactions and learnings, from our Stage 5 and 6 Drama and MDC classrooms. Come and play

with some of the results from our learning laboratory.

Amy Murphy is Head Teacher of Creative and Performing Arts at James Ruse Agricultural High School and

teaches Drama, Multidisciplinary Communication and English. She values the rich collaboration, experimental

nature and innovation that this role manifests in order to generate innovative learning experiences. Previously,

as Head Teacher Gifted and Talented and as the Social Justice Coordinator, she confronted fixed mindsets and

focused on the power of embodied cognition to develop emotionally intelligent human beings as agents of

change. She has presented keynotes and papers at numerous state and national conferences, has co-written

NESA endorsed courses and is a HSC marker.

Sean Travers originally trained to be an actor with Theatre Nepean in the early 1990’s. The aim of the course

was to educate people who were able to generate their own work upon graduation. This meant that aside from

performance, Nepean graduates also had to be proficient in design, theatre history, playbuilding and theatrical

analysis. They learnt how to build sets, sew costumes and program lighting boards. All of this proved to be the

perfect skill-set for a Drama teacher, so that’s what he became instead. Sean joined the staff at Our Lady of

Mercy College Parramatta on a one year contract and somehow stayed for eighteen years – twelve of these as

the Drama Coordinator. After so long in one place, he is now spending a year at James Ruse Agricultural High

School where he is thoroughly enjoying being out of his comfort zone.

Jamie Gerlach has been engaged in innovative education for the past 5 years. He has mentored and

collaborated with teachers, students and school leaders , in primary and secondary schools across all sectors,

in the development of 4C Learning. For the past 4 years Jamie has also been a teacher at James Ruse Agricultural

High School, where he has co-developed NESA approved courses in Multidisciplinary Communication and

delivered keynotes and papers at numerous state and national conferences. He is presently completing a

Master of Education by Research at the University of Sydney.

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Session 2


E2 Creativity in Devising – Using Physical Stimuli to Create TheatreRyan Desaulnier : St Andrew’s Cathedral School

This workshop will focus on developing creativity through focused process work. It will be a

highly practical workshop, which will give delegates strategies on how to approach devising

through a purely physical stimulus. The foundation of this workshop will be based on Lecoq/

Theatre de Complicite techniques. Delegates will practice various concepts including 'Elements'

and 'Materials' to provide students with different ways of approaching acting and devising.

This would be helpful for new teachers looking to develop devising strategies, or experienced

teachers who want to supplement their senior class' workshop experiences if they study

Approaches to Acting. I find these techniques very helpful for students who get stuck for ideas

while devising, and encourages a visual and dynamic theatricality in student's work. A specific

devising PDF provided by Theatre de Complicite would be provided for all participants.

Ryan Desaulnier graduated from Ryerson Theatre School in Toronto, Canada and went on to a 20-Year career

as an Actor, Singer and Dancer all around the world. Selected credits include 8 productions in Canada’s

Stratford Festival, including The Winter’s Tale, Coriolanus, and Equus; numerous Feature and Short Films and TV

Commercials; the 2002 production of Man of La Mancha, alongside Anthony Warlow, Caroline O’Connor and

Mitchel Butel. Ryan also toured the world with The Wiggles for six years as a Wiggle Understudy. Ryan currently

performs regularly with his band, The Vinyl Edge. Ryan has been a Drama and Dance teacher since 2010, and

is currently Leader of Learning for Drama and Dance at St Andrew’s Cathedral School. Following numerous

student’s nominations, Ryan was excited to have his first group perform in OnStage this year. Ryan also has

extensive experience as an HSC itinerant marker, becoming a Pilot Marker in 2017.

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Session 3


A3 Exploring the possibilities of a drama-led curriculum through the rolling role system ofteachingDr Christine Hatton : University of Newcastle Dr Mary Mooney : University of Western Sydney Jenny Nicholls : Macquarie University

This workshop will provide participants with an introduction to working with drama as a

rich pedagogy for teaching other areas of the curriculum. Marrying drama and science this

workshop will demonstrate how Dorothy Heathcote’s ‘rolling role’ system of teaching can

be used to work in transdisciplinary and interdisciplinary ways in the primary classroom. The

workshop will showcase an international rolling role project that connected teachers and

students across four countries and five sites, in a multifaceted drama called The Water Reckoning

Project (https://www.water-reckoning.net ). This project repurposed Heathcote’s system using

digital technologies to investigate climate change and water cooperation. Participants will get a

practical introduction to the system and consider ways to use it across the primary curriculum.

Dr Christine Hatton is a lecturer in the School of Education, University of Newcastle, Australia. Christine

researches and teaches in the field of drama and arts education, creative pedagogies, teacher artistry and

artists in residence. She is particularly interested in ethnodrama and performed research methodologies.

Recent projects have explored the use of technologies in drama education and the workings of gender, story

and identity in drama teaching and learning processes.

Associate Professor Mary Mooney is Deputy Dean of the School of Education, Western Sydney University,

Australia. Mary teaches in the field of drama and arts education, and pedagogy. She is interested in theoretical

framings around the cultural practices of young people ranging from investigations into creative, digital

and performative youth arts. Recent research projects include investigations of artists-in-residence, teacher

effectiveness and positive behaviour for learning.

Jenny Nicholls is Senior Lecturer in Drama and Creative Arts at Macquarie University. Jenny has worked

as an academic, education consultant and theatre director. She is co-editor with Mary Mooney of ‘Drama

Journeys: Inside Drama Learning’ and ‘Not in the Script: Performance Monologues from Unexpected Places’

with John McCallum.

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https://www.water-reckoning.net/


Session 3


B3 Working “The Triangle” – Helping Students Coordinate the interplay of masks, gags and scenario in Commedia Paul Dwyer : The University of Sydney

In this workshop, we will focus on how to get students quickly up on their feet and working

flexibly within the parameters of Commedia dell’Arte, giving roughly equal attention to the

three essential building blocks from which any Commedia performance develops: the masks/

fixed stereotypes, the “lazzi” and the scenario. In particular, we will explore the scenario’s

significance as a coordinating document that fixes some elements of performance while also

enabling relatively free moments of improvisation. Workshop participants are advised to wear

loose flexible clothing and to abandon all sense of decorum.

Paul Dwyer is a Senior Lecturer in the Department of Theatre and Performance Studies at Sydney University.

As a writer/performer and dramaturg, he is best known for his contributions in the area of verbatim/

documentary theatre, including Tribunal (PYT and Griffin Theatre), Beautiful One Day (Ilbijerri and Belvoir

Street), and a string of works with Version 1.0 Theatre Company: The Bougainville Photoplay Project, Deeply

Offensive and Utterly Untrue, CMI (A Certain Maritime Incident) among others. But Commedia dell’Arte was his

first love and remains an important influence on his approach to devising new works in any genre. He has

been teaching Commedia since the mid-1980s, inspired by the work of Jacques Lecoq, Philippe Gaulier, Dario

Fo, Paolo Consiglio and Tim Fitzpatrick.

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Session 3


C3 The A, B, C of HSC Costume Design – mentoring and marking your students developmentGabrielle Keats : Mount St Benedict College

You’ve completed wonderful PD courses on Costume Design presented by professional

Designers. Now you want the teacher specifics on guiding, mentoring and maybe pushing your

students to completion of their IP Costume Design Project. You want clearer understanding of

what elements are required for the project. You want to really understand the marking criteria

and use it effectively to help your students. You want to learn how you can facilitate growth in

your students work as they journey through the project. You want to know how best to submit

your student’s work. This Masterclass aims to develop understanding of the HSC Drama IP

Costume Design. In the session there will be a variety of theoretical and practical, collaborative

activities to unpack this project option. This Masterclass is aimed at teachers who have never

HSC project marked Costume Design, attended any NESA PD project days or had students’

select Costume Design Projects.

Gabrielle Keats has been teaching Drama for 14 years and currently works at Mount St Benedict College. At

the College she has held the roles of Head of Drama, Acting HOD CAPA, and Acting House Coordinator and

has been in the role of Studies Coordinator for the last 4 years. Gabrielle was on the CSSA Drama Written Paper

Committee from 2008-2016. Gabrielle completed a BA Acting for Stage and Screen degree at CSU Wagga

Wagga and loved her time on the stage. However, it was during her practicums for her Grad Dip Ed that she

realised she was destined to be a Drama teacher in the classroom. Gabrielle began her HSC Project marking

journey in Design in 2006 and has Project marked in this area every year since. She feels extremely privileged

to have held the position Senior Marker for Costume Design for 3 years. Gabrielle has detailed understanding

of the elements that are required to make up a costume design project and how to use the marking guidelines

to mentor your students through the completion of their Individual Project. She is indebted to the many Drama

teachers from her high school days, university, practicums and from HSC marking, her early days teaching

through to the present who have mentored, influenced and inspired her.

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Session 3


D3 The Theatrical Functions of LightGraham Henstock : Head of Technical Theatre and Stage Management, National Institute of Dramatic Art (NIDA)

Most “how-to” information about theatrical lighting focuses heavily on the technology

and technical know-how that is required to make a lighting rig functional. Such a focus,

however, overlooks the underlying purpose of that lighting rig. A theatrical lighting design

is fundamentally an artistic and dramaturgical undertaking rather than technical endeavour.

This means that the artistic intent of the lighting designer needs to be considered prior to any

conversation about how that intent is technically realised.

In this workshop, Graham Henstock will outline an artistic and conceptual structure that can

be utilised by lighting designers and other theatre practitioners to analyse and frame lighting

design decisions. He will explain how the “whys” of a lighting design directly inform the “how”

and provide insight into the ways through which lighting designers convert artistic intent into

practical technical decisions.

Graham Henstock is Acting Director, Undergraduate Studies at the National Institute of Dramatic Art (NIDA)

and Head of NIDA’s Bachelor of Fine Arts (Technical Theatre and Stage Management) course. Prior to working

at NIDA, Graham enjoyed a 20 year career as a technical theatre practitioner. In addition to his experience

as a lighting and/or sound designer of over 100 projects, he has fulfilled roles with many of the country’s

leading arts organisations and companies. Those roles include Head of Lighting of Sydney Theatre Company

(2006-2013), Assistant Technical Co-ordinator of Melbourne Theatre Company (2002-2006) and Production

Director of 666ABC local radio in Canberra (1997-2002).

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Session 3

E 3.1


Women in TheatreSonia Byrnes : Meriden School

If we’re imagining a creative revolution in drama and education than we must imagine a

revolution that teaches the importance of diversity of voices. One particular area which is often

neglected in our teaching is that of women in theatre. For generations we have taught the great

men of theatre and theatre practice without paying nearly as much attention to the voices of

women. Now, as a part of imagining a creative revolution we can look at how girls schools, boys

schools and co-ed schools alike can start to teach the great women of theatre. This talk looks

at why explicit teaching around the voices of women is important, how we can create drama

classrooms that promote the inclusion of diverse stories and voices, ways in which to encourage

young women in theatre and, in particular, a close look at the rubric and texts of the new HSC

Topic ‘The Voice of Women in Theatre’. This talk will also have time for discussion surrounding

practical workshops that could be implemented into our teaching of the new HSC Topic. Aimed

at teachers wanting to consider how to be more proactive in looking at women in Theatre in

Stage 4 and 5 and those considering the HSC Topic for teaching in 2019. This talk and discussion

is not just relevant to teachers at girl’s schools but anyone who is looking for opportunities to

teach different stories and voices to the classic canon of plays and practitioners we often go to.

Sonia Byrnes has been teaching Drama for over ten years now and has experience in developing ways to

incorporate women’s voices in the classroom. She is an experienced HSC Marker and has contributed to both

Drama NSW and AIS Drama workshops and conferences. Sonia is Drama Coordinator at Meriden where she has

developed many new ways for young women to learn about and succeed in theatre. She is a passionate feminist

who is keen to bring intersectional voices to our classrooms and develop a pedagogy that extends beyond the

teaching of curriculum.

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Session 3

E 3.2


The Drama Revolution: 3 Research Based ApproachesPart 1: Gift giving in the Drama classroom: can process

drama exist authentically within a school structure

Joanna Winchester : Australian Catholic University

The creative revolution begins with us the drama teacher within the sacred space of the drama

classroom. As we become experts in process drama we adapt our practice for the structures

of the school environment, and yet we still manage to be the place of freedom and light for

so many of our students. This paper will critique the relationship between the drama teacher

and the drama student within the classroom using the metaphor of gift exchange derived from

anthropological theory. Delegates will gain an insight into their practice of how they maintain

positive relationships with their students, and how to use the principles of gift exchange

to access disengaged students in their classroom. This paper will also dissect the power

relationship within the drama classroom, examining the paradox of being a 'teacher' within a

school structure with the dynamics of a facilitator or co-creator within the drama classroom.

Dr Winchester is a Drama Education Lecturer at Australian Catholic University. Dr Winchester teaches in

the Primary and Secondary education courses, inspiring new teacher graduates to embrace drama process

and pedagogy in their own teaching practice. Dr Winchester's teaching and research expertise in Education

is primarily in improvisation, however she has also been known to dabble in Shakespeare. Joanna’s doctoral

research investigated the artistic and social exchanges that community arts organizations in western Sydney

facilitate within long term practice in communities. Dr Winchester is also an actor with Playback Theatre

Sydney, and she uses a multidisciplinary approach to her research, involving education, performance and

cultural studies.

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Session 3

E 3.2


The Drama Revolution: 3 Research Based ApproachesPart 2: Creating Cultural Change Through Community

Practice

Genevieve Duncan : University of Southern Queensland

Community Practice, Identification and Social Artistry are untapped areas for creative research

and development. Young people are inspired by participation and reification, thus learning

through creative practice generates a sense of ownership and belonging. As drama teachers,

it should be our mission to mentor young people in social and critical literacies so they too may

become agents of change in their communities. Through our social artistry, we can convene a

learning space where our students can begin their creative campaigns. This presentation will

interest drama practitioners who are passionate about creating a revolution of creative practice

beginning with the young people that step inside our classrooms.

Genevieve Duncan is an experienced drama practitioner who has been working in southeast Queensland

and surrounds for over a decade. She is passionate about teaching and learning in the arts and has extensive

knowledge about Community Practice and Social Artistry. While working in a senior secondary setting,

Genevieve has written, directed and produced numerous show, specifically aimed at providing students a

genuine arts experience while also satisfying curriculum outcomes. Genevieve is a mother to three children

and has made the leap from secondary education to tertiary and is enjoying studying her Master of Creative

Arts (Theatre) while working for both the Creative Arts and Education Faculties at the University of Southern

Queensland.

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Session 3

E 3.2


The Drama Revolution: 3 Research Based ApproachesPart 3: Conservatoire-based pedagogies for the

performing arts: A NIDA Case Study

Dr Melissa Laird, Executive Director Learning and Teaching : National Institute of Dramatic Art (NIDA), Australia

This paper outlines creative and performing arts pedagogy and curriculum for the 21st

Century enhanced by the research and scholarship of practice. It uses NIDA curriculum to

examine student learning at the intersection of discipline expertise, collaborative practice,

interdisciplinarity and creative entrepreneurship. An arts-based culture is reinforced in the

learning strategies essential for the 21 Century in which creativity, embodied practice, skills

acquisition and knowledge are developed by ‘doing’ and ‘becoming’ (Dewey 1934). Further,

it outlines how NIDA’s current research agendas and projects enhance students’ access to

creativity and innovation whilst NIDA staff are adding to new knowledge in their disciplines.

Educational theorist Robyn Tudor (2005) notes: “Creativity is a dynamic cultural mechanism

that supports human life and learning in an uncertain world” (p.20). By thinking though their

practice NIDA students develop empathy through the development of shared languages which

connect their discipline expertise with that of their peers, and in doing so, prepares students

to work in sympathy with others in professional engagements as cultural leaders of the future.

NIDA undertakes storytelling on Bedegal land.

Melissa Laird is Executive Director, Learning and Teaching at the National Institute of Dramatic Art (NIDA). In

this role she provides leadership in developing NIDA’s culture of arts-based education, research and scholarship.

Melissa established the NIDA Research and Scholarship Committee as a hub for national and international

‘practice-oriented’ research. As a material culture scholar-practitioner, she is particularly interested in the

significance of the art-based knowledge translation. She promotes collaboration and communities of creative

practice and champions embodied learning in NIDA’s educational assets development. With her team, she

facilitates program and curriculum development, delivers quality assured academic processes and fosters

creative activities in which the student-artist centres. Melissa brings a breadth of creative arts practice and

discipline expertise to NIDA, and shows leadership in academic governance through her membership of

NIDA’s Academic Board, and that of the National Art School. Melissa received the ACUADS Teaching Excellence

Award in 2014.

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Session 4


A4 Drama, Visible Thinking and Concept Programming in the Primary English ClassroomSue McIntosh : Asquith Public School

LINKING WITH DRAMA with VISIBLE THINKING © IN THE PRIMARY ENGLISH [concept]

CLASSROOM or Concept English meets Process Drama while embedding Cultures of Thinking

in the Primary classroom – easy for you to say!

Just imagine a Primary school teacher who can utilise fabulous pedagogy (proven successful

research) to productively enrich her craft, at the same time as ‘covering off” on syllabus

expectations? It IS creatively imaginable and completely possible. Pre-service, beginners, the

nervous, the mid career, the accomplished and the old-hack will all enjoy and revolt by joining

Sue in this session of mutual learning. Together let us discover solution to our primary battle

- lack of time and so much to get through. Using creative and collaborative thinking we will

discuss, share and experience a practical application of Primary English Concept teaching using

process drama (STC – School Drama©) and visible thinking routines (Harvard, Project Zero) in

order to enrich student learning with deeper understandings, AND making the learning more

accessible through differentiation (12 steak knives come with it!) Wear something comfortable,

as we will try out a few activities on the journey. Your takeaway will be an English Concept Unit

of work to trial with primary students or adapt to your own classroom, whatever THAT looks like!

Sue McIntosh commenced her Primary School teaching career in the late 70s and after developing a whole

school drama program, as well as producing K-6 performances at her first placement, she was invited to join

a Demonstration School as the onsite Drama ‘expert’. Working closely with several tertiary institutions Sue

devised drama programmes, in-service courses, trialling drama as a teaching method in the primary arena and

as a member of the then Educational Drama Association (EDA) was a Drama Reference teacher for the Northern

Sydney region, working collaboratively with chief protagonists of the time on the ‘new’ Drama curriculum

writing party. As well as her teaching degree Sue has a Post Graduate Diploma in the Expressive Arts from USyd

with a major in Dramatic Process. After an interlude in Corporate PD Sue returned to teaching in 2012 with an

undying passion for the subject which sees her promoting the same ideals of the 70’s – Drama as a subject in its

own right and drama as a method. Sue is biblical about spreading the word on her passion – DRAMA!

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Session 4


B4 An Approach to Teaching DirectingMathew Clausen and Gill Cooper : Loreto Kirribili

Directing can be sidelined in the Drama classroom or taught as an individual task rather than

a collaborative practice. This workshop presents strategies for explicitly teaching directing to

students in Stage 5 and Stage 6. Using evidence from action based research, participants will

investigate how teaching directing is a more effective pathway to learning about the elements

of drama. Participants will also explore how the 21st Century skills of the 4C’s, creativity,

collaboration, critical reflection and communication, can be used to frame a sequence of

learning that helps students direct effectively.

Mathew Clausen is Head of Performing Arts at Loreto Kirribilli and author of the Drama text, Centre Stage.

He has acted as Supervisor of Marking for HSC Drama Individual Projects and the Written Examination.

Gillian Cooper is a senior Drama teacher at Loreto Kirribilli.

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Session 4


C4 Putting practice to paper: How to approach the Written ExaminationSamantha Bauer : Emanuel School Christopher Rutherford : Brigidine College

“How can Drama NSW present on stage the struggles of drama teachers in their efforts to teach

essay writing?”

In your answer you must refer to at least TWO examples of teachers looking for fresh perspectives

on a familiar foe.

Writing in Drama is inextricably linked to how we approach the Topics Areas we teach. This

workshop aims to unpack the various ways teachers can tackle the Written Essay in Drama.

So, how can we give our students the best opportunity to show what they know on paper... in

90 mins... when responding to an unseen question...? We will explore teaching strategies for

experiential and theoretical learning in the classroom in conjunction with the marking criteria as

a means to highlight the key components of a successful Written Paper for your drama students.

This workshop will be a reflection of our experience as part of the HSC marking process and a

presentation of ideas for teachers to take back to their classrooms.

Samantha Bauer has extensive experience teaching High School Drama and is the Drama Coordinator at

Emanuel School. She has been a Senior Marker for the Written Examination for the past decade and has also

marked Script Writing, Critical Analysis and Itinerant. Samantha loves working with young people because

they keep her up to date, speed, in tune with the lingo of her two teenage kids. Some of the joys of teaching

Drama for Samantha lie in the productions and showcases she produces every year. Seeing her students shine

on stage and the joy this brings is what makes it all worthwhile.

Chris Rutherford has taught Drama at Brigidine College St Ives for 10 years. He has been actively involved in

his professional community as a senior marker in the area of the written examination as well as marking the

Promotional Design projects. Chris performed in a production of Brecht’s ‘Mother Courage And Her Children’

designed for HSC Drama students at Star Of The Sea Theatre in Manly in 2010. He also directed the cabaret

show ‘Oh! My Shattered Illusions’ for the Sydney Fringe Festival and at Riverside Theatres in 2013. Chris

continues to masquerade as an extrovert in the quietest way possible.

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Session 4


D4 Technology in Drama: To Yield or BlockAmy Gill : The Lakes College – Youth Off The Streets

The integration of technology in the Drama classroom is both challenging and rewarding.

However, technology does not define 21st-century education. It is defined by a fundamental

shift in the way we teach, a shift towards student-centered pedagogy and a need to mould critical

and creative thinkers. This workshop aims to acknowledge the challenges, assist teachers in

deciphering when and how technology should be incorporated, and demonstrate the benefits

of technology for 21st Century Drama education. Various uses of MacBooks, Chromebooks,

iPads, iPhones, Google Suite, and Google Cardboard will be demonstrated and addressed.

Amy Gill has been teaching Drama for 18 years and currently works at The Lakes College, Youth Off The

Streets. She has completed her studies at the University of Newcastle achieving a Bachelor of Arts / Bachelor

of Teaching (Honours), a Masters in Special Education specialising in behaviour and a Graduate Certificate in

Theology. She is also a qualified Google Certified Educator and VET Entertainment teacher. Amy is the founder

of The Joy Fueled Teacher where she aims to share the joy and passion she has for teaching with others.

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Session 4


E4 Dynamics: The Physics Behind DramaRyan Whitworth : Catching Dreams Theatre Company

Fluidity is a fast paced, practical masterclass, that aims to provide teachers with a range of

teaching strategies for Physical Theatre. This masterclass will be aimed at Stage 5 Drama

teachers, however some of the activities and skills taught will be transferable to Stage 6. This

masterclass will enable teachers to connect with and develop an understanding of their physical

abilities and qualities. It is designed for teachers to explore the movement qualities a piece of

theatre can present. This masterclass includes practical learning strategies that cater for all

students, a unit of work with some lessons, the soundtrack used within the sessions and access

to our online resource centre. Everything in this workshop will be tailored toward your specific

drama syllabus. Teachers are encouraged to bring a note pad, pen, water and wear comfortable

clothing for movement.

Ryan Whitworth is the Artistic director of Catching Dreams Theatre Company. His recent work includes

co-directing the Stratford Drama Arts Festival (UK) and collaborating on Taming of the Shrew at the Globe

Theatre. Ryan is a strong advocate for arts education and his work aims to bring arts and education sectors

closer together. He has worked closely with London schools and prominent theatre companies (Stratford

Circus, Frantic Assembly, The Globe Theatre, The National Theatre, The RSC, The Barbican Centre and Unicorn

Theatre) to provide enriched programs that excites teachers and develops higher order thinking skills in

students. In 2017, Ryan was named an 'Australian Young Leader' by the Australian High Commission United

Kingdom, for his work in the arts and education sectors.

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Session 5


A5 Dealing with dragons: a dramatic imaginaryDr Madonna Stinson : Griffith University

This practical, active and engaging workshop uses the book You’ve Got Dragons, by Kathryn

Cave and Nick Maland, as a stepping off point to explore issues of dealing with personal

challenges, and facing your fears. The workshop will be suitable for primary years 2 to 4, but

may be adapted to other year levels. Madonna will explain the process of planning for rich

drama experiences, when using picture books as an impetus. “You ignore them and you run

away from them and you pretend they’re not dragons and you shout at them and you don’t

want to turn out the light and you pay attention to them and you tell them jokes and you can’t

think of anything else and then …”

Dr Madonna Stinson is Senior Lecturer in the School of Education and Professional Studies for the Arts, Education

and Law Academic Group, Griffith University. Her research and teaching concentrates on creative approaches

to curriculum and pedagogies, especially drama, oracy, and language learning. Madonna has worked as a

primary and early years teacher, a secondary Head of Performing Arts, a curriculum writer, an artistic director,

an actor and playwright before becoming an academic. Most recently Madonna worked as a Chief Investigator

on Age Appropriate Pedagogies for the Department of Education and Training, Queensland (2015-2016), and is

currently working on a 3-year teaching-artist project in a Brisbane secondary school with a high proportion of

students from asylum-seeking backgrounds. Madonna is a life member of Drama Queensland.

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Session 5


B5 Teaching Playwriting: Creativity in PracticePaul Gardiner : The University of Sydney

Emanating from research in playwriting pedagogy and creativity, this workshop will introduce

participants to a new approach to teaching students how to write for the theatre. The workshop

will introduce participants to the ‘Playwright’s wheel’ which outlines the many access points

for starting young people on the journey of writing a play. It will provide theoretical and

practical ideas to increase students’ ability to find their voice, explore their ideas in dramatic

form and develop key playwriting skills. It will also demystify the process for teachers and

students, providing accessible structure and strategies to scaffold and support the students

in their creative work. The session will focus particularly on the place of collaboration and idea

sharing through a workshop approach to creativity.

Paul Gardiner lectures in creativity and drama education in the Sydney School of Education and Social Work

at the University of Sydney. He was a Ewing Postdoctoral Research Fellow in the School from 2015-2016 and

is currently exploring the impact of creativity theory on teaching and learning in the arts. Paul is particularly

interested in the interconnected concepts of knowledge, creativity, agency and engagement. He is also

currently working on developing an interdisciplinary course in the Faculty of Arts and Social Sciences. Paul

was Chief Examiner for NSW HSC Drama and was Director of Research on the Drama Australia Board 2015-

2016. He is an experienced Secondary Drama and English teacher, having established and led successful

Drama departments. He continues to deliver professional learning workshops for teachers and creative writing

workshops with students and is currently writing a book on teaching playwriting and creativity, to be published

by Bloomsbury/Methuen Drama UK.

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Session 5


C5 Strategies to Approach the Elements of Production in the ClassroomChristopher Montgomery : Reddam House

The 'creative revolution' is one in which students will have the freedom to proudly project their

vision of the world by means of expressing their individuality through unique and innovative

forms. The question is how do we help our students take the necessary steps to bring forth

this 'creative revolution'? Experiential approaches to design give our senior students tangible

mediums to express their originality and flair. Practical workshops facilitated by the classroom

teacher aim to inspire students to sketch, organise and construct their directorial vision

through a variety of mediums. Exposure to a variety of production elements through hands

on intensive workshops lifts the creative confidence of students. This workshop comes highly

recommended by past senior students who have undertaken this Elements of Production

Unit in the classroom, finding the practicality of the workshops enriching and 'fun' to engage

with. These experiences in the classroom allow students to identify particular elements of

production that best suit their needs and abilities, leading to dynamic stronger results in their

overall assessment. Participants will be advised on affordable and highly practical strategies

to actively engage students in constructing their directorial vision in the areas of Costume

Design, Set Design, Video Drama and Poster and Promotion. This 90 minute course is packed

full of methods to enrich the critical thinking of students, making their vision a reality in a

playful, yet structured environment.

Christopher Montgomery obtained his degree in Education from the Western Sydney University undertaking

a Bachelor of Arts/ Bachelor of Teaching (2006); his extensive state wide teaching experience has led him

to have opportunities to work expansively in youth theatre across schools in Western Sydney since 2004,

successfully inspiring students with a passion for Dramatic Arts. He has actively attended Professional

Development workshops, training with Zen Zen Zo (2015); Physical Actor Training with Tina Mitchell (2016);

Drama NSW Conference Presenter (2017); Article for Drama NSW Journal JEDA (2017); IDIERI9 Conference

Presenter (2018) working collaboratively with drama teachers and practitioners enriching his craft. His deep

knowledge for how students learn creatively has led to opportunities in tutoring at the NSW State Drama Camp

and the NSW State Drama Ensembles Program cultivating sophisticated theatrical performances challenging

students and audiences sharing his appreciation of diverse and eclectic theatre-making techniques with a

focus toward physical theatre and the body in developing role.

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Session 5


D5 Creating Story for the ScreenMathew Clausen : Loreto Kirribili

Finding time to teach film making effectively within the Drama program can be very challenging,

especially if your students would like to develop and extend their knowledge, skills and

understanding with a view to choosing Individual Project option Video in their HSC Drama

Course. This workshop unpacks the NESA Endorsed Creative Communication Course currently

being taught as a Stage 5 elective in some schools. Participants will examine the course modules

and participate in some practical activities that teach basic introductory film making skills.

Mathew Clausen is Head of Performing Arts at Loreto Kirribilli and author of the Drama text, Centre Stage. He

has acted as Supervisor of Marking for HSC Drama Individual Projects and the Written Examination. Mathew

was President of ATOM NSW and co-authored the Creative Communication Course with ATOM Committee

members. He is currently teaching Creative Communication as a Year Nine 100 Hour course.

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Session 5


E5 A new handbook for the Creative RevolutionLesley Christen and Michael Gallaway

This workshop previews an upcoming Currency Press publication, Teaching Drama by Lesley

Christen.

The textbook is a source for the application of different playbuilding processes. It includes

scaffolding of effective playbuilding skills; useful approaches and starting points; and

application within genres and forms from Mask to the Performance Essay. This textbook is

suitable for the beginner and advanced practitioner and many of the methods described can

be adapted to the teaching of primary participants. This practical, hands-on workshop offers a

taste of what can be found in this new textbook.

A former colleague, Michael Gallaway, will lead participants through exercises and activities

from the textbook. A sample of the book will be provided to the participants.

LESLEY CHRISTEN taught high school drama for over 40 years in Australia, Britain and Singapore. She has a

Bachelor of Educational Studies (Newcastle University); a Dip. Ed.—majoring in Drama—(Melbourne University),

an M.A. Theatre & Film Studies (UNSW) and completed courses in Drama/Documentary Script Writing and

Video Production at the AFTRS. She has facilitated many workshops both in Australia and internationally and

has been an HSC marker. Her previous book was Drama Skills for Life: A handbook for teachers.

MICHAEL GALLAWAY has been a high school drama teacher for over 30 years as well as working in remote

indigenous communities in the Pilbara, WA. He has been an HSC marker and currently teaches drama at

Burwood Girls High School.

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Session 6


A6 Using Drama Pedagogy to Enhance Literacy LearningJohn Nicholas Saunders : Sydney Theatre Company

This workshop will explore practical ways of using Drama pedagogy to improve student literacy

in the primary and middle years of schooling and is based on the methodology used in the School

Drama program developed by Sydney Theatre Company and the University of Sydney. Research

into this approach has illustrated positive shifts in student literacy outcomes (particularly in the

areas of comprehension and inference, confidence in oracy, descriptive language and creative/

imaginative writing) as well as increases in student confidence, motivation, school engagement

and empathy.

John Nicholas Saunders B.CI, B.Ed, M.Ed (Research) is a former secondary school teacher and the current

Education Manager at Sydney Theatre Company. John has extensive experience in Arts Education and has held

positions as a senior curriculum writer with the Queensland Studies Authority, Head of Department: The Arts

at Southern Cross Catholic College; Board member of Playlab Press, Associate Academic at Australian Catholic

University, President of Drama NSW and Drama QLD, Education Consultant to the Brisbane Festival and guest

lecturer at the University of Sydney.

He currently holds positions as: President of Drama Australia; Chair of Australian Major Performing Arts Group

(AMPAG) Education Network; Drama representative to the National Advocates for Arts Education and Drama

Mentor to ACARA.

In 2016 he co-authored The School Drama Book: Drama, Literature & Literacy In The Creative Classroom with is

colleague, Professor Robyn Ewing. John is an Honorary Associate at the University of Sydney where he is also

completing his PhD exploring the impact of drama-based pedagogy on English and literacy learning.

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Session 6


B6 Taking the Improvised Imaginative LeapLyn Pierse : Improcorp Australia

The Creative Revolution begins by taking an improvised imaginative leap. Allow the

Improvisation process to do the work. In this practical nuts and bolts Improvisation session we

will use familiar Impro games, exercises and scene structures, to explore, create and challenge

our improvised content. Unlock the imagination. Harness the random. Create improvised

dialogue. Tell stories. Unlock text. The session is practical, side coached and relevant to creating

scenes, delivering dialogue and unlocking text. Teachers of Years 6-12 will benefit from this

session. The work supports group work, devising, monologues, duologues, improvised and

written text, scene work and acting. At the end of this session you will have new pathways

to assist and side coach your students to develop richer, more satisfying improvised scene

content and acting outcomes. Min 16 participants. Comfortable clothing. Observers and note

takers welcome.

Lyn Pierse has taught a generation of teachers, actors, standups and improvisors for 40 years; NIDA,

Theatresports®, ACA, ISA, AIM, UNESCO Chair Romania, Japan, New Zealand, universities, schools , theatre

companies, boardrooms and eisteddfods. She is an Actor, Improviser, Godmother of Australian Theatresports®

and author of Improvisation: the Guide. She is at the coal face, in engine room, on the small and big screens and

on the boards. Improvisation as a teaching process and acting method are her passion and life's work.

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Session 6


C6 Approaches to Acting: Jacques LecoqErica Roberts : Canterbury Girls High School

This workshop will focus on exploring practical ways of teaching the HSC Topic 4 rubric,

as it relates to Jacques Lecoq's pedagogy. Lecoq's teaching was revolutionary; inspired by

the civil unrest of May 1968, he forged an innovative pedagogy based on 'autocours', and

the engagement of the creative imagination of both actors and audience. For this practical

workshop, please wear comfortable theatre blacks. We will be discussing, analysing, but most

of all moving! Suitable for any level of teaching experience - for any teachers who want some

tips about how to practically teach Lecoq, to Year 12 or any other year groups.

Erica Roberts trained for two years at L’Ecole Jacques Lecoq in Paris, graduating in 2000. She worked as an

actor for a number of years in several different countries; in Australia, she has worked with Milk Crate Theatre

and BighART. Erica taught Drama for several years at Goldsmith’s, Royal Holloway and Brunel universities

in London, as well as at high schools and primary schools there. In 2015, when Erica gained her Master of

Teaching from the University of Sydney, she won the Australian College of Educators’ Outstanding Graduate

(Inner Sydney region) Award. Having recently gained NESA accreditation to teach Drama in Australia, Erica is

teaching at Canterbury Girls High School and team-teaching at Wenona School in 2018. She also runs Lecoq

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Session 6


D6 Tree of Life: Teenage refugees tell their stories on stageSamantha McGowan : Treehouse Theatre

Delegates watch an excerpt of the performance of Tree of Life 2018 and have a question and

answer session with the performers and production team following the performance. The

creative and innovative ways of assisting students to bring their own, real stories to the stage and

the powerfully positive impact on the students is inspiring and can be taken into our classrooms.

Should a presentation or workshop about using this in the classroom be appropriate delegates

will explore the ways in which Treehouse Theatre performances and the documentary Cast

From the Storm can be used in the classroom to explore group devising with real stories and/or

documentary drama.

Treehouse Theatre: The Treehouse Family are passionate about giving “The Refugee Experience” a genuine

and empathic face. The Treehouse Theatre mentoring program, provides a platform for young refugees to share

their life stories. Each year, through group story telling in a live public theatre performance, young refugees

share their personal stories with friends, family and the wider community.

Samantha McGowan: An experienced Drama teacher, Samantha is passionate about the difference Drama

makes in the lives of young people, particularly in the areas of self-esteem and mental health and well-being.

She is the current Vice President of Treehouse Theatre and is in her 13th year as Head of Drama at Arden

Anglican School.

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Session 6


E6 Constructing a Monologue: Developing a Character’s Journey and Refining IntentionsJane Simmons : The Arts Unit

This workshop will look at approaches to creating a monologue from a full script. You will

develop strategies of how to reinvent scripts for a character, how to use existing dialogue from

and about the character, how to find the character's voice to write transitions for the material

and how to devise a complete journey for the role and for the audience. We will do exercises

on the emotional and physical life of the piece and create clear and engaging intentions

and tension.

Jane Simmons is one of the most recognised drama teachers in NSW with 25 years teaching experience and

currently is the Drama Performance Officer at The Arts Unit, Department of Education. Jane has produced

state drama festivals, camps, ensembles, workshops, coordinates professional development courses, is an

experienced director, administrator, marker and is the creator of leading social network site, Drama Peeps.

She received the Australian Council of Teachers leadership award in 2015 recognising her excellence and

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DRAMA NSW CONFERENCE TEAM 2018Tamara Sweetman – Conference Co-Convenor Lisa Mumford – Conference Co-Convenor Jessica ChiltonEmma Hughes Ebony KeysTahnae LukeAnna-Lea RussoKelly Young

DRAMA NSW PROFESSIONAL LEARNING CONVENORS 2018Daniel DunlopTahnae LukeLisa MumfordAnna-Lea Russo Victoria StephensonTamara SweetmanKelly Young

PROFESSIONAL LEARNING SUPPORT TEAM 2018Hannah Bamford Gillian Cooper Jo GeorgeEbony KeysLisa Mumford Ellen Osborne

DRAMA NSW UNIVERSITY AMBASSADORS 2018Marnie Booth (University of NSW, Masters) Isabella Christianson (University of Sydney, Bachelor)

Christina Cox (Australian Catholic University, Masters) Hannah Date (University of Newcastle, Masters) Helen Hedger (University of New England, Bachelor) Melissa Houghton (Western Sydney University, Masters) Bernadette Kennedy (University of NSW, Bachelor)

[email protected]

instagram.com/drama.nsw

facebook.com/dramansw

DRAMA NSW COMMITTEE 2018 Kelly Young – President

Tamara Sweetman – Vice President (Professional Learning)

PROFESSIONAL LEARNING TEAM

Hannah Bamford Gillian Cooper Paul Gardiner Brendan Laurence

Tahnae Luke Chris Montgomery Anna-Lea Russo

Victoria Stephenson – Vice President (Communications)

COMMUNICATIONS TEAM

Sonia Byrnes Hannah Bamford

Carol Carter Jo Spinks

Ebony Keys – Vice President (Membership)

MEMBERSHIP TEAM

Dan Dunlop Nadia Emery

Stephanie Merriman Ellen Osborne

Natasha Beaumont – Vice President (Business and Finance and DALO)

BUSINESS AND FINANCE TEAM

Tahnae Luke

CO–OPT TEAM

Jo George

Jessica Chilton – Drama NSW Administrator

FOR MORE INFORMATION Visit www.dramansw.org.au or email Jessica Chilton, Drama NSW Administrator – [email protected]

DRAMA NSW, PO Box 699, Lidcombe, NSW 1825 ABN: 32 123 391 199

Drama NSW respectfully acknowledges the Traditional Custodians of the country on which we work, the Guringai people of the Eora nation. We pay our respects to Elders past and present.

mailto:dramansw%40gmail.com?subject=

https://www.instagram.com/drama.nsw/

https://www.facebook.com/dramansw

mailto:jchiltondramansw%40gmail.com?subject=

Notes

Musicals for Every Stage

Create your own memories by staging one of our much-loved musicals at your theatre

http://www.mtishows.com.au/

Impro Australia’s experienced team can also come to your school and deliver:

• Fully interactive 50-100 minute live shows - demonstrating the skills of improvisation and storytellingfor primary & secondary schools. We can tailor the show to different Drama & English skills and stylesincluding musical. We’re able to perform in any space, for a few classes, whole year groups or the entireschool. Prices start at $5 per student (primary), $7 per student (secondary) – minimum 100 students.

• Tailored 100 minute, half day & full day workshops - for English &Drama students in improvisation, storytelling , play building and specialtyareas including Shakespeare & HSC group performance. Prices start at $250 for primary, $300 for secondary.

• Facilitating & hosting in-school Theatresports® competitions - between years, teams or houses. Prices start at $600 for two tutors/hosts.

• Teacher Professional Development, Communication Training & Conference Entertainment

We also deliver workshops, shows, school competitions and staff development to schools in regional NSW,just email us to discuss.

For more info and to download a TSC registration form, visit: www.improaustralia.com.auEmail: [email protected]

Impro Australia is the homeof improvisation & Theatresports® in NSWSince 2005, we’ve run the annual Theatresports® Schools Challenge (TSC); an improvised drama competitionfor primary and high schools acrossSydney, Wollongong and the Central Coast. The challenge involves teams from over 150government & independentschools across 4 divisions,and is the only competition of its kindin New South Wales.

"Mad and funny -the students wereenthralled!"

- De La Salle College, Ashfield

The home of impro since 1985

Registrations for the 2018 TSC

are now open! Visit our website

for details.

DRAMA FULL PAGE ADVERT.qxp_DRAMA FULL PAGE ADVERT 4/04/2018 10:29 PM Page 1

http://improaustralia.com.au/

pursue your passion - drama€¦ · → design → directing → live production → musical...

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